Coimisiún na Scrúduithe Stáit
State Examinations Commission
Leaving Certificate 2022
Deferred Examinations
Marking Scheme
English
Higher Level
Note to teachers and students on the marking schemes for the deferred examinations
Marking schemes published by the State Examinations Commission are not intended to be
standalone documents. They are an essential resource for examiners who receive training
in the correct interpretation and application of the scheme. However, it should be noted
that the marking schemes for the deferred examinations may not necessarily be as detailed
as the corresponding marking schemes for the main sitting of an examination, which serve
to ensure consistency across a large team of examiners.
Marking schemes are working documents. While a draft marking scheme is prepared in
advance of the examination, the scheme is not finalised until examiners have applied it to
candidates’ work and the feedback from examiners has been collated and considered in
light of the full range of responses of candidates, the overall level of difficulty of the
examination, and the need to maintain consistency in standards between the main sitting
and the deferred sitting and from year to year. In the case of the deferred examinations,
this means that the level of detail may vary by question, as the marking scheme will only
have been finalised for the questions attempted by the candidates who sat these
examinations.
In the case of marking schemes that include model solutions or answers, it should be noted
that these are not intended to be exhaustive. Variations and alternatives may also be
acceptable. Examiners must consider all answers on their merits, and will have consulted
with a senior examiner when in doubt.
Future Marking Schemes
Assumptions about future marking schemes on the basis of past schemes (whether for the
main examinations or the deferred examinations) should be avoided. While the underlying
assessment principles remain the same, the details of the marking of a particular type of
question may change in the context of the contribution of that question to the overall
examination concerned. Accordingly, aspects of the structure, detail and application of the
marking scheme for a particular examination will not necessarily be the same for the
deferred sitting as for the main sitting or from one year to the next.
CRITERIA FOR ASSESSMENT
The tasks set for candidates in both Paper 1 and Paper 2 will be assessed in accordance with the
following criteria:




Clarity of Purpose (P)
Coherence of Delivery (C)
Efficiency of Language Use (L)
Accuracy of Mechanics (M)
30% of the marks available for the task
30% of the marks available for the task
30% of the marks available for the task
10% of the marks available for the task
Each answer will be in the form of a response to a specific task, requiring candidates




To display a clear and purposeful engagement with the set task
To sustain the response in an appropriate manner over the entire answer
To manage and control language appropriate to the task
To display levels of accuracy in spelling and grammar appropriate to the required/chosen
register.
Schematised detail regarding these criteria is to be found in Appendix 1 of this Marking Scheme.
The Grade Grid utilised for purposes of applying the criteria for assessment throughout the marking
is to be found in Appendix 2 of the Marking Scheme.
Where discrete criteria awarding is in operation, marks will be indicated on candidates’ scripts in
the order in which they are set out above.
Given the primacy of Clarity of Purpose (P), marks awarded for either Coherence of Delivery (C)
or Efficiency of Language Use (L) cannot exceed the marks awarded for Clarity of Purpose.
Use of Codes, etc.
To assist with forming a judgement, it will be necessary to place an accurate tick at the points
identified in the answer, underline all errors in candidates’ work and use the proper shorthand
codes as indicated throughout the marking scheme.
Use of the full range of marks available
Examiners should make themselves familiar with the range of marks available for each of the tasks
set and utilise the full range of marks as appropriate in the course of the marking.
The list of texts prescribed for assessment in 2022 is set out in DES Circular 0002/2020.
Assessment will proceed in accordance with the State Examinations Commission booklet,
Instructions to Examiners.
Candidates’ work is marked using the criteria for assessment. The indicative material included
in the marking scheme is provided to aid examiners and is intended to broadly indicate the type
of responses candidates might offer. The indicative material is not exhaustive and all appropriate
valid answers should be marked according to their merits, using the criteria for assessment.
If you require any clarification on any of the above, or any other matter, please contact your
Advising Examiner.
3
TEXT 1 QA
PAPER 1
SECTION I – COMPREHENDING (40 marks)
GENERAL
“This paper will be specifically aimed at testing the comprehending and composing abilities of
students.” (DES English Syllabus, 7.3)
Candidates must answer ONE question in Section I, either one Question A OR one Question B.
Please note that, in relation to all texts, the candidates may take the introductions and
accompanying illustrations to be integral parts of the texts.
TEXT 1 – CIARAN CARTY MEETS PAULA MEEHAN
QUESTION A – 40 Mark.
(i)
Based on your reading of TEXT 1, explain three insights you gain into the influences that
may have helped Paula Meehan to develop as a writer. Support your answer with reference
to the text.
(10)
Candidates should explain three insights they gained into the influences that may have helped
Paula Meehan to develop as a writer from reading TEXT 1.
Pay particular attention to the quality of the explanation. Responses should be supported by
reference to TEXT 1.
Mark ex 10 by reference to the criteria for assessment.
Indicative material:
- the North inner‐city Dublin community in which she was raised, including its strong oral tradition
may have helped Paula Meehan to develop as a writer
- her youthful experiences including music and her education may have been influential
- familial and societal influences were important in her development
- her travels and further education, exposing her to other cultures, myths and landscapes are likely
to have been significant influences
- the influence/support of other writers such as Eiléan Ní Chuilleanáin, Eavan Boland, Tom Murphy
may have helped Paula Meehan to develop as a writer
Etc.
H1
10 ‐ 9
H2
8
H3
7
H4
6
H5
5
4
H6
4
H7
3
H8
2‐0
TEXT 1 QA (contd.)
(ii)
Jeanette Winterson and Paula Meehan make a variety of observations about poetry in
the final paragraph of TEXT 1. To what extent can you relate these writers’ observations
to your experience of poetry? Explain your response.
(10)
Candidates should explain the extent to which they can relate the observations about poetry made
by both Jeanette Winterson and Paula Meehan to their own experience of poetry.
Pay particular attention to the quality of the explanation. Allow for a wide variety of responses.
Mark ex 10 by reference to the criteria for assessment.
H1
10 ‐ 9
(iii)
H2
8
H3
7
H4
6
H5
5
H6
4
H7
3
H8
2‐0
Identify four elements of the writer’s style, evident in the edited interview above, and
discuss how these stylistic elements make the piece a positive and revealing portrait of
Paula Meehan. Support your answer with reference to the text.
(20)
Expect candidates to identify four elements of the writer’s style, evident in the text, and to
discuss how these stylistic elements helped to make the piece a positive and revealing portrait of
Paula Meehan.
Pay particular attention to the quality of the discussion provided. Answers should be supported
by reference to the text.
Mark ex 20 by reference to the criteria for assessment.
Indicative material:
-
the tone of the opening paragraph establishes the piece as a positive portrait of Paula Meehan
inclusion of background/personal biographical details and factual information about her life
help to make the piece a revealing portrait of the poet
personal anecdotes and the expression by the poet of her views/opinions are revealing
admiring references to her work from other well‐known/successful writers such as
Eavan Boland, Carol Ann Duffy and Tom Murphy contribute a positive note
the extensive use of quotation throughout the text is revealing of Paula Meehan’s authentic
voice
Etc.
H1
20 – 18
H2
16
H3
14
H4
12
H5
10
5
H6
8
H7
6
H8
5–0
TEXT 1 QB
QUESTION B – 40 Marks
In TEXT 1, Paula Meehan speaks about how her poetry was inspired by music and songs.
Write an open letter, to be published on a popular social media platform, in which you argue
for or against the inclusion of song lyrics in the selection of poetry prescribed for the Leaving
Certificate English course. In your open letter you should: explain your position in relation to
the inclusion of song lyrics as poetry on the English course, seek to anticipate and refute
views that might potentially be offered in opposition to your chosen stance and illustrate
your argument with reference to at least one poem and the lyrics of at least one song.
Candidates should write an open letter, suitable for publication on a popular social media
platform, in which they: argue for or against the inclusion of song lyrics in the selection of poetry
prescribed for the Leaving Certificate English course. In the open letter candidates should:
explain their position in relation to the inclusion of song lyrics as poetry on the English course,
seek to anticipate and refute views that might potentially be offered in opposition to their
chosen stance and illustrate their argument with reference to at least one poem and the lyrics of
at least one song.
Candidates should engage with all aspects of the question, although not necessarily equally.
Mark ex 40 by reference to the criteria for assessment.
P:
C:
L:
M:
Understanding of genre and register: an open letter to appear on a popular social media
platform should be aimed at a wide and diverse audience. The register may be formal or
informal
Relevance
Focus on all aspects of the question – arguing for or against the inclusion of song lyrics in the
selection of poetry prescribed for the Leaving Certificate English course; explaining their
position in relation to the inclusion of song lyrics as poetry on the English course; anticipating
and refuting views that might potentially be offered in opposition to their chosen stance;
illustrating their argument with reference to at least one poem and the lyrics of at least one
song.
Freshness and originality, etc.
Sustained focus
Continued control of register
Management and sequencing of ideas, etc.
Language managed and controlled to achieve clear communication
Quality of expression, style, fluency, etc.
Accuracy of mechanics
Etc.
