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UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS

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GCE Ordinary Level

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MARK SCHEME for the October/November 2006 question paper

2010 LITERATURE IN ENGLISH

2010/01 Paper 1, maximum raw mark 80

This mark scheme is published as an aid to teachers and students, to indicate the requirements of the
examination. It shows the basis on which Examiners were instructed to award marks. It does not
indicate the details of the discussions that took place at an Examiners’ meeting before marking began.

All Examiners are instructed that alternative correct answers and unexpected approaches in
candidates’ scripts must be given marks that fairly reflect the relevant knowledge and skills
demonstrated.

Mark schemes must be read in conjunction with the question papers and the report on the
examination.

The grade thresholds for various grades are published in the report on the examination for most
IGCSE, GCE Advanced Level and Advanced Subsidiary Level syllabuses.

• CIE will not enter into discussions or correspondence in connection with these mark schemes.

CIE is publishing the mark schemes for the October/November 2006 question papers for most IGCSE,
GCE Advanced Level and Advanced Subsidiary Level syllabuses and some Ordinary Level
syllabuses.
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GCE O LEVEL - OCT/NOV 2006 2010 01

General Descriptors

The general descriptors are an attempt to guide examiners to an understanding of

the qualities normally expected of, or ‘typical’ of, work in the band. They must not be
interpreted as hurdle statements, and form a means of general guidance. Photostats
taken from work produced in the examination will be the principal means by which we
shall standardise the marking.

A Descriptors for essay/passage-based tasks

0-1 The answer does not meet the criteria for a mark in the next band

2-3 Candidates will –

show a little awareness of…
make some comment about…

4-5 Candidates will –

make a few straightforward points about…
show a few signs of understanding…
make a little reference to aspects of the text…
make simple personal response to…

6-8 Candidates will –

make some relevant comment about…
show some understanding of…
with a little support from the text/reference to language.

9-11 Candidates will –

begin to develop a response…
show understanding of …
with some detail from the text/reference to language.

12-14 Candidates will –

make a reasonably sustained/extended response…
show understanding of…
show some thoroughness in use of text for support.
make some response to the way language works.

15-17 Candidates will –

make a convincing response…
show clear, sustained understanding of…
make careful and relevant reference to the text.
respond with some thoroughness/detail to the way language works.

18-20 Candidates will –

sustain a perceptive, convincing response…
demonstrate clear critical/analytical understanding.
show some originality of thought.
make much well-selected reference to the text.
respond sensitively and in detail to the way language works.

The very best will achieve all the above, with flair, imagination
and sophistication in addition.

© UCLES 2006
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B Band descriptors for Empathic Questions (imaginative/creative tasks)

There are three key elements to be looked for in responses to these questions:
• sound knowledge of what happens in the text
• an understanding/interpretation of this
• the use of an authentic voice or voices
It is possible that some candidates will shy away from assuming the voice and the
phrasing of some tasks, particularly those referring to the character’s thoughts,
may perforce allow this. Responses of this sort can sometimes show insight
despite not entering fully into the imaginative challenge. They should be assessed
on the strength of that insight rather than the band descriptors below.

0-1 The answer does not meet the criteria for a mark in the next band.
2-3 Candidates will show a little knowledge of what the character does.
4-5 Candidates will show some knowledge of what the character does and express some
view about the reasons for action.
6-8 Candidates will show some understanding of character through the aspects of the
text referred to. There will be a little mentioning of feelings and ideas.
9-11 Candidates will show a basic understanding of what the character does and thinks.
These ideas will show a little evidence of being expressed in an appropriate way.
12-14 Candidates will have a sound working knowledge on which to base their writing,
which will have features of expression which are suitable and appropriate to the
character or occasion.
15-17 Candidates will have a good knowledge and understanding and be able to use this to
produce writing expressed in a way which is largely fitting and authentic. The
character will be clearly recognisable through the voice assumed.
18-20 Candidates will use a full and assured understanding of the text to write in a manner
which expresses the thoughts, feelings and attitudes of the character with assurance
and insight. The voice assumed will be entirely appropriate for the character.

Marking Notes
In this syllabus, we aim at encouraging candidates to make some personal response
to their reading. This means that, while we may have legitimate expectations as to
the ground most answers may occupy, we must at all times be prepared to meet the
candidates on their chosen ground. It is to be hoped that candidates will see on
occasion other possibilities. In this exam, rigid demands for what must be in a good
answer must be guarded against. The photostat scripts circulated during
coordination will be crucial to maintaining the standard throughout the marking.
We must try at all times to tease out what the candidate is trying to say to us. It is
possible for a candidate whose technical command of English is limited, but whose
language still manages to communicate understanding, to receive high marks. Nor
should we reward fluency and display of knowledge of literary terms if we feel there is
little evidence of understanding. Remember that we are assessing literary response,
not language skills.
The notes that follow on the questions are for general guidance only, and are
not rigid prescriptions of required content. They need to be used in
connection with the generic band descriptors.

