HIGHER

SCHOOL
CERTIFICATE
EXAMINATION

English Extension 1

General • Reading time – 10 minutes

Instructions • Working time – 2 hours
• Write using black pen
Section II – 25 marks
Total marks: • Attempt
50 Section I – 25 marks Question
2
• Attempt Question 1
• Allow about 1
• Allow about 1 hour for this section
hour for this
section
Section I: Common Module — Literary Worlds
25 marks
Attempt Question 1
Allow about 1 hour for this section

Your answer will be assessed on how well you:

● demonstrate an understanding of the ideas and values of Literary Worlds and how

they are shaped and reflected in texts

● craft a sustained composition appropriate to the question demonstrating control of

the use of language

Question 1: Critical response (25 marks)

Use Text 1 and Text 2 to answer this question.

Evaluate how effectively, in the light of Text 1 The Author to Her Book, does text 2 the
Travel Story invite the reader into the world of the Travel Story.

Your response should draw on your knowledge and understanding of the module Literary
Worlds.

Text 1 — Poem

The Author To Her Book

Thou ill-formed offspring of my feeble brain,

Who after birth didst by my side remain
Till snatched from thence by friends less wise than true

Who thee abroad exposed to public view,

5 Made thee, in rags, halting, to the press to trudge,

Where errors were not lessened, all may judge,

At thy return my blushing was not small
My rambling brat1 in print should mother call.
I cast thee by as one unfit for light,
10 Thy visage was so irksome in my sight;
Yet being mine own, at length affection
would Thy blemishes amend, if so I
could. I washed thy face, but more
defects I saw, And rubbing off a spot still
made a flaw.
15 I stretched thy joints to make thee even
feet, Yet still thou runnest more hobbling
than is meet.

.
1 wandering child
 In better dress to trim thee was my mind,
But naught save homespun cloth in the house I find.

In this array mongst vulgars mayst thou roam

20 In critics hands beware thou dost not
come, And take thy way where yet thou
art not known.

If for thy father asked, say thou hadst none;

And for thy mother, she, alas, is poor,
Which caused her thus to send thee out of door.
There were splashing noises, then he came down again.
The bandage was off; with surprise
I noticed that the stitches were still in.
Didn’t they take out the stitches?

Anne Bradstreet, The Author to Her Book , from The Works of Anne Bradstreet, (died 1672)

Text 2 Travel Story Just Back: a heavenly walk in Italy by Janet Rogers

Just Back: a heavenly walk in Italy by Janet Rogers Nino, our walking guide, promised to
take us to the best restaurant in Italy for lunch, but how he would manage to combine fine
dining with a remote mountain walk, I wasn’t sure. We were to walk the Path of the Gods,
a high and heavenly way above the Amalfi Coast in Italy, across wild and precipitous
terrain. ! We took the local train to Castellammare di Stabia, then a bus, which wound up
mountain roads past lemon groves and olive trees and meadows of yellow flowers. ! At
Bomerano, the village where the Path of the Gods begins, we stopped for coffee in a
family-run café and Nino chatted to the owners. We admired, but resisted, the St Joseph’s
Day cakes in the large glass cabinet: big iced balls, like profiteroles, full of cream with soft
icing and a cherry on top. Then we set off in thick mist down stone steps out of the village.
We knew the sea was somewhere below us, but we couldn’t see it. It was actually 1,800ft
down and in places the rocky drop was almost vertical. ! The path is an ancient track above
the Mediterranean. For centuries it was the only route for local people and travellers.
Farmers still work the narrow terraces. A man planting potatoes greeted us as we emerged
from the mist. We could hear the clanging of goat bells high in the mountain but we could
not see the animals themselves. ! Nino stopped to point out wild violets growing in rocky
crevices and he picked a tiny white flower so we could smell its honey scent. We saw mint
and wild thyme and high bushes of white heather. Then, as if we had stepped into the past,
a man on a mule came towards us; the mule picking its way carefully over the rocky
ground. ! The mist cleared a little and we looked down on the village of Priano and the
Convent of St Domenica with its neatly tilled terraces and vineyards. ! At times Nino
strode ahead, nimbly picking his way like the mule
we had seen. At other times he walked with us, pointing out emerald euphorbia and lapillo,
a white, light volcanic rock. ! At midday we rounded a rocky corner. Nino had found a
picnic bench on a precipice and he’d laid out a crusty loaf, sweet tomatoes, fat olives and a
local cheese, caciocavallo, which looked like a giant pear. ! As we sat, the mist lifted, the
sun came out and the sea shone like tinsel. The bells in the church tower in the village
below chimed midday and the sound echoed around the mountain. Bees buzzed in the
purple rosemary. It was, without doubt, the best restaurant in Italy.
Section II: Electives
25 marks
Attempt ONE Question from Questions 1-5
Allow about 1 hour for this section