P 12
C 12
L 12
M4
40 marks
100%
30%
10%
H1
40 – 36
12 – 11
4–4
H2
35 ‐ 32
10 ‐ 10
4–3
H3
31 ‐ 28
9‐9
3‐3
H4
27 ‐ 24
8–8
3–2
6
H5
23‐20
7‐6
2‐2
H6
19 ‐ 16
5‐5
2‐1
H7
15 – 12
4–4
2–1
H8
11 – 0
3–0
1–0
TEXT 2 QA
TEXT 2 – BILLY O’CALLAGHAN
QUESTION A – 40 Marks
(i)
Based on your reading of TEXT 2, explain three insights you gain into Billy O’Callaghan’s
creative writing process. Support your answer with reference to the text.
(10)
Candidates should explain three insights they gained into Billy O’Callaghan’s creative writing process
from reading TEXT 2.
Pay particular attention to the quality of the explanation. Responses should be supported by
reference to TEXT 2.
Mark ex 10 by reference to the criteria for assessment.
Indicative material:
- Billy O’Callaghan’s experiences, and elements of life that he finds troubling or haunting, influence
his creative writing as he strives to truthfully reflect the world he sees and his place in it
- stories don’t always come easily to him, the “essential rags “ emerge to be “stitched”, etc.
- he is unsure where his stories come from, he describes them as “smouldering away” inside him
- theme is often a starting point in his work
- he is excited by language, allowing the sentences to “sing” to him
Etc.
H1
10 ‐ 9
(ii)
H2
8
H3
7
H4
6
H5
5
H6
4
H7
3
H8
2–0
In the above essay, Billy O’Callaghan expresses the view that, “the best stories, poems and
novels cast spells and crack eternity and let the light come streaming in.” To what extent
can you relate this observation to your experience of literature? Explain your response.
(10)
Expect candidates to discuss the extent to which they can relate Billy O’Callaghan’s view that,
“the best stories, poems and novels cast spells and crack eternity and let the light come streaming
in”, to their own experience of literature.
Pay particular attention to the quality of the explanation. Allow for a wide variety of responses.
Mark ex 10 by reference to the criteria for assessment.
H1
10 – 9
H2
8
H3
7
H4
6
H5
5
7
H6
4
H7
3
H8
2‐0
TEXT 2 QA (contd.)
(iii)
Identify four elements of the writer’s style, evident in the edited essay above, and discuss
how these stylistic elements make the essay an intimate and attractive piece of writing.
Support your answer with reference to the text.
(20)
Expect candidates to identify four elements of Billy O’Callaghan’s style, evident in the edited essay,
and discuss how these stylistic elements make the essay an intimate and attractive piece of writing.
Pay particular attention to the quality of the discussion. Responses should be supported with
reference to the text.
Mark ex 20 by reference to the criteria for assessment.
Indicative material:
-
the realism of the first four paragraphs is both engaging and interesting which adds to the
attractiveness of the piece
the reflective, conversational tone increases the intimacy and thought‐provoking nature of the
writing
detailed, descriptive writing and the writer’s use of imagery help to make the essay attractive
to readers
the first‐person voice and the inclusion of personal anecdotes heighten the sense of intimacy
lengthy sentences, and the inclusion of clarifications and qualifications, create a sense of
stream of consciousness, making the reader feel privy to the writer thinking aloud
Etc.
H1
20 – 18
H2
16
H3
14
H4
12
H5
10
8
H6
8
H7
6
H8
5–0
TEXT 2 QB
QUESTION B – 40 Marks
In TEXT 2, Billy O’Callaghan refers to his travels in China. You have been invited to contribute to
a podcast series of travel documentaries. Write the text for the podcast in which you: celebrate
the many and varied delights of travelling both near and far, reflect on the pleasure you derive
from planning possible future trips and explain the reasons why you like to keep a journal when
you travel.
Candidates should write the text for a podcast series of travel documentaries in which they:
celebrate the many and varied delights of travelling both near and far, reflect on the pleasure they
derive from planning possible future trips and explain the reasons why they like to keep a journal
when they travel.
Candidates should engage with all aspects of the question, although not necessarily equally.
Mark ex 40 by reference to the criteria for assessment using the following breakdown of marks.
P:
C:
L:
M:
Understanding of genre and register – the text for a podcast should be aimed at a wide and
diverse audience. The register may be formal or informal.
Relevance
Focus on all aspects of the question – celebrating the many and varied delights of travelling
both near and far, reflecting on the pleasure they derive from planning possible future trips
and explaining the reasons why they like to keep a journal when they travel.
Freshness and originality, etc.
Sustained focus
Continued control of register
Management and sequencing of ideas, etc.
Language managed and controlled to achieve clear communication
Quality of expression, style, fluency, etc.
Accuracy of mechanics
Etc.
P 12
C 12
L 12
M4
40 marks
100%
30%
10%
H1
40 – 36
12 – 11
4–4
H2
35 ‐ 32
10 ‐ 10
4‐3
H3
31 ‐ 28
9‐9
3‐3
H4
27 ‐ 24
8‐8
3‐2
9
H5
23‐20
7–6
2–2
H6
19 ‐ 16
5‐5
2‐1
H7
15 – 12
4–4
2–1
H8
11 ‐ 0
3‐0
1‐0
TEXT 3 QA
TEXT 3 – MAGGIE O’FARRELL
QUESTION A – 40 Marks
(i)
Based on your reading of TEXT 3, explain three insights you gain into the theatrical world at
the time in which the novel is set. Support your answer with reference to the text. (10)
Candidates should explain three insights they gained into the theatrical world at the time in which the
novel is set.
Pay particular attention to the quality of the explanation. Responses should be supported by
reference to TEXT 3.
Mark ex 10 by reference to the criteria for assessment.
Indicative material:
-
the theatrical world of the time was informal, raucous and unruly
theatre‐going was a popular pursuit – “more and more people” poured through the doors
the theatre is an economic hub – “the takings”, “selling pies”, etc.
theatrical make‐up was rather rudimentary involving chalk and lime and charcoal
respect was shown for the players as the crowd hushed once the play began
Etc.
H1
10 ‐ 9
H2
8
H3
7
H4
6
H5
5
H6
4
H7
3
H8
2–0
(ii) In the final paragraph of TEXT 3, we witness the power of a dramatic performance to
transform a raucous crowd into “a silent, awed congregation”. To what extent can you
relate the experience of the audience in the text to your experience at concerts, matches,
dramatic productions or other live performances? Explain your answer.
(10)
Candidates should explain the extent to which they can relate the experience of the audience in
the text to their experience at concerts, matches, dramatic productions or other live performances.
Pay particular attention to the quality of the explanation. Allow for a wide variety of responses.
Mark ex 10 by reference to the criteria for assessment.
H1
10 ‐ 9
H2
8
H3
7
H4
6
H5
5
10
H6
4
H7
3
H8
2–0
TEXT 3 QA (contd.)
(iii) Identify four features of the language of narration, evident in TEXT 3, and discuss how
effectively these features are employed to craft a dramatic and revealing portrait of
Shakespeare prior to the first performance of his new play, Hamlet. Support your answer
with reference to the text.
(20)
Candidates should identify four features of the language of narration evident in TEXT 3, and discuss
how effectively these features are employed to craft a dramatic and revealing portrait of
Shakespeare prior to the first performance of his new play, Hamlet.
Pay particular attention to the quality of the discussion. Responses should be supported with
reference to the text.
Mark ex 20 by reference to the criteria for assessment.
Indicative material:
- we are introduced to Shakespeare in a vivid, dramatic setting, high up in the theatre
- the use of detailed descriptive writing, including attractive and sensuous imagery, helps to
provide both a dramatic and revealing portrait of Shakespeare
- the reflective tone and insights into Shakespeare’s thoughts and frame of mind are revealing
- the writer makes effective use of contrast and rhetorical questions to shape a dramatic and
revealing portrait of the playwright
- a carefully crafted atmosphere of foreboding/anticipation adds to the dramatic nature of the
portrayal
Etc.
H1
20 ‐ 18
H2
16
H3
14
H4
12
H5
10
11
H6
8
H7
6
H8
5–0
TEXT 3 QB
QUESTION B – 40 Marks
After a break of several years, your school Principal wants to revive the school’s long‐
established tradition of staging an annual musical production. As a member of the Student
Council, you have agreed to give a talk at a school assembly in which you: promote the revival
of this school tradition, remind the school community of the success of some of the previous
productions and encourage members of the school community to become involved in the
various roles and tasks associated with the production. Write the text of the talk you would
deliver.
Candidates should write the text for a talk to be delivered as a member of the school’s Student
Council at a school assembly in which they: promote the revival of the school’s long‐established
tradition of staging an annual musical production, remind the school community of the success of
some of the previous productions and encourage members of the school community to become
involved in the various roles and tasks associated with the production.
Candidates should engage with all aspects of the question, although not necessarily equally.
Mark ex 40 by reference to the criteria for assessment using the following breakdown of marks.
P: Understanding of genre and register – a talk to be delivered at a school assembly
The register may be formal/semi‐formal/informal and persuasive in tone
Relevance
Focus on all aspects of the question – promoting the revival of the school’s long‐
established tradition of staging an annual musical production, reminding the school
community of the success of some of the previous productions and encouraging members
of the school community to become involved in the various roles and tasks associated with
the production.