© UCLES 2006
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POETRY

1-9 Refer to the photostats and the band descriptors in arriving at your mark.

We will differentiate first of all according to how directly the candidates

answer the question but also according to how well they convince us that
they have engaged with the pleasure and excitement of good poetry. This
means in effect that we do not give good reward to any explanation of
"meaning" which shows little response to the words and how they create
meaning. In all of the questions there is an explicit invitation to make a
response to the words.

It will be noticed that all the questions prescribe the poems from which the
candidates should choose. This is to ensure that the candidate is writing on
a poem appropriate to the question. It is also designed to send a strong
signal to candidates that they are taking a large risk going into the
examination with only one or two poems which they are determined to fit to
one of the questions. We should be careful not to give much reward for
answers which manifestly are not addressing the question, even if they show
a convincing grasp of the poem. If the candidate chooses to write on a
poem not in the list, then this should be treated as a rubric infringement and
marked accordingly.

PROSE
Village by the Sea

Q.10 Refer to the photostats and grade descriptors when arriving at your mark.

The extract is full of appropriate words and phrases for candidates to

explore in responding to the question: ‘drag him out’; ‘laughed maliciously’;
‘he roared suddenly’; ‘A family of liars, no goods.’ These and several other
examples merit exploration and comment to show how the girls feel
frightened and threatened. Pinto’s reaction and the threats on his life also
add to the drama and help to reveal how distressing this episode is for the
girls. The feeling of helplessness and upset continues into the final
paragraph as the girls tell Hari of their frightening experience and feel
depressed and pessimistic about their situation. Those who engage fully
with the writing and in so doing bring out the force of Desai’s writing with
suitable support will deserve high reward. Those who simply paraphrase or
simply quote from the passage will receive only modest recognition.

Q.11 Refer to the photostats and grade descriptors when arriving at your mark.

We must remember to reward those most appropriately who recognise the

specific requirements of the question: make vivid for you and changes in
Hari’s life in the big city and respond accordingly in their answers. This will
involve exploring the kind of life Hari leads in Bombay; the people he meets;
his living arrangements; the bustle and excitement: all the differing
experiences and the contrast of all this with the rural close family life of the
village. Candidates will need to look at the situations that Desai creates
through her writing e.g. Coconut Day; his learning about watches and
repairing them; the dirt and busyness of the big city and its huge population;
the volume of traffic; the effect of the monsoon.

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Q.12 Refer to the photostats and grade descriptors when arriving at your mark.

Mrs de Silva can be very kind and considerate to the children and she can
also be very fussy and demanding in her requirements. The more high
achieving candidates will reflect these characteristics in their responses.
She is quite sophisticated, coming as she does from the city. She will surely
recognise the innate goodness of Hari and Lila and their honesty and polite
helpfulness. She will be sympathetic to their difficult situation with regard to
their parents; she may well be critical of Hari for leaving the family to go to
Bombay and she may also see the advantages that such experience will
bring him. Clearly, as the terms of the question imply, there will be much to
write about Hari and Lila and their relationship with Mrs de Silva, but the
highest reward should be reserved for those who do justice to the voice and
personality of this woman.

Great Expectations

Q.13 Refer to the photostats and grade descriptors when arriving at your mark.

There is so much to respond to here in terms of memorable description that

we should not expect candidates to cover everything in the passage. What
we should expect is that even adequate answers show engagement with
Dickens’s ability time and again to find the detail which creates an
immediate impact, Miss Havisham running at Pip with the flames as many
feet above as she is high, the disturbed beetles and spiders, the tinder that
had been her garments, and so on, details that so often seem to carry some
symbolic resonances. These relate to the existence which Miss Havisham
had chosen for herself and its consequences which result in the ghastly
fitness of her immolation. Of course, the wider the reference the candidate
manages to make, the higher the reward and we should certainly give such
reward to any that manage to probe the wider resonances alluded to above.

Q.14 Refer to the photostats and grade descriptors when arriving at your mark.

There is obviously a wide range of response possible here. Probably most

candidates will concentrate on Dickens’s portrayal of the more horrific
aspects of the city. Here indeed is the city which epitomised the squalor of
the new monster which was the modern city and which Dickens saw as
draining the life out of its inhabitants. Many will draw on Pip’s first encounter
with the city and in particular Barnard’s Inn but there are many other
moments in the novel which are pertinent to the task. Candidates who draw
on such pertinent detail and make apt comments should receive adequate
reward. However, the root of the task lies in the words memorable and
striking and we should not give higher reward unless the candidate shows
engagement with the power of Dickens’s vision. Might some of the better
candidates also detect the author’s revelling in the energy and life of this
teeming city? We should not expect this but certainly reward it highly if a
candidate penetrates to this central area of Dickens’s imagination.

