i 6a rest cove 02232032 | FORM TP 2019271 MAY/JUNE 2019 CARIBBEAN EXAMINATIONS COUNCIL CARIBBEAN ADVANCED PROFICIENCY EXAMINATION* LITERATURES IN ENGLISH UNIT 2— Paper 032 2 hours 30 minutes READ THE FOLLOWING INSTRUCTIONS CAREFULLY. 1. This paper consists of THREE sections with ONE question in EACH section. 2. Answer ALL questions. 3. Write your answers in the spaces provided in this booklet. 4. Do not write in the margins. You are advised to take some time to read through the paper and plan your answers. 6. Ifyou 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. 7. Ifyou 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 © 2018 Caribbean Examinations Council All rights reserved. ji _| 1 c2232032/mu/caPE 2019 ‘wnr * 7 SECTION A MODULE 1-DRAMA Read the following extract and answer Question 1 on the lined pages provided, pages 10-13. There is a blank space on page 9. You may use this space to make notes and plan your essay. A Futile Place DAVIES points a knife ASTON: You stink. DAVIES: What! ASTON: You've been stinking the place out. s DAVIES: — Christ, you say that to me! ASTON: For days. That’s one reason I can’t sleep. DAVIES: You call me that! You call me stinking! ASTON: You better go. DAVIES: — I'll stink you! 0 He thrusts his arm out, the arm trembling, the knife pointing at ASTON’ stomach. ASTON does not move. Silence. DAVIES’ arm moves no further. They stand. DAVIES: I'll stink you Pause. 1s ASTON: — Get your stuff. DAVIES draws the knife in to his chest, breathing heavily. ASTON goes to DAVIES’ bed, collects his bag and puts a few of DAVIES’ things into it DAVIES: You ain’t ... You ain't got the right ... Leave that alone, that’s mine! DAVIES takes the bag and presses the contents down. GO ON TO THE NEXT PAGE | (02232032/MJ/CAPE 2019rc 0 DAVIES: Blackout 26° ~] Alll right ... | been offered a job here ... you wait He puts on his smoking-jacket. - You Wait... your brother ... he'll sort you out that .... no one’s ever called me that ... He puts on his overcoat. You'll be sorry you called me that ... you ain’t heard the last of this He picks up his bag and goes to the door, You'll be sorry you called me that ... He opens the door, ASTON watching him. Now I know who I ean trust. DAVIES goes out, ASTON stands. Lights up. Early evening. Voices on the stairs. MICK and DAVIES enter DAVIES: MICK: DAVIES: MICK: DAVIES: MICK: Stink! You hear that! | told you what he said, didn’t 1? Stink! You hear that? That's what he said to me! You don’t stink. No, sir! If you stank I'd be the first one to tell you. Hold him, | told him ... I said to him, you ain’t heard the last of this, man! I said, don’t you forget your brother. I told him you'd be coming along to sort him out. He don’t know what he’s started, doing that. Doing that to me. | said to him, I said to him, he'll be along. your brother'Il be along, he’s got sense, not like you. What do you mean? You saying my brother hasn't got any sense? GO ON TO THE NEXT PAGE (02232032/MJ/CAPE 2019 ia J PO NOT WRITE IN THIS EA Sh aaa a ae ee eS sc neaatea TeDO NOT WRITE IN TIS AREA WRITE IN THIS AREA pene! mus. Do Nor waite IN 45 DAVIES: Pause. so MICK: DAVIES: MICK: DAVIES: MICK: ss DAVIES: MICK: 6 DAVIES: MICK: Pause. DAVIES: 6s MICK: DAVIES: MICK: DAVIES: MICK: ae “I What? What I’m saying is, you got ideas for this place, all this ... all this decorating, see? I mean, he’s got no right to order me about. I take orders from you, I do my caretaking for you, | mean, you look upon me ... you don’t treat me like a lump of dirt ... we can both ... we can both see him for what he is. What did he say then, when you told him I'd offered you the job as caretaker? He ... he said ... he said ... something about ... he lived here. Yes, he’s got a point en he? A point! This is your house, en’t? You let him live here! I could tell him to go, I suppose. ‘That's what I'm saying, Yes. | could tell him to go. I mean, I'm the landlord. On the other hand, he’s the sitting tenant. Giving him notice, you see, what it is, it’s a technical matter, that’s what it is. It depends how you regard this room. I mean it depends whether you regard this room as furnished or unfurnished. See what I mean? No, I don’t. All this furniture, you see, in here, it’s all his, except the beds, of course. So what itis, it's a fine legal point, that’s what itis. tell you he should go back where he come from! (turning to look at him) Come from? Yes. Where did he come from? Well... he ... he... You get a bit out of your depth sometimes, don’t you? Pause. (rising, briskly) Well, anyway, as things stand, | don't mind having a go at doing up the place GO ON TO THE NEXT PAGE (02232032/MJ/CAPE 2019DAVIES: DAVIES: MICK: DAVIES: MICK: 80 DAVIES: MICK: DAVIES: 88 MICK: DAVIES: MICK: DAVIES: MICK: DAVIES: & MICK: DAVIES: MICK: -8 ‘That's what I wanted to hear!