Your answer will be assessed on how well you:

● demonstrate an understanding of the ideas and values of Literary Worlds and how they
are shaped and reflected in texts
● craft a sustained composition appropriate to the question, demonstrating control of the
use of language

Question 1 – Elective 1: Literary Homelands (25 marks)

‘No one is born fully-formed: it is through self-experience in the world that we

become what we are.’
Paulo Freire

Evaluate how composers use voices and various points of view to illuminate the idea
expressed by Freire. In your response, refer to TWO prescribed texts and at least ONE
related text of your own choosing.

Question 2- Elective 2: Worlds of Upheaval

“Literature can reflect or challenge the society’s views in which a text was created but the
themes and values still hold true today”.

To what extent does your study of this elective support or alter this view? In your response, refer
to TWO prescribed texts and at least ONE related text of your own choosing.

Question 3: Elective 3: Reimagined Worlds

“ Worlds that exist in literature can bring readers a light to shine in the darkness.”

To what extent does this quotation resonate with your study of this elective? In your response,
refer to TWO prescribed texts and at least ONE related text of your own choosing.

Question 4 – Elective 4: Literary Mindscapes (25 marks)

Emotions are the seamstresses that thread our lives together.

To what extent do the texts that you have studied explore this idea in different ways? In your
response, refer to TWO prescribed texts and at least ONE related text of your own choosing.

Question 5 – Elective 5: Intersecting Worlds (25 marks)

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 In our relationships with the natural world, we each value something
different.

Using your understanding of texts from a range of contexts compose an

argument that expresses your point of view. You may choose the form in
which you write, for example a persuasive letter, a speech, an opinion article
or a personal essay.

The prescribed texts for Section II are:

✦ Elective 1: Literary Homelands

Prose Fiction – Aravind Adiga, The White Tiger
– E M Forster, A Passage to India
Colm Tóibín, Brooklyn
Poetry – Eileen Chong, Burning Rice The prescribed poems are:
Burning Rice
Mid-autumn Mooncakes
My Hakka Grandmother
Shophouse, Victoria Street
Chinese Ginseng
Winter Meeting
Singapore
Drama – Andrew Bovell, The Secret River [by Kate Grenville – An adaptation for
the stage by Andrew Bovell]
Film – Sarah Gavron, Brick Lane

Elective 2: Worlds of Upheaval

• Prose – Elizabeth Gaskell, North and South
Fiction
– Mary Shelley, Frankenstein

– Madeleine Thien, Do Not Say We Have Nothing

•
Poetry – Seamus Heaney, Opened Ground: Poems 1966−1996
The prescribed poems are:

* Digging

* The Strand at Lough Beg

* Casualty

* Funeral Rites

* Whatever You Say Say Nothing

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✦

* Triptych

•
– Samuel Beckett, Waiting for Godot
Drama
•
Film – Fritz Lang, Metropolis

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 Elective 3: Reimagined Worlds
Prose Fiction – Italo Calvino, If on a Winter’s Night a Traveller
Ursula Le Guin, The Left Hand of Darkness
Jonathan Swift, Gulliver’s Travels
Poetry – Samuel Taylor Coleridge, Samuel Taylor Coleridge: The Complete Poems
The prescribed poems are:
The Rime of the Ancient Mariner (1834)
The Eolian Harp
Kubla Khan
Christabel
Tracy K Smith, Life on Mars
The prescribed poems are:
Sci-Fi
My God, It’s Full of Stars *
Don’t You Wonder, Sometimes?
The Universe: Original Motion Picture Soundtrack
The Universe as Primal Scream
Film – Guillermo Del Toro, Pan’s Labyrinth

Elective 4: Literary Mindscapes

• Prose Fiction – William Faulkner, As I Lay Dying
– Gail Jones, Sixty Lights

– Katherine Mansfield, The Collected Stories

* Prelude

* Je ne Parle pas Français

* Bliss

* Psychology

* The Daughters of the Late Colonel

• Poetry – Emily Dickinson, The Complete Poems

The prescribed poems are:

* I felt a Funeral, in my Brain

* This is my letter to the World

* I died for Beauty – but was scarce

* I had been hungry, all the Years

✦

* Because I could not stop for Death

* My Life has stood – a Loaded Gun

* A word dropped careless on a Page

Drama – William Shakespeare, Hamlet

•

• Film – Sofia Coppola, Lost in Translation

Elective 5: Intersecting Worlds

• Prose – Melissa Harrison, Clay
Fiction
– Alex Miller, Journey to the Stone Country

– Annie Proulx, The Shipping News

•
– Tim Winton, Island Home
Nonfiction
•
Poetry – William Wordsworth, William Wordsworth: The Major Works
The prescribed poems are:

* Lines written a few miles above Tintern Abbey

* Three years she grew in sun and shower

* My heart leaps up when I behold

* Resolution and Independence

* The world is too much with us

* Ode (‘There was a time’)

* The Solitary Reaper

* The Prelude (1805) – Book One, lines 1− 67, 271− 441

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✦

• Film – Daniel Nettheim, The Hunter

End of Questions
HSC English Extension 1 Sample
Questions Marking Guidelines

Section I: Common Module – Literary Worlds

Question 1

Example A: Critical response

Criteria Marks
• Demonstrates sophisticated ability to evaluate the language and ideas used
by the author in both extracts
• Demonstrates sophisticated understanding of how writers invite readers 21–25
into the world of texts
• Demonstrates sophisticated control of language
• Demonstrates well-developed ability to evaluate the language and ideas
used by the author in both extracts
• Demonstrates well-developed understanding of how writers invite readers 16–20
into the world of texts
• Demonstrates well-developed control of language
• Demonstrates sound ability to evaluate the language and ideas used by the
author in both extracts
• Demonstrates sound understanding of how writers invite readers into the 11–15
world of texts
• Demonstrates sound control of language
• Demonstrates some ability to evaluate the language and ideas used by the
author in both extracts
• Demonstrates some understanding of how writers invite readers into the 6–10
world of texts
• Demonstrates some control of language
• Demonstrates minimal ability to evaluate the language and ideas used by 1–5
the author in both extracts

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NESA HSC English Extension 1 Sample Questions Marking Guidelines
• Demonstrates minimal understanding of how writers invite readers into the
world of texts
• Demonstrates minimal control of language

Answers could include:

The response may include ideas and features such as:
• author’s focus on a writer’s ability to transport readers to new dimensions
• writing being driven by strong emotions
• the need of the writer to illuminate the process of writing
• the self-reflexivity of the opening line of the novel
• the use of rich imagery to create a vivid setting for the novel
• the use of narrative voice
• the use of historical detail to deepen the authenticity of the world of the novel
• the establishment of mood in the opening chapter
• the metaphor of the bus journey as a journey to other worlds through books.

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NESA HSC English Extension 1 Sample Questions Marking Guidelines
Example B: Creative and critical response

(a) Creative response

Criteria Marks
• Demonstrates sophisticated ability to compose a piece of imaginative
writing that creates a new world
13–15
• Demonstrates a sophisticated understanding of the module
• Demonstrates sophisticated control of language
• Demonstrates well-developed ability to compose a piece of imaginative
writing that creates a new world
10–12
• Demonstrates a well-developed understanding of the module
• Demonstrates well-developed control of language
• Demonstrates sound ability to compose a piece of imaginative writing that
creates a new world
7–9
• Demonstrates sound understanding of the module
• Demonstrates sound control of language
• Demonstrates some ability to compose a piece of imaginative writing that
creates a new world
4–6
• Demonstrates some understanding of the module
• Demonstrates some control of language
• Demonstrates minimal ability to compose a piece of imaginative writing
that creates a new world
1–3
• Demonstrates minimal understanding of the module
• Demonstrates minimal control of language
Answers could include:
The creative response will vary widely. The question does not specify that students should
remain within Joyce’s world, so students may depart dramatically from this. Their worlds may
be influenced by the different electives they have studied.
(b) Critical response

