STPM/S920

MAJLIS PEPERIKSAAN MALAYSIA

(MALAYSIAN EXAMINATIONS COUNCIL)

PEPERIKSAAN
SIJIL TINGGI PERSEKOLAHAN MALAYSIA
(MALAYSIA HIGHER SCHOOL CERTIFICATE EXAMINATION)

LITERATURE IN ENGLISH
Syllabus and Specimen Papers

This syllabus applies for the 2012/2013 session and thereafter until further notice. Teachers/candidates
are advised to contact the Malaysian Examinations Council for the latest information about the syllabus.

NATIONAL EDUCATION PHILOSOPHY

Education in Malaysia is an on-going effort towards further
developing the potential of individuals in a holistic and
integrated manner, so as to produce individuals who are
intellectually, spiritually, emotionally and physically
balanced and harmonious, based on a belief in and devotion
to God. Such effort is designed to produce Malaysian
citizens who are knowledgeable and competent, who possess
high moral standards, and who are responsible and capable
of achieving a high level of personal well-being as well as
being able to contribute to the betterment of the family, the
society and the nation at large.

FOREWORD
This revised Literature in English syllabus is designed to replace the existing syllabus which has been
in use since the 2004 STPM examination. This new syllabus will be enforced in 2012 and the first
examination will also be held the same year. The revision of the syllabus takes into account the
changes made by the Malaysian Examinations Council (MEC) to the existing STPM examination.
Through the new system, sixth-form study will be divided into three terms, and students will sit for an
examination at the end of each term. The new syllabus fulfils the requirements of this new system.
The main objective of introducing the new examination system is to enhance the teaching and
learning orientation in sixth form so as to be in line with the orientation of teaching and learning in
colleges and universities.
The revision of the Literature in English syllabus incorporates current developments in literature
studies and syllabus design in Malaysia. To reflect these changes, both canonical and non-canonical
texts are included in the syllabus so that candidates are able to gain insights into historical and modern
developments of literature and the ways in which these texts can be read and analysed. The syllabus
aims to develop the critical skills of candidates to enable them to engage meaningfully with texts from
different literary traditions and genres, and this in turn will contribute towards the development of
their aesthetic sense and moral awareness. This orientation in the syllabus requires candidates to give
equal consideration to texts and contexts, local and international perspectives, as well as personal
relevance and universal concerns.
The syllabus contains topics, teaching periods, learning outcomes, examination format, grade
description, and sample questions.
The design of this syllabus was undertaken by a committee chaired by Y. Bhg. Profesor Madya Dr.
Ruzy Suliza bt Hashim of Universiti Kebangsaan Malaysia. Other committee members consist of
university lecturers, representatives from the Curriculum Development Division, Ministry of
Education Malaysia, and experienced teachers teaching Literature in English. On behalf of the
Malaysian Examinations Council, I would like to thank the committee for their commitment and
invaluable contribution. It is hoped that this syllabus will be a guide for teachers and students in the
teaching and learning process.

OMAR BIN ABU BAKAR

Chief Executive
Malaysian Examinations Council

CONTENTS
920 Literature in English Syllabus
Page
Aims

Learning Outcomes

Assessment Objectives

Prescribed Texts

23

Description of Papers

46

Syllabus Specifications

7 25

Examination Format

26

Scheme of Assessment

27

Grade Descriptions

28 29

List of References

30 33

Specimen Papers
Paper 1

34 37

Paper 2

38 42

Paper 3

43 46

SYLLABUS SPECIFICATIONS
920 LITERATURE IN ENGLISH

Aims
The syllabus aims to enable candidates to engage with and make informed responses to a selection of
texts from different literary traditions and genres. It also aims to enhance their aesthetic sense and
moral awareness. At the same time, it will develop critical and creative thinking, as well as the
following soft skills:
(a) communication
(b) questioning, persuading, problem-solving, and organising
(c) interpersonal and multicultural sensitivity
(d) research, ICT, and life-long learning
(e) time management

Learning Outcomes
Upon completion of the syllabus, candidates should be able to do the following in a clear, coherent,
and effective manner:
(a) identify, describe, and explain a range of literary elements, styles, and devices;
(b) analyse, interpret, and discuss themes, issues, and concerns;
(c) synthesise and evaluate techniques, points of view, and ideologies.

Assessment Objectives
Candidates are required to:
(a) demonstrate an understanding of texts by giving a critical and detailed response using relevant
and appropriate textual evidence;
(b) show how meaning is conveyed through the use of language, structure, form, point of view, and
other literary devices;
(c) compare and contrast texts in relation to language, structure, form, issues, and themes;
(d) demonstrate an awareness of the social, cultural, and historical backgrounds of the texts and the
different approaches to their interpretation;
(e) relate texts to their personal experiences and their own social, cultural, and historical
backgrounds;
(f)

present their argument in clear, effective, and well-organised prose.

Prescribed Texts
The prescribed texts for this syllabus are:
Paper 1: Poetry and Short Stories
Poems
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.

Sonnet 75
Sonnet 73
A Poison Tree
The Solitary Reaper
She Walks in Beauty
Loves Philosophy
To Autumn
My Last Duchess
A Bird Came Down
I Look into my Glass
At Tea
When You are Old
Mending Wall
After Apple-Picking
On Growing Old
Piano
Snake
i thank you God for most this amazing
The Magpies
Aunt Jennifers Tigers
Warning
Digging

Edmund Spenser
William Shakespeare
William Blake
William Wordsworth
Lord Byron
P. B. Shelley
John Keats
Robert Browning
Emily Dickinson
Thomas Hardy
Thomas Hardy
William Butler Yeats
Robert Frost
Robert Frost
John Masefield
D. H. Lawrence
D. H. Lawrence
e.e. cummings
Judith Wright
Adrienne Rich
Jenny Joseph
Seamus Heaney

*These poems may be sourced from the Internet

Short Stories from Malaysian Short Stories, edition Lloyd Fernando. Petaling Jaya: Maya Press Sdn.
Bhd., 2005.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.

Ratnamuni
Pasang
A Certain Cry
Birthday
Through the Wall
Pictures in My Mind
The Dream of Vasantha
The Touring Company
No Visitors Allowed
A Love of the Past
Removal in Pasir Panjang
As the Buffaloes Bathed

K.S. Maniam
Pretam Kaur
Cynthia Anthony
M. Shanmugalingam
Pretam Kaur
Pretam Kaur
K.S. Maniam
Shirley Lim
John Machado
Stella Kon
K.S. Maniam
Pretam Kaur

Paper 2: Plays
1. William Shakespeare. Twelfth Night. Arden Shakespeare, Third Series, edition. Keir Elam.
London: Cencage Learning EMEA, 2008.
2. Lorraine Hansberry. A Raisin in the Sun. New York: Random House, 2002.

Paper 3: Novels
1. Jane Austen. Pride and Prejudice. London: Penguin Classics, 2003.
2. Amy Tan. The Joy Luck Club. New York: Penguin Books, 2006.

Description of Papers
Paper 1
Poetry and Short Stories (2 hours)
Candidates are required to study the following poems and short stories:
Poems
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.