- He turns 10 face DAVIES. But you better be as good as you say you are. What do you mean? Well, you say you're an interior decorator, you'd better be a good one. Awhat? What do you mean a what? A decorator. An interior decorator. Me? What do you mean? I never touched that. I never been that You've never what? No, no, not me, man. I'm not an interior decorator. I been too busy. Too many other things to do, you see. But I ... but I could always turn my hand to most things .. give me ... give me a bit of time to pick it up. I don’t want you to pick it up. I want a first-class experienced interior decorator. | thought you were one. Me? Now wait a minute — wait a minute — you got the wrong man. How could | have the wrong man? You're the only man I've spoken to because | understood you were an experienced first-class professional interior and exterior decorator. Now look here — ‘You mean you wouldn't know how to fit teal-blue, copper and parchment linoleum squares and have those colours re-echoed in the walls? Now, look here, wher'd you get —? You wouldn’t be able to decorate out a table in afromosia teak veneer, an armchait in oatmeal tweed and a beech frame settee with a woven sea-grass seat? I never said that! Christ! I must have been under a false i pression Horold Pinter, The Caretaker Faber & Faber, 1991, pp. 110-116 GO ON TO THE NEXT PAGI (02232032/MJ/CAPE 2019-9- = SECTION A You may make notes here. This will NOT be marked. GO ON TO THE NEXT PAGE, | (02232032/MJ/CAPE 2019r 1 1. Write a critical appreciation of the extract on pages 5-8, paying attention to characterization, conflict, stage directions and humour. PO NOT WRITE IN TUS AREA Write your answer to Question | here. DO NOT WRITE IN THUS AREA GO ON TO THE NEXT PAGE (02232032/MJ/CAPE 2019 Les r . 7 SECTION B. i MODULE 2- POETRY I Read the following poem and answer Question 2 on the lined pages provided, pages 16-19. There is a blank space on page 15. You may use this space to make notes and pl Two Old Black Men on a Leichester Square Park Bench What do you dream of you old black men sitting ‘on park benches staunchly wrapped up in scarves 5 and coats of silence eyes far away from the cold grey and strutting pigeon ashy fingers trembling 10 (though it’s said that the old hardly ever feel the cold) do you dream revolutions you could have forged or mourn ie sunfull woman you might have known a ibiscus flower ghost memories of desire Oiit’s easy 20. to rainbow the past afier all the letters from home spoke of hardships and the sun was traded long ago Grace Nichols, “Two Old Black Men on a Leichester Square I Park Bench”. In Tradewinds: Poetry in English from Different Cult Longman, 1990, p. 1 GO ON TO THE NEXT PAGE 02232032/MJ/CAPE 2019-15- ~] SECTION B You may make notes here. This will NOT be marked. GO ON TO THE NEXT PAGE | (02232032/MJ/CAPE 2019r “we. 7 2. Write critical appreciation of the poem on page 14, paying attention to form, language, tone and themes Write your answer to Question 2 here. (02232032/MJ/CAPE 2019 Lr ~ 20 ~] SECTION C MODULE 3 ~ PROSE FICTION Read the following extract and answer Question 3 on the lined pages provided, pages 23-26, There is a blank space on page 22. You may use this space to make notes and plan your essay. 10 ey ‘The Decision How well she remembered the first time she had seen him; he was lodging in a house on the main road where she used to visit. It seemed a few weeks ago. He was standing at the gate, his peaked ‘cap pushed back on his head and his hair tumbled forward over a face of bronze. Then they had come to know each other, He used to meet her outside the Stores every evening and see her home. He took her to see The Bohemian Girl and she felt elated as she sat in an unaccustomed part of the theatre with him. He was awfully fond of music and sang a little. People knew that they were courting and, when he sang about the lass that loves a sailor, she always felt pleasantly confused. He used to call her Poppens out of fun. First of all it had been an excitement for her to have @ fellow and then she had begun to like him. He had tales of distant countries. He had started as 1a deck boy at a pound a month on a ship of the Allan Line going out to Canada. He told her the names of the ships he had been on and