Your Examination Preparation Guide
STEP 12
ENGLISH
HOME
AND FIRST
ADDITIONAL
LANGUAGE
PAPER 2
(LITERATURE)
Supported by
GRADE
12
FOREWORD BY THE HONOURABLE MINISTER OF BASIC EDUCATION
Our shared goal is continually to improve learner performance. This is an effort which is
strengthened through close collaboration between the Basic Education Sector and the South
Africa’s private and public sectors.
It gives me great pleasure to inform you that you have been favoured with the AVBOB STEP
12 Examination Preparation Guides for South Africa’s Grade 12 languages, a product of a
long-standing partnership between the Department of Basic Education and AVBOB.
Through these guides, AVBOB aims to provide language examination support to all Grade
12 teachers and learners. These guides will serve as a valuable self-help resource for
learners.
Through AVBOB STEP 12, AVBOB is making available 33 Examination Preparation
Guides, each meticulously compliant with the Curriculum and Assessment Policy Statement
(CAPS); and written in accordance with the most recent Examination Guidelines for the
twelve South African languages offered in Grade 12. Teachers, learners and interested
parties, may download these guides at no cost from www.avbobstep12.co.za.
The initial set of AVBOB STEP 12 Examination Preparation Guides – in all 11 official South
African languages, comprises one guide for each of the three National Senior Certificate
examination papers, and covers both Home and First Additional Languages:
1.
2.
3.
Language in context;
Literature; and
Creative Writing.
Each guide covers themes as directed in the curriculum and focuses on important areas
covered in the examination papers. By paying attention to time management in the exams,
the AVBOB STEP 12 guides can also assist learners in alleviating anxiety and stress.
As the Department of Basic Education, we encourage Grade 12 language teachers and
other educators of Grade 12 learners to embrace the AVBOB STEP 12 Examination
Preparation Guides, which we have reviewed and supported, as valuable additional
resources within their education toolkits.
On behalf of the Department of Basic Education
Mrs Angie Motshekga, MP
South African Minister of Basic Education
Date: 21 April 2023
Table of contents
1 Introduction
2 Structure of Paper 2
3 Contents: How do I answer Paper 2?
3.1 Section A/Section D* : Poetry
01
02
05
05
3.1.1 How do I answer the questions on poetry?
05
3.1.2 Section A: Question 1
06
3.1.3 Section A: Questions 2-5/Section D: Question 6
07
3.2 Section B/Section A* : Novel
08
3.2.1 How do I answer the essay questions on the novel?
08
3.2.2 How do I answer the contextual questions on the novel?
09
3.3 Section C/Section B* : Drama
09
3.3.1 How do I answer the essay questions on the drama?
09
3.3.2 How do I answer the contextual questions on the drama?
10
3.4 Section C: Short Stories (First Additional Language only)*
10
4 List of literary terms
5 Example questions and model answers
11
5.1 Home Language: Example questions
26
26
5.1.1 Section A: Poetry
26
5.1.2 Section B: Novel
30
5.1.3 Section C: Drama
32
5.2 Home Language: Model answers
35
5.2.1 Section A: Poetry
35
5.2.2 Section B: Novel
38
5.2.3 Section C: Drama
40
5.3 First Additional Language: Example questions*
42
5.3.1 Section A: Novel
42
5.3.2 Section B: Drama
44
5.3.3 Section C: Short stories
46
5.3.4 Section D: Poetry
49
5.4 First Additional Language: Model answers*
51
5.4.1 Section A: Novel
51
5.4.2 Section B: Drama
52
5.4.3 Section C: Short stories
53
5.4.4 Section D: Poetry
55
* First Additional Language sections
1. Introduction
This Examination Preparation Guide is designed to assist you to improve your achievement in Paper 2 (Literature).
The Examination Preparation Guide consists of two parts: a discussion of the structure of Paper 2, followed by
an overview of the content aspects of the paper. Knowledge of both these components is necessary to succeed
in Paper 2.
The structure and contents of Paper 2 are based on the Curriculum and Assessment Policy Statement (CAPS)
prescribed by the Department of Basic Education as a compulsory teaching and examination guide. Ask your
teacher to show you the CAPS document (and also the most recent examination guidelines) so you can see
first-hand what is prescribed for Paper 2.
This Examination
Preparation Guide does
not intend to overload you
with facts and information
but rather to GUIDE you
in the right direction. It is
not a subject textbook and
will, therefore, not cover
all the information of the
syllabus. Core aspects and
key notions will be brought
to your attention. You
must still do the work and
develop your potential.
YOU SHOULD KNOW WHAT THE CAPS SAYS
Where Home Language and First Additional Language differ, the information on First
Additional Language will be indicated with a green border.
Page 01
2. Structure of Paper 2
Read the following information carefully because it will help you to answer the paper correctly.
HOME LANGUAGE
ƒ You have 2½ hours (150 minutes) to answer Paper 2. The total number of marks for the paper is 80 marks.
ƒ The paper consists of three sections: Section A (Poetry), Section B (Novel) and Section C (Drama). Answer questions from
all three sections.
ƒ
Section A (Question 1-5) is for 30 marks. Questions 1-4 are on prescribed poems of which you must choose two to
answer. Question 5 is on an unseen poem and is compulsory to answer.
ƒ Section B is for 25 marks and comprises an essay question and a contextual question of which you must choose one
to answer on the novel you studied. If you do the essay question in Section B, you have to do the contextual question in
Section C, and vice versa.
ƒ Section C is for 25 marks and comprises an essay question and a contextual question of which you must choose one to
answer on the drama you studied. If you do the essay question in Section C, you have to do the contextual question in
Section B, and vice versa.
Tips!
ƒ You do not have to read through the whole question paper.
ƒ Answer only the questions on texts that you studied
during the year.
ƒ Consult the table of contents on page 4 of the
question paper.
ƒ Use the checklist on page 5 of the question paper to
ensure that you have answered the correct number of
questions and number the questions that you have done.
ƒ Answer questions from all THREE sections.
TABLE OF CONTENTS (EXAMPLE)
The table of contents in the question paper will assist you in choosing questions to answer, without you having to read
through the entire question paper. The following is an example of what the table of contents may look like:
PAPER 2: 2½ HOURS, 80 MARKS, 3 SECTIONS
SECTION A: POETRY
Prescribed poems: Answer any two questions.
QUESTION NUMBER
QUESTION
1. The child who was shot dead
Essay question
by soldiers in Nyanga
2. Sonnet 130
Contextual question
3. At a Funeral
Contextual question
4. Solitude
Contextual question
Unseen poem: Compulsory
5. Seed
Contextual question
Page 02
MARKS
10
PAGE
6
10
10
10
8
10
12
10
14
SECTION B: NOVEL
Answer one question.
If you do the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
6. The Picture of Dorian Gray
Essay question
25
15
7. The Picture of Dorian Gray
Contextual question
25
15
8. Life of Pi
Essay question
25
18
9. Life of Pi
Contextual question
25
18
SECTION C: DRAMA
Answer one question.
If you do the essay question in Section C, you have to do the contextual question in Section B, and vice versa.
10. Hamlet
Essay question
25
22
11. Hamlet
Contextual question
25
22
12. Othello
Essay question
25
26
13. Othello
Contextual question
25
26
14. The Crucible
Essay question
25
28
15. The Crucible
Contextual question
25
29
FIRST ADDITIONAL LANGUAGE
ƒ You have 2 hours (120 minutes) to answer Paper 2. The total number of marks for the paper is 70 marks.
ƒ The paper consists of four sections: Section A (Novel), Section B (Drama), Section C (Short stories) and Section D (Poetry).
ƒ Choose questions from two sections.
ƒ Read the instructions at the start of the paper carefully and make sure you understand all instructions.
ƒ Section A is for 35 marks and comprises four contextual questions. Choose only one question on the novel that you
studied at your school.
ƒ Section B is for 35 marks and comprises three contextual questions. Choose only one question on the drama that you
studied at your school.
ƒ Section C is for 35 marks. Answer all the questions on both short stories.
ƒ Section D is for 35 marks. Answer all the questions on both poems.
Tips!
ƒ You do not have to read through the whole question paper.
ƒ Answer only the questions on texts that you studied
during the year.
ƒ Consult the table of contents on page 4 of the
question paper.
ƒ Use the checklist on page 5 of the question paper to
ensure that you have answered the correct number of
questions and number the questions that you have done.
ƒ Answer questions from TWO sections.
Page 03
TABLE OF CONTENTS (EXAMPLE)
The table of contents in the question paper will assist you in choosing questions to answer, without you having to read
through the entire question paper. The following is an example of what the table of contents may look like:
PAPER 1: 2 HOURS, 70 MARKS, 4 SECTIONS
SECTION A: NOVEL
Answer only one question on the novel that you studied at your school.
QUESTION NUMBER
QUESTION
1. Cry, the Beloved Country
Contextual question
2. Strange Case of Dr Jekyll
Contextual question
and Mr Hyde
MARKS
35
PAGE
5
35
10
35
35
15
19
18
17
21
23
17
18
25
27
SECTION B: DRAMA
Answer only one question on the drama that you studied at your school.
3. Macbeth
Contextual question
4. My Children! My Africa!
Contextual question
SECTION C: SHORT STORIES
Answer all the questions on both short stories.
5.1 Rejection
5.1.1-5.1.8
5.2 Forbidden Love
5.2.1-5.2.8
SECTION D: POETRY
Answer all the questions on both poems.
6.1 Sonnet 73
6.2 The Lake Isle of Innisfree
6.1.1-6.1.8
6.2.1-6.2.8
What kind of questions can I expect?
Some questions will be easy, some will be at a medium level of difficulty, while others will be difficult. There may, however, be a
few very difficult questions – keep calm and answer all the questions to the best of your ability.
ƒ 40% of the questions test your understanding of the text (words, sentences, paragraphs). You will find the answers to the
questions directly in the text.
ƒ 40% of the questions assess your ability to make inferences. You won’t find these answers directly in the text – the
information in the text is a point of departure, which enables you to infer the answers from the information in the text. You
must understand the text well to answer these types of questions.
ƒ 20% of the questions focus on your ability to get insight on the text, apply the information in new situations, analyse it and
arrive at appropriate judgements/evaluation. You must understand the text very well to answer these types of questions.
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
Page 04
3. Contents: How do I answer Paper 2?
Thorough knowledge of the contents of the prescribed books and poems that you’ve studied is important when answering
Paper 2. A vague knowledge of the content, summaries and notes will not take you far. You need to read and study the
texts a few times so that you know and understand the content. You must also understand the structure of the content
and be able to answer questions about it, such as Who? What? Where? When? How? With what? When? Why? Why not?
Just telling the story will earn you limited marks – you need to know and understand how the different parts of the novel/
drama/short story/poem are put together, i.e. you must be able to interpret, deduce, draw conclusions and form a pattern
of events from the words, situations, actions, motives, consequences, etc. in the prescribed texts. If you study your
prescribed texts thoroughly, you will achieve excellent marks!
3.1 Section A/Section D: Poetry
Home Language
Section A
First Additional Language
Section D
30 marks
Answer two questions on the prescribed poems and one
question on the unseen poem
Question 1
Essay question (250-300 words, 10 marks)
Optional
Questions 2-4
Contextual questions (10 marks each)
Optional
Question 5
Contextual questions (10 marks)
Compulsory
35 marks
Answer all the questions (Question 9)
No essay question
All the questions are contextual
_
_
3.1.1 How do I answer the questions on poetry?
To give quality answers, you must understand not only the reading passage but also the questions. Here is an approach to
help you with that:
ƒ Read the title of the poem a few times and try to establish what the title attempts to convey.
ƒ Glance through the poem for a cursory impression of its contents.
ƒ Read the questions briefly to get an idea of the scope of the questions.
ƒ Choose on which two of the prescribed poems you will answer questions.
ƒ Read the first poem once more, but this time attentively, bearing the questions in mind.
ƒ Now, you can start answering the questions – make sure you read each question very carefully:
– Start with the first question and underline the keyword(s) of the question.
– Allow these keyword(s) to lead you to find an answer to the question.
– Before you write down the answer, ask yourself: Does my response address the question?
– Follow the same procedure with all the questions that follow.
As you apply this approach, keep the following in mind:
ƒ If you don’t know the meaning of a word, try to find a clue from the context in which the word is used – sometimes it helps
you to find the meaning of the word.
ƒ Provide BOTH sides of the matter with questions on similarity, difference, contrast, comparison and irony, for example,
Page 05
Question:
What is the difference between the first and last line?
Answer:
The first line paints a sad atmosphere, but the last line reflects a cheerful mood.
To just indicate the mood in the last line would be incomplete – BOTH sides should be mentioned (atmosphere/mood in the
first AND last line). The same principle applies to questions on contrast, similarity, comparison and irony.
ƒ When a question asks for one-word answers only, you must give only the one word.
ƒ When a question asks for more than one word, check whether the question requires two (or more) separate words or
consecutive words – then answer the question accordingly.
ƒ If a question asks for a verbatim quotation from the text, the quotation must be written exactly as it appears in the text,
without any mistakes (spelling, punctuation, etc.).
ƒ When a question consists of more than one part, ensure that you answer the questions in the same sequence in which
the parts appear.
ƒ If you are asked to answer YES/NO, TRUE/FALSE, AGREE/DON’T AGREE, always add a motivation to your answer. Make sure
that your motivation fits the YES or NO (or other possibilities), for example,
If you answer YES, the motivation should not support the NO answer because you will lose marks in such as case.
ƒ First write the YES or NO (or other possibilities) then provide the motivation.
ƒ The order of most questions follows the order of the poem, although that is not always the case. There can be questions
that refer to a previous line or touch on subsequent lines – be ready to go backward or forward in the poem.
ƒ If a question asks the relation between two lines/sentences/texts/opinions, etc., ensure that you understand the key
notions of the question thoroughly and then identify the linking ideas in the two lines/sentences/texts/opinions, etc.
Determine what the relation is and write you answer in a clear and direct manner.
ƒ Open-ended questions: When a question starts with “Do you think …?” the answer is not necessarily in the text, so you
have to provide your own, independent answer. That does not mean you can provide just any answer. Your own, independent
answer should still link with the text(s) provided. You must add value to the texts(s) with your own, unique, original insight.
ƒ The length (and sometimes depth) of an answer depends on the mark(s) allocated to that question. Therefore, take careful
note of the mark allocation for every question and write your answers according to the marks allocated for each, for
example,
For three marks, you cannot provide just one point as an answer. Or for one mark, you must not write three long paragraphs.
The marks indicated for each question signal how much or how little you need to write
ƒ Usually you have to provide one fact for one mark. However, sometimes an extension of a fact is expected – in this case
you must provide more information for additional marks.
3.1.2 Section A: Question 1
HOME LANGUAGE (only): This is an essay question (literary essay). Keep the following in mind:
ƒ Write a 250-300-word essay (if you choose to answer this question).
ƒ This question is not compulsory.
ƒ The question is on one of the prescribed poems and is for 10 marks.
