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GCSE Edexcel GCSE

English Literature (1213)

Summer 2006

Mark Scheme

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Contents 1. 1213/2F Mark Scheme 5

2. 1213/3H Mark Scheme 53

1213 Mark Scheme Summer 2006 3

1213 Paper 3H (Higher Tier)

SECTION A: MODERN POETRY

If you choose to answer on this section, answer ONE question only. You should spend about 45 minutes on the question in this section.

Collection A: In Such a Time as This 1 Re-read the poems Half-past Two and Yellow. In each poem the writer looks back on childhood

experiences. Compare how the two writers bring their recollections to life. This question is fairly narrow and specific. To achieve higher grades candidates will need to give due attention to the writers’ style and technique: the subject matter of each poem is fairly accessible, and straightforward paraphrases, with a little commentary, should be within the reach of even the weakest candidates. Any text-based comparative approach should be given consideration.

16-20 Awareness shown/comparisons and connections made/issues raised in the prompts dealt with/ reference to details supported by some quotations

Begins to use the text to develop ideas. For example, might compare the structure of the two poems, or the use of the first person in both. Addresses aspects of technique and expression. Selects relevant quotations in support of points being made about the content and language of the poems.

21-25 Insight shown/clear comparisons and connections made/reference to details to support views/ comments on language

Uses specific details, chosen appropriately, to address the question directly. Details, at this level and above, should be expected from both Half-past Two and Yellow. Identifies, or offers an interpretation of, the key aspects of the poems. Might, for example, discuss the tone of each poem with some insight. Will comment specifically on language and expression to illustrate the answer.

26-30 Interpretative skills shown/ specific comparisons and connections made/reference to selective details to support views/comments on the significance of language

An overview and a clear understanding of the poems will be demonstrated. Comments on technique might include details of characterisation, imagery, the use of dialogue, or the presentation of ideas by any other means. The perspective, or viewpoint, of each writer will be identified, with some understanding shown of how this is manifested in the poems.

31-35 Analytical skills shown/ definitive comparisons and connections made/specific and sustained references to details to illustrate personal