Metro North Education District
COMMON EXAMINATION
CIRCUITS 1, 3, 7
NATIONAL SENIOR CERTIFICATE
ENGLISH HOME LANGUAGE
PAPER 2
SEPTEMBER 2014
TIME: 2½ HOURS
MARKS: 80
This question paper consists of 27 pages
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INSTRUCTIONS AND INFORMATION
1.
Read this page carefully before you begin to answer the questions.
2.
Do not attempt to read the entire question paper. Consult the table of contents on the next page and
mark the numbers of the questions set on texts you have studied this year. Thereafter, read these
questions and choose the ones you wish to answer.
3.
This question paper consists of THREE sections:
SECTION A: Poetry (30 marks)
SECTION B: Novel (25 marks)
SECTION C: Drama (25 marks)
4.
Follow the instructions at the beginning of each section carefully.
5.
Answer FIVE QUESTIONS in all: THREE in SECTION A, ONE in SECTION B and ONE in SECTION C
as follows:
SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POETRY
– Answer question 5
SECTION B: NOVEL
Answer ONE question.
SECTION C: DRAMA
Answer ONE question.
6.
Number your answers correctly according to the numbering system used in this question paper.
7.
Start EACH section on a NEW page.
8.
Suggested time management:
SECTION A: approximately 40 minutes
SECTION B: approximately 55 minutes
SECTION C: approximately 55 minutes
9.
LENGTH OF ANSWERS:




10.
CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):


11.
Essay questions on Poetry should be answered in about 250–300 words.
Essay questions on the Novel and Drama sections should be answered in 400–450 words.
The length of answers to contextual questions should be determined by the mark allocation.
Candidates should aim for conciseness and relevance.
Answer ONLY questions on the novel and the drama you have studied.
Answer ONE ESSAY QUESTION and ONE CONTEXTUAL QUESTION. If you answer the essay
question in SECTION B, you must answer the contextual question in SECTION C. If you answer the
contextual question in SECTION B, you must answer the essay question in SECTION C.
Write neatly and legibly.
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TABLE OF CONTENTS
SECTION A: POETRY
Prescribed Poetry: Answer ANY TWO questions.
QUESTION NO.
QUESTION
1 London
Essay question
PAGE NO.
5
2 When to the sessions …
Contextual question
6
3 Old folks laugh
Contextual question
7
4 To Autumn
Contextual question
AND
Unseen Poetry: COMPULSORY QUESTION
Contextual question
5 Duzi Marathon
8
9
SECTION B: NOVEL
Answer ONE question.*
6 Animal Farm
Essay question
10
7 Animal Farm
Contextual question
11
8 Pride and Prejudice
Essay question
13
9 Pride and Prejudice
Contextual question
14
10 The Great Gatsby
Essay question
16
11 The Great Gatsby
SECTION C: DRAMA
Answer ONE question.*
12 Othello
Contextual question
17
Essay question
20
13 Othello
Contextual question
21
14 The Crucible
Essay question
25
15 The Crucible
Contextual question
26
NOTE: In SECTIONS B and C, answer ONE ESSAY QUESTION and ONE CONTEXTUAL
QUESTION.
If you answer an essay question from SECTION B, you must answer a contextual
question from SECTION C. If you answer a contextual question from SECTION B, you
must answer an essay question from SECTION C.
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CHECKLIST
Use this checklist to ensure that you have answered the correct number of questions.
SECTION
A: Poetry
(Prescribed Poetry)
A: Poetry
(Unseen Poem)
B: Novel
(Essay or Contextual)
C: Drama
(Essay or Contextual)
*NOTE:
QUESTION
NUMBERS
NO. OF
QUESTIONS
ANSWERED
1–4
2
5
1
6 – 11
1
12 – 15
1
TICK
In SECTIONS B and C, ensure that you have answered ONE ESSAY
question and ONE CONTEXTUAL question.
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SECTION A: POETRY
Questions have been set on four prescribed poems and one unseen poem.
You must answer questions on ANY TWO prescribed poems AND the question on the unseen
poem.
NOTE: The unseen poem is COMPULSORY.