the names of the different services. He had sailed the Straits of Magellan and he told her stories of the terrible Patagonians. He had fallen on his feet in Buenos Ayres, he said and had come over to the old country just for a holiday. Of course, her father had found out the affair and had forbidden her to have anything to say to him. “L know these sailor chaps.” he said One day he had quarrelled with Frank and after that she had to meet her lover secretly ‘The evening deepened in the avenue. The white of two letters in her lap grew indistinet. One was to Harry: the other was to her father. Ernest had been her favourite but she liked Harry too. Her father was becoming old lately, she noticed; he would miss her. Sometimes he could be very nice. Not long before, when she had been laid up for a day, he had read her a ghost story and made a toast for her at the fire. Another day, when their mother was alive, they had all gone for a picnic to the Hill of Howth. She remembered her father putting on her mother’s bonnet to make the children laugh. Her time was running out but she continued to sit by the window, leaning her head against the window curtain, inhaling the odour of dusty cretonne, Down far in the avenue she could hear a street organ playing. She knew the air. Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could. She remembered the last night of her mother’s illness: she was again in the close dark room at the other side of the hall and outside she heard a melancholy air of Italy. The organ-player had been ordered to goaway and given sixpence. She remembered her father strutting back into the sickroom saying: “Damned Italians! Coming over here!” GO ON TO THE NEXT PAGE 2032/M/CAPE 2019 DO NOT WRITE IN THIS AREA (DO NOT WRITE IN THIS AREA po NOTIWRITEIN THIS AREA.uu US ARE: anya eravenit Ea — = 0 =; ~2h- 7] As she mused the pitiful vision of her mother’s life laid its spell on the very quick of her being — that life of commonplace sacrifices closing in final craziness. She trembled as she heard agai her mother’s voice saying constantly with foolish insistence: “Derevaun Seraun! Derevaun Seraun!” She stood up with a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life. perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his arms. He would save her. She stood among the swaying crowd in the station at the North Wall. He held her hand and she knew that he was speaking to her, saying something about the passage over and over again, The station was full of soldiers with brown baggages. Through the wide doors of the sheds she caught a glimpse of the black mass of the boat, lying in beside the quay wall, with illumined portholes. ‘She answered nothing. She felt her cheek pale and cold and, out of a maze of distress, she prayed to God to direct her, to show her what was her duty. The boat blew a long mournful whistle into the mist. If she went, tomorrow she would be on the sea with Frank, streaming towards Buenos ‘Ayres. Their passage had been booked. Could she still draw back after all he had done for her? Her distress awoke a nausea in her body and she kept moving her lips in silent fervent prayer. A bell clanged upon her heart. She felt him seize her hand: “Come!” All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her. She gripped with both hands at the iron railing. “Come!” No! No! No! It was impossible. Her hands clutched the iron in frenzy. Amid the seas she sent a cry of anguish! “Eveline! Evy!” He rushed beyond the barrier and called for her to follow. He was shouted at to go on but he still called to her. She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recogni James Joyce, Dubliners Flamingo, 1994, pp. 37-43. GO ON TO THE NEXT PAGE (02232032/MJ/CAPE 2019SECTION | ‘You may make notes here. This will NOT be marked. 02232032/MJ/CAPE 2019 = ee GO ON TO THE NEXT PAGE a ie g 5 g : : 5 a Le ARTS ER Ta er er ai 2. 7 3. Write a critical appreciation of the extract on pages, 20-21, paying attention to point of view, characterization, language and themes. ‘Write your answer to Question 3 here. Were ra =I ene a GO ON TO THE NEXT PAGE (02232032/MJ/CAPE 2019r a: 7 Write your answer to Question 3 here. ‘Total 15 marks END OF TEST IF YOU FINISH BEFORE TIME IS CALLED, CHECK YOUR WORK ON THIS TEST. The Council has made every effort to trace copyright holders. However, ifany have been inadvertently overlooked, or any material has been incorrectly acknowledged, CXC will be pleased to correct this at the earliest opportunin 02232032/MS/CAPE 2019 L | a a ne ur Pa err ea SS