Q.15 Refer to the photostats and grade descriptors when arriving at your mark.

A certain grim sardonic humour will no doubt characterise Jaggers’s view of

the young Pip as the young man embarks on his new life of affluent
independence. Right from the very beginning Jaggers makes it plain, at
least to the reader, that he sees himself as having no role in offering Pip

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guidance and help beyond handing out to him as much money as he wants.
We should beware giving much reward to candidates who make him into
some surrogate father figure. The only thing which gives Jaggers
satisfaction is to wield power over people, and to watch from a detached
standpoint whilst they endlessly re-inforce his view that all human beings are
corruptible. No doubt he will be looking forward to watching the corruption of
this young man, knowing upon what basis his new found ‘gentility’ stands.
We should give adequate reward to candidates who chart something of this
territory, and the nearer the candidate gets to Jaggers’s grimly wry voice as
he enjoys the power he has over this young man, the higher the reward.

The Siege

Q.16 Refer to the photostats and grade descriptors when arriving at your mark.

This is a relatively short passage deliberately chosen for the density of its
evocation of the effects of starvation and cold. Therefore, we should expect
for even adequate reward that the candidate responds to much of the salient
detail. What the writer is so good at highlighting is the hairbreadth that
exists in this extreme situation between life and death. It should be possible
for most candidates to do more than simply describe, to refer, for example,
to the aptness of the cold being seen as something which scorches and
penetrates like a knife. More insightful candidates will respond to the
mordant irony which pervades the passage, to the way, for example, in
which Dunmore describes the dead as bulbs waiting for the spring and the
imagery of war with which the extract ends. It is the cold, not the Germans,
which kills.

Q.17 Refer to the photostats and grade descriptors when arriving at your mark.

Be prepared to accept a wide range of possible choices which will include

the graphic descriptions of starvation, of the results of the cold and of violent
death. It may well be also that some candidates will choose to focus on
moments when Dunmore portrays the horrific way in which human beings
can behave when struggling to survive. Since there is so much material,
perhaps we should not be overly charitable to those who choose moments
which are only marginally apt. Throughout, we are most likely to
differentiate by concentrating on the last part of the task, which requires that
the candidates engage with the writing and bring out how Dunmore conveys
the horror. Only those who do so should receive high reward, particularly
since the material is the candidate’s choice.

Q.18 Refer to the photostats and grade descriptors when arriving at your mark.

This last picture of Evgenia in the novel sums up her personality. Here she
is, a red haired symbol of defiance, a survivor if ever there is one. Not for
one moment, even in the most desperate moments of the winter, is there
any real doubt that she will be there in the Spring. And here she is,
manifestly relishing the sun and the exercise of digging and planting and
looking forward to the future with optimism. Neither the Germans nor the
winter have beaten her down. She does not know what weakness is, she is
fiercely independent and down to earth. Notice how Dunmore has her
resenting being watched. For all the fact that the men see her as the
epitome of Soviet woman, she is anything but that. Not for her the party line.
She is something far less ephemeral, a woman of the Russian earth, a calm,

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unhurried, indefatigable personality. The more candidates manage to

capture in her speech her infinite good cheer and her wry way of thinking,
the higher the reward.

Travels with My Aunt

Q.19 Refer to the photostats and grade descriptors when arriving at your mark.

In some ways Miss Keene and Henry are so alike, particularly in matters of
the heart, lost and indecisive to a degree. Miss Keene is utterly dependant
on other people and what they tell her. See how her attitudes towards
racialism are being changed. Her drifting loneliness is so sad, yet she
cannot say clearly what she feels and Henry is the last person in the world to
act on what to the reader is manifest. Miss Keene would come home like a
shot if Henry proposed that she should and offered her a future but, of
course, he will not, particularly after receiving Aunt Augusta’s imperious
summons. Even the notepaper reflects her ability to use anything to hand to
impress and command. Candidates who capture the central differences of
outlook should receive adequate reward but for something better we should
expect them to explore how the language and its tone conveys the
personalities of these two very different women.

Q.20 Refer to the photostats and grade descriptors when arriving at your mark.

There are a number of figures who might qualify for this task. Wordsworth
and Visconti will probably be the most popular but there are others, some of
whose special lines in dishonesty are only reported, like Curran of the
Canine Church. However, as so often in this kind of question, we shall
differentiate according to how well the candidates manage to show they
have engaged with the obvious pleasure Greene derives from the cheerfully
and outrageously immoral and the way in which he makes these characters
at times delightful. They are certainly much more likeable, as they struggle
to make a dishonest penny, than the forces of law and order who pursue
them. We shall give adequate reward to all those who can cover some of
this territory but expect the good candidate to be able to show how this is
conveyed in Greene’s words.