Criteria Marks
• Demonstrates sophisticated evaluation of creative choices to achieve
purpose
9–10
• Demonstrates insightful reflection on the module
• Demonstrates sophisticated control of language for reflection
• Demonstrates well-developed evaluation of creative choices to achieve
purpose
7–8
• Demonstrates skilful reflection on the module
• Demonstrates well-developed control of language for reflection
• Demonstrates sound evaluation of creative choices to achieve purpose
• Demonstrates sound reflection on the module 5–6
• Demonstrates sound control of language for reflection

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NESA HSC English Extension 1 Sample Questions Marking Guidelines

• Demonstrates some evaluation of creative choices to achieve purpose

• Demonstrates some reflection on the module 3–4
• Demonstrates some control of language for reflection
• Demonstrates minimal evaluation of creative choices to achieve purpose
• Demonstrates minimal reflection on the module 1–2
• Demonstrates minimal control of language for reflection
Answers could include:
In this response, students should be clear about the creative choices they have made in part (a)
to establish their world and they should identify some of the features of Joyce’s text that
contribute to his world (eg tone, setting, imagery, narrative perspective). They should evaluate
how they borrow and depart from the devices Joyce uses to establish their new world.
Example C: Creative response

Criteria Marks
• Demonstrates a sophisticated ability to compose a piece of imaginative
writing that attunes and sensitises the reader to a significant aspect of the
world around them
21–25
• Demonstrates a sophisticated understanding of the module
• Demonstrates sophisticated control of language
• Demonstrates a well-developed ability to compose a piece of imaginative
writing that attunes and sensitises the reader to a significant aspect of the
world around them
16–20
• Demonstrates a well-developed understanding of the module
• Demonstrates well-developed control of language
• Demonstrates sound ability to compose a piece of imaginative writing that
attunes and sensitises the reader to a significant aspect of the world around
them
11–15
• Demonstrates sound understanding of the module
• Demonstrates sound control of language
• Demonstrates some ability to compose a piece of imaginative writing that
attunes and sensitises the reader to a significant aspect of the world around
them
6–10
• Demonstrates some understanding of the module
• Demonstrates some control of language
• Demonstrates minimal ability to compose a piece of imaginative writing
that attunes and sensitises the reader to a significant aspect of the world
around them
1–5
• Demonstrates minimal understanding of the module
• Demonstrates minimal control of language
Answers could include:
The creative response will vary widely. The question is very open and allows students to
imagine any world without constraints, but they will have to deliberately position their
audience to attend to a particular aspect of that world.
Section II — Electives

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NESA HSC English Extension 1 Sample Questions Marking Guidelines

Example A – Elective 1: Literary Homelands

Criteria Marks
• Demonstrates sophisticated evaluation of the use of voice/point of view to
build understanding of the complex relationship between the individual’s
experience and culture
21–25
• Demonstrates insightful use of own and prescribed texts
• Crafts a sustained composition with skilful control of language
• Demonstrates well-developed evaluation of the use of voice/point of view
to build understanding of the complex relationship between the
individual’s experience and culture
16–20
• Demonstrates skilful use of own and prescribed texts
• Crafts a sustained composition with well-developed control of language
• Demonstrates sound analysis of the use of voice/point of view to build
understanding of the relationship between the individual’s experience and
culture
11–15
• Demonstrates appropriate use of own and prescribed texts
• Writes a coherent composition with effective control of language
• Demonstrates some analysis of the use of voice/point of view to build
understanding of the relationship between the individual’s experience and
culture
6–10
• Demonstrates some use of own and prescribed texts
• Writes a composition with some control of language
• Demonstrates minimal analysis of the use of voice/point of view to build
understanding of the relationship between the individual’s experience and
culture
1–5
• Demonstrates minimal use of own and prescribed texts
• Attempts to write composition with variable control of language

Answers may include:

Introduction
Individual identity is shaped by the interactions between the individual and the world. In the
rapidly changing and increasingly complex global landscape, there are many cultural
influences on individuals. The study of Literary Homelands illuminates a range of
representations of cultural worlds and individuals’ relationships with these worlds.
Composers use different voices and points of view to represent and comment on different
power structures, values and beliefs, which assist responders to better understand other
cultures, other people and themselves. Through a close examination of the voice and point of
view in Text 1, Text 2 and Text 3, we come to understand how individuals are formed through
their interactions with the world. Each voice or point of view is shaped by its interactions with
the world and is constantly evolving.
Further development could focus around:
• the voices/points of view represented in each text
• the concept of identity formation

