English (Option A), Leaving Certificate - Higher Level - Marking Scheme

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Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1
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HIGHER LEVEL
MARKING SCHEME
Pre-Leaving Certificate Examination 2023

HIGHER LEVEL
Criteria for Assessment
The tasks set for students in both Paper 1 and Paper 2 will be assessed in accordance with the following
criteria:
– Clarity of Purpose (P) 30% of marks available for the task
– Coherence of Delivery (C) 30% of marks available for the task
– Efficiency of Language Use (L) 30% of marks available for the task
– Accuracy of Mechanics (M) 10% of marks available for the task
Each answer will be in the form of a response to a specific task, requiring students
– To display a clear and purposeful engagement with the set task

– To sustain the response in an appropriate manner over the entire answer
– To manage and control language appropriate to the task
– To display levels of accuracy in spelling and grammar appropriate to the required/chosen register
Schematised detail regarding these criteria can be found in Appendix 1 of this marking scheme.
The Grade Grid utilised for the purposes of applying these criteria for assessment throughout the marking is
to be found in Appendix 2 of this marking scheme.
Where discrete criteria awarding is in operation, marks will be indicated on students’ scripts in all instances
in the order in which they are set out above. Thus Clarity of Purpose (P) will always appear first in the list of
marks. Marks awarded for Coherence of Delivery (C) will follow and so on until the end.
Given the primacy of Clarity of Purpose (P), marks awarded for Coherence of Delivery (C) and Efficiency of
Language Use (L) cannot exceed marks awarded for Clarity of Purpose (P).
Use of Codes etc.
To assist with forming a judgement, it will be necessary to place an accurate tick at the points identified in the
answer, underline all errors in the answer and use appropriate shorthand codes as identified in the marking
scheme.
Use the full range of marks available.
Correctors should make themselves familiar with the full range of marks available for each of the tasks set
and utilise the full range of marks as appropriate in the course of the marking.
The indicative material provided in the marking scheme is not exhaustive and appropriate valid answers are
acceptable.
PAGE 2 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

PAPER 1, Section 1 HIGHER LEVEL
PAPER 1
SECTION I – COMPREHENDING (100 marks)
GENERAL
“This paper will be specifically aimed at testing the comprehending and composing abilities of students.”
(DES English Syllabus, 7.3)
Candidates must answer a Question A on one text and a Question B on a different text.
N.B. Candidates may not answer a Question A and a Question B on the same text.
Please note that, in relation to all texts, the candidates may take the introductions and accompanying
illustrations to be integral parts of the texts.
Marking ex 15
H1 H2 H3 H4 H5 H6 H7 H8
15-14 12 11 9 8 6 5 4-0
Marking ex 20
H1 H2 H3 H4 H5 H6 H7 H8
20-18 16 14 12 10 8 6 5-0
50 marks H1 H2 H3 H4 H5 H6 H7 H8
100% 50-45 44-40 39-35 34-30 29-25 24-20 19-15 14-0
30% 15-14 12 11 9 8 6 5 4-0
10% 5 4 3 3 2 2 1 1-0
HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 3 OF 47

HIGHER LEVEL PAPER 1, Section 1
TEXT 1 – PHENOMENAL WOMEN – MICHELLE OBAMA & MAYA ANGELOU
QUESTION – A 50 Marks
(i) Based on your reading of TEXT 1 what is your impression of Maya Angelou? Support your
answer with detailed reference to the text. (15)
Expect candidates to explain what their impression of Maya Angelou is from reading the text, while
supporting their points with reference to the text.
Mark ex 15 by reference to the criteria for assessment.
Indicative material:
• Resilient – overcame traumatic childhood experiences: “she spent years in silence before eventually finding
her voice again and using her words to inspire others”.
• Inspirational – encouraged women to love themselves for who they are regardless of appearance: “Our
curves, our stride, our strength, our grace.”
• Popular – the Obamas and others spoke so proudly of their relationship with Maya and her work: “I wish
I was a daughter. But I was right under that wing”.
• Leader – encouraged others to strive for success even when obstacles of race or gender are in the way
“she wanted us to be phenomenal alongside her”.
• Etc.
(ii) In TEXT 1, Michelle Obama credits Angelou’s words as being “so powerful that they carried a
little girl from the South Side of Chicago all the way to the White House”. Discuss the extent to
which you think words we hear have power to influence the type of person we aspire to be. (15)
Expect candidates to discuss the extent to which you think words we hear have power to influence the
type of person we aspire to be. Expect an element of personal response from candidates.
(iii) With reference to both content and style, identify how Michelle Obama convinces readers of the
key role Dr Angelou played in her life. Support your answer with reference to the extract. (20)
Expect candidates to clearly identify and discuss how Michelle Obama convinces readers of the key role
Dr. Angelou played in her life, with reference to both content and style. Answers should be supported by
reference to the text.
• Like Angelou, “at a time when there were such stifling constraints on how black women could exist in the world,
she serenely disregarded all the rules with fiercely passionate unapologetic self” as she took on the role of the
black wife of the “first black president of the United States”.
• She describes how Angelou “spoke to the essence of black women” as does Michelle as she isn’t afraid to
embrace her heritage as a black woman.
• While Maya’s words carried Michelle “through long years on the campaign trail where at times my very
womanhood was dissected and questioned” Michelle stayed true to herself and can acknowledge that. She
also inspired women like Maya did.
Robert
•
Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1
Uses inclusive language to ensure the audience can relate to her: “She showed us that eventually, if we
stayed true to who we are, then the world would embrace us”.
• Listing: “She knew our hope, our pain, our ambition, our fear, our anger, our shame”. Authentic feelings
that she has experienced. She sees herself as the same as everyone, not above etc.

• Language is accessible adding to her authenticity: “it is okay to be your regular old self, whatever that is”.
• Maya is renowned for her inspirational words whereas Michelle grew famous and her words more
inspirational alongside her husband. She believes she’s still learning how to be as authentic in her writing
as Maya; hence “baby” authentic.
• Effective use of inclusive, conversational language helps to inspire her audience.
• Personal anecdotes/persuasive arguments heighten the appeal of her speech.
• Etc.
QUESTION B – 50 Marks
Maya Angelou passed away, but she lives on in her books and poetry. Choose a figure from the past that
you find interesting. Write the text of a talk they might give to young people today explaining how they
feel about their legacy; what they think of modern lifestyle and what advice they might offer to young
people with similar interests today. (50)
Allow for a variety of approaches to the task.
P: Understanding of genre – (P) a talk to young people – (1) feelings about their legacy (2) opinion on
modern life (3) advice they might offer young people with similar interests – freshness and originality, etc.
C: Sustained focus.
continued control of register (formal or informal).
management and sequencing of ideas, etc.
L: Language managed and controlled to achieve clear communication.
quality of expression, style, fluency, etc.
M: Accuracy of Mechanics, etc.
Candidates should engage with all aspects of the question, although not necessarily equally.
P15
C15
L15
M5

TEXT 2 – “YOU CAN’T WAIT UNTIL LIFE ISN’T HARD ANY MORE
BEFORE YOU DECIDE TO BE HAPPY.”
QUESTION A – 50 Marks
(i) Based on your reading of TEXT 2, what is your impression of the author, Nightbirde? (15)
Expect candidates to clearly outline their impression of Nightbirde. Answers should be supported
2 with
• Strong sense of self – “I wanted to write a story I was proud of, even if nobody read it.”
• Present in a moment/descriptive: “where crispy desert flowers close their eyes and lean towards the
sun.”
• Introspective: “It was a pilgrimage, this trip. A symbol of my willingness to walk the long road of healing with
my own two feet”.
• Religious – references to God.
• Grateful and determined: “And I learn a new prayer: thank you. It’s a prayer I don’t mean yet, but will repeat
until I do.”
• Talented singer: Appeared on AGT.
• Honest: personal details shared in such a frank and open manner.
• Etc.
(ii) Nightbirde’s status was bolstered by what the judges on America’s Got Talent referred to as her
“authenticity”. Discuss the extent to which you think that authentic talent is overshadowed by
talentless ‘fame seekers’, due to the widespread availability of social media platforms. (15)
Expect candidates to discuss the extent to which they think that with the widespread availability of
social media platforms, authentic talent is overshadowed by fame seekers.
(iii) Identify four elements of Nightbirde’s writing style, evident in TEXT 2, and discuss how effectively
these stylistic elements are employed to craft a lyrically beautiful and engaging piece of personal
writing. Support your answer with reference to TEXT 2. (20)
Candidates should identify and discuss four elements of the writer’s style (style and content), evident in
TEXT 2, and discuss how these elements are employed to create a lyrically beautiful and engaging piece
of personal writing.
• Beautifully evocative imagery using symbols, metaphors and similes: “I was a universe of swollen questions”;
“It was a pilgrimage, this trip. A symbol of my willingness to walk the long road of healing with my own two feet”.
• Rich, flowing sentences: “I didn’t want the old life or the promises or the rings back. Still it was a difficult
goodbye. But the desert didn’t rush me; the desert didn’t interrupt”.
• Evocative, descriptive details create memorable settings.
• Ability to create contrasting moods and atmospheres adds to the narrative quality.
• Evocative, descriptive details effectively convey her personal experiences, hopes and dreams.
• Vivid, sensual imagery gives a physical, tactile quality to her writing.
•
Robert Aural qualities
Atkinson – alliteration/assonance/sibilance/onomatopoeia
- Oatlands – convey various- soundscapes.
College - 60050E - robert.atkinson@oatlands.net 1
• Poetic use of language – personification, rhythm – help to illuminate her personal experiences.
• Etc.

QUESTION B – 50 Marks
Nightbirde’s song It’s okay was described as “the words we all needed to hear in 2021”. Write the text of
blog post you would write, including a quote you believe are the words we, as a society, need to hear
in 2023. In your blog post you should reflect on the power of positivity; discuss some of the challenges
faced by people in 2023 and share your thoughts and feelings on what keeps you inspired during life’s
challenges. (50)
Allow for a variety of approaches to the task. Expect candidates to write a (P) blog entry (1) reflecting on the
power of positivity; (2) discussing some of the challenges faced in 2023; (3) thoughts and feelings on what
keeps them motivated during life’s challenges.
Mark ex 50 by reference to the criteria for assessment using the following breakdown of marks.
P: Understanding of genre – blog entry.