Sonnet 75
Sonnet 73
A Poison Tree
The Solitary Reaper
She Walks in Beauty
Loves Philosophy
To Autumn
My Last Duchess
A Bird Came Down
I Look into my Glass
At Tea
When You are Old
Mending Wall
After Apple-Picking
On Growing Old
Piano
Snake
i thank you God for most this amazing
The Magpies
Aunt Jennifers Tigers
Warning
Digging

Edmund Spenser
William Shakespeare
William Blake
William Wordsworth
Lord Byron
P. B. Shelley
John Keats
Robert Browning
Emily Dickinson
Thomas Hardy
Thomas Hardy
William Butler Yeats
Robert Frost
Robert Frost
John Masefield
D. H. Lawrence
D. H. Lawrence
e.e. cummings
Judith Wright
Adrienne Rich
Jenny Joseph
Seamus Heaney

*These poems may be sourced from the Internet.

Short Stories
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.

Ratnamuni
Pasang
A Certain Cry
Birthday
Through the Wall
Pictures in My Mind
The Dream of Vasantha
The Touring Company
No Visitors Allowed
A Love of the Past
Removal in Pasir Panjang
As the Buffaloes Bathed

K.S. Maniam
Pretam Kaur
Cynthia Anthony
M. Shanmugalingam
Pretam Kaur
Pretam Kaur
K.S. Maniam
Shirley Lim
John Machado
Stella Kon
K.S. Maniam
Pretam Kaur

*These short stories are from Malaysian Short Stories, edition Lloyd Fernando.

This paper consists of three sections.

Section A requires candidates to analyse a given poem or excerpt from a short story. Answers must
focus entirely on the particular poem or excerpt, demonstrating a close reading of, and a critical
response to it. No reference should be made to extraneous details not found in the poem or the
excerpt.
Section B requires candidates to answer a compulsory essay question. Answers will require close
reference to two poems from the syllabus.
Section C requires candidates to answer a compulsory essay question. Answers will require close
reference to two short stories from the syllabus.
Answers to questions in Sections B and C must be relevant, critical, and informed. Candidates must
choose appropriate poems and short stories in their discussions, providing textual evidence to support
their answers.
The Syllabus Specifications provide a guide to topics that will be assessed.

Paper 2
Plays (2 hours)
Candidates are required to study the following plays:
1. William Shakespeare, Twelfth Night
2. Lorraine Hansberry, A Raisin in the Sun
This paper consists of three sections.
Section A consists of two excerpts, one from each play. Candidates are required to answer questions
on one of them. Answers must focus entirely on the particular excerpt. Candidates need to
demonstrate a close reading of and a critical response to it. No reference should be made to
extraneous details not found in the excerpt.
Section B requires candidates to answer a compulsory essay question on Twelfth Night. Answers will
require close reference to the play.
Section C requires candidates to answer a compulsory essay question on A Raisin in the Sun.
Answers will require close reference to the play.
Answers to questions in Sections B and C must be relevant, critical, and informed. Candidates must
provide appropriate textual evidence to support their answers.
The Syllabus Specifications provide a guide to topics that will be assessed.

Paper 3
Novels (2 hours)
Candidates are required to study the following novels:
1. Jane Austen, Pride and Prejudice
2. Amy Tan, The Joy Luck Club
This paper consists of three sections.
Section A consists of two excerpts, one from each novel. Candidates are required to answer questions
on one of them. Answers must focus entirely on the particular excerpt. Candidates need to
demonstrate a close reading of and a critical response to it. No reference should be made to
extraneous details not found in the excerpt.
Section B requires candidates to answer a compulsory essay question on Pride and Prejudice.
Answers will require close reference to the novel.
Section C requires candidates to answer a compulsory essay question on The Joy Luck Club. Answers
will require close reference to the novel.
Answers to questions in Sections B and C must be relevant, critical, and informed. Candidates must
provide appropriate textual evidence to support their answers.
The Syllabus Specifications provide a guide to topics that will be assessed.

Syllabus Specifications
This syllabus contains two parts.
Part I outlines the Critical Appreciation skills component. It should be regarded as an integral part of
the syllabus and a crucial guide to analysing the prescribed texts and answering the questions in
Papers 1, 2, and 3.
No teaching periods for Critical Appreciation is specified in the syllabus. Teachers are advised to help
candidates acquire skills in critical appreciation when teaching the prescribed texts.
The total number of teaching periods for each paper is 120. The table below provides a guide to the
duration teachers may allocate to each genre when covering the syllabus.
Paper

Genre

Teaching Periods

Poetry

Total

64

120
Short Stories

56

Plays

120

120

Novels

120

120

Part II outlines the syllabus specifications for Papers 1, 2, and 3. The topics, learning outcomes and
notes are meant to guide teachers and candidates in the teaching and learning of the texts.

Part I
Critical Appreciation Skills Applicable To Papers 1, 2, and 3
Topics
1

Learning Outcomes

Notes & Examples

Literature, Language, and Form

The formalistic approach will
consider the following:
1.1 Literary devices

Candidates should be able to:

(a) identify the literary devices
used in the excerpts/poems;
(b) discuss the effects of these
devices in the
excerpts/poems.

1.2 Narrative techniques

Candidates should be able to:

(a) identify the narrative
techniques used in the
excerpts/poems;
(b) discuss the effects of
these techniques in the
excerpts/poems.

1.3 Setting

Simile
Metaphor
Personification
Symbol
Hyperbole
Onomatopoeia
Rhythm
Rhyme
Metre
Alliteration
Assonance
Paradox
Contrast/Comparison
Irony
Repetition
Binary opposition
Motif/Leitmotif
Tone

First person
Third person omniscient
limited
Stream of consciousness
Foreshadowing
Flashback
Foregrounding
Dialogue
Interior monologue
Speech and thought
presentation

Candidates should be able to:

(a) identify the setting(s) in
the excerpts/poems;
(b) examine the significance
of these setting(s) in the
excerpts/poems.

Place
Symbolic landscape
Time
Social context
Atmosphere
Mood

Topics
1.4 Characterisation

Learning Outcomes
Candidates should be able to:
(a) describe the characters in
the excerpts/poems;
(b) discuss the way characters
are presented in the
excerpts/poems;
(c) compare and contrast
characters in the
excerpts/poems.

1.5 Structure

1.6 Themes/issues/concerns

(a) identify the structure and

organisation of the
excerpts/poems;

Sequence of events
Foreshadowing
Flashback
Foregrounding

(b) examine the structure and

organisation of the
excerpts/poems.

Stanza forms/Sonnets/
Verse paragraphs

Candidates should be able to:

Literal meaning
Metaphorical meaning
Symbolic meaning
Message
Authorial intention

Candidates should be able to:

(a) relate to candidates own
experiences where relevant.

1.8 Language and style

Role/Significance
Personality
Physical characteristics
Speech/Thought processes,
Emotions, Inner/External
conflicts
Personality traits
Interaction between
characters
Gestures and mannerisms
Conflict and relationships

Candidates should be able to:

(a) identify and discuss the

themes/ issues/concerns in
the excerpts/poems.

