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Coursework Training
Handbook
Cambridge IGCSE®
Literature (English)
0486
Cambridge Secondary 2
Cambridge International Examinations retains the copyright on all its publications. Registered Centres are
permitted to copy material from this booklet for their own internal use. However, we cannot give permission
to Centres to photocopy any material that is acknowledged to a third party even for internal use within a
Centre.
® IGCSE is the registered trademark of Cambridge International Examinations.
© Cambridge International Examinations 2014
Contents
Introduction ........................................................................................................................... 1
Advice and guidance
Accreditation
Responding to applications
Further help
Section 1: About the written coursework component ......................................................... 3
1.1
1.2
1.3
1.4
Syllabus overview
Content of the coursework portfolio
The advantages of coursework
Scheduling coursework
Section 2: Task-setting......................................................................................................... 7
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Syllabus aims and objectives
Assessment objectives
General observations about task-setting
Examples of unsuitable critical tasks
Examples of unsuitable empathic tasks
Examples of suitable critical tasks
Examples of suitable empathic tasks
Section 3: Standards.......................................................................................................... 13
3.1 General comments
3.2 Characteristics of successful assignments
3.3 Characteristics of less successful assignments
Section 4: Examples of coursework assignments ............................................................ 15
4.1
4.2
4.3
4.4
4.5
Portfolio 1, Assignment 1
Portfolio 1, Assignment 2
Portfolio 2, Assignment 1
Portfolio 2, Assignment 2
Further examples (single assignments)
Section 5: Supervising coursework.................................................................................... 31
5.1 General observations
5.2 Plagiarism
5.3 Length of assignments
Section 6: Moderation ....................................................................................................... 33
6.1
6.2
6.3
6.4
6.5
6.6
6.7
6.8
Marking and annotation
Linguistic accuracy
Presentation
Individual Candidate Record Cards
Examples of teacher comments on the Record Cards
The process of internal moderation
Practical approaches for departments with two or more teachers
Preparing the portfolios for external moderation
Section 7: Accreditation ..................................................................................................... 37
7.1 How to apply for accreditation
7.2 Using the assessment criteria
7.3 Assessment criteria for coursework
Accreditation Task A
Accreditation Task B
Accreditation Mark Sheet template for Task C
Section 8: Sample portfolios for accreditation ................................................................... 45
Portfolio A, Assignments 1 and 2
Portfolio B, Assignments 1 and 2
Portfolio C, Assignments 1 and 2
Portfolio D, Assignments 1 and 2
Portfolio E, Assignments 1 and 2
Appendix 1: Individual Candidate Record Card .................................................................. 59
Appendix 2: Coursework Assessment Summary Form .................................................... 61
Introduction
Introduction
Advice and guidance
This handbook provides a guide to the written elements of the coursework portfolio, Component 5, in the
Cambridge IGCSE Literature (English) syllabus (0486).
It offers advice and clarification on:
•
the requirements of the portfolio
•
assessment standards
•
marking learners’ assignments
•
preparing the portfolio for external moderation.
Accreditation
The coursework component of Cambridge IGCSE Literature (English) 0486 is marked by Centres themselves
and it is a requirement that each Centre has at least one registered, accredited coursework assessor to
ensure that marking within the Centre is both accurate and consistent. There are two routes to becoming an
accredited coursework assessor.
Accreditation by prior experience
If you have enough experience of education and assessment, particularly assessment of coursework, you
may be suitably qualified to obtain accreditation without needing to complete coursework assessor training.
If you are in this category you should send a full and detailed CV to the address below.
IGCSE Accreditation Coordinator (EDM)
Cambridge International Examinations
Cambridge Assessment DC10
Hill Farm Road
Whittlesford
Cambridge
CB22 4FZ
United Kingdom
You can also send your CV by email to info@cie.org.uk. Please be sure to type ‘IGCSE Teacher Accreditation’
in the subject field.
Ensure that your CV includes the following information:
•
positions held and the roles carried out whilst in those positions
•
qualifications
•
teaching experience (including examination boards and syllabuses)
•
experience of coursework, moderation and moderation training
•
any further relevant experience.
If your experience is not yet sufficient to use the CV route or if your CV application has already been
unsuccessful, you can apply by completing the coursework assessor training in this Coursework Training
Handbook. Remember to leave sufficient time to undertake the training if your application by CV is
unsuccessful and in the event that you might need to resubmit after your initial application using the
handbook route.
Cambridge IGCSE Literature (English)
1
Introduction
Using the Coursework Training Handbook to achieve accredited status
In order to apply to become an accredited coursework assessor using this handbook, please follow the
instructions below.
•
Work through the advice and guidance in Sections 1–7 of this handbook.
•
Carry out the three accreditation tasks:
–
Task A: a task-setting exercise
–
Task B: an exercise on filling in the Individual Candidate Record Card
–
Task C: assess the five portfolios in Section 8.
•
Copy the Coursework Assessor Accreditation Cover Sheet in Section 7. Include your personal details
and sign the form to confirm that the work you are submitting is your own.
•
Copy the mark sheets for Tasks A and B, complete the tasks and fill in your answers in the spaces provided.
•
Make five copies of the Accreditation Mark Sheet template for each of the five accreditation portfolios.
Fill in your marks and comments as indicated.
Finally make a copy (either by photocopying or scanning) of all of the completed forms for your own records
before sending the originals to the IGCSE Accreditation Coordinator either at the address on the Cover Sheet
or alternatively you can scan and email them to info@cie.org.uk. Please put ‘IGCSE Teacher Accreditation’ in
the subject line of your email.
Responding to applications
Please allow 4–6 weeks for the Moderator to assess the work and to inform you of the outcome.
You will be notified of the outcome of your application by post. Where your application has been successful,
you will receive a certificate and a feedback report. Where accreditation has not been awarded, you will
receive feedback on how you might improve your performance and will be invited to try again. Applications
can be submitted as many times as necessary to secure accredited coursework assessor status but there
will be an administrative fee each time.
If your application has not been successful this does not mean that you will not be able to continue to teach.
It simply means that you should not moderate the marking of other teachers in your school.
Further help
We hope that this Coursework Training Handbook will provide a thorough introduction to the requirements
and criteria for the assessment of coursework in IGCSE Literature (English) 0486. However, if you have any
further questions or difficulties, please do not hesitate to contact Cambridge.
Please send queries to the address below
Customer Services
Cambridge International Examinations
1 Hills Road
Cambridge
CB1 2EU
United Kingdom
Telephone: +44 1223 553554
Fax: +44 1223 553558
Email: info@cie.org.uk
Website: www.cie.org.uk
2
Cambridge IGCSE Literature (English)
Section 1: About the written coursework component
Section 1: About the written coursework component
1.1 Syllabus overview
Cambridge IGCSE Literature (English) candidates take Component 1 and either Component 2 or
Components 3 and 4 or Components 3 and 5.
Components
Weighting
All candidates take
Component 1
Poetry and Prose
50%
1 hour 30 minutes
Candidates answer two questions on two texts: one poetry and one prose.
There is a choice of two questions (one passage-based and one essay) on each
text.
50 marks
Externally marked
and either:
Component 2
Drama
50%
1 hour 30 minutes
Candidates answer two questions on two texts.
There is a choice of two questions on each text: (one passage-based and one
essay) on each text.
50 marks
Externally marked
or:
Component 3
Drama (Open Text)
and:
45 minutes
Candidates answer one question on
one text.
Component 4
Unseen
1 hour 15 minutes
Candidates answer one question.
There is a choice of two questions
(one passage-based and one essay)
on each text.
There is a choice of two questions
requiring critical commentary
(one based on literary prose and one
based on a poem or extract of a poem).
25 marks
25 marks
Externally marked
Externally marked
25%
+
25%
Cambridge IGCSE Literature (English)
3
Section 1: About the written coursework component
or:
and:
Component 3
Drama (Open Text)
45 minutes
Candidates answer one question on
one text.
Component 5
Coursework
Candidates submit a portfolio of two
assignments each on a different text.
25%
+
25%
There is a choice of two questions
(one passage-based and one essay)
on each text.
25 marks
25 marks
Externally marked
Internally assessed and externally
moderated
1.2 Content of the coursework portfolio
The requirements listed below form a basic checklist, which teachers are encouraged to use.
Candidates submit two assignments.
The assignments must be on different texts.
The texts may be from the same form: drama, poetry or prose.
The texts must be equivalent in scope and demand to the texts set for examination.
Texts must be originally written in English. Texts translated into English are not permitted.
One of the assignments may be on a text set on Papers 1, 2 or 3.
The recommended guidance for word limits is 600–1200 words for each assignment – including
quotations, but excluding references/bibliography.
Each assignment should be based on the study of a complete text: e.g. play, novel or novella.
Assignments based exclusively on particular scenes or chapters are not acceptable.
Assignments on short stories must include detailed reference to a minimum of two short stories.
Assignments on poetry must include detailed reference to a minimum of two poems (unless the
poem is a lengthy one such as Coleridge’s The Rime of the Ancient Mariner).
There is no requirement to compare stories or poems, as can be seen from the assessment criteria.
One of the assignments may be an empathic response to a prose or drama text (see page 29).
The phrasing of each assignment’s title must allow for assessment in relation to all four assessment
objectives. The full assignment title must appear clearly at the top of the assignment.
Candidates should list references to secondary source material at the end of the assignment.
Each page of each assignment should contain evidence of teacher annotation. Brief summative
comments drawing on the wording of the assessment criteria should appear at the end of
assignments and in the space provided for the teacher’s comments on the Individual Candidate
Record Card. The audience for these comments is the moderator.
Evidence of drafting should not be included in the portfolio.
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Cambridge IGCSE Literature (English)
Section 1: About the written coursework component
1.3 The advantages of coursework
Coursework allows teachers greater flexibility and a degree of creativity in the way they design and deliver
courses. Texts and tasks can be chosen which complement the study of the examination texts and which
take into account the interests and abilities of learners, as well as the literary enthusiasms of teachers.
Coursework allows learners to re-draft their written responses, developing skills such as critical thinking,
editing and proof-reading, which will benefit them in other areas of the syllabus, in other subjects and in
future stages of their education. Coursework helps learners to develop the writing skills necessary for
producing informed personal responses to literary texts and enables them to demonstrate the quality of
work they can produce away from the pressure of the timed examination.
For those taking the coursework option, the 0486 examination Components 1 and 3 together require the
study of three texts: one Poetry, one Prose and one Drama. A coursework text could be another book by
an author studied for the examination, or a text which explores in a different way a theme encountered in
one of the examination texts. Careful selection of texts should help Centres to fulfil the first aim listed in the
Syllabus: ‘enjoy the experience of reading literature’.
Highly successful responses see learners drawing upon a wide range of pertinent textual reference, which
they have selected themselves, leading to more precisely focused analytical comment in the case of critical
responses. Moderators would not wish to see all candidates from a Centre making the same series of
points in the same order with the same textual references.
The coursework option is designed to encourage wider reading, and for this reason at least one of the
assignments must be on a text not studied in the examination. Adopting a minimalist approach to the reading
required would not be in the spirit of the syllabus. For example, Centres teaching poetry for an assignment
often encourage their learners to select two poems to write about from a wider selection of poems.
1.4 Scheduling coursework
Since the aim of the coursework option is to encourage a flexible response from the Centres who opt for it,
too much prescription would be counter-productive. However, the following general comments, based on
the experience of Centres, might be found useful.
Careful consideration needs to be given to the scheduling of coursework assignments within the overall
course. Setting them at the very beginning of the IGCSE course may not lead to learners producing their best
work. During the early stages, they might be offered opportunities to develop their writing skills by producing
short responses to extracts from the texts they are studying. Without undertaking introductory work of this
kind, it is likely to prove difficult for learners to produce sustained personal responses to complete texts.
Put another way, coursework is likely to be more successful only after learners have developed confidence
in their writing skills. Because of this, candidates are likely to produce their best coursework later in the
course. On the other hand, it is prudent, perhaps, not to schedule too much coursework during the later
stages of the course when learners should be devoting their energies to preparing for the examination units,
which have a combined weighting of 75 per cent of the overall marks.
Centres must ultimately decide for themselves both the teaching order of examination texts and the most
efficient timetabling of coursework reading and writing activities. It is, however, important to remember to
include time for the following activities:
•
the study of texts in class
•
learners’ individual research
•
the writing of the first drafts
•
revision of first drafts
•
completion of the final draft.
Cambridge IGCSE Literature (English)
5
Section 1: About the written coursework component
6
Cambridge IGCSE Literature (English)
Section 2: Task-setting
Section 2: Task-setting
It is important for teachers within the Centre to meet before or during the early stages of the course
to establish that planned coursework tasks allow learners to demonstrate the full range of assessment
objectives. Useful starting points in these discussions would be both the aims and assessment objectives of
the syllabus, reproduced below:
2.1 Syllabus aims and objectives
Cambridge IGCSE Literature (English) aims to develop learners who:
•
enjoy the experience of reading literature
•
understand and respond to literary texts in different forms and from different periods and cultures
•
communicate an informed personal response appropriately and effectively
•
appreciate different ways in which writers achieve their effects
•
experience literature’s contribution to aesthetic, imaginative and intellectual growth
•
explore the contribution of literature to an understanding of areas of human concern.
2.2 Assessment objectives
The assessment objectives in Cambridge IGCSE Literature (English) are:
AO1:
show detailed knowledge of the content of literary texts in the three main forms (drama, poetry and
prose)
AO2:
understand the meanings of literary texts and their contexts, and explore texts beyond surface
meaning to show deeper awareness of ideas and attitudes
AO3:
recognise and appreciate ways in which writers use language, structure and form to create and
shape meanings and effects
AO4:
communicate a sensitive and informed personal response to literary texts.
2.3 General observations about task-setting
It is not possible to highly reward assignments that demonstrate no more than a retelling or explanation of
content. It is, therefore, important to stress from the outset that plot summaries and character sketches will
not receive high marks, either in coursework or examination responses. Successful critical essays are those
which are characterised by an ability to explore the ways in which writers make their characters, themes
and settings memorable and vivid – that is, ‘appreciate ways in which writers use language, structure
and form to create and shape meanings and effects’ (assessment objective 3). Indeed, it is the ability to
probe texts critically that differentiates the good from the average learner. In order to realise their potential,
learners need to respond to tasks that have a sharp focus, and that require a detailed engagement with the
literary aspects of texts.
Cambridge IGCSE Literature (English)
7
Section 2: Task-setting
Broad invitations to write reviews of plays or novels, or to compare two poems, do not really allow learners
to sustain a critical analysis of texts. Unfortunately, such tasks often result in unfortunate learners writing
large tracts of narrative or exposition which do not effectively meet the assessment criteria. Assignment
titles that are simply the titles of the texts studied are not helpful; a title such as ‘Twelfth Night: A Synopsis’
effectively creates a ceiling on the marks learners can achieve.
Similarly, in the case of empathic responses to texts, great care needs to be exercised over the setting of
tasks. Tasks should be framed in such a way that the author’s created world is central to any response. The
most successful empathic responses integrate a compellingly authentic voice for the chosen character and a
wide range of detail rooted in the text, which together create a sustained insight into such literary concerns
as characterisation, themes and setting.
A degree of imaginative invention is acceptable; a world largely invented by the learner is not, since such
a response is not rooted in the text. Tasks that require, for example, an alternative ending or a glimpse into
the future do not allow learners to meet the syllabus assessment objectives. Any requirement to write in a
particular format, such as a diary entry, can, in the hands of less confident learners, detract from the literary
thrust of the task. Experience has shown that imagined newspaper reports (e.g. the murder of King Duncan
in Macbeth) can too readily degenerate into story-telling at the expense of literary appreciation.
2.4 Examples of unsuitable critical tasks
1. Macbeth.
2. ‘Porphyria’s Lover’.
Examples 1 and 2 are simply the titles of the texts; the precise focus of the task is unclear to learner and
moderator.
3. Write about Scout’s education.
4. A commentary on Much Ado About Nothing.
Tasks beginning ‘Write about...’ and ‘A commentary on...’ (as in examples 3 and 4) act as a trigger for the
unloading of narrative and/or the regurgitation of second-hand views.
5. Proctor – a character study.
6. The characters of Stanley and Blanche in A Streetcar Named Desire.
Examples 5 and 6 invite the writing of character sketches. There is no requirement to deal with the ways in
which writers depict these characters.
7. ‘I have a dream...’
Example 7 relates to Martin Luther King’s powerfully eloquent speech and it could serve as the basis for
worthwhile linguistic analysis of persuasive speech, but the syllabus requires that assignments be based on
literary texts.
8. Give an account of what happens to the main character in Hosseini’s The Kite Runner.
Example 8 offers little, if any, opportunity to engage with the ways in which the writer conveys character.
9. What does Kiran Desai’s Hullabaloo in the Guava Orchard tell us about life in India?
10. What is the relevance of Squealer in Animal Farm to modern life?
11. What does Orwell’s Animal Farm tell us about the Russian Revolution?
8
Cambridge IGCSE Literature (English)
Section 2: Task-setting
Examples 9, 10 and 11 miss the point, as they take learners away from the literary concerns of texts. The
task on Hullabaloo in the Guava Orchard relates to social and cultural contexts. The Animal Farm task
focuses on historical or contemporary relevance. All three questions lack a clear focus on the text itself.
12. ‘Frankenstein is both a romantic and gothic novel.’ Discuss.
The focus in example 12 is on literary traditions, and the (bald) imperative ‘Discuss’ does not offer learners a
clear focus.
13. From the stories you have studied, choose four in which the setting seems to you particularly important,
and give detailed reference to support your views.
14. How do the five poems studied portray a bleak view of modern life?
The main thrust in each of examples 13 and 14 is satisfactory, from a literary perspective. But these
two tasks demand a lot. With so much to write about (four stories or five poems), there is a danger that
responses will become superficial and descriptive.
15. Compare the ways in which two poems deal with childhood innocence.
Example 15 introduces an unnecessary level of complexity, as there is no requirement in the syllabus that
poems be compared – and the assessment criteria do not reward comparison. Experience has shown
that such tasks can lead learners to concentrate on content rather than the exploration of poetic language,
thereby making it difficult for responses to meet the criteria of the top bands.
16. How does Dickens create suspense in Chapter 1 of Great Expectations?
Example 16 has a clear literary thrust, but the exclusive focus on one chapter means that the task does not
meet the syllabus requirement that ‘the candidate has studied the whole text’ (Syllabus, page 16).
17. Explore how Shakespeare vividly presents Othello.
By contrast, the focus in example 17 is too broad for an assignment with a recommended maximum word
limit of 1200 words.
18. How far do you agree with Malcolm’s description at the end of the play of Macbeth and Lady Macbeth
as ‘this dead butcher and his fiend-like queen’?
Example 18 makes no reference to Shakespeare as the writer and does not invite consideration of the ways
in which the writer presents characters. An exploration of the writing is required for the higher bands.
2.5 Examples of unsuitable empathic tasks
19. An interview between the learner and Jane Austen.
20. A newspaper article on the death of Duncan.
21. Lady Macbeth’s letter to Macbeth shortly before her death.
22. The diary entries of Eva Smith.
A potential danger with Examples 19 and 20 is that the focus might shift to language instead of literature.