Freshness and originality, etc.
C: Sustained focus
Continued control of register
Management and sequencing of ideas, etc.
L: Language managed and controlled to achieve clear communication
Quality of expression, style, fluency, etc.
M: Accuracy of mechanics
Etc.
P 12
C 12
L 12
M4
40 marks
100%
30%
10%
H1
40 ‐ 36
12 ‐ 11
4‐4
H2
35 ‐ 32
10 ‐ 10
4–3
H3
31 ‐ 28
9‐9
3‐3
H4
27 ‐ 24
8‐8
3‐2
12
H5
23‐20
7‐6
2‐2
H6
19 ‐ 16
5‐5
2‐1
H7
15 ‐ 12
4‐4
2‐1
H8
11 ‐ 0
3–0
1–0
COMPOSING
SECTION II – COMPOSING (100 marks)
GENERAL
The composition assignments (in bold print below) are intended to reflect language
study in the areas of information, argument, persuasion, narration, and the aesthetic
use of language.
N.B. “The general functions of language outlined here will continually mix and mingle
within texts and genres. So, there can be an aesthetic argument, a persuasive
narrative, or an informative play.” (DES English Syllabus, 2.5)
The composition titles refer back to individual texts. However, the examination paper
itself is constructed around a single theme and all the texts on the paper are intended
to be a resource for the candidates. Therefore, even though a composition title is
linked to one of the texts, in shaping their compositions candidates are free to refer to,
quote from, or draw ideas from any or all of the texts and their accompanying
illustrations.
Candidates may refer formally to the text to which the composition is linked or they
may complete the composition assignment with reference to their own store of
knowledge/reference/experience.
Candidates should write a composition on any one of the following composing assignments.
13
COMPOSING 1
1.
TEXT 3 is set in a theatre, a place filled with drama and dramatic characters.
Write a personal essay in which you reflect on how dull your life would be without
those colourful people who occasionally add drama and excitement. In your essay you
may refer both to people whom you know and to celebrities.
Candidates should write a personal essay in which they reflect on how dull their lives would be
without those colourful people who occasionally add drama and excitement. In their essays
candidates may refer both to people whom they know and to celebrities.
Mark ex 100 by reference to the criteria for assessment.
P:
C:
L:
M:
Focus – a personal essay in which candidates reflect on how dull their lives would be without
those colourful people who occasionally add drama and excitement
Understanding of genre – the effective use of some elements of personal writing
e.g. written in the first person, reflective tone, use of authentic personal voice,
personal anecdotes/observations, revealing personal insights, etc.
Relevance
Originality and freshness, etc.
The extent to which the personal approach is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
Quality and control of language e.g. style, vocabulary, syntax, punctuation, etc.
Accuracy of mechanics
Etc.
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 ‐ 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 – 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
14
COMPOSING 2
2.
In TEXT 2, we learn how Billy O’Callaghan was inspired to write his story, ‘The Boatman’,
having seen a little wooden boat on a river in China.
Write a short story, set in China in the past or in the present, in which a river boatman
in a small craft plays an important part.
Candidates should write a short story, set in China in the past or in the present, in which a river
boatman in a small craft plays an important part.
Mark ex 100 by reference to the criteria for assessment.
P:
Focus – a short story, set in China in the past or in the present, in which a river boatman in a
small craft plays an important part
Understanding of genre – the effective use of some elements of the short story e.g. narrative
shape, setting, plot, characterisation, suggestion, atmosphere, dialogue, tension, narrative
voice, resolution, etc.
Relevance
Originality and freshness, etc.
The extent to which the narrative is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
Quality and control of language e.g. style, clarity, vocabulary, syntax, punctuation, etc.
Accuracy of mechanics
Etc.
C:
L:
M:
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 ‐ 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 ‐ 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
15
COMPOSING 3
3.
In TEXT 1, Paula Meehan talks about being part of the first “global generation”.
Write an article to be published in an online journal, on what it means to be part of
a “global generation”.
Candidates should write an article, suitable for publication in an online journal, on what it
means to be part of a “global generation”.
Mark ex 100 by reference to the criteria for assessment.
P:
C:
L:
M:
Focus – an article, suitable for publication in an online journal
Understanding of genre – an article can be informative/reflective/entertaining; the effective
use of some elements of journalistic writing e.g. an engaging writing style, clarity, inclusion
of facts/opinion/analysis personal observations and insights, etc. Articles published online
may have a diverse, global audience and adopt an appropriate on‐line language/register
Relevance
Originality and freshness, etc.
The extent to which the article is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
Quality and control of language e.g. style, vocabulary, syntax, punctuation, etc.
Accuracy of mechanics
Etc.
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 ‐ 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 ‐ 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
16
COMPOSING 4
4.
In TEXT 3, Shakespeare is filled with a sense of unease and foreboding before the play
begins.
Write a short story, set in Shakespeare’s Globe Theatre on the day described in Text 3.
Your story should include an event that fulfils Shakespeare’s premonition of trouble.
Candidates should write a write a short story, set in Shakespeare’s Globe Theatre on the day
described in Text 3. Stories should include an event that fulfils Shakespeare’s premonition of
trouble.
Mark ex 100 by reference to the criteria for assessment.
P:
Focus – a short story, set in Shakespeare’s Globe Theatre on the day described in Text 3.
Stories should include an event that fulfils Shakespeare’s premonition of trouble.
Understanding of genre – the effective use of some elements of the short story e.g. narrative
shape, setting, plot, characterisation, suggestion, atmosphere, dialogue, tension, narrative
voice, resolution, etc.
Relevance
Originality and freshness, etc.
The extent to which the narrative is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
Quality and control of language e.g. style, clarity, vocabulary, syntax, punctuation, etc.
Accuracy of mechanics
Etc.
C:
L:
M:
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 ‐ 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 ‐ 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
17
COMPOSING 5
5.
In TEXT 2, the writer states that, “on good days the sentences sing to me in the stillness
and I glow with them.”
Write a personal essay in which you reflect on what makes you “glow” with joy or
satisfaction.
Candidates should write a personal essay in which they reflect on what makes them “glow” with
joy or satisfaction.
Mark ex 100 by reference to the criteria for assessment.
P: Focus – a personal essay, in which candidates reflect on what makes them “glow” with
joy or satisfaction.
Understanding of genre – the effective use of some elements of personal writing
e.g. written in the first person, reflective tone, use of authentic personal voice,
personal anecdotes/observations, revealing personal insights, etc.
Relevance
Originality and freshness, etc.
C: The extent to which the personal approach is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
L: Quality and control of language e.g. style, vocabulary, syntax, punctuation, etc.
M: Accuracy of mechanics
Etc.
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 ‐ 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 ‐ 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
18
COMPOSING 6
6.
In TEXT 1, Paula Meehan observes that, “… being able to read and write from the start was
like a weapon”.
Write a speech, to be delivered to an international conference on education for young
people, about the skills and knowledge that you think young people need to flourish in
the twenty‐first century.
Candidates should write a speech, to be delivered to an international conference on education
for young people, about the skills and knowledge that they think young people need to flourish
in the twenty‐first century. Allow for a broad interpretation of “skills and knowledge”.
Mark ex 100 by reference to the criteria for assessment.
P: Focus – a speech, to be delivered to an international conference on education for young people,
about the skills and knowledge that they think young people need to flourish in the twenty‐first
century.
Understanding of genre – the effective use of some elements of speech writing e.g. use of
references, rhetorical language, anecdotes, imagery, illustrations, emotive/inclusive language,
awareness of audience, etc.
Relevance
Originality and freshness, etc.
C: The extent to which the speech is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
L: Quality and control of language e.g. style, clarity, vocabulary, syntax, punctuation, etc.
M: Accuracy of mechanics
Etc.
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 – 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 ‐ 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
19
Composing 7
7.
In TEXT 1, we learn about Paula Meehan’s rebellious youth and her independent personality.
Write a discursive essay on the importance of independent thinking and the role of rebels
in society.
Candidates should write a discursive essay on the importance of independent thinking and the role
of rebels in society.
Mark ex 100 by reference to the criteria for assessment.
P:
Focus – a discursive essay on the importance of independent thinking and the role
of rebels in society.
Understanding of genre – the effective use of some elements of discursive writing e.g. use
of factual information, references, arguments and counter‐arguments, consideration of a
variety of views, opinions and personal experiences, illustrations, analysis, etc.
Relevance
Originality and freshness, etc.
The extent to which the discussion is successfully shaped, developed and sustained
Sequencing and management of ideas, etc.
Quality and control of language e.g. style, vocabulary, syntax, punctuation, etc.
Accuracy of mechanics
Etc.