1.7 Reader response

Notes & Examples

Interaction between the

reader, text and writer
Reader-centred response to
the text, leading to critical
evaluation

Candidates should be able to:

(a) identify and describe the
language and style in the
excerpts/poems;
(b) examine the effects of
language and style in the
excerpts/poems.

Varieties of English
Hybridisation
Code-switching
Code-mixing
Language registers

Topics
2.

Learning Outcomes

Notes & Examples

Literature, History, and Culture

2.1 Context

Candidates should be able to:

(a) identify and analyse
historical, political, and
socio-cultural dimensions
of excerpts/poems.

Significance of historical,
political, and socio-cultural
contexts to the process of
understanding the
excerpts/poems

2.2 Themes/Issues
(i) Power relations

Examine relationships and

conflicts between
individuals
individual and society
social classes
different communities
Identify what is portrayed
as central and what is
portrayed as marginal
Impact of colonisation and
imperialism

(ii) Quest for identity

Caught between cultures,

values and traditions
Encounters between the
traditional and the modern
Search for roots
Displacement/Alienation

(iii) Diaspora

Migration
Sense of belonging
Alienation
Dislocation
Marginalisation
Home
Assimilation/Integration
/Adaptation
Hybridity

(iv) Beliefs/value systems

Identify values of
characters
author of text
society
Relate these values to
readers own value
system/ideology
Generation gap
American dream
Folklore, legends, cultural
allusions

10

Topics

Learning Outcomes

(v) Race relations

Discrimination/Prejudices
Tolerance/Acceptance
Oppression
Differences
Stereotypes
Hegemony

2.3 Cultural perspective

Notes & Examples

Evaluate/Interpret text in
the light of ones own
cultural position

Literature and Gender

3.1 Gender

Candidates should be able to:

(a) identify and examine issues
related to gender in the
excerpts/poems.

Definition of gender
Culturally-sensitive gender
focus, i.e. how gender is
perceived from different
cultural backgrounds

3.2 Context:
(i) Historical

How gender is
represented/perceived

(ii) Socio-cultural

Systems of domination
based on gender, class,
race

3.3 Themes/issues

Man-woman relationships
Gender inequality
Portrayal of women
Empowerment of women
Women disguised as men
(in plays)
Notion of sisterhood
Female/Male bonding
Mothering/Fathering
Patriarchy
Stereotypes
Pressure to marry
Economic inequality

3.4 Perspectives

Identification of
female/male perspective
Alternative perspectives
from ones own experience
and value system

Reading as a
woman/man

3.5 Cultural perspective

Evaluate/Interpret text in
the light of ones own
cultural position

11

Part II
First Term: Poetry and Short Stories
Topics
1

Teaching
Periods

Learning Outcomes

Notes & Examples

Poetry
1.1 Background

Candidates should be able to:

(a) describe briefly the
backgrounds of the
different poets.

(i) Period

Introduction to sociocultural contexts

(ii) Poet

Brief biography

(iii) Supplementary
material

Biographical material,
letters, prefaces

1.2 Verse forms

Candidates should be able to:

(a) identify and characterise
various verse forms;
(b) explain how these verse
forms relate to meaning.

1.3 Devices

18

Blank verse
Dramatic monologue
Free verse
Rhyming verse
Sonnets
Narrative poetry

Candidates should be able to:

(a) recognise the devices in the
poems;
(b) illustrate the effect(s) of
these devices on the
poem(s);

Symbol
Repetition
Foregrounding
Deviation

(c) evaluate and appreciate the

ways in which these
devices contribute to the
aesthetic and intellectual
dimensions of the poems.
(i) Diction

Choice and order of words

(ii) Figures of
speech

Ambiguity
Kinds of images
(sight, sound, touch,
smell, taste, motion, and
activity)
Simile
Metaphor
Conceit
Personification
Irony

12

Topics

Teaching
Periods

Learning Outcomes

Notes & Examples

Paradox
Hyperbole
Understatement

(iii) Sound effects

1.4 Metrics

Alliteration
Assonance
Consonance
Onomatopoeia
Rhyme
Texture (overall physical
impact of the words in the
poem)
6

Candidates should be able to:

(a) identify the metrical
patterns and cadences in
the poems;
(b) discuss their effects on the
poems.

1.5 Theme and

interpretation

14

(i) Meaning

Metre
Rhythm
Cadence
Scansion

Candidates should be able to:

(a) recognise the literal
meanings of the poems;
(b) infer the underlying
meanings in the poems;
(c) examine the themes of the
poems.

Literal meaning
Metaphorical meaning
Symbolic meaning
Tone, attitudes, and irony
Moral/Social/Cultural
significance

(ii) Argument

Structure and flow of

argument

(iii) Literary
ambiguity

Exploration of creative
uses of literary ambiguity

1.6 Atmosphere

(i) Mood/Tone/
Feeling

Candidates should be able to:

(a) discuss how atmosphere
contributes to meaning;

Use of language to evoke

different atmospheres
e.g. nostalgic,
mysterious,
celebratory

(b) recognise the different

moods, tones, and feelings
in the poems.

Identification of
predominant mood/tone/
feeling
e.g. satiric, ironic,
consolatory,
despair, fear,
regret, love

13

Topics
(ii)

Teaching
Periods

Learning Outcomes

Voice

Distinctive voices of
personas
e.g. timid,
condescending,
proud,
humorous

1.7 Relevance

Candidates should be able to:

(a) use contemporary
interpretations of the
poems where relevant or
appropriate;

(i) Contemporary
interpretations

(ii) Relevance to
the
present

(b) discuss any global or local

relevance of the poems in
the present world;

(iii) Personal
relevance to
candidate

(c) discuss any personal

relevance of the poems to
candidate.

1.8 Moral concerns

Cultural readings
Feminist readings

Candidates should be able to:

(a) assess the moral values
expressed in the poems.

Notes & Examples

Different expressions
of moral concerns:
e.g. expression of
certain beliefs and
values
Respect for nature

Short Stories
2.1 Background

Candidates should be able to:

(a) recognise the socio-cultural
context of the stories;
(b) discuss the socio-cultural
and historical aspects of
the stories.

(i) Context

Socio-cultural contexts
of stories

(ii) Supplementary
material

Use of supplementary
materials
e.g. biographical material,
prefaces, newspaper
articles where available

14

Topics
2.2 Plot

Teaching
Periods
6

Learning Outcomes

Notes & Examples

Candidates should be able to:

(a) trace the linear or nonlinear development of
events in the stories;
(b) analyse how the sequence
of events contribute to the
meaning of the stories.

Linear development
chronological sequence
Non-linear development
e.g. flashbacks;
stream of
consciousness;
overlapping

(i) Definition

Sequence of events
arranged in a chain of
cause and effect

(ii) Development
of plot

Identification of important
events that affect the
lives of the characters

2.3 Characterisation

Candidates should be able to:

(a) describe the characters in
the stories;
(b) discuss the ways in which
characters respond to the
social conventions, beliefs
and attitudes in a particular
society;
(c) express the extent to which
the candidate agrees or
disagrees with the ideas,
viewpoints and values
expressed in the stories.