PRESCRIBED POETRY:
Answer any TWO questions.
QUESTION 1: ESSAY QUESTION
LONDON – WILLIAM BLAKE
I wander thro’ each charter’d street,
Near where the charter’d Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infant’s cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear
5
How the Chimney-sweeper’s cry
Every blackening Church appals,
And the hapless Soldier’s sigh
Runs in blood down Palace walls
10
But most thro’ midnight streets I hear
How the youthful Harlot’s curse
Blasts the new-born Infant’s tear
And blights with plagues the Marriage hearse.
15
In an essay of approximately 250 – 300 words (about ONE page), discuss the poet’s attitude
towards London. Include how the tone is conveyed and also how the diction is used to convey
the emotions.
[10]
OR
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QUESTION 2:
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CONTEXTUAL QUESTION
SONNET 30: WHEN TO THE SESSIONS OF SWEET SILENT
THOUGHT –
WILLIAM SHAKESPEARE
When to the sessions of sweet silent thought
I summon up remembrance of things past,
I sigh the lack of many a thing I sought,
And with old woes new wail my dear time’s waste:
Then can I drown an eye (unused to flow)
For precious friends hid in death’s dateless night,
And weep afresh love’s long since cancelled woe,
And moan the expense of many a vanished sight:
Then can I grieve at grievances foregone,
And heavily from woe to woe tell o’er
The sad account of fore-bemoanéd moan,
Which I new pay as if not paid before.
But if the while I think on thee, dear friend,
All losses are restored and sorrows end.
5
10
2.1 Which two things are the speaker saddened about?
(2)
2.2 What form of poem is this? Explain how you know this.
(2)
2.3 Discuss how the speaker brings across the message that one’s thoughts affect one’s
emotions/moods.
(3)
2.4 The sense of sadness changes towards the end of the poem. By referring to the diction
used, explain why and how it changes.
(3)
[10]
OR
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QUESTION 3:
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CONTEXTUAL QUESTION
OLD FOLKS LAUGH – MAYA ANGELOU
They have spent their
content of simpering,
holding their lips this
and that way, winding
the lines between
their brows. Old folks
allow their bellies to jiggle like slow
tambourines.
The hollers
rise up and spill
over any way they want.
When old folks laugh, they free the world.
They turn slowly, slyly knowing
the best and the worst
of remembering.
Saliva glistens in
the corners of their mouths,
their heads wobble
on brittle necks, but
their laps
are filled with memories.
When old folks laugh, they consider the promise
of dear painless death, and generously
forgive life for happening
to them.
5
10
15
20
25
3.1 Using your own words, describe what old people have finished doing in lines 1 to 6,
according to the speaker.
(2)
3.2 Comment on the effectiveness of the figure of speech used in “allow their bellies to
jiggle like slow tambourines.”
(2)
3.3 The poet has chosen to use colloquialisms such as “folk” and “holler”. Critically
discuss whether this is appropriate and relate your response to the main theme of the
poem.
(3)
3.4 Do you think this is an accurate portrayal of some old people? Explain your answer by
referring to specific descriptors used in the poem.
(3)
[10]
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QUESTION 4:
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CONTEXTUAL QUESTION
AUTUMN – ROY CAMPBELL
I love to see, when leaves depart,
The clear anatomy arrive,
Winter, the paragon of art,
That kills all forms of life and feeling
Save what is pure and will survive.
5
Already now the clanging chains
Of geese are harnessed to the moon;
Stripped are the great sun-clouding planes:
And the dark pines, their own revealing,
Let in the needles of the noon.
10
Strained by the gale the olives whiten
Like hoary wrestlers bent with toil
And, with the vines, their branches lighten
To brim our vats where summer lingers
In the red froth and sun-gold oil.
5
Soon on our hearth’s reviving pyre
Their rotted stems will crumble up:
And like a ruby, panting fire,
The grape will redden on your fingers
Through the lit crystal of the cup.
20
4.1 Describe how the speaker feels about autumn and motivate your response by
quoting from the poem.