C:
L:
M:
P 30
C 30
L 30
M10
H1
H2
H3
H4
H5
H6
H7
H8
100%
100 ‐ 90
89 ‐ 80
79 ‐ 70
69 ‐ 60
59 ‐ 50
49 ‐ 40
39 ‐ 30
29 ‐ 0
30%
30 ‐ 27
24
21
18
15
12
9
8‐0
10%
10 ‐ 9
8
7
6
5
4
3
2‐0
20
PAPER 2
Candidates must attempt the required number of questions in any TWO of the
following sections:



Section I – The Single Text
SECTION II – The Comparative Study
Section III – Poetry, Part A, Unseen Poem and Part B, Prescribed Poetry
SECTION 1 – THE SINGLE TEXT (70 marks)
Note 1 – RESPONDING TO DRAMATIC TEXTS
In attempting questions set on dramatic texts, candidates are free to support the points they
make by reference to performances of the texts that they have seen.
Note 2 – MARKING RESPONSES TO MORE THAN ONE SINGLE TEXT
Please consult your advising examiner in the event that a candidate responds to a question or
questions on more than one single text.
21
ALL THE LIGHT WE CANNOT SEE (i)
A
All the Light We Cannot See – Anthony Doerr
(i) “By incorporating elements of history, mystery and legend into the story, Anthony
Doerr adds to the narrative power of his novel, All the Light We Cannot See.”
Discuss the reasons why you do or do not agree with the above statement,
developing your discussion with reference to the text.
Candidates should discuss the reasons why they do/do not agree with the statement that,
“By incorporating elements of history, mystery and legend into the story, Anthony Doerr adds
to the narrative power of his novel, All the Light We Cannot See.”
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment, using the breakdown of marks below.
P: Focus/relevance of response/well‐chosen, compelling points/originality of thought/evidence
of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code E for “by incorporating elements of history, mystery and legend”
N for “Anthony Doerr adds to the narrative power of his novel, All the Light We Cannot See
Indicative material:
- incorporating elements of history, mystery and legend into the story broadens the writer’s
stylistic range through the introduction of a variety of genres which adds/does not add to the
narrative power of the novel
- the inclusion of historical elements contributes to the creation of a powerfully real/authentic
setting
- the personal histories of individuals, e.g. Etienne’s traumatic experiences in World War 1,
Volkheimer’s wartime memories, etc. add to the characterisation/narrative impact of the text
‐ the legendary qualities associated with the diamond (The Sea of Flames), the allure it holds,
and the desperate quest to either protect or acquire it add to the power of the narrative
‐ various mysteries add to the narrative power of the novel – Why is the Sea of Flames cursed?
Does it really possess incredible powers? What is the ultimate fate of the diamond?
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 – 63
21 – 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
22
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
ALL THE LIGHT WE CANNOT SEE (ii)
(ii)
Discuss the insights you gain into the character of Werner Pfennig from his engagement
with both Marie‐Laure LeBlanc and his sister, Jutta. Develop your discussion with
reference to Anthony Doerr’s novel, All the Light We Cannot See.
Candidates should discuss the insights they gain into the character of Werner Pfennig from his
engagement with both Marie‐Laure LeBlanc and his sister, Jutta. Candidates should engage with
Werner’s relationship with both characters, though not necessarily equally.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P:
Focus/relevance of response/well chosen, compelling points/originality of thought/evidence
of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code I for “the insights … gained into the character of Werner Pfenning”
Code E for “from his engagement with both Marie‐Laure LeBlanc and his sister, Jutta.”
Indicative material:
- Werner’s childhood engagement with Jutta is revealing of his true self: her independent thinking
serves to highlight Werner’s more compliant nature – as a child he accepts; she questions
- Werner’s capacity for self‐deception is evident when Jutta confronts him about Nazism
- touched emotionally by these characters Werner’s sensitivity emerges
- even though they live disparate lives we see that Marie‐Laure and Werner have much in
common
- Werner’s decision to save Marie‐Laure marks a turning point for him – an assertion of noble
values
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
23
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
A DOLL’S HOUSE1 (i)
B
A Doll’s House – Henrik Ibsen
(i)
Discuss how Ibsen skilfully creates moments of heightened dramatic intensity in his play,
A Doll’s House. Develop your discussion with reference to at least three moments of
heightened dramatic intensity evident in the text.
Candidates should discuss how Ibsen skilfully creates moments of heightened dramatic intensity in his
play, A Doll’s House. The discussion should be developed with reference to at least three moments of
heightened dramatic intensity evident in the text.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment, using the breakdown of marks below.
P:
C:
L:
M:
Focus/relevance of response/well chosen, compelling points/originality of thought/evidence
of critical literacy, etc.
Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
Language managed and controlled to achieve clear communication throughout/ fluency
quality of expression, etc.
Accuracy of mechanics
Etc.
Code S for “how Ibsen skilfully creates”
M for “moments of heightened dramatic intensity in his play, A Doll’s House.”
Indicative material:
- Ibsen’s clever use of secrets, concealed truths, etc. and the tension generated by the possibility
of their revelation, helps in the creation of moments of incredible dramatic intensity
- the tense, complex nature of the relationships Ibsen creates between characters facilitates the
creation of moments of heightened dramatic intensity
- Ibsen makes masterful use of props e.g. the macaroons, Nora’s costume, Krogstad’s letter, to
raise the level of dramatic intensity at certain moments during the play
- setting the story of Nora’s inner turmoil in the context of a rather staid, conventional, middle‐
class marriage serves to heighten various moments of dramatic intensity in the play
- Ibsen carefully and deliberately builds the action towards the play’s intense, dramatic final
moments
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
24
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 ‐ 0
6‐0
2‐0
A DOLL’S HOUSE1 (ii)
(ii)
Discuss the insights we gain into Nora Helmer’s character from her engagement with
both Christine Linde and Nils Krogstad. Develop your discussion with reference to
Ibsen’s play, A Doll’s House.
Candidates should discuss the insights they gain into Nora Helmer’s character from her engagement
with both Christine Linde and Nils Krogstad, developing their discussion with reference to Ibsen’s
play, A Doll’s House. Candidates should engage with Nora’s relationship with both characters,
though not necessarily equally.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment, using the breakdown of marks below.
P: Focus/relevance of response/well chosen, compelling points/originality of thought/
evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code I for “the insights we gain into Nora Helmer’s character”
E for “from her engagement with both Christine Linde and Nils Krogstad.”
Indicative material:
- we see Nora’s kindness and compassion when she offers to talk to Torvald in order to help
Christine find a job
- as a foil, Christine Linde heightens elements of Nora’s character making her appear more
daring/frivolous/reckless/devoted to her husband, etc.
- the realisation that Krogstad perceives Nora as his double and mirrors her in various ways is
revealing
- the relationship between Linde and Nora counterpoints Nora’s individualistic need for freedom
- Nora’s conversations with these characters prompt new feelings/self‐awareness
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
25
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
OTHELLO1 (i)
C
(i)
Othello – William Shakespeare
Discuss how Shakespeare skilfully creates moments of heightened dramatic intensity
in his play, Othello. Develop your discussion with reference to at least three moments
of heightened dramatic intensity evident in the text.
Candidates should discuss how Shakespeare skilfully creates moments of heightened dramatic
intensity in his play, Othello. The discussion should be developed with reference to at least three
moments of heightened dramatic intensity evident in the text.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment, using the breakdown of marks below.
P:
C:
L:
M:
Focus/relevance of response/well chosen, compelling points/originality of thought/evidence
of critical literacy, etc.
Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
Language managed and controlled to achieve clear communication throughout/ fluency
quality of expression, etc.
Accuracy of mechanics
Etc.
Code S for “how Shakespeare skilfully creates”
M for “moments of heightened dramatic intensity in his play, Othello.”
Indicative material:
- the tense, complex nature of the relationships Shakespeare creates between characters
facilitates the creation of moments of heightened dramatic intensity
- Shakespeare deliberately engineers moments of confusion/ misinterpretation/ coincidence to
heighten the dramatic focus and intensity of the play
- Shakespeare makes masterful use of irony/ props/ tonal differences/ staccato dialogue/ verbal
fencing to heighten the level of dramatic intensity at certain moments during the play
- the settings often contributes to the atmosphere of high drama/tragedy
- Shakespeare carefully and deliberately builds the action towards the play’s intense, dramatic
final moments
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
26
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
OTHELLO1 (ii)
(ii) Discuss the insights we gain into the character of Iago from the relationships he
carefully cultivates with both Roderigo and Cassio. Develop your discussion with
reference to Shakespeare’s play, Othello.
Candidates should discuss the insights they gain into the character of Iago from the relationships
he carefully cultivates with both Roderigo and Cassio. Candidates should engage with Iago’s
relationship with both characters, though not necessarily equally. The discussion should be
developed with reference to Shakespeare’s play, Othello.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment, using the breakdown of marks below.