2.4 Setting

What is observable in the

characters
Relationships between
characters
Inner conflicts of
characters
External factors
(e.g. traditional norms,
gender constraints) which
affect characters
thoughts, feelings, and
actions

Candidates should be able to:

(a) identify the spatial and
temporal setting(s) of the
stories;
(b) examine the significance of
these settings to the stories.

(i) Place, time, and

atmosphere

Physical and symbolic

landscapes
Spatial and temporal
settings (place and time)

15

Topics
2.5 Narrative techniques

Teaching
Periods
6

Learning Outcomes
Candidates should be able to:
(a) identify the narrative
techniques used by the
writer;
(b) examine the effects of
these techniques on the
short stories.

2.6 Literary devices

(b) examine the contributions

of the devices to the
stories.
6

(i) Voices

2.8 Theme

(a) identify and describe the

language and style in the
stories;

Choice of words
(use of adjectives and
adverbs; length of
sentences; cadences)

(b) examine the effects of

language and style on the
stories;

Use of different language

registers and varieties of
speech

(c) identify and interpret the

different voices in the
stories.

Different voices that

a narrator adopts

Candidates should be able to:

(b) relate to candidates own

experiences where
relevant.

(i) Contemporary
interpretations

Imagery (descriptions that

appeal to the senses,
simile, metaphor,
personification)
Irony
Symbol

Candidates should be able to:

(a) identify and discuss the

themes in stories;

2.9 Relevance

Omniscient narrator
First person narrator
Multiple narrators
Point of view
Stream of consciousness
Motif/Leitmotif
Foregrounding
Flashback
Foreshadowing
Monologue/Dialogue

Candidates should be able to:

(a) identify the literary devices
used in the stories;

2.7 Language and style

Notes & Examples

How themes emerge

through the development
of characters, dialogue,
movement of plot and
settings

Candidates should be able to:

(a) use contemporary
interpretations of the
stories where relevant or
appropriate;

16

Political readings
Feminist readings
Postcolonial readings
Multicultural readings

Topics

Teaching
Periods

Learning Outcomes

(ii) Relevance to
the present

(b) discuss any global or local

relevance of the stories in
the present world;

(ii) Relevance to
the present

(b) discuss any global or local

relevance of the stories in
the present world;

(iii) Personal
relevance
to candidate

(c) discuss any personal

relevance of the stories to
candidate.

2.10 Moral concerns

Notes & Examples

Candidates should be able to:

(a) assess the moral values
expressed in the stories.

Encouragement to form
ones own judgements
based on writers implied
values
Comparison between these
implied values and ones
own values
Values or attitudes of
individuals and society as
a whole and socially
accepted codes of
behaviour

17

Second Term: Plays

Topics
1

Teaching
Periods

Learning Outcomes

Notes & Examples

Plays
1.1 Background

10

Candidates should be able to:

(i) Period

(a) identify and describe the

socio-cultural/political/
historical background in
which the play is set;

Late 16th-century and

early
17th-century England;
20th-century America

(ii) Writer

(b) discuss elements in

playwrights background
that influence the play,
where relevant;

Brief biography of
playwright

(iii) Stage

(c) describe how the play was

performed in the theatres of
its time.

Physical aspects of
Shakespearean stage/
modern stage
Audience
Actors
Stagecraft e.g. costumes,
lighting, scenery, set

1.2 Types of plays

Candidates should be able to:

(a) identify the types of plays
being studied and highlight
their characteristics.

(i) Comedy

Definitions;
Types of comedy,
e.g. romantic comedy

(ii) Tragedy

Definitions;
Types of tragedy:
Aristotelian tragedy
Shakespearean
tragedy

(iii) Tragi-comedy

Definitions

(iv) Histories

Brief background
connections with tragedy

(v) Social Plays

Awareness of social issues

presented in the play

18

Topics

Teaching
Periods

1.3 Reading the text

26

(i) Language and

style

Learning Outcomes

Notes & Examples

Candidates should be able to:

(a) identify and describe the
language and style of the
play;

Understanding of varieties
of English used in the
plays (Shakespearean
language/ Black English
in the United States)

(b) examine the effects

produced by speech styles
of different characters.

Appreciation of richness
and variety of dramatic
language
Use of different registers
of speech
Wordplay (puns)

(ii) Devices

(c) identify the various

dramatic devices used in
the play;
(d) analyse their functions and
evaluate their
effectiveness.

1.4 Aspects of the play

(i) Plot and
structure

50

Imagery
Motif/Leitmotif
Dramatic irony
Soliloquy
Aside
Chorus
Foreshadowing
Flashback
Foregrounding
Comic relief
Gestures
Symbols
Disguise

Candidates should be able to:

(a) identify the structure of the
play;

Acts and scenes

(b) identify the movements of

the main plot(s) and subplot(s), and their
relationships to one another
and to the total meaning of
the play;

Plot structure:
Identification of main plot
and sub-plot
Relationship between
main plot and sub-plot

(c) discuss and interpret the

significance of important
scenes.

Consider if the division of

acts and scenes
correspond to the
development of the plots
Significance of scenes,
cruxes and climaxes

19

Topics

Teaching
Periods

(ii) Characters

Learning Outcomes
(d) identify and describe the
main and minor characters
and analyse and discuss
their roles, significance,
development and
relationships;
(e) identify special characters
where relevant and discuss
their distinctive roles in the
play;

Notes & Examples

Main characters
Minor characters
Relationships between
characters
Roles and significance of
characters
Development of some
characters
The fool in Shakespeare

(f) compare and contrast

characters within a play.
(iii) Themes

1.5 Relevance

(g) identify and discuss the

themes in the play.

10

Candidates should be able to:

(i) Contemporary
interpretations

(a) use contemporary

interpretations of the play
where relevant or
appropriate;

(ii) Relevance to
the present

(b) discuss any global or local

relevance of the play in the
present world;

(iii) Personal
relevance
to candidate

(c) discuss any personal

relevance of the play to
candidate.

1.6 Moral concerns

10

How themes emerge

through the development
of characters, dialogue,
movement of plot and
settings

(a) assess the moral values

expressed in the play.

Political readings
Feminist readings
Postcolonial readings
Multicultural readings

Encouragement to form
ones own judgements
based on writers implied
values
Comparison between these
implied values and ones
own values
Values or attitudes of
individuals and society as
a whole and socially
accepted codes of
behaviour

20

Topics
1.7 The play as
theatre/film

Teaching
Periods
10

Learning Outcomes

Notes & Examples

Candidates should be able to:

(i) Dramatising

(a) perform the play as a

whole or in part;

Dramatisation of the
whole play or scenes for
better understanding

(ii) Viewing

(b) compare and contrast the

written and visual forms of
the play, where applicable.

Screening of multimedia
versions of the play

21

Third Term: Novels

Topics
1

Teaching
Periods

Learning Outcomes

Notes & Examples

Novels
1.1 Background

10

Candidates should be able to:

(i) Period

(a) identify and describe the

socio-cultural background
against which the novel is
set;

Introduction to the sociocultural context of writer

(ii) Writer

(b) discuss elements in the

writers background that
influence aspects of the
novel;

Brief biography

(iii) Supplementary
material

(c) use supplementary

materials directly or
indirectly in discussions of
the novel.