(2)
4.2 Comment on the effectiveness of the metaphor used in “Already now the clanging
chains Of geese...” (lines 6 – 7)
(2)
4.3.1 Choose the correct statement to complete the following:
The pattern in the poem helps to convey a sense of
A
B
C
calm and order and certainty
growing breathless excitement
sadness and frustration
(1)
4.3.2 Explain your response in 4.3.1.
(2)
4.4 Discuss how stanza 4 relates to the main theme of the poem.
(3)
[10]
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AND
UNSEEN POETRY: DUZI MARATHON
QUESTION 5 – UNSEEN POEM – CONTEXTUAL QUESTION
DUZI MARATHON – BAZIL DU TOIT
The women troop from the river
carrying dead-weights of water,
that river which ordains, governs,
rules, decrees, executes and feeds
a subject people kneeling and working
beside it-tearing open its banks,
driving congregation of cattle
to the communion of its waters,
leading its greatness, in trickles,
to resuscitation of sickly plants.
5
10
Then one day six high-tech racing
canoes come paddling straight through
a thousand years of grinding peasant
subsistence, carrying six laughing
athletes with wrap-around eye-shadows,
sports chronometers marvellously
intricate and gadgetry as star-ships,
splashing, hollering and hooting
on the foamy back of their toy,
then rounding a bend and vanishing.
Is it any wonder that, next year,
the villagers will be waiting in the reeds,
crouching with stones at the ready?
5.1
5.2
5.3
15
20
The river is personified in stanza 1 (‘The women troop…of sickly plants’).
Identify and explain at least one image to show what your view of the river is.
1 +2 = (3)
Examine stanza 2( ‘Then one day…bend and vanish’).
Identify and discuss the effect of the contrast in the stanza.
2+2= (4)
Consider lines 21-23(‘Is it any wonder…at the ready?’).
Do you think this is an effective way of concluding the poem?
Provide a detailed explanation.
(3)
[10]
TOTAL FOR SECTION A:30
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SECTION B: NOVEL
Answer ONLY the novel you have studied.
ANIMAL FARM – GEORGE ORWELL
Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual
question).
QUESTION 6: ANIMAL FARM – ESSAY QUESTION
"All that is necessary for the triumph of evil is that good men (animals) do nothing."
(Edmund Burke). So much of the history of the struggle between good and evil can be
explained by this quotation.
Critically discuss to what extent the observation held in the above quotation holds true for
the animals on Animal Farm.
[25]
OR
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QUESTION 7: ANIMAL FARM – CONTEXTUAL QUESTION
Read the following extract carefully and answer the set questions that follow.
EXTRACT A
Never had the farm – and with kind of surprise they remembered that it was their own farm,
every inch of it their own property – appeared to the animals so desirable a place.
As Clover looked down the hillside her eyes filled with tears. If she could have spoken
her thoughts, it would have been to say that this was not what they had aimed at when
they had set themselves years ago to work for the overthrow of the human race.
5
These scenes of terror and slaughter were not what they had looked forward to on
that night when Old Major first stirred them to rebellion. If she herself had had any
picture of the future, it had been of a society of animals set free from hunger and the
whip, all equal, each working according to his capacity, the strong protecting the weak,
as she had protected the last brood of ducklings with her foreleg on the night of
10
Major’s speech. Instead – she did not know why – they had come to a time when
no one dared speak his mind, when fierce, growling dogs roamed everywhere, and
when you had to watch your comrades torn to pieces after confessing to shocking
crimes. There was no thought of rebellion or disobedience in her mind. She knew that,
even as things were, they were far better off than they had been in the days of Jones,
15
and that before all else it was needful to prevent the return of the human beings.
Whatever happened she would remain faithful, work hard, carry out the orders that
were given to her, and accept the leadership of Napoleon.
[Chapter 7]
7.1
7.2
This passage clearly shows the change that has come about on Animal Farm, from
what the animals had worked for to what it has now become.
Quote a sentence or part of a sentence that captures the ideal farm they
had imagined.
(1)
Quote a sentence that clearly shows how this ideal had turned out in the
end.
(1)
7.3
Show how the contrast between this reality and the farm that they had hoped for
develops one of the novel’s key themes.