Q.21 Refer to the photostats and grade descriptors when arriving at your mark.

What clearly we should not get as far as content is concerned are the
thoughts which characterised Henry Pulling, the retired bank manager. Here
is a man who is in the process of embracing, apparently with no moral
qualms, a new life in partnership with the crooked Visconti, about to run a
business smuggling drugs. Perhaps as important is the widening of his
horizons in regard to the opposite sex, which, as the end of the novel makes
plain, he sees as offering delights very much on his own terms. One of the
most evident features which delights Henry is that the Chief of Customs’
daughter appears to be obedient. There may be some range of material
depending on the precise point at the end of the novel from which the
candidate chooses to write and we should not be too demanding in regard to
what is chosen. However, for high reward we should be looking for a tone of
voice which remains that of Henry Pulling, the bank manager. The last
paragraph of the novel is amusing because the tone of voice is still that of
middle class England issuing a quarterly financial review.

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The Getting of Wisdom

Q.22 Refer to the photostats and grade descriptors when arriving at your mark.

Here Richardson has Laura take a very different line from the way she acted
previously. Although the attacks and insults are less virulent, they still occur.
But now Laura becomes more devious and is much more ready to look after
herself. Richardson’s writing is colourful and vivid: ‘Then, in her raw timidity,
she had bowed her head beneath it; now, she could not be so lamb-like’.
She now lays the blame on her companions’ shoulders; she sees their
injustice; she even becomes a rebel. She develops ‘an unholy pleasure to
mock, in secret, at all they set store by’. She has created a strategy to deal
with her contemporaries. In the final paragraph of the extract, she decides
to become ‘A horrid little toady’, do ‘dirty jobs’ and absorb injuries and
pretend not to feel them. There are many examples of Richardson’s pointed
and partial writing which exemplify Laura’s new-found way of dealing with
the malicious treatment she has to endure. Candidates who engage fully
with the words and show their effect on the picture that Richardson seeks to
create should gain high reward. We should beware of those who give
plausible but superficial responses which avoid close exploration of the
power of the writing.

Q.23 Refer to the photostats and grade descriptors when arriving at your mark.

Much useful and relevant material is to be found in Chapter 16. Mr

Shepherd is clearly spoilt, fractious, overbearing and thinks a great deal of
himself. He seems very concerned over small matters and expects to be
waited on and ministered to by his wife. His sister aids and abets his selfish
and demanding attitude. Thus Mr Shepherd - Robby - is presented by
Richardson as something of a caricature. Candidates who have the insight
to see the true ‘Robby’ and support their comments with appropriate
quotation and reference will deserve high reward. As always it is important
that differentiation be made through the degree to which candidates engage
with the writing.

Q.24 Refer to the photostats and grade descriptors when arriving at your mark.

Laura at this point at the end of her schooldays will take a more thoughtful
and mature view of her mother. She will look back over her differences with
her; she will remember how she thought about her; how ashamed she was
of her and of the lies she told about her. But, finally, she will surely think of
her in a kindly, grateful way. She will remember her prayers to God for her
mother and how she prayed for her own success in the examinations, not for
herself, but for her mother: ‘What she had implored of Him touched Mother
even more nearly than herself: her part prayer to Him had been to save
Mother – whose happiness depended on things like examinations – from a
bitter disappointment.’. Candidates who capture Laura’s voice and engage
with her relationship with her mother in the early years and see it through to
her leaving school should score well. The relationship is in some ways a
complex one and we should reserve the highest reward for those who
grapple with its complexity.

© UCLES 2006
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The Bonesetter’s Daughter

Q.25 Refer to the photostats and grade descriptors when arriving at your mark.

Though there is no requirement to refer outside the passage, it is likely that

better answers will allude to Precious Auntie’s premonition of danger
immediately beforehand and also to the refusal of the proposal from the
Chang family. Though weaker answers will probably fall into the trap of
merely retelling the incidents, which are dramatic in themselves, for higher
marks we should expect exploration of some of the ways in which they
shape the rest of the lives of Precious Auntie and, indirectly, LuLing and
Ruth. We should also expect exploration of how the events are presented
by the use of Precious Auntie’s viewpoint and through the writing. One
particularly moving example is in the way in which the death of Baby Uncle
is presented through the sound only, and the way in which this sound
reverberates for the rest of Precious Auntie’s life. Her despair is also very
affecting and extreme – she has to be bound to prevent her harming herself,
‘like a butterfly stuck in its cocoon’, and her swallowing of the hot ink is
shocking but also has a sense of inevitability. This, of course, mutilates her
and destroys her power of speech, which in its turn has a profound effect on
LuLing.