Use of supplementary
biographical
material
e.g. letters, prefaces,
internet sources,
journal articles

1.2 Plot

20

Candidates should be able to:

(a) identify and describe
sequence of events that
make up the plot of the
novel;
(b) analyse and discuss
significant events that
affect the lives of
characters in the novel.

Linear development
chronological sequence
Non-linear development
e.g. flashbacks; stream
of consciousness;
overlapping

(i) Definition

Sequence of events
arranged in a chain of
cause and effect

(ii) Development
of plot and
subplot

Identification of important
events that affect the lives
of the characters

1.3 Characterisation

30

Candidates should be able to:

(a) identify and describe
characters in the novel;
(b) recognise and describe
different types of
characters;
(c) discuss the qualities and
development of characters
in the novel;

22

e.g. round and flat

characters, central/main,
roles of characters in the
narrative
Study roles and
effectiveness of portrayal

Topics

1.4 Setting

Teaching
Periods

10

(i) Place, time, and

atmosphere

1.5 Narrative techniques

Learning Outcomes
(d) compare and contrast
characters;

Realistic or exaggerated
portrayal of characters

(e) assess the credibility of

character portrayals in the
novel.

What is observable in the

characters
Relationships between
characters
Inner conflicts of
characters
External factors
(e.g. traditional norms,
gender constraints) which
affect characters
thoughts, feelings, and
actions

Candidates should be able to:

(a) identify and describe
spatial and temporal
settings of the novel;

Physical and symbolic

landscapes
Spatial and temporal
settings (place and time)
(b) identify words, images, and
Significance of a shift
details that construct these
from one setting to
settings;
another
(c) explain multiple
significances of spatial and
temporal settings.
10

Candidates should be able to:

(a) recognise and explain
relevant elements of
narrative techniques
employed by the writer;
(b) evaluate and discuss the
effectiveness of relevant
elements of narrative
techniques in the novel.

1.6 Literary devices

Notes & Examples

10

Omniscient narrator
First person narrator
Multiple narrators
Point of view
Stream of consciousness
Motif/Leitmotif
Foregrounding
Flashback
Foreshadowing
Monologue/Dialogue

Candidates should be able to:

(a) identify the literary devices
used in the novel;
(b) examine the contributions
of the devices to the novel.

23

Imagery (descriptions that

appeal to the senses,
simile, metaphor,
personification)
Irony
Symbol

Topics
1.7 Language and style

Teaching
Periods
10

Learning Outcomes
Candidates should be able to:
(a) identify and describe the
language and style in the
novel;
(b) examine the effects of
language and style in the
novel;
(c) identify and interpret the
different voices in the
novel.

10

Candidates should be able to:

(a) identify and discuss the
themes in the novel;
(b) relate to candidates own
experiences where
relevant.

1.9 Relevance

(a) use contemporary

interpretations of the
novel where relevant or
appropriate;

(ii) Relevance to
the present

(b) discuss any global or local

relevance of the novel in
the present world;

(iii) Personal
relevance
to candidate

(c) discuss any personal

relevance of the novel to
candidate.
6

How themes emerge

through the development
of characters, dialogue,
movement of plot, and
settings

Candidates should be able to:

(i) Contemporary
interpretations

1.10 Moral concerns

Choice of words
(use of adjectives and
adverbs; length of
sentences; cadences)
Use of different language
registers and varieties of
speech
Different voices that
narrators adopt
Use of different registers
of speech, including
dialect
Internal monologue thought processes of
characters

(i) Dialogue/
Monologue

1.8 Theme

Notes & Examples

Political readings
Feminist readings
Postcolonial readings
Multicultural readings

Candidates should be able to:

(a) assess the moral values
expressed in the novel.

Encouragement to form
ones own judgements
based on writers implied
values
Comparison between these
implied values and ones
own values

24

Topics

Teaching
Periods

Learning Outcomes

Notes & Examples

Values or attitudes of
individuals and society as
a whole and socially
accepted codes of
behaviour

25

Examination Format
The examination consists of three papers, with equal weighting for each paper:
(a) Paper 1: Poetry and Short Stories
There are three sections in this paper. Candidates are required to answer three questions, one
from each section.
Section A: Critical Appreciation. This section consists of a question on a poem and a question
on an excerpt from a short story offered in the syllabus. Candidates are required to answer one
question only.
Section B: Poems. This section consists of one compulsory essay question.
Section C: Short Stories. This section consists of one compulsory essay question.
(b) Paper 2: Plays
Section A: Critical Appreciation. This section consists of a question on an excerpt from Twelfth
Night and a question on an excerpt from A Raisin in the Sun. Candidates are required to answer
one question only.
Section B: William Shakespeare: Twelfth Night: This section consists of one compulsory essay
question.
Section C: Lorraine Hansberry: A Raisin in the Sun: This section consists of one compulsory
essay question.
(c) Paper 3: Novels
Section A: Critical Appreciation. This section consists of a question on an excerpt from Pride
and Prejudice and a question on an excerpt from The Joy Luck Club. Candidates are required to
answer one question only.
Section B: Jane Austen: Pride and Prejudice: This section consists of one compulsory essay
question.
Section C: Amy Tan: The Joy Luck Club: This section consists of one compulsory essay
question.

26

Scheme of Assessment

Study
Term

First
Term

Code and
Name of
Paper

920/1
Poetry and
Short Stories

Type of Test

Written Test

Marks
(Weighting)

Duration

Administration

75
(33.33%)

2 hours

Centralised
assessment

75
(33.33%)

2 hours

Centralised
assessment

75
(33.33%)

2 hours

Centralised
assessment

Section A:
Essay Question
2 essay questions given
Answer 1 out of 2 essay questions
Section B:
Essay Question
1 essay question given
Answer 1 compulsory essay question
Section C:
Essay Question
1 essay question given
Answer 1 compulsory essay question

Second
Term

920/2
Plays

Written Test
Section A:
Essay Question
2 essay questions given
Answer 1 out of 2 essay questions
Section B:
Essay Question
1 essay question given
Answer 1 compulsory essay question
Section C:
Essay Question
1 essay question given
Answer 1 compulsory essay question

Third
Term

920/3
Novels

Written Test
Section A:
Essay Question
2 essay questions given
Answer 1 out of 2 essay questions
Section B:
Essay Question
1essay question given
Answer 1 compulsory essay question
Section C:
Essay Question
1 essay question given
Answer 1 compulsory essay question

27

Grade Description (Critical Appreciation)

Grade A

Candidate shows an excellent critical understanding of the poem or excerpt.

Candidate addresses all aspects of the question very well.

Candidate demonstrates a critical, sensitive, and original response to the poem or excerpt.

Candidate writes fluently and clearly.

Candidate shows logical and coherent development of ideas.

Candidate supports argument with appropriate textual evidence from the particular poem or
excerpt.

Grade C

Candidate shows some critical understanding of the poem or excerpt.

Candidate addresses some aspects of the question.

Candidate demonstrates a basic critical response to the poem or excerpt despite some paraphrase
and narration.

Candidates answer contains occasional errors in grammar and expression.

Candidate shows some organisation and development of ideas.

Candidate provides limited textual evidence from the particular poem or excerpt.