ƒ Provide at least seven but no more than 10 points on the topic.
ƒ Start your essay with a short introduction (that relates to the question).
ƒ Your essay must consist of statements that are suitably motivated by referring to the poem.
Page 06
ƒ A logical flow of motivated statements will earn you a high mark.
ƒ Pay attention to the focus of the question and concentrate on that.
ƒ Conclude your essay appropriately.
See an example of how such a question can be asked and
answered on pages 26, 30, 35 and 38.
Structure tips!
ƒ Write the point.
ƒ Explain the point.
ƒ Provide evidence from the text to
substantiate your point.
ƒ Link your point to the question.
3.1.3 Section A: Questions 2-5/Section D: Question 6
These are contextual questions. Keep the following in mind:
ƒ For the contextual questions, you can expect a balance of easy, moderate and difficult questions.
ƒ Some questions will focus on facts from the poems, others will test your insight by requiring you to make inferences, while
others will require your own interpretation, appreciation/evaluation and view/conclusion.
ƒ For questions that include “do you think”, don’t try to find the answer verbatim in the poem. Instead, you should use the
information in the poem to provide your own (valid) interpretation, evaluation or conclusion. Your answer should relate
directly to the poem.
ƒ Note the mark allocation for each question. A question that, for example, counts three marks requires more information
than a question that counts only one mark.
See an example of such questions and how they can be answered on pages 27-29, 35-37, 49-50 and 55-56.
HOME LANGUAGE: You can choose TWO QUESTIONS from Questions 1, 2, 3 and 4, but Question 5 is compulsory.
ƒ You must understand of the content and meaning of the poem – WHAT does the poem want to convey?
ƒ It’s important that you understand the poems well, but to be successful in the examinations, you must be able to identify
technical aspects when you analyse a poem.
ƒ A combination of technical aspects in poems has a specific aim and highlights a specific matter.
ƒ Ensure that you understand the meaning and function of the technical aspects, such as literary devices, mood or tone.
ƒ Ensure that you understand the instruction words in each question.
See the list of literary terms on pages 11-25.
Ask your teacher to provide proper guidance on ways to understand
and apply instruction words and on the assessment words that
are used in Paper 2. The CAPS document can assist with this.
Page 07
3.2 Section B/Section A: Novel
Home Language
Section B
First Additional Language
Section A
25 marks
Answer one question
One question is an essay question and the others are
contextual questions
If you do the essay question in Section B, you have to do the
contextual question in Section C, and vice versa.
35 marks
Answer one question
No essay question
All the questions are contextual
–
Schools don’t all study the same novel. Note the question numbers applicable to the novel that you studied.
3.2.1 How do I answer the essay questions on the novel?
HOME LANGUAGE (only): To deliver high quality answers, you need to choose the right question (here and in Section C). Here
is an approach to help you with that:
ƒ Read the essay question attentively and determine what it expects of you.
ƒ Now read through the contextual questions.
ƒ Then read the essay and contextual questions in Section C (Drama), as you did for Section B.
ƒ Decide whether you want to answer the essay or contextual question in Section B.
ƒ
Remember: If you answer the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
Should you choose to answer the essay question, keep the following in mind:
ƒ Your response should be 400-450 words.
ƒ Start your essay with a suitable introductory paragraph that relates appropriately to the question asked.
ƒ Your essay should consist of statements accompanied by motivations from the novel.
ƒ A logical flow of motivated statements will add much value to your essay.
ƒ Retelling the story (plot) is not enough – you must understand the focus of the question and concentrate on that.
ƒ Conclude your essay with a suitable final paragraph, in which you come to a relevant conclusion, or summarise/confirm
the core of your answer.
See an example of how such a question can be asked and
answered on pages 33 and 38.
Structure tips!
ƒ Write the point.
ƒ Explain the point.
ƒ Provide evidence from the text to
substantiate your point.
ƒ Link your point to the question.
Page 08
3.2.2 How do I answer the contextual questions on the novel?
For the contextual questions, keep the following in mind:
ƒ One or two extracts are presented as points of departure to pose questions on the whole novel.
ƒ Very few answers will come directly from the extracts provided. This is not a reading comprehension (as in Section A of
Paper 1) – questions will cover the whole novel. You are thus expected to have a good knowledge of the whole novel to
answer the contextual questions.
ƒ The extracts are an aid to guide you on the correct answers.
ƒ Note the mark allocation for each question. A question for (for example) three marks expects more information than a
question for only one mark.
ƒ Some questions will focus on facts from the novel only, others will test your ability to make inferences and show insight,
while others will require your own interpretation/appreciation/evaluation and opinion/conclusion.
ƒ
For questions that include “do you think”, don’t try to find the answers as fact in the novel. Instead, you should use the information
in the novel to provide your own interpretation, evaluation or conclusion. Your answer should relate directly to the novel.
See an example of such questions and how they can be answered on pages 30-31, 35-36, 42-43 and 51-52.
3.3 Section C/Section B: Drama
Home Language
Section C
First Additional Language
Section B
25 marks
Answer one question
One question is an essay question and the others are
contextual questions
If you do the essay question in Section C, you have to do the
contextual question in Section B, and vice versa.
35 marks
Answer one question
No essay question
All the questions are contextual
–
Schools don’t all study the same drama. Note the question numbers applicable to the drama that you studied.
3.3.1 How do I answer the essay questions on the drama?
HOME LANGUAGE (only): Should you choose to answer the essay question, keep the following in mind:
ƒ Your response should be 400-450 words.
ƒ Begin your answer with a suitable introductory paragraph that relates appropriately to the question asked.
ƒ Your essay should consist of statements accompanied by motivations from the drama.
ƒ A logical flow of motivated statements will add much value to your essay.
ƒ Retelling the story (plot) is not enough – you must understand the focus of the question and concentrate on that.
ƒ Conclude your essay with a suitable final paragraph, in which you come to a relevant conclusion, or summarise/confirm
the core of your answer.
See an example of how such a question can be asked and answered on pages 32 and 40.
Page 09
Structure tips!
ƒ Write the point.
ƒ Explain the point.
ƒ Provide evidence from the text to substantiate your point.
ƒ Link your point to the question.
3.3.2 How do I answer the contextual questions on the drama?
For the contextual questions, keep the following in mind:
ƒ One or two extracts are presented as points of departure to pose questions on the whole drama.
ƒ Very few answers will come directly from the extracts provided. This is not a reading comprehension (as in Section A of
Paper 1) – questions will cover the whole drama. You are thus expected to have a good knowledge of the whole drama to
answer the contextual questions.
ƒ The extracts are an aid to guide you on the correct answers.
ƒ Note the mark allocation indicated for each question. A question for (for example) three marks expects more information
than a question for only one mark.
ƒ Some questions will focus on facts from the drama only, others will test your ability to make inferences and show insight,
while others will require your own interpretation/appreciation/evaluation and opinion/conclusion.
ƒ For questions that include “do you think”, don’t try to find the answers verbatim in the drama. Instead, you should use the information
in the drama to provide your own interpretation, evaluation or conclusion. Your answer should relate directly to the drama.
See an example of such questions and how they can be answered on pages 32-34, 41, 44-46 and 52-53.
3.4 Section C: Short Stories (First Additional Language only)
First Additional Language
Section C
35 marks
Answer all the questions on both short stories
No essay question
All the questions are contextual
For these contextual questions, keep the following in mind:
ƒ One or two extracts are presented as points of departure to pose questions on the whole short story.
ƒ Very few answers will come directly from the extracts. This is not a reading comprehension (as in Section A of Paper 1)
– questions will cover the whole short story. You are thus expected to have a good knowledge of the whole short story to
answer the contextual questions.
ƒ The extracts are an aid to guide you on the correct answers.
ƒ Note the mark allocation indicated for each question. A question for (for example) three marks expects more information
than a question for only one mark.
ƒ Some questions will focus on facts from the short story only, others will test your ability to make inferences and show
insight, while others will require your own interpretation/ appreciation/evaluation and opinion/conclusion.
ƒ For questions that include “do you think”, don’t try to find the answers verbatim in the short story. Instead, you should use
the information in the short story to provide your own interpretation, evaluation or conclusion. Your answer should relate
directly to the short story.
See an example of such questions and how they can be answered on pages 46-48 and 53-54.
Page 10
4. List of literary terms
Although it’s important that you have a good understanding of the content of the poetry, novel and drama (and short
stories), this is not enough to ensure success in the examination. Below is a list of literary terms, with explanations and
examples, which will assist you in making sense of some questions in Paper 2. If you understand these terms, you will
be better able to answer questions that contain them or require their application.
YOU NEED TO STUDY THESE TERMS!
ADDRESSEE
This is the person who is addressed by the speaker – the person with whom the speaker communicates in a given text, for example:
Home Language
First Additional Language
In Sonnet 73, the speaker addresses his beloved when the
speaker requests his beloved to observe him (the speaker).
In the poem Sonnet 130, the reader is the addressee.
ALLITERATION
A sound pattern that includes the repetition of consonant sounds in words close to one another, for example,
Home Language
First Additional Language
They passed again through the great gate in the grim
high wall, ...
From: Cry, the Beloved Country
green and gold
From: At a Funeral
ANTICLIMAX
When an expectation of some high point of importance or excitement is not fulfilled or the seriousness of a literary plot is suddenly
lost as a result of a comical, digressive or meaningless event, for example,
Home Language
Several of these occur in Life of Pi, for example, when Pi
finds Richard Parker on the raft, and it is expected that the
tiger will kill Pi, but this does not happen.
First Additional Language
In Rejection, it is expected that the narrator would divorce
her husband; instead she remains with her children to
support them.
ANTITHESIS
The expression of two opposed or different ideas in balanced contrast. The placing of contradicting/contrasting ideas next to each
other, for example,
Home Language
For the sad old earth must borrow its mirth,
From: Solitude
First Additional Language
... while she
Wound it into a ball, unwinding me,
From: Reciprocities
Page 11
ANTONOMASIA
Naming by means of typical detail, such as the use of a proper noun as a common noun to express a general understanding, the
substitution of an epithet or title for a proper name, or the use of a proper name to express a general idea, for example,
Home Language
In Othello, the character Othello is called the moor because
he is dark-skinned.
First Additional Language
When Macbeth is called the Scottish play (not in the
prescribed text).
APOSTROPHE
The apostrophe may be used to address a person in his/her absence, for example,
Home Language
In Prayer to Masks, the speaker addresses his ancestors
through the masks.
First Additional Language
That time of year thou mayst in me behold
From: Sonnet 73
ASSONANCE (VOWEL RHYME)
The repetition (mostly) of vowel sounds in two or more words that is often used in prose or poetry, for example,
Home Language
First Additional Language
And I shall have some peace there, for peace comes
dropping slow,
From: The Lake Isle of Innisfree
‘Black mask, red mask, you black and white masks,
From: Prayer to Masks
ASYNDETON
The omission of conjunctions between words or sentences to shorten the thought or to enhance a quick flow of ideas, for example,
Home Language
I came. I saw. I conquered.
By: Julius Caesar (not in the prescribed text)
First Additional Language
I came. I saw. I conquered.
By: Julius Caesar (not in the prescribed text)
ATMOSPHERE
The mood of the characters linked to a specific situation in which they act, for example,
Home Language
In the first stanza of Vultures, the atmosphere is lifeless,
gloomy and sinister. Similarly, in An African Thunderstorm
an atmosphere of dread is created.
First Additional Language
In Strange Case of Dr Jekyll and Mr Hyde, Victorian London
is described in dark colours, which creates a dark, ominous
atmosphere.
CHARACTERS
The persons represented in short stories, films, novels, dramas, etc. are characters. The main character is the main focus, while
secondary characters play supporting roles, for example,
Home Language
Dorian Gray is the main character in The Picture of Dorian
Gray and Othello is the main character in Othello.
First Additional Language
In Eveline, Eveline is the main character.
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CLIMAX
The most exciting, effective or important part of a poem, drama, novel or short story. This important part is not necessarily at the
end, for example,
Home Language
In Othello, the climax of the drama is when Othello murders
Desdemona.
First Additional Language
In The wind and a boy, the climax comes when Friedman is
given a bicycle.
CONFLICT (INTERNAL vs EXTERNAL CONFLICT)
Internal conflict arises from opposing desires or values in a character’s mind, for example,
Home Language
To be, or not to be, that is the question:
Whether ’tis nobler in the mind to suffer …
This is an example of the internal conflict that Hamlet
experiences as he wishes to kill Claudius, his father’s
murderer.
From: Hamlet
First Additional Language
In Cry, the Beloved Country Kumalo experiences internal
conflict after he returns home to the village. He is torn as
to whether he is still the best person to lead his church in
Ndotsheni. He thinks with all that has happened, maybe
someone else should take over.
External conflict is a struggle that arises between characters/groups of characters, for example,
Home Language
In The Crucible, the conflict between Abigail Williams and
Elizabeth Procter is an example of external conflict. It starts
when Elizabeth’s husband John has an affair with Abigail
and escalates to end in John’s death.
First Additional Language
In My Children! My Africa!, Thami feels constrained by the
education system under apartheid, causing him to clash
(external conflict) with his teacher, Mr. M, who has more
traditional views about life in South Africa.
CONTRAST
Contrast is a rhetorical device used to emphasise the differences between two people, places or things, for example,
Home Language
In her poem, Solitude, Wilcox uses contrast to divide the
world: those who have and those who do not, e.g.
Rejoice, and men will seek you;
Grieve, and they turn and go;
First Additional Language
In Cry, the Beloved Country, Alan Paton contrasts the
pastoral countryside (i.e. Ndotsheni) with
urban Johannesburg.
COUPLET
Two-line verses. If they rhyme, they are called rhyming couplets (some sonnets use rhyming end couplets), for example,
Home Language
And yet, by heaven, I think my love as rare
As any she belied with false compare.
From: Sonnet 130
First Additional Language
This thou perceiv’st, which makes thy love more strong,
To love that well which thou must leave ere long.
From: Sonnet 73
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DENOTATION and CONNOTATION
Denotation is the literal or primary meaning of a word (the dictionary definition of a word), and connotation is the positive or
negative associations a word collects that go beyond literal meaning, for example,
Home Language
In Solitude, the halls of pleasure have denotative meaning
as places where people have parties and connotative
meaning as the times when you experience joy
and happiness.
First Additional Language
In Class Act, the narrator is referred to as Sister Mary
Clarence (denotation) because of her long school
uniform (connotation).
DEVELOPMENT/INVOLUTION
The motorical moment (term as per CAPS), also known as rising action, develops and there are signs of approaching conflict, for example,
Home Language
In The Picture of Dorian Gray, Basil Hallward goes to Dorian
Gray’s house to ask him about the rumours he heard
about Dorian Gray. Dorian Gray invites Basil Hallward to
accompany him to his old school room to see his soul.
The ensuing development is Dorian’s murder of the only
real friend he has.
