JUNIOR COLLEGE G ANDERSON SERANGOON JC2 Preliminary Examination 2022 LITERATURE IN ENGLISH 9509/01 Higher 2 12 September 2022 Paper 1 Reading Literature 3 hours Set texts may be taken into the examination room. ‘They may bear underlining or highlighting, Any kind of folding or flagging of pages in texts (e.g. use of postts, tape flags or paper clips) is not permitted. READ THESE INSTRUCTIONS FIRST ‘An answer booklet will be provided with this question paper. You should follow the instructions on the front cover of the answer booklet. If you need additional answer paper ask the invigilator for a continuation booklet. Answer three questions: one question from Section A, one question from Section B, and one question from Section C. You are reminded of the need for good English and clear presentation in your answers. indicate your choice of question clearly on the answer booklet. At the end of the examination, fasten all your work securely together. All questions in this paper carry equal marks. Write your class and) full narne on the answer booklet. Write in dark blue or black pen on both sides of the paper. ‘This document consists of 9 printed pages (including this cover page)2 Section A Either (2) Write a critical comparison of the following poems, comparing in detail the poets’ use of language, style and form in their presentation of legacy. A THEGIFT To pull the metal splinter from my palm my father recited a story in a low voice. watched his lovely face and not the blade. Before the story ended, he'd removed the iron sliver | thought I'd die from. 5 | can't remember the tale, but hear his voice still, a well of dark water, a prayer. And | recall his hands, two measures of tenderness 10 he laid against my face, the flames of discipline he raised above my head. Had you entered that afternoon you would have thought you saw a man 18 planting something in a boy's palm, a silver tear, a tiny flame. Had you followed that boy you would have arrived here, where I bend over my wife's right hand. 20 Look how I shave her thumbnail down. so carefully she feels no pain. Watch as | if the splinter out. Iwas seven when my father took my hand lke this, 25 and | did not hold that shard between my fingers and think, Metal that will bury me, christen it Little Assassin, Ore Going Deep for My Heart. 30 And | did not lft up my wound and cry, Death visited here! \ did what a child does when he’s given something to keep. kissed my father. 35 Li-Young Lee (published 1986)ORNAMENT My father has few things to protect. In our house where laughter flirts effortlessly with a history of loneliness, sometimes edifying each other, as two people ‘stranded on an island may behave, the magnificent koi pond is his honour and glory. Cut in black marble, water unloosed over imposing shoulders of an obsidian wall, it seems, as | grow older, to be more perfect ‘or my father's affections than | can ever be, how virtuous talent for turning the commonplace beautiful. On nights when my father is somewhere else | stoop over its edge, cautious as deer approaching the open, water 0 stil it could be land, my body ready to navigate a world he has carved out of absence and longing, where we are together again. Jerrold Yam (b. 1991) 10 15 20Or {b) | Write a cori | comparison on the following poems, considering in detail the ways in which language, style and form contribute to each poet's presentation of hope. IDENTIFICATION It's good you came — she says. You heard a plane crashed on Thursday? Well so they came to see me about it. The story is he was on the passenger list. ‘So what, he might have changed his mind. 5 They gave me some pills so | wouldn't fall apart. Then they showed me | don't know who. All black, buried except one hand. scrap of shirt, a watch, a wedding ring. | got furious, that can't be him. 10 He wouldn't do that to me, look like that The stores are bursting with those shirts. The watch is just a regular old watch. ‘And our names on that ring, They're only the most ordinary names. 