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NESA HSC English Extension 1 Sample Questions Marking Guidelines
• the concept of self-experience
• the relationships between the individual and the world.
Example B – Elective 4: Literary Mindscapes

Criteria Marks
• Demonstrates sophisticated evaluation of the extent to which the
nominated texts explore the provided statement
21–25
• Demonstrates insightful use of own and prescribed texts
• Crafts a sustained composition with skilful control of language
• Demonstrates well-developed evaluation of the extent to which the
nominated texts explore the provided statement
16–20
• Demonstrates skilful use of own and prescribed texts
• Crafts a sustained composition with well-developed control of language
• Demonstrates sound analysis of the extent to which the nominated texts
explore the provided statement
11–15
• Demonstrates appropriate use of own and prescribed texts
• Writes a coherent composition with effective control of language
• Provides some analysis of the relationship between the nominated texts
and the provided statement
6–10
• Demonstrates some use of own and prescribed texts
• Writes a composition with some control of language
• Provides minimal analysis of the relationship between the nominated texts
and the provided statement
1–5
• Demonstrates minimal use of own and prescribed texts
• Attempts to write composition with variable control of language

Answers may include:

Introduction
Emotions in texts are expressions of personal and profound experiences that provide the
reader with access to the interior worlds of others. Amidst the complexity of the societies in
which we live, it is through shared emotional experiences that we come to understand
ourselves and how we are connected with others in subtle and significant ways. The study of
Literary Mindscapes illuminates a range of representations of the mind of individuals from
other times and places. Through a close examination of Text 1, Text 2, and Text 3 we come to
understand how emotions are unique to individuals and yet universal to humanity. Each voice
or point of view is shaped by its private and public worlds.
Further development could focus around:

• the voices/points of view represented in each text

• the concept of self-awareness and connections with others
• the concept of unique and universal experiences
• the relationships between private and public worlds.
Example C – Elective 5: Intersecting Worlds

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NESA HSC English Extension 1 Sample Questions Marking Guidelines

Criteria Marks
• Demonstrates a sophisticated understanding of the complex relationships
between humanity and the natural world
21–25
• Demonstrates insightful use of own and prescribed texts
• Crafts a sustained composition with skilful control of language
• Demonstrates well-developed understanding of the complex relationships
between humanity and the natural world
16–20
• Demonstrates skilful use of own and prescribed texts
• Crafts a sustained composition with well-developed control of language
• Demonstrates sound understanding of the relationships between humanity
and the natural world
11–15
• Demonstrates appropriate use of own and prescribed texts
• Writes a coherent composition with effective control of language
• Demonstrates some understanding of the relationships between humanity
and the natural world
6–10
• Demonstrates some use of own and prescribed texts
• Writes a composition with some control of language
• Demonstrates minimal understanding of the relationships between
humanity and the natural world
1–5
• Demonstrates minimal use of own and prescribed texts
• Attempts to write composition with variable control of language

Answers may include:

Students may choose to write in different forms, for example a persuasive letter, a speech, an
opinion article or a personal essay.
The response should:
• demonstrate a clear sense of audience, purpose and voice
• establish the stance the student is advocating, for example the preservation of natural
spaces for spiritual renewal, the importance of sustainable use of land for the good of the
economy and/or the importance of natural beauty. This stance may have been developed
across time and contexts
• have an overview of texts that support the student’s stance, and explain why they were
chosen, based on the texts’ contexts and values
• use textual evidence to support the argument.

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NESA HSC English Extension 1 Sample Questions Marking Guidelines

English Extension 1
Sample Questions Mapping Grid

Section I
Question Marks Content Syllabus outcomes Targeted
performance
bands

Example A 25 Literary Worlds EE12-1; EE12-2; EE12-3 2−4

Example B (a) 15 Literary Worlds EE12-1; EE12-2 2−4

EE12-1; EE12-2; EE12-3; EE12-4;

Example B (b) 10 Literary Worlds 2−4
EE12-5

Example C 25 Literary Worlds EE12-1; EE12-2 2−4

Section II
Question Marks Content Syllabus outcomes Targeted
performance
bands

Example A 25 Literary Homelands EE12-1; EE12-2; EE12-3; EE12-4 2−4

Example B 25 Literary Mindscapes EE12-1; EE12-2; EE12-3; EE12-4; 2−4

Example C 25 Intersecting Worlds EE12-1; EE12-2; EE12-3; EE12-4; 2−4

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