First Additional Language
In Class Act, the narrator eventually accepts that she is
Sister Mary Clarence in the eyes of her classmates. Even
when she changes her appearance, her classmates still
find fault with her.
ELLIPSIS/MARK OF OMISSION (…)
The omission of a word or series of words. It’s indicated by a series of three dots that shows a word(s) has been omitted to leave
a sentence/line/expression incomplete or indicate a pause. There is space between the final word and the ellipsis, for example,
Home Language
no, do not bring me flowers ...
From: Poem of Return
First Additional Language
but there’s always something hard to understand ...
From: Hard to find
ENJAMBMENT/RUN-ON LINES
Enjambment is when a line of verse runs over from one line into the next without interruption by a punctuation mark. Enjambment
has various functions, such as the acceleration of tempo, increased musicality, rhyme obfuscation, etc., for example,
Home Language
There are no full stops in Talk to the peach tree. The words
flow from one line to the next.
First Additional Language
I was the one made to
clench my palms round
its pumping chest,
From: What life is really like
EUPHEMISM
An inoffensive word or phrase substituted for one considered offensive or hurtful – when you soften what you want to say to
disguise the harsh reality, for example,
Home Language
In the poem Talk to the peach tree, the rubbish heap
refers to dead people who are piled up.
First Additional Language
In Sonnet 73, yellow leaves, twilight, black night,
and the dying fire are euphemisms for death.
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EXPOSITION
It is the explanation at the beginning of a novel, drama, short story or poem that introduces the reader to the world of the novel or
drama and on which the successive acts are based, for example,
Home Language
In Life of Pi, we are introduced to the everyday life of
Piscine Molitor Patel and his family. We are given insight to
his love for the zoo and the three different religions that
Pi practices.
First Additional Language
In The Girl Who Can, Adjoa has a problem as she is unable
to say what she thinks without being laughed at. There is
also the issue of her legs.
FIGURATIVE LANGUAGE
The use of non-literal language to refer to a literal matter. This includes simile, metaphor, personification and some idioms and
sayings and figures of speech, such as onomatopoeia, hyperbole, contrast, oxymoron, irony, metonymy, sarcasm, climax and
anti-climax, satire, euphemism, symbolism, paradox, synecdoche, litotes, antonomasia, elision, antithesis, humour, asyndeton,
polysyndeton, etc.
FREE VERSE
This kind of poem allows the poet more freedom because it has no fixed pattern. No established language rules on, for example,
punctuation and capital letters are applicable and non-traditional rhyme schemes and stanza structures are used, for example,
Home Language
First Additional Language
What life is really like and You Laughed and Laughed and
Laughed are examples of free verse.
Poem of Return is an example of free verse.
HYPERBOLE
Deliberate exaggeration used for effect, for example,
Home Language
In Life of Pi, Pi describes the sea as bottomless to
emphasise the depth of the water.
First Additional Language
In Macbeth, Lady Macbeth states that all the perfumes
of Arabia will not sweeten this little hand, which
emphasises her guilt and how heavy it weighs on her.
IMPLY/IMPLIED MEANING/INNUENDO
To not express something directly, but rather in an indirect way so that the reader/listener needs to derive the real meaning from
the indirect expression, for example,
Home Language
In The child who was shot dead by soldiers in Nyanga,
the child raises his fist against his mother
implies resistance.
First Additional Language
I do fear thy nature; it is too full o’ the milk of human kindness.
By saying this Lady Macbeth implies that Macbeth is a coward.
From: Macbeth
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INTRIGUE
The series of events/actions that creates a situation in a short story, novel, drama, film, etc. in which various (sometimes conflicting)
elements are combined to create tense and sometimes complex situations, for example,
Home Language
First Additional Language
Throughout Strange Case of Dr Jekyll and Mr Hyde,
Mr Utterson chases Mr Hyde as he tries to determine who
Hyde is and how he is connected to Dr Jekyll and the
murders. As the facts are also a mystery to the reader,
this creates intrigue.
In The Picture of Dorian Gray, Dorian Gray gives his butler
a letter to take to Alan Campbell. The reader is intrigued
to find out what is in the note because Alan Campbell and
Dorian Gray have not been friends for many years.
INVERSION
Inversion is a reversal of the ordinary word sequence. Sometimes inversion is used to emphasise a certain word, to create
rhythm, or for rhyming purposes when a specific word is moved to the end of a line, for example,
Home Language
Nothing I cared,
From: Fern Hill
First Additional Language
as the raindrops slowly slide down, gently
From: Hard to Find
IRONY (including DRAMATIC IRONY)
Irony is incongruity between what is expected to be and what actually is, for example,
Home Language
In Life of Pi the biggest irony is that having Richard Parker
(a tiger) in the boat is why Pi survived seven months at sea.
This is ironic, as we would expect the tiger to be the cause
of Pi’s death.
First Additional Language
These deeds must not be thought after these ways; so, it
will make us mad.
In Macbeth, Lady Macbeth tells her husband this, which is
ironic because although she tells him not to dwell on the
murder, she cannot stop feeling guilty and thinking about it.
Dramatic irony occurs when the audience/reader is aware of a fact of which the speaker is unaware. This gives the speaker’s
words a double meaning, for example,
Home Language
My lord, you know I love you
In Othello when Iago says this to Othello this is dramatic
irony because although Othello does not know the truth,
the audience knows that the opposite is true – that Iago
actually hates Othello.
First Additional Language
All hail, Macbeth. Hail to thee, Thane of Cawdor.
In Macbeth, the witches address Macbeth as Thane of
Cawdor – Macbeth believes this to be a prophecy, but the
audience knows that King Duncan has given orders that
Cawdor be placed under Macbeth’s control (as a reward for
winning the battle).
LITOTES/UNDERSTATEMENT
When something is expressed in less significant terms, for example,
Home Language
He hath not failed to pester us with message.
From: Hamlet
First Additional Language
And if you are not in that classroom tomorrow you will be a
very, very silly boy.
From: My Children! My Africa!
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MESSAGE
The conclusion or truth about life a reader comprehends at the end of a poem, novel, play, short story, magazine article, etc.,
for example,
Home Language
First Additional Language
In On the Grasshopper and the Cricket, the message is that
there is always life and beauty to be found, no matter what
season we experience.
The poem At a Funeral calls upon the reader to fight
against injustice.
METAPHOR
Using one thing to describe another thing which has similar qualities, for example,
Home Language
First Additional Language
... while she
Wound it into a ball, unwinding me,
From: Reciprocities
altar of white paper
From: Prayer to Masks
Life is a fight for survival
From: What life is really like
METONYMY
Replacement of one meaning reference with another, which actually means the same, for example,
Home Language
In The Garden of Love the green refers to the garden/park/
field where the speaker used to play as a child.
First Additional Language
I’ve always thought about the location as just a sort of
embarrassing backyard ...
From: My Children! My Africa!
MONOLOGUE
A monologue is a speech articulated aloud by a single character. It is used to express their thoughts and feelings and is directed
at another character(s), for example,
Home Language
And mark this – let either of you breathe a word, or the
edge of a word about the other things, and I will come back
to you in the black of some terrible night and I will bring a
pointy reckoning that will shudder you ...
From: The Crucible
First Additional Language
Oh Thami, I wish I could! I’ve tried everything, but nothing
helps. It just keeps going around and around ...
From: My Children! My Africa!
MOTORICAL MOMENT
The unavoidable event in the novel/drama that leads to conflict and tension.
Home Language
The meeting between Lord Henry and Dorian Gray in The
Picture of Dorian Gray is a motorical moment as it triggers
tension between Basil Hallward and Dorian Gray.
First Additional Language
In Rejection, the narrator’s conversation with the Imam and
Modou’s brother leads to the life-changing decision when
she decides to become independent.
Page 17
Remember: After the exposition, there is development that leads to conflict.
The development starts with a motorical moment during which events lead
to a situation of conflict. When characters collide, intrigue is created. This is
a simple explanation of a structure that varies from novel to novel/drama to
drama/short story to short story, etc.
NARRATOR PERSPECTIVE
A poem or novel can be communicated by using various narrator perspectives, for example the omnipresent narrator, first
person and third person narrator. Note the difference between an omnipresent and a third person narrator.
Ask your teacher to explain the difference between the various
narrator perspectives, especially the difference between the
omnipresent and third person narrator.
ONOMATOPOEIA
The use of words to recreate the sounds they describe (i.e. the sound of a particular word matches the meaning of the word),
for example,
Home Language
... frothing the burgled dirging slopes
From: At a Funeral
First Additional Language
It rounds and rounds Despair to drowning.
From: Inversnaid
OXYMORON
A combination of words with contradictory meanings used deliberately for effect. An adjective is quite often added to a noun
with an opposite meaning, for example,
Home Language
In Hamlet, Claudius describes his sadness and his joy as
one emotion when he says that he cries from one eye and
expresses his joy with the other.
First Additional Language
joyful trouble
From: Macbeth
PARADOX
Seemingly absurd or self-contradictory statement that actually (can) makes sense, for example,
Home Language
Poor and content is rich, and rich enough
By saying this Iago tries to comfort Othello by telling him
that he is good enough, but is twisting his words and is
saying Othello is nothing.
From: Othello
First Additional Language
well-aimed stray bullets
From: My Children! My Africa!
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PERSONIFICATION
Attributing human characteristics to non-human things, for example,
Home Language
First Additional Language
The train gathered way, to creep along the ridges of
the hills, ...
From: Cry, the Beloved Country
And stubbled graves: expectant, of eternity,
From: At a Funeral
POLYSYNDETON
The use of several conjunctions in close succession, for example,
Home Language
And playing, lovely and watery
And fire green as grass.
And nightly under the simple stars
From: Fern Hill
First Additional Language
and you laughed and laughed and laughed
From: You Laughed and Laughed and Laughed
POST-POSITIONING
To shift a word/words from their normal position to the end of a line or sentence to achieve a specific effect, for example,
Home Language
And honoured among wagons I was prince of the apple
towns
From: Fern Hill
First Additional Language
O let them be left, wildness and wet;
From: Inversnaid
PROGRESSION
In a poem, novel, drama or short story, there is some kind of development that leads to a climax or conclusion, this is called
progression, for example,
Home Language
In Othello, Othello is a well-respected general at the
beginning of the play. He conducts himself with heroic
composure, but he is brought down by jealousy and close
to insanity by believing Iago’s lies. This emphasises his
progression from military hero to tragic hero.
First Additional Language
In Class Act, the narrator is unsure of herself/feels insecure
and even asks her sister to shorten her uniform. This act,
however, leads to another problem and ultimately leaves
the narrator in a state where she simply decides that she
cannot win and must accept her life at school.
PUN
When a narrator or writer “plays” with the different meanings that a word can have to convey more than one meaning
simultaneously, for example,
Home Language
his Moorship (his worship)
From: Othello
First Additional Language
“If he be Mr Hyde,” he had thought, “I shall be Mr Seek.”
From: Strange Case of Dr Jekyll and Mr Hyde
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REFRAIN
A refrain is a verse (line) or stanza that is repeated, for example,
Home Language
The child is not dead
From: The child who was shot dead by soldiers in Nyanga
First Additional Language
and you laughed and laughed and laughed
From: You Laughed and Laughed and Laughed
REPETITION
Words, word combinations, verse lines and even stanzas that are repeated to achieve a particular effect, such as reinforcing a
thought or image, for example,
Home Language
The child
From: The child who was shot dead by soldiers in Nyanga
First Additional Language
She kept the line between us taut
She kept my heart at ease with her talk.
From: Reciprocities
RHETORICAL QUESTION
It is a question that expects no answer; the feeling or opinion of the speaker or narrator is expressed in the form of a question,
for example,
Home Language
For who else would teach rhythm to the world that has
died of machines and cannons?
From: Prayer to Masks
First Additional Language
What would the world be, once bereft
Of wet and of wildness?
From: Inversnaid
RHETORICAL TOOLS
A way to state an argument or description more convincingly by, for example, repeating words, inserting pauses to have a
specific effect, or emphasising words.
RHYME
Words or lines of poetry that end with the same sound – vowels or diphthongs.
Full rhyme: When the final sounds of words (including vowels and diphthongs) at the end of a line sound the same, for example,
Home Language
Glee! The great storm is over!
Four have recovered the land;
Forty gone down together
Into the boiling sand
From: The Shipwreck
First Additional Language
The Poetry of earth is never dead:
When all the birds are faint with the hot sun,
and hide in cooling trees, a voice will run
From hedge to hedge about the new-mown mead;
From: On the Grasshopper and Cricket
Page 20
The pattern according to which rhyming words at the end of lines are arranged is called the rhyme scheme, for example,
Coupled rhyme: (aa bb cc dd)
... coming soon
... rising moon
... of my daughter
... animal slaughter
... worse than that
... and also fat
... in the cold
... already sold
a
a
b
b
c
c
d
d
Alternate rhyme (abab)
... in my car
... this poor fellow
... way too far
... blue and yellow
a
b
a
b
... rest my case
... on the board
... can afford
... a surgeon’s face
a
b
b
a
... in my story
... for evermore
... sound of silence
... at my door
a
b
c
b
Enclosed rhyme (abba)
Broken rhyme (abcb)
In blank verse there are no sounds at the end of the lines that rhyme in any structured pattern, for example,
Home Language
It is not nor it cannot come to good,
But break, my heart, for I must hold my tongue.
From: Hamlet
First Additional Language
Reciprocities is an example of blank verse.
Half rhyme (also called assonance or vowel rhyme) is when the vowels in words are repeated to create a certain
effect, for example,
Home Language
Trail with daisies and barley
From: Fern Hill
First Additional Language
He rests at ease beneath some pleasant weed.
From: On the Grasshopper and Cricket
CAPS does not prescribe the sonnet, but ask your teacher to tell
you more about the Italian and English sonnets. They have interesting
content, stanza and rhyme patterns.
Page 21
RHYTHM
The word rhythm comes from the Greek word meaning stream. Music and song are usually rhythmic, and in nature there are
many examples of rhythmic repetition, such as day and night. In language, rhythm indicates a regular and repeated pattern
formed through intonation, stress or tempo, for example,
Home Language
It is a beauteous evening, calm and free
From: It is a Beauteous Evening, Calm and Free
First Additional Language
The Poetry of earth is never dead
From: On the Grasshopper and the Cricket
SARCASM
Convey scorn or insult by mockingly saying the opposite of what is meant, for example,
Home Language
Elizabeth, with sarcasm, and a sense of being lost:
Oh, indeed, indeed!
From: The Crucible
First Additional Language
Oh I see. You have got other teachers, have you?
From: My Children! My Africa!
SATIRE
The use of ridicule to comment critically on society or an individual or a situation, for example,
Home Language
The Picture of Dorian Gray is a satire of Victorian society,
which ridicules the attention to social status that often
precludes love.
First Additional Language
In You Laughed and Laughed and Laughed, the speaker
satirises the coloniser who considers himself superior
when he (the coloniser) is the one who fails to understand
the speaker’s culture.