15 It's good you came. Sit here beside me. He really was supposed to get back Thursday. But we've got so many Thursdays left this year. Vil put the kettle on for tea. I'l wash my hair, then what, 20 try to wake up from all this. It's good you came, since it was cold there, and him just in some rubber sleeping bag, him, I mean, you know, that unlucky man. "put the Thursday on, wash the tea, 25 sinoe our names are completely ordinary — Wislawa Szymborska (1923-2012)WHO LOVES YOU | worry about you travelling in those mystical machines. Every day people fall from the clouds, dead. Breathe in and out and in and out easy. Safety, safely, safe home Your photograph is in the fridge, smiles when the light comes on. 5 All the time people are burnt in the public places. Rest where the cool trees drop to a gentle shade. Safety, safely, safe home. Don't lie down on the sands where the hole in the sky is. ‘Too many people being gnawed to shreds. 10 Send me your voice however it comes across oceans. Safety, safely, safe home. The loveless men and homeless boys ere out there and angry. Nightly people end their lives in the shortcut. Walk in the light, steadily hurry towards me. 16 Safety, safely, safe home. (Who loves you?) Safety, safely, safe home. Carol Ann Duffy (published 1990)6 Section B F, SCOTT FITZGERALD: The Great Gatsby 2 Either (a) “You can't live forever.” (Chapter 2) In the light of this statement, comment on Fitzgerald's presentation of Myrtle Wilson and her ambition, ©r —(b)_—_ Write a critical commentary on the following extract, paying attention to Fitzgerald's presentation of social division, here and elsewhere in the novel. It was a halt, too, in my association with his affairs. For several weeks | didn't see him or hear his voice on the phone—mostly I was in New York, trotting around with Jordan and trying to ingratiate myself with her senile aunt—but finally | went over to his house one Sunday afternoon. | hadn't been there two minutes when somebody brought Tom Buchanan in for a drink. | was startled, naturally, but the 5 really surprising thing was that it hadn't happened before. They were a party of three on horseback—Tom and a man named Sloane and a pretty woman in a brown riding habit who had been there previously. 'm delighted to see you," said Gatsby, standing on his porch. "I'm delighted that you dropped in.” 10 As though they cared! "Sit right down, Have a cigarette or a cigar.” He walked around the room quickly, ringing bells. "I'l have something to drink for you in just a minute.” He was profoundly affected by the fact that Tom was there. But he would be uneasy anyhow until he had given them something, realizing in a vague way that 15 that was all they came for. Mr. Sloane wanted nothing. A lemonade? No, thanks. A\little champagne? Nothing at al, thanks...'m sorry— “Did you have a nice ride?" “Very good roads around here.” "I suppose the automobiles—" 20 "Yeah." Moved by an irresistible impulse, Gatsby turned to Tom, who had accepted the introduction as a stranger. "I believe we've met somewhere before, Mr. Buchanan." "Oh, yes," said Tom, gruffly polite, but obviously not remembering. "So we did. 25 Iremember very well.” "About two weeks ago.” "That's right. You were with Nick here.” “I know your wife," continued Gatsby, almost aggressively. “That so?" 30 ‘Tom turned to me. "You live near here, Nick?" "Next door.” "That so?" Mr. Sloane didn't enter into the conversation but lounged back haughty in his 35 chair; the woman said nothing either—until unexpectedly, after two highballs, she became cordial. "Welll all come over to your next party, Mr. Gatsby," she suggested. "What do you say?" “Certainly. I'd be delighted to have you." 40 "Be ver’ nice," said Mr. Sloane, without gratitude. "Well—think ought to be starting home.” "Please don't hurry," Gatsby urged them. He had control of himself now, and he wanted to see more of Tom. "Why don't you—why don't you stay for supper? | wouldn't be surprised if some other people dropped in from New York." 457 "You come to supper with me," said the lady enthusiastically. "Both of you." is included me. Mr. Sloane got to his feet. "Come along,” he said—but to her only. “Lmean it,” she insisted. "i'd love to have you. Lots of room." Gatsby looked at me questioningly. He wanted to go, and he didn't see that Nir. Sloane had determined he shouldn't. “I'm afraid | won't be able to,” | said. "Well, you come,” she urged, concentrating on Gatsby. Mr, Sloane murmured something close to her ear. "We won't be late if we start now," she insisted aloud "I haven't got @ horse," said Gatsby. "I used to ride in the army, but I've never bought a horse. I'll have to follow you in my car. Excuse me for just a minute.” ‘The rest of us walked out on the porch, where Sloane and the lady began an impassioned conversation aside. "My God, | believe the man's coming,” said Tom. "Doesn't he know she doesn't want