(3)
7.4
How are we able to determine that it is Clover’s thoughts that we are hearing?
Quote and motivate your answer.
7.5
(3)
Why do you think Orwell is speaking through Clover here? What effect does it have?
Motivate your answer.
(4)
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EXTRACT B
Napoleon himself appeared at the meeting on the following Sunday morning
and pronounced a short oration in Boxer’s honour. It had not been possible, he said,
to bring back their lamented comrade’s remains for interment on the farm, but he had
ordered a large wreath to be made from the laurels in the farmhouse garden and sent
down to be placed on Boxer’s grave. And in a few days’ time the pigs intended to
5
hold a memorial banquet in Boxer’s honour. Napoleon ended his speech with a reminder
of Boxer’s two favourite maxims, ‘I will work harder’ and ‘Comrade Napoleon is always
right’ – maxims, he said, which every animal would do well to adopt as his own.
On the day appointed for the banquet a grocer’s van drove from Willingdon and
delivered a large wooden crate at the farmhouse.That night there was the sound of
10 1
uproarious singing, which was followed by what sounded like a violent quarrel and ended at
about eleven o’clock with a tremendous crash of glass. No one stirred in the farmhouse
before noon on the following day, and the word went round that from somewhere or other
the pigs had acquired the money to buy themselves another case of whisky.
[Chapter 9]
7.6
7.7
7.8
Describe what precedes this extract which results in Napoleon’s ‘short oration in
Boxer’s honour’.
(3)
Discuss the irony of the pigs’ intention to have a ‘memorial banquet in Boxer’s
honour’.
(2)
Explain what Boxer’s favourite maxims, as mentioned in the extract, reveal about
his character.
(2)
7.9
The animals’ gullibility is clearly evident in this extract as well as in the event which
leads to this point.
Do you think this is an accurate statement? Provide adequate substantiation for your
answer.
(3)
7.10
In your view, can the farm be regarded a totalitarian state at this point in the
novel? Substantiate your response, referring to evidence from chapter 9.
(3)
[25]
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PRIDE AND PREJUDICE – JANE AUSTEN
Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual question).
QUESTION 8: PRIDE AND PREJUDICE – ESSAY QUESTION
Jane Austen satirises1 early 19th Century English society, which upheld social class structures
and differences at the expense of authentic human relationships.
In a well-constructed essay of 400–450 words (2–2½ pages), discuss critically the extent to
which you agree with this statement.
1
satirises:
uses humour, irony, exaggeration or ridicule to expose and criticize
people's stupidity or vices, particularly in the context of contemporary
politics and other topical issues.
OR
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QUESTION 9: PRIDE AND PREJUDICE – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
Mr Bennet was among the earliest of those who waited on Mr Bingley. He had always
intended to visit him, though to the last always assuring his wife that he should not go;
and till the evening after the visit was paid she had no knowledge of it. It was then
disclosed in the following manner:– Observing his second daughter employed in
trimming a hat, he suddenly addressed her with,
'I hope Mr Bingley will like it, Lizzy.'
'We are not in a way to know what Mr Bingley likes,' said her mother resentfully, 'since
we are not to visit.'
'But you forget, mamma,' said Elizabeth, 'that we shall meet him at the assemblies,
and that Mrs Long has promised to introduce him.'
'I do not believe Mrs Long will do any such thing. She has two nieces of her own. She
is a selfish, hypocritical woman, and I have no opinion of her.'
'No more have I,' said Mr Bennet; 'and I am glad to find that you do not depend on her
serving you.'
Mrs Bennet deigned not to make any reply, but, unable to contain herself, began
scolding one of her daughters.
'Don't keep coughing so, Kitty, for heaven's sake! Have a little compassion on my
nerves. You tear them to pieces.'
'Kitty has no discretion in her coughs,' said her father; 'she times them ill.'
'I do not cough for my own amusement,' replied Kitty fretfully. 'When is your next ball
to be, Lizzy?'
'To-morrow fortnight.'
'Aye, so it is,' cried her mother, 'and Mrs Long does not come back till the day before;
so it will be impossible for her to introduce him, for she will not know him herself.'