SIMILE
Comparing one thing directly to another by using a word such as “like” or ”as”, for example,
Home Language
My mistress’ eyes are nothing like the sun;
From: Sonnet 130
First Additional Language
beside her dark as honey feet,
From: The night-jar and Inkosazana Yasezulwini
SOLILOQUY
In a soliloquy a character addresses the audience to express his/her feelings, thoughts or plans. The character is either alone onstage
or the other characters onstage do not hear their words, do not respond, and are not aware of what is taking place, for example,
Home Language
Thus do I ever make my fool my purse;
For I mine own gain’d knowledge should profane ...
From: Othello
First Additional Language
If it were done when ‘tis done, then ‘twere well
It were done quickly. If the assassination ...
From: Macbeth
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SPEAKER
This is the person who speaks in a poem, for example,
Home Language
The word My introduces us to first person narration. This
shows the poet is the speaker in Sonnet 130.
First Additional Language
In Hard to Find, the speaker is the poet.
The pronoun my indicates this.
STAGE DIRECTIONS
An instruction in the text of a play indicating the extra information (movement, position, or tone of an actor, or the sound effects
and lighting) so that readers, the audience and even the actors can better understand the dialogue, intrigue and stage layout.
Home Language
In Othello when Lodovico says, “The duke and senators of
Venice greet you” the stage directions read: Gives him a
letter, which tells the reader and actors what he does.
First Additional Language
In My Children! My Africa! there are stage directions
to describe Thami: He is secure and at ease ... His
“concluding statement” is outrageous and he knows it
and enjoys it.
The examination usually includes a three- or four-mark question
in the contextual set on dramas.
STANZA/VERSE STRUCTURE
A couplet consists of two lines, a tercet has three lines, a quatrain has four lines, a sestet has six lines, and an octave has
eight lines.
Ask your teacher to tell you more about rhyming couplets
(and rhyming end couplets).
STYLE
The distinctive and unique manner in which a writer (for example) arranges words to achieve particular effects. It includes the
type of words used (for example, are many adverbs and adjectives used); sentence structure and the length of sentences;
the use of rhetorical tools; the use of punctuation; the writing of elaborate scene descriptions; or direct description of
characters. There are many ways in which style can be expressed, for example,
Home Language
The poet uses strong, emotive words (such as scream,
raises his fist, heart under siege) to convey the distress
of the child in The child who was shot dead by soldiers
in Nyanga.
First Additional Language
In A Bag of Sweets, the style is simple. There is not much
repetition and imagery. The scene is described in
simple language.
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SUB-TITLE
The secondary title of a poem, which provides additional information regarding the nature of the poem, for example,
Home Language
(for Valencia Majombozi, who died shortly after qualifying
as a doctor)
The dedication suggests that the poem is a tribute to the
deceased.
From: At a Funeral
First Additional Language
What You Will
From: Twelfth Night (not prescribed)
SYMBOL
A symbol stands for or represents something else. It can be a word/object/sign that represents something else, usually an
abstract idea, for example,
Home Language
First Additional Language
In A Bag of Sweets, the bag of sweets is used a symbol.
It is assumed that it is a bag of cheap sweets to deter
Khadija from returning to the family shop as she has
shamed them by marrying a Christian.
In The child who was shot dead by soldiers in Nyanga, the
child with a bullet in their head symbolises the brutality of
the police.
SYNAESTHESIA
Sound is attached to colour (or something that does not/cannot usually make a sound) or colour is attached to sound, for
example,
Home Language
First Additional Language
And Pity, like a naked new-born babe ... shall blow the
horrid deed in every eye.
From: Macbeth
He repeated his words. They cut the air like a dagger.
From: The Picture of Dorian Gray
SYNECDOCHE
A figure of speech in which a part is substituted for a whole, for example,
Home Language
We shook up the old man demanding a festival
The old man is a synecdochical expression for the older
generation who suffered under oppressive regimes and had
little hope of attaining their freedom.
From: First Day after the War
First Additional Language
Take thy face hence.
Thy face is synecdochical for a person. (Macbeth is simply
telling the servant to leave, but his use of synecdoche
makes the tone of his command harsh and insulting,
showing the audience how angry he really is.)
From: Macbeth
THEME
The central idea or ideas in a text, for example,
Home Language
First Additional Language
One of the themes in At a Funeral is aborted hopes.
One of the themes in Reciprocities is nostalgia.
Page 24
TONE
Choice of words, intonation, atmosphere, change in emotional climate – these can all form part of a poem, novel, drama or short
story. The tone can, for example, be aggressive, sympathetic, sad, harmonic, happy, exciting, melancholic, etc., for example,
Home Language
Tones of sadness, regret and loss are evident in
Poem of Return.
First Additional Language
In Hard to Find, the tone in the first three stanzas seems
angry and frustrated.
TYPOGRAPHY
Open spaces in a poem. It includes the way a poet, for example, use a single word in a line for a particular reason, or more
open lines between certain stanzas to achieve a specific effect, etc. Typography refers to the appearance of a poem on a page,
for example,
Home Language
who screams Africa
screams the smell
From: The child who was shot dead by soldiers in Nyanga
First Additional Language
Words are everywhere
daily
we read them, and they fly out
like nobody’s business when we are provoked ...
but there’s always something hard to understand ...
From: Hard to Find
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
Page 25
5. Example questions and model answers
This section contains questions and answers on poems, a novel and a drama (and short stories) similar to the type of
questions that you can expect in the examinations. These questions don’t cover all possibilities but rather aim to help you
understand the framework of the paper and practise time planning.
5.1 Home Language: Example questions
5.1.1 Section A: Poetry
Answer questions on any TWO prescribed poems AND on the unseen poem. (Some examples have been adapted from past
examination papers.)
Question 1: Essay question
Read the poem below and answer the question that follows.
The child who was shot dead by soldiers in Nyanga – Ingrid Jonker
1
2
3
4
5
The child is not dead
the child raises his fists against his mother
who screams Africa screams the smell
of freedom and heather
in the locations of the heart under siege
16 The child is the shadow of the soldiers
17 on guard with guns saracens and batons
18 the child is present at all meetings and legislations
19 the child peeps through the windows of houses
and into the hearts of mothers
20 the child who just wanted to play in the sun at
Nyanga is everywhere
21 the child who became a man treks through all
of Africa
22 the child who became a giant travels through the
whole world
6 The child raises his fists against his father
7 in the march of the generations
8 who scream Africa scream the smell
9 of justice and blood
10 in the streets of his armed pride
23 Without a pass
11 The child is not dead
12 neither at Langa nor at Nyanga
13 nor at Orlando nor at Sharpeville
14 nor at the police station in Philippi
15 where he lies with a bullet in his head
The poem illustrates the pain, loss and wasted potential in the quest for freedom. Critically discuss this statement with particular
reference to the imagery, diction and tone used in this poem. Your response should take the form of a well-constructed essay of
250-300 words (about a page).
[10]
OR
Page 26
Question 2: Contextual question
Read the poem below and answer the questions that follow.
Sonnet 130 – William Shakespeare
1
2
3
4
5
6
7
2.1
2.2
2.3
2.4
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
8 Than in the breath that from my mistress reeks.
9 I love to hear her speak, yet well I know
10 That music hath a far more pleasing sound;
11 I grant I never saw a goddess go;
12 My mistress when she walks, treads on the ground.
13
And yet, by heaven, I think my love as rare
14
As any she belied with false compare.
Refer to line 1: “My mistress’ eyes are nothing like the sun”.
What impression of the mistress is created in this line?
(2)
Refer to line 4: “If hairs be wires, black wires grow on her head”.
Explain what this line conveys about the mistress’ hair.
(2)
Refer to lines 5-10: “I have seen roses … far more pleasing sound”.
Comment on how the sensory images in these lines convey the central message of the poem.
(3)
Refer to lines 13-14: “And yet by … with false compare”.
Comment on the change of tone in these lines.
(3)
[10]
OR
Question 3: Contextual question
Read the poem below and then answer the questions that follow.
At a Funeral – Dennis Brutus
(for Valencia Majombozi, who died shortly after qualifying as a doctor)
1
2
3
4
5
6
3.1
3.2
3.3
Black, green and gold at sunset: pageantry
And stubbled graves Expectant, of eternity,
In bride’s-white, nun’s-white veils the nurses gush
their bounty
Of red-wine cloaks, frothing the bugled dirging slopes
Salute! Then ponder all this hollow panoply
For one whose gifts the mud devours, with our hopes.
7 Oh all you frustrate ones, powers tombed in dirt,
8 Aborted not by Death but carrion books of birth
9 Arise! The brassy shout of Freedom stirs our earth:
10 Not Death but death’s-head tyranny scythes
our ground
11 And plots our narrow cells of pain defeat and dearth:
12 Better that we should die, than that we should lie down.
Refer to the dedication below the title of the poem: “(for Valencia Majombozi, … as a doctor)”.
Describe the atmosphere that is conveyed in this dedication.
(2)
Refer to line 2: “And stubbled graves Expectant, of eternity,”
How do these words contribute to your understanding of the speaker’s feelings?
(2)
Discuss how the words “Salute!” (line 4) and “Arise!” (line 9) convey the speaker’s tone.
(3)
Page 27
3.4
Refer to line 12: “Better that we … should lie down.”
Comment on how the line captures the central idea of the poem.
(3)
[10]
OR
Question 4: Contextual question
Read the poem below and then answer the questions that follow.
Solitude – Ella Wheeler Wilcox
1
2
3
4
5
6
7
8
Laugh, and the world laughs with you;
Weep, and you weep alone;
For the sad old earth must borrow its mirth,
But has trouble enough of its own.
Sing, and the hills will answer;
Sigh, it is lost on the air;
The echoes bound to a joyful sound,
But shrink from voicing care.
17 Feast, and your halls are crowded;
18 Fast, and the world goes by.
19 Succeed and give, and it helps you live,
20 But no man can help you die.
21 There is room in the halls of pleasure
22 For a large and lordly train,
23 But one by one we must all file on
24 Through the narrow aisles of pain.
9 Rejoice, and men will seek you;
10 Grieve, and they turn and go;
11 They want full measure of all your pleasure,
12 But they do not need your woe.
13 Be glad, and your friends are many;
14 Be sad, and you lose them all, –
15 There are none to decline your nectared wine,
16 But alone you must drink life’s gall.
4.1
What image is created by the title “Solitude”?
(2)
4.2
Refer to lines 9-16: “Rejoice and men … drink life’s gall”.
Discuss the paradoxical images contained in these lines.
(2)
Refer to lines 17-22: “Feast, and your … and lordly train”.
Explain how these lines convey the mood of the speaker.
(3)
Refer to lines 23-24: “But one by one … aisles of pain”.
Critically comment on the suggestion made in these lines.
(3)
4.3
4.4
[10]
AND
Page 28
Unseen poem (compulsory)
Question 5: Contextual question
Read the poem below and answer the questions.
Seed – Paula Meehan
1
2
3
4
5
6
7
8
5.1
5.2
5.3
9 I am suddenly grateful and would
10 offer a prayer if I believed in God.
11 But not believing, I bless the power of seed,
12 its casual, useful persistence,
13 and bless the power of sun,
14 its conspiracy with the underground,
15 and thank my stars the winter’s ended.
The first warm day of spring
and I step out into the garden from the gloom
of a house where hope had died
to tally the storm damage, to seek what may
have survived. And finding some forgotten
lupins1 I’d sown from seed last autumn
holding in their fingers a raindrop each
like a peace offering, or a promise,
Glossary: 1lupins – flowering plants
Refer to lines 2-4: “and I step out … seek what may”.
Explain what these lines convey about the speaker’s state of mind.
(2)
Refer to lines 13-14: “and bless the … with the underground”.
Suggest why the speaker uses the word “conspiracy” to describe the relationship between the sun and the soil.
(2)
Refer to lines 5-8: “And finding some … or a promise”.
Discuss the effectiveness of the imagery in these lines.
(3)
5.4
The speaker identifies with the seed (line 11).
With close reference to the poem, critically discuss the validity of this statement.
Page 29
(3)
[10]
TOTAL SECTION A: 30
5.1.2 Section B: Novel
In this section, answer only ONE question on the novel you studied at your school. Answer EITHER the essay question OR the
contextual question. If you do the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
The Picture of Dorian Gray – Oscar Wilde
Question 6: Essay question
The Picture of Dorian Gray illustrates the dangers of a society without moral boundaries. Critically discuss the extent to which
you agree with the above statement. Your response should take the form of a well-constructed essay of 400-450 words
(2-2½ pages).
[25]
OR
Question 7: Contextual question
Read the extracts below and answer the questions that follow.
“Sibyl is the only thing I care about. What is it to me where she came from? From her little
head to her little feet, she is absolutely and entirely divine. Every night of my life I go to see
her act, and every night she is more marvellous.”
“That is the reason, I suppose, that you never dine with me now. I thought you must have
some curious romance on hand. You have; but it is not quite what I expected.”
5
“My dear Harry, we either lunch or sup together every day, and I have been to the Opera with
you several times,” said Dorian, opening his blue eyes in wonder.
“You always come dreadfully late.”
“Well, I can’t help going to see Sibyl play,” he cried, “even if it is only for a single act. I get
hungry for her presence; and when I think of the wonderful soul that is hidden away in that
little ivory body, I am filled with awe.”
10
“You can dine with me to-night, Dorian, can’t you?”
He shook his head. “To-night she is Imogen,” he answered, “and to-morrow night she will be
Juliet.”
“When is she Sibyl Vane?”
15
“Never.”
“I congratulate you.”
“How horrid you are! She is all the great heroines of the world in one. She is more than an
individual. You laugh, but I tell you she has genius. I love her, and I must make her love me.
You, who know all the secrets of life, tell me how to charm Sibyl Vane to love me!”
7.1
20
Refer to line 1: “What is it to me where she came from?”
Describe Sibyl’s background.
(2)
Refer to line 4: “That is the reason, I suppose, that you never dine with me now.”
How is Lord Henry’s reaction to Dorian’s announcement typical of him?
(2)
Refer to lines 6-7: “My dear Harry, … you several times”.
Explain what Dorian’s statement implies about the lifestyle of the aristocratic Victorian society of the time.
(2)
Refer to line 10: “… when I think of the wonderful soul”.
Explain the irony of Dorian’s use of the word “soul” in the context of the novel.
(3)
7.5
Critically comment on Dorian’s “love” for Sibyl.
(3)
7.6
Refer to line 17: “I congratulate you.”
Comment on Lord Henry’s attitude towards women by drawing on both this extract and the novel as a whole.
(3)
7.2
7.3
7.4
Page 30
AND
“My dear Gladys!” cried Lord Henry.
“We can have in life but one great experience at best, and the secret of life is to reproduce
that experience as often as possible.”
“Even when one has been wounded by it, Harry?” asked the Duchess, after a pause.
“Especially when one has been wounded by it,” answered Lord Henry.
The Duchess turned and looked at Dorian Gray with a curious expression in her eyes. “What
do you say to that, Mr Gray?” she inquired.