Sometimes a rigid prescription of a format (here drama script and newspaper article) can become something
of a distraction from the central literary concerns. Examples 21 and 22 invite learners to carry out tasks that
are not rooted in the constructed reality of the texts. The Lady Macbeth task is slightly better than the Eva
Smith task since it specifies a moment for the production of the letter.
Cambridge IGCSE Literature (English)
9
Section 2: Task-setting
2.6 Examples of suitable critical tasks
The following tasks have a manageable and specific focus. They require learners to give an informed
personal response to the text and task. Some of the tasks ask for this explicitly (‘How do you think...?’), and
others implicitly (‘Explore...’).
All these tasks invite learners to consider the effects of the writing, enabling them to analyse the ways in
which writers use language, structure and form to create and shape meanings and effects (Assessment
Objective 3). For this reason, it is important that the writer’s name appears in the task.
1. How do you think Shakespeare makes Lady Macbeth’s change during the course of the play so
dramatic?
2. In what ways does Williams powerfully convey the tensions in the relationship of Blanche and Stanley in
A Streetcar Named Desire?
3. How does Hansberry vividly capture the dreams of two of the characters in A Raisin in the Sun?
4. How does [your chosen poet] strikingly convey the loss of childhood innocence in two of the poems
studied?
5. Explore the ways in which Wordsworth uses imagery to powerful effect in two of his poems.
6. Explore the ways in which two short story writers create memorable settings.
7. In what striking ways does Poe create tension in two of his short stories?
8. Heathcliff: ‘victim’ or ‘monster’? How does Brontë’s writing incline you to one view or the other?
9. In what ways does Dickens use setting to reflect two of the characters in Great Expectations?
10. How do two of the short story writers powerfully convey conflict between a man and a woman?
11. How effective do you find the ending of Orwell’s Nineteen Eighty-Four?
2.7 Examples of suitable empathic tasks
Tasks should be framed in such a way that the author’s created world is central to any response. Responses
should assume the voice of a character at a particular moment in a prose or drama text. The most
successful empathic responses integrate a compellingly authentic voice for the character and a wide range
of detail convincingly rooted in the text.
The following examples indicate a precise moment for the learner to assume the voice of a particular
character in the prose or drama text. Each task ends with the instruction: ‘Write your thoughts’. This is a
formula that can be usefully adopted by Centres.
Even where learners cover the same text, the precise choice of character and moment in the text should
be left to the learner. Learners might be asked to submit their proposed choice of character and moment to
their teachers as part of a dialogue about the suitability of the task.
Assessment criteria for the marking of empathic assignments can be found in Section 7 (page 39).
1. You are Cassius, after Brutus has agreed that Antony will speak at Caesar’s funeral. Write your thoughts.
[Shakespeare, Julius Caesar]
2. You are Stella, alone, at the end of the play, thinking about what has happened to your sister. Write your
thoughts. [Tennessee Williams, A Streetcar Named Desire]
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Cambridge IGCSE Literature (English)
Section 2: Task-setting
3. You are Willy, on your way home after having been sacked by Howard. Write your thoughts. [Arthur
Miller, Death of a Salesman]
4. You are Abigail, as you make your escape from Salem. Write your thoughts. [Arthur Miller, The Crucible]
5. You are Mr Chawla. You have just heard about the behaviour of Sampath at the wedding of the DPS’s
daughter. Write your thoughts. [Kiran Desai, Hullabaloo in the Guava Orchard]
6. You are Nwoye, leaving your father Okonkwo for the last time. You are walking back to the church. Write
your thoughts. [Chinua Achebe, Things Fall Apart]
7. You are Ralph, hiding from Jack and the others after Piggy’s death. Write your thoughts. [William
Golding, Lord of the Flies]
8. You are George Appleby-Smith. You have just been informed of the suicide of Chief Matenge. Write
your thoughts. [Bessie Head, When Storm Clouds Gather]
Cambridge IGCSE Literature (English)
11
Section 2: Task-setting
12
Cambridge IGCSE Literature (English)
Section 3: Standards
Section 3: Standards
3.1 General comments
The best coursework conveys not only the learners’ powers of appreciation but also their enjoyment of their
reading. Such coursework is characterised by a confidence in expressing individual views based on sound
textual evidence. This is what literary study should lead to, as opposed to a reliance on a mere parroting of
the words of study guides (or teachers).
The assessment criteria credit learners’ ability to think for themselves, so it would be disconcerting to see
from any Centre, essays on the same topic which make the same points and employ the same quotations
in the same order. This would be against the spirit of the coursework option (and the same is true of the
examination).
A response that addresses the task straight away is to be preferred to one that unloads extraneous
background material before getting to the point. Statements of the obvious (‘Shakespeare was a great
writer...’) or declarations of intent (‘In this essay I shall discuss two poems...’) do not receive credit and are
best avoided.
The strongest critical essays skilfully integrate succinct, apposite, textual reference and precise, analytical
comment. Successful essays use quotations to crystallise a point or to shine a spotlight, as it were, on a
particular word or phrase in order to comment on how writers achieve their effects. In this way, a line of
thought can be pursued and the overall argument advanced. By contrast, a learner using copious reference
and quotation without pausing to comment is demonstrating little evidence of the capacity to sustain critical
analysis. Supporting argument with textual detail requires more than the listing of inert quotation, which will
not give access to higher marks.
Critical vocabulary can very often enhance an argument but is not very helpful if it is merely used to
list literary devices. The observation ‘Time’s winged chariot is an example of personification’ is an
accurate description but should not be confused with analysis, which must involve a consideration of the
effectiveness of Marvell’s language. There is little, if any, merit in the following kind of generalisation which
can too often be found at the beginnings and ends of essays: ‘Shakespeare uses a wide range of similes,
metaphors, alliteration, onomatopoeia and oxymoron.’ Such a response does not constitute precise or
perceptive critical comment.
3.2 Characteristics of successful assignments
Critical essays
•
mastery of detail demonstrated by a wide range of points and textual references
•
points made clearly and developed into a coherent argument
•
sustained critical analysis in which points are clearly substantiated by means of well-selected and
sometimes less obvious, though pertinent, references
•
brief, apt quotations integrated with precise critical comment on the ways in which language, structure
and form shape meanings and effects
•
a critical vocabulary used economically and effectively
•
a convincing and informed personal response which engages with the task directly and confidently.
Cambridge IGCSE Literature (English)
13
Section 3: Standards
Empathic responses
•
detailed knowledge demonstrated by a wide range of textual reference or echoes of the text
•
a well-crafted and sustained insight into the character at a specified moment
•
the assumption of a compellingly authentic voice and viewpoint for the character
•
a convincing and informed personal response which engages with the task directly.
3.3 Characteristics of less successful assignments
Critical essays
•
a few scattered, unconnected points
•
generalised points lacking development and clear focus, sometimes laboured
•
prevalence of unsubstantiated assertions and tendency to narrate or explain rather than explore
•
critical vocabulary not used, or imperfectly understood, or used injudiciously
•
reliance on second-hand opinions (from teachers or study guides) and/or irrelevant background material.
Empathic responses
14
•
knowledge and development of points sketchy
•
response not rooted in the detail of the text – too much unfounded creativity
•
little or no appreciation of characterisation
•
a voice lacking in authenticity
•
uncertainty about the moment specified.
Cambridge IGCSE Literature (English)
Section 4: Examples of coursework assignments
Section 4: Examples of coursework assignments
This section contains two whole portfolios and five individual assignments, together with commentaries on
their strengths and weaknesses. These should be read, together with all the guidance in this booklet, before
the marking of sample portfolios for accreditation (in Section 8). The assessment criteria can be found in
Section 7. Please note that learners’ work has been reproduced with the grammar, punctuation and spelling
uncorrected in order to provide an authentic experience.
4.1 Portfolio 1, Assignment 1
William Golding, Lord of the Flies
Ralph is changed by his experiences on the island. How does Golding show this?
Who would have thought that the jovial “fair boy”, who “laughed delightedly and stood on his head” at the
beginning of his unexpected journey on a heavenly island, would finish up alone, crying, and surrounded
by ashes and burnt palm trees? Through a progressive decay in his physical appearance and psyche,
Golding describes the change in Ralph caused by the “Beast”, or more exactly man’s capacity for evil, that
lies inside of us and can rise at any time given the right conditions. Ralph has tried to fight this foe, this
barbarism that raised among the island; it’s not only the island that has been wounded; it’s also Ralph’s
heart that has been “scarred”.
To each story, there is a beginning; so is there to a metamorphosis. When first stranded on the island, Ralph
is delighted by his arrival on the mysterious island, and looks forward to thrilling and exciting adventure.
Nonetheless, this meant that he and the children had to behave as adults, and take care of themselves.
Ralph feels capable of taking responsibilities and being a “chief”, in democratic and civilised conditions, by
maintaining peace and order. He had not even got to know the boys, that had already Ralph’s charismatic
figure and “stillness” “marked him out”. Golding present Ralph as an attractive character: “he might make a
boxer […] but there was a mildness about his mouth and eyes that proclaimed no devil”. Many symbols are
present in the novel, one of them being the conch, the one which gives you the right to talk and represents
order; when the boys saw that Ralph was in possession of the “ever so valuable” conch, their desire of
electing him as chief was even stronger. Not only is he good-looking, but his actions also pull him to a high
peak of sensibility and maturity. For instance, he forms the democracy (with the conch) and sets sensible
rules to stay as close to the civilised world as possible. Ralph is, at the beginning of the novel, presented
as a natural leader, who maximizes their chances of being rescued, and has got some clever ideas, such as
“making smoke on top of the mountain” to enable ships to see them.
Unfortunately as the story goes on, Ralph does not remain the powerful character he was at the beginning
of the novel, and many weakening obstacles will come on his way. First of all, the entrance of the “Beast” in
the minds of the boys will distract the boys (even Ralph) who will little by little start believing in it. This great
fear of the “Beast” among the boys will get to a point where Ralph loses control over the group. This loss of
democracy and order is the first step to the savagery. Ralph, despite the fact that he is supposed to be the
democrat and represent sagacity, will experience this capacity for evil in the pig hunt dance. Even to him,
“the desire to squeeze and hurt was overmastering”. Golding here shows an important change in Ralph: he
is a victim of the mob mentality: otherwise why would he have committed such a primitive act?
Also, Ralph is challenged by Jack, who will do anything to become “Chief”. He ostracizes rules and favours
hunting, and is clearly a symbol of dictatorship, which takes over democracy. He tells people what they
want to hear, as he knows the boys are more attracted to pig hunts and dances than group meetings, and
promises them meat. Indeed he has got the good words, but not the good ideas.
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It is possible to see that Ralph is shown as a good-looking character at the beginning of the novel; therefore
his progressive decay is also visible in his hygiene: he is frustrated with his hair, which is now long, mangy
and always manages to fall in front of his eyes. Last but not least, the breaking of the conch and Piggy’s
glasses is important: these two symbols of order, democracy and wisdom and intelligence completed
Ralph, especially the conch, that is part of his “democratic system”. To summarize, Ralph’s main “foes” are
incontestable: the “Beast” and Jack. All those little details contribute to the decline of Ralph and gives place
to barbarism.
By using an explicit “before/after” system, Golding clearly contrasts Ralph’s estate between the beginning
and the end of the novel: a positive beginning, for an atrocious ending. In the end, the novel reaches a
point where nobody is civilised, nobody seems to have moral order; nobody except Ralph. Piggy, symbol
of intelligence, and Simon, “the saint”, get killed; all the factors of democracy and order have been lost; but
evil can only be kept under control by society’s laws, sense of responsibility, and intelligence. This leaves
him alone and segregated by the others, he who was the leader and the popular boy of the island. Also, the
chasing down of Ralph clearly shows a status change: the respected figure turns out to become a hunted
animal. Golding also puts in evidence Ralph’s changing throughout the eyes of the naval officer who sees
him as “kid” who “needed a bath, a hair-cut, a nose-wipe, and a good deal of ointment”: the leader is
reduced to a filthy, poor looking animal.
4.2 Portfolio 1, Assignment 2
Chinua Achebe, Things Fall Apart
Chapter 24: “The village crier was abroad again” to “He ground his teeth”. How does the writer illustrate
how Okonkwo is feeling? How does this passage from Achebe’s Things Fall Apart prepare us for events to
come in the rest of the story?
This passage from chapter 24 of Things Fall Apart written by Chinua Achebe, comes across as a turning
point of the story. Umuofia is going to have a meeting to discuss the previous imprisonment and mistreating
of Okonkwo and five other villagers by the court messengers, which inevitably made the Ibo realise how the
white people are using them. Hoping that this meeting will not only be one of compromise, Okonkwo sees
war as the only way to send the white men away and the only chance to take revenge for what they have
done, but also to regenerate the fighting souls of the Igbo tribe, who seem to have been hypnotised by the
colonisers.
By making us enter Okonkwo’s mind and revealing his future plans, Achebe presents the myriad of feelings
and thoughts filling his heart at this time when the future of Umuofia is being decided, but also foreshadows
the story and Okonkwo’s ends.
Okonkwo is very excited to finally see Umuofia reacting and understanding that they have been pushed
to the limit. As we can see, Okonkwo “slept very little that night”, emphasizing his anticipation to finally
express, or more exactly “avenge” himself and explain to the tribe that they need to do something. Of
course, for Okonkwo, the only solution is war: he considers diplomacy and the use of words as “womanish
wisdom”. Also, the “beat[ing]” of the “iron gong” images the beating of Okonkwo’s heart, creating a fast
rhythm and emphasizing his excitement.
This planning of revenge is a natural reaction to the humiliation Okonkwo has suffered. He is angry and
nurses “bitterness in his heart” of the white man. His rage is even more outlined when thinking about “the
treatment he had received”, he “[swears] vengeance. This shows that, by having been beaten by the court
messengers, he lost his pride and thinks he is now seen as weak by his tribe. However, being weak means
being like Unoka, his father. Moreover, going to war is an occasion to redeem some of his lost glory he had
been deprived of during his seven years of exile. Okonkwo “ground his teeth” several times in the passage
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because his back hurts. This repetition shows his feelings of revenge, fury and acrimony. Also, the use of
terms such as grinding one’s teeth assimilates the character to an animal eager to catch its pray.
While his feelings of battling and revenge are very powerful, Okonkwo regrets the past and is very
nostalgic. To express such feelings, the writer uses flashbacks: we enter Okonkwo’s mind as he remembers
the “noblest war” against Isike and describes it as a “war of the past”. This anecdote shows how the art
and skills of war are building blocks of the traditional Ibo society, that war is dignifying, but also implies
that these times of warfare are over, which make Okonkwo’s sorrow even bigger. In addition, Okonkwo
contrasts the glorious past with Okudo, a man with an empowering voice that “turned every man into a
lion”, and the miserable present with Egonwanne, whom he sees as an “obstacle in Umuofia” and has a
“sweet tongue that can fire into cold ash”. Okonkwo sees Okudo as a paragon, and also gratifies the old
ways of Igbo people, “when men were men”, but is condescending towards the foolish attempts of the
Igbo people to be diplomatic. Okonkwo looks upon all these strong memories and war values as something
that must not be lost.
The flashbacks and Okonkwo’s predictable character foreshadow that Okonkwo, regardless of Umuofia’s
decision, will go to war, if alone need be, in the name of his ancestors and of his dignity.
First of all, the reader is warned of Okonkwo’s future plans: “If Umuofia decided on war, all would be well.
But if they chose to be cowards he would go out and avenge himself”. When Okonkwo belittles Egonwanne
about his cowardice, he mentions: “If they listen to him I shall leave them and plan my own revenge”. This
is very relevant to the reader and clearly shows us that his determination and stubbornness are blinding
him. However, the use of the conditional attenuates Okonkwo’s certainty and creates some suspense: the
narrator makes sure not everything is revealed to us.
Moreover, Okonkwo prepares his outfit for D-day: he “brought down his war dress and raffia skirt”, the
traditional war outfit “he had not touched since his return from exile”. Okonkwo is preparing himself
mentally, and putting on his war clothes that hadn’t been used for seven years symbolises for him a new
era, a new chance to win his fame, but also showing that making war is clearly his aim.
Motivated and boastful, Okonkwo does not, however, realise that he is somehow bound to lose: his armour
and weapon, which are a “head-gear and a shield”, are powerless compared to the guns of the white men.
Achebe makes this “incident” ironic, as Okonkwo thought “they were all satisfactory”, not aware of the
unequal strength of his tribe. Furthermore, he will be fighting alone, as he thinks “worthy men are no more”.
Unwilling to let his clan be seen as cowardly, Okonkwo makes an act of self-destruction more than one of
rescue, as the conditions in which he is achieving this will lead him to nothing more than his own death,
only to escape to a new law he refuses to submit to, which is Christianity.
Comment
The Lord of the Flies essay focuses on the change experienced in Ralph’s character, and on Golding’s
presentation of this. The use of neatly integrated, succinct quotation supports a detailed and perceptive
evaluation of characterisation (i.e. Golding’s presentation of the character) and an appreciation of
techniques, such as symbolism. A mark of 25 was appropriate.
The task on Things Fall Apart has a dual focus, requiring close analysis of a particular extract (Chapter
24) and an evaluation of its significance for the remainder of the novel. Having been given such
tightly focused tasks, this strong candidate is able to demonstrate Band 1 qualities such as flair and
sustained engagement with text and task. Again, 25 marks were awarded. (So this portfolio, containing
outstanding work for a 16-year-old, received an overall mark of 50.)
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4.3 Portfolio 2, Assignment 1
Willy Russell, Educating Rita
Should Educating Rita actually be called Educating Frank?
Educating Rita by Willy Russell, is a play about, a woman in her twenties who is very keen to gain more
knowledge. But her husband disagrees with her gaining knowledge, and asks her for a family. The title of
this play by Willy Russell is Educating Rita. But, in the play the opposite takes place; perhaps Rita is the one
educating Frank.
Rita has gained many things from her experience. She has widened her social circle, meaning she could get
to know more about other people and is able to have conversations with people. She also feels comfortable
with people of different classes; it doesn’t matter if that person is lower than her or higher than her by class.
She has gained confidence, as shown when she stood up in front of all the people and asked a question.
She mentioned, “Frank, you would have been dead proud of me.” After a while she started to make her
own choices. By the end she has her mind trained to think and question. “Wasn’t his wife a cow?” she said
to Frank.
Rita doesn’t only gain she also loses. She loses Denny because, she didn’t give him what he wanted and
continued to self-educate herself. She also loses her own ideas and opinions. Most of all she loses her
identity, herself. She is also similar to a robot because people order her to do things.
Frank is another person who has a lot in mind. He re-experiences the world in a fresher way by getting Rita
to help him; she also helps Frank imagine things that he couldn’t imagine. She helps him to see things in a
certain way.
The closest friend he has is Rita. Most of the time their always together in tutorial chattering with each
other, not only about the topics their going to begin. Sometimes they just talk about friendship, their future.
Rita helps Frank to gain confidence when he leaves to Australia so he doesn’t feel lonely.
Frank doesn’t really have close friends and not much support from the community around him. Most of the
time he is getting support from his bottle of whisky that is hidden behind the books on the bookshelf. This
bottle of whisky is the closest possession Frank has ever possessed.
This piece should really be called Educating Frank because the title Educating Rita tells us that Rita is the
one that is going to be educated. But eventually Rita is giving Frank a few tips about life, e.g. she helps him
experience the world in a fresher way, helps him to imagine things he can’t imagine.
4.4 Portfolio 2, Assignment 2
Explore the persuasive techniques used in three poems of seduction.
The three poems studied are ‘To his coy mistress’ by, Andrew Marvell, ‘To the virgins, to make much of
time’ by Robin Herrick and ‘Song’ by, Ben Johnson. ‘To his coy mistress’ focuses on the attempts of the
speaker to convince his girlfriend to sleep with him while there is time left. ‘To the virgins, to make much of
time’ is about the speaker, giving advice to virgins to make the most of their beauty while there is still time.
‘Song’ is from the play ‘Volpone’ by, Ben Johnson. This poem is concerned with the speaker wanting to
sleep with an innocent married woman. All three poems are to do with having sex, and on the whole they
are sordid. ‘To his coy mistress’ means, to the speaker’s shy lover. ‘To the virgins, to make much of time’ is
referring to all the virgins to make use of their beauty while there is time.
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The reader of the first poem would learn that the speaker of the poem tries his best to convince his
girlfriend to sleep with him. The audience of this poem would be the mistress because the speaker is
always referring to her. We’ve learned that the audience of this poem happens to be very shy. This poem
is divided into three different stanzas. The first stanza is about the reader trying to soften his mistress by
saying flattering things to her and, he is also trying to convince her to sleep with him. The second stanza is
about the speaker trying to rush her because, time is flying by without any notice and he tried to frighten her
into having sex. The last stanza is he telling her to make love with him while there is still time.
The second poem is “To the virgins, to make much of time”. This poem was written by, Robert Herrick. In
this particular poem the audience should notice, that the speaker is giving advice to young women, instead
of seducing them. The difference between the speaker of this poem and the first one is that in this poem
the speaker is giving advice, but in the previous poem the speaker is desperate to sleep with his mistress.
The audience in this poem would be the young women, who are the virgins in the title of the poem.
The title of the poem is the speaker trying to tell all the virgins to make most of their time, while there’s still
time left. This poem is not very similar to the previous poem because this poem is about the speaker giving
advice and the previous poem is about the speaker wanting to have sex. The previous poem is written in
one continuous stanza. This poem is written in four stanzas. Each stanza has a different focus.
In the first stanza, the speaker is telling all the virgins to seize time, whilst they can. He is telling them to
go and make use of their beauty, while they still have it. The second paragraph is very similar to the first
one, because all it says is that the sun is still shining so make the most of the day, before it becomes dark
than it is too late. The third section is the speaker encouraging the virgins to go out and make the most of
their beauty since they are very young, and have good features. The very last section of this poem is up to
the virgins what they want to do. The entire speaker says she either go find a husband and get married, or
wait for death to come and haunt you. The speaker tries to flatter the woman in many ways, he uses many
different techniques. He speaks to her gently, he doesn’t threaten. He uses many ways to try and soften her
until she agrees to sleep with him. He wouldn’t give up until she agrees to.
The speaker persuades the virgins by softening them, by telling them how beautiful they are and by telling
them what awaits them in the future.
The devices used in “His coy mistress” and these poems are similar, in a way that they both have to do
with time. Carpe diem is used in both poems, this means seize time while you still may.
“Then be not coy, but use your time.”
This quote was taken out from the second poem. This has to do with Carpe diem.
“Had we but world enough, and time,”
This quote was used in the very first poem. This quotation also has got to do with time. In “The virgins to
make much of time,” time is personified. Human qualities are given to time. Fear is used in the same way in
both the poems. In the first poem the speaker is encouraging her to sleep with him but she’s afraid to, and
in the second poem, the virgins are coy and also afraid to make use of their beauty.
The very last poem is known as “Song” by Ben Johnson. This poem is about the narrator wanting to have
an affair with his friend’s wife. That is very similar to the other two poems. This poem is about the speaker
encouraging ‘Celia’ to make love with him while there is enough time for the both of them. Celia disagrees
to make love with him, so he is prostituting her. Once again in this poem we learn that he speaker is a very
desperate to make love with his partner. He tries to soften her by saying things such as:
“Come, my Celia let us prove, While we can, the sports of love.”
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The speaker tells his partner to make use of time, if the time is not used than it would be too late for them
to ever make love again because, they will both be dead very soon.
In Volpone’s world, accepted moral codes are subverted: What we think is right. Volpone thinks it is wrong.
The style of this poem is not written in any stanzas it is more like one piece. There are rhyming couplets
in every two sentences. The last word of every sentence rhymes with the end of another sentence, which
comes after it.
The content used in this poem is quite difficult to understand but it makes much sense. Perpetual night is a
word used in this poem, it represents death forever. In the poem the speaker tells his partner that if love is
not made than it will be too late and than there won’t be anything left for you after death.
Comment
In these two assignments there is some knowledge of the content of the texts and a recognition of
key themes, but at the same time there is an inability to connect ideas into a developed argument
and little evidence of the ability to respond to the literary qualities of texts. In the response to poems
in particular, there is too much description about what happens in each stanza. Perhaps the need to
write on three poems (rather than a more manageable two) was too great a burden for this candidate
and prevented him from focusing on selected aspects of the poems in any detail. The ideas appear to
be received rather than a genuinely personal response. These two assignments really only begin to
organise and develop an appropriate response, showing some understanding only. Both assignments
received marks in Band 5 of 12, making an overall portfolio mark of 24.
4.5 Further examples (single assignments)
4.5.1 Sample 1
F Scott Fitzgerald, The Great Gatsby
How does Fitzgerald make Tom Buchanan such an unpleasant character?
Fitzgerald uses a variety of ways to show Tom’s unpleasant character, beginning with a description of his
physical characteristics. He has a rather imposing stature and appears dominant, having ‘a body capable
of enormous leverage’. Not only does he have an intimidating physique, but the capabilities suggested by
Fitzgerald’s writing imply that Tom has a personality to match his ‘cruel body’. This implication of malice is
backed up by the description of Tom’s ‘Two shining arrogant eyes’, as they are said to have ‘had established
dominance over his face and gave him the appearance of always leaning aggressively forward’. To have eyes
like these suggests a deeper, inbuilt cruelty and that they ‘established dominance over his face’ produces a
violent appearance.
In addition to his ‘cruel body’, Tom is seen to put it to authoritative and often violent use. In the first scene
with Nick and Tom together, Tom is reported to be ‘Turning me round by one arm’, ‘me’ referring to Nick.
This is a clear example of Tom’s dominant nature. He is described as having ‘a touch of paternal contempt’
in his voice, giving the impression of an internal feeling of superiority towards others. This is clear when he
forcibly moves Nick to show him his home during their first interaction, which demonstrates his unpleasant
nature in two ways. The first is his forceful action of directing Nick, showing Tom to be an overbearing
character, but also his self-satisfying need to show Nick his home. Tom himself says ‘I’ve got a nice place
here’, stated like a fact which shows the extent of his high self-opinion and inner feeling of superiority.
Tom’s conceitedness is seen as a common theme through the novel, as he asserts his dominance over
several of the main characters. Notably in his relationships with Daisy and Myrtle, both of whom have
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an intimate relationship with Tom and both of whom he treats with disdain. In each relationship we are
shown evidence of physical violence, both a display of Tom demonstrating his authority and a brutish act
which makes him both a threatening and repulsive character. We first see this happen to Daisy, as we see
a ‘black and blue’ knuckle, a hideous contrast to the pure, innocent imagery connected to Daisy, such as
her ‘white’ dress ‘rippling and fluttering’. This delicate language creates a contrast which heightens the
atrocity of Tom’s actions. The blame is clearly placed when she cries ‘I know you didn’t mean to but you
did it’, the lack of intention implies carelessness to Tom’s character. Daisy goes on to call Tom ‘a brute of a
man, a great, bit, hulking physical specimen’, which strengthens the claim to Tom’s physical dominance. In
response we see only an objection from Tom, who says ‘I hate that word hulking’, indicating a completely
unsympathetic attitude towards his wife’s pain and a refusal to accept his own harmful behaviour, further
signs of Tom’s selfishness. Towards Myrtle we are given a far more dramatic display of violence, when Tom
uses ‘a short deft movement’ to break Myrtle’s nose. This description works effectively to show Tom as a
very unpleasant character, as the description is so concise that it sounds factual, like a report, reducing any
empathy in Tom’s action.
The brief nature of Tom’s violence, yet spectacular aftermath, seen in Fitzgerald’s description of ‘bloody
towels’, gives an insight into Tom’s insolence towards Myrtle. She is made to seem of little worth to him,
as suggested by the speed of his actions, and the descriptions of her ‘perceptible vitality’ demonstrate the
shallow intentions of Tom’s affair. She is portrayed as a mere commodity, referred to as ‘my girl’ by Tom,
and his violent outburst shows this disregard for her humanity. In addition to Tom’s treatment of Myrtle,
his entire interaction with her and attitude concerning their relationship make Tom even more despicable.
Despite the adulterous activities Tom carries out, he does not see them as either serious or morally unjust.
During the bout in the hotel with Gatsby and Daisy, Tom admits ’Once in a while I go off on a spree and
make a fool of myself’, belittling his affairs in this manner. This is another sign of Tom’s selfish nature, as
he dismisses his relationship with Myrtle as a spree, despite buying an apartment for her, making their
affair solid and irrefutable. Furthermore, he tries to make himself the object of pity, claiming ‘I always come
back’, that it only happens ‘Once in a while’ and even calling himself a ‘fool’. However, these unsubstantial
excuses are placed into greater futility in the face of Tom’s previous affairs, as the consistency of his
transgressions reveal unwillingness to change and Tom’s underlying egocentricity. Tom’s boorish behaviour
is a reflection of the ‘Jazz Era’, the time the novel is set in. He belongs to the rich elite and, with thanks to
his wealth, is able to live out his decadence with little regard for the consequences.
In chapter six we are shown several instances of Tom’s infidelity and hypocrisy. He seems suspicious when
Gatsby mentions to him ‘I know your wife’, which prompts Tom to wonder ‘where the devil he met Daisy’,
and claims that ‘women run around too much these days’. The tone of condescension implies that Tom sees
Gatsby as being inferior, despite his wealth, and he dismisses him as a ‘crazy fish’. Tom’s comment also
shows his distaste towards Daisy’s social activities, as Tom’s words imply a suspicion and condemnation of
adulterous deeds. However, later in the same chapter Tom commits such an act in the presence of his wife.
Fitzgerald not only uses the regularity of Tom’s actions to make him unpleasant, but the sense of freedom
that Tom relishes in.
The carelessness attributed to Tom’s actions here mirror many other instances in the novel where Tom
lacks a moral awareness. Fitzgerald notes this aspect of Tom, which he shares with Daisy, that ‘They were
careless people…they smashed up things and creatures and then retreated back into their money or their
vast carelessness’. This quotation directly alludes to the attitude held by Tom during his final conversation
with Nick. He is made to look like a force of destruction as the cause of Gatsby’s death, yet he shows
no empathy, claiming, ‘That fellow had it coming to him’. His indifference towards a human life not only
displays Tom’s vast capacity for cruelty, but also his selfishness. He disregards the deaths of Gatsby, Wilson
and, even his lover, Myrtle, concerned only for his ‘share of suffering’, of which there is no great indication.
Tom’s objectified view of Myrtle and his condescension of Gatsby reveal a far more universal arrogance,
which exceeds his own feeling of superiority. We are given indications of Tom’s great conservative beliefs
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throughout the novel, such as his treatment of the Wilsons, seeing Myrtle as a commodity and cruelly
manipulating George. Tom sadistically asks Wilson ‘How’s business?’ when we are shown that Wilson’s
‘unprosperous and bare’ garage benefits only from Tom’s custom, which Tom strategically withholds when
wishing to control or play with the poor man. We can see in this manner that Tom can use his wealth to
control the Wilsons, a harsh and unpleasant suggestion of Tom’s manipulative tendencies, but his opinion of
Gatsby shows his own social distinction. In addition to his dismissive attitude to Gatsby’s death, Tom shows
a deep contempt for Gatsby’s life. At the party Tom claims, ‘I’d rather look at all these famous people in – in
oblivion’, his disdainful views of Gatsby’s company a reflection of Tom’s distaste of the lower classes.
The Great Gatsby takes a foreboding tone at times, with very suggestive language implicit of the later
deaths in the novel and the ominous indications towards the collapse of consumerism. We see a similar
suggestion shadowing Tom’s character, as at times he shows a premonition of the rise of fascism. This
is evident when he declares suddenly ‘Civilisation’s going to pieces’, with an apparent fear that ‘the white
race will be – will be utterly submerged’. This arrogant view of belonging to a superior race and needing to
protect it displays a complete racial insensitivity. His view of Gatsby is also far from pleasant, as he jumps to
hasty, if moderately accurate, conclusions of Gatsby’s occupation. He makes the claim, ‘A lot of these newly
rich people are just big bootleggers’, a display of Tom’s suspicion and aversion to those with ‘new money’.
Using Tom’s bigoted mannerisms Fitzgerald stresses two objectionable elements of Tom’s character, firstly
an unjustly intolerant attitude towards characters such as Gatsby, whose ‘extraordinary gift for hope’ and
‘romantic readiness’ encourage sympathy and therefore heighten our contempt for Tom. Secondly we are
shown a ruthless need for superiority and absolute dominance.
In conclusion using a combination of accentuated arrogance, abusiveness, dishonesty and callousness,
Fitzgerald gives an in depth impression of Tom Buchanan’s fundamental self-centred nature. His actions
towards others imply a great deal of cruelty, such as his wilful manipulation of Wilson or his merciless
beating of Myrtle, and the language accompanying his fiendishness suggest, at times, complete
carelessness.
Comment
The assignment has a clear task with a manageable scope, focusing on the ways in which Fitzgerald
makes Tom Buchanan such an unpleasant character. This is a tightly focused, perceptive and convincing
response to the question set, supported by a wide range of well-selected references. The quotations
are for the most part smoothly integrated into the candidate’s own writing. There is much evidence of
insight, sensitivity and flair. The clear argument and careful support reveal a strong personal response,
showing a complete and sustained engagement with both text and task. This is a clear Band 1
response.
4.5.2 Sample 2
F Scott Fitzgerald, The Great Gatsby
[no title supplied]
America in the 1920’s under went dramatic development.
This is the period after World War I in which America was not affected economically by the war which didn’t
happen at on their soil. Development of sports like golf, cinema’s for passing time, manufacturing of cars
and the bath of Jazz music. The author F Scott Fitzgerald potrays this in book in various ways.
This period was refered to as the ‘boom’. It was where America was prospering. There was the growth of
cities when the first sky-scrapers were built in the U.S.A. The entertainment industry diosmosed during
this time the average working hours dropped so people had more leisure time. The average working much
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grater access to music in this case Jazz music. This time there was also growth of sports e.g. golf and many
more. Also the car industry was born and many people rushed to buy cars.
F Scott Fitzgerald portrays this in the Great Gatsby and gives his view on the society then. He comes across
immorality, passed by the flappers and the decadence of the American dream.
The author emphasizes on how prosperous America was and how people only wanted to get money. How
corruption was on the rise, immorality and signs of even homosexuality in the 1920’s. I think the author is
just enlightening the society on what use to go on in the roaring twenties.
Yes America prospered but had its shortcomings, the rise and drastic fall of the American dream, the
prosperity and decadence of the ‘roaring twenties’ how immorality spread its roots and corrupted the whole
society. Till this is brought and in different characters throughout the Great Gatsby.
During the Jazz age people only focused and pondered on getting material wealth and getting rich. The
author F Scott Fitzgerald brings it out through the main character Gatsby. How Gatsby was inspired,
after seeing a glamorous yatch to change his name…. ‘He changed it at the age of 17 and at the specific
moment he witnessed the beginning of his career when he saw Dan Cody’s yatch’…most certainly, it was
a luxurious yatch. To Gatsby it was a motivation an inspiration and drive. One of the reasons why he made it
his obligation to become wealthy. F Scott Fitzgerald is trying to portray how material wealth and money was
inscripted in people’s minds ever since they were young. This actually meant a lot because the same was in
the minds of the old. In my opinion, America then was still a young society and many people had just come
from the Great War. They were looking for ways of making money.
The yatch Gatsby saw was known as the ‘Tuolomee’ it was named after a gold mining area in Western
Nevada, California. It belonged to Dan Cody, Gatsby’s mentor ‘Cody was 50 yrs then…a product of Nevada
silver fields of the Yukon, of every rush of metal since seventy-five….’. Through this, the writer emphasizes
on the urge of the citizens of America to get wealthy. It came to be known as the Yukon gold rush.
America was also divided in terms of wealth. There were the aristocrats; Tom and Daisy Buchanan are
the main symbols of the old riches. The author F Scott Fitzgerald, talks about there wealth indirectly by
what surrounds them ‘……..there house was even more elaborate than I had expected…..Red and White
Georgian colonial mansion…..’. F Scott Fitzgerald gives us a taste of how the wealthy lived like. The
aristocrats had inherited wealth. Passed down from generation to generation. F Scott Fitzgerald doesn’t
give us readers no entry not even a tiny peak on the occupation or professions of the aristocrats. They lived
on the wealth they inherited and didn’t work. F Scott Fitzgerald uses emphasis to make it clear to us the
readers how wealthy the aristocrats with the old money were.
The middle class and the newly rich migrated from the West to the East. In The Great Gatsby it is
symbolized or shown by Gatsby. ‘The newly rich’ and Nick ‘middle class’. Gatsby had he’s own reason for
moving East. His mistress Daisy Buchanan, Tom’s wife had moved East. While Nick was a bondsman ‘…
what you doing Nick?....Am a bondman…’. Through he comes from a well off background, and decided to
make his own money. Then F Scott Fitzgerald portrays the poor in an embarrassing way. He associates
them with where they live. George Wilson and his wife Myrtle who is also Tom Buchanan’s mistress, live
in the valley of ashes ‘….A fantastic farm where ashes grow like wheat into ridges….Where ashes take the
form of houses, chimneys and rising smoke…And finally with a transcendent effort of ash grey men….’. It
is portrayed as a dull lifeless place, a desolate dieing town. F Scott Fitzgerald just shows the readers how it
is unexpectedly dull. In my opinion he shows as that even though America was prospering in the 1920’s not
everywhere was the magnitude and effect of the boom was felt.
The American dream had its ups and downs, highs and lows. In reality, America in the 1920’s experienced an
economic boom, it came to be known as the ‘Roaring twenties’ This was brought about by the First World
War. The war did not happen on the America soil therefore, there industries were still intact. They exported
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to Europe and their economy sky-rocketed. In the book F Scott Fitzgerald uses Gatsby to represent the
America dream. Most people in America acquired their wealth illegally especially the newly rich. In the book
F Scott Fitzgerald uses Gatsby to show how the American dream prospered illegally. Consumption of liquor
was banned in the 1920’s. which Gatsby got his wealth through and bootlegging; illegally selling liquor. ‘I
found out what you’re drug store was….That’s one of his little tunts….Sold grain over the counter I picked
him for a bootlegger first time I saw him…..’ Tom Buchanan telling Nick Caraway the narrator of the book.
In the relation to the American dream, this presented a loophole: signs of decadence in the first stages
of the book. F Scott Fitzgerald also used a character to symbolize death ‘…A stout middle aged man with
enormous own-eyed spectacles…’ the author gives us this vivid description of owl eyes. Owl are considered
an omen in the society, so by the author introducing him in the beginning of the book suggest death of the
American dream, and death in the American dream. There were also the flappers who attended the parties
Gatsby used to host every fort – night.
After the universal sufferage in the 1920 by Warren Harding, women were allowed to do certain things they
couldn’t do before.
In the book we find them going for the parties Gatsby used to host. In The Great Gatsby Jordan Baker
symbolizes this. Tom Buchanan comments ‘….they oughtn’t to let her run around the country this way…her
family is one aunt about a thousand years old…’ Suggesting that things should go back to the way things
were before the universal suffrage. The author shows as that not all were for it. actually some were greatly
against it. I think that, it was a positive effect to many, and simultaneously negative effects could be felt.
The motor-vehicle industries also developed, Henry Ford revolutionized it and started the first production
line in this world. Because of hire purchase, many people were able to buy cars. Also because of the ‘New
freedom’ of women they brought color in the American society. Nearly all the characters in The Great Gatsby
are contrasts of the colours they are associated with ‘…..they were both in white dresses rippling and
fluttering…’ What Nick said first time he saw Daisy and Jordan, White suggest purity and cleanliness but not
in their case. All that glitters is not gold.
A dishonest woman who stayed in a bad marriage and disowned her daughter at birth ‘….I asked the nurse
if it was a boy or a girl…She said it was a girl…And I hoped she’ll be a fool – that’s the best girl can be in this
world, a beautiful little fool…’ the author explains that women married in the 1920’s were in bad marriages.
In my opinion, these women couldn’t run around the country and join the rest of the ‘Flappers society’.
Infidelity was also rampant due to the new freedom of women. Tom Buchanan cheated on Daisy with Myrtle
Wilson, George Wilson wife. ‘….We’re getting of, he insisted. I want you to meet my girl..’ Tom telling Nick,
Daisy cousin when he went to visit her with Nick. He was so open and proud of his promiscuity that he
brought Nick along knowing he was Daisy Cousin. Moreover I think that the men of the 1920’s did not feel
insecure about it. Daisy felt guilty of the same, reunited again with her long forgotten lover, Jay Gastsby.
Like America in the 1920’s the citizens were over confident in themselves and there country’s economy.
In The Great Gatsby how Daisy felt about him ‘….your wife doesn’t love you, she never did and she loves
me…’ Gatsby confronted Tom about it. This over confidence brought him down. The overconfidence of the
American society brought about the Wall Street crash. Just as the green light at the end of chapter 1, it
symbolized hope, Gatsby goals and encouragement. ‘He stretched out his hand towards the dark waters; I
gained seaward and distinguished nothing but 1 single green light…’ It still symbolizes the hope and dream
of America, even after wall – street crash, which is Gatsby death. In chapter 8, we read about the death of
the dream. Leaving behind the neglected children, Pammy, the flappers Jordan, the world of crime, Meyer
Wolfshiem, the promiscuous woman Myrtle and Daisy and most of all the down fall of America.
Gatsby was also disillusioned by Daisy. This is represented by the colour blue, his cheuffer wears blue, his
garden is blue and most of all what separates him from Daisy is the blue waters. It represented Gatsby
fantasies and illustions. Illusioned by Daisy Fay, while Americans by the boom better yet, the ‘Roaring
twenties’.
As Owl Eyes was a sign, an omen in the beginning of the book. We are given a more clearer sign, preceded
over by the ever watching eyes of Dr TJ Eckleburg in the valley of ashes, Nick says ;..So we drove on towards
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death in the cooling twilight..’ F Scott Fitzgerald gives us the tip of the ice burg of things to occur in the near
future. I think the author is preparing as for the ending of the dream, the fall by giving these signs of death.
‘The death car newspapers called…Didn’t stop it came out of the gathering darkness and disappeared…
Myrtle Wilson her life violently extinguished..’ When Daisy ran over George Wilson wife, the reason of his
infidelity was extinguished, maybe it was Daisy maybe it wasn’t. Out of hatred, George Wilson seeks his
wife’s killer, the owner of the death car. It belonged to Gatsby. Next day he turned up at Gatsby’s garden…
the next thing.
‘…the chauffer …heard the shots…it was after we started with Gatsby towards the house, that the gardener
saw Wilson body…’
The past had merged with the present, that’s what F Scott Fitzgerald is putting out. I think that it was
destined be, the best things in life are brought on a silver platter on that same plate life offers us disaster.
The tragic end of the Gatsby; the American dream and what it posed.
F Scott Fitzgerald portrays to us the readers, all that was entailed in the American society in the 1920’s. It
ranged from infidelity, corruption, flappers. The distinct boom and how it was ‘murdered’. I think during this
time America discovered itself. From the motor vehicle industry, that magic spark ignited by Henry Ford.
The overconfidence of Americans in their own country shown by Gatsby’s overconfidence in Daisy Fay. The
development of Jazz music which involved different genres from different regions of the world.
The rise of the Harlem renaissance which was brought about by the blacks. It brought about a new
revolution that affected all races and made America the world’s entertainment centre. Some of the people
who benefited from this are distinct in history, Jesse Owens in sports while Charlie Chaplain in movies and
Ella Fitzgerald as one of the greatest Jazz musicians.
Through the good, bad and ugly of the American society in the 1920’s or the ‘roaring twenties’ the auther
tries to comprehend all what was happening and to some point he seemed like a critic of the U.S.A. society
1920’s.
The books narrator Nick tells us it was fall when he moved east, trees sheded their old leaves, quite a
coincidence it ends during fall, with the death and memories of the dream, the American dream. But hope is
not futile as the green light gives hope for the future, we just have to wait and see.
Comment
This assignment is not provided with an assignment title, and it is difficult to determine from the
candidate’s writing a clear focus for the task. It starts unhelpfully with a good deal of background
material which is not directly related to details from the text The Great Gatsby: e.g. Jazz music, the
boom, skyscrapers, the entertainment industry. Indeed most of the assignment seems to concentrate
on the wider social and historical contexts rather than a clearly-delineated aspect of the text itself.
Where the text is mentioned, there is an attempt to communicate a basic personal response to the
text, with some relevant comment. There is some supporting textual detail but it is not always used
cohesively as part of a clear unfolding argument. This is a top Band 6 response, with elements of Band
5 in its use of ‘some supporting textual detail’. However, the lack of a clear focus (and task) limits the
overall performance.
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4.5.3 Sample 3
George Orwell, Animal Farm
How does Orwell reflect Stalin’s rule in his allegorical novel ‘Animal Farm’?
Animal Farm by George Orwell was meant to make the British realize what kind of person Joseph Stalin
really was. In this text, Orwell manages to portray Stalin through the strong and dictatorial pig Napoleon.
Through various actions, themes and imagery, George Orwell has been capable of reflecting Stalin’s rule in
his allegorical novel Animal Farm.
Throughout the text, basing ourselves on the various actions in the novel, we perceive Stalin’s commanding
and self-centred rule. Firstly, in relation to the text, we understand that the two pigs Napoleon and
Snowball are fighting against each other for power over the farm. Already here, we see that Orwell has
managed to mirror part of Stalin’s rule; which mostly consisted of rivalling Trotsky (here paralleled as
Snowball) and gaining progressively more authority. Furthermore, when it is known through which ways
Napoleon triumphs from the battle, one cannot help but state the similarity between Napoleon and Stalin’s
proceedings. Firstly, it is known through Orwell that part of this success was because Napoleon had
clandestinely trained Jessie and Bluebell’s puppies as his brutal agents of control. this mirrors perfectly
Stalin’s police, the KGB. Moreover, we see that Snowball just like Trotsky is driven into exile resulting in
Napoleon, just like Stalin, to become more and more egotistic, cruel and dictatorial. From now onwards, one
can state that through the main character Napoleon, Orwell is able to demonstrate how Stalin rises to power
and maintains it. This starts with the fact he forms part of a greatly authoritative organization (the pig elite),
but is insensitive and strong-minded (he keeps the milk for himself); he builds up an assembly of followers
and ejects all those who is against him, like the four porkers, or people who are great rivals like Snowball.
In addition, we perceive in the text that Napoleon maintains authority by means of terror performed by the
dogs and various executions. Another way is through propaganda with the help of his subordinate Squealer,
another pig. Lastly, Napoleon introduces a cult of character: he seldom appears and only then accompanies
by great ceremony. We also see that he maintains power by making himself indispensible to the other
animals on the farm and also by terrifying them with the thought that without him things could go wrong
and way off-beam.
Furthermore, through themes like violence, rules and order, lies and deceit, leadership and corruption,
Orwell manages to reflect Stalin’s command. As mentioned previously dictators use terror to maintain
leadership and this is done through the theme of violence. ‘Violence in Animal Farm is a tool of political
oppression. Not only do we see actual violence used to kill and to exile enemies of the leadership, but
equally important is the threat of violence as a punishment.’ This parallels Stalin’s dictatorship as with his
police, The KGB, he practiced terror to achieve more power. In addition, another theme present in the text
which in some way coincides with the actual Russian revolution is the theme of ‘rules and order’. Based
on the novel, we remember the commandments given by the animals. Rules are often considered as ways
to accept ideas of order. In Animal Farm this theme acts again as a political tool. The commandments and
traditions set up after the rebellion were meant to unite and energize the animals but later in the text we
perceive that both the rules and traditions are easily changeable. Unfortunately the animals are not aware
of it due to the leader’s dictatorial ways. They therefore do not realize that they are being deceived and
tricked. Deja-vu occurs here, as we realize that Stalin adopts the same method. Then, another theme used
by Orwell to convey his message is the theme of ‘lies and deceit’. In a way, deception achieves poser. In the
novel, the pigs deceive the other animals about the past, the present, as well as plans for the future. They
have the aim of gaining the appreciation of the animals and therefore the pigs (Napoleon especially) gain
more command. This theme is appropriate for portraying Stalin’s leadership since to preserve his power, he
used a lot of propaganda which involved deliberately changing information. Lastly, another theme suiting
Orwell’s aim is the theme of ‘leadership and corruption’. Animal Farm sums up the idea that power corrupts.
‘When pigs take over they claim that their goal is to preside over a farm of equal animals, all working
together to support one another. Yet power quickly proves to be too much for a pig. Small privileges quickly
bloom into full-scale corruption, and the pigs begin more and more to resemble those they claim to replace.
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Comment
The assignment task seems to invite an almost exclusive focus on historical context, which is what the
candidate produces: e.g. ‘Orwell manages to reflect Stalin’s command’, ‘parallels Stalin’s dictatorship’,
‘we realize that Stalin adopts the same method’. There are some relevant comments about aspects
of character but no detailed probing of the ways in which Orwell creates character or communicates
themes. There is a basic understanding of surface meanings, placing this in Band 6.
4.5.4 Sample 4
William Shakespeare, Macbeth
‘Discuss the dramatic impact of the way in which Shakespeare introduces the audience to Macbeth’s
character – and how that character develops from a loyal, brave, war hero to a treacherous murderer’.
Throughout the play, the audience sees the deterioration of Macbeth’s character from a brave hero, the
pinnacle of respect and honour, to nothing more than a murderer driven mad by the damage that he himself
has caused, led by his own greed and by the influence of those close to him. At the start of the play,
Macbeth is seen as a valiant warrior, loyal to his King and his country in everything he does. The King’s
fondness and generosity towards Macbeth – although with good intention – becomes a contributing reason
leading Macbeth to strive for more than he deserves and drives his greed. And it’s this in turn that causes
Macbeth to become a tragedy. However one could argue that Macbeth himself was in fact never a hero,
and was merely a man true to himself and unchanged, and that it was the audience’s perspective of him
that changed as the character of Macbeth became clearer.
A hero and its definition are very subjective, as one can be thought a hero for many things. Many people
believe that an important trait for a hero to have is popularity, of which Macbeth quite clearly had. Yet
anyone can be a hero. So there is no defined trait to which a hero can or must be described. One thing
however, that always remains true in a hero, is that they are admired in one way or another. In this respect
then undoubtedly Macbeth would and very certainly should be called a hero in the beginning of the play.
Described as a war hero, Macbeth is valiant, loyal and faithful to both King and country, yet by the end of
the play, Macbeth being described as a hero is to the audience in particular, as well as the other characters
in the play is far from true. Almost from the beginning of the play, Shakespeare attempts to sway the
audiences’ opinion towards Macbeth’s character; although this is done extremely subtlety so that the
audiences themselves do not recognise that they are being manipulated by Shakespeare to feel certain
emotions. This is reflected quite evidently in the way that Shakespeare mirrors Macbeth’s title to the traitors
‘Thane of Cawdor’, this could be interpreted as an attempt by Shakespeare to show that Macbeth’s destiny
is one that will ultimately lead him from being a symbol of honour and goodness, to a manifestation of evil
itself.
The play itself is reflective to the cultural aspects of Greek tragedy, in which human suffering and
displeasure result in the satisfaction of the audience. Therefore, by definition, the play itself is manipulated
throughout its course to satisfy the animalistic needs of the audiences for revenge and retribution. Therefore
one must question whether Shakespeare himself intended the play to invoke a sense of pity or savage
pleasure as he brings Macbeth a hero that is respected and held in huge regard, to something that the
audience ends up despising. Immediately at the beginning of the play, Shakespeare displays Macbeth’s
high capacity for power and greed and this is displayed in the contemptuous way in which he addresses
his comrades; ‘why do you dress me in borrowed robes?’ this could be interpreted as an attempt by
Shakespeare to show the audience that Macbeth despises being contrasted with others which then also
displays how the character could be considered arrogant egotistical, although at this point, the audience
is still very much on Macbeth’s side. The theme of greed therefore can be considered to be Macbeth’s
‘hubris’, the fatal flaw within his character that causes him to fall as a hero.
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Shakespeare starts Macbeth in the middle of an eerie, sinister and desolate scene, with a discussion
between three witches, immediately setting the scene and creating an immense feel of both tension and
fright particularly for the audience in Shakespeare’s time, as the supernatural was a subject very feared and
was believed by almost all to be a common practise at that point in history. This fear that was caused, and
experienced by the audience, would have had a huge impact on the audiences’ judgements and opinions
of both the witch’s characters, as well as the characters that the witches spoke about, including Macbeth.
Shakespeare also started the whole play in the middle of a conversation, which was a common technique
used by Shakespeare to grab the audience’s attention, and gain their interest. This first scene also carries
a huge sense of foreboding throughout, with the witches letting on through their dialogue that they know
more of what is to come, leaving the audience in the unknown, another technique that Shakespeare uses
to create a more dramatic sense overall, and to engage with the audience and make them feel almost as
if they have to take. All of this is apparent, before Macbeth has even been introduced to the play, which
Shakespeare has purposefully done in order to set the audience up for the unknown and further grab
their attention, but as well as this he began to make the audience feel as if they should be taking sides
and making judgements about the characters from the way in which the witches speak about what has
happened and is about to happen.
In Act 1 Scene 2, Macbeth is still only spoken about, and thus the audience is still left in the dark as to who
the mysterious Macbeth really is, and what their opinion of him is, in this sense he is spoken about with
high regard by King Duncan, and it is announced to all except Macbeth and his friend Banquo who have
fought valiantly for their country, that Macbeth will be given a new title; huge sense of dramatic irony, as the
thane of Cawdor is being executed for being a traitor to the king, and Macbeth who will receive his title will
later murder his own king. However, the audience does not yet know that Macbeth will murder King Duncan
and neither does Macbeth.
When the audience finally encounters Macbeth, he is with Banquo and they come across the witches by
chance. Again the scene is set to be eerie and mystical, and this is where Macbeth’s character is put to
the test and challenged through greed and aspiration, when really he knows the right thing to do is to stay
loyal to his King; but it is due to the influence of both the witches, and later in the play from his own wife
Lady Macbeth that create a monster and ruin the person within, as although Macbeth is far from a puppet
being led astray by others, he could be conveyed as a weak characters as far as the fact that his better
judgement is easily swayed through the persuasion of those he keeps close and trusts. One could almost
argue that Macbeth’s character, although being an image of heroism and good, is in fact one that is easy
to manipulate and that he is what others have made him, and not a character in his own, yet this is not so,
as this indecisive characteristic is what created a large part of his own character and what portrays the
most important themes throughout the play. I personally did not see Macbeth as a villain even after he had
committed the of murder even toward King Duncan, a man who had support him through everything, as the
act itself was greatly influenced by Macbeth’s wife, and we as the audience do not consider Macbeth as
the sole perpetrator of this act, as we see that he had been to an extend; forced into committing this act. By
showing Macbeth’s reluctance to kill his king, these techniques by Shakespeare help to retain some of the
sympathy and compassion for Macbeth in the audience.
However, as the play progresses, Macbeth’s acts change their purpose from being because they seemed
a necessity to being purely evil and based on greed. This is displayed in his ordered massacre of Macduff’s
family which not only shocks the audience by also shreds the last remaining respect for Macbeth. This could
be considered as the lowest point in which Macbeth’s character falls to in the play. Macbeth’s character
changes from being a loyal and good leader, to being a treacherous murder who loses his emotional
attachments to the characters that were in the beginning the closest to him; and the way that Shakespeare
changes this in the audiences perspective is very steady, to the point where they almost do not realise quite
how dramatically this position Macbeth finds himself in, and in the way he responds to them has changed
through the play. Shakespeare constantly toys with the audience’s emotions, offering them a chance to
see Macbeth regain moral values, only to strip it away from him through the event of Macbeth’s massacre
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where he murdered so many innocent people. It is in this scene that Macbeth turns from a hero that had to
do what is necessary to survive and satisfy his burning need for ambition, to a murderer and a tyrant that is
not only paranoid of everyone, but is also drowned in his own monstrosity acts.
The beginning of the play shows very clearly what Macbeth should do and this is why the audience sees
so obviously what and where Macbeth is going wrong, and if it weren’t made so apparent by Shakespeare,
then the audience would probably feel almost exactly the same way that Macbeth does, so not really
understand fully that what he is doing is wrong. But then Shakespeare’s effective use of the character
Banquo gives the audience a strong character to whom it is easy to compare Macbeth, which gives the
audience someone with moral sense and who is able to overcome the temptation of greed and thus
Shakespeare shows the right thing to do through the decisions of another character. This is a very effective
technique employed by Shakespeare as it causes the audience to have mixed emotions which in turn
makes them question their own judgement of the characters. Some would argue that he was evil and
would do anything to gain power, while others would disagree and suggest the fact that he is very much
like the average everyday human, full of ambition and dreams, whereas the only difference is that he had
the bravery and motivation to actually achieve his goals in any way possible. This is, in my opinion, one of
Shakespeare’s greatest triumph throughout the play, as it not only entertaining, but also makes us question
our own values and what we perceive as wrong and as right.
Comment
This essay shows an understanding of the play and some of its deeper implications. Some of the
comment is overly generalised: for example, the observations about heroism at the start of paragraph
two. Similarly, paragraph three starts with a reference to ‘cultural aspects of Greek tragedy’ which
is not clearly linked to the assignment task: ‘Discuss the dramatic impact of the way in which
Shakespeare introduces...’ Overall, this is a reasonably developed (Band 4) personal response, and not
quite a (Band 3) well-developed and detailed personal response.
4.5.5 Sample 5
R. C. Sherrif, Journey’s End
You are Stanhope just after the death of Raleigh. You are sitting on the bench behind the table staring at
Raleigh’s body on Osborne’s bed. Write your thoughts.
No, he’s dead. How could I have let this happen? I’ve always protected him and the one time when it counts
I failed him and his family. What is she going to think of me ? Never mind the drinking she’s going to throw
me out for killing her younger brother. This can’t have truly happened. This must be a dream. I have known
Jimmy all my life – he can’t just go like that. Where are the stretcher bearers?! Come on! We can’t let
him go just like that! There has to be something we can do, anything! We need to fight for him find a way
through to the hospital. Then he’ll get better.
Oh Christ, the last time I properly spoke to him – was when I was shouting at him about Osborne. I told him
not to sit on Osborne’s bed and now look; I had him strewn across the bed. He and Osborne were my only
real friends and I let them both get killed. I let Osborne go up on that raid I agreed that he was the right man
for it. And Jimmy – I just told him to go up. I didn’t even look at him! I’m a monster. How could I have done
that to Jimmy? Let him go up – knowing something like this might have happened. I knew we wouldn’t win
the attack! Why didn’t I let him go sick, go home to his sister and to tell her that I am doing alright. That
should have been me up there – it should be me laying on this bed now – not him. He shouldn’t have even
joined the army he is only here because I came. Oh Christ why did he have to choose me to be his hero!
There were so many other people. Why couldn’t he done what the other lads do and look to their fathers?
The last time I properly spoke to him was when I was shouting at him about Osborne. He thought I didn’t
care that Osborne was gone. And now he will think I’d do the say for him. I guess him and Osborne went in
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a better way than some, better die a man fighting than die of trench foot, for these filthy dug outs, bloody
Hardy should of cleaned up! It’s bad enough without him making things worse.
Of all those battalions and companies he had to come to mine. Why Jimmy? What twisted plan did God
have when he sent Jimmy to me ? Was he planning on this happening? How could Jimmy go out on the
raid and come back without a scratch then go up for five minutes and be hit in the back. I didn’t even think
anything of him going up – it’s normal – it’s what everyone was doing – I just expected him to go up and
come back down when he could. I’m such a buffoon. I knew we wouldn’t win this attack but yet I still let
everyone go up. And why? Because I don’t think it’s fair that I’ve been here years – done all the work –
while the weaker boys have just stopped for a visit. Because I am forced to follow the deluded orders of my
superiors.
Hibbert – that man – that worm – if anyone was going to be shot it should have been him! He hasn’t even
tried to make it through the war. Just a moment ago trying to say he was ill, even after out talk yesterday!
I told him I would shoot him if he tried deserting but he still tried to feign an illness on to day of all days. I
should shoot him myself, save the Boche the trouble. And to think, Trotter barely even knew the lad or how
amazing he was. He only actually knew his name. Mason, poor Mason, caught up in the middle of all my
problems. He’s a good lad though going to help Hibbert get up and out. I would of just given Hibbert a kick. I
need to stop this moaning, Jimmy‘d want me to get on with my work, and save the day, just like every hero
should. I’ll just have a tot of Whiskey before I go up. There that’s plenty. I – I guess this is goodbye then. I
will miss you greatly. You were a great friend. I’ll hold you in my heart always. Cheerio Jimmy.
Comment
This is a good empathic task. The character and the precise moment for the empathic response are
given, followed by the instruction, ‘Write your thoughts’. This format follows the guidance offered in
Section 2.2 on task-setting.
There is a clear understanding of the moment, and the response is rooted in the detail of the text,
integrating some well-selected reference to support the voice. The voice is largely convincing for
the moment specified, and there is some attempt to hint at Stanhope’s social class (e.g. ‘I’m such a
buffoon’, ‘Cheerio Jimmy’), There are, however, very occasional uncertain notes such as ‘Because I am
forced to follow the deluded orders of my superiors’. Overall, this is a Band 2 response.
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Section 5: Supervising coursework
Section 5: Supervising coursework
5.1 General observations
The Cambridge booklet Handbook for Centres should be read in conjunction with the notes which follow.
Teachers should ensure that the texts and tasks chosen meet the syllabus requirements and that tasks are
framed in such a way that a Centre’s learners might achieve their full potential.
Texts should be taught in such a manner that learners are encouraged to think for themselves rather than
merely reproduce what their teachers tell them. Teachers may as part of their supervision suggest ways of
approaching texts and planning assignments.
If plans and first drafts are completed under teacher supervision, then the authenticity of learners’ work can
be assured.
A general discussion of the progress of assignments is a natural part of the teacher/learner relationship.
Legitimate focus of the general discussion of a first draft might include the need to:
•
develop points in more detail
•
substantiate assertions
•
integrate quotation more succinctly
•
structure an argument more effectively
•
adopt a suitably formal critical register
•
reduce/increase the word count.
The learner must then be able to make a further draft without anybody’s help. The 2015 syllabus states:
‘Teachers should not mark, correct or edit draft assignment material’ (page 17).
The assignment submitted must not under any circumstances be the result of repeated re-drafting under
teacher supervision nor can it be a fair copy produced after the teacher’s detailed marking.
Additionally, a clear line needs to be drawn between the teacher offering opportunities in lessons for
exploring the text and the teacher giving a tightly structured framework which simply requires learners to
regurgitate the same points, quotations and conclusions. Such an approach, which suggests erroneously
that there is such a thing as a model answer, would be against the spirit of IGCSE Literature (English) and
certainly would not meet Assessment Objective 4, which requires an ‘informed personal response’.
Learners may wish to use the internet or study guides to supplement their class reading of texts as part
of the process of reaching their own conclusions, but they should be reminded that the first priority is a
personal response to, and individual exploration of, the text. Irrelevant background material and regurgitated
material are not rewarded, and moderators can spot such material very readily. Learners writing a couple
of pages on romantic poetry before proceeding to somewhat perfunctory comment on actual poems
have missed the point and wasted their time; teachers should think twice before including such essays in
coursework portfolios.
Cambridge IGCSE Literature (English)
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Section 5: Supervising coursework
5.2 Plagiarism
Teachers need to make clear, both at the outset and at intervals thereafter, the consequences of plagiarism.
Where teachers have doubts about the authenticity of a learner’s assignment, immediate action must be
taken in line with the Centre’s own procedures for dealing with suspected malpractice. Teachers can usually
detect writing that is not consistent in quality with a student’s usual output. For example, there may be a
seemingly lifted paragraph which sits oddly with the student’s own writing before and after it. Perhaps an
ambitious phrase sets alarm bells ringing; in such cases, a simple enquiry about the meaning of the phrase
will settle doubts one way or the other. (Beyond using search engine checks, there are programs available to
swiftly establish whether outright copying of material has taken place.) Repeated warnings about plagiarism
should eliminate what the Handbook for Centres booklet terms ‘an innocent over-reliance on books or other
published materials’.
The teacher’s role in detecting plagiarism is crucial. It is not the external moderator’s job to provide a second
opinion. Consequently, plagiarised work must not knowingly be included in the folder, even if it means
that an incomplete folder has to be submitted to the external moderator and the overall mark adjusted
accordingly.
5.3 Length of assignments
The syllabus advises that each assignment should be ‘of about 600–1200 words’, though penalties are not
applied if the word counts are below or over this range. Very short assignments tend to be self-penalising as
they cannot show evidence of a sustained argument or produce the necessary range of detailed knowledge
to secure marks in the higher bands.
Portfolios significantly exceeding 1200 words are in danger of becoming too bulky, and it should be
remembered that longer assignments are not invariably better than shorter ones.
An excessive amount of time spent on coursework is done at the expense of the examination components,
which have a combined weighting of 75 per cent. Striking a balance is key.
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Cambridge IGCSE Literature (English)
Section 6: Moderation
Section 6: Moderation
6.1 Marking and annotation
It is important that all candidates’ work bears evidence of having been read by the teacher. The assignments
should be marked with reference to the Assessment Criteria for Coursework (reproduced in 7.3), and brief
comments in the margin and at the end of the assignment should refer to criteria which are met in the piece
of work as well as making other comments on the individual merits of the work.
In the examination components, examiners are instructed to tick points which are interesting, sensitive and
thoughtful, and this is good practice too for the marking of coursework. The very occasional tick with very
little comment is not helpful to the moderation process. By contrast, precise ticking of points and occasional
succinct comments from the teacher allow both other teachers within the Centre and also external
moderators to see how the original teacher’s mark was arrived at. Ticking at the end of every paragraph, or
even every sentence, does not assist the moderation process at all.
The primary purpose of the original teacher’s ticking and annotation is to engage in a dialogue with the
internal moderator about the strengths and weaknesses of a particular assignment.
6.2 Linguistic accuracy
It may be possible for a candidate whose technical command of language is limited, but whose language
still manages to communicate understanding, to receive high marks for that understanding. Conversely,
those who demonstrate a fluent and accurate control of English may not necessarily demonstrate a good
understanding of the literary aspects of texts.
This is a literature assessment: there is no need to indicate errors of spelling, punctuation and grammar,
though teachers are likely to want to remind their students in general terms of the need for accuracy as they
re-draft and proofread their assignments.
6.3 Presentation
The Cambridge Handbook for Centres makes it clear that assignments should be completed on A4 paper.
If word processed, the font size and type and line-spacing should be such as to aid readability. Small fonts
are to be avoided in word processed work in the same way as illegible script is to be avoided in handwritten
assignments.
6.4 Individual Candidate Record Cards
This card is the main contact between Centre and external moderator and represents the Centre’s definitive
judgement on the portfolio after internal moderation, justifying as it does the final mark awarded. The figure
on the card should be the final moderated mark for the whole folder, and not the teacher’s original one (if
these marks differ). It is important that students are aware that the Centre’s final mark is subject to external
moderation and that they do not actually know their coursework mark until after the publication of results.
The defining features of the folder should be set out in the Teacher Comment space provided, where
teachers draw attention to the individual characteristics of the folder and also refer to the descriptors in
the assessment criteria which best describe the features of the work. Perfunctory comments here are a
disservice to candidates.
Cambridge IGCSE Literature (English)
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Section 6: Moderation
The tone of the comment should be objective; there can be no room for summaries of candidates’ personal
qualities or histories, which can play no part in the final judgement. The fact that a candidate has been a model
student, has loved reading and has worked hard in the face of difficult personal circumstances is not relevant
to the moderation process. The coursework component examines candidates’ work, not their personalities.
6.5 Examples of teacher comments on the Record Cards
1. Sunita consistently responds to texts in a perceptive, self-assured, sensitive way. She carefully selects
and embeds quotations carefully in order to aid her analysis of writers’ intentions, concerns and effects.
Mark awarded: 45.
The comment certainly corresponds to the mark. Perception, analysis of writers’ effects and the capacity to
integrate (or embed) quotations are all indicators of high ability. However, the comments are rather general
and could be more effectively linked to the specifics of the writing.
2. The folder demonstrates a sound knowledge of the texts and the responses are fluent and confidently
expressed. There is a good level of quotation to support this knowledge, and the texts are interpreted
and evaluated in terms of themes and attitudes (within the parameters of the essay titles). There is
a high degree of appreciation of the content and well-considered personal response, clearly seen for
example in her analysis of the way the alcoholic father is presented in The Village by the Sea. There is
evidence of some attempt to express an appreciation of the ways in which writers achieve their effects,
evident in her exploration of imagery in the two poems. Mark awarded: 42.
This comment does include reference to specific features of this candidate’s writing, pointing the moderator
in the direction of particularly credit-worthy aspects of the portfolio. Such specific comments linked to
general comments drawn from the assessment criteria significantly assist the moderation process; a
meaningful dialogue can thus take place between Centre and moderator.
3. Karim has written consistently and coherently, producing essays which are well-written and organised,
going over the issues in the text with systematic efficacy. It is simply the limited development of his
response and the limited exploration of writers’ use of words which keeps the candidate at the top of
Band 4. Mark awarded: 32.
This is another short comment, but it does have the virtue of explaining why this portfolio satisfied all the
Band 4 criteria but was not considered to be sufficiently strong to be placed at the bottom of Band 3. There
is, therefore, something concrete to aid the moderator in arriving at a final judgement about the merits of
the portfolio.
4. Given that the candidate is one of the first to undertake this 0486 option, she has attained an
exceptional achievement. Her portfolio is very comprehensive in that she displays a sound literary
knowledge, development of interpretation and a fair degree of personal response. The range of
treatment is also commendable. She only received 6 hours of tutorial guidance, but the portfolio
indicates her effort and initiative. Mark awarded: 38.
The observations here are rather too general, though the phrase ‘development of interpretation and a fair
degree of personal response’ does make some reference to the band descriptors. Without exemplification,
however, the observation that the candidate’s ‘range of treatment is also commendable’ is left somewhat
vague and does not provide much assistance to the moderator. Additionally, some comments stray into
personal history in what should be an objective summary of the candidate’s work.
34
Cambridge IGCSE Literature (English)
Section 6: Moderation
5. The structure of the essay is loose, and the understanding of the poems over-simplified. He gives a very
basic account of the situations presented in them but does not deal with the themes in depth. There
seems to be no awareness of how form and content work together in a poem.
My assessment of coursework was restricted to the poetry assignment. All other work was
administered and corrected by the permanent teacher, who I have replaced, due to illness.
The comment about the assignment on poetry is acceptable, and the essay was given the correct mark of
10 (top of Band 6). However, the second paragraph reveals a misunderstanding of the moderation process.
It is the Centre’s responsibility to submit marks and sample coursework portfolios after internal moderation
has taken place. The folder should have been marked as a whole regardless of staffing circumstances of the
kind described.
6.6 The process of internal moderation
Cambridge requires Centres to standardise the marking of coursework portfolios across different teachers
and teaching groups in order to ensure that all candidates in the centre are judged against the same
standards, and also to produce a rank order of candidates for the Centre as a whole. Each Centre must have
one teacher, accredited by Cambridge, who is responsible for this process of standardisation.
The marking criteria must be applied to each portfolio and one final mark agreed, without regard to either the
stage of the course at which work was produced or any personal considerations relating to the candidate.
If more than one teacher is involved, a meeting should be timetabled well in advance of the deadline for
submitting coursework samples and marks, in order to allow for all the necessary administration to be
completed in a timely and efficient manner.
6.7 Practical approaches for departments with two or more
teachers
Two or more teachers might read portfolios from all sets and adjust marks where necessary to bring them
into line with the Cambridge standard.
As a starting point, a sample of ten folders, in rank order, from the internal moderator’s group could be
marked by two or more teachers and any adjustments made. Then a sample from a second set might be
compared with the standard of the first set and any adjustments made. Marks can be adjusted from any
part of the range of marks, and if there is a discernible trend, marks should be adjusted for other folders in
that range. If evidence points to a consistent pattern of either generous or severe marking, it is not difficult
to scale marks downwards or upwards, without the need to re-mark all portfolios within the range affected.
If, however, there is not a clear pattern and if candidates are at risk of being awarded the wrong mark, more
folders from that set should be marked and any adjustments made until all doubt about the accuracy of the
marking is removed.
It is important at this stage to try to account for marking which does not meet the standard (has a teacher
over-emphasised one of the criteria at the expense of the others?) so that similar mistakes can be avoided in
the future. Once finished with the second set, samples should be marked from the remaining set(s) until the
process is complete.
The internal moderator should ensure that discussion at all times focuses on candidates’ work and not
teachers’ views of the candidate.
Cambridge IGCSE Literature (English)
35
Section 6: Moderation
6.8 Preparing the portfolios for external moderation
Please also find examples of Individual Candidate Record Cards and Coursework Assessment Summary
Forms in the appendices of this handbook.
From June 2015, all forms can be downloaded from www.cie.org.uk/samples our new Samples Database.
Just fill in your Centre number and the syllabus code and the database will locate the correct forms.
The following is a list of DOs and DON’Ts that enable the moderation process to run as smoothly and
effectively as possible.
DO check that:
all relevant details are included on the Individual Candidate Record Card form
marks on assignments have been transferred correctly to the Individual Candidate Record Card form
and that the total mark out of 50 is correct
the moderated mark is transferred correctly to the MS1 sheet OR to the signed [electronic] printout
of marks
all pages of candidate work contain evidence of teacher annotation
all assignments have a summative comment from the teacher/Centre, drawing on the wording of the
assessment criteria
all assignments bear the candidate’s name, candidate number and full title (not abbreviations or
approximations of the latter)
pages of each assignment are numbered and presented in sequence
word counts and references to secondary source material (where relevant) are listed at the end of
the assignment
the assignments are attached to the Individual Candidate Record Card by means of a treasury tag
etc., i.e. in a way that makes them accessible and easy to read
if the assignment is based on poems or stories which are not commonly known, copies are included
in the sample despatched to Cambridge.
DON’T:
send bulky cardboard folders or plastic wallets
use paper clips (as assignments can become detached from them too easily)
include work that is known to contain plagiarism.
36
Cambridge IGCSE Literature (English)
Section 7: Accreditation
Section 7: Accreditation
7.1 How to apply for accreditation
In order to apply to become an accredited coursework assessor using this handbook, please follow the
instructions below.
•
Work through the advice and guidance in Sections 1–7 of this handbook.
•
Carry out the three accreditation tasks:
–
Task A: a task-setting exercise
–
Task B: an exercise on filling in the Individual Candidate Record Card
–
Task C: assessing the five portfolios in Section 8.
•
Copy the Coursework Assessor Accreditation Cover Sheet in Section 7. Include your personal details
and sign the form to confirm that the work you are submitting is your own.
•
Copy the mark sheets for Tasks A and B, complete the tasks and fill in your answers in the spaces provided.
•
Make five copies of the Accreditation Mark Sheet template in Section 7 for each of the five accreditation
portfolios. Fill in your marks and comments as indicated.
Finally make a copy (either by photocopying or scanning) of all the completed forms for your own records
before sending the originals to the IGCSE Accreditation Coordinator at the address on the Cover Sheet.
Alternatively you can scan and email them to info@cie.org.uk. Please put ‘IGCSE Teacher Accreditation’ in
the subject line of your email.
Please allow 4–6 weeks for the moderator to assess the work and to inform you of the outcome.
You will be notified of the outcome of your application by post. Where your application has been successful
you will receive a certificate and a feedback report. Where accreditation has not been awarded, you will
receive feedback on how you might improve your performance and will be invited to try again. Applications
can be submitted as many times as necessary to secure accredited coursework assessor status but there
will be an administrative fee each time.
If your application has not been successful this does not mean that you will not be able to continue to teach.
It simply means that you should not moderate the marking of other teachers in your school.
7.2 Using the assessment criteria
You should use the assessment criteria to assess each assignment out of 25. The total folder mark is out of
50.
The criteria are arranged in nine bands. If read from the bottom (Band 9) to the top (Band 1), each describes
a more assured performance than the one preceding.
You should read and mark the work and then make a ‘best fit’ judgement as to which band to place it in.
Very often you may see qualities that fit more than one band, so always use two bands at least and come to
a decision between them.
If all the criteria in a band fit your judgement, award the highest mark and check the band above just in case
a mark at the bottom of the next band is appropriate.
When you assess all the portfolios for which you are responsible, place them in rank order, and award the
marks accordingly, paying especial attention to the borderlines between bands. Try to differentiate between
portfolios that lie within the same band.
Cambridge IGCSE Literature (English)
37
Section 7: Accreditation
7.3 Assessment criteria for coursework
Band
Marks
Description
Band 1
23–25
Sustains personal engagement with task and text
Band 2
Band 3
Band 4
Band 5
Band 6
Band 7
Band 8
20–22
17–19
14–16
11–13
8–10
5–7
1–4
•
sustains a critical understanding of the text showing individuality and
insight
•
responds sensitively and in detail to the way the writer achieves effects
•
incorporates well-selected reference to the text skilfully and with flair
Sustains a perceptive, convincing and relevant personal response
•
shows a clear and critical understanding of the text
•
responds sensitively and in detail to the way the writer achieves effects
•
integrates much well-selected reference to the text
Makes a well-developed, relevant and detailed personal response
•
shows a clear understanding of the text and some of its deeper
implications
•
makes a developed response to the way the writer achieves effects
•
supports with careful and relevant reference to the text
Makes a reasonably developed relevant personal response
•
shows understanding of the text and some of its deeper implications
•
makes some response to the way the writer uses language
•
shows some thoroughness in the use of supporting evidence from
the text
Begins to develop a relevant personal response
•
shows some understanding of meaning
•
makes a little reference to the language of the text
•
uses some supporting textual detail
Attempts to communicate a basic personal response
•
makes some relevant comments
•
shows a basic understanding of surface meaning of the text
•
makes a little supporting reference to the text
Some evidence of simple personal response
•
makes a few straightforward comments
•
shows a few signs of understanding the surface meaning of the text
•
makes a little reference to the text
Limited attempt to respond
•
Band 9
38
0
shows some limited understanding of simple/literal meaning
Insufficient to meet the criteria of Band 8
Cambridge IGCSE Literature (English)
Section 7: Accreditation
When marking empathic responses, the grid above should be used together with the following descriptors:
Band
Features of empathic writing
Band 1
sustained engagement with character and chosen moment
Band 2
sustains a convincing voice for character and chosen moment
Band 3
sustains an appropriate voice for character and chosen moment
Band 4
uses expression that is suitable for character and chosen moment
Band 5
begins to assume a voice for character and chosen moment
Band 6
shows basic understanding of character
Band 7
shows a few signs of understanding character
Band 8
shows a limited understanding of character
Band 9
no creditworthy material
Cambridge IGCSE Literature (English)
39
Section 7: Accreditation
Cambridge IGCSE® coursework assessor accreditation
Cover Sheet
Cambridge IGCSE Literature (English) 0486
Please complete this form in BLOCK CAPITALS.
Centre number
Centre name
Teacher’s name
Contact email
Declaration of authenticity
I have read and understood the training materials and certify that the evidence submitted with this
form is my own original work.
Signed
Date
(DD/MM/YY)
Name
Return all your submission forms to
Cambridge IGCSE Accreditation Coordinator (EDM),
Cambridge International Examinations,
Cambridge Assessment DC10
Hill Farm Road
Whittlesford
Cambridge
CB22 4FZ
UK
Submissions can be scanned and supplied electronically either on a CD or Memory Stick to the address
above or emailed to info@cie.org.uk. Please take care to put ‘IGCSE Teacher Accreditation’ in the subject
field.
Save a copy of all forms submitted, for your own records.
40
Cambridge IGCSE Literature (English)
Section 7: Accreditation
Accreditation Task A
Task-setting
Please state whether you find each of the following tasks appropriate or not appropriate for the syllabus,
and add a comment in the spaces provided. You will need to have read Section 2 on task-setting in this
handbook before completing this section.
Explore the ways in which Liz Lochhead vividly conveys the thoughts and feelings of the
speaker in two of her poems.
‘This dead butcher and his fiend-like queen’. How far do you agree with Malcolm’s epitaph on
Macbeth and Lady Macbeth?
Write about Scout’s education in To Kill a Mockingbird.
Cambridge IGCSE Literature (English)
41
Section 7: Accreditation
In what ways do the writers strikingly convey husband-wife relationships in two of the
stories you have studied?
You are Myrtle Wilson in The Great Gatsby. It is just after the party at which Tom Buchanan
punched you in the face. Write your thoughts.
Write the script of an interview between the interviewer and Ralph (from Lord of the Flies) as
an old man.
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Cambridge IGCSE Literature (English)
Section 7: Accreditation
Accreditation Task B
Completion of Individual Candidate Record Cards
Rank in the space below these three comments in order of usefulness to the moderator.
(i) The assignments are both at the top of Band 4, demonstrating securely an understanding of the texts,
including some of their deeper implications. In both pieces there is some thoroughness in the use of
supporting evidence in the form of concise direct quotations. There is some response to language,
though not sufficiently detailed to reach Band 3.
(ii) Both essays are good and can be confidently placed in Band 2. Well done, Umar!
(iii) The following circumstances need to be taken into consideration please. This student has been absent
from school for much of the last two terms owing to family circumstances. He has not therefore had the
benefit of class discussions and this reveals itself in the quality of his work. He is nonetheless a hardworking student who has the clear potential to reach the top grade.
The rank order, with the most useful comment at the top, is as follows:
Position
Comment number
1
2
3
Cambridge IGCSE Literature (English)
43
Section 7: Accreditation
Accreditation Mark Sheet template for Task C
44
Accreditation
portfolio ref:
Mark
Assignment 1
/25
Assignment 2
/25
Total mark
/50
Cambridge IGCSE Literature (English)
Comment
Overall comment on the portfolio
Section 8: Sample portfolios for accreditation
Section 8: Sample portfolios for accreditation
Portfolio A, Assignment 1
How does Owen present the First World War in his poems ‘Dulce et Decorum Est’ and ‘Anthem for
Doomed Youth’?
The poem by Wilfred Owen called ‘Dulce et Decorum est’ is a powerful and strong-minded poem, written
at Craiglockhart. The poem is talking about the War and about how tired and destroyed the soldiers
become. For example he says that they are ‘coughing like hags’, This suggests that they cough with an old,
tired woman type cough, and the young men have been reduced to walking like old beggars.
In the second section he describes the long walk and their tiredness for example they are ‘blood shod’ this
suggests that their boots are covered in blood from the walking and he also mentions ‘marched asleep’ this
tells you they are so tired that they are so close to collapsing.
In the third section it shows you what it was like to be in the gas attack. The paragraph is powerful because
the section starts with ‘Gas! Gas! Quick boys’ this gives a tense and scared feeling about what happened.
He mentions how the man dies before his eyes that the man is ‘choking drowning’, this gives the image that
makes you feel like you can see him in front of you. Owen writes ‘drunk with fatigue’ he says this because
the soldiers are so tired that they almost act drunk like tiredness is a sort of drug.
In the last paragraph Owen says ‘we flung him into the back of a wagon’ this suggest that it happens all the
time and there isn’t much care. It then describes what he looks like when he dies ‘like a devil sick of sin’
this is a strong line because for a devil to be sick of sin is so unlikely and it shows it must have been horrific
to see it. Then in the last few lines he is saying that if you knew what the war was actually like you would
not be so keen to go. Owen says it in these words ‘My friend you would not tell me in such high zest, to
children ardent for some desperate glory, the Old Lie: ‘Dulce et Decorum Est pro patria mori.’ Suggesting
that the war might seem enjoyable before you go and then you find out how terrible it actually is.
Turning onto ‘Anthem of Doomed Youth’, which contrasts to the last poem in a way, that ‘Anthem of
Doomed Youth’ is talking about death and how many have died and in the last poem they are talking about
being at war and the suffering of one particular man dying in a gas attack.
‘What passing bells for these how dies as cattle’, begins the sonnet. This quote makes the poem start with
a down to earth, deep saying. The message this quote is trying to get along is that these men are being led
to slaughter like cattle being treated like meat. Owen mentions the guns as ‘monstrous’ This line makes
you get the feeling that the guns are frightening and fearful it is also personification he has given the guns a
human description. In the phrase ‘The stuttering rifles rapid rattle’ Owen uses alliteration to give the feeling
of the guns actions and sounds.
‘Nor any voice of mourning save the choirs’ Owen writes this line to show that the soldiers have been left
on the battle field, dead and Owen is suggesting that the shells that whiz passed are a choir for them like
you have at a funeral. Owen gives a bigger impression in the next line of what the shells are like by writing
‘the shrill, demented choirs of wailing shells’ again he uses personification to gie a character to the shells to
make them sound frightening.
‘Bugles calling them from sad shires’ Owen starts to talk about he people back at home, the family and
friends. The bugle is a type of horn and Owen is saying how it has been used to tell the people that a
Cambridge IGCSE Literature (English)
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Section 8: Sample portfolios for accreditation
family member has been killed. ‘Not in the hands of the boys but in their eyes shall shine the holy glimmers
of goodbyes’ Owen is saying how the boys are weeping from the losses of their fathers, brothers and
friends.
Owen finishes the poem with the line ‘and each slow dusk a drawing-down of blinds’, Owen is suggesting
that the soldiers that have passed have been left behind and closed away, no-one wants to think about
them because of the pain it will cause.
Wilfred Owen writes his poems to get to the point of the World War and how brutal and savage it was. I get
this impression because he goes in to full detail about the deaths for example when he describes the man
dies in front of Owens eyes and Owen goes into depth about his eyes and the painful it is.
Portfolio A, Assignment 2
How are relationships portrayed in the poems ‘The Voice’ (by Thomas Hardy) and ‘Report to Wordsworth’
(by Boey Kim Cheng)?
‘Report to Wordsworth’ portrays relationships with the world that is around the impacts on the natural
world caused by the relationship between man and nature and how nature is abused but hardy portrays his
relationship with his wife in a positive and negative view but still in the end damaging to him, Kim clearly is
completely negative in the way that he describes human interaction with their natural surroundings, but in
general both poems are negative and pessimistic in their portrayals of relationships.
In ‘The Voice’ hardy refers to their courtship as ‘fair’ he also states that she was ‘the one who was to him’
all this suggests that this woman that was to be his wife he knew from an early stage in their relationship
that she was the one and this brief quote portrays relationships in a stable manor. Hardy’s reference to
Emma wearing an ‘air-blue gown’ is a resoundingly positive image and that their relationship and his wife
is full of life and vitality and the attention to detail to what his wife is wearing shows the vast amount of
interest he has in her. The sense of positivity that is created in the first two stanzas is heightened by the
musicality of the full rhyme scheme and the galloping rhythm.
In the final stanza it describes the extremely negative impact to the end of hardy’s relationship, which is
most powerfully communicated in the final stanza. As hardy is ‘faltering forward’ this shows that he is week
and that his relationship has drained all the life out of him and that he barley has the strength to stand. Also
the ‘leaves around me falling’ implies that everything around him is falling apart or dyeing as a result of his
relationship.
The relationship between humans and the environment is portrayed in a very negative light, such as in the
second line Kim says that nature has been ‘laid waste’ and needs the help of wordsworth the use of the
words laid waste make it seam like it was a direct and meant attack on nature and that use the humans
have savaged or destroyed it. He then moves on to say that the ‘sky slowing like a dying clock’ this implies
that what the humans have done is irreversible and that time is short and there is nothing us the humans
can do about it, also the half rhyme on this line emphasizes or heightens this point.
Even more alarmingly Boy Kim Cheng depicts the collapse or demise of the relationship between the
humans and God. That ‘Neptune lies helpless’ and that ‘man moves in for the kill’ implies that we are not
just destroying the relationship between the humans and God but we are killing or harming him, this point
is heightened in ‘to see the wound widening’ this also strengthens the point that there has been a physical
impact on God from what humans have done, all this is put into conclusion in the final line as ‘God labouring
to utter his last cry’ this creates the image that God is mortally injured and that the all powerful figure that
Humans once feared was now no longer in control and barely had the strength to make its last cry.
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Cambridge IGCSE Literature (English)
Section 8: Sample portfolios for accreditation
In conclusion relationships in this poem are depicted in a rather haunting even painful experience, even
though there are glimpses of goodness and love the majority of relationships are full of heartache or even
physical pain.
Portfolio B, Assignment 1
How does Fitzgerald present Gatsby as such a memorable character?
The Great Gatsby, written by American author F. Scott Fitzgerald, is set during the ‘roaring’ 1920s and
captures the essence of prosperity amongst the members of American society. The protagonist of the
novel is fabulously wealthy Jay Gatsby from West Egg. Throughout the book, Fitzgerald conveys the true
complexity of his character, presenting him as memorable to the reader in a number of ways.
Firstly, Fitzgerald portrays Gatsby as mysterious to present him as memorable. This is because by
describing him as hard to interpret, the reader is provoked to come to their own conclusion of Gatsby,
creating a deep interest in his character. This enigmatic quality is illustrated in Chapter 3 when socialite
Jordan Bake says ‘somebody told me they thought he killed a man once’ whilst at one of Gatsby’s famous
parties. Giving him an element of danger and possible murky connections, the violent verb ‘kill’ emphasizes
that there may be a threatening and brutal side to Gatsby. In addition, the vague adverb ‘once’ and the
vague nouns ‘somebody’ and ‘man’ truly capture the essence of the scandalous rumours surrounding
him as they are words that connote the unknown, presenting Gatsby as the subject of gossip. This is both
intriguing and exciting, making him memorable for the reader as they are left to wonder which, if any, of the
shocking rumours are true.
Secondly, he presents Gatsby as a memorable character to the reader by portraying him as greatly
extravagant. For example, at the beginning of Chapter 3, Nick illustrates his lavish ways, narrating ‘Every
Friday five crates of oranges and lemons arrived from a fruiterer in New York’ when describing his
preparations for his parties. The adverb of frequency ‘every’, conveys the regularity of the delivery, whilst
the number ‘five shows us the excessive quantities of the ordered fruit. Also, the nouns ‘oranges’ and
‘lemons’ emphasize the exotic nature of the fruit available and on offer to the guests at the party. Moreover,
the proper noun ‘new York’ expresses Gatsby’s standards of perfection as he is not prepared to settle for
anything other than the very the finest quality. These over the top and audacious actions present Gatsby as
memorable to the reader as it is so rare to have a life filled with such luxury and indulgence. Additionally,
this characteristic of Gatsby is memorable as, to many readers, it may portray him in a slightly negative
light as, because at a time of hardship and a huge class divide, this extravagance is seen to be wasteful and
improvident.
Throughout the book, Fitzgerald continuously uses Gatsby’s deep love for beautiful and superficial Daisy
Buchanan to present him as a memorable character. This undying love is conveyed in Chapter 5 when
Gatsby is nervously anticipating his first meeting with her. These nerves present Gatsby as a memorable
character as they are a complete contrast to his usual confidence, showing how much power Daisy holds
over him and how deep his love for her is. Furthermore, Gatsby’s nerves and undying love are shown
when Nick narrates, ‘Gatsby, as pale as death with his hands plunged like weights in his coat pockets…
glaring tragically into my eyes.’ The similie ‘pale as death’ illustrates the depth of anxiety and fear Gatsby
is feeling as it coveys that his apprehensiveness is so strong, that it has managed to overtake his physical
appearance and has drained him of any colour. Also, ‘pale’ connotes exhaustion, which presents Gatsby as
memorable as it suggests that he is mentally incapable of not thinking about Daisy, conveying that he has
been unable to sleep, as he has been so tense and on edge about the meeting. ‘The similie of his ‘hands
plunged like weights’ moreover highlights this tension as it suggests that he is feeling uncomfortable in
the situation and therefore he is awkwardly trying to find something to do with his hands. Also, the noun
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‘weights’ signifies the large amount of pressure, which has built up to this one moment as it conveys
a sense of strain and heaviness felt by Gatsby. This shows the reader how desperate Gatsby is for the
meeting to be successful, making him memorable as the reader can’t help but admire Gatsby’s dedication
to this one woman. However, the juxtaposition of the negative adverb ’tragically’ with Gatsby’s fierce
‘glare’, in the oxymoronic phrase, forbodes at a later tragedy as it suggest to the reader that Gatsby will
end up hurt. His for-shadowed tragedy is a memorable aspect to Gatsby’s love as the reader is left with
the dreaded of wait to when Gatsby’s heart is to be broken, filling the reader with sympathy for Gatsby.
Anyhow, after overcoming his nerves and spending a little time with Daisy, Nick describes Gatsby’s
complete mood shift as he narrates ‘he literally glowed…a new well being radiated from him and filled the
little room’. Here, the metaphoric hyperbole ‘literally glowing’ emphasizes the extent of the positive effect
Daisy has on him. Furthermore, the metaphor ‘radiated’ conveys this positive impact as it is suggesting
that it is so big that it has extended beyond him and into his aura. This also implies that his happiness is
somehow oozing from him and is so strong that it has overtaken the room, which, in comparison to his
heat, seems significantly ‘little’. The strength of Gatsby’s love for Daisy presents him as memorable to
the reader as they become aware that Gatsby is no longer the author of his own destiny – his happiness
is soley dependant on Daisy, as shown with the dramatic mood change. This further heightens the
helplessness of Gatsby, making him memorable as the reader takes pity on him, adding a likeability factor
to his complex character.
Penultimately, Fitzgerald uses Gatsby’s tragic belief in his unattained dream to present him as a memorable
to the reader. The loss of his dream is shown on page 107, Chapter 7, when Nick narrates ‘with every
word she was drawing further and further into herself…only the dead dream fought on as the afternoon
slipped away, trying to touch what was no longer tangible.’ The repetition of the adverb ‘every’ emphasizes
the great distance which is opening up between them and conveys how this gap is increasing rapidly
with every second. The adjective ‘dead’ moreover illustrates the unfortunate reality that he will never
be with her as it humanly impossible to bring back the dead. Additionally, the harsh alliteration of ‘dead
dream’ connotes a certain finality to his dream as the sound is both hard and short. However, despite
this obvious closure, the powerful verb ‘fought’ conveys how Gatsby is desperately battling on and still
has hope, although the phrasal verb ‘slipped’ describes the loss and disappearing of his dream. Further
illustrating Gatsby’s inability and refusal to let go of his dream, the phrase ‘trying to touch what was no
longer tangible’ conveys how he is still holding on to the possibility that there is a future for him and Daisy,
where as in fact his dream has been killed. The loss of his dream portrays Gatsby as memorable to the
reader because they are able to see how genuine and unrequited his love for Daisy is. Also, Gatsby’s
determination to bring his dream back to life is memorable as the reader will truly admire his dedication, yet
at the same time will feel great sympathy for him as all his efforts seem worthless as he is helpless in the
situation.
Finally, Fitzgerald uses Gatsby’s isolation from society to present him as memorable. This separation is
illustrated in Chapter 3 when Nick narrates ‘no one swooned backward on Gatsby and no French bob
touched Gatsby’s shoulder’ whilst at one of Gatsby’s parties. The repetition of ‘no’ against the repetition
of ‘Gatsby’ emphasizes just how disconnected he really is from his own guests. Further, it is illustrates
how although he appears to be a socialite, he is in fact lonely, as all his guest are anonymous and unknown
to him. This isolation is once again shown on Page 138, at the end of the final chapter, when Nick is at
Gatsby’s funeral and narrates ‘Nobody came’. This short sentence conveys the tragic certainty that Gatsby
was alone in Death and is almost unmourned or cared about. Additionally the shortness of the sentence
conveys the tragic contrast between the non-existent guests at his funeral and his parties, which were
always filled with people. This solitary characteristic makes Gatsby memorable to the reader as they feel
great sympathy for him since it is horrible to think that someone has no one learn on. Also, we are able to
see the real Gatsby, the man who is in fact desperate for companionship, whom is hidden away under his
wealth and extravagance, making him memorable to the reader.
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Portfolio B, Assignment 2
In the poems ‘Dulce et Decorum Est’ and ‘The Sentry’ how does Wilfred Owen present war and its effects?
Commissioned as an officer in 1915, Owen gained a first hand experience of World War One, fighting at the
front line. Shortly before War ended, Owen was killed in action at the battle of Sambre at the tender age
of 25 after facing numerous traumatic experiences. However, before his death he was inspired by fellow
poet Siegfried Sassoon, Owen used these experiences to influence his writing, giving them a graphic and
powerfully negative outlook on the traumatizing experience of War and it’s effects. Two of his most famous
poems, ’Dulce et Decorum Est’ and ‘The Sentry’ still remain popular today and paint a vivid image of
Owen’s cynical take on war. ‘Dulce et Decorum Est’ describes the hideous experience of being caught up in
a gas attack where as ‘The Sentry’ conveys the terrible experience of shell bombardment.
In both poems Owen displays the horror of warfare by describing the terrible conditions the men
experienced, For example, in ‘The Sentry’ he writes, ‘rain guttering down in waterfalls of slime kept slush
kept slush waist high,’ Here Owen uses the metaphor to convey how wet and horrible the trenches were.
The word ‘slime’ conveys the repulsive viscous nature of the surrounding environment where as the noun
‘waterfall’ really captures how the trench walls are covered in this revolting layer of slime. In addition, the
enjambment in the line creates a sense of the continuous movement of the slime, suggesting that the layer
covering the sides of the trench is so thick that it is now cascading down. Similarly he conveys the horrific
conditions of the war the men faced in ‘Dulce et Decorum Est’ by writing ‘We cursed through sludge’.
The powerful verb ‘cursed’ suggests an unwillingness of the men to walk as it conveys that the men
have no choice. In addition, it suggests that the men are powerless and helpless to the terrible conditions
surrounding them. Furthermore, the unpleasant onomatopoeic ‘udge’ sound of the work ‘sludge’ conveys a
sense of the muddy, wet conditions, giving heaviness to the mud. The long ugly vowel sound also heightens
the oppressing nature of the trenches.
Owen also conveys the fatal weaponry used in the war in his poems. This is displayed in ‘The Sentry’
with the line ‘And gave us hell, for shell on frantic shell’. The combination of the repetition of the word
‘shell’ along with the enjambment of the line creates a sense of the endless and incessant bombardment.
Moreover, the adverb ‘frantic’ describes the weaponry used in war in ‘Dulce et Decorum Est’. For example
he write, ‘Gas! Gas! Quick boys!’ The repetition of the word gas creates a clear sense of panic amongst
the men. In addition, it suggests the men are frightened, as they do not know what to do. Also, the use
of metaphor in the line ‘As under a green sea, I saw him drowning’, conveys how the gas is omnipresent
and thick. Moreover, the verb ‘drowning’ is describing how the gas is impenetrable, airless and even
inescapable.
Another way Owen presents negative image of war is by expressing how the experience of war changes
the men. For example in the Sentry he writes ‘but I forgot him there’. The use of the word ‘forgot’ indicates
how the men have become hardened emotionally by the war. Additionally, it suggests how the men have
been physically and mentally drained of all emotions. Similarly, in Dulce et Decorum Est, Owen conveys
how the experience of war transforms the men by describing them as ‘coughing hags’. Here the simile
compares the young strong men as weak old women suggesting that they have lost their strength and
power. It also shows how the men have been emasculated by war and are now helpless.
Furthermore, Owen uses his first hand experiences to graphically describe the terrible injuries sustained
in war. The true horror of the injuries is displayed in the Sentry with the line ‘Eye balls, huge bulged like
squids’. This simile paints an image of the hideous physical effect the blast has had on his eyes. Moreover,
Owen is comparing the eyes of a grotesque and slimy sea creature to the human eyes, which are usually
related with beauty and innocence. This comparison is conveying a sense of his inhumanity. Owen likewise
illustrates the terrible injuries in Dulce et Decorum Est. For example he writes ‘His face hanging like a devil’s
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sick of sin’. This simile suggests that the man’s face has been transformed by his pain and is now hideous.
Additionally it conveys that the man has lost his humanity and now somehow looks monstrous.
Additionally, Owen presents the horrors of war throughout his poems by clearly presenting the long lasting
psychological effects. He shows this in ‘The Sentry’ by writing ‘I try not to remember these things now’.
This quote enhances the negativity Owen feels toward the war as it is suggesting that his experiences were
so ghastly that he simply wants to erase them from his memory and block them out. However the use of
the verb ‘try’ suggests that the war has scarred him so deeply emotionally that he is unable to simply move
on and lead a normal life. Moreover, it implies that the experience of war is holding a power over him and he
is helpless in the situation. Similarly, Owen describes how the war brings long lasting physiological effects
to the men in ‘Dulce Et Decorum Est’. He shows this with the line ‘In all my dreams, before my helpless
sight’. The word ‘helpless’ conveys a sense of desperation, as Owen is unable to throw his traumatizing
experiences out of his mind. Additionally, it is suggesting that his experiences of war are permanently
haunting him and enabling him to continue with a normal life.
It is amazing that today we are studying poems which were written nearly a hundred years ago! This clearly
illustrates the true genius of Owen’s works, as it is the intensely emotive and dramatic impact of these
poems that enables them to stand the test of time. Furthermore, his poems still have a lasting relevance in
today’s society as our men continue to face the horrors of war on a daily basis, with wars still being fought
all over the world. However, the families of these soldiers along with many others, including myself, would
question Owen’s sentiment of the futile and their inglorious sacrifice of men, at a time when the innocent
men of our nation are bravely risking their lives, fighting on-going wars in places like Afghanistan. They are
proudly protecting their country, yet Owen is implying that this does not simply make them noble men, as it
is not glorious or right a man should die for his country.
Portfolio C, Assignment 1
The prologue describes Romeo and Juliet as ‘star-crossed lovers’. How far do you agree with this
description? You should consider language, character and events in your answer.
Romeo and Juliet are described in the Prologue as ‘star-crossed lovers’. This implies that it was all fate that
they were going to meet, marry and ultimately die. It alludes to the fact that there was nothing that any of
the characters in the play could have done to change what was their destiny. The ‘stars’ are also a reference
to something heavenly-such as the Gods. The prologue allows the play to be acted with dramatic irony as
the audience knows the fatal result of the character’s ordeal.
In the Prologue the phrase ‘Death-marked love’ also appears. This means that their young love will also
end up being the cause of their untimely death. It personifies love slightly, as if it is something that can be
physically marked. ‘Death marked love’ is a very strong phrase as it highlights deeply the danger that will
occur if they fall in love. The juxtaposition of death and love emphasizes how essentially linked the two
things are. It is a moving phrase that is used to explain what would be thought of in modern society as a
young love.
In (l.4 107–114) Romeo alludes to the sense of foreboding. I fear, too early for my mind misgives some
consequence, yet hanging in the starts shall bitterly begin his fearful date…But He that hath the steerage
of my course’ he thinks that it is his fate that something bad will happen during his time the party he is
about to attend. Words and phrases such as ‘stars’ and ‘He hath the steerage of my course’ show that he
suspects that the whole evening is out of his control. (26 9) Friar Lawrence explains that ’violent delights
have violent ends’. This shows that too much of a good thing results in a very bad conclusion. It has a strong
effect on the audience and the juxtaposition of the words shows how related the two violent phrases are
and how they are linked.
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Another reference to fate is (5.1 24) when Romeo exclaims ‘Defy you stars’. This is him trying to change his
fate. It shows that there is a greater controlling force. On (3.1 123) after Mercutio had died, Romeo states
‘This day’s black fate on more days doth depend’. This seems to explain that Tybalt killing Mercutio was
simply fate and that it will affect all of them throughout the coming weeks.
On (1.5 136) Juliet says ‘My grave is like to be my wedding bed’. The dramatic irony here is that the
audience knows that they will die because of their love for each other. This is not most people’s vision of a
newly married woman. The Juxtaposition of wedding bed and grave highlights the trouble between the two
households and how serious the feud between them is.
On (3.1 140) Romeo talks about how he is ‘fortune’s fool’. He feels that he belongs to fortune and he is
fortune’s jester. It personifies fortune to make it sound like it has emotions and possessions. It definitely
shows that there is a greater controlling force and that there is nothing that Romeo can do to change his
outcome.
However, there are many events in the play, which seem to have no reference to fate whatsoever. These
are events that could have been changed by characters changing their actions. The most obvious of these is
the death of Mercutio. The touble begins when Tybalt and the rest of the Capulets arrive to talk to Romeo.
Trouble sparks up and Romeo walks away from a dual with ‘fiery Tybalt’. Mercutio, however, takes up the
challenge: ‘Tybalt, you rat catcher, will you walk?’ If Romeo had been less of a coward, he may have saved
the life of his friend. More bad luck occurs in this scene as Romeo tries to break up the pair and Tybalt
lunges at Romeo. The sword goes underneath Romeo’s arm and through to kill Mercutio. ‘Fire-eyed fury be
my conduct now’ is said by Romeo after Mercutio’s death, this shows how all three of the young men have
hot tempers.
Friar Lawrence could be blamed for the death of Romeo and Juliet for two reasons. Firstly, I don’t think
that it was his duty to marry them. He could have told them to remain loyal to their families but he instead
let them marry. It was another important factor towards the death of the two lovers. It may also be Friar
Lawrence’s fault because he couldn’t walk through the graveyard quickly enough to save Romeo and Juliet.
‘Have my old feet stumbled at graves’, (5.3 121–122) meaning that if he hadn’t tripped over the graves
outside he may have been able to save their lives.
It may also have been the Nurse’s fault that they fell in love and got married. She sent the messages
between them on the day before they got married. She could have just told Juliet to be more loyal to her
parents and to stay away from the Montagues. However, she decided to go ahead and send the message
agreeing to the marriage. It was her decision that changed Romeo and Juliet’s fatal outcome.
Friar John also played a major part in Romeo and Juliet’s death. He was locked up in a house in the city that
was believed to have the plague. When houses were believed to have some form of the plague the people
inside would be locked up to stop the disease from spreading. It was not his fault, but if he had not been
inside at the time, the plan would have gone ahead and both Romeo and Juliet would have survived.
I personally disagree with the statement in the prologue, ‘star-crossed lovers’. I think that it had too many
factors that could have been changed by different characters. Lots of events could not have happened, such
as the death of Mercutio and Friar Lawrence only being minutes late to stop Romeo committing suicide.
Had Friar John not been caught up in the house with the plague, the two lovers may well have lived. There
were far too many variable for it all to have been fate. There is an argument however that some of the
events will have been fate. Such as the first meeting between the two, they could have just brushed past
each other, as it was dark and masks were worn. It was most likely that fate led them towards one another,
but overall, fate was not the overriding reason for Romeo and Juliet’s death.
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Portfolio C, Assignment 2
i)
Explore the ways in which you think Marvell makes the speaker’s words persuasive in ‘To His
Coy Mistress’
AND
ii) Explore the ways in which Shakespeare writes about love and time in ‘Sonnet XVIII’.
Marvell begins by talking about all of the adventures he would carry out with his ‘Coy Mistress’. Writing in
the conditional tense, he states that he would let her go to the River Ganges in India, to collect rubies for
herself. This promotes a sense of the wealth and flamboyance that he would be willing to give to her. He
flatters her massively, and maybe seems overly keen. He also says that the Humber River would be good
enough for him and that he does not deserve to go anywhere exotic. This flattery continues through the
whole of the first stanza. Marvell uses a phallic image, ‘my vegetable love’ to show how his love would
grow for her and says that his love for her will be ‘vaster than empires’. He also uses hyperbole about how
it would take ‘two hundred [years] to adore each breast and thirty thousand for the rest’. This likens her to
an empire again, as Marvell talks of how many people it would take to create her, as if she were a city. As
it is written in a hyperbolic format, it seems an even more impressive act of love to the reader. At the end
of the first stanza he says that all he wants is her love, ‘nor I would love at lower rate’ this seems to be an
afterthought as he has already talked a lot about himself and the things he would do for her. Most of the
things spoken about in this stanza seem to be very unrealistic and perhaps a bit vulgar.
As the poem moves into the second stanza, it switches to the future tense. Marvell also changes the way
in which he tries to seduce his mistress. He tries to explain that she should hurry to make a decision, as the
offer won’t be there forever. ‘Time’s winged chariot hurrying near’ personifies time and makes it seem like it
is speeding up to catch her. Two lines below that, Marvell states that her beauty will not last forever – this is
another way of trying to her to hurry her decision before it’s too late. Marvell also uses the gruesome image
of ‘worms shall try that long preserved virginity’, if she were to die a virgin: thus trying to force her into a
decision again. The last notable point in the second stanza is that this love will dies away and ‘Into ashes all
my lust’. The final two sentences are talking about how lonely she would be in her grave and that she would
never find love there. In the second stanza, Marvell uses a form of scare tactics to try to get her to fall for
him. Does that make him seem a touch desperate?
In the final stanza Marvell starts with the word ‘Now’, this shows how imperative it is for her to make her
decision at this instant so that it is not too late. He goes on to repeat the word ‘Now’ another two times in
the last stanza, as if to force forward the point to her, which creates a strong sense of urgency. Again death
is mentioned as he says that she should make a decision now ‘while her willing soul transpires’. This means
that she can’t choose to love him once she is dead: this is again very threatening. ‘Instant fires’ on the fourth
line of the stanza gives a severe sense of emergency. Plus, fires promote a sense of both heat and passion.
Three lines down from this phrase, Marvell states that they will devour time, again personifying it. This
makes them seem strong, powerful and ruthless. He says that they might as well devour the time rather
than hanging about, languishing over it. It is again talking of how she should seize the day and run away with
him. This final stanza is the first stanza in which he goes into detail using the pronouns ‘our’ and ‘we’. Before
the final stanza he speaks of them as entirely different entities. This has the effect of Marvell perhaps
realising that they are not meant to be together. It also has some relevance to the fact that he does not want
a long-term relationship with this woman, and that he thinks that he and her will be separate forever.
The overall way in which the poem is written is a bit gruesome and it seems that he is trying to scare her
into running away with him. He uses phallic images twice and also talks about her virginity being taken by
worms if she does not agree to run away with him. Using enjambment to link the most gruesome lines
together, the style of writing from Marvell is distasteful.
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Shakespeare starts his sonnet with a rhetorical question stating that the start of the poem will be based
upon this question and the comparison between her and a summer’s day. This is a good comparison, as
summer days are considered beautiful. ‘Thou art more lovely and more temperate’ is the next line, this says
immediately that she is better than a summer’s day. The repetition of more sets a regular rhythm to the
poem early on and the word temperate implies that she is calmer and more predictable. This links into the
next line ‘rough winds do shake the darling buds of Maie’, as Shakespeare again talks about how she has a
lovely temperament and that the month of May sometimes can be unpredictable.
Time is shown to be May and it shows that unlike her it will always be around as time never stops, but
shows similarities between her and time because they are both unpredictable. It likens her mood swings to
the weather.
In the fourth line Shakespeare delves in the fact that ’Sommer’s lease hath all too short a date’. Using this
metaphor compares her to something huge, such as the seasons and that while summer will eventually turn
into autumn, she will last for a lot longer than the summer months. The sun sometimes shines too hot for
it to be comfortable, whereas she is always the right ‘temperature’ in that her she is never too dull or too
energetic. ‘And often is his gold complexion dim’d’, this line talks about how cloud sometimes covers up the
sun and stops it shining as brightly. Using personification, Shakespeare says that the suns complexion can
be dimmed – of course opposing to the fact that his lover’s complexion will never be dimmed. He is making
the audacious claim that she is greater than the sun itself, through hyperbole.
The next line brings about the darker side to the poem, as he talks that nothing will last forever and that
death is inevitable. ‘By chance, or natures changing course untrimmed’, and may come about as either
complete chance or by nature. The personification of death really adds to the fact that a personality is
making decisions on whom to kill. ‘But thy eternall Sommer shall not fade’. This line highlights clearly what
the poem is trying to create from the sonnet, her immortality. He is saying that because of the poem he has
written for her, she will live on in his writing forever and ever.
Two lines further down in the sonnet, Shakespeare turns death into a figure of darkness as he personifies
him. He states that death would brag about taking her into his realm. It is a peculiar and dark way of stating
how beautiful and amazing she is to him. The final two lines of the poem are written in the classic sonnet
form of a rhyming couplet. Both of the final two lines begin with the two words ‘so long’. This shows the
huge length of time that he may wish for his poem to live. The first line of the couplet is Shakespeare
building up to the second line, using the time-phrase ‘as long as men can speak’. This is all summed up on
the final line, as he says ‘this gives life to thee’. This is an example of personification and it is saying that
he is effectively prolonging her life by writing about her in his love sonnet. So that even when she dies, the
poem will survive forever.
In the poem William Shakespeare is basically trying to create immortality for his love by writing about her.
Using time phrases to create a sense of everlastingness that will remain forever. Words and phrases such as
‘As long as men can breath and ‘thy eternall Sommer shall not fade’ all add to the point that he wants her to
last for an eternity. He contrasts two basic ideas in love and time.
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Portfolio D, Assignment 1
Lord Acton wrote ‘Power tends to corrupt and absolute power corrupts absolutely’. Discuss with
reference to ‘Animal Farm’.
‘Power tends to corrupt and absolute power corrupts absolutely’ a famous quote from Lord Acton, the
quote is about politic strategies. This is what exactly happens in the novel of Animal farm written by George
Orwell. This novel is a satire of Russian revolution.
George Orwell made the readers to believe in this quote. When firstly napoleon becomes a leader, he
doesn’t have maximum power, he started breaking some of the rules. ‘When they come back in the evening
it was noticed that the milk had disappeared’ (page 30) the milk was drunk by Napoleon and Squealer. This
already shows that Napoleon is a corrupted leader. Whereas Snowball tends to provide help to the Animal
farm than Napoleon the things he does is for the good all animals.
After the revolution Napoleon took all the puppies, he decided to educate the puppies for his own benefits.
‘Napoleon took them away from their mother saying that he would make himself responsible for their
education’ (page 38). Napoleon used this puppies for his own security, this was similar to Joseph Stalin the
way he sued the KGB for his own security, KGB were known as the secret police. ‘At this there was terrible
baying sound outside and nine enormous dogs……came bounding into the barn’ (page 54) the dogs chased
Snowball out of the Animal farm. If it wasn’t the dogs Napoleon would never have been a leader, perhaps it
could be Snowball because Snowball he had better ideas than Napoleon. When Napoleon takes the position
of a leader in the Animal Farm, he started getting corrupted slowly by slowly, absolute power corrupts
absolutely.
The idea of the revolution was pure and clean, it was meant to being equality to all animals. The night
before Major died, major’s speech in which he says that everything could change and be better, if they
got rid of Man and that was his dream which lead to the rebellion, which he also confidently expects to
happen. ‘Now comrade what is nature of this life ours?...The life of an animal is misery and slavery: that
is the plain truth’ (page 15). This was part of the speech which it really touched the animals and led to
rebellion. George Orwell some characteristics of animals which are similar to human being, the way he
represented old major, Karl Marx and Old major, they all had the idea of equality but they didn’t live to
see the revolution. If Karl Marx and Old major were alive perhaps they could bring equality and fairness to
everyone, and they could make us not believe in this quote ‘Power tends to corrupt and absolute power
corrupts absolutely’.
The idea of revolution got corrupted by the pigs, even though the animals appear to be having more success
in managing their own farm, but at the same time there were some problems to some of the animals. Some
of the initial deals of Animalism were being threatened by the pigs. Apples and milk were reserved for the
pigs. ‘It is for your sake that milk and eats those apples. Do you know what would happen if we pigs failed
in our duty? Jones would come back!’ (page 39). The animals can’t do the work without pigs and sine no
animal wanted to see Jones back; they agreed with it. Whenever you keep the animals on this lane, animals
will never say anything because they all don’t want to see Jones back. They all believe after revolution life
is getting better but in this situation its reversed life is getting harder, they have more work to do but they
eat less compare to the old days. Napoleon is changing to a dictator. The animal farm is more or less like
fascism. Now we can see that if you have more power you get more corrupted.
In this novel written by George Orwell, we see things are getting worse and worse after the revolution. This
novel is an allegory of Russian revolution. Joseph Stalin also made life harder for the Russian citizens after
the revolution. Firstly when Napoleon took over, he had minimum power so he started getting corrupted but
when he had maximum power he also had the maximum corruption. Now we can truly believe in this quote
of Lord Acton ‘Power tens to corrupt and absolute power corrupts absolutely’.
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Section 8: Sample portfolios for accreditation
Portfolio D, Assignment 2
The society of Much Ado About Nothing is a patriarchal one. Explore what Shakespeare says about
women living in this society using evidence from the play.
In Much Ado About Nothing William Shakespeare has showed a very good example of a patriarchal society.
The way he represents the female characters is so traditional but Beatrice, Hero we have an example of
young traditional woman. Who listens to what her father says, she doesn’t make her own decisions.
Im Much Ado About Nothing females are not superior in the society, women can’t argue when a man
makes a decision. The good example is Hero. Hero is a very young beautiful lady. She follows what her
father says, not only that but we also see that Leonato tells Hero what to say (Leonato to Hero) ‘Daughter
remember what I told you. If the prince do solicit you in that kind, you know your answer’ (page 33 Act 2
scene 1). Hero is traditional she’s even forced what to do, because we see that Hero is also in love with
Claudio but the father was insisting if the prince ask you to marry him don’t say NO.
At the beginning of the first scene in Act 1, the messenger, Leonato, and Beatrice having some conversation
even though Hero is also there but she doesn’t say much ‘My cousin means signor Benedick of Padua’
that’s the only thing she said in Act 1. We see how William Shakespeare represents Hero, she doesn’t have
enough freedom to talk and express her own views.
In Much Ado About Nothing Shakespeare shows that men are superior in the society. When Claudio falls
in love with hero and when he first told Benedick, he replied that ‘Do you question me as an honest man
should do…..as being a professed tyrant to their sex? We also see a good example of patriarchal society,
which men are only there for sex with women. The day before the marriage of Claudio and Hero, Don John
played a very smart game. He made Don Pedro and Claudio believe that Hero was cheating on Claudio. The
day of the marriage: Claudio was very angry and he wanted to embarrass Hero ‘Sweet Prince, you learn me
noble thankfulness…give not rotten orange to your friend;…her blush is guiltiness not modesty.’ We see
again that man are superior in this society, Claudio didn’t find out if it wasn’t true. Hero was innocent but
she couldn’t defend herself because men are superior in the society. This is how Shakespeare shows that in
the society of Much Ado About Nothing is a Patriarchal one.
William Shakespeare shows us that during old days, modern woman were there but they were very few, they
were as smart as the men. In this play Beatrice is represented as the modern woman. Beatrice and Hero are
cousins sisters; Beatrice is the opposite of hero. Beatrice-enemy is Benedick but later we see that they fall
in love. Beatrice is one of the smartest characters in the play. We see how Beatrice tries to make Benedick
do something about her cousin sister after the broken marriage. ‘You dare easier to be friends with me than
fight with mine enemy’ because Benedick is in love with Beatrice, Benedick is ready to challenge Claudio
and spread the rumour that Hero is dead. We see how Shakespeare makes this character so smart to use
Benedick, again we see this society is patriarchal one because she could not do it alone because she used
Benedick to help her cousin sister. Beatrice also realises that there are limitation to what woman can do.
Even though we don’t know much about Ursula but we see that Margaret she is a weak character. Margaret
is not one of the main characters but she played a very important part in this play. Shakespeare shows us how
this society is patriarchal one because Margaret she was used by Borachio. He used Margaret because he
was sent by Don John and he was promised that he will get paid for that. Margaret thought that Borachio was
in love with her and since Borachio was a soldier and Margaret she’s the maid of Hero, she was happy that
she was having love affairs with Borachio; perhaps she thought that she’ll be married by Borachio. This is how
the author of this play makes us believe that this society is a patriarchal one because women are ruled by men.
In this play we see how female characters are represented. All of them they are presented traditionally except for
Beatrice, Beatrice is represented like a modern woman even though she falls in love with and she also wanted to
married at the end of play. This is how Shakespeare shows that the society in this play is a patriarchal.
Cambridge IGCSE Literature (English)
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Section 8: Sample portfolios for accreditation
Portfolio E, Assignment 1
Explain how Douglas makes his experience as a soldier vividly dramatic in ‘Vergissmeinnicht’, ‘How
to Kill’ and ‘Gallantry’.
The poem ‘Vergissmeinitcht’ is about Douglas’s guilt at killing a German soldier. How to kill is a about how
Douglas feels about the innocence of the soldiers fighting and Gallantry is about the bravery and heroic
actions of the soldiers.
In ‘Vergissmeinitcht’, Douglas is scared when he comes across the dead German in the ‘nightmare ground.’
This is metaphorical because the ‘nightmare ground’ seems unreal to Douglas. It implies that Douglas feels
guilty upon seeing the dead German. It’s a ‘nightmare’ to Douglas when he sees the body but it is also the
Germans ‘nightmare’ because he is having a dream about the scene Douglas is experiencing. They share
the same ‘nightmare’ This is dramatic because it shows how war changes people. Innocent people become
killers. Douglas was innocent until he killed the German. Also, it shows that enemies are not unalike: both
victor and victim suffer in war.
The German’s lover is ignorant woman because she doesn’t know the truth about her lover. If she did ‘she
would weep’. This dramatic irony suggests she is waiting for a lover that will never return.
The soldier was killed by Douglas but Douglas has also killed the lover as well. We know this because of the
‘lover’s mortal hurt.’ This metaphor implies that the love for the German has died. Death has singled out the
German but has also killed her lover for him as well. This is dramatic because he has forgotten her by dying.
That itself is ironic because the title ‘Vergissmeinitcht’ means ‘forget me not’. War that is fought for good
kills true love.
I sympathise with Douglas because it wasn’t his intention to kill the German, he did it in order to survive.
In ‘How to Kill’, death is like a weightless mosquito because when it ‘touches’, it infects your life. This is a
metaphor because the quote is implying that the mosquito is death. It is suggesting that small things like
a mosquito can kill instantly. When it ‘touches’ you, it drains your blood and your life slowly hence you’re
dying slowly. The word ‘touch’ makes the mosquito seem kind like a caring lover. Douglas suggests dying
is a kindness for soldiers. This implies that death is slow and silent just like a mosquito. This is dramatic
because even if death doesn’t kill you, death will infect your life forever. Douglas the survivor’s thoughts will
be diseased by memories of killing the enemy.
The boy at the beginning of the poem is an innocent child playing with a ‘parabola of a ball’ but suddenly,
this boy turns ‘into a man’. This sudden transition is surprising because he is playing with a ball but instantly
he is throwing a grenade. This is a good word choice because it is implying that young boys will grow up
to be killers. This implies that people become killers suddenly and circumstances change but innocence
remains. This is dramatic because we know that the boy soldier isn’t going to experience life because he
has become a killer. We know the innocent boy is going to die.
I feel sorry for Douglas because no matter how far you run away from death, death will always catch up
with you and kill you. In war, there is no escaping death.
The gallantry of the ‘three hero’s’ in ‘Gallantry’ is very dramatic because it led to their deaths. They are brave
polite soldiers because they have never experienced life and are innocent. This contrasts with the Colonel
at the beginning of the poem. He spoke in a ‘casual voice’. The Colonel speaking in this way is dramatic
because he doesn’t know have to fight and doesn’t know what it is like to be out in the field. The Colonel
isn’t gallant or heroic. This is dramatic because the people who have experience life can live through war
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Cambridge IGCSE Literature (English)
Section 8: Sample portfolios for accreditation
where as the young and innocent people who haven’t experienced life have to suffer by dying. It is also
dramatic because the ‘three hero’s’ are trapped within war and are pushed around by the callous Colonel.
The poem Gallantry made me feel angry because it displays how the rich and powerful mean have power
over the heroic and brave men. The Colonel doesn’t know what goes on in the field and five all the orders
but never does anything.
Portfolio E, Assignment 2
How does Miller make Willy Loman such a moving character in Death of a Salesman?
I find Will Loman moving because of his pride in himself. Whenever he needs help, he will always reject it
and will never want anyone’s help. At the start of the play, Willy was offered to take ‘an aspirin’ but Willy
ignored Linda and went on about the scenery along the road to New York. This is symbolic because of his
refusal to be dependent on others. This is moving because he wants to try to do everything himself so his
family have something real to be proud of.
Willy Loman is moving because he lives in the past where his dreams were alive and is trying to avoid the
present where his dreams are crushed and destroyed. Towards the end of Act 1, Willy talks to Linda about
how successful Biff was as a football player. Biff was ‘like a young god.’ This is a simile because Miller is
comparing Biff to someone who is mighty and stands above all which implies that Biff stood above all the
other football players. This simile suggests how proud Willy was of his son in the past and also shows that
the past is what makes him happy. This is moving because it just goes to show that in the present, nothing
makes Willy happy so he has to look back into the past so he can enjoy life.
Willy Loman is a moving character because he is a hero to his family although seems a failure: every day
he tries his very best to earn for the family. He is also a hero because he killed himself so the family could
have money. At the end of Act 2, there is ‘a car starting and moving away at full speed’ which then crashes.
‘Speed’ suggests that Willy is pulling away at full speed because he wants to get away from his family
because he doesn’t like them. Yet he is also heroic because he paid the ultimate price to get the family out
of debt but it is also tragically moving because most people wouldn’t give up their life for their family.
Willy Loman is moving because of the tragic mistake he made in becoming a businessman and not a
craftsman. Willy is a failure at business but he has created great pieces of wood work with his ‘fine tools’
such as a ‘little guest house’. This is tragic because he hasn’t realised that he could have been successful in
making things and they wouldn’t be in debt and they would have money to live off. This is moving because
the audience know that he could have been a huge success as a craftsman but he was blind to it.
Willy Loman is moving because he deludes himself about the success of his sons. When Willy and Howard
are discussing Willy’s job, Howard asks Willy about his ‘great sons’ and Willy knows that his sons are
failures but he replies with ‘oh no question’. This is touching because he is lying about the failure of his sons
to people because he doesn’t want them to end up a failure like him.
Willy Loman is moving because he gives up his energy and then his life for his family. This makes the
audience feel sorry for Willy because we know that Willy only had to use this month’s wages to pay off the
house. At the funeral, Linda tells everyone that ‘he only needed a little salary’. This is tragic because if Willy
knew they only needed a little salary, he wouldn’t have committed suicide and would still be with them.
This is moving because it shows how much Willy cares for his family. He cares so much that he is prepared
to pay the ultimate price. He is also moving because he doesn’t know how valued he is by his family which
leads to his suicidal mistake. He is blinded to how much he’ll be missed. At the grave of Willy, Linda keeps
on asking ‘why did you ever do that.’ This is tragic because she misses him deeply and now she is sad and
lonely. This is moving because she misses Willy and she is crying about the whole thing. The fact that Willy
Cambridge IGCSE Literature (English)
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Section 8: Sample portfolios for accreditation
thought he wasn’t loved makes it even more moving. However, in his heart of hearts, Willy knew that ‘he
only needed a little salary’ to pay off the house which suggests that Willy wanted to escape being a failure.
This is moving because Willy couldn’t stand being poor and only saw killing himself as a solution.
Willy Loman is moving because whenever Linda tries helping him he will always shout her down and will
get frustrated with her because of his guilt from the affair. This makes the audience frustrated because
they know that she is trying to help and they dislike Willy for treating his wife so badly. When Linda is
knitting back those silk stockings Willy sees them and she is told to ‘stop knotting those stockings’. This
is good word choice because those stocking have symbolic value. They symbolise that the Loman family
had money in the past. This is moving because those silk stockings remind Willy of the affair but it is also
moving because they symbolise their wealth in the past.
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Cambridge IGCSE Literature (English)
Appendix 1: Individual Candidate Record Card
Appendix 1: Individual Candidate Record Card
Literature (English) Coursework
Individual Candidate Record Card
Cambridge IGCSE
Candidate Number
Candidate Name
Teaching Group/Set
June/November
Ha
nd
bo
ok
efore
Please read the instructions printed overleaf and the General Coursework Regulations before
completing this form.
Centre Name
Centre Number
2
0
workk Text
Author and Title of Coursework
Assignment 1
Mark (out of 25)
Mark (out of 25)
w
or
kT
ra
in
in
g
Assignment 2
Co
ur
se
Teacher’s comments
udied
ed for Pap
P
Texts studied
Paper 1
Signatur and date
Signature
Mark to be transferred to
Coursework Assessment
Summary Form
TOTAL OUT OF 50
0486/05/CW/
Cambridge IGCSE Literature (English)
59
Appendix 1: Individual Candidate Record Card
1. Complete the information at the head of the form.
Ha
nd
bo
ok
INSTRUCTIONS FOR COMPLETING INDIVIDUAL CANDIDATE RECORD CARD
2. Mark the assignments according to instructions given in the syllabus booklet.
3. Enter marks in the appropriate spaces. Complete all sections of the form.
4. It is essential that the marks of candidates from different teaching groups within each
are
ach Centre a
moderated internally. This means that the marks awarded to all candidates within a Centre
be
e must b
brought to a common standard by the teacher responsible for co-ordinating the internal
assessment (i.e.
nal assessme
the internal moderator), and a single valid and reliable set of marks should be produced
reflects
uced which rre
the relative attainment of all the candidates in the coursework component at the Centre.
entre.
5. Transfer the marks to the Coursework Assessment Summary Form in accordance
ance
e with the instructions
provided on the back of that document.
6. Retain all Individual Candidate Record Cards and coursework which will be required for external
moderation. See also the instructions on the Coursework Assessmentt Summary
Form.
mmary F
Co
u
rs
e
w
or
kT
ra
in
in
g
Note: These record cards are to be used by teachers only for candidates
have undertaken
dates wh
who
ho h
ha
coursework as part of their Cambridge IGCSE Literature (English)
Course.
nglish) Cours
60
Cambridge IGCSE Literature (English)
Appendix 2: Coursework Assessment Summary Form
Literature (English)
Coursework Assessment Summary Form
Cambridge
dge IGCSE
IG
Co
u
se
e read the
th
he instructions
inst
Please
printed overleaf and the General Coursework Regulations before completing this form.
Num
N mber
ber
Centre Number
Candidate
Number
rse
Centre Name
wo
rk
June/November
Teaching
Group/ Set
Candidate Name
Name of teacher completing this form
Signature
Name of internal moderator
Signature
0
Internally Moderated
Mark
Ha
nd
bo
ok
Date
Date
0486/05/CW/S
61
Appendix 2: Coursework Assessment Summary Form
Cambridge IGCSE Literature (English)
Tra
ini
ng
Total
Mark
2
Cambridge IGCSE Literature (English)
1.. Com
mplete the information at the head of the form.
Complete
rs
st the candid
candidates in an order which will allow ease of transfer of information to a computer-printed Coursework mark sheet MS1 at a later stage
2. Lis
List
n candidate index
in
(i.e. in
number order, where this is known; see item B.1 below). Show the teaching group or set for each candidate. The initials of
her
er may be used
u
to indicate group or set.
the teacher
ew
or
kT
ra
in
in
g
3. Transfer each candidate’s mark
marks from her/his Individual Candidate Record Card to this form as follows:
(a) In the column headed ‘Total Mar
Mark’, enter the total mark awarded before internal moderation took place.
(b) In the column headed
Moderated Mark’, enter the total mark awarded after internal moderation took place.
ed ‘Internally Mod
4. Both the teacher completing
g the
he form an
and the internal moderator (or moderators) should check the form and complete and sign the bottom portion.
B.
PROCEDURES FOR EXTERNAL MODERATION
ODERATION
External moderation of internal assessment is carried
Cambridge. Centres must submit candidates’ internally assessed marks to Cambridge.
arried out b
by
y Camb
The deadlines and methods for submitting internally asse
assessed
ss ssed
d marks
rks
ks aare in the Cambridge Administrative Guide available on our website.
Ha
nd
bo
ok
Appendix 2: Coursework Assessment Summary Form
62
Co
u
A. INSTR
INSTRUCTIONS FOR COMPLETING COURSEWORK ASSESSMENT SUMMARY FORMS
Cambridge IGCSE Literature (English)
63
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