Focus on all aspects of the question – reflecting on the power of positivity; (2) discussing some of the
challenges faced in 2023; (3) thoughts and feelings on what keeps them motivated during life’s
challenges.
Freshness and originality, etc.
C: Sustained focus.
Continued control of register.
Management and sequencing of ideas, etc.
L: Language managed and controlled to engage with a young audience.
May be formal or informal.
Quality of expression, style, fluency, etc.
M: Accuracy of mechanics, etc.
Candidate should engage with all aspects of the question, although not necessarily equally.
P15
C15
L15
M5

TEXT 3 – ON EARTH WE’RE BRIEFLY GORGEOUS
QUESTION A 50 Marks
(i) Based on your reading of TEXT 3, outline three interesting insights you gained into the relationship
between the narrator and his mother. (15)
Expect candidates to clearly outline three interesting insights they gained into the relationship between
the narrator and his mother. Answers should be supported with reference to the text.
• He loves his mother and wants to understand her as well as help her. He tried to teach her to read
because he gained so much from this skill.
• They struggle with their life experiences as she is an immigrant who grew up in Vietnam but he sees
himself as an “American boy”.
• She has experienced trauma from her exposure to the war. He has not. They can never share the
understanding of that aspect of her life: “I didn’t know that the war was still inside you, that there was a war to
begin with, that once it enters you it never leaves – but merely echoes, a sound forming the face of your own son.”
• Vuong wants to express his thoughts to her but they can’t seem to communicate effectively, so he writes
a letter she’ll never read.
• Etc.
(ii) In TEXT 3, Vuong describes the lingering impact of the past war on his family’s present life. Discuss
the significance of understanding the influence of our national history on our sense of individual
or cultural identity. (15)
Expect candidates to discuss the significance of understanding the influence of our national history on
our sense of individual or cultural identity. Expect an element of personal response from candidates.
(iii) The author of this extract is also a renowned poet. Do you think this is evident in the manner
that Vuong describes people, events and situations? Identify four features to support your claim.
Support your response with reference to writing in the extract. (20)
Candidates must identify four features of the writer’s style that support the statement that he is a
renowned poet. Answers should be supported with reference to the text.
• Interesting/imaginative/beautiful language.
• Skilled use of language.
• The reflective tone: “Days I feel like a human being, while other days I feel more like a sound”.
• Memorable imagery created: “the sentences warped or locked in your throat”.
• Fragmented style where train of thought changes and morphs.
• Reflection leads to insight: “To live, then, is a matter of time, of timing”.
• He sees symbolism in the animals such as the dead buck or the journey of the Monarch butterflies.
• Attaches significance to seemingly insignificant moments, such as scaring his mother when he jumped
out and shouted, “Boom”.
• Etc.
Disagree:
Candidates are free to contend that it is not evident that Vuong is a renowned poet. Points made should
be supported with reference to the text.

QUESTION B 50 Marks
“As Mrs Callahan stood behind me, her mouth at my ear, I was pulled deeper into the current of language.
The story unfurled…”
Write a letter to a person who influenced your love of language – spoken or written word. This might
be a favourite author, singer or poet, a teacher, or someone who introduced you to a new language.
In your letter refer to the moment you realised your love of the language was developing, how you’ve
benefitted from it, and then encourage others who may not enjoy your chosen language. (50)
Expect candidates to present their answer as a (P) letter to a person who influenced their love of language.
Allow a broad range of content and style (formal, informal etc.) but answers should focus on responding to
the question: (1) the moment you realised your love of the language was developing; (2) how you’ve benefitted
from it; (3) encourage others to take joy from the language;
P: Understanding of genre – a letter.

Focus on all aspects of the question – pitfalls of fad diets and unqualified social media influencers
giving poor dietary advice, reminding them that eating is one of life’s greatest pleasures which helps us
celebrate our successes (from a birthday cake to a family get-together), introduces us to new cultures
and – when we cook and eat together – connects us with the people we love.
Freshness and originality, etc.
C: Sustained focus.
Continued control of register.
Management and sequencing of ideas, etc.
L: Language managed and controlled to achieve clear outline of the criteria for assessing the shortlisted
books.
Quality of expression, style, fluency, etc.
Candidates should engage with all aspects of the question, although not necessarily equally.
P15
C15
L15
M5

SECTION II – COMPOSING (100 marks)
GENERAL
The composition assignments (in bold print below) are intended to reflect language study in the areas of
information, argument, persuasion, narration, and the aesthetic use of language.
N.B. “The general functions of language outlined here will continually mix and mingle within texts and
genres. So, there can be an aesthetic argument, a persuasive narrative, or an informative play.” (DES
English Syllabus, 2.5)
The composition titles refer back to individual texts. However, the examination paper itself is constructed
around a single theme and all the texts on the paper are intended to be a resource for the
candidates. Therefore, even though a composition title is linked to one of the texts, in shaping their
compositions candidates are free to refer to, quote from, or draw ideas from any or all of the texts and
their accompanying illustrations.
Candidates may refer formally to the text to which the composition is linked or they may complete the
composition assignment with reference to their own store of knowledge/reference/experience.
100 marks H1 H2 H3 H4 H5 H6 H7 H8
100% 100-90 89-80 79-70 69-60 59-50 49-40 39-30 29-0
30% 30-27 24 21 18 15 12 9 8-0
10% 10-9 8 7 6 5 4 3 2-0
P30
C30
L30
M10

Write a composition on any one of the following:
1. TEXT 2 highlights how Nightbirde’s attitude to “see it through” carried her through her difficult experiences.
Write a discursive essay about the importance of determination in the face of obstacles and
challenges.
Allow for a variety of approaches to the task. Allow for a broad interpretation of ‘pleasure’.
P: Focus – discursive essay about how the “importance of determination in the face of obstacles and
challenges”.
Understanding of genre – the effective use of some elements of informative and argumentative writing.
originality and freshness, etc.
C: The extent to which the perspective is successfully sustained and developed effective shaping of the
article.
Sequencing and management of ideas, etc.
L: Quality and control of language, e.g. style, clarity, vocabulary, syntax, punctuation, etc.
M: Accuracy of mechanics.
2. TEXT 1 includes an image of Maya Angelou and some of her most inspiring quotes.
Write a personal essay in which you reflect on the relevance of at least one of those quotes to
your attitude in life.
P: Focus – a personal essay which reflects on the relevance of at least one Maya Angelou quote to the
candidate’s attitude in life.
Understanding of genre – the effective use of some elements of personal essay e.g. reflective insights,
confessional tone, individual observation, use of personal pronoun, anecdotes, etc.
Originality and freshness, etc.
C: The extent to which the personal approach is successfully sustained and developed effective shaping of
the essay.
L: Quality and control of language, e.g. style, vocabulary, syntax, punctuation, etc.
Etc.

3. In TEXT 3, we learn about how the Monarch butterfly represents the passing of culture, knowledge and
traditions from generation to generation.
Write a feature article for a magazine where you discuss the dilution of culture associated with
freedom of travel, the rise in migration and the impact of social media.

9
P: Focus – a feature article for a magazine in which candidates discuss the dilution of culture associated
with freedom of travel, rise of migration and the impact of social media.
Understanding of genre – the effective use of some elements of informative, persuasive
and argumentative writing.
article.
L: Quality and control of language e.g. style, clarity, vocabulary, syntax, punctuation, etc.
4. In TEXT 2, we learn Nightbirde was selected as a winner in that section of America’s Got Talent.
Write a short story which includes a character reaching a pivotal moment in their life.
P: Focus – a narrative which includes a character reaching a pivotal moment in their life.
Understanding of genre – the effective use of some elements of short story e.g. setting,
characterisation, narrative shape, resolution, atmosphere, dialogue, tension, narrative voice etc.
originality and freshness, etc.
C: The extent to which the narrative is successfully sustained and developed.
Effective sequencing and management of ideas, etc.
L: Quality and control of narrative language, e.g., style, clarity, vocabulary, syntax, punctuation, etc.

5. In TEXT 3, we see how the author uses Monarch butterflies as a metaphor for his family’s story of
migration.
Write a short story where an animal plays a central role.
P: Focus – a short story which where an animal plays a central role.

Understanding of genre – the effective use of some elements of short story, e.g., setting,
characterisation, narrative shape, resolution, atmosphere, dialogue, tension, narrative voice, etc.
C: The extent to which the personal approach is successfully sustained and developed effective shaping of
the essay.
L: Quality and control of language e.g. style, vocabulary, syntax, punctuation, etc.
6. In TEXT 3, the author’s mother is shocked at the display of a taxidermy buck hung over the soda machine.
Write a speech to be delivered to a World Youth Conference outlining your views on the
relationship between humans and animals.
P: Focus – a speech, giving the candidate’s view on the relationship between humans and animals.
Understanding of genre – the effective use of some elements of informative, persuasive
and argumentative writing.
article.
sequencing and management of ideas, etc.
L: Quality and control of language, e.g. style, clarity, vocabulary, syntax, punctuation, etc.

7. In TEXT 2, Nightbirde graphically describes her journey to the desert.
Write the descriptive essay describing in detail an important journey to a significant place.
3
P: Focus – a descriptive essay describing an important journey to a significant place.

Understanding of genre – the effective use of some elements of descriptive writing, e.g. imagery, use
of setting, anecdote, creation of atmosphere, attention to detail, quality of observation, appeal to the
senses, etc.
C: The extent to which the descriptive writing is successfully sustained and developed
effective shaping of the essay.
L: Quality and control of descriptive language, e.g., style, vocabulary, syntax, punctuation, etc.