5
Dorian hesitated for a moment. Then he threw his head back and laughed.
“I always agree with Harry, Duchess.”
10
“Even when he is wrong?”
“Harry is never wrong. Duchess.”
“And does his philosophy make you happy?”
“I have never searched for happiness. Who wants happiness? I have searched for pleasure.”
“And found it, Mr Gray?”
‘Often. Too often.’
15
The Duchess sighed. “I am searching for peace,” she said, “and if I don’t go and dress, I
shall have none this evening.”
‘Let me get you some orchids, Duchess,’ cried Dorian, starting to his feet, and walking down
the conservatory.
He went to his room and dressed. There was a wild recklessness of gaiety in his manner as
he sat at table, but now and then a thrill of terror ran through him when he remembered
that, pressed against the window of the conservatory, like a white handkerchief, he had
seen the face of James Vane watching him.
7.7
7.8
7.9
20
Refer to lines 22-23: “… he had seen the face of James Vane watching him.”
Account for the presence of James Vane at Dorian’s window.
(3)
Refer to lines 13-15: “I have never … Often. Too often.”
Critically discuss how Dorian’s tone reflects his attitude towards life at this point in the novel.
(3)
Using this extract as a starting point and your knowledge of the novel as a whole, discuss the extent to which
Lord Henry is responsible for Dorian’s fate.
(4)
[25]
TOTAL SECTION B: 25
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
Page 31
5.1.3 Section C: Drama
In this section, answer only ONE question on the drama you studied at your school. Answer EITHER the essay question OR the
contextual question. If you do the essay question in Section B, you have to do the contextual question in Section C, and vice versa.
Othello – William Shakespeare
Question 8: Essay question
Jealousy is a very important theme in Othello. Emilia says the following to Desdemona:
“They are not ever jealous for the cause,
But are jealous for they are jealous. ‘Tis a monster
Begot upon itself, born on itself.”
Discuss the theme of jealousy and say whether you think the above statement is applicable to Othello. Your response
should take the form of a well-constructed essay of 400-450 words (2-2½ pages).
OR
Question 9: Contextual question
Read the extracts below and answer the questions that follow.
IAGO
‘Faith, he to-night hath boarded a land carack:
If it prove lawful prize, he’s made for ever.
50
CASSIO
I do not understand.
IAGO
He’s married.
CASSIO
To who?
Re-enter OTHELLO
55
IAGO
Marry, to – Come, captain, will you go?
OTHELLO
Have with you.
CASSIO
Here comes another troop to seek for you.
IAGO
It is Brabantio. General, be advised; He comes to bad intent.
Enter BRABANTIO, RODERIGO, and Officers with torches and weapons
OTHELLO
Holla! stand there!
RODERIGO
Signior, it is the Moor.
BRABANTIO
Down with him, thief!
They draw on both sides
IAGO
Page 32
60
[25]
You, Roderigo! Come, sir, I am for you.
OTHELLO
Keep up your bright swords, for the dew will rust ‘em.
Good signor, you shall more command with years
Than with your weapons.
BRABANTIO
O thou foul thief, where hast thou stow’d my daughter?
Damn’d as thou art, thou hast enchanted her;
For I’ll refer me to all things of sense,
(If she in chains of magic were not bound),
Whether a maid so tender, fair and happy,
So opposite to marriage that she shunned
The wealthy curled darlings of our nation,
Would ever have, to incur a general mock,
Run from her guardage to the sooty bosom
Of such a thing as thou, to fear, not to delight.
Judge me the world, if ‘tis not gross in sense
That thou hast practised on her with foul charms,
Abused her delicate youth with drugs or minerals
That weaken motion: I’ll have’t disputed on;
‘Tis probable and palpable to thinking.
I therefore apprehend and do attach thee
For an abuser of the world, a practiser
Of arts inhibited and out of warrant.
9.1
9.2
9.3
9.4
9.5
65
70
75
80
85
Refer to line 65: “You, Roderigo! Come, sir, I am for you.”
Discuss both the dramatic and verbal irony in this line.
(3)
Refer to line 67: “Keep up your bright swords, for the dew will rust ‘em”.
Discuss how Othello’s response demonstrates his character.
(3)
Refer to lines 69-86: “O foul thief … out of warrant.”
Discuss what Brabantio thinks Othello has done to Desdemona. Provide evidence from the text.
(3)
Refer to line 77: “Run from her guardage to the sooty bosom”.
Explain the significance of the word “sooty” in relation to Venice at the time.
(2)
Refer to lines 67-69: “Keep up your bright swords, … stow’d my daughter?”
If you were a director of a production of Othello, how would you instruct the actors to deliver these lines?
Justify your instructions with reference to both tone and body language.
(4)
AND
Page 33
OTHELLO
It gives me wonder great as my content
To see you here before me. O my soul’s joy!
If after every tempest come such calms,
May the winds blow till they have waken’d death!
And let the labouring bark climb hills of seas
Olympus-high and duck again as low
As hell’s from heaven! If it were now to die,
‘Twere now to be most happy; for, I fear,
My soul hath her content so absolute
That not another comfort like to this
Succeeds in unknown fate.
175
180
185
DESDEMONA
The heavens forbid
But that our loves and comforts should increase,
Even as our days do grow!
OTHELLO
Amen to that, sweet powers!
I cannot speak enough of this content;
It stops me here; it is too much of joy:
And this, and this, the greatest discords be [Kissing her]
That e’er our hearts shall make!
190
IAGO
[Aside] O, you are well tuned now!
But I’ll set down the pegs that make this music,
As honest as I am.
195
OTHELLO
Come, let us to the castle.
News, friends; our wars are done, the Turks are drown’d.
How does my old acquaintance of this isle?
Honey, you shall be well desired in Cyprus;
I have found great love amongst them. O my sweet,
I prattle out of fashion, and I dote
In mine own comforts. I prithee, good Iago,
Go to the bay and disembark my coffers:
Bring thou the master to the citadel;
He is a good one, and his worthiness
Does challenge much respect. Come, Desdemona,
Once more, well met at Cyprus.
200
205
[Exeunt OTHELLO, DESDEMONA, and Attendants]
9.6
Refer to lines 175-185: “It gives me wonder … in unknown fate.”
Account for Othello’s feelings at this point in the play
9.7 Refer to lines 194-196: “O, you are well tuned … honest as I am.”
9.7.1 Comment on the effectiveness of this figure of speech.
9.7.2 Explain why Iago’s statement is being said as an aside?
9.7.3 With reference to these lines, comment on Iago’s character.
(3)
(3)
(2)
(2)
[25]
TOTAL SECTION C: 25
Page 34
5.2 Home Language: Model answers
5.2.1 Section A: Poetry
Question 1: Essay question
In The child who was shot dead by soldiers in Nyanga by Ingrid Jonker, the child becomes a symbol of resistance and hope.
The title evokes sympathy, and the fact that an innocent child is killed makes it even more poignant as it also emphasises the
brutality of the soldiers. The diction, imagery and tone used by the poet create feelings of outrage, loss, defiance and rebellion.
The poet uses words such as “screams” and “scream” to draw attention to the anger which is felt at the time. Phrases such
as “the smell of freedom”, and “the smell of justice and blood” further highlight the anger and determination of the people to
end the oppression to which black people were subjected (“the heart under siege”). The child raising his “fists against his”
mother and father is indicative of the child’s (the youth’s) rebellion and refusal to remain passive in the face of an unjust and
brutal system.
The repetition of “The child is not dead” creates the sense of freedom – which cannot be killed by bullets – that the child
represents. He might be physically dead, but in the hearts of his people he is still alive. The mention of the different black
townships (Langa, Nyanga, Orlando and Sharpeville) shows how protests had spread to the rest of the country and in particular
the allusion to the Sharpeville massacre where many innocent lives were lost.
The reference to “guns saracens and batons” highlights the uncaring attitude of the soldiers who are fully armed and will not
hesitate to use violence to suppress black people.
The penultimate stanza shows that the child is everywhere: at meetings, peeping through windows, and “just wanted to play
in the sun” – a reference to his innocence, unrestricted freedom and simply just wanting to enjoy his childhood. The child’s
progression to “a man” and then “a giant” who “travels through the whole world” proves that what happened to him will have
a global effect.
The three-word ending of the poem impacts powerfully with its direct simplicity: the dead do not require a pass (the apartheid
identity document) – the main reason for the violent protests at the townships mentioned earlier.
The tone of the poem is inspirational and passionate despite the sadness of the child’s death. (378 words)
[10]
Essays are marked according to a rubric. Ask your teacher to show
you the rubric and discuss its requirements.
OR
Question 2: Contextual question
Sonnet 130 – William Shakespeare
2.1
The sun creates the image of something shiny and bright. However, the eyes of the speaker’s mistress are the opposite.
The phrase “nothing like” emphasises that there is nothing special about her eyes/her eyes are plain and ordinary. √√ (2)
2.2
In this metaphor, the speaker compares his mistress’ hair to black wire. (Hair was often compared to something smooth,
soft and silky/golden thread). Her hair is frizzy/spiky and hard. The alliteration of the w-sound emphasises the mistress’
imperfection. √√
(2)
2.3
The speaker has seen beautiful pink, red and white roses but his mistress’ cheeks do not show these hues. Her cheeks
are pale. In lines 7-8, the speaker states that some perfumes smell better than her breath, and in lines 9-10, he admits
that the sound of music is better than her voice. All these images emphasise that she is not perfect/an average human
being. √√√
(3)
Page 35
2.4
In the first 12 lines of the sonnet, the speaker’s tone is critical/harsh/sarcastic when he clearly states all the negative
comparisons to compare his mistress. The tone, however, changes in lines 13-14 to sincerity/earnestness when he
reveals that his beloved does not need exaggerated comparisons to describe her beauty. He loves her just the way she
is. √√√
(3)
(Discuss tone to earn the full 3 marks.)
[10]
OR
Question 3: Contextual question
At a Funeral – Dennis Brutus
3.1
A mood of melancholy and loss is prevalent as one comes to realise that the young woman’s years of sacrifice meant nothing
in the end. There is a sense of unfulfilled hopes and dreams that have been destroyed by her untimely death. √√
(2)
3.2
The “stubbled graves” is a reference to their unkempt condition. The personification in “Expectant, of eternity” portrays
the graves as waiting for more bodies that will remain there forever. The realisation that death is inevitable is further
emphasised by this phrase. √√
(2)
3.3
These exclamatory words suggest the speaker’s call for action. The commanding tone urges the reader to not only
honour the dead but to look further than the “pageantry” of line 1: to think about the implications of this funeral and
the harsh reality of death. The defiant tone in “Arise!” is another instruction to stand up/rebel against the apartheid
government. The speaker’s calls for active resistance by the oppressed is emphasised. √√√
(3)
3.4
The speaker regards the “panoply” (line 5) of the ceremony as “hollow”. He uses this funeral as an opportunity to renew
his commitment to the liberation struggle. The capitalised “Freedom” is a shout to awaken the dead. The speaker urges
his fellow countrymen to not “lie down”, that is, they should not surrender or be submissive to the oppressive powers.
There should be no end to resistance and the “we” signifies that the speaker does not exclude himself from the struggle
against apartheid. √√√
(3)
(Earn 3 marks for a well-discussed interpretation.)
[10]
OR
Question 4: Contextual question
Solitude – Ella Wheeler Wilcox
4.1
The word “solitude” refers to the state of being alone/removed from people but it could also imply loneliness and isolation by choice. In this poem, however, the poet explores the relationship between the individual and the external world.
A happy individual will attract friends, while someone who is sad will breed solitude. Pain and death is everyone’s forte
but you will have to face it alone. √√
(2)
4.2
In line 9, the speaker contrasts “rejoice” with “grieve” (line 10). The “pleasure” of line 11 is contrasted with “woe”
(line 12). The speaker maintains that if you are happy (“rejoice”) people would want to be in your company – they “will
seek you”. They want to share in your happiness (pleasure). However, should you be in a state of despair/unhappiness
(“woe”), people opt to leave you to your own devices (“turn and go”). √√
(2)
Page 36
4.3
“Feast” in line 17 brings to mind a celebration, where food and drink are in abundance. The celebratory mood is emphasised by the huge number of people who join in the celebration (“halls are crowded”). The speaker argues that if you are
not a participant in the joys of life, people will shun you. The mood of the speaker changes to one of depression when
the issue of fasting arises. Fasting is a private affair so people are unaware or will even ignore you when you indulge in
this practice. On another level, “fasting” could also refer to abstinence from pleasures. √√√
(3)
4.4
The metaphor in which the poet describes pain as a “narrow” aisle implies that everyone will suffer pain but others
cannot experience it with them (the sufferer). One can empathise with them but they have to bear it on their own (“file
on”, which means to walk one behind the other). The “narrow aisles” refer to a confined space, where only one person
can move at any given time. This reinforces the idea that when we suffer we do so alone. √√√
(3)
[10]
AND
Question 5: Contextual question
Seed – Paula Meehan
5.1
The word “gloom” implies that the speaker is despondent/depressed/sad. The reference to a “house where hope has
died” suggests that she has experienced loss/suffering and as a result, feels dejected and despairing. Her view of the
house reflects her sense of misery. √√
(2)
(You might suggest that the speaker’s state of mind is optimistic/hopeful by referring to her stepping out into the garden
from the “gloom”. Earn 2 marks for any one idea well discussed OR any two relevant and distinct points.)
5.2
The word, “conspiracy” suggests plotting/scheming/colluding/working together in secrecy. It conveys the idea that the
sun and the soil are working to bring about new life/nourish and germinate the seeds. √√
(2)
(Earn 2 marks for any two relevant and distinct points.)
5.3
Personification: The petals of the flowers are compared to “fingers”. They are holding precious raindrops, which will help
to nurture life. The imagery conveys gentleness/ fragility/tenderness after the harshness of the storm. √√√
OR
Simile: The raindrops are like a ‘peace offering’/gift because they bring the promise of new life. There is a sense of
optimism/hope because there is harmony/balance between the seasons. √√√
(3)
(You will be credited for valid alternative/mixed responses and awarded 3 marks for any ONE image well discussed OR
a brief description of both images.)
5.4
VALID
Like the seed, the speaker has survived adversity/hard times. The seed is effortlessly/casually able to survive the
harshness of winter. It has lain dormant and with the coming of spring the seed rejuvenates. Like the seed, the speaker
is tenacious; she has persevered and feels that there is hope in a new beginning. √√√
(3)
(You might argue that the speaker, lacking faith in God, places her faith in nature’s ability to survive and renew itself. Nature
fills her with optimism. A cogent “Invalid” response is unlikely. However, all responses are assessed on their merits.)
(Earn 3 marks for any two ideas well discussed OR any three distinct ideas.)
[10]
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
Page 37
5.2.2 Section B: Novel
The Picture of Dorian Gray – Oscar Wilde
Question 6: Essay question
AGREE*
In the novel The Picture of Dorian Gray by Oscar Wilde the dangers of a society without moral boundaries are shown. The
Victorian Era is a society of appearance versus reality. On the one hand a strict moral code of behaviour is expected from
society; however, the immoral behaviour of the upper class does not reflect this.