him?" "She says she does want him." "She has a big dinner party and he won't know a soul there.” He frowned. "I wonder where in the devil he met Daisy. By God, | may be old-fashioned in my ideas, but women run around too much these days to suit me. They meet all kinds of crazy fish." Suddenly Mr. Sloane and the lady walked down the steps and mounted their horses. "Come on," said Mr. Sloane to Tom, "we're late. We've got to go." And then to me: "Tell him we couldn't wait, will you?” ‘Tom and | shook hands, the rest of us exchanged a cool nod, and they trotted quickly down the drive, disappearing under the August foliage just as Gatsby with hat and light overcoat in hand came out the front door. Chapter Six 50 55 65 708 Section C ARTHUR MILLER: Playing for Time Either (2) _ Discuss the dramatic significance of action and inaction in the play. Or {b) Write a critical commentary on the following passage, relating it to the dramatic portrayal of Fania, here and elsewhere in the novel. MARIANNE. I'm so hungry, Fania. FANIA. What can I do? (She pats MARIANNE's hand.) Try to think of something else. MARIANNE . (with suppressed desperation). Can't you ask Alma for something? FANIA. Don't be silly. Why should she give me anything? MARIANNE, What am | going to do, Fania? FANIA. Darling, 'm in the same spot. Why do you always expect me to find food? I'm not a magician. Deeply unsatisfied with FANIA'’s answer, MARIANNE gets up and moves to a window. She swallows her saliva, suffering hunger pangs. Her eyes are openly desperate and oddly sensuous. She seems to feel rejected here. FANIA watches her, sensing something. ETALINA enters and goes to FANIA. She stands looking over FANIA's shoulder. ETALINA. (sotto voce). Is that all you've done? (FANIA glances up defensively.) Damn! At this rate, we'll need another Hundred Years’ War to get a score out of you. PAULETTE. (sotto voce). Will you stop bothering her? Orchestrating is tough work even for experts. ALIA enters and goes over to FANIA. She looks down at the sheet, then looks at Fania with real surprise. ALMA. Ihave to speak to you. (To the others.) Leave us. With some apprehension, the others go into the darkness. ALMA. Then you lied... you can't orchestrate at all, can you? FANIA. I'm quite able to do it. I'm sure | can. ALMA. What t, then? FANIA. One of the women this morning...spat at me. ALMA, (not understanding). Yes? FANIA. hadn't realized... how much they must hate us. ALMA, Oh. Yes, of course. What did you expect? FANIA. Well, I. just hadn't thought about it ALMA. (sensing some remote criticism of her own character, becoming angry) Perhaps you are too conscientious a person for the orchestra, FANIA, No...no, | didn't mean... ALMA. If you'd be happier back in B Barracks. FANIA. ‘Aima, please... wasn't criticizing you. (She is becoming unstrung.) I'm just not used to being hated like that. ALMA. Fania, there is life or death in this place. There is no room for anything else whatever. | intend to rehearse that piece tomorrow. | want the parts by morning. If you are able, that is. Are you? FANIA. (defeated, yet determined). Yes...yes, | am. 10 15 20 25 30 35 40ALIA angrily walks past FANIA into the darkness. Alone, FANIA gathers her strength and forces herself to work. As through a window, we see the rhythmic reflection of a big searchlight which revolves somewhere beyond our line of sight. FANIA, alone, works out the orchestration at the piano, then tries @ chord. There is the sound of a rifle shot, then two more and the howling of guard dogs. FANIA looks Up, waits, then there is silence. Someone has probably been Killed. She plays the chords again and writes some notes. From somewhere outside, there is the hair- raising screeching of someone being destroyed and the shouts of those doing the killing. Then silence again. FANIA is in sharp conflict with herself. She knows she is walling herself up against all this. She steels herself again, plays the chord, and can't continue. From beneath the sheets of music, she takes out a worn diary and flips through its pages. She writes a brief note, closes the diary and puts it in her pocket. Suddenly, there is a new flurry of violent screaming, dogs and, finally, three shots. It sounds as if itis from a couple of hundred yards away. She can't bear sitting there and claps her hands over her ears and walks into the darkness. Alternatively, she may walk from the piano and just stand staring off. Act One. END OF PAPER 45 55