Q.26 Refer to the photostats and grade descriptors when arriving at your mark.

The Bonesetter’s Daughter as title for the novel makes Precious Auntie the
central character – everything radiates from her and her diaries. There may
well be a little overlap with the previous question, but here the focus is
specifically on the Bonesetter and there is only a very little of the passage
that will be relevant. Bones themselves are objects of superstition – the
oracle bones feature at several points in the novel, and also the Bonesetter
grinds up bones for medicine, a skill that has been passed down through his
family for 900 years. Most answers will trace the references to how his skill
in helping and curing people brings him fame in a poor economy where men
needed to work in the quarries to survive; and how he passes on much of
his knowledge to Precious Auntie who collects bones some of which she
believes to be dragon bones (but which turn out to probably be parts of
Peking Man) for him from the secret cave. Because of the respect he is held
in she attracts the interest of the Changs, which in turn starts the chain of
events which begin in the passage. Though he dies at an early point in the
novel, his influence is seen later when the Changs again try to organise a
marriage with LuLing purely to gain access to the secret of the dragon
bones, and the oracle bone eventually provides her passage to America.
Better answers will not only narrate or give a prepared character sketch but
will see the pervasiveness of his influence in the consciousness of history
and inheritance felt by the characters. Precious Auntie has a close
relationship with her father and it could be said that her strength of character
and that of her daughter come directly from him.

Q.27 Refer to the photostats and grade descriptors when arriving at your mark.

The incident occurs in Section 5 of the novel. Ruth’s panic at the

disappearance of LuLing is described fairly graphically and she will no doubt
be reliving this as well as going over events of the past few days, such as
the hospital visit, and speculating on the way forward for LuLing and herself.

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As ever, the key to a good answer will be the creation of a convincing voice,
and the best answers will convey something of the ambivalence of Ruth’s
feelings for her mother. Though she is clearly responsible and devoted,
some of the antagonism and frustration that has always been present, will
no doubt be communicated.

Into the Wind

Q.28 Refer to the photostats and grade descriptors when arriving at your mark.

Much of the passage continues the struggle that, despite becoming in the
eyes of the Crow one of them, Horse has had in understanding what to a
white man are often hideous and barbaric customs. This makes the central
surprise all the more dramatic, the decision that he takes at the end of the
story to remain with the tribe for a further three years instead of seeking his
freedom, as he is now entitled to do even by Crow law. For an adequate
mark we should expect candidates to see what makes this so moving in that
it is the moment when Horse at last is able to understand and make close
human contact with Greasy Hand, so close in fact that the only solution is to
act against all his self interest. Better answers will be able to put the
moment firmly in a more detailed context.

Q.29 Refer to the photostats and grade descriptors when arriving at your mark.

Most are likely to write on the O’Connor story. Here the gap between the
boy’s expectations and perceptions and the reality of adult life is amusingly
clear at every turn. On the other hand, perhaps we should recognise that in
the Rhys short story Selina’s ability to make sense of her world is so minimal
that at times the reader too struggles to know what is going. Therefore we
may need to be charitable to candidates as they chart their way through this
story. What we should demand in both instances even for adequate reward
is that the answer does more than tell the story and attempts to engage with
the ways in which the writer vividly portrays the bewilderment of the
protagonist. The more the candidate is involved in conveying the power of
the writing, the higher the reward.

Q.30 Refer to the photostats and grade descriptors when arriving at your mark.

Cold malice and a quiet pleasure at the prospect of revenge may well fill the
mind of Lellie as she goes about the business of ensuring that Duncan never
makes it back to safety. Central to any pleasure will be the knowledge that
you have outwitted this man who regarded you as almost a mindless slave
to his superior intelligence and who murdered the man who was kind and
thoughtful towards you. You will no doubt be pleased to know that in his last
moments Duncan will see who was superior. Adequate reward should go to
those who convey the central situation but the best will manage to capture
the calculating and coldly mechanical nature of her thought processes as
exemplified by the end of the story.

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DRAMA

Absent Friends

Q.31 Refer to the photostats and grade descriptors when arriving at your mark.

In some ways Colin is the acid test of a candidate’s grasp of the play. It has
been known for him to appear in answers as the hero of the play, in other
words for candidates to miss entirely the playwright’s scornful irony. He is,
of course, the epitome of egocentric self satisfaction, completely certain of
his moral integrity and of the acuteness of his perception. The result is that
he is quite oblivious to the frequency with which he utterly mistakes the
situation and says things which offend and hurt and make that situation
worse. There are an number of instances of this in this extract which
candidates will latch onto, for instance, his perception, probably untrue, that
he was a serious suitor of Diana, followed by his hopeless analysis of
Evelyn’s marriage. Some grasp of the central point of his character with
support from the passage should be enough for adequate reward. Better
answers will show engagement with Ayckbourn’s wicked wit as he charts
Colin’s obliviousness both to the ripples he is creating and to the acidness of
one or two of the responses. One of the thoughts raised at the end of the
passage is just how lucky Carol was in avoiding marriage to this man, that is
if it would ever have come to that. One finishes by wondering about the
reality of the memory which he so lovingly burnishes.