Despite Victorian London being seen as conservative, upper-class Victorians, in particular, behave in a depraved manner that
crosses the boundaries of socially acceptable conduct. The popularity of Aestheticism and Hedonism indicates the appeal of
surrounding oneself with beauty and indulging in new and forbidden pleasures. These theories focus on the individual, and it is
the individual that threatens the ethical backbone of society.
Lord Henry is reckless, showing a lack of concern for the effect his divisive statements might have on impressionable people
like Dorian Gray. He sees nothing wrong in “experimenting” on Dorian Gray to explore the extent to which he can shape him.
He ignores the potential harm he might cause Dorian Gray. When Dorian Gray realises that the portrait will bear the signs of his
questionable moral behaviour, he feels free to indulge his every desire.
Dorian Gray is associated with corrupt and degenerate behaviour such as gambling, fighting, drug-taking and sexual depravity.
After abandoning his moral standards, it is an easy step for Dorian Gray to become a murderer. His summoning of Alan Campbell
to dispose of Basil’s body is cruel. He is implicated in scandals surrounding his friends who have all had their reputations ruined
and are shunned by their families and society. Dorian Gray’s comments that he does not teach these people their wickedness
suggests that he is not the only member of the Victorian Society living decadently.
For many years, Dorian Gray finds satisfaction in remaining fault-free while his portrait illustrates the burden of his immoral
behaviour. Dorian Gray’s faith that he can free himself from his conscience by destroying the portrait is symbolic of how his lack
of moral restraint has ultimately destroyed him.
James Vane’s desire for revenge leads to his own destruction. The lack of respect and exploitation of the lower classes results
in simmering resentment. The easy dismissal of Sibyl’s death and Dorian’s grandfather’s killing of his impoverished son-in-law
indicate how little value the poor were perceived to have. The existence of the opium dens, the prevalence of prostitution and
the rumours of sexual promiscuity indicate the pervading moral corruption of the society. This leads to the destruction of family
life, which is another consequence of people’s morally questionable behaviour.
The Victorian society’s lack of morals leads to the destruction of people and families while they try to pretend to be a society
of high moral standing. (455 words)
[25]
*If a question asks whether you agree or disagree you must state AGREE or DISAGREE before your introduction.
Your essay must support your AGREE or DISAGREE statement.
Essays are marked according to a rubric. Ask your teacher to show
you the rubric and discuss its requirements.
OR
Page 38
Question 7: Contextual question
7.1
Sibyl is an actress in a shabby theatre. She is contracted to the owner of the theatre, making her reliant on him for a
meagre salary. She lives in squalid surroundings with her mother and brother. √√
(2)
(Earn 2 marks for two ideas.)
7.2
Lord Henry reacts in a spoilt, almost jealous manner. He feels entitled to Dorian’s undivided attention. This is typical of
his selfish demeanour and his desire to control Dorian’s life. √√
(2)
(Earn 2 marks for two ideas.)
7.3
Aristocratic Victorian society enjoys a life of hedonistic self-indulgence. They pass their time dining out and frequenting
the Opera. They fill their days with frivolous activity. This is indicative of the purposelessness of their lives. √√
(2)
(Earn 2 marks for two ideas.)
7.4
This statement about Sibyl’s soul implies that Dorian has an intimate knowledge of the person she is. This is, however,
not true as he barely knows her and is less concerned about who Sibyl really is than about her artistic performances
and the characters she becomes. His lack of sensitivity to her soul ultimately destroys Sibyl. There is irony in Dorian’s
recognition of the concept of soul when he, in fact, progressively sullies his own soul. It is ironic that Dorian is responsible
for the death of this “wonderful soul” as he drives Sibyl to commit suicide. √√√
(3)
(Earn 3 marks for also discussing irony.)
7.5
Although Dorian claims to be in love with Sibyl, he shows no concern for her as a person. He is only interested in her
artistry and her ability to transform reality for him. She appeals to his aesthetic belief that art is superior to life. When
Sibyl is no longer interested in acting, he loses interest in her and cruelly rejects her. Love ought to be selfless and
unconditional, but Dorian’s love is neither. His love for Sibyl proves to be superficial and insincere. √√√
(3)
(Earn 3 marks for any two ideas well discussed OR any three distinct ideas.)
7.6
In this extract, Lord Henry responds cynically to Dorian’s remark, implying that women are never what they present
themselves to be. Lord Henry speaks disparagingly and insultingly about women, including his wife. He holds them in
little regard, seeing them as frivolous and flighty. His attitude is sexist and patronising. √√√
(3)
(Earn 3 marks for referring to this extract and the novel as a whole.)
7.7
When James Vane had confronted Dorian a week earlier about his role in Sibyl’s death, Dorian was able to convince
James that he was not the man that Sibyl had referred to as “Prince Charming”. However, James has discovered that
Dorian is indeed “Prince Charming”. Hence his presence at Dorian’s home to take his promised revenge. √√√
(3)
(Earn 3 marks for referring to this extract and the novel as a whole.)
7.8
Dorian’s tone is sardonic/pessimistic/dejected. He has chosen pleasure over being happy, only to realise that the pursuit
of pleasure has not fulfilled his expectations. He feels quite hopeless and despondent. He appears to lack enthusiasm
for life. He has become cynical and disillusioned. √√√
(3)
(Earn 3 marks for discussing tone and attitude.)
7.9
Lord Henry impresses Dorian with his witty aphorisms and his ideas about Aestheticism. His charm and intelligence
convince Dorian to adopt the self-indulgent lifestyle he promotes. In doing so, Dorian seeks out increasingly immoral
experiences, becoming more degenerate and corrupt with each experience. Dorian lives by the yellow book given to him
by Lord Henry. Dorian’s commitment to this lifestyle leads to his death. √√√√
(4)
(You can also argue that Dorian must be deemed responsible for his own death. Despite the influence of Lord Henry,
Dorian chooses to corrupt himself.)
(Earn 4 marks for referring to this extract and the novel as a whole.)
[25]
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
Page 39
5.2.3 Section C: Drama
Othello – William Shakespeare
Question 8: Essay question
The theme of jealousy in the play Othello by William Shakespeare is most evident in the characters of Bianca, Iago and, in
particular, Othello. This jealousy influences the way the characters behave and respond.
Bianca is a prostitute with feelings for Cassio. She is suspicious of Cassio and accuses him of having another mistress. Cassio
gives her the handkerchief he found in his room which she returns in a fit of jealousy believing he received it from his new
mistress. Othello witnesses this scene and the “ocular proof” he requests Iago to provide – is now in front of him and proves
to Othello that Desdemona is unfaithful to him.
Iago is jealous of Cassio and his position of lieutenant. He believes that the position was given to Cassio because of Cassio’s
friendship with Othello. Iago feels that he is more deserving of this position, as he proved his worth to Othello on the battles
fought alongside Othello, is an experienced soldier while Cassio is a Florentine and an arithmetician without much battle
experience.
Iago has heard rumours concerning Emilia and Othello and that they were involved in an adulterous affair. There are no facts to
substantiate this, yet Iago chooses to believe this. It fuels his jealousy, and he wants revenge. Othello and Desdemona have a
fairy-tale marriage, which Iago does not have. Because of this jealousy, Iago is determined to destroy their happiness. He uses
innuendo, lies and half-statements to make Othello jealous of Cassio. Iago implies that Desdemona and Cassio are having an
affair. This drives Othello to feel an uncontrolled jealousy, and he promises to make Desdemona pay for her adulterous affair.
Othello’s uncontrolled jealousy changes him from a calm, rational man to someone who loses all control of his emotions and
of logical thought. Othello, as governor of Cyprus, is the centre of power. Othello feels very insecure. He is a Moor, which is
associated with barbarism and being a non-Christian. Othello is black in a white Venetian society. And he does not understand
the intricacies of Venetian society. He is not eloquent but is “rude of speech”. Iago uses these insecurities to fuel Othello’s
jealousy, which becomes unreasonable and irrational. This jealousy results in his killing Desdemona as punishment for her
infidelity. He then kills himself.
Because of Othello’s overwhelming jealousy, he is easy prey to Iago’s plotting. His mind is poisoned by the jealousy, and it leads,
both directly and indirectly, to the deaths of Desdemona, Roderigo, Emilia, and himself.
That the play Othello by William Shakespeare revolves around jealousy is evident in the characters of Bianca, Iago and, in
particular, Othello which results in the deaths of Emilia, Desdemona and Roderigo. (448 words)
[25]
Essays are marked according to a rubric. Ask your teacher to show
you the rubric and discuss its requirements.
OR
Page 40
Question 9: Contextual question
9.1
It’s dramatic irony because the audience is aware that it is Iago who planned the telling of Brabantio about Desdemona,
and that he had left Roderigo outside Brabantio’s house. √
It is ironic because Iago pretends surprise at seeing Roderigo with Brabantio when, in reality, Iago has schemed with
Roderigo and is plotting against Othello. √√
(3)
(Include both types of irony and both aspects of irony: what is expected vs what actually happened.)
9.2
It shows Othello to be authoritative – he instructs the soldiers to keep their swords sheathed; he takes control of the
situation; he does not respond aggressively but remains calm and controlled √√√
(3)
9.3
Brabantio thinks that Othello has not won over Desdemona’s love in an honest manner. He refers to him as a “foul thief”. √
He accuses Othello of witchcraft to gain her love “foul charms”, “chains of magic”. √
He thinks she loves Othello because she has been manipulated through substances “abused her delicate youth with
drugs or minerals”. √
(3)
(You must have a quote and explanation for every mark given.)
9.4
Sooty is a prejudiced reference to Othello’s skin colour or ethnicity. He is a moor.
Venice was a very diverse setting where people from all over the world came to live. √√
(2)
9.5
Body language:
OTHELLO: stands up straight and faces Brabantio and the soldiers/makes no threatening gestures/perhaps may put his
hand up to indicate that they must keep their swords sheathed. √
(Or similar, any one)
BRABANTIO: leans forward/points his finger at Othello √
(Or similar, any one)
Tone:
OTHELLO: calm/controlled/respectful √
(Or similar, any one)
BRABANTIO: loud voice/angry/accusatory √
(4)
(Or similar, any one)
9.6
Othello is excited because he has recently married Desdemona. Othello is relieved that he is no longer in physical danger
due to the storm nor in danger of the Turks. He is relieved/happy that Desdemona arrived safely despite the severe
storm. √√√
(3)
(Or similar, any three)
9.7
9.7.1 This a metaphor comparing a tuned instrument that produces beautiful music to an untuned instrument that
sounds awful./He is stating that he is going to ruin the harmony/unity/happiness between Desdemona and
Othello./It is effective because Iago has the control, like a musician controls his instrument, and he will bring
about the destruction of Desdemona’s happiness. √√√
(1)
(Or similar)
9.7.2 An aside is a dramatic device in which a character speaks to the audience. By convention, the audience is
to realise that the character’s speech is unheard by the other characters on stage. Iago does not want Othello and
Desdemona to be aware of his schemes. √√
(2)
9.7.3 Iago is dishonest – he calls himself “honest” when he has been lying to both Othello and Roderigo.
Manipulative – he persuades Roderigo to do his bidding.
Devious – he is able to hide his true character – appearance vs reality.
Destructive – he is planning to destroy Othello and Desdemona’s happiness.
Vengeful towards Othello – he suspects him of having an affair with Emilia and Othello overlooked him for the
position of lieutenant. √√√√
(4)
(Or similar, any four)
[25]
Page 41
5.3 First Additional Language: Example questions
5.3.1 Section A: Novel
If you choose to complete Section A, answer only ONE question on the novel that you studied at your school.
Question 1: Cry, the Beloved Country – Alan Paton
Read the extracts below and answer the questions that follow.
– How can I use it? he said. This money was to send Absalom to
St. Chad’s.
– Absalom will never go now to St. Chad’s.
– How can you say that? he said sharply. How can you say such a thing?
– He is in Johannesburg, she said wearily. When people go to Johannesburg,
they do not come back.
– You have said it, he said. It is said now. This money which was saved for
that purpose will never be used for it. You have opened a door, and because
you have opened it, we must go through. And Tixo alone knows where we
shall go.
5
10
– It was not I who opened it, she said, hurt by his accusation. It has a long
time been open, but you would not see.
– We had a son, he said harshly. Zulus have many children, but we had only
one son. He went to Johannesburg, and as you said – when people go to
Johannesburg, they do not come back. They do not even write any more.
They do not go to St. Chad’s to learn that knowledge without which no
black man can live. They go to Johannesburg, and there they are lost, and no
one hears of them at all. And this money ...
15
But she had no words for it, so he said, it is here in my hand
1.1
Choose a description from Column B that matches a name in Column A.
COLUMN A
1.1.1 Theophilus Msimangu
1.1.2 Mrs Lithebe
1.1.3 Arthur Jarvis
1.1.4 Matthew Kumalo
1.2
A
B
C
D
E
COLUMN B
engineer and opponent of racial injustices
denies being an accomplice to Arthur’s murder
preacher and selfless man who helps Stephen
a young man who works at the reformatory
kind-hearted landlady who offers Stephen a room
(4 × 1 = 4)
(2)
Describe the setting of this extract.
1.3
Refer to lines 1-4: “– How can I … such a thing?”
1.3.1 Why did Stephen and his wife want to send Absalom to St Chad’s?
1.3.2 Choose the correct answer to complete the following sentence.
Absalom goes to Johannesburg to …
A further his studies.
B become a priest.
C look for Gertrude.
D visit his uncle.
Page 42
(1)
(1)
1.4
1.5
1.6
1.7
Refer to lines 5-6: “– He is in … do not come back.”
1.4.1 What tone would Mrs Kumalo use in these lines?
1.4.2 Why would Mrs Kumalo use this tone in these lines?
Refer to lines 8-10: “You have opened … where we shall go.”
1.5.1 Identify the figure of speech in these lines.
1.5.2 Explain this figure of speech as used in the extract.
What does this extract reveal about Stephen Kumalo’s character?
Absalom’s background contributes to his actions when he is in Johannesburg.
Discuss your view on this statement.
(1)
(1)
(1)
(1)
(2)
(3)
AND
– Then said the old man, this thing that is the heaviest thing of all my
years, is the heaviest thing of all your years also.
Jarvis looked at him, at first bewildered, but then something came to
him. You can mean only one thing, he said, you can mean only one thing. But
I still do not understand.
5
– It was my son that killed your son, said the old man.
So they were silent. Jarvis left him and walked out into the trees of the
garden. He stood at the wall and looked out over the veld, out of the great
white dumps of the mines, like hills under the sun. When he turned to come
back, he saw that the old man had risen, his hat in one hand, his stick in the
other, his head bowed, his eyes on the ground. He went back to him.
10
– I have heard you, he said. I understand what I did not understand.
There is no anger in me.