28

Grade Description (Essays)

Grade A

Candidate shows a detailed knowledge and excellent understanding of text.

Candidate addresses all aspects of the question with sustained relevance to issues.

Candidate exhibits ability to identify, analyse, and evaluate tone, attitude, character, form,
structure, and language.

Candidate demonstrates a critical, sensitive, and original response to text.

Candidate shows an informed response to text.

Candidate writes fluently and expresses complex ideas clearly.

Candidate displays logical and coherent development of argument.

Candidate supports argument with appropriate textual evidence.

Grade C

Candidate shows sufficient understanding and knowledge of text.

Candidate addresses some aspects of the question.

Candidate exhibits some ability to identify and discuss tone, attitude, character, form, structure,
and language.

Candidate demonstrates a basic personal response to text.

Candidates answer contains a fair number of language errors.

Candidate shows some organisation and development of ideas.

Candidate supports argument with sufficient textual evidence.

Candidate uses some narration.

29

List of References
Below is a list of suggested reference materials which may be of general interest and help when
teaching and learning the prescribed texts.
General Reading
1.

Beard, A., 2003. The Language of Literature. London: Routledge.

2.

Bressler, C., 1999. Literary Theory: An Introduction to Theory and Practice. 2nd edition. Upper
Saddle River: Prentice Hall.

3.

DiYanni, R., 2000. Literature: Reading Fiction, Poetry and Drama. Boston: McGraw-Hill.

4.

Gill, R., 1995. Mastering English Literature. Basingstoke: Palgrave.

5.

Roberts, E.V., and Henry, J., 1998. Literature: An Introduction to Reading and Writing. Upper
Saddle River: Prentice Hall.

6.

Selden, R., Widdowson, P., and Brooker, P., 1997. A Readers Guide to Contemporary Literary
Theory. 2nd edition. London: Prentice Hall.

7.

Tyson, L., 1999. Critical Theory: A User-Friendly Guide. New York: Garland Publishing.

Poetry and Short Stories

8.

Kallay, K.G., 2004. Going Home Through Seven Paths to Nowhere: Reading Short Stories.
Budapest: Akademiai Kiado.

9.

Lennard, J., 1996. The Poetry Handbook: A Guide to Reading Poetry for Pleasure and Practical
Criticism. Oxford: Oxford University Press.

10. May, C.E., 2002. The Short Story: The Reality of Artifice. London: Routledge.
11. Strand, D., 1995. Colette: A Study of the Short Fiction. Ann Arbor: University of Michigan Press.
12. Thorne, S., 2005. Mastering Poetry. Basingstoke: Palgrave Macmillan.
Plays
13. Brown-Guillory, E. (ed.), 1990. Their Place on the Stage, Black Women Playwrights in America.
New York: Praeger.
14. Brown-Guillory, E. (ed.), 1990. Wines in the Wilderness: Plays by African American Women
from the Harlem Renaissance to the Present. New York: Praeger.
15. Gay, P., 2008. The Cambridge Introduction to Shakespeares Comedies. Cambridge: Cambridge
University Press.
16. Hine, D.C., Hine, W.C., and Harrold, S., 2002. The African-American Odyssey. 2nd edition.
Upper Saddle River, N.J: Prentice Hall.
17. Lee, V. (ed.), 2006. The Prentice Hall Anthology of African American Womens Literature. New
Jersey: Pearson Prentice Hall.
18. White, R.S. (ed.), 1996. Twelfth Night New Casebook. Basingstoke: Palgrave Macmillan.
30

Novels
19. Bebris, C., 2005. Pride and Prescience or A Truth Universally Acknowledged: A Mr. and Mrs.
Darcy Mystery. New York: Tom Dougherty.
20. Bomarito, J., Hunter J.W., and Hudock A. (eds.), 2004. Feminism in Literature: A Gale Critical
Companion. Detroit: Thomson Gale.
21. Chan, S. and Hsu, M.Y. (eds.), 2008. Chinese Americans and The Politics of Race. Philadelphia:
Temple University Press.
22. Copeland, E. and McMaster, J. (eds.), 1997. The Cambridge Companion to Jane Austen.
Cambridge: New York: Cambridge University Press.
23. Gard, R., 1992. Jane Austens Novels: The Art of Clarity. New Haven: Yale University Press.
24. Ho, W., 1999. In Her Mothers House: The Politics of Asian American Mother-Daughter
Writing. Walnut Creek: AltaMira Press.
25. Marsh, N., 1998. Jane Austen: The Novels. New York: St. Martins Press.
26. Wiltshire, J., 2001. Recreating Jane Austen. New York: Cambridge University Press.
Websites
General Reading
1. Norton Literature Online
http://www.norton.com/college/english/literature/OpenSite.htm
2. Literary Criticism
www.literaryhistory.com/20thC/Tan.html
Poems
1. poets.org
William Blake
Lord Byron
John Keats
Robert Browning
Robert Frost
Percy Bysshe Shelley
http://www.poets.org/
2. PoemHunter.com
William Wordsworth
Emily Dickinson
Jenny Joseph
Thomas Hardy
William Butler Yeats
Seamus Heaney
Adrienne Rich
e.e. cummings
http://www.poemhunter.com/poem
31

3. Gary Bachlund
Thomas Hardy
http://www.bachlund.org/At_Tea.htm
4. The Norton Anthology of Poetry
Edmund Spenser
http://www.wwnorton.com/college/english/nap/toc.htm
5. Friends of the Aranda Bushland Inc.
Judith Wright
http://www.friendsofarandabushland.org.au/edu/Activity/Writing/Magpie%20poem.htm
Short Stories
1. University of Southern Queensland, Australia
K.S. Maniam
eprints.usq.edu.au/2368/1/Wicks_Maniam9.pdf
2. The Victoria Institution Web Page:
The Literary Works of M. Shanmugalingam
M. Shanmugalingam
http://www.viweb.freehosting.net/vilit_M-SHAN.htm
3. National Library of Singapore:
Stella Kon
http://infopedia.nl.sg/articles/SIP_428_2005-01-14.html
Plays
1. Project Gutenberg
William Shakespeare
http://www.gutenberg.org/etext/1342
2. Reading Shakespeare
http://keithsagar.co.uk/ReadingShakespeare/index.html
3. William Shakespeare
http://www.shakespeare-online.com/
4. English Department, San Antonio College
http://www.accd.edu/sac/english/bailey/hansberr.htm

32

Novels
1. Project Gutenberg
Jane Austen
http://www.gutenberg.org/etext/1342
2. Luminarium: Anthology of English Literature
Amy Tan
http://www.luminarium.org/contemporary/amytan/
3. Amy Tans website
http://www.amytan.net/
4. Identity-in-Difference: Regenerating Debate about Intergenerational Relationships in Amy Tans
The Joy Luck Club.
http://www.goliath.ecnext.com/coms2/gi_0199-7338033/Identity-in-difference-regenerating.html
5. Amy Tan: Overview
http://www.academic.brooklyn.cuny.edu/English/melani/cs6/tan.html

* Websites active at time of print.