'Then, my dear, you may have the advantage of your friend, and introduce Mr Bingley
to her.'
'Impossible, Mr Bennet, impossible, when I am not acquainted with him myself; how
can you be so teasing?'
'I honour your circumspection. A fortnight's acquaintance is certainly very little. One
cannot know what a man really is by the end of a fortnight. …'
[Chapter 2]
5
10
15
20
25
30
9.1
Why does Mr Bennet visit Mr Bingley?
(2)
9.2
Comment on Mrs Bennet's referring to Mrs Long as 'a selfish, hypocritical
woman' (line 12).
(3)
9.3
In lines 20–21, Kitty asks Elizabeth: 'When is your next ball to be?'
Discuss the significance of formal dances in the novel as a whole.
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9.4
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Mr Bennet remarks that 'One cannot know what a man really is by the end of
a fortnight' (lines 29–30).
In your view, is Mr Bennet's opinion a valid one? Substantiate your response,
referring to evidence from the novel.
(3)
AND
EXTRACT B
'You can now have nothing farther to say,' she resentfully answered. 'You have
insulted me in every possible method. I must beg to return to the house.'
And she rose as she spoke. Lady Catherine rose also, and they turned back. Her
ladyship was highly incensed.
'You have no regard, then, for the honour and credit of my nephew! Unfeeling, selfish
girl! Do you not consider that a connection with you must disgrace him in the eyes of
everybody?'
'Lady Catherine, I have nothing further to say. You know my sentiments.'
'You are, then, resolved to have him?'
'I have said no such thing. I am only resolved to act in that manner which will, in my
own opinion, constitute my happiness, without reference to you, or to any other person
so wholly unconnected with me.'
'It is well. You refuse, then, to oblige me. You refuse to obey the claims of duty,
honour, and gratitude. You are determined to ruin him in the opinion of all his friends,
and make him the contempt of the world.'
[Chapter 56]
9.5
9.6
9.7
9.8
9.9
5
10
15
Refer to lines 1–2: 'You can now ... to the house.'
Account for Elizabeth's resentment toward Lady Catherine in this extract.
(3)
Discuss what the novel as a whole reveals about Darcy's 'honour and credit'
(line 5).
(3)
Refer to lines 10–12: 'I have said ... unconnected with me.'
Does this paragraph provide any evidence that Elizabeth is a selfish person?
Justify your opinion.
(3)
In your opinion, is Lady Catherine representative of the class-conscious
society that Jane Austen satirises? Substantiate your answer.
(3)
If Darcy had witnessed this scene between Elizabeth and Lady Catherine,
how do you think it would have influenced his attitude and feelings toward
Elizabeth? Substantiate your response.
OR
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THE GREAT GATSBY – F Scott Fitzgerald
Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual question).
QUESTION 10: THE GREAT GATSBY – ESSAY QUESTION
In a well-constructed essay of 400 – 450 words (2 - 2½ pages) discuss to what extent Daisy is
responsible for the death of Gatsby’s dream.
[25]
OR
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QUESTION 11: THE GREAT GATSBY – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
‘My house looks well, doesn't it?’ he demanded. ‘See how the whole front of it
catches the light.’ I agreed that it was splendid.
‘Yes.’ His eyes went over it, every arched door and square tower. ‘It took me just
three years to earn the money that bought it.
‘I thought you inherited your money.’ ‘I did, old sport,’ he said automatically, ‘but I
lost most of it in the big panic-the panic of the war.’ I think he hardly knew what he
was saying, for when I asked him what business he was in he answered: ‘That's my
affair,’ before he realized that it wasn't an appropriate reply.
‘Oh, I've been in several things,’ he corrected himself. ‘I was in the drug business
and then I was in the oil business. But I'm not in either one now.’ He looked at me
with more attention. ‘Do you mean you've been thinking over what I proposed the
other night? Before I could answer, Daisy came out of the house and two rows of
brass buttons on her dress gleamed in the sunlight.
5
10
‘That huge place there?’ she cried pointing.
‘Do you like it?’