– Umnumzana.
– The mistress of the house is back, the daughter of uSmith. Do you
wish to see her? Are you recovered?
15
– It was that I came to do, umnumzana.
– I understand. And you were shocked when you saw me. You had not
thought that I would be here. How did you know me?
1.8
1.9
Why is the following statement FALSE?
James Jarvis stays with Smith’s daughter while he is in Johannesburg.
(1)
What does Stephen Kumalo mean by “the heaviest thing of … of your years also” (lines 1-2)?
(2)
1.10 Refer to lines 7-9: “Jarvis left him … under the sun.”
What does this extract reveal about Jarvis’s state of mind?
Substantiate your answer.
(2)
1.11 Explain what eventually happens to Absalom after the judge’s verdict is given.
(2)
1.12 How does James Jarvis assist the community of Ndotsheni after his son’s death?
State THREE points.
(3)
1.13 Refer to line 16: “Are you recovered?”
Explain the irony in Jarvis’s words in this line.
(2)
1.14 One of the themes in Cry, the Beloved Country is migration.
Discuss this theme with reference to the Kumalo family.
(3)
1.15 The title, Cry, the Beloved Country is suitable for this novel.
Discuss your view on this statement.
(3)
[35]
TOTAL SECTION A: 35
Page 43
5.3.2 Section B: Drama
If you choose to complete Section B, answer only ONE question on the drama that you studied at your school.
Question 4: My Children! My Africa! – Athol Fugard
Read the extracts below and answer the questions that follow.
ISABEL
Auntie, our maid, put down in front of me a plate of steaming,
delicious Jungle Oats over which I sprinkled a crust of golden,
brown sugar, and while that was melting on top I added a little
moat of chilled milk all around the side. That was followed by
brown-bread toast, quince jam and lots and lots of tea.
THAMI
Yes, you’re a writer.
ISABEL
You think so?
THAMI
You made me hungry.
ISABEL
My turn now?
THAMI
Yep.
ISABEL
Let’s start with your family.
THAMI
Mbikwana! [He clears his throat] Mbikwana is an old Bantu name
and my mother and father are good, reliable, ordinary, hardworking Bantu-speaking black South African natives. I am the one
hundred thousandth generation.
ISABEL
You really like teasing, don’t you?
THAMI
Amos and Lilian Mbikwana. They’re in Cape Town. My mother is
a domestic and my father works for the railways. I stay here with
my grandmother and married sister. I was sent to school here in
the peaceful platteland because it is so much safer, you see, than
the big city with all its temptations and troubles. [Thami laughs]
Another Bantu joke.
ISABEL
You’re impossible!
[They are now beginning to relax with each other. Isabel finds the
class register on the desk]
ISABEL
Zolile High School. Standard Ten [She opens it and reads] Awu
THAMI
[Pointing to the appropriate desk in the classroom] There.
ISABEL
Bandla.
THAMI
There.
ISABEL
Cwati.
THAMI
Cwati. There.
Page 44
5
10
15
20
25
30
4.1
Choose a description from Column B that matches a name in Column A.
COLUMN A
4.1.1
4.1.2
4.1.3
4.1.4
Miss Dyson
Mr Myalatya
Mr Mbikwana
Miss Brockway
COLUMN B
A
B
C
D
E
principal of Camdeboo High
a good soccer player
a motivational school inspector
ambitious and respected bachelor
extrovert and intelligent feminist
(4 × 1 = 4)
4.2
4.3
4.4
4.5
4.6
4.7
Describe the setting of this extract.
Explain why Thami is convinced that Isabel is “a writer” in line 6?
Refer to lines 14-15: “I am the … hundred thousandth generation.”
4.4.1 Identify the figure of speech used in these lines.
4.4.2 Explain this figure of speech as used in the extract.
Explain the irony in lines 19-21: “I was sent … temptations and troubles.”
What does this extract tell you about Isabel’s state of mind?
Substantiate your answer.
(2)
(2)
(1)
(2)
(2)
(2)
Mr M is a good teacher.
Discuss your view on this statement.
(3)
AND
THAMI
No, I won’t. You talk about them as if they were a lot of sheep
waiting to be led. They know what they are doing. They’d call
me a traitor if I tried to persuade them otherwise.
MR M
Then listen carefully, Thami. I have received instructions from
the department to make a list of all those who take part in the
boycott. Do you know what they will do with that list when all this
is over … because don’t fool yourself, Thami, it will be. When your
boycott comes to an inglorious end like all the others … they will
make all of you apply for re-admission and if your name is on that
list … [He leaves the rest unspoken]
THAMI
Will you do it? Will you make that list for them?
5
10
MR M
That is none of your business.
THAMI
Then don’t ask me questions about mine.
MR M
[His control finally snaps. He explodes with anger and bitterness] Yes,
I will! I will ask you all the questions I like. And you know why?
Because I am a man and you are a boy. And if you are not in that
classroom tomorrow you will be a very, very silly boy.
15
THAMI
Then don’t call me names, Mr M.
MR M
No? Then what must I call you? Comrade Thami?
Never! You are a silly boy now, and without an education you will
grow up to be a stupid man!
Page 45
20
4.8
Why is the following statement FALSE?
Mr M is killed at the Reverend Mbopa’s home.
(1)
4.9
Who is “them” (line 1)?
(1)
4.10 Choose the correct answer to complete the following sentence.
In line 8 the word “inglorious” means …
A
admirable.
B
praiseworthy.
C
shameful.
D
oppressive.
(1)
4.11 If you were the director of this play, what would you tell Thami to do when saying line 11:
“Will you do it? Will you make that list for them?”
State TWO actions.
(2)
4.12 Refer to line 18: “No? Then what must I call you? Comrade Thami?”
4.12.1 What tone would Mr M use in this line?
4.12.2 Why would Mr M use this tone in this line?
(1)
(1)
(1)
4.13 Refer to lines 19-20: “Never! You are … a stupid man!”
In which TWO ways do these lines ring true for Thami later in the play?
(2)
4.14 What does this extract reveal about Thami’s character?
(2)
4.15 One of the themes in My Children! My Africa! is the power of words versus violence.
Discuss this theme.
(3)
4.16 Discuss the suitability of the title of the play, My Children! My Africa!
(3)
[35]
TOTAL SECTION B: 35
5.3.3 Section C: Short stories
If you choose to complete Section C, answer ALL the questions on BOTH short stories.
Question 5: Short stories
Rejection – Mariama Bâ
Read the extracts below and answer the questions that follow.
(The narrator receives visitors.)
‘… He praises you for the quarter of a century of marriage in which you
gave him all the happiness a wife owes her husband. His family, especially
myself, his elder brother, thank you. You have always held us in respect.
You know that we are Modou’s blood.’
Afterwards there were the same old words, which were intended to relieve
the situation: ‘You are the only one in your house, no matter how big it is,
no matter how dear life is. You are the first wife, a mother for Modou, a
friend for Modou.”
Tamsir’s Adam’s apple danced about in his throat. He shook shook his
left leg, crossed over his folded right leg. His shoes, white Turkish slippers,
were covered with a thin layer of red dust, the colour of the earth in which
they had walked. The same dust covered Mawdo’s and the Imam’s shoes.
Page 46
5
10
Mawdo said nothing. He was reliving his own experience. He was
thinking of your letter, your reaction, and you and I were so alike. He was
being wary. He kept his head lowered, in the attitude of those who accept
defeat before the battle.
15
I acquiesced under the drops of poison that were burning me: ‘A quarter of a
century of marriage’, ‘a wife unparalled’.
5.1.1 Choose a description from Column B that matches a name in Column A.
COLUMN A
5.1.1.1
5.1.1.2
5.1.1.3
5.1.1.2
Tamsir
Mawdo
Daba
Modou
COLUMN B
A
B
C
D
E
one of the narrator’s daughters
the narrator’s errant husband
friend of the narrator’s husband
writes a letter to the narrator
the narrator’s brother-in-law
(4 × 1 = 4)
5.1.2 Describe the setting of this extract.
(2)
5.1.3 Explain why Mawdo keeps “his head lowered” (line 15).
(2)
5.1.4 Why is the following statement FALSE?
The “you” (line 14) is the narrator’s sister.
(1)
5.1.5 Refer to line 17: “I acquiesced under … were burning me”.
5.1.5.1 Identify the figure of speech used in this line.
5.1.5.2 Explain this figure of speech as used in the extract.
(1)
(2)
5.1.6 One of the themes in Rejection is betrayal. Discuss this theme.
(3)
5.1.7 Refer to the short story as a whole.
Do you have sympathy for the narrator? Discuss your view.
(3)
AND
Forbidden Love – Can Themba
(Chaos erupts on the school grounds.)
He looked at the circle of boys wistfully. He knew what they were
doing now during these precious few minutes before lessons started.
They were teasing each other in the age-old school tradition. Probably
vulgar, the naughty little scamps, he thought tolerantly as his mind went
back to his own schooldays as a youngster. Then he hurried away to
Aunt Sannie’s house for that daily cup of coffee.
Meanwhile Freddie Williams, the sandy-haired, smart-looking youngster,
sped across the playground to the History classroom. Freddie was not
going to miss that morning’s session of their little tease-club. But gee!
they got Bobby Randolph at last. Freddie had met Dick Peters that
morning on their way to school, and that eternal victim of Bobby
Randolph’s tease-tongue had intimated to Freddie that he had a bombshell
with which he was going to blow Bobby to bits and blazers. That is why,
as he went flying over the playground, Freddie had shouted to the gang
already assembled, ‘Wait for me!’
Page 47
5
10
15
Dick Peters did wait for Freddie. He wanted a full audience, and he
wanted to make sure that his friend Freddie was present in case of any
fighting.
Freddie was still gasping for breath when Dick stood up, faced Bobby,
and exploded his bombshell without finesse or ceremony.
20
5.2.1 Refer to lines 1-5: “He looked at … as a youngster”.
5.2.1.1 Who is “He” (line 1)
5.2.1.2 What do these lines tell you about this person’s state of mind?
Substantiate your answer.
5.2.1.3 Choose the correct answer to complete the following sentence.
The word “wistfully” means …
A
scornfully.
B
teasingly.
C
longingly.
D
tolerantly.
(1)
5.2.2 Refer to lines 10-13: “Freddie had met … bits and blazers”.
5.2.2.1 What tone would Dick Peters use when he said “that he had a bombshell
with which he was going to blow Bobby to bits and blazers”?
5.2.2.2 Why would Dick Peters use this tone in these lines?
(1)
(1)
5.2.3 Explain the irony of Dick Peters wanting “a full audience” (line 16) when he drops his “bombshell” (line 20).
(2)
5.2.4 Why is Freddie “gasping for breath” (line 19)? State TWO points.
(2)
5.2.5 Explain what is meant by Dick “exploded his bombshell without finesse or ceremony” (line 20).
(2)
5.2.6 What does this extract reveal about Freddie’s character?
Substantiate your answer.
(2)
5.2.7 Mike can be admired. State your view.
(3)
(1)
(2)
[35]
TOTAL SECTION C: 35
Page 48
5.3.4 Section D: Poetry
If you choose to complete Section D, answer ALL the questions on BOTH poems.
Question 6: Poetry
Read the poem below and answer the questions that follow.
Sonnet 73 – William Shakespeare
1
2
3
4
5
6
7
8
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death’s second self, that seals up all in rest.
9 In me thou see’st the glowing of such fire
10 That on the ashes of his youth doth lie,
11 As the death-bed whereon it must expire,
12 Consum’d with that which it was nourish’d by.
13 This thou perceiv’st, which makes thy love
more strong,
14 To love that well which thou must leave
ere long.
6.1.1 Complete the following sentences by filling in the missing words.
couplet
Italian
autumn
quatrain
rhyme
English
summer
In this 6.1.1.1 ___________ sonnet, the speaker compares himself to 6.1.1.2 ___________ in the first
6.1.1.3 ___________ but in the concluding 6.1.1.4 ___________, his thoughts turn to love.
6.1.2 Choose the correct answer to complete the following sentence.
The word “boughs” (line 3) means ...
Aneedles.
Bbranches.
Cflowers.
Dblossoms.
octave
(4)
(1)
6.1.3 Refer to lines 5-7: “In me thou … doth take away”.
6.1.3.1
6.1.3.2
Identify the tone the speaker would use in these lines.
Why would the speaker use this tone in these lines?
(1)
(1)
6.1.4 Refer to lines 5-8: “In me thou … seals up all in rest”.
Which TWO separate words suggest that the speaker is middle-aged?
(2)
6.1.5 Refer to lines 9-10: “In me thou … youth doth lie”.
6.1.5.1 Identify the figure of speech used in these lines.
6.1.5.2 Explain why this figure of speech is relevant in this poem.
(1)
(2)
6.1.6 Refer to lines 13-14: “This thou perceiv’st … leave ere long”.
What is the speaker’s state of mind? Substantiate your answer.
(2)
6.1.7 In this poem, the speaker can be admired. Discuss your view.
(3)
AND
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Read the poem below and answer the questions that follow.
The Lake Isle of Innisfree – William Butler Yeats
1
2
3
4
I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honey-bee,
And live alone in the bee-loud glade.
5
6
7
8
And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight’s all a glimmer, and noon a purple glow,
And evening full of the linnet’s wings.
9 I will arise and go now, for always night and day
10 I hear lake water lapping with low sounds by the shore;
11 While I stand on the roadway, or on the pavements grey,
12 I hear it in the deep heart’s core.
6.2.1 Describe the setting of this poem.
(2)
6.2.2 In stanza 1, the speaker wishes to engage in certain physical activities.
State TWO of these activities.
(2)
6.2.3 Explain the irony in stanza 2.
(2)
6.2.4 Refer to line 10: “I hear lake … by the shore”.
6.2.4.1 Identify the sound device used in this line.
6.2.4.2 Explain why this sound device is relevant in this poem.
(1)
(2)
6.2.5 Why is the following statement FALSE?
The speaker will enjoy the sound of the water at midnight.
(1)
6.2.6 What does this poem reveal about the speaker’s character?
(2)
6.2.7 One of the themes in The Lake Isle of Innisfree is a longing for peace.
Discuss this theme.
(3)
6.2.8 The speaker in this poem is indecisive.
Discuss your views.
(3)
[35]
TOTAL SECTION D: 35
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5.4 First Additional Language: Model answers
5.4.1 Section A: Novel
Question 1: Cry, the Beloved Country – Alan Paton
1.1
1.1.1 C
1.1.2 E
1.1.3 A
1.1.4 B
1.2
(preacher and selfless man who helps Stephen) √
(kind-hearted landlady who offers Stephen a room) √
(engineer and an opponent of racial injustices) √
(denies being an accomplice to Arthur’s murder) √
(4)
The setting is the Kumalo home √ with Stephen and Mrs Kumalo discussing their savings/the money (to enable
Stephen to go to Johannesburg). √
(2)
1.3.1 They wanted Absalom to attend (a good) high school/to further his education. √
1.3.2 C (look for Gertrude) √
(1)
(1)
1.3
1.4
1.4.1 sad/hopeless/despair/disheartened/bitter √
(Or similar, any one)
(1)
1.4.2 She despairs because she knows that Absalom/the family members (who have gone to Johannesburg)
will not return (to Ndotsheni). √
(1)
1.5
1.5.1 Metaphor √
1.5.2 They have come to realise/never discussed that Absalom will no longer return
(to pursue his studies at St Chad’s). √
1.6
Stephen Kumalo is deeply religious./He places his fate in God’s hands./He has faith in God./He believes that God
determines one’s destiny. √√
(Or similar, any two)
(1)
(1)
(2)
1.7
NO.