33

SPECIMEN PAPER

920/1

STPM

LITERATURE IN ENGLISH
PAPER 1
(POETRY AND SHORT STORIES)
(Two hours)

MAJLIS PEPERIKSAAN MALAYSIA

(MALAYSIAN EXAMINATIONS COUNCIL)

SIJIL TINGGI PERSEKOLAHAN MALAYSIA

(MALAYSIA HIGHER SCHOOL CERTIFICATE)

Instructions to candidates
DO NOT OPEN THIS QUESTION PAPER UNTIL YOU ARE TOLD TO DO SO.
Answer three questions, one each from Sections A, B, and C.

This question paper consists of

printed pages.

Majlis Peperiksaan Malaysia

STPM 920/1
34

Section A: Critical Appreciation

[25 marks]
Answer only one question from this section.
1

I Look into my Glass

I LOOK into my glass,
And view my wasting skin,
And say, Would God it came to pass
My heart had shrunk as thin!
For then, I, undistrest
By hearts grown cold to me,
Could lonely wait my endless rest
With equanimity.
But Time, to make me grieve,
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

10

Thomas Hardy

Discuss the feelings of the persona with special reference to the diction and imagery of the poem.

920/1
35

Or 2

SHORT STORIES: Malaysian Short Stories

Now Jigas limbs moved alongside mine, lifting and depositing mud. A good three inches of grey
water lay around. When would the river flood? There was no telling with the vagaries of the monsoon
in this northern area. The wet was cold. It was clammy. It crawled into our boots, into our stockings
and lodged next to the skin.
As I moved I remembered a time when I slipped. Our bags were half full with our catch. We were
proceeding along a batas or what we thought was one. A slipping, a crashing and I was struggling in
an irrigation canal, my foot twisted under me. The previous year a woman and child had been swept
away. There was earth in my nostrils, earth in my mouth, my eyes burned, as I clawed blindly at the
shifting bank. My torch lay smashed in the nebulous water, my belt was ripped away; the nights
catch of greenbacks sprang in great leaps about me. When Jiga finally managed to haul me up,
I breathed deeply and the death-in-life feeling evaporated, leaving an inward cry of unspeakable
relief.
A low sonorous clacking rose in the night air. It was like a low base chuckled out on indrawn
breath. More clatter. The so-many individual frogs responded to others in a clatter of sustained cries.
There is an insistency in the choric song of the green frog that cannot be ignored. For ages those that
went before and these had articulated the same way. The rains wakened their long sleep. Roused, they
only voiced the old tune, night after night, in a persistent chorus. Year after year they followed the
rains, their monotonous chant rising above the pelting rainfall, strong yet signifying nothing, except
perhaps, the nature of the beast.
The river ran by us, swollen, mud-dark and not knowable. The car ferry lay moored to our bank
but rose and subsided as though some powerful hand pushed up its underside, then tugged it down.
Ahead the padi-field glowed in that watery light common to the haze in dreams. November, thunder,
lightning, rain, frogs, rain, frogsthe sequence tapped out in my brain, even as the rain rapped
against our macs. Still the frogs calls invited. In this outlandish corner there wasnt much a teacher
could do in his spare time. A hobby, games, reading, walks under the curious eyes of a people who
had never owned a pair of Batas in their lives, the repetitious excitements of the poker table and the
cowboy town across the border and then Jiga arrived. I mean that the dreary wet months before
the December holidays came alive for us as we thrilled to the hunt of the edible green frog that
appears before flood-time and waste. Micks father deplored the killing of these creatures.
Cynthia Anthony : A Certain Cry
Describe the portrayal of nature in this extract.

920/1
36

Section B: Poems
[25 marks]
Answer the question below.
3

With close reference to any two poems, discuss how love is expressed through images of nature.

Section C: Short Stories: Malaysian Short Stories

[25 marks]
Answer the question below.
4

Compare and contrast the portrayal of filial piety in any two short stories.

920/1
37

SPECIMEN PAPER

920/2

STPM

LITERATURE IN ENGLISH
PAPER 2
(PLAYS)
(Two hours)

MAJLIS PEPERIKSAAN MALAYSIA

(MALAYSIAN EXAMINATIONS COUNCIL)

SIJIL TINGGI PERSEKOLAHAN MALAYSIA

(MALAYSIA HIGHER SCHOOL CERTIFICATE)

Instructions to candidates
DO NOT OPEN THIS QUESTION PAPER UNTIL YOU ARE TOLD TO DO SO.
Answer three questions, one each from Sections A, B, and C.

This question paper consists of

printed pages.

Majlis Peperiksaan Malaysia

STPM 920/2
38

Section A: Critical Appreciation

[25 marks]
Answer only one question from this section.
1

SHAKESPEARE: Twelfth Night

[Music] Enter ORSINO, Duke of Illyria, CURIO, and other Lords
Duke

Curio
Duke
Curio
Duke

If music be the food of love, play on,

Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again, it had a dying fall:
O, it came oer my ear like the sweet sound
That breathes upon a bank of violets,
Stealing and giving odour. Enough, no more;
Tis not so sweet now as it was before.
O, spirit of love, how quick and fresh art thou,
That notwithstanding thy capacity
Receiveth as the sea, nought enters there,
Of what validity and pitch soeer,
But falls into abatement and low price,
Even in a minute! So full of shapes is fancy,
That it alone is high fantastical.
Will you go hunt, my lord?
What, Curio?
The hart.
Why so I do, the noblest that I have,
O, when mine eyes did see Olivia first,
Methought she purgd the air of pestilence;
That instant was I turnd into a hart,
And my desires, like fell and cruel hounds,
Eer since pursue me.
Enter VALENTINE

Valentine

Duke

How now? what news from her?

So please my lord, I might not be admitted,
But from her handmaid do return this answer:
The element itself, till seven years heat,
Shall not behold her face at ample view;
But like a cloistress she will veiled walk,
And water once a day her chamber round
With eye-offending brine: all this to season
A brothers dead love, which she would keep fresh
And lasting, in her sad remembrance.
O, she that hath a heart of that fine frame
To pay this debt of love but to a brother,
How will she love, when the rich golden shaft
Hath killd the flock of all affections else
That live in her; when liver, brain, and heart,
Those sovereign thrones, are all supplied, and filld

920/2
39

10

15

20

25

30

35

40

Her sweet perfections with one selfsame king!

Away before me to sweet beds of flowers!
Love-thoughts lie rich when canopied with bowers.
Exeunt
Twelfth Night, Act 1, Scene 1
(a) What attitude to love and the beloved does the Duke show in this passage?

[10 marks]

(b) Discuss the use of metaphors and similes in this passage.