PAPER 2 - SECTION 1
Candidates must answer ONE question from this section.
Note 1 – RESPONDING TO DRAMATIC TEXTS

2
In attempting questions set on dramatic texts, candidates are free to support the points they make by
reference to performances of the texts that they have seen.
Note 2 – NO ANSWER ON A SHAKESPEAREAN TEXT

For direction as to procedure when a candidate fails to answer on Shakespeare in either the Single Text or
the Comparative Study, see Appendix 4 in this Marking Scheme.
100% 60-54 48 42 36 30 24 18 17-0
30% 18-17 15 13 11 9 8 6 5-0
10% 6 5 4 4 3 2 2 1-0

SECTION 1 – THE SINGLE TEXT (60 marks)
A. All the Light We Cannot See – Anthony Doerr
(i) “All the Light We Cannot See is about the power of human connection.”
Based on your reading of this novel. to what extent do you agree ordisagree with the above
statement? Explain your answer, giving reasons for your response. Develop your answer with
reference to Doerr’s novel, All the Light We Cannot See. (60)
Candidates should discuss the view that the novel “is about the power of human connection”. Answers
should be supported by reference to the text.
P: Focus/relevance of response/well chosen, compelling points/originality of thought/understanding

of genre/evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points effectively
substantiated/apt use of examples, key moments, engagement with the text, etc.
L: Language managed and controlled to achieve clear communication – throughout/fluency/quality
of expression, etc.
Code: PHC for the power of human connection.
• Marie-Laure’s father describes himself as a “conduit” for a “far more powerful being”. Their relationship
is metaphysical. When she loses her vision, she sees her father as an array of colour. He “glows red”
when he’s cooking. Her connection means she can sense his mood as colour.
• When they are separated, he sends her letters to maintain the connection. Marie-Laure hears her
father’s logical advice when Von Rumpel is below her attic hiding space, searching her home for the
diamond. Listening to her father’s imagined voice keeps her safe.
• Etienne’s brother Henri died during WW1. Etienne continues to play the recordings they made together
in an effort to reach his brother. This subsequently connects him to Werner and Jutta, two children
living in Germany. His desire to connect with his brother and cope with his grief led to important
connections.
• Werner and Jutta continue to stay in touch via letters even though larger forces have caused their
separation. These letters are heavily redacted but the siblings maintain that connection despite all
obstacles. Jutta lives in hope that her brother is alive. Werner’s morals are guided by how his sister
would feel about his behaviour.
• Werner was susceptible to Dr Hauptmann’s manipulation as he yearned for human connection,
especially from a father figure. Dr Hauptmann validated his intelligence and provided special treatment
in Schulpforta. Yet equally he took advantage of Werner’s intelligence.
• Many people are lost because of the war. The secret radio broadcasts contain messages of families
sending important information to their relatives: births, deaths, marriages. This offers hope of
reconnection to so many.
• The Nazis attempt to separate people, remove their ability to communicate freely etc., yet we see how
far people will go in order to stay in touch with their loved ones.
• Von Rumpel is an instrument of dislocation as he causes Daniel LeBlanc’s arrest and separation from
Marie Laure.
• The novel builds towards the connection of the two central characters – Marie-Laure and Werner. Their
meeting is not the big romantic union that the readers expected but their connection brings many
elements of the novel together satisfactorily. The novel is about the intertwining lives that connect at
various junctures and the subsequent consequences for characters.
• Etc.

(ii) Identify and discuss the various ways in which Doerr’s narrative style added to your engagement
with the novel. Develop your response with reference to the text. (60)
Candidates must identify and discuss the various ways in which Doerr’s narrative style added to their
enjoyment of the novel. Candidates should deal with all aspects of the question, though not necessarily
equally. Answers should be supported by reference to the text.

of expression, etc.
Code: NS for narrative style.

Code: EN for added to their engagement with the novel.
• Narrative structure is unique. The story is non-linear and non-chronological with two main characters.
The reader anticipates when the two main characters will meet because the alternating chapters
provide alternative perspectives.
• The growth and development of two characters over the course of the novel engages the reader in
their parallel stories at a time when personal growth was very difficult.
• The non-linear plot adds to the understanding of the character’s growth and development. The reader
maintains sympathy for Werner as a Nazi soldier carrying out atrocious acts because they understand
his background and the need to escape Zollverein.
• The juxtaposition of these two characters is an interesting element of the story. Werner and Marie-
Laure are two sides of a coin: she helped broadcast Allied intelligence, he joined the Nazis, her
compassionate father is reflected in his moral sister, and she is blind literally, he figuratively. For
Werner, he can see the visible light, but not the emotions that Marie-Laure can sense, and thus they
represent the two types of light. This is a direct link to the title which engages the reader.
• Blindness, ironically, leads Werner to spiritual enlightenment. When Werner is in the Hotel of Bees, in
“total darkness” he must examine his own conscience. Marie-Laure, while physically blind seemed to
have a better understanding of people. She knew Claude Levitte was someone she couldn’t trust, where
others fell victim to his role as informant.
• Doerr varies his writing style. When writing about Marie-Laure, Doerr utilises a distinct number of
complex literary devices, such as anaphora. The striking prose mimics the girl’s view of the world, every
noise and every knock sticking firmly in her memory. While writing about Werner, Doerr employs the
use of short, static sentences that echo the technology of radio that he is so fascinated by (e.g. “Werner
risks a single glance at his sister. Her attention stays fixed on the visitor”).
• Parallels engage the reader throughout the novel. This acts as a form of foreshadowing when we learn
of one character experiencing separation for example, we can anticipate the alternative chapter will
parallel the situation which is very engaging for the reader.
• Distinctive imagery associated with the characters adds to our engagement with the characters. For
example, Marie-Laure is associated with whelks and when Marie-Laure chooses that as her code name.
The reader knows that Marie-Laure is a survivor like the whelks.
• Daniel Le Blanc is associated with a wooden model as he attempted to create certainty for his daughter
Robert Atkinson - Oatlands
in a time when there wasCollege
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the world.- Locks
robert.atkinson@oatlands.net -1
and keys add to our understanding of this logical
character.
• Other major symbols include the radio (associated with Werner) – a symbol of hope which develops
one of the major themes of connection (“it ties a million ears to a single mouth”).

• The sea of flames itself is a symbol of human greed which brings out the worst in humans who want to
harness the jewel for themselves; etc. The decision to add this strand to the narrative makes the novel
incredibly engaging as the genre moves towards a thriller.
• Characterisation is often supplemented with interesting metaphors. For example, Doerr describes
Marie-Laure meeting Uncle Etienne for the first time: “Her great-uncle seems kind, curious, and entirely
sane. Stillness: this is what he radiates more than anything else. The stillness of a tree. Of a mouse
blinking in the dark.” Even though Marie-Laure cannot see him she feels Etienne’s presence in her own
way. She recognises that there is something different about Etienne, which we as a reader eventually
attribute to the strength he has, despite his PTSD.
• Volkheimer is associated with the Italian music of Vivaldi. The reader sees that he is more than just a
“tool” for the Nazis to use. It also hints that Volkheimer, like Werner, must hide his individualism that
goes against the Nazi ideology.
• Doerr blends many different genres which keep the reader guessing, never certain of which element of
the story will be developed or where the plot will go. For example, Etienne’s house is described using
features of gothic writing, while Von Rumpel’s story features elements of a thriller and the connection
between Marie-Laure and Werner leads the reader to believe there could be a romance blossoming.
• The historical realism adds to the reader’s enjoyment of the story. From the documented exact number
of buildings destroyed in Saint Malo to specific references to Nazi practices. There are times when the
reader’s enjoyment is enhanced when they can make connections to real events or references. The way
Doerr humanises Werner, a Nazi soldier, in a way that allows the reader to sympathise with him despite
all the terrible things he has been involved in, is powerful and engaging.
• Etc.

B. A Doll’s House – Henrik Ibsen
(i) “Ibsen uses a variety of techniques to create a world of deception in the play A Doll’s House”.
Discuss this statement with detailed reference to the text. (60)
Candidates should deal with all aspects of the question, including “variety of techniques” and the “world
of deception” though not necessarily equally. Answers should be supported by reference to the text.

of expression, etc.
Code: LT for identification of the literary techniques.

Code: WD for the world of deception.
• When she asks Torvald for more money despite having just been on a spending spree, Nora appears
selfish and grasping. But we soon discover, in her conversation with Mrs Linde, that she is not
squandering the money to satisfy her own desires, but using it to pay off the loan she took out in
order to save her husband’s life. The audience was deceived by Ibsen in how he established our first
impression of Nora, through her frivolous behaviour.
• Nora goes along with her treatment as a child. She plays up to the role by sneakily eating macaroons,
responding to her pet names etc. but naively seems to believe everyone is just role playing.
• “I have been performing tricks for you, Torvald,” she says during her climactic confrontation with him.
Nora comes to realise that in addition to her literal dancing and singing tricks, she has been putting on
a show throughout her marriage.
• Nora borrowed money, effectively deceiving her husband, despite the fact that she did it for him. She
almost seems to enjoy her secret, especially in how she plays up to her pet names.
• Nora takes advantage of flirting with Dr Rank. He is secretly in love with her. When she performs the
tarantella dance “just for him”, she knows she is flirting with him. Eventually she realises how she is
using his feelings for her own benefit.
• The tarantella symbolises a side of Nora that she cannot normally show. It is a fiery, passionate dance
that allows Nora to drop the façade of the perfect mild-mannered Victorian wife. Torvald enjoys her
“performance”.
• Ibsen juxtaposes Dr Rank’s unhappiness and situation with Torvald’s, as both men love Nora in
different ways. Torvald: “His suffering and his loneliness seemed almost to provide a background of
dark cloud to the sunshine of our lives”.
• The audience can contrast the two characters in their interactions with Nora.
• Like Dr Rank, Nils Krogstad is used to heighten suspense/aid exposition of the plot and he provides an
interesting contrast to Dr Rank and Torvald.
• Ibsen makes effective use of similes. For example: “He called me his doll-child, and he played with me
just as I used to play with my dolls. And when I came to live with you”; or “Here is shelter for you; here I
will protect you like a hunted dove that I have saved from a hawk’s claws; I will bring peace to your poor
beating heart”.
Robert
• Atkinson - Oatlands
These similes show howCollege - 60050E
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roles, deceiving others about -their
1 true sense of self.
• Etc.

(ii) “Both Torvald and Nora display a variety of character traits and values that contribute to the
dramatic and tragic outcome of the play.”
To what extent would you agree or disagree with this view? Support your answer with reference
to the play, A Doll’s House. (60)
Candidates are free to agree or disagree with the statement that “Torvald and Nora both display a
variety of character traits and values that contribute to the dramatic and tragic outcome of the play”.
Candidates should deal with all aspects of the question, though not necessarily equally. Answers should
be supported by reference to the text.

of expression, etc.
Code: TV for the “trait and values”.