Absalom comes from a God-fearing family, yet his behaviour does not reflect this./He was raised with good values and
should not have pursued a life of crime./When Absalom moves to Johannesburg, he chooses a life of crime rather than
having to work. √√√
OR
YES.
The family circumstances required Absalom to go to Johannesburg (in search of his aunt)./While in Johannesburg, he
realises that there are no job prospects back home and decides to remain in Johannesburg./Because of his values, he
does not lie when questioned about the murder. √√√
(3)
(Open-ended question, answer YES/NO then motivate. Your response must show understanding of the above
viewpoints and be grounded in the novel. If your answer is not well substantiated, you cannot earn the full 3 marks.)
1.8
Jarvis stays with the Harrisons/Arthur’s in-laws/visits Smith’s daughter. √
1.9
The heaviest thing for Stephen Kumalo is that his son (Absalom) killed James Jarvis’s son (Arthur)/has been accused of murder. √ The heaviest thing for James Jarvis is that his son (Arthur) has been murdered. √
(2)
(Include both parts to earn 2 marks.)
(1)
1.10 James Jarvis is shocked/stunned/empathetic/understanding/forgiving./He is shocked/stunned by the revelation of
Kumalo/that it is Kumalo’s son who had killed his son./James Jarvis is empathetic/understanding/forgiving when he
does not judge Kumalo for what Absalom had done. √√
(2)
(Or similar, any two)
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1.11 Absalom is sentenced to death √ and he is executed (hanged). √
(2)
1.12 Jarvis provides milk for (malnourished) young children./He plans to build a dam./He plans to rebuild the church in his
wife’s name./He pays for an agricultural demonstrator to teach the community proper farming methods. √√√
(3)
(Any three)
1.13 It is ironic that Jarvis should ask Stephen whether he has regained his composure/ control/has “recovered” when
Jarvis himself is deeply shocked/affected by the news. √√
(2)
(Include both parts to earn 2 marks.)
1.14 The Kumalo family is negatively affected when members of the family go to the city in search of a better life./John
Kumalo leaves for Johannesburg, commits adultery and becomes a corrupt politician./Absalom goes in search of
Gertrude, chooses a life of crime, and eventually becomes a murderer. √√√
(3)
(Your response must be grounded in the novel. If your answer is not well substantiated, you cannot earn the full 3 marks.)
1.15 YES.
The “Cry” in the title is suitable as it explores the many challenges faced during the apartheid era: unemployment,
crime, migration, to mention a few./The country is a reference to South Africa./Arthur Jarvis’s love for his country
(his “beloved country”) is what prompts him to want to improve it. √√√
OR
NO.
The “Cry” in the title of the novel evokes negativity./“The beloved country” in the title creates a false impression
as tremendous suffering is detailed in the novel./A country that is loved does not impose the death sentence on its
citizens as is the case of Absalom.√√√
(3)
(Open-ended question, answer YES/NO then motivate. Your response must show understanding of the above
viewpoints and be grounded in the novel. If your answer is not well substantiated, you cannot earn the full 3 marks.)
[35]
5.4.2 Section B: Drama
Question 4: My Children! My Africa! – Athol Fugard
4.1
4.1.1 E
4.1.2 D
4.1.3 B
4.1.4 A
(extrovert and intelligent feminist) √
(ambitious and respected bachelor) √
(a good soccer player) √
(principal of Camdeboo High) √
(4)
4.2
The setting is Zolile High School √ after the debate when Isabel and Thami get to know each other. √
(2)
4.3
Isabel tells Thami that she wishes to study journalism. √ Her detailed description of her breakfast convinces
him that she is indeed a writer/suitable for the career. √
(2)
4.4.1 Hyperbole (exaggeration) √
(1)
4.4
4.4.2 Thami playfully describes his ancestry better than what Isabel described hers/wants to heighten the effect of his ancestry/wants to emphasise his ancestry. √
In truth he is not the “one hundred thousandth generation”. √
(2)
4.5
Thami’s parents sent him to live in a rural area, assuming he would be safe (from the political turmoil), yet he gets into
“trouble” when he joins the school boycott and the “Comrades”, thereby clashing with the police. √√
(2)
(Include both parts to earn 2 marks.)
4.6
Isabel is thrilled/gratified/delighted. √ She is in a positive frame of mind and is pleased that she and Thami are getting
to know each other. √
(2)
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4.7 YES.
Mr M only wants what is best for his learners./He is a dedicated and committed teacher who will do anything to teach
his learners./He gives them the opportunity to rise above their circumstances. √√√
NO.
Mr M is too authoritarian in his thinking and teaching./He does not give Thami a chance to express his feelings about
Bantu education./He is in denial of the reality of the political situation. √√√
(3)
(Open-ended question, answer YES/NO then motivate. Your response must show understanding of the above
viewpoints and be grounded in the novel. If your answer is not well substantiated, you cannot earn the full 3 marks.)
4.8
Mr M is killed at Zolile High School. √
(1)
4.9
The comrades. √
(1)
4.10 C (shameful) √
(1)
4.11 Thami should point at Mr M./He should raise his eyebrows. √√
(Or similar, any two)
(2)
4.12
4.12.1 sarcastic/condescending/angry √
(1)
4.12.2 Mr M disagrees with Thami’s decision to join the boycott/comrades./He feels it will rob Thami of the opportunity
to complete his education./He thinks Thami is too young to contemplate such actions./Mr M wants to show that
he is superior to Thami. √√
(1)
(Or similar, any one)
4.13 Thami abandons his school career/drops out of school. √ He becomes a fugitive. √
(2)
4.14 Thami is loyal, √ he defends the comrades when he responds to Mr M. √
(2)
4.15 Mr M believes that dialogue/communication/words is/are the only legitimate form of struggle./He believes that
violence can be avoided through argument and debate/ and that argument and debate can lead to peaceful
negotiation./He is convinced that violence leads to lawlessness/brutality/destruction/suffering/pain. √√√
(3)
(Or similar, any three. Your response must show understanding of the above viewpoints and be grounded in the drama.
If your answer in not well substantiated, you cannot earn the full 3 marks.)
4.16 The setting of the play is at an African school./The use of the pronoun “My” in the title is a reference to Mr M’s
personal response to the plight of children on the African continent./The use of the exclamation marks emphasises the
fact that the children and the continent of Africa are of concern. √√√
(3)
(Or similar, any three. Your response must show understanding of the above viewpoints and be grounded in the drama.
If your answer in not well substantiated, you cannot earn the full 3 marks.)
[35]
5.4.3 Section C: Short stories
Question 5: Short stories
Rejection – Mariama Bâ
5.1.1
5.1.1.1
5.1.1.2
5.1.1.3
5.1.1.4
E
C
A
B
(the narrator’s brother-in-law) √
(friend of the narrator’s husband) √
(one of the narrator’s daughters) √
(the narrator’s errant husband) √
(1)
(1)
(1)
(1)
5.1.2 The setting is the narrator’s home when the Imam/one of her visitors informs her of her husband’s
second marriage/marriage to Binetou. √√
(2)
5.1.3 Mawdo feels guilty/ashamed as he has also left his first wife for a second one. √√
(2)
5.1.4 The “you” is the narrator’s friend (to whom she is addressing the letter)/Aissatou. √
(1)
Page 53
5.1.5
5.1.5.1 Metaphor √
5.1.5.2 In the same way that poison slowly affects the body, the narrator reluctantly accepts that she had been
a good wife in her 25 years of marriage/her husband’s second marriage. √√
(1)
(2)
5.1.6 The theme of betrayal features strongly in this short story:
The narrator feels betrayed by her husband who marries a second wife (the same age as his daughter). √
She feels that Binetou has betrayed her after after she had accepted Binetou as her daughter’s friend in their home. √
Daba feels betrayed by Binetou after marrying the man, whom she had ruthlessly ridiculed, turns out to be Daba’s
father. √
(3)
(Or similar, any three)
5.1.7 YES.
The narrator has been a faithful wife for 25 years and a loving mother to her children. √
She feels humiliated by her husband’s marriage to a girl who could be his daughter. √
Her brother-in-law, Tamsir, is not genuine when he wants to marry her after Modou’s death. √
OR
NO.
The narrator does not stand up to Modou and Binetou. √
She ignores her daughter’s suggestion to divorce Modou.√
She is stubborn as she could have engaged Modou’s help with raising 12 children. √
(Open-ended. Or similar, any three. Your response must show understanding of the above viewpoints and be
grounded in the short story. If your answer in not well substantiated, you cannot earn the full 3 marks.)
(3)
Forbidden Love – Can Themba
5.2.1
5.2.1.1 Meneer Carelse. √
5.2.1.2 He is contemplative/reflective as he thinks back on his own school days. √√
5.2.1.3 C (longingly) √
(1)
(2)
(1)
5.2.2.1 Self-satisfied/confident/menacing √
5.2.2.2 He wants to take revenge on Bobby for teasing him non-stop.√
(1)
(1)
5.2.2
5.2.3 Dick Peters wants to humiliate Bobby in the presence of the all the boys but he ultimately gets beaten up by
Bobby in full view of everyone present. √√
(Include BOTH parts of the answer to earn 2 marks.)
(2)
5.2.4 Freddie has been running to and from the History class. He was tired and did not want to miss Bobby’s revelation. √√ (2)
5.2.5 Dick displayed no sensitivity or politeness when he announced the unpleasant news. √√
(2)
5.2.6 Freddie is sadistic/vindictive as he is eager to see Bobby being hurt/humiliated. √√
(2)
5.2.7 YES.
Mike is sensitive and caring when he wants to protect Dora whenever they meet in secret. √
He reassures her when she expresses fear at her father’s feelings towards Africans.√
He is disapproving of his sister’s decision to remain silent about the father of her child who does not take
responsibility for it. √
OR
NO.
Mike is not assertive enough to stand up against Dora’s family. √
He does not accompany Dora to the cinema and instead suggests that they go separately. √
He does not retaliate even though he is beaten up by the group of coloured boys. √
(3)
(Open-ended. No mark is awarded for YES/NO. Or similar, any three. Your response must show understanding of
the above viewpoints and be grounded in the short story. If your answer in not well substantiated, you cannot earn
the full 3 marks.)
[35]
Page 54
5.4.4 Section D: Poetry
Question 6: Poetry
Sonnet 73 – William Shakespeare
6.1.1
6.1.1.1 English √
6.1.1.2 autumn √
6.1.1.3 quatrain √
6.1.1.4 couplet √
(1)
(1)
(1)
(1)
6.1.2 B
(1)
(branches) √
6.1.3
6.1.3.1 sadness/melancholy/acceptance √
6.1.3.2 The speaker sadly realises that he is nearing the end of his life/his is not a permanent/mortal life. √
OR
He comes to accept the aging process as he realises that aging is inevitable. √
(1)
6.1.4 “twilight” (line 5) and “sunset” (line 6) √√
(2)
(1)
6.1.5
6.1.5.1 Metaphor √
6.1.5.2 Just as embers cannot exist without a fire, so too can the speaker’s old age not be attained without
his youth. √√
6.1.6 Acceptance/submission. The speaker accepts the finality of life and instead pleads for love even after his death. √√
(1)
(2)
(2)
6.1.7 YES.
The speaker frankly admits that he is nearing old age and has come to terms with the process of aging. √
He realises that life is not permanent and that old age and death for him are inevitable. √
He does, however, focus on love (a positive aspect) in the couplet when he maintains that the strong love that they
share will continue after death. √
OR
NO.
The speaker uses many negative images as he ponders his old age, for example, “ruined”, “Death” and “consumed”. √
These negative images create a sombre mood, especially the image of the “dying fire”. √
The speaker touches on the finality of death, which is in itself as sombre subject. √
(3)
(Open-ended. No mark is awarded for YES/NO. Or similar, any three. Your response must show
understanding of the above viewpoints and be grounded in the poem. If your answer in not well substantiated,
you cannot earn the full 3 marks.)
The Lake Isle of Innisfree – William Butler Yeats
6.2.1 The setting is London as the speaker contemplates going to Innisfree/imagines life at Innisfree. √√
(2)
6.2.2 The speaker will build a cabin/plant beans/create a bee hive. √√
(Any two)
6.2.3 The speaker longs for peace yet the sound of crickets and the flapping of birds’ wings are noisy. √√
(Provide both parts to earn marks)
(2)
(2)
6.2.4
6.2.4.1 Alliteration √
6.2.4.2 The l-sound/lilting sound in this line recreates the sound made by the waves √ and has
a calming effect as the speaker stands on the shore. √
(2)
6.2.5 The speaker will enjoy the sound of the water for the entire day/24 hours/”always night and day”. √
(1)
(1)
6.2.6 He is appreciative/naturalistic/idealistic/determined. √ He appreciates the peace and beauty of nature. √ (2)
Page 55
6.2.7 The speaker wants to escape the din of the city of London. √ He describes how he will attain that peace
which he desires so intensely by engaging in activities and enjoying the natural sights and sounds. √
The calming effect that the water from the lake will have on him strengthens this intense desire for peace. √ (3)
(Or similar, any three. Your response must show understanding of the above viewpoints and be grounded in
the poem. If your answer in not well substantiated, you cannot earn the full 3 marks.)
6.2.8 YES.
The speaker expresses his intention to go to Innisfree but by the end of the poem he has done nothing
constructive to go there. √
He enumerates all the things he would like to do for example building a cabin, planting beans, yet nothing
materialises. √
He longs for peace; however, he merely fantasises about it. √
OR
NO.
The speaker appears to be intent when he emphasises that he will go to Innisfree (… go now, and go …). √
He has a deep personal connection with Innisfree in which nature summons him yet he does not heed to its call. √
He has a yearning to go to Innisfree but it appears that he remains stuck in the city. √
(3)
(Open-ended. No mark is awarded for Yes/NO. Or similar, any three. Your response must show
understanding of the above viewpoints and be grounded in the poem. If your answer in not well
substantiated, you cannot earn the full 3 marks.)
[35]
Page 56
SUMMARY
We hope that this guide will help you
to answer Paper 2 with confidence.
If you want to achieve success, you
need to study the prescribed texts
and literary terms well during the
course of the year.
Make sure you read the instruction to each question very carefully
and stick to what the topic requires.
The literary works and questions presented in this guide are just
EXAMPLES of what can be expected in the final examinations.
Page 57
NOTES
Page 58
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