[15 marks]

920/2
40

Or 2

LORRAINE HANSBERRY: A Raisin in the Sun

WALTER: Mama would listen to you. You know she listen to you more than she do me and Bennie.
She think more of you. All you have to do is just sit down with her when you drinking your coffee
one morning and talking bout things you like you do and(He sits down beside her and
demonstrates graphically what he thinks her methods and tone should be)you just sip your coffee,
see, and say easy like that you been thinking bout that deal Walter Lee is so interested in, bout the
store and all, and sip some more coffee, like what you saying aint really that important to youAnd
the next thing you know, she be listening good and asking you questions and when I come home
I can tell her the details. This aint no fly-by-night proposition, baby. I mean we figured it out, me
and Willy and Bobo.
RUTH: (with a frown): Bobo?
WALTER: Yeah. You see, this little liquor store we got in mind cost seventy-five thousand and we
figured the initial investment on the place be bout thirty thousand, see. That be ten thousand each.
Course, theres a couple of hundred you got to pay sos you dont spend your life just waiting for
them clowns to let your licence get approved
RUTH: You mean graft?
WALTER: (frowning impatiently): Dont call it that. See there, that just goes to show you what
women understand about the world. Baby, dont nothing happen for you in this world less you pay
somebody off!
RUTH: Walter, leave me alone! (She raises her head and stares at him vigorouslythen says, more
quietly) Eat your eggs, they gonna be cold.
WALTER: (straightening up from her and looking off): Thats it. There you are. Man say to his
woman: I got me a dream. His woman say: Eat your eggs. (Sadly, but gaining in power) Man say:
I got to take hold of this here world, baby! And a woman will say: Eat your eggs and go to work.
(Passionately now) Man say: I got to change my life, Im choking to death, baby! And his woman say
(In utter anguish as he brings his fists down on his thighs) Your eggs is getting cold!

Discuss the presentation of the conflict between Walter and Ruth in the extract above.

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Section B: SHAKESPEARE: Twelfth Night

[25 marks]
Answer the question below.
3

Discuss, with close reference to the text, the effects of Violas disguise in Twelfth Night.

Section C: LORRAINE HANSBERRY: A Raisin in the Sun

[25 marks]
Answer the question below.
4

Discuss the significance of the poem A Raisin in the Sun to the main concerns of the play.

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SPECIMEN PAPER

920/3

STPM

LITERATURE IN ENGLISH
PAPER 3
(NOVELS)
(Two hours)

MAJLIS PEPERIKSAAN MALAYSIA

(MALAYSIAN EXAMINATIONS COUNCIL)

SIJIL TINGGI PERSEKOLAHAN MALAYSIA

(MALAYSIA HIGHER SCHOOL CERTIFICATE)

Instructions to candidates
DO NOT OPEN THIS QUESTION PAPER UNTIL YOU ARE TOLD TO DO SO.
Answer three questions, one each from Sections A, B, and C.

This question paper consists of

printed pages.

Majlis Peperiksaan Malaysia

STPM 920/3
43

Section A: Critical Appreciation

[25 marks]
Answer only one question from this section.
1

JANE AUSTEN: Pride and Prejudice

The possibility of Mr. Collinss fancying himself in love with her friend had once occurred to
Elizabeth within the last day or two; but that Charlotte could encourage him, seemed almost as far
from possibility as that she could encourage him herself, and her astonishment was consequently so
great as to overcome at first the bounds of decorum, and she could not help crying out,
Engaged to Mr. Collins! my dear Charlotte, impossible!
The steady countenance which Miss Lucas had commanded in telling her story, gave way to
a momentary confusion here on receiving so direct a reproach; though, as it was no more than she
expected, she soon regained her composure, and calmly replied,
Why should you be surprised, my dear Eliza? Do you think it incredible that Mr. Collins
should be able to procure any womans good opinion, because he was not so happy as to succeed with
you?
But Elizabeth had now recollected herself, and making a strong effort for it, was able to assure
her with tolerable firmness that the prospect of their relationship was highly grateful to her, and that
she wished her all imaginable happiness.
I see what you are feeling, replied Charlotte, you must be surprised, very much surprised,
so lately as Mr. Collins was wishing to marry you. But when you have had time to think it all over,
I hope you will be satisfied with what I have done. I am not romantic you know. I never was. I ask
only a comfortable home; and considering Mr. Collinss character, connections, and situation in life,
I am convinced that my chance of happiness with him is as fair, as most people can boast on entering
the marriage state.
Elizabeth quietly answered Undoubtedly; and after an awkward pause, they returned to the
rest of the family. Charlotte did not stay much longer, and Elizabeth was then left to reflect on what
she had heard. It was a long time before she became at all reconciled to the idea of so unsuitable a
match. The strangeness of Mr. Collinss making two offers of marriage within three days, was
nothing in comparison of his being now accepted. She had always felt that Charlottes opinion of
matrimony was not exactly like her own, but she could not have supposed it possible that when called
into action, she would have sacrificed every better feeling to worldly advantage. Charlotte the wife of
Mr. Collins, was a most humiliating picture! And to the pang of a friend disgracing herself and
sunk in her esteem, was added the distressing conviction that it was impossible for that friend to be
tolerably happy in the lot she had chosen.

With close reference to the passage above, compare Charlottes and Elizabeths feelings towards
Charlottes impending marriage. What do these feelings reveal about their respective attitudes
towards marriage?

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Or 2

AMY TAN: The Joy Luck Club

What did she do to herself? I whispered to my mother.

She met a bad man, said my mother. She had a baby she didnt want.
And I knew that was not true. I knew my mother made up anything to warn me, to help me avoid
some unknown danger. My mother saw danger in everything, even in other Chinese people. Where
we lived and shopped, everyone spoke Cantonese or English. My mother was from Wushi, near
Shanghai. So she spoke Mandarin and a little bit of English. My father, who spoke only a few canned
Chinese expressions, insisted my mother learn English. So with him, she spoke in moods and
gestures, looks and silences, and sometimes a combination of English punctuated by hesitations and
Chinese frustration: Shwo buchulai Words cannot come out. So my father would put words in
her mouth.
I think Mom is trying to say shes tired, he would whisper when my mother became moody.
I think shes saying were the best darn family in the country! hed exclaim when she had
cooked a wonderfully fragrant meal.
But with me, when we were alone, my mother would speak in Chinese, saying things my father
could not possibly imagine. I could understand the words perfectly, but not the meanings. One
thought led to another without connection.
You must not walk in any direction but to school and back home, warned my mother when she
decided I was old enough to walk by myself.
Why? I asked.
You cant understand these things, she said.
Why not?
Aii-ya! Such questions! Because it is too terrible to consider. A man can grab you off the
streets, sell you to someone else, make you have a baby. Then youll kill the baby. And when they
find this baby in a garage can, then what can be done? Youll go to jail, die there.
I knew this was not a true answer. But I also made up lies to prevent bad things from happening
in the future. I often lied when I had to translate for her, the endless forms, instructions, notices from
school, telephone calls. Shemma yisz?What meaning?she asked me when a man at a grocery
store yelled at her for opening up jars to smell the insides. I was so embarrassed I told her that
Chinese people were not allowed to shop there. When the school sent a notice home about a polio
vaccination, I told her the time and place, and added that all students were now required to use metal
lunch boxes, since they had discovered old paper bags can carry polio germs.
With close reference to the extract above, discuss the mothers experience as a migrant in
a foreign country.

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Section B: JANE AUSTEN: Pride and Prejudice

[25 marks]
Answer the question below.
3 In Pride and Prejudice, all the characters exhibit foolishness. To what extent do you agree with
this statement? Discuss, with close reference to the novel.

Section C: AMY TAN: The Joy Luck Club

[25 marks]
Answer the question below.
4 Discuss the significance of telling stories at the Joy Luck parties in the novel The Joy Luck
Club.

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