Code: DT for the “dramatic and tragic outcomes”.
Torvald Helmer:
• Torvald is not an evil man but represents most men of his time who enjoyed being “master” of their
wife and home. He reflects the expectations of middle-class men of his time who saw themselves in a
patriarchal role, as provider, financial controller and master of the home. When this is questioned, his
behaviour is an attempt to maintain his patriarchal expectations.
• He treats Nora like a play thing or trophy. He speaks to her as if she has limited intelligence and
certainly not as an equal. He questions her spending and attempts to control her eating. He always
addresses her in terms of possession. This type of relationship could never be sustained once Nora
showed her true capacity for independent thought and action.
• He behaves appallingly and with sulky petulance when she refuses to acquiesce to his sexual demands
after she performs the Tarantella.
• He is a poor father who is never shown to interact in any way with his children. This adds to the
dramatic conclusion when Nora leaves. The audience would wonder what would happen to the
children.
• When Nora needs him most, he thinks only of himself and his reputation and does not rise to the
occasion and support her. This adds fuel to her dramatic exit.
• As a friend to Dr Rank, a daily visitor to their home, he shows his true selfishness and barely
acknowledges that he has died.
• He is an insufferable snob and the real truth behind Krogstad’s dismissal from his post in the bank is
that Torvald cannot bear that he addresses him by his first name.
• Etc.

Nora Helmer:
• She wilfully adopts the role of trophy wife and never shows Torvald who she truly is until the end of the
play. Therefore, she is guilty of real deception and contributes to her own downfall.
• Nora goes along with her treatment as a child. She plays up to the role by sneakily eating macaroons,
responding to her pet names etc. but naively seems to believe everyone is just role playing: “I have been
performing tricks for you, Torvald”.
• While she does engage more with her children than her husband does, she treats them in the same
manner her father and husband treated her, as playthings to be dismissed when she was busy.
• When she meets Kristine again for the first time she is boastful and obnoxious. She crudely elaborates
on how fortunate the past few years have been for the Helmers while tactlessly reminding Kristine that
she was left nothing at all by her late husband.
• Nora is inexcusably naïve in her dealings with Krogstad and places her and her family in real danger
by fraudulently borrowing money. While there is some redemption in the fact that she wanted to save
Torvald, her motives are questionable. She admits that she was saving the information as a kind of
bargaining chip for a time when Torvald might find her not so attractive.
• Nora’s fear of the secret getting out is not a fear that she will end up shamed and punished, but rather
is based on her certainty that Torvald will protect her by taking the blame, and in so doing will ruin
himself.
• The incident with Rank where she flirts with him with her stockings is deeply uncomfortable to watch. It
is inappropriate behaviour. Her flirtatious behaviour around him has led him to develop these feelings
e.g. the tarantella dance “just for him”.
• The lack of honesty here is disturbing. However, when Rank declares his feelings for her, she does
redeem herself as she immediately withdraws and refuses to continue on with conversation even
though she knows it could be to her advantage. It’s tragic that she would abuse a dying man’s
vulnerability for her own self-preservation.
• In the final moments she does win admiration as she shows true courage in finally speaking the truth
to her husband about their relationship.
• Her decision to leave her children with Torvald is questionable, as she knows now his values are not
sound, but equally she will struggle without a husband in a patriarchal society, so she knows he will at
least provide stability.
• Nora’s departure is dramatic and in many ways it’s unexpected. If she had been more honest from the
start then their relationship could potentially have been saved.
• Etc.

C Macbeth – William Shakespeare
(i) “Shakespeare uses a variety of techniques to create a world of deception in the play Macbeth”.
Discuss this statement with detailed reference to the text. (60)
Candidates should deal with all aspects of the question, including “variety of techniques” and the
“deception, though not necessarily equally. Answers should be supported by reference to the text.
P: Focus/ relevance of response/well chosen, compelling points originality of thought/understanding

L: Language managed and controlled to achieve clear communication –throughout/fluency/quality
of expression, etc.
Code: LT for identification of the literary techniques.

Code: WD for the world of deception.
• From the very beginning the language of contradiction introduces the theme of deception: “Fair is foul
and foul is fair”.
• Dramatic irony occurs at several places in Macbeth. For example, when Macbeth receives prophetic
predictions from the witches, and King Duncan is unaware of this fact. Similarly, Macbeth is unaware
that witches had cursed him.
• Macbeth deceives those he is closest to, and is involved in their murders – King Duncan, Banquo,
Macduff’s family etc.
• Lady Macbeth is skilled at deception, fainting to take the attention away from what is important. She
advised Macbeth to “look like the innocent flower but be the serpent under’t”.
• Macbeth’s guilt takes its toll as self-deception becomes the worst kind of deceit: “O, full of scorpions is my
mind”. He fears that those around him cannot be trusted. Deception begets isolation, mistrust and fear.
• Lady Macbeth and Macbeth end up dead as a result of their deceptive ways.
• Lady Macbeth is so preoccupied with trying to mislead others that she fails to notice the toll it’s taking
on her as guilt manifests itself. She commits suicide under the weight of deception she is caught up in.
• Supernatural/occult elements – impact of powerful imagery/symbolism, e.g. blood, darkness, animals,
clothing. Many of these are linked to deception, particularly when associated with the witches.
• Dramatic irony occurs at several places in Macbeth. For example, when Macbeth receives prophetic
predictions from the witches, and King Duncan is unaware of this fact the audience are aware of the
deception at play. Similarly, Macbeth is unaware that witches had cursed him and manipulated him, yet
the audience are aware of the deception.
• Imagery is used throughout the play to effectively conjure a sense of deception: look like the innocent
flower but be the serpent under’t”.
• Other literary techniques include: e.g. soliloquies, contrasts, irony, etc which the candidates may refer
to.
• By the end of the play it’s clear to see how deception ruins lives.
• Etc.

(ii) “Both Macbeth and Lady Macbeth display a variety of character traits and values that
contribute to the dramatic and tragic outcome of the play.”
To what extent would you agree or disagree with this view? Support your answer with reference
to the play, Macbeth. (60)
Candidates are free to agree or disagree with the statement that “both Macbeth and Lady Macbeth display a
variety of character traits and values that contribute to the dramatic and tragic outcome of the play”.
Candidates should deal with all aspects of the question, though not necessarily equally. Answers should
be supported by reference to the text.

of expression, etc.
Code: TV for the “trait and values”.

Code: DT for the “dramatic and tragic outcomes”.
Macbeth
• Macbeth as both heroic and violent after he beheads an enemy soldier in battle which fuels his ego and
sense of entitlement to the kingship.
• Macbeth’s weakness, as we watch his craving for power and innate ambition conflict with his morality
as he allows his wife to tell him what to do: “Are you not a man?”
• Commits regicide at his wife’s request in order to sate his ambitions and selfish desires.
• His guilt manifests as hallucinations: “is this a dagger which I see before me?” He becomes more
unstable as the play progresses, leading to the tragic conclusion.
• Ambition drives him to have his friend killed because he doesn’t have the courage to do it himself. His
lack of trust in friends and those around him leads to his isolation and poor decision making.
• Ruthlessly orders the murder of women and children to ensure that his power and status are
unrivalled. Adds to the tragic ending.
• Believes he is genuinely invincible after the witches played on his egotistical traits and is killed in battle.
His belief in the supernatural made him more susceptible to the manipulation and his eventual downfall.
• Values his power over his wife’s health and wellbeing. She is no longer his “dearest chuck” and he refers
to her simply as “the patient” before her death. He was no longer as concerned with his relationship as
the maintenance of his power. Added to the tragic and unnecessary deaths.
Lady Macbeth
• Ruthlessly and ambitiously plots Duncan’s murder which goes against the natural order of the world.
This sets off a series of tragic events.
• Lady Macbeth manipulates her husband with remarkable effectiveness, overriding all his objections;
when he hesitates to murder, she repeatedly questions his manhood until he feels that he must
commit murder to prove himself.
• Her resolve is evident as she encourages her husband through his doubts: “But screw your courage to
the sticking-place and we’ll not fail.” She places more value on acting in a typically male manner (“unsex
me”) and uses Macbeth’s love for her in a destructive rather than nurturing manner.
•
Robert Her deception
Atkinson and cunning
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- robert.atkinson@oatlands.net - 1 that there is no
suspicions placed on them. She acts as the perfect hostess and feigns a faint when distractions are needed.
• Guilt plagues her to the point where she sleepwalks around the castle desperately trying to rid herself
of an invisible bloodstain. Despite her earlier resolve, her moral awareness exists. This subsequently
leads to her death.

D Frankenstein – Mary Shelley
(i) “Frankenstein is a novel that showcases how the desire for revenge develops in response to
unmet human needs”.
Based on your reading of the novel, to what extent do you agree or disagree with the above
statement? Explain your answer, giving reasons for your response. Develop your answer with
reference to Shelley’s novel, Frankenstein. (60)
Candidates should deal with all aspects of the question, including “the desire for revenge” develops in
response to “unmet human needs”, though not necessarily equally. Answers should be supported by

of expression, etc.
Code: DR for desire for revenge.

Code: UN unmet human needs.
• Victor turns himself into a god, a creator, by bringing his monster to life, this only highlights his fallibility
when he is completely incapable of fulfilling the responsibilities that a creator has to its creation.
• M. Waldman – Victor’s chemistry professor at Ingolstadt. He supports Victor’s pursuit of “natural
philosophy”, especially chemistry, and becomes a mentor to Victor. Victor becomes lost in his studies
and removes himself from human society, and therefore loses sight of his responsibilities and the
consequences of his actions. He becomes somewhat isolated.
• Readers get the distinct feeling that Victor’s inquisitive nature causes his emotional and physical peril
because he cannot balance his intellectual and social interactions. For instance, when he leaves home
to attend the University of Ingolstadt, he immerses himself in his experiment and forgets about the
family who lovingly supported him throughout his childhood.
• The De Lacey’s nurturing home becomes a model for the creature, as he begins to return their love in
ways the family cannot even comprehend. This effective use of contrast helps the reader see how the
monster sought family connection. When he stops stealing food and instead leaves firewood for Felix,
it’s apparent that he had the capacity for love not vengeance.
• The monster seeks vengeance on Victor and wants him to be as isolated as he is. He succeeds by killing
those closest to Victor.
• Victor’s loss of his new innocent and pure wife as well as his devoted father in quick succession, at the
hands of his own creation lead him on a path of vengeful action.
• The monster himself is changed profoundly from the creature who began his life as a compassionate,
misunderstood soul searching for love. Victor’s (in)action to create a female companion for him and his
rejection led to the creature transforming into the monster he always appeared to be.
• The desire for revenge transforms both Victor and the monster into true monsters that have no
feelings or desires beyond destroying their perceived enemy. After turning revenge into their purpose
of life, both Victor and the monster demolish the last bit of human feelings and desires in them. The
idea of killing the enemy College
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“dearer than light or food”. -1
• Etc.