Q.32 Refer to the photostats and grade descriptors when arriving at your mark.

There is much that could be said on both sides here but, given that Diana is
married to a beast of a husband who has had an affair with the despicable
Evelyn after many other infidelities, has removed her children from her in the
name of education and generally ignores her, many will no doubt think her
much to be pitied. On the other hand, some might find her something of a
limp, ineffectual woman with an inferiority complex who has never stood up
for herself and simply dreamed about joining the Canadian Mounties! Still,
we are witness perhaps to a watershed when she empties the cream over
Paul and one wonders what the future holds as she leaves the stage for the
last time. As usual we shall differentiate according to how well the candidate
uses the material of the play to re-inforce whatever stance is taken.

Q.33 Refer to the photostats and grade descriptors when arriving at your mark.

This should provide plenty of opportunity for the imaginative. Evelyn is one
of the most amusing characters in the play with her scornful view of
everyone at the party and her seething discontent with her present life. In a
way she is a sharply observant young woman who sees all too clearly the
prison in which she is living. She is clearly bored out of her skin, ready to try
anything which might give some variety to her life. Why else should she
have consented to sordid and, if she is to be believed, highly unsuccessful
sex with Paul? Of course, she is also an extremely selfish young woman
who cares for no one, not even apparently her child. Adequate reward
should go to those who choose something of the above material but we
should reserve high reward for those who capture her characteristic tone of
sarcastic contempt for all and sundry.

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Cuba and Doghouse

Q.34 Refer to the photostats and grade descriptors when arriving at your mark.

There are two main elements which make this such a moving little scene.
One is obviously Pats’s desperate attempts out of family loyalty and pride to
cover what she knows must be plain to anyone, that she is the victim of the
most dreadful abuse. The other is the delicacy and compassion with which
Ger handles the situation and at the end ensures that Pats has some
opportunity briefly to escape and to make a new acquaintance. A grasp of
the central situation with some pertinent support should be enough for
adequate reward. The more detailed the candidates become in their
exploration of how the dialogue suggests the unspoken knowledge that
exists between the speakers and how this makes the scene so moving, the
higher should be the reward.

Q.35 Refer to the photostats and grade descriptors when arriving at your mark.

There is not much that can be said that is specific about this task since it will
depend first of all on the candidates making an apt choice, one which allows
them ample opportunity to engage with the drama of the moment. This, of
course, will be the key to the kind of reward we shall give. We should
expect even for an adequate mark that the candidate shows an ability to
respond to the text as drama. It will not be enough simply to describe; there
must be some evidence of understanding how the dramatist manipulates the
audience’s feelings. The more surely the answer is rooted in this approach
and the greater the insight, the higher the reward.

Q.36 Refer to the photostats and grade descriptors when arriving at your mark.

Miss Arthur will no doubt be a saddened and embittered woman. She is the
one adult in the play who has some understanding of the terror felt by the
young girls at the prospect of nuclear war. Whilst she might have had some
understanding of the traditional and class base of the school in which she
works, it is unlikely that she can have conceived that the management
response to the girls’ actions would be what it is. Even more devastating
would be the recognition that the man she was engaged to is a man of
straw, simply a younger version of Cairncross and part of the male middle
class consensus. Recognition of her views should be enough for adequate
reward but for something better we should hope that candidates will convey
her outrage and fury at the way the girls have been treated and the way she
would be distraught at the collapse of all her hopes, both in terms of her
career and of her personal life.

Macbeth

Q.37 Refer to the photostats and grade descriptors when arriving at your mark.

The point to make about this task straightaway is that it requires the
candidate to engage with the way drama makes its effect. We should not
give much reward to those answers which simply describe what is going on
without reflecting upon its dramatic impact. Here, right at the beginning of
the play, the audience is pitchforked without any attempt at explanation into
the dark and mysterious world of the dark spirits, a world which is pervasive

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throughout the play. In addition, in the Captain’s dramatic description the

audience gets both an idea of a kingdom convulsed in civil war and its first
sighting of Macbeth, a sighting which on one level is intended to laud his
patriotic loyalty but which also leaves an indelible picture of the savage
strength and violence which lies at the centre of the man. In the main we
shall differentiate in the higher areas according to how deeply the
candidates become engaged with the drama of the words in this opening to
the play.

Q.38 Refer to the photostats and grade descriptors when arriving at your mark.