15
‘I love it, but I don't see how you live there all alone.’
‘I keep it always full of interesting people, night and day. People who do interesting
things. Celebrated people.’
Instead of taking the short cut along the Sound we went down the road and entered
by the big postern. With enchanting murmurs Daisy admired this aspect or that of the
feudal silhouette against the sky, admired the gardens, the sparkling odour of
jonquils and the frothy odour of hawthorn and plum blossoms and the pale gold
odour of kiss-me-at-the-gate. It was strange to reach the marble steps and find no
stir of bright dresses in and out the door, and hear no sound but bird voices in the
trees.
And inside, as we wandered through Marie Antoinette music-rooms and Restoration
salons, I felt that there were guests concealed behind every couch and table, under
orders to be breathlessly silent until we had passed through. As Gatsby closed the
door of ‘the Merton College Library’ I could have sworn I heard the owl-eyed man
break into ghostly laughter.
20
25
30
We went upstairs, through period bedrooms swathed in rose and lavender silk and
vivid with new flowers, through dressing-rooms and poolrooms, and bathrooms with
sunken baths-intruding into one chamber where a dishevelled man in pyjamas was
doing liver exercises on the floor. It was Mr. Klipspringer, the ‘boarder.’ I had seen
him wandering hungrily about the beach that morning.
[chapter 5]
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11.1
This extract depicts Gatsby’s first meeting with Daisy in 5 years. By referring briefly
to events up to and following this scene, explain why it might be regarded as a
climax or turning point in Gatsby’s life.
(4)
11.2
Refer to the following: ‘It took me just three years to earn the money that bought it.’
‘I thought you inherited your money.’ ‘I did, old sport,’he said automatically…’
Account for the significance in the discrepancy between what Gatsby tells Nick now and
what he told him previously.
(3)
11.3
Refer to the following: ‘I keep it always full of interesting people, night and
day. People who do interesting things. Celebrated people.’ Explain the irony in
what Gatsby says about the people he has attending his parties.
(3)
11.4
In the description of the house Nick refers to ‘Marie Antoinette music rooms’,
‘restoration Salons’, ‘Herton College Library’ and ‘period bedrooms’.
11.4.1 What impression of the house does one get from these descriptions?
11.4.2 Suggest a reason why Gatsby’s house is so grandiose.
11.5
Suggest a reason why Fitzgerald has Klipspringer present during Daisy’s tour of
Gatsby’s house.
(2)
(1)
(3)
AND
EXTRACT B
I glanced at Daisy, who was staring terrified between Gatsby and her husband, and
at Jordan, who had begun to balance an invisible but absorbing object on the tip of
her chin. Then I turned back to Gatsby-and was startled at his expression. He
looked-and this is said in all contempt for the babbled slander of his garden-as if he
had ‘killed a man.’ For a moment the set of his face could be described in just that
fantastic way.
It passed, and he began to talk excitedly to Daisy, denying everything, defending his
name against accusations that had not been made. But with every word she was
drawing further and further into herself, so he gave that up, and only the dead dream
fought on as the afternoon slipped away, trying to touch what was no longer
tangible, struggling unhappily, undespairingly, toward that lost voice across the room.
5
10
The voice begged again to go.
‘Please, Tom! I can't stand this anymore.’
Her frightened eyes told that whatever intentions, whatever courage, she had had,
were definitely gone.
‘You two start on home, Daisy,’ said Tom. ‘In Mr. Gatsby's car.’
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She looked at Tom, alarmed now, but he insisted with magnanimous scorn.
‘Go on. He won't annoy you. I think he realizes that his presumptuous little flirtation
is over.’
They were gone, without a word, snapped out, made accidental, isolated, like
ghosts, even from our pity.
20
[Chapter 7]
11.6
11.7
Refer to the following: ‘I glanced at Daisy, who was staring terrified between
Gatsby and her husband, and at Jordan…’ Account for Daisy “staring terrified”
between Gatsby and her husband.