(ii) Identify and discuss the various ways in which Shelley’s narrative style added to your
engagement with the novel. Develop your response with reference to the text. (60)
Candidates are free to agree or disagree with the statement that for “Shelley’s narrative style added
to their engagement with the text”. Candidates should deal with all aspects of the question. Answers
should be supported by reference to the text.

of expression, etc.

Code: ET engagement with the text.
• Mary Shelley uses a technique called ‘embedded narrative’. In an embedded narrative, the main story
is told within a framing narrative. Mary Shelley starts with a framing narrative (Walton’s letters to
his sister), before moving to the main narrative (Victor’s story) and then contained within this is the
Monster’s story of survival and how he learns from the De Lacey family.
• There are three separate narrators. As readers, we learn directly about Robert Walton’s expedition in
his own words. He then meets Victor Frankenstein and his narrative is told to us through the letters
which Robert Walton is writing to his sister. Finally, we hear the monster’s account of his development,
but this is conveyed to us by Victor, which is in turn told to Walton who is telling it both to his sister and
to us as readers. The novel then returns to Victor’s point of view and then finally to Walton’s framing
narrative.
• The reader must put together their own views and ideas based on what they hear from the different
narrators.
• The moon is associated with the monster. The moon fills the monster with a sense of pleasure and
wonder and acts as a guiding light in the absence of any human contact. Usually it is mentioned by
Shelley just before the monster appears.
• It is possible to see the monster as the dark side of Victor’s nature. In creating the monster Victor gave
up human connection in pursuit of knowledge that allowed him to create the monster.
• Particularly in Frankenstein’s narration, the description of scenery often reflects his mental state at the
time of the scene. Take, for example, the morning after he brought the monster to life and fled his
home it is “dismal” and “wet”.
• Light symbolises enlightenment in Frankenstein. For example, Walton expects to find the secrets of the
universe unveiled in the North Pole, which he describes as “a country of eternal light”.
• The novel as a whole is rife with foreshadowing because of the narrator’s retrospective perspective and
disposition towards regret.
• The story alludes to Genesis, Prometheus, and various other literary texts.
• One of the primary threads in the book is that the scientific progress purported by Frankenstein
actually effects pain and destruction, and might ultimately be socially regressive. Such a notion of
‘progress’ is paradoxical.
• Etc.

E The Picture of Dorian Gray – Oscar Wilde
(i) “The Picture of Dorian Gray is about Dorian’s moral degeneration.”
Based on your reading of the text, to what extent do you agree or disagree with this statement
in relation to Dorian Gray in The Picture of Dorian Gray? Develop your response with reference to
the text.
Candidates should agree or disagree with the statement that the play is about Dorian Gray’s moral
degeneration. Answers should be supported by reference to the text.

of expression, etc.
Code: MG Dorian’s moral degeneration.
• Lord Henry has an adverse influence on Dorian. He encourages Dorian’s self-absorption and callous
disregard for others. Dorian’s obsession with beauty is based on Lord Henry’s espousal of Aestheticism,
leading him to make his fateful wish that the portrait age rather than him. As a result, Dorian’s acts
become increasingly immoral as he embarks on a life of sensory pleasure, to value art, youth and
beauty above everything else.
• Dorian is a product of a society that values superficiality. People in this class surround themselves with
beautiful objects, believing that these possessions enhance their pleasure and enjoyment of life. They
value outer beauty more than morals. Beautiful people are believed to be morally good.
• Dorian’s narcissism and his determination to pursue his own pleasure lead him to engage in
dishonourable behaviour. His self-centeredness is clear when he chooses to spend time with Lord
Henry rather than fulfil his commitments to Basil and Lady Agatha.
• Dorian’s meeting of Sibyl has the potential to inspire him to love and goodness. However, he rejects her
when she no longer displays artistic competence. Dorian’s brief interaction with Sibyl has the opposite
effect of keeping him ‘straight’ when he is persuaded by Lord Henry to view her as a pleasurable
passing fancy and her death as a mere artistic expression.
• His cruel and callous treatment of Sibyl is inexcusable and leads to her suicide as well as James Vanes’
tragic death.
• Although Dorian is aware of the danger posed by Lord Henry’s controversial “poisonous” statements,
he is enticed by them. This suggests a conflict within Dorian that his underdeveloped sense of morality
is unable to process.
• While he suffers pangs of guilt and remorse, they are not strong enough to make him change his
behaviour. He seems to feel that the portrait gives him immunity of a sort as his sins are not revealed.
As a result, he continues to act with impunity, becoming more depraved with each immoral act he
commits, engaging in gambling, getting into fights with sailors, frequenting opium dens and brothels.
• He takes pleasure in the corrupting influence he has on others, while not taking any of the blame for
their ruined reputations. The lives of those whom he has influenced are all destroyed. He hides his truly
immoral behaviour College
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• Dorian’s murder of Basil is particularly terrible, given Basil’s love and concern for him.
• Dorian’s blackmailing of a clearly reluctant Alan Campbell is disgraceful and is a contributing factor in
Campbell’s suicide.

(ii) Identify and discuss the various ways in which Wilde’s narrative style added to your engagement
with the novel, The Picture of Dorian Gray. Develop your response with reference to the text. (60)
Candidates are free to agree or disagree with the statement that “Wilde’s narrative style added to
the engagement with the novel”. Candidates should deal with all aspects of the question, though not
necessarily equally. Answers should be supported by reference to the text.

of expression, etc.

Code: ET for engagement with the text.
• Plot point of the relationship between Dorian and the painting: Dorian does not age but the painting
does. Dorian had said he’d “give his soul” to “always be young”. Adds a supernatural element to the
story.
• Expectation for evil within a gothic text – Lord Henry exerts a “poisonous” influence over Dorian Gray,
when he creates Dorian’s fear of growing old: “beauty is a form of genius”.
• Wilde effectively creates distinctive atmospheres, e.g. the room the painting is in is full of shadows.
• Wilde cleverly juxtaposes regular sounds with the fear of the unknown which adds scary or sinister
undertones. For example, “from the bar came the sounds of horrible laughter. In others drunkards
brawled and screamed”. In appearing together it suggests they are linked, adding extra layers of
possible meaning.
• Wilde describes Dorian as gaining “suddenly an uncontrollable feeling of hatred for Basil Hallward… the
strong emotions of a hunted animal came over him”. Wilde shows the turning point in Gray’s character
development. Dorian’s devolvement into a monstrous, unnatural figure is stained with bloody colours.
• Wilde uses colours symbolic of purity and innocence and sin and gore populate the story at crucial
moments. One of the first noticeable examples is when Sybil’s Vane’s body is described as “little” and
“white”, emphasising her ruined purity.
• The painting represents beauty, mortality, time, and art, all the major themes of the book, and its
degradation literally presents to us the dangers inherent in these ideas.
• The painting could almost be considered as a character itself but it is not given any dialogue.
• Wilde makes effective use of “doubling” as Dorian acts normally, even charmingly in the society, but he
also has his dark side of life as a murderer.
• The point of view used in The Picture of Dorian Gray is the third person omniscient narration. This style
of narration allows the reader to set themselves in the story with an unbiased perspective and see the
emotions and chemistry as the characters do while also having insight that the characters do not.
• Wilde is famous for his epigrams, and the novel furnishes many examples, almost all of them uttered
by Lord Henry Wotton. “A man cannot be too careful in the choice of his enemies,” he tells his friend
Basil. The humorous effect is gained by a reversal of the expected meaning, since it would be natural to
expect to hear “friends” instead of “enemies.” The reversal creates a comic surprise.
• Etc.

SECTION II – THE COMPARATIVE STUDY (70 marks)
Candidates must answer one question from either A – Theme or Issue or B – Literary Genre, or C – General
Vision & Viewpoint. Candidates may not answer on the text they have dealt with in SECTION 1 – The Single Text.
GENERAL
In all answers to questions in this section, candidates may compare and/or contrast, i.e. address similarities and/
or differences in both the content and style of their chosen texts.
In shaping their responses to the questions set on the Comparative Study, it is expected that candidates will be
involved in some/all of the following kinds of activities:
- Description/analysis of the text/s in the light of the modes for comparison
- Making general observations about texts in relation to each other
- Making connections between similar aspects of texts
- Recognising differences between texts
- Showing the similarities/differences need to be qualified
- Demonstrating awareness of themselves as readers, their reactions/responses/involvement
Expect a wide variety of approaches both in the patterns of discussion and the manner of illustration. In all
answers in this section, candidates may refer to one/more key moment/s from the text/s. The purpose of this is
to allow the candidates to ground their responses in specific moments without feeling that they must range over
the entire text/s. However, do not expect that all the illustrative reference in an answer will come from the key
moment/s. Candidates may offer appropriate illustrative reference from any part of the text/s.
Candidates should reference the required combination of texts specified in the questions.
Note re 2022 changes: All three modes are included. The candidate must answer on one mode. Single questions
(marked out of 70) will require students to refer to at least two texts. The same criteria for assessment will apply
regardless of whether candidates refer to two or three texts when responding to 70-mark questions. Two-part
questions (marked out of 30 and 40) will require candidates to refer to one text in answer to part (a) and two
other texts in answer to part (b).
Note: For direction as to procedure when a candidate fails to answer on Shakespeare in either the Single Text
or the Comparative Study, see Appendix 4 in this Marking Scheme.
30-27 24 21 18 15 12 9 8-0
40-36 32 28 24 20 16 12 11-0
100% 70-63 62-56 55-49 48-42 41-35 34-28 27-21 20-0
30% 21-19 17 15 13 11 9 7 6-0
10%
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List of texts prescribed for comparative study, for examination in the year 2023
ADICHIE, Chimamanda Ngozi Purple Hibiscus
ATWOOD, Margaret The Handmaid’s Tale
BARRY, Sebastian Days Without End Wuthering Heights
BRONTË, Emily The Big Sleep
CHANDLER, Raymond All the Light We Cannot See
DOERR, Anthony
DU MAURIER, Daphne Rebecca