Character sketches which occasionally connect with the question should not
receive much reward. The question does not ask whether we pity Macbeth.
It starts from the position that in some way we do and we should hope that
most candidates will be able to isolate elements in the play which cause the
audience to do so. Most likely many will refer to such things as the element
of persuasion to which Macbeth is subject, the desperate state into which he
lapses once he has murdered the King, and the dreadful wasteland which
his spirit enters as he descends into barbarity. Perhaps, some of the best
candidates may argue that our pity is particularly linked to the characteristics
which pick out Macbeth as a man truly above the common, someone at
times of remarkable imagination and feeling. Unlike his wife, he sees all too
clearly the consequences of taking the path to regicide. However, in
general, we shall differentiate according to how pertinent and detailed is the
support to the argument.

Q.39 Refer to the photostats and grade descriptors when arriving at your mark.

Macduff from the very beginning guesses that Macbeth had a hand in
Duncan’s murder and there are a number of reported references to his
reactions to Macbeth becoming King as the text unfolds. His defiance
grows, he refuses to go to the coronation and is referred to as a potential
rebel asking Malcolm to raise a force. Therefore, there cannot be much
doubt about his thoughts in that respect. What is the grey area is the way
he leaves his family to the mercy of Macbeth. Does he believe that they can
be in no danger when all his other reported thoughts and what he says to
Malcolm suggests that he is under no illusions as to Macbeth’s murderous
nature? Or does he believe that national imperatives are more important
than personal ones? There can be no absolute answer to this nor should we
expect assumptions of Macduff’s forthright character to go into this territory.
However, we should give high reward to those who do and, of course, not
give much to those who think that at this stage he knows his family has been
murdered.

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Twelfth Night

Q.40: Refer to the photostats and the band descriptors when arriving at your mark.

It will be difficult to answer this question without reference to the plotting of

Sir Toby and Maria and the others to take Malvolio down a peg or two. Here
he shows that he has followed to the letter the instructions in the fake letter,
with hilarious results. The best answers will show a keen awareness of the
visual comedy of the scene as well as examining the dialogue in detail,
cross referencing the instructions to those given in the letter and highlighting
Olivia’s complete bewilderment and the mutual misunderstandings. Maria’s
reactions will also provide material for speculation – she is the author of the
plot, but does not speak here. The best answers will examine the language
of the extract in the detail.

Q.41: Refer to the photostats and the band descriptors when arriving at your mark.

More is required here than a straight character sketch of either Viola, Olivia,
or both; some measure of comparison and evaluation is necessary.
Superficially, there are similarities: both are high born, cultured, strong-
minded (up to a point in Olivia’s case) and capable of deep feeling. It is
probably that candidates will find the major differences in their attitudes to
love. Viola’s passion for Orsino is generous and self-denying to an extreme,
and though quick to begin, seems to be based in understanding of his
nature. Olivia falls in love at first sight, and whilst there is no doubt of his
sincerity, she seems to be over-influenced by physical appearance since
she is able to switch to Sebastian without a qualm. It is not quite so simple,
however, since what first attracts her to Cesario is the eloquence with which
‘he’ woos on Orsino’s behalf. One might also take the view that Viola’s
judgement is questionable in that Orsino seems a poor object for her
affection. Allow candidate to take whatever line they wish, provided that it is
supported by close reference.

Q. 42. Refer to the photostats and the band descriptors when arriving at your mark.

The duel occurs towards the end of Act 3. The duel has been interrupted by
the entry of Antonio, who mistakenly takes Viola for Sebastian and defends
her against Sir Andrew. Sir Toby’s plans have been thwarted and he will
also be in a state of some mystification. In the meantime the imprisonment
of Malvolio is taking place and Sir Toby might be expected to have this on
his mind too. The key, as ever, is in the assumption of the voice and the
tone and mood of the character.

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The Devil’s Disciple

Q.43 Refer to the photostats and grade descriptors when arriving at your mark.

This should, in essence at least, be a fairly straightforward task in that there

can be little doubt as to the central feature of this relationship. It is quite
unlike that of husband and wife, it is more that of a father and daughter.
That would not be so laughable had in the previous Act Judith not played the
role of instructress and self appointed protector of Essie from Richard. Here
she behaves just like a little girl herself who needs to be cosseted at every
moment. As the dialogue makes plain, Anderson rather enjoys playing the
role of her manly protector as he continually condescends to her and, of
course, hides many an unpalatable fact from her, not least about his real
character. An understanding of the basic situation with apt support should
be enough for adequate reward. The more wide-ranging the detail from the
passage, the higher the reward. It may be that better candidates will also
show themselves by probing the degree of Shaw’s scornful irony as he
portrays a marriage common in the new drama of Ibsen, that of the wife who
is both a child and content to be treated as one by her hero-worshipped
husband. Only after Judith’s experiences with Richard does some dawning
of adulthood occur.

Q.44 Refer to the photostats and grade descriptors when arriving at your mark.

Anderson’s dramatic change of roles in Act 2 will probably be at the centre

of most answers and some examination of what makes this dramatic with
relevant support should be enough to gain adequate reward. As usual,
character sketches which do not make the next step into engaging with the
drama should not be so rewarded. Perhaps, though, we should look for a
more rounded response before going higher because right from the very
beginning in Act 1 Anderson seems much more interesting than the run of
the mill Puritan pastor. His marriage and the very fact that Mrs. Dudgeon
disapproves of him is enough to raise his dramatic profile, as is his reaction
to Richard, which is not at all what one might expect. As usual, the wider
the reference and pertinent support, the higher the reward.

Q.45 Refer to the photostats and grade descriptors when arriving at your mark.

Richard is a heroic life saver for Essie and we should not expect a great deal
of subtlety in any assumption of this supremely grateful girl. She may well
recall the grim days of her upbringing with Mrs. Dudgeon from which she
was rescued so dramatically, only for it all to turn to ashes when Richard
was arrested and sentenced to death. Now, though, everything is wonderful
and no doubt many answers will gush over the wonder of it all. Good
answers will capture the starry eyed optimism of this girl at the end of the
play and her child-like tones. I’ll be good, she says in her last speech as she
trots off to see the soldiers.

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A Streetcar Named Desire.

Q.46 Refer to the photostats and grade descriptors when arriving at your mark.

Stella takes a very thoughtful and understanding view of Blanche. She is

concerned about her feelings and wants to do nothing that would upset her.
In this she is in sharp contrast to Stanley. He is cynical: ‘Well, isn’t that just
dandy?’ ‘Over what?’ ‘Yeah?’ He is anxious to know more about Belle Reve
as he clearly suspects some plot on Blanche’s part. He is totally impervious
to Stella’s requests for sympathy for Blanche and shows his suspicious,
unfeeling side. He has little time for Blanche’s feelings or her quest for
special treatment. Almost every line in the extract highlights the gulf
between Stella and Stanley in their feelings about Blanche. Candidates who
explore the writing meticulously and evaluate its impact in the scene with
appropriate reference and inference will very likely merit the highest reward.
Pedestrian trawls through the dialogue should be given only modest
recognition.

Q.47 Refer to the photostats and grade descriptors when arriving at your mark.

Blanche is vulnerable in so many ways because in seeking to deceive

others, she deceives herself. She pretends to be the fine, delicate lady and
yet has baser instincts. She flirts with the gauche young man in Scene 5;
she flirts even with Stanley. She re-writes history, pretending her
experiences and past life are quite different from what they are. Much of her
character is based on pretence and seeking to give the impression that she
is much more than she actually is in the way of attractiveness and social
position. She reveals her feelings of superiority when she dismisses Eunice
and the help of the black woman in the opening scene. She looks down on
Stella’s apartment and regards it as inferior. Her pretentious attitude
pervades much of the play and she tends to crumble when she is faced with
reality. She seeks to hide her past and becomes embarrassed when faced
with facts that might reveal her previous history, for example, when Stanley
mentions a man called Shaw who had allegedly met her in Laurel. She is
reliant on alcohol to a large extent. All this suggests that Williams has
created a character who makes false claims, who deceives and who cannot
face reality. Perhaps had Blanche been straight and honest with herself her
many misfortunes may have been avoided. However, Blanche is Williams’s
creation and candidates must deal with her as she is. There is much
material throughout the play to show that, given her character, Blanche is to
a considerable degree responsible for her fate. But then could she have
avoided it? Candidates who dwell on this last point and discuss it insightfully
will deserve high reward. There are opportunities here for considerable
perspicacity to be shown. More mundane answers will concentrate on
Blanche’s faults and foibles and in so doing should receive adequate
recognition.

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Q.48 Refer to the photostats and grade descriptors when arriving at your mark.

Expect a variety of responses to this question which will take rather differing
views of Stanley. We should be prepared to consider each on its merits.
Stanley is macho man. He thinks well of himself, is a leader amongst his
male friends and thinks of himself as attractive to women. He can be a bully
and show little mercy especially when he senses pretence or deceit. But
there is a tenderer side to Stanley particularly in his treatment of Stella. The
play ends on Stanley being a very different figure as he comforts Stella in a
loving and sensitive way. We may well expect, therefore, that some
candidates will see a change in Stanley compared with how he has been
portrayed for much of the play and bring out this more sympathetic side.
There will be others who will have the grasping, mean-spirited Stanley
showing little but contempt for Blanche and no regret at the way he has
treated her. Perhaps we may well see the very best answers as those which
capture Stanley’s ungrammatical drawl which in itself tells us a good deal
about him. We can certainly look forward to some very interesting answers.

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