(2)
Refer to the following: ‘… he began to talk excitedly to Daisy, denying everything,
defending his name against accusations…’
11.7.1 Briefly describe Gatsby’s state of mind here.
(1)
11.7.2 Why would Gatsby be in this state of mind now?
(3)
11.8
Refer to the following: ‘She looked at Tom, alarmed now, but he insisted with
magnanimous scorn.’ What does this reaction reveal about Tom at this stage of the
novel?
(3)
[25]
TOTAL FOR SECTION B: 25
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SECTION C: DRAMA
Answer ONLY on the drama you have studied.
OTHELLO – William Shakespeare
Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual question).
QUESTION 12:
OTHELLO - ESSAY QUESTION
“Othello is the principal agent of his own downfall. We observe his gradual decline as his
vulnerable nature yields itself to corruption and evil.”
Discuss how Othello’s strengths and weaknesses contribute to his downfall and to what
extent he redeems himself at the end of the play.
[25]
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QUESTION 13: OTHELLO - CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
OTHELLO
If it be that-IAGO
If it be that, or any that was hers,
It speaks against her with the other proofs.
OTHELLO
O, that the slave had forty thousand lives!
One is too poor, too weak for my revenge.
Now do I see 'tis true. Look here, Iago;
All my fond love thus do I blow to heaven.
5
'Tis gone.
Arise, black vengeance, from thy hollow cell!
Yield up, O love, thy crown and hearted throne
To tyrannous hate! Swell, bosom, with thy fraught,
For 'tis of aspics' tongues!
10
IAGO
Yet be content.
OTHELLO
O, blood, blood, blood!
IAGO
Patience, I say. Your mind perhaps may change.
OTHELLO
Never, Iago: Like to the Pontic sea,
Whose icy current and compulsive course
Ne'er feels retiring ebb, but keeps due on
To the Propontic and the Hellespont,
Even so my bloody thoughts, with violent pace,
Shall ne'er look back, ne'er ebb to humble love,
Till that a capable and wide revenge
Swallow them up. Now, by yond marble heaven,
15
20
Kneels
In the due reverence of a sacred vow
I here engage my words.
25
IAGO
Do not rise yet.
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Kneels
Witness, you ever-burning lights above,
You elements that clip us round about,
Witness that here Iago doth give up
The execution of his wit, hands, heart,
To wrong'd Othello's service! Let him command,
And to obey shall be in me remorse,
What bloody business ever.
30
They stand and embrace
[Act 3, Scene 3]
13.1
Place the extract in context by referring to what happened just before and just after
this extract.
(3)
13.2
Refer to line 3: “It speaks against her with the other proofs”
Give an outline of the “other proofs” against Desdemona?
13.3
(3)
Refer to lines 10 to 11: “Yield up, O love, thy crown and hearted throne
To tyrannous hate!”
Identify and explain the figure of speech used in the image above.
(3)
13.4
Why, do you think, does Iago kneel with Othello in this extract?
(3)
13.5
Refer to lines 24 to 25: “In the due reverence of a sacred vow
I here engage my words”
Othello calls the promise he is making a “sacred vow” (line 24). What does this
comment reveal about his character at this stage of the play?
(3)
AND
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EXTRACT B
LODOVICO
You must forsake this room, and go with us:
Your power and your command is taken off,
And Cassio rules in Cyprus. For this slave,
If there be any cunning cruelty
That can torment him much and hold him long,
It shall be his. You shall close prisoner rest,
Till that the nature of your fault be known
To the Venetian state. Come, bring him away.
OTHELLO
Soft you; a word or two before you go.
I have done the state some service, and they know’t.
No more of that. I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice: then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought
Perplex’d in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe; of one whose subdued eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum. Set you down this;
And say besides, that in Aleppo once,
Where a malignant and a turban’d Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog,
And smote him, thus.
Stabs himself
September 2014
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LODOVICO
O bloody period!
GRATIANO
All that’s spoke is marr’d.
OTHELLO (to Desdemona)
I kiss’d thee ere I kill’d thee: no way but this;
Killing myself, to die upon a kiss.
30
[Act 5, Scene 2]
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13.6
Refer to lines 23-27: “…in Aleppo once … And smote him, thus.”
What does Othello’s comment in the extract above, reveal about his state of mind
at this stage of the play? Discuss this with reference to the play as a whole.
(3)
13.7
Do you agree with Gratiano when he says: “All that’s spoke is marr’d”? Motivate
your answer.
(3)
13.8
Comment critically on the significance of Othello’s suicide.
(4)
[25]
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THE CRUCIBLE – Arthur Miller
Answer either QUESTION 14 (essay question) OR QUESTION 15 (contextual question).
QUESTION 14: THE CRUCIBLE – ESSAY QUESTION
PROCTOR: I’ll tell you what’s walking Salem – vengeance is walking Salem.
Discuss the validity of this statement in an essay of 400-450 words, commenting critically on
the proponents of the witch-trials and to what extent they are driven by vengeance.
[25]
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QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION
Read the following extract and then answer the questions that follow.
Danforth (as though Proctor did not understand): Mr Proctor, I must have –
Proctor
No, no. I have signed it. You have seen me. It is done! You have no need for this.
Parris
Proctor, the village must have proof that –
Proctor
Damn the village! I confess to God, and God has seen my name on this! It is
enough!
5
Danforth
No, sir, it is –
Proctor
You came to save my soul, did you not? Here! I have confessed myself; it is enough!
Danforth
You have not con –
Proctor
I have confessed myself! Is there no good penitence but it be public? God does
not need my name nailed upon the church! God sees my name; God knows how
black my sins are! It is enough!
Danforth
Mr Proctor –
Proctor
You will not use me! I am no Sarah Good or Tituba, I am John Proctor! You will
not use me! It is no part of salvation that you should use me!
Danforth
I do not wish to –
Proctor
I have three children – how may I teach them to walk like men in the world, and I
sold my friends?
Danforth
You have not sold your friends –
Proctor
Beguile me not! I blacken all of them when this is nailed to the church the very
day they hang for silence!
15
Danforth
Mr Proctor, I must have good and legal proof that you –
Proctor
You are the high court, your word is good enough! Tell them I confessed myself;
say Proctor broke his knees and wept like a woman; say what you will, but my
name cannot –
Danforth
(with suspicion): It is the same, is it not? If I report it or you sign to it?
Proctor
(he knows it is insane): No, It is not the same! What others say and what I sign to
is not the same!
Danforth
Why? Do you mean to deny this confession when you are free?
Proctor
I mean to deny nothing!
Danforth
Then explain to me, Mr Proctor, why you will not let –
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(with a cry of his soul): Because it is my name! Because I cannot have another in
my life! Because I lie and sign myself to lies! Because I am not worth the dust on
the feet of them that hang! How may I live without my name? I have given my soul;
leave me my name!
Danforth (pointing at the confession in Proctor’s hand): Is that document a lie? If it is a lie,
35
I will not accept it! What say you? I will not deal in lies, Mister! (PROCTOR is
motionless.) You will give me your honest confession in my hand, or I cannot keep
you from the rope. (PROCTOR does not reply.) Which way do you go, Mister?
[ACT 4]
15.1
What is it that Danforth ‘must have’ from John Proctor in line 1?
(2)
15.2
Explain why both Danforth and Parris need this from John.
(4)
15.3
To what is John referring when he says, ‘God knows how black my
sins are!’(lines 10-11)
(2)
15.4
‘You will not use me! I am no Sarah Good or Tituba.’ (line 13)
Discuss how Sarah Good and Tituba have been “used” by the authorities.
(3)
15.5
Explain why John feels that he has ‘sold his friends’(line17).
(2)
15.6
‘he knows it is insane’ (line 26).
Suggest why John persists with this argument even though he is aware
that “it is insane”.
(2)
15.7
What do John’s actions in this extract reveal about his character and values? (4)
15.8
Explain the irony in Danforth’s words, ‘I will not deal in lies’. (line 36)
15.9
‘Which way do you go, Mister?’ (line 38)
15.9.1 Explain the ‘way’ John decides to go.
15.9.2 Discuss whether you agree or disagree with John’s final decision.
(2)
(2)
(2)
[25]
TOTAL SECTION C: 25
GRAND TOTAL: 80
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