P: Focus/relevance of response/well‐chosen, compelling points/originality of thought/
evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code I for “the insights we gain into the character of Iago”
R for “from the relationships he carefully cultivates with both Roderigo and Cassio”
Indicative material:
- the very deliberate, often ingenious, way in which Iago cultivates self‐serving relationships with
both Roderigo and Cassio provides us with insights into his manipulative/selfish/clever
personality
- the ruthless manner in which Iago exploits and manipulates Roderigo is revealing of Iago’s
subversive and amoral nature
- his desire to wreak revenge on Cassio for a number of perceived wrongs is indicative of his
vengeful/vicious/jealous character
- the relationships reveal Iago’s class consciousness/sense of inferiority
- we learn much about Iago from the glee and satisfaction he derives from his exploitation of
both Roderigo and Cassio
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
27
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 ‐ 0
6‐0
2‐0
FRANKENSTEIN (i)
D
Frankenstein – Mary Shelley
(i)
“By incorporating elements of science fiction, gothic fiction and horror into the story,
Mary Shelley adds to the narrative power of her novel, Frankenstein.”
Discuss the reasons why you do or do not agree with the above statement, developing
your discussion with reference to the text.
Candidates should discuss the reasons why they do/do not agree with the statement that;
“By incorporating elements of science fiction, gothic fiction and horror into the story, Mary Shelley
adds to the narrative power of her novel, Frankenstein.”
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/well‐chosen, compelling points /originality of thought/
understanding of dramatic elements/evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code E for “by incorporating elements of science fiction, gothic fiction and horror”
N for “Mary Shelley adds to the narrative power of her novel, Frankenstein
Indicative material:
- incorporating elements of science fiction, gothic fiction and horror into the story broadens the
writer’s stylistic range through the introduction of a variety of genres which adds/does not add
to the narrative power of the novel
- Mary Shelley’s gothic focus on a Byronic hero/ darker aspects of the human psyche/horrific and
disturbing subject matter and her use of settings increases the narrative power of the text
- Victor’s diabolical and unnatural mode for creating life heightens the thematic concerns
- horrific elements increase/reduce the gothic atmosphere/mood of the text
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
28
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
FRANKENSTEIN (ii)
(ii)
Discuss the insights you gain into the character of Victor Frankenstein from his relationships
with both the monster and Henry Clerval. Develop your discussion with reference to Mary
Shelley’s novel, Frankenstein.
Candidates should discuss the insights they gain into the character of Victor Frankenstein from his
relationships with both the monster and Henry Clerval. The discussion should be supported by
reference to Mary Shelley’s novel, Frankenstein. Candidates should engage with Victor’s
relationship with both characters, though not necessarily equally.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/well chosen, compelling points/originality of thought/
understanding of dramatic elements/evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code I for “the insights gained into the character of Victor Frankenstein”
R for “from his relationships with both the monster and Henry Clerval.”
Indicative material:
- Frankenstein’s initial failure to take responsibility for the monster is indicative of his moral
cowardice
- Henry Clerval differs in many ways from Victor/calls forth the better feelings in Victor’s heart
- the Creature may represent Victor’s tainted soul/they have a symbiotic relationship at the end of
the text
- Frankenstein reveals his inner isolation and secretive nature by failing to reveal the monster even
to his closest friend, Henry Clerval, he fails to warn Clerval of the danger the monster poses
- Frankenstein’s flawed relationships with both the monster and Henry Clerval is suggestive of a
cold, unemotional, eccentric character either unwilling or incapable of engaging with others Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
29
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
THE PICTURE OF DORIAN GRAY (i)
E
The Picture of Dorian Gray – Oscar Wilde
(i)
“By incorporating elements of philosophy, melodrama and satiric comedy into the
story, Oscar Wilde adds to the narrative power of his novel, The Picture of Dorian Gray.”
Discuss the reasons why you do or do not agree with the above statement, developing your
discussion with reference to the text.
Candidates should discuss the reasons why they do/do not agree with the statement that, “By
incorporating elements of philosophy, melodrama and satiric comedy into the story, Oscar Wilde
adds to the narrative power of his novel, The Picture of Dorian Gray.”
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/well‐chosen, compelling points /originality of thought/
understanding of dramatic elements/ evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, effective
engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout /fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code E for “by incorporating elements of philosophy, melodrama and satiric comedy”
N for “Oscar Wilde adds to the narrative power of his novel, The Picture of Dorian Gray”
Indicative material:
‐ incorporating elements of philosophy, melodrama and satiric comedy into the story broadens
the writer’s stylistic range through the introduction of a variety of genres which adds/does not
add to the narrative power of the novel
- Wilde’s tendency to philosophise about the power/nature/meaning of art, the relationship
between life/art/aestheticism; youth and beauty, etc. as well as reference to various
philosophical tracts increases/reduces the narrative power of the text
- melodramatic elements such as the portrayal of the hedonistic lifestyle of Victorian London;
the emphasisis on forbidden longings; evidence of louche, decadent lifestyles; Sibyl’s suicide;
James Vane’s histrionic threats of violence, etc. add to/detract from the novel’s narrative power
‐ Wilde’s ridiculing of certain aspects of society, often through the use of brilliant witticisms/
sparkling dialogue, increases/decreases the narrative impact of his novel
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
30
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 ‐ 0
6‐0
2‐0
THE PICTURE OF DORIAN GRAY (ii)
(ii) Discuss the insights you gain into the character of Dorian Gray from his relationships
with both Basil Hallward and Sibyl Vane. Develop your discussion with reference to
Oscar Wilde’s novel, The Picture of Dorian Gray.
Candidates should discuss the insights they gain into the character of Dorian Gray from his
relationships with both Basil Hallward and Sibyl Vane. The discussion should be developed with
reference to Oscar Wilde’s novel, The Picture of Dorian Gray. Candidates should engage with
Dorian’s relationship with both characters, though not necessarily equally.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response, well chosen, compelling points, originality of thought,
understanding of the use of language, evidence of critical literacy, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/points
effectively substantiated/apt use of examples, references and quotations, key moments,
effective engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code I for “the insights we gain into the character of Dorian Grey”
R for “from his relationships with both Basil Hallward and Sibyl Vane.”
Indicative material:
‐ Basil reminds Dorian of the better self he could be
‐ Hallward’s worship of Dorian encourages selfish amorality
‐ as his working‐class counterpoint, Sibyl reveals his aristocratic assumptions
‐ Dorian’s self‐love is explored through Basil’s alternative image of narcissistic desire
‐ Sibyl is merely his pawn, to be used to reflect glory on himself
‐ his ehical limitations are heightened by the development of these relationships
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
31
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 ‐ 0
6‐0
2‐0
THE COMPARATIVE STUDY
SECTION II – THE COMPARATIVE STUDY (70 marks)
Candidates must answer one question from either A – Literary Genre B – Cultural Context or
C – General Vision and Viewpoint.
Candidates may not answer on the text they have included in SECTION 1 – The Single Text.
GENERAL
In all answers to questions in this section, candidates may compare and/or contrast, i.e.
address similarities and/or differences in both the content and style of their chosen texts.
In shaping their responses to the questions set on the Comparative Study, it is expected that
candidates will be involved in some/all of the following kinds of activities:
‐ Description/analysis of the text/s in the light of the modes for comparison
‐ Making general observations about texts in relation to each other
‐ Making connections between similar aspects of texts
‐ Recognising differences between texts
‐ Showing that similarities/differences need to be qualified
‐ Demonstrating awareness of themselves as readers, their reactions/responses/
involvement.
Expect a wide variety of approaches both in the patterns of discussion and the manner of
illustration.
In all answers in this section, candidates may refer to one/more key moment/s from the
text/s. The purpose of this is to allow the candidates to ground their responses in specific
moments without feeling that they must range over the entire text/s. However, do not
expect that all the illustrative reference in an answer will come from the key moment/s.
Candidates may offer appropriate illustrative reference from any part of the text/s.
Candidates should reference the required combination of texts specified in the questions.
32
LITERARY GENRE (1)
A Literary Genre
1. (a)
Discuss how effectively two features of storytelling, evident in one text on your comparative
course, are used to develop one central relationship in this text. Develop your response with
reference to the text.
(30)
Expect candidates to discuss how effectively two features of storytelling, evident in one comparative
text, are used to develop one central relationship in this text.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 30 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode Literary Genre
‐ focus on: how effectively two features of storytelling are used to develop one central
relationship in one comparative text
C: Sustained focus & relevance – appropriate management & sequencing of ideas/coherence/
apt use of examples, engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression
M: Accuracy of mechanics
Etc.
Indicative material:
- narrative voice can be used to facilitate/communicate the development of a central relationship in
a text
- dialogue/monologue/soliloquies can provide insight into characters’ mindsets/interactions
- imagery/symbolism used to illustrate growth or breakdown of a key relationship
- key moments/plot twists/turning points effectively used in texts to initiate/advance/undermine
a pivotal relationship.
- introducing a new character/setting/challenge/conflict/subplot can be used to develop a central
relationship in a text
Etc.
30
Marks
H1
H2
H3
H4
H5
H6
H7
H8
30 – 27
24
21
18
15
12
9
8–0
33
Literary Genre (1) contd.
(b)
Compare how effectively at least one feature of storytelling, evident in each of two other
texts from your comparative course, is used to develop one central relationship in each of
these texts. You may refer to the same or different feature(s) of storytelling in each of your
chosen texts. Develop your response with reference to your chosen texts.
(40)
Expect candidates to compare how effectively at least one feature of storytelling, evident in each of
two other texts from their comparative course, is used to develop one central relationship in each of
these texts. Candidates may refer to the same technique or different features of storytelling in each
of their chosen texts.