DONOGHUE, Emma Room
ELIOT, George Silas Marner
GREGORY, Tom A Boy in the Water
ISHIGURO, Kazuo Never Let Me Go
O’CONNOR, Joseph Star of the Sea
O’CONNOR, Nuala Miss Emily
OWENS, Delia Where the Crawdads Sing
RASH, Ron The Cove
SHELLEY, Mary Frankenstein
TAYLOR, Sara The Lauras
WALLACE, Jason Out of Shadows
WESTOVER, Tara Educated
WILDE, Oscar The Picture of Dorian Gray (1891 version)
Drama The Ferryman

BUTTERWORTH, Jez Philadelphia Here I Come
FRIEL, Brian A Raisin in the Sun
HANSBERRY, Lorraine A Doll’s House
IBSEN, Henrik Tribes
RAINE, Nina Kindertransport
SAMUELS, Diane Macbeth
SHAKESPEARE, William Othello
SOPHOCLES Oedipus the King
Film
BREATHNACH, Paddy Rosie
CURTIZ, Michael Casablanca
ERGUVEN, Deniz Gamze Mustang
GERWIG, Debra Ladybird
GRANIK, Debra Winter’s Bone
KAPADIA, Asif Diego Maradona
LANDIS, John Trading Places
McQUEEN, Steve Hunger

A THEME OR ISSUE
1. “There are many reasons why the exploration of the same theme or issue can be more
captivating in some texts than in others.”
Compare the reasons why you found the exploration of the same theme or issue more
captivating in some texts than in others. Support your answer with reference to at least two
texts on your comparative course. (70)
Expect candidates to discuss why the exploration of the same theme or issue can be more captivating
in some texts than in others. Answers should focus on at least two texts and should be supported with
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus on key moments of the text that show how the reader can be left captivated by a theme/
relevance of response/evidence of critical literacy/apt Illustrations of the factor(s) etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/connection(s).
effectively substantiated/apt use of examples, key moments, engagement with the texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency.
quality of expression, use of comparative language, etc.
M: Accuracy of Mechanics. Etc.
Code CT for the feelings of captivation which exploring a theme
• The way a theme is introduced/developed can be captivating.
• Establishment/development of a theme leads to feelings of captivation.
• Key moments highlight expectations for the theme’s exploration.
• Characterisation, language, visual/aural effects can draw a reader’s interest.
• Impact of author’s approach to the resolution can be interesting.
• The interaction of the characters with the theme can be unexpected.
• Etc.

2. “Studying a theme or issue in a text can enable us to contemplate and evaluate aspects of the
human condition.”
(a) In relation to one text on your comparative course, discuss the extent to which your chosen
theme or issue is relevant to the evaluation of the human condition. Support your answer with
reference to the text. (30)
Expect candidates to discuss the extent to which their chosen theme or issue is relevant to the
evaluation of the human condition. Answers should be supported with reference to the text.
P: Focus on the extent to which the presence of a theme or issue in a text is relevant to the human
condition/relevance of response/evidence of critical literacy/apt Illustrations of the factor(s) etc.
Code RC for the extent to which the presence of a theme or issue in a text is relevant to the evaluation
of the human condition
• Plot, narrative voice, characters’ behaviour provide thought-provoking insights.
• Key moments/scenes offer revealing considerations/perspectives.
• Resolution of a theme enables readers to draw personal/universal conclusions.
• Impact of language (imagery, symbolism, visual and aural effects) shapes perception.
• Effects of a key theme/issue on the characters/society.
• Etc.
(b) In relation to two other texts on your comparative course, compare the extent to which your
chosen theme or issue is relevant to the human condition. (40)
P: Focus on the extent to which the presence of a theme or issue in a text is relevant to the human
condition/relevance of response/evidence of critical literacy/apt Illustrations of the factor(s) etc.
Expect candidates to compare the extent to key moments broadened their understanding of
the same theme or issue in two other texts on their comparative course. Answers should be
supported by reference to the texts.
Candidates are not required to make comparative links with the text discussed in part (a).
However, they may choose to refer in an explicit or implicit way to the points made in their
answer to part (a).
Code: RC for “relevance “ to the “human condition”.

B LITERARY GENRE
1. “Authors use various literary techniques to make the final moments of texts meaningful and
compelling.”
Compare the extent to which the above statement is valid in relation to your understanding of
the literary genre in at least two texts on your comparative course. Develop your answers with
reference to your chosen texts. (70)
Expect candidates to compare the way in which the authors use various literary techniques to make the
final moments of texts meaningful and compelling in at least two texts on their comparative course.
Answers should be supported by reference to at least two texts.
P: Focus on how literary techniques make the final moments of texts meaningful and compelling/
relevance of response/evidence of critical literacy/apt Illustrations of the factor(s) etc.
In awarding marks for P, consider the following:
• evidence of comparison within the mode literary genre.
• aspect(s) of literary genre help or hinder a character’s ability to endure life’s obstacles.
Code TF for how “literary techniques” to make the” final moments of texts meaningful and
captivating”.
2. “No two texts are exactly the same in the manner in which they tell their stories.”
(a) Discuss how the story is told in one text you have studied as part of your comparative
course and how that managed to capture your interest in the story being told. (30)
Expect candidates to discuss how the story is told in one text and how that managed to capture their
interest in the story being told. Answers should be supported with reference to the text.
P: Focus on how the story is told and how that managed to capture their interest/relevance of
response/evidence of critical literacy/apt Illustrations of the factor(s) etc.
• Evidence of understanding the mode cultural context
Code HC for “how the story is told” and “how that managed to capture their interest”.
Indicative Material:
• Narration/point of view / etc.
• Plot line/ flashback/linear or non-linear/ etc.
• Dialogue/dialect/lack thereof/etc.
• The setting/structure of society may define behaviour/morals/etc.
• The role of plot in revealing details of the world.
•
Robert The contribution
Atkinson of characterisation
- Oatlands – how the
College - 60050E author/director/playwright makes- us
- robert.atkinson@oatlands.net 1 feel about them.
• The contribution of visuals, imagery, music and other effects.
• Costume/hair/make-up/props/etc.
• Language/imagery/symbolism.
• Etc.

(b) With reference to two other texts on your comparative course, compare how the stories were
told and how that did or did not manage to capture your interest in the story being told. Support
the comparisons you make by reference to the texts. (40)
In response to 2 (b) you may refer to the same or different ways the stories are told as those
referred to in 2 (a) above and how that did or did not manage to capture your interest in the
story.
P: Focus on how their sense of how the story was told and if that captured their interest in the
story/relevance of response/evidence of critical literacy/apt
Illustrations of the factor(s) etc.
• Evidence of understanding the mode literary genre
Expect candidates to compare the extent to which their sense of the literary was established
in how the story was told in two other texts on their comparative course. Answers should be
supported by reference to the texts.
Candidates may refer to the same or different ways the story was told in each of their chosen
texts. They may refer to the same or different type(s) of behaviour as those referred to in 1 (a).
Candidates are not required to make comparative links with the text discussed in part (a).
However, they may choose to refer in an explicit or implicit way to the points made in their
answer to part (a).
Code HC for “how the story is told” and “how that managed to capture their interest”.
Indicative Material:
• Narration/point of view/ Etc.
• Plot line/ flashback/linear or non-linear/ etc.
• Dialogue/dialect/Lack thereof/etc.
• The setting/structure of society may define behaviour/morals/etc.
• The role of plot in revealing details of the world.
• The contribution of characterisation – how the author/director/playwright makes us feel about them.
• The contribution of visuals, imagery, music and other effects.
• Costume/hair/make-up/props/etc.
• Language/imagery/symbolism.
• Etc.

C GENERAL VISION & VIEWPOINT
1. “The general vision and viewpoint of a text can change greatly from the opening scenes to the
conclusion of the text.”
Compare how the general vision and viewpoint changed or remained the same from the opening
to the concluding scenes of at least two texts you have studied as part of your comparative
course.
Expect candidates to discuss how the general vision and viewpoint of a text can change from the
opening scenes to the conclusion of a text.
Pay particular attention to the quality of the discussion and the development of the response, including
the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment using the using the breakdown of marks
below.
P: Focus and relevance, evidence of critical literacy

• evidence of understanding of the mode General Vision and Viewpoint
• focus on: discussion of how the readers sense of general vision and viewpoint changed or remained
the same from the opening to the concluding scenes of at least two texts
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/ apt use
of examples, engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/ quality of
expression, etc.
M: Accuracy of mechanics Etc.
• Subject matter or narrative shape that reveals a bright or dark outlook
• atmosphere in the opening or closing moments influencing our sense of the general vision and
viewpoint
• an individual character’s ability to act freely of obstacles and challenges created by societal norms
• assigned gender roles can be uplifting/depressing
• our sense of the general vision and viewpoint can be shaped by characters/groups successfully/
unsuccessfully adapting to difficult situations, overcoming obstacles, over the course of the text etc.
• Aspects of life that texts concentrate on e.g. violence, corruption, deception, lack of trust, betrayal,
• Scenes, moments, images from texts that reveal outlook on life
• Characters that reveal a particular vision of life
• Relationships that are destructive or nurturing
• The coherence of the viewpoints represented
• Overall impacts of the texts
• Impact of the endings of the texts
• Questions the texts raise in the mind of the reader, resolving or leaving these questions unanswered
• Features of the texts that contribute to their overall impact e.g. negative imagery/atmosphere.
• our response to the fate/experiences of individuals and communities displaying courage, stoicism,
endurance, can be ambiguous.
• Etc.

2. (a) Discuss the extent to which a character’s values in one text on your comparative course
influenced your sense of the general vision and viewpoint of this text. Develop your
response with reference to your chosen text. (30)
Expect candidates to discuss the extent to which their response to a character’s values influenced their
sense of the general vision and viewpoint in one text on their comparative course.
Pay particular attention to the quality of the comparative writing and the development of the response,
including the effective use of apt reference to the texts.
P: Focus and relevance, evidence of critical literacy, etc.

• focus on: the extent to which candidates’ response to a character’s values influenced their sense of
the general vision and viewpoint in one comparative text
• evidence of effective comparison within the mode General Vision and Viewpoint
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
expression, use of comparative language, etc.
- our response to the persecution/victimisation/failure to support disadvantaged or disempowered
characters influences our sense of the general vision and viewpoint
- a nurturing/compassionate approach to disadvantaged or disempowered characters contributes to
our sense of the general vision and viewpoint
- the extent to which the social/political/economic structures support disadvantaged/ disempowered
characters helps to shape our sense of the general vision and viewpoint
- evidence of injustice/discrimination/ cruelty/sectarianism/ageism experienced by disadvantaged or
disempowered characters affects our view of the general vision and viewpoint
- varied responses to the treatment of disadvantaged or disempowered characters create a complex/
nuanced sense of the general vision and viewpoint Etc.
• character/s that reveal a particular vision of life

• key moments/turning points that illuminate the outlook
• relationships that are destructive/nurturing
• images, music, symbols, that illustrate an outlook on life
• varied responses to the treatment of characters based on their values and attitudes create a complex/
nuanced sense of the general vision and viewpoint
• relationships that are destructive/nurturing
• changes in characters’ attitudes, values
• revealing final moments of texts
• the author’s approach to characterisation – serious, humorous, tragic
• vision/viewpoint determined by imagery/symbols/music associated with characters

(b) In relation to two other texts on your comparative course, compare the extent to which
a character’s values influenced your sense of the general vision and viewpoint of each of
these texts. Develop your response with reference to your chosen texts. (40)
Expect candidates to discuss the extent to which their response to a character’s values influenced their
sense of the general vision and viewpoint in two other texts on their comparative course.
Pay particular attention to the quality of the comparative writing and the development of the response,
including the effective use of apt reference to the texts.
P: Focus and relevance, evidence of critical literacy, etc.

• focus on: the extent to which candidates’ response to a character’s values influenced their sense of
the general vision and viewpoint in one comparative text
• evidence of effective comparison within the mode General Vision and Viewpoint
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
expression, use of comparative language, etc.
Candidates are not required to make comparative links with the text discussed in part (a). However,
they may choose to refer in an explicit or implicit way to the points made in their answer to part (a).

SECTION III – POETRY (70 marks)
Candidates must answer A – Unseen Poem and B – Prescribed Poetry
A. UNSEEN POEM (20 marks) Answer either Question 1 or Question 2
GENERAL
“Students should be able to…. Read poetry conscious of its specific mode of using language as an
artistic medium.” (DES English Syllabus, 4.5.1)
Note that responding to the unseen poem is an exercise in aesthetic reading. It is especially
important, in assessing the responses of the candidates, to guard against the temptation to assume
a “correct” reading of the poem.
Reward candidates’ awareness of the patterned nature of the language of poetry, its imagery, its
sensuous qualities, its suggestiveness.
10-9 8 7 6 5 4 3 2-0
20-18 16 14 12 10 8 6 5-0
100% 50-45 44-40 39-35 34-30 29-25 24-20 19-15 14-0
30% 15-14 12 11 9 8 6 5 4-0
10% 5 4 3 3 2 2 1 1-0

1. (a) How accurately do you think the poet describes the analogy of self-esteem as a seed in the
poem above? Support your answer with reference to the poem. (10)
Expect candidates to identify and discuss the effect of the poet’s use of the self-esteem analogy in the
poem. Candidates should refer closely to the text in their answers.
(b) Identify two images from the poem that make an impact on you and give reasons for your
choice. (10)
Expect candidates to identify two images and explain their choice. Reward responses that demonstrate
engagement with the poem.
OR
2. Discuss the appeal of this poem with reference to the theme, the poet’s use of language and the
tone. Support your answer with detailed reference to the poem.
Expect candidates to focus on the theme of the poem, the poet’s use of language and the tone that is
established. Reward responses that demonstrate engagement with the poem. (20)

B PRESCRIBED POETRY (50 marks)
GENERAL
“Students at Higher Level will be required to study a representative selection from the work of eight
poets: a representative selection would seek to reflect the range of a poet’s themes and interests
and exhibit his/her characteristic style and viewpoint. Normally the study of at least six poems by
each poet would be expected.” (DES English Syllabus, 6.3)
Note that, in the case of each poet, the candidates have the freedom of choice in relation to the
poems studied.
Note that there is not a finite list of any ‘poet’s themes and interests’.
Note that, in responding to the question set on any given poet, the candidates must refer to poem/s
they have studied but they are not required to refer to any specific poem/s, nor are they
expected to discuss or refer to all poems they have chosen to study.
In each of the questions in Prescribed Poetry the underlying nature of the task is the invitation to
the candidates to engage with the poems themselves.
Note 2022 changes: One additional poetry question is included. Candidates will be required to
answer ONE of five questions.
100% 50-45 44-40 39-35 34-30 29-25 24-20 19-15 14-0
30% 15-14 12 11 9 8 6 5 4-0
10% 5 4 3 3 2 2 1 1-0

1. Dickinson
Discuss how successfully, in your opinion, Emily Dickinson employs a range of stylistic features
in an innovative way in order to convey both overwhelming wonder and unsettling interest
in her work. Develop your response with reference to the poems by Emily Dickinson on your
Leaving Certificate English course.
Expect candidates to choose poems that, in their opinion, best demonstrate how Dickinson employs
a range of stylistic features in an innovative way in order to convey both overwhelming wonder and
unsettling interest in her work. Candidates should justify their selection of poetry. Candidates should
engage with all aspects of the question, although not necessarily equally. Answers should be supported
by reference to the poems of Emily Dickinson on the Leaving Certificate course.
P: Focus/relevance of response/apt choice of quotation and reference/evidence of critical literacy/

originality, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/cross reference/
effective use of quotation and reference, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/quality of
expression, etc.
Code I W I for “innovative stylistic features” to convey both “”overwhelming wonder” and “unsettling
interest” in her work.
Dickinson’s innovative style: her use of unconventional punctuation; surprising conceits; perplexing
use of paradox; innovative deployment of persona, dramatic personification, challenging aphoristic
compression.
Overwhelming wonder & unsettling interest: vivid imagery drawn from the natural world; beautiful
imagery of light, shade and colour; evocative images of despair and mental fragility; disturbing and
frightening images; bleak depictions of death and funeral scenes; the ambiguity of some of the imagery
and the tension created within some images; etc.
2. Donne
“Donne makes masterful use of startling imagery and wit to communicate the dramatic
situations and intense experiences that lie at the heart of his poetry.”
To what extent do you agree or disagree with this statement? Support your answer with
reference to the poetry of Donne on your Leaving Certificate English course.
Expect candidates to choose poems that, in their opinion, best demonstrate Donne’s masterful use of
startling imagery and wit to communicate the dramatic situations and intense experiences that lie at
the heart of his poetry. Candidates should justify their selection of poetry. Candidates should engage
with all aspects of the question, although not necessarily equally. Answers should be supported by
reference to the poems of Donne on the Leaving Certificate course.

originality, etc.
expression, etc.
Code I D E for “startling imagery and wit” to “communicate dramatic situations “and “intense
experiences“

Startling imagery & wit: metaphysical conceits, complex and elaborate puns, shocking imagery,
paradox, double entendres, language archaic to modern readers, dramatic posturing, ironic/satiric
tone, construction of reasoned arguments, allusions, inventive word play, hyperbole, etc.
Dramatic situations: themes, e.g. man’s relationship with God, the true nature of love, life and death,
etc., reasoned logical argument, serious philosophical ideas, allusions, religious content, candid bawdy
references, Dreame – juxtaposes religious symbols with sexual language as he wakes from an intensely
passionate dream; disillusionment with women in Go and Catch a Falling Star.
Intense experiences: frame of reference not familiar to modern readers, e.g. alchemy, astronomy,
exploration and discovery, religious content, candid bawdy references, witty arguments in The Flea;
describes his intense feelings towards his maker in At the Round Earths Imagined Corners; etc.
3. Mahon
“Derek Mahon transforms the familiar and mundane through his own distinctive style.”
Discuss the above statement developing your response with reference to your experience of the
poems by Derek Mahon on your Leaving Certificate English course.
Expect candidates to choose poems that, in their opinion, best demonstrate how Mahon transforms
the familiar and mundane through his own distinctive style. Candidates should engage with all aspects
of the question, although not necessarily equally. Answers should be supported by reference to the
poems of Mahon on the Leaving Certificate course.

originality, etc.
expression, etc.
Code F M D for “familiar” and “mundane” through his own “distinctive style”.
Familiar and mundane:

Images/symbols of historical significance; After the Titanic provides an alternative view of Bruce Ismay;
compares the historical violence and modern calm of Rathlin to create a symbol of violence in the
North; alliteration and assonance used effectively in the characterisation of his Grandfather; etc.
Distinctive Style:
Explores the idea of fanaticism in Ecclesiastes and As It Should Be; ability to create relatable characters
that the reader can empathise with; multisensory approach to bringing people and places to life; avoids
personal, confessional poems creating a sense of detachment instead, etc.

4. Meehan
From your study of the poetry of Paula Meehan on your course, select the poems that, in your
opinion, best illustrate how Meehan’s accessible and appealing language allows rich insights
into her personal reflections and public commentary.
Justify your selection by illustrating how Meehan’s accessible and appealing language allows
rich insights into her personal reflections and public commentary.
Expect candidates to choose poems that, in their opinion, best demonstrate how Meehan’s accessible
and appealing language allows rich insights into her personal reflections and public commentary.
Candidates should justify their selection of poetry. Candidates should engage with all aspects of the
question, although not necessarily equally. Answers should be supported by reference to the poems of
Meehan on the Leaving Certificate course.

originality, etc.
expression, etc.
Code A R C for “accessible and appealing language “ which allows “rich insights” into her “personal
reflections and public commentary “.
Accessible and appealing language: direct speech/idioms bring people to life e.g. Buying Wrinkles, the
seller advises “Tell yer Ma”; Blend of voices adds accessibility, e.g. child’s perspective in Hearth Lessons.
Rich insights: Appreciation of women and societal expectations placed upon them; importance of
memory and reflections; critical of religion; etc.
Personal reflections and public commentary: Explores how society failed the most vulnerable e.g.
The Statue of the Virgin at Granard Speaks; strong sense of appreciation of women who had burdens of
societal expectations placed upon them; memory plays a significant role; critically explores religion, e.g.
Prayer for the Children of Longing; etc.

5. Yeats
“While Yeats’ writing style is challenging as he moves between realism and symbolism in his
poetry, his themes are accessible to all.”
Discuss the extent to which you agree or disagree with the above statement. Develop your
response with reference to the themes and language evident in the poems by W.B. Yeats on your
course.
Expect candidates to choose poems that, in their opinion, best demonstrate how Yeats’ writing style is
challenging as he moves between realism and symbolism, his themes are accessible to all. Candidates
should justify their selection of poetry. Candidates should engage with all aspects of the question,
although not necessarily equally. Answers should be supported by reference to the poems of Yeats on
the Leaving Certificate course.

originality, etc.
expression, etc.
Code R S T for challenging writing style which moves between “realism” and “symbolism“ and
“accessible themes”
Challenging style which moves between realism and symbolism: complex philosophical themes
- immortality (‘Sailing to Byzantium’); evocative metaphors e.g. Swift’s death contrasts with the reality
of hostile reaction to Swifts efforts for improving humanity (‘Swift’s Epitaph’); contrasting imagery,
compelling symbols, intense paradoxes, dramatic language, powerful rhetoric; Resentful attitude to the
reality of ageing (‘An Acre in the Grass’); Contrast between political promise and reality (‘Politics’); Etc.
Accessible themes: Themes include the future, transience, society’s collapse, conflict, loss, ageing, etc.
Themes that affect the human condition.

HIGHER LEVEL
APPENDIX 1
LEAVING CERTIFICATE ENGLISH
CRITERIA FOR ASSESSMENT
e.g. relevance, focus,

Engagement with the Percentage weighting
Clarity of Purpose originality, freshness, clear aim,
set task 30
understanding of the genre
Where appropriate
Entire answer continuity
of argument, sequencing,
Ability to sustain the
Coherence of management of ideas, choice
response over the 30
delivery of references, use of examples,
entire answer
engagement with texts, control
of register and shape, creative
modelling
e.g. vocabulary, syntax,
Management and sentence patterns, paragraph
Efficiency
control of language structure, punctuation
of language 30
to achieve clear appropriate to the register,
management
communication use of lively and interesting
phrasing
e.g. levels of accuracy in
Spelling spelling appropriate to
Accuracy of
the delivery of the task, 10
mechanics
Grammar grammatical patterns
appropriate to the register

HIGHER LEVEL
APPENDIX 2
LEAVING CERTIFICATE: ENGLISH – HIGHER LEVEL
ASSESSMENT CRITERIA – GRADE GRID
DISCRETE CRITERIA:
100 marks H1 H2 H3 H4 H5 H6 H7 H8
100% 100-90 89-80 79-70 69-60 59-50 49-40 39-30 29-0
30% 30-27 24 21 18 15 12 9 8-0
10% 10-9 8 7 6 5 4 3 2-0
100% 70-63 62-56 55-49 48-42 41-35 34-28 27-21 20-0
30% 21-19 17 15 13 11 9 7 6-0
10% 7 6 5 4 4 3 2 2-0
100% 60-54 48 42 36 30 24 18 17-0
30% 18-17 15 13 11 9 8 6 5-0
10% 6 5 4 4 3 2 2 1-0
100% 50-45 44-40 39-35 34-30 29-25 24-20 19-15 14-0
30% 15-14 12 11 9 8 6 5 4-0
10% 5 4 3 3 2 2 1 1-0
COMBINED CRITERIA:
H1 H2 H3 H4 H5 H6 H7 H8
40 marks 40-36 32 28 24 20 16 12 11-0
30 marks 30-27 24 21 18 15 12 9 8-0
20 marks 20-18 16 14 12 10 8 6 5-0
15 marks 15-14 12 11 9 8 6 5 4-0
10 marks 10-9 8 7 6 5 4 3 2-0

HIGHER LEVEL
APPENDIX 3
REASONABLE ACCOMMODATIONS
Candidates presenting for examinations with the aid of a scribe or a tape recorder or a spell-check enabled
word processor and other candidates who have been granted an exemption in accordance with Circular
70/00 will have all parts of their examination in English assessed except spelling and written punctuation
elements.
In assessing the work of these candidates a modified marking scheme will apply as follows:
– Clarity of Purpose 30% (to be assessed)
– Coherence of Delivery 30% (to be assessed)
– Efficiency of Language (including grammar) 30% (to be assessed)
– Spelling and Written Punctuation 10% (not to be assessed)
This means, in effect, that these candidates will be assessed in all questions out of 90% of the marks available
for that question.
Marks awarded for each question on Paper I and Paper II will be transferred to the script cover grid of each
paper and totalled. As these totals were arrived at on the basis of a 90% application of the available marks,
a mark that can be converted into a grade is arrived at by dividing the total for each paper by 9, and adding
these marks to the original total in order to achieve a grand total for that paper.
Example:
Total for Paper 1 – 135
Divide by 9 = 15
Grand Total = 150
Fractions of marks are to be rounded down to the nearest whole mark.
Note:
In using Discrete Criteria consult the Assessment Grade Grid (Appendix 2) and apply the first of the three
criteria.
In using the Combined Criteria the following will apply:
– Questions valued at 40 marks are assessed out of 36 marks
H1 H2 H3 H4 H5 H6 H7 H8
36 marks 36-33 29 26 22 18 15 11 10-0
27 marks 27-25 22 19 17 14 11 9 8-0
18 marks 18-17 15 13 11 9 8 6 5-0
13 marks 13-12 11 10 8 7 6 4 3-0
9 marks 9 8 7 6 5 4 3 2-0

HIGHER LEVEL
APPENDIX 4
MISREADING OF INSTRUCTION RELATING TO QUESTION CHOICE
CANDIDATE ANSWERS QUESTION A AND B FROM THE SAME TEXT
– Mark both attempts out of full marks
– Disallow the lower mark
CANDIDATE ANSWERS 2 OR MORE QUESTIONS A AND 1 QUESTION B (or vice versa)

– Mark all the attempts
– Allow the Question B to stand and the highest Question A from a different text
CANDIDATE ANSWERS ALL THE QUESTIONS A AND QUESTIONS B

– Mark all the attempts
– Award the highest combination
THERE IS NO ATTEMPT AT SHAKESPEARE (Higher level only)
Consider the following example:

– Single Text Persuasion = 40 ex 60
– Mark the comparative answer as per the marking scheme = 48 ex 70
– As there is no Shakespeare attempt, deduct one-third of the mark awarded for the Comparative
question (rounded down) – in this case 16 marks, giving an adjusted total of 32. This is now the final
mark for the Comparative answer.
– In the unlikely event that the fraction of marks to be deducted from the Comparative answer is greater
than the mark for the Single text, simply disallow the mark for the Single Text and allow the full, original
mark for the Comparative answer to stand.
– For example: Single text = 12 ex 60, Comparative = 48 ex 70 – Adjusted Comparative mark is 32 and 32
+ 12 = 44 i.e. 4 marks less than the original Comparative mark.
THE CANDIDATE RE-USES THE SINGLE TEXT AS PART OF THE COMPARATIVE ANSWER
– Mark the Comparative answer as per the Marking Scheme
– If the number of texts in a global (70 mark) answer is two (including the Single Text), deduct half of the
mark awarded.
– If the number of texts in a global (70 mark) answer is three (including the Single Text), deduct one-
third of the mark awarded.
– If the Single Text is used in one part of a two-part answer, deduct the appropriate fraction of the mark
awarded.

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English (Option A), Leaving Certificate - Higher Level - Marking Scheme

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English (Option A), Leaving Certificate - Higher Level - Marking Scheme

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3. I will not photocopy or distribute the paper to students.

Part of the Examcraft Group T: 01 808 1494 F: 01 8307464 E: info@examcraft.ie www.examcraft.ie

Any questions, please email correctors@examcraft.ie

Thanking you in advance,

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

– To display a clear and purposeful engagement with the set task

Use of Codes etc.

Use the full range of marks available.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

PAGE 2 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 3 OF 47

Mark ex 15 by reference to the criteria for assessment.

Mark ex 15 by reference to the criteria for assessment.

Mark ex 20 by reference to the criteria for assessment.

PAGE 4 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

Allow for a variety of approaches to the task.

Mark ex 50 by reference to the criteria for assessment.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 5 OF 47

Mark ex 15 by reference to the criteria for assessment.

Mark ex 15 by reference to the criteria for assessment.

Mark ex 20 by reference to the criteria for assessment.

PAGE 6 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

P: Understanding of genre – blog entry.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 7 OF 47

Mark ex 15 by reference to the criteria for assessment.

Mark ex 15 by reference to the criteria for assessment.

Mark ex 20 by reference to the criteria for assessment.

PAGE 8 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

P: Understanding of genre – a letter.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 9 OF 47

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

PAGE 10 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

Mark ex 100 by reference to the criteria for assessment.

Allow for a variety of approaches to the task.

Mark ex 100 by reference to the criteria for assessment.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 11 OF 47

Allow for a variety of approaches to the task.

Mark ex 100 by reference to the criteria for assessment.

Allow for a variety of approaches to the task.

Mark ex 100 by reference to the criteria for assessment.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

PAGE 12 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

Write a short story where an animal plays a central role.

Allow for a variety of approaches to the task.

Mark ex 100 by reference to the criteria for assessment.

P: Focus – a short story which where an animal plays a central role.

Allow for a variety of approaches to the task.

Mark ex 100 by reference to the criteria for assessment.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023 PAGE 13 OF 47

Mark ex 100 by reference to the criteria for assessment.

P: Focus – a descriptive essay describing an important journey to a significant place.

Robert Atkinson - Oatlands College - 60050E - robert.atkinson@oatlands.net - 1

PAGE 14 OF 47 HIGHER LEVEL ENGLISH | Pre-Leaving Certificate, 2023

Note 1 – RESPONDING TO DRAMATIC TEXTS

Note 2 – NO ANSWER ON A SHAKESPEAREAN TEXT