Pay particular attention to the quality of the comparative writing and the development of the
response, including the effective use of apt reference to the texts.
Mark ex 40 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode Literary Genre in relation to two texts
‐ focus on: how effectively at least one feature of storytelling is used to develop one central
relationship in each of two other comparative texts
‐ evidence of effective comparison within the mode Literary Genre
C: Sustained focus & relevance – appropriate management & sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, use of comparative language
M: Accuracy of mechanics
Etc.
Candidates are not required to make comparative links with the text discussed in part (a). However,
they may choose to refer in an explicit or implicit way to the points made in their answer to part (a).
40
Marks
H1
40 ‐ 36
H2
32
H3
28
H4
24
H5
20
34
H6
16
H7
12
H8
11 ‐ 0
Literary Genre (2)
2. Compare how the authors create a sense of anticipation for readers in advance of significant
developments or dramatic events in each of at least two texts on your comparative course.
Develop your response with reference to your chosen texts.
(70)
Expect candidates to compare how the authors create a sense of anticipation for readers in advance
of significant developments or dramatic events in each of at least two comparative texts.
Pay particular attention to the quality of the comparative writing and the development of the
response, including the effective use of apt reference to the texts.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode Literary Genre in at least two texts
‐ focus on how the authors create a sense of anticipation for readers in advance of significant
developments or dramatic events in each of at least two comparative texts
‐ evidence of effective comparison within the mode Literary Genre
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus /apt use of examples, engagement with texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency
quality of expression, use of comparative language, etc.
M: Accuracy of mechanics
Etc.
Indicative material:
‐ evocative imagery, symbolism, motifs, can heighten anticipation in advance of salient events
‐ soliloquies /asides/silence/facial expression/body language can create drama before key moments
‐ use of narrative voice, setting, dramatic irony can create an atmosphere of
anticipation/foreboding/expectancy before significant/dramatic developments
‐ subplots/flashbacks can nurture anticipation in advance of crucial plot twists/character
developments
‐ the use of effective camera angles/judicious use of soundtrack, lighting, stage directions can
provoke apprehension/contemplation before climactic moments
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
35
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2–0
CULTURAL CONTEXT (1)
B
CULTURAL CONTEXT
1. (a)
Discuss the extent to which individual rights are respected or threatened in the
cultural context established in one text on your comparative course. Develop
your response with reference to the text.
(30)
Expect candidates to discuss the extent to which individual rights are respected or threatened in
the cultural context established in one comparative text.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 30 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode Cultural Context
‐ focus on: the extent to which individual rights are respected or threatened in the
cultural context established in one comparative text
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
apt use of examples, engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Indicative material:
- social class/hierarchical/patriarchal structures can influence the extent to which the rights of an
individual are respected/threatened within a particular cultural context
- individual rights can be threatened/respected by the conventions relating to gender established
within particular cultural contexts
- the level of commitment to justice/pluralism/civil rights/ethical values in a society can
support/undermine the extent to which the rights of individuals are respected/threatened
- political/social/religious ideologies embedded in a society can affect the extent to which rights
are upheld/denied
Etc.
30
Marks
H1
30 ‐ 27
H2
24
H3
21
H4
18
H5
15
36
H6
12
H7
9
H8
8–0
CULTURAL CONTEXT (1) contd.
(b) Compare the extent to which individual rights are respected or threatened in the cultural
context established in each of two other texts on your comparative course. Develop your
response with reference to your chosen texts.
(40)
Expect candidates to compare the extent to which individual rights are respected or threatened
in each of two other comparative texts.
Pay particular attention to the quality of the comparative writing and the development of the
response, including the effective use of apt reference to the texts.
Mark ex 40 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode Cultural Context
‐ focus on: the extent to which individual rights are respected or threatened in the cultural
context established in each of two other comparative texts
‐ evidence of effective comparison within the mode Cultural Context
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, use of comparative language, etc.
M: Accuracy of mechanics
Etc.
Candidates are not required to make comparative links with the text discussed in part (a). However,
they may choose to refer in an explicit or implicit way to the points made in their answer to part (a).
40
Marks
H1
40 ‐ 36
H2
32
H3
28
H4
24
H5
20
37
H6
16
H7
12
H8
11 – 0
CULTURAL CONTEXT (2)
2.
Compare how democratic you find the society established in at least two texts on your
comparative course. Develop your response with reference to your chosen texts. (70)
Expect candidates to compare how democratic they found the society established in at least two
comparative texts. Allow for a broad interpretation of “democratic”.
Pay particular attention to the quality of the comparative writing and the development of the
response, including the effective use of apt reference to the texts.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy, etc.
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode Cultural Context
‐ focus on: how democratic candidates find the society established in at least two
comparative texts
‐ evidence of effective comparison within the mode Cultural Context
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, use of comparative language, etc.
M: Accuracy of mechanics
Etc.
Indicative material:
-
values and norms can promote/undermine a democratic society
structures can foster authoritarian/anti‐democratic /patriarchal ideologies/institutions
individual rights can be respected/repressed by governments/individuals
the presence/absence of freedom of assembly, public debate and a free press is revealing
social/ political/economic power can be concentrated in the hands of elites or autocrats
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
38
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 – 0
6–0
2‐0
GENERAL VISION AND VIEWPOINT (1)
1. (a)
Discuss the extent to which your sense of the general vision and viewpoint in one text on
your comparative course was influenced by your response to the prevailing values evident
in this text. Develop your response with reference to the text.
(30)
Expect candidates to discuss the extent to which their sense of the general vision and viewpoint in
one comparative text was influenced by their response to the prevailing values evident in this text.
Pay particular attention to the quality of the discussion and the development of the response,
including the effective use of apt reference to the text.
Mark ex 30 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode General Vision and Viewpoint
‐ focus on: the extent to which candidates’ sense of the general vision and viewpoint in
one comparative text was influenced by their response to the prevailing values
evident in the text
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
apt use of examples, engagement with the text, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Indicative material:
‐ evidence that values such as equality, respect for human rights and social justice are prevalent
in society may influence a reader’s sense of the general vision and viewpoint
‐ prevailing values simply benefitting elites/powerful individuals have an impact on our sense of
the general vision and viewpoint
‐ ethical/ unethical norms such as corruption, integrity, hypocrisy, honesty, influence our thinking
‐ the values of patriarchal/hierarchical societies are often incorporated into our construction of a
general vision and viewpoint
‐ wide spread evidence of trust, empathy, openness and generosity as prevailing values across
society generally promote a positive response and create an upbeat sense of the general vision
and viewpoint
Etc.
30
Marks
H1
30 ‐ 27
H2
24
H3
21
H4
18
H5
15
39
H6
12
H7
9
H8
8–0
GENERAL VISION AND VIEWPOINT (1) contd.
(b)
Compare the extent to which your sense of the general vision and viewpoint in two other
texts on your comparative course was influenced by your response to the prevailing values
evident in these texts. Develop your response with reference to your chosen texts. (40)
Expect candidates to compare the extent to which their sense of the general vision and viewpoint
in two other comparative texts on their comparative course was influenced by their response to the
prevailing values evident in these texts.
Pay particular attention to the quality of the comparative writing and the development of the
response, including the effective use of apt reference to the texts.
Mark ex 40 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode General Vision and Viewpoint
‐ focus on: the extent to which candidates’ sense of the general vision and viewpoint in two
other comparative texts was influenced by their response to the prevailing values
evident in these texts.
‐ evidence of effective comparison within the mode General Vision and Viewpoint
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, use of comparative language, etc.
M: Accuracy of mechanics
Etc.
Candidates are not required to make comparative links with the text discussed in part (a). However,
they may choose to refer in an explicit or implicit way to the points made in their answer to part (a).
40
Marks
H1
40 ‐ 36
H2
32
H3
28
H4
24
H5
20
40
H6
16
H7
12
H8
11 – 0
GENERAL VISION AND VIEWPOINT (2)
2. Compare the extent to which your sense of the general vision and viewpoint in at least two
texts on your comparative course was shaped by how successfully a significant conflict or tension
was resolved in each of these texts. Develop your response with reference to your chosen texts.
(70)
Expect candidates to compare the extent to which their sense of the general vision and viewpoint in
at least two comparative texts was shaped by how successfully a significant conflict or tension was
resolved in each of these texts. Answers should be developed with reference to at least two texts.
Pay particular attention to the quality of the comparative writing and the development of the
response, including the effective use of apt reference to the texts.
Mark ex 70 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus and relevance, evidence of critical literacy, etc.
In awarding marks for P, consider the following:
‐ evidence of understanding of the mode General Vision and Viewpoint
‐ focus on: the extent to which candidates’ sense of the general vision and viewpoint in at
least two comparative texts was shaped by how successfully a significant conflict
or tension was resolved in each of these texts
‐ evidence of effective comparison within the mode General Vision and Viewpoint
C: Sustained focus & relevance/appropriate management and sequencing of ideas/coherence/
sustained comparative focus/apt use of examples, engagement with texts, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, use of comparative language, etc.
M: Accuracy of mechanics
Etc.
Indicative material:
- the successful resolution of a significant conflict or tension in a text may generate a positive/
optimistic/upbeat sense of the general vision and viewpoint
- failure to resolve a significant conflict or tension may disappoint/disillusion readers and have
a negative impact on their sense of the general vision and viewpoint
‐ the extent to which an important conflict or tension is/is not resolved may not have an
appreciable impact or may nurture a sense of ambiguity
‐ the level of compromise/sacrifice required to resolve a key conflict or tension may influence
our sense of the general vision and view point
Etc.
P 21
C 21
L 21
M 7
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
56
17
6
H3
49
15
5
H4
42
13
4
41
H5
35
11
4
H6
28
9
3
H7
21
7
2
H8
20 ‐ 0
6‐0
2‐0
UNSEEN POEM
Section III
Poetry (70 marks)
Candidates must answer A – Unseen Poem and B – Prescribed Poetry
A
UNSEEN POEM (20 marks)
Answer either Question 1 or Question 2.
GENERAL
‘Students should be able to… read poetry conscious of its specific mode of using language as an artistic
medium.’ (DES English Syllabus, 4. 5. 1)
Note that responding to the unseen poem is an exercise in aesthetic reading. It is especially important,
in assessing the responses of the candidates, to guard against the temptation to assume a ‘correct’
reading of the poem. Reward the candidates’ awareness of the patterned nature of the language of
poetry, its imagery, its sensuous qualities, and its suggestiveness.
1. (a) Discuss the portrayal of the English astronaut by Simon Armitage in the above poem.
Support your answer with reference to the poem.
(10)
Candidates should discuss the portrayal of the English astronaut by Simon Armitage in the poem.
Allow for a broad interpretation of “the portrayal of the English astronaut “. Pay attention to the
quality of the discussion and the use of apt reference to the poem.
Mark ex 10 by reference to the criteria for assessment.
10
Marks
H1
10 ‐ 9
H2
8
H3
7
H4
6
H5
5
H6
4
H7
3
H8
2‐0
(b) Explain how the meaning of the above poem is enhanced by the observations made
by the poet in the last two sentences.
(10)
Candidates should explain how the meaning of the above poem is enhanced by the observations
made by the poet in the last two sentences. Allow for a wide range of responses.
Pay attention to the quality of the explanation and the use of apt reference to the poem.
Mark ex 10 by reference to the criteria for assessment.
10
Marks
H1
10 ‐ 9
H2
8
H3
7
H4
6
H5
5
H6
4
H7
3
H8
2‐0
OR
2. Discuss how effectively, in your opinion, the poet uses language in the above poem to
convey his thoughts and feelings about the astronaut. Support your answer with reference
to the poem.
(20)
Candidates should discuss how effectively, in their opinion, the poet uses language in the poem to
convey his thoughts and feelings about the astronaut.
Pay attention to the quality of the discussion and the use of apt reference to the poem.
Mark ex 20 by reference to the criteria for assessment.
20
Marks
H1
20 ‐ 18
H2
16
H3
14
H4
12
H5
10
42
H6
8
H7
6
H8
5‐0
B
PRESCRIBED POETRY
(50 marks)
GENERAL
“Students at Higher Level will be required to study a representative
selection from the work of eight poets: a representative selection would
seek to reflect the range of a poet’s themes and interests and exhibit
his/her characteristic style and viewpoint. Normally the study of at least
six poems by each poet would be expected.” (DES English Syllabus, 6.3)
Note that, in the case of each poet, the candidates have freedom of
choice in relation to the poems studied.
Note that there is not a finite list of any ‘poet’s themes and interests’.
Note that, in responding to the question set on any given poet, the
candidates must refer to poem/s they have studied but they are not
required to refer to any specific poem/s, nor are they expected to
discuss or refer to all the poems they have chosen to study.
In each of the questions in Prescribed Poetry the underlying nature of
the task is the invitation to the candidates to engage with the poems
themselves.
43
W. B. YEATS
1.
Discuss how Yeats uses language, including imagery, to convey both passion and
frustration in his work. Develop your discussion with reference to the poetry by Yeats
on your Leaving Certificate English course.
Candidates should discuss the extent to which they agree or disagree with the statement provided.
Pay attention to the quality of the discussion and the development of the response with reference
to the poems by W.B. Yeats on the Leaving Certificate English course.
Mark ex 50 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus & relevance of response/apt choice of poems/evidence of critical literacy/originality, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/cross
reference/effective use of quotation and reference, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code L for “how Yeats uses language, including imagery”
P for “to convey both passion and frustration in his work”
Indicative material:
Yeats does/does not use language, including imagery; symbolism; allusions; rhetorical language;
contrast; descriptive details; tone; rhythm; repetition; paradox
Etc.
to
convey both passion and frustration in his work, including anger, excitement, irritation, etc.; relating
to personal matters such as love and ageing, etc.; wider issues including politics/art/materialism/
idealism, etc.; the contradictions inherent in the human condition
Etc.
P 15
C 15
L 15
M 5
50 marks
30%
10%
H1
50 ‐ 45
15 ‐14
5
H2
40
12
4
H3
35
11
3
H4
30
9
3
44
H5
25
8
2
H6
20
6
2
H7
15
5
1
H8
14 – 0
4–0
1–0
EMILY DICKINSON
2.
“Dickinson pushes the boundaries of both language and imagination to explore a variety
of experiences and emotions in her poetry.”
Discuss the extent to which you agree or disagree with the above statement.
Develop your discussion with reference to the poetry by Emily Dickinson on your Leaving
Certificate English course.
Candidates should discuss the extent to which they agree or disagree with the statement provided.
Pay attention to the quality of the discussion and the development of the response with reference
to the poems by Emily Dickinson on the Leaving Certificate English course.
Mark ex 50 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/apt choice of accurate quotation and reference/evidence of
critical literacy/originality, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/cross
reference/effective use of accurate quotation and reference, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code B for
Code E for
“Dickinson pushes the boundaries of both language and imagination”
“to explore a variety of experiences and emotions in her poetry.”
Indicative material:
Dickinson does/does not push the boundaries of both language and imagination by employing
provocative/evocative images/symbols/motifs; compression; her innovative approach to grammar
and punctuation; fragmented syntax; by engaging with highly imaginative/abstract/original/fanciful
concepts/her use of surprising conceits
Etc.
to
explore a variety of experiences and emotions in her poetry including her encounters with the
natural world; her hypothesizing regarding the experience of death and her own demise; a wide
variety of emotions and psychological states
Etc.
P 15
C 15
L 15
M 5
H1
H2
H3
H4
H5
H6
H7
H8
50 ‐ 45
15 ‐14
5
40
12
4
35
11
3
30
9
3
25
8
2
20
6
2
15
5
1
14 – 0
4–0
1–0
50 marks
30%
10%
45
BRENDAN KENNELLY
3.
“Kennelly uses a conversational style to communicate the emotional, imaginative
and spiritual aspects of his poetry to readers.”
Discuss the extent to which you agree or disagree with the above statement.
Develop your discussion with reference to the poetry by Brendan Kennelly on
your Leaving Certificate English course.
Candidates should discuss the extent to which they agree or disagree with the statement provided.
Pay attention to the quality of the discussion and the development of the response with reference
to the poems by Brendan Kennelly on the Leaving Certificate English course.
Mark ex 50 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/evidence of critical literacy/originality, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/cross
reference/effective use of accurate quotation and reference, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code C for “Kennelly uses a conversational style”
Code A for “to communicate the emotional, imaginative and spiritual aspects of his poetry”
Indicative material:
Kennelly does/does not use a conversational style, which is evident/not evident in his use of every‐
day/colloquial/simple language; natural dialogue; a warm narrative voice; an intimate/ familiar
/informal/confessional/reflective tone
Etc.
to
communicate the emotional, imaginative and spiritual aspects of his poetry; including a wide range
of emotions such as love/loneliness/happiness/hope/despair, etc.; a vivid reimagining of historic
events/characters; an imaginative approach to thematic concerns; Kennelly’s spirituality is evident in
the inclusive humanity/compassion/stoicism evident in his work
Etc.
P 15
C 15
L 15
M 5
50 marks
30%
10%
H1
50 ‐ 45
15 ‐14
5
H2
40
12
4
H3
35
11
3
H4
30
9
3
46
H5
25
8
2
H6
20
6
2
H7
15
5
1
H8
14 – 0
4–0
1–0
D. H. LAWRENCE
4.
“Lawrence uses a vivid and evocative style to present a variety of memorable scenes and
moments of emotional intensity in his poetry.”
Discuss the extent to which you agree or disagree with the above statement.
Develop your discussion with reference to the poetry by D.H. Lawrence on your Leaving
Certificate English course.
Candidates should discuss the extent to which they agree or disagree with the statement provided.
Pay attention to the quality of the discussion and the development of the response, with reference
to the poems by D.H Lawrence on the Leaving Certificate English course.
Mark ex 50 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/evidence of critical literacy/originality, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/cross
reference/effective use of accurate quotation and reference, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code V
for “Lawrence uses a vivid and evocative style”
Code M for “to present a variety of memorable scenes and moments of emotional intensity”
Indicative material:
Lawrence vivid and evocative style is/is not evident in his use of detailed description; imagery;
rhetorical questions; repetition; personification; onomatopoeia; alliteration; assonance;
angry/nostalgic/ regretful/reflective/occasionally playful tone; an overly contrived style
Etc.
to
present a variety of memorable scenes and moments of emotional intensity including: striking
depictions of creatures and scenes from the natural world; memorable encounters; tender
moments; moments of affection; intensely personal memories; emotionally charged insights; a
deep sense of loss or longing; an intense emotional response to the transience of joy/life; an
angry/despairing response to the plight of the working class; moments and scenes that appear
dated/overly sentimental
Etc.
P 15
C 15
L 15
M 5
50 marks
30%
10%
H1
50 – 45
15 ‐14
5
H2
40
12
4
H3
35
11
3
H4
30
9
3
47
H5
25
8
2
H6
20
6
2
H7
15
5
1
H8
14 – 0
4–0
1–0
ELIZABETH BISHOP
5.
“Bishop’s precise use of language enables her to effectively convey her reflections on her
own life and experiences.”
Discuss the extent to which you agree or disagree with the above statement.
Develop your discussion with reference to the poetry by Elizabeth Bishop on your Leaving
Certificate English course.
Candidates should discuss the extent to which they agree or disagree with the statement provided.
Pay attention to the quality of the discussion and the development of the response, with reference
to the poems by Elizabeth Bishop on the Leaving Certificate English course.
Mark ex 50 by reference to the criteria for assessment using the breakdown of marks below.
P: Focus/relevance of response/evidence of critical literacy/originality, etc.
C: Sustained focus/appropriate management and sequencing of ideas/coherence/cross
reference/effective use of accurate quotation and reference, etc.
L: Language managed and controlled to achieve clear communication throughout/fluency/
quality of expression, etc.
M: Accuracy of mechanics
Etc.
Code P for
“Bishop’s precise use of language enables her to effectively convey”
Code R for “her reflections on her own life and experiences”
Indicative material:
Bishop’s precise use of language evident in her: detailed/forensic descriptions; choice of words;
use of repetition/contrast/colour, etc.; modulation of tone; imagery/symbolism/motifs; use of
personae
Etc.
enables her to effectively/ineffectively convey
her reflections on her own life and experiences including: memories from her childhood; reflections
on her travels; personal difficulties; moments of epiphany
Etc.
P 15
C 15
L 15
M 5
50 marks
30%
10%
H1
50 ‐ 45
15 ‐14
5
H2
40
12
4
H3
35
11
3
H4
30
9
3
48
H5
25
8
2
H6
20
6
2
H7
15
5
1
H8
14 – 0
4–0
1–0
Appendix 1
LEAVING CERTIFICATE ENGLISH
CRITERIA FOR ASSESSMENT
Clarity of Purpose
Engagement with the
set task
Coherence of Delivery Ability to sustain the
response over the
entire answer
Efficiency of
Language use
Accuracy of
Mechanics
Management and
control of
Language to achieve
clear communication
Spelling
e.g. relevance, focus,
originality, freshness, evidence
of critical literacy (where
appropriate), clear aim,
understanding of genre
Where appropriate:
continuity of argument,
sequencing,
management of ideas, choice
of reference,
use of examples, engagement
with texts, control of register
and shape, creative modelling
e.g. vocabulary, syntax,
sentence patterns,
punctuation appropriate to the
register, use of lively
interesting phrasing, energy,
style, fluency appropriate to
the task
e.g.
appropriate levels of accuracy
in spelling
Grammar
Percentage
Weighting
30
30
30
10
grammatical patterns
appropriate to the register
49
Appendix 2
ASSESSMENT CRITERIA – GRADE GRID
Clarity of Purpose
30%
Coherence of Delivery
30%
Efficiency of Language Use 30%
Accuracy of Mechanics
10%
Discrete Criteria:
100 marks
100%
30%
10%
H1
100 ‐ 90
30 ‐ 27
10 ‐ 9
H2
89 ‐ 80
24
8
H3
79 ‐ 70
21
7
H4
69 ‐ 60
18
6
H5
59 ‐ 50
15
5
H6
49 ‐ 40
12
4
H7
39 ‐ 30
9
3
H8
29 ‐ 0
8‐0
2‐0
70 marks
100%
30%
10%
H1
70 ‐ 63
21 ‐ 19
7
H2
62 ‐ 56
17
6
H3
55 ‐ 49
15
5
H4
48 ‐ 42
13
4
H5
41 ‐ 35
11
4
H6
34 ‐ 28
9
3
H7
27 ‐ 21
7
2
H8
20 ‐ 0
6‐0
2‐0
50 marks
100%
30%
10%
H1
50 ‐ 45
15 ‐14
5
H2
44 ‐ 40
12
4
H3
39 ‐ 35
11
3
H4
34 ‐ 30
9
3
H5
29 ‐ 25
8
2
H6
24 ‐ 20
6
2
H7
19 ‐ 15
5
1
H8
14 ‐ 0
4‐0
1‐0
H2
32
24
16
10
8
H3
28
21
14
9
7
H4
24
18
12
8
6
H5
20
15
10
7‐6
5
H6
16
12
8
5
4
H7
12
9
6
4
3
H8
11 ‐ 0
8‐0
5‐0
3 ‐0
2‐0
Combined Criteria:
40 marks
30 marks
20 marks
12 marks
10 marks
H1
40 ‐ 36
30 ‐ 27
20 ‐ 18
12 ‐ 11
10 – 9
50
Appendix 3
REASONABLE ACCOMMODATIONS
Candidates presenting for examination with the aid of a scribe or a recording device or a spell‐check
enabled word processor and other candidates who have been granted an exemption in accordance
with the State Examination Commission’s RACE manual will have all parts of their examination in
English assessed except spelling and written punctuation elements.
In assessing the work of these candidates, a modified marking scheme will apply as follows:
Clarity of Purpose
30% (to be assessed)
Coherence of delivery
30% (to be assessed)
Efficiency of Language (including grammar) 30% (to be assessed)
Spelling and Written Punctuation
10% (not to be assessed)
In using Discrete Criteria, consult the Assessment Grade Grid (Appendix 2) and apply the first three
criteria.
Single Text marks, for example, will be applied by awarding marks for PCL:
21 P 19
21 C 16
21 L 17
52
This means, in effect, that these candidates will be assessed in all questions out of 90% of the marks
available for the question.
Marks awarded for each question on Paper 1 and Paper 2 will be transferred to the script cover grid
of each paper and totalled. As these totals were arrived at on the basis of a 90% application of the
available marks, a mark that can be converted into a grade is arrived at by dividing the total for each
paper by 9, and adding these marks to the original total in order to achieve a grand total for that
paper.
Example:
Total for Paper 1
Divide by 9
Grand Total
= 115
= 12
= 127
Fractions of marks are to be rounded down to the nearest whole mark.
In using Combined Criteria, the following will apply:
Questions valued at 40 marks are assessed out of 36 marks
Questions valued at 30 marks are assessed out of 27 marks
51
Questions valued at 20 marks are assessed out of 18 marks
Questions valued at 10 marks are assessed out of 9 marks
Combined Criteria ‐ Grade Grid
36 marks
27 marks
18 marks
9 marks
H1
36 ‐ 33
27 ‐ 25
18 ‐ 17
9
H2
29
22
15
8
H3
26
19
13
7
H4
22
17
11
6
H5
18
14
9
5
H6
15
11
8
4
H7
11
9
6
3
H8
10 ‐ 0
8‐0
5‐0
2‐0
Appendix 4
MISREADING OF INSTRUCTIONS RELATING TO QUESTION CHOICE
CANDIDATE ANSWERS MORE THAN THE REQUIRED NUMBER OF QUESTIONS
 Mark all the attempts.
 The highest marks will automatically be awarded
INCORRECT/INVALID USE OF SINGLE TEXT/UNPRESCRIBED TEXT/INCORRECT COMBINATION
OF TEXTS IN COMPARATIVE STUDY





Mark the Comparative answer as per the Marking Scheme.
Where the number of texts in a global (70 mark) answer is two deduct half of the mark
awarded.
Where the number of texts in a global (70 mark) answer is three deduct one third of the
mark awarded.
If a text is incorrectly used in either part (a) or (b) of a two‐part answer, deduct the
appropriate fraction of the mark awarded.
In the unlikely event that the fraction of marks to be deducted from the Comparative answer
is greater than the mark already awarded for the Single Text (in cases where candidates
have attempted a question in Section I), simply disallow the mark for the Single Text and
allow the full, original mark for the Comparative answer to stand.
52
Appendix 5
Marking Annotations
Symbol
Description
Denoting
Tick
Correct, Relevant, Valid, Of Merit
Cross
Incorrect
Horizontal
Wavy
Line
Error Underlined
Vertical
Wavy
Line
Page Seen
MMS
Letters
MMS
in a box
Modified Marking Scheme Applied
INVLD
Letters
INVLD
in a box
Text used in an invalid fashion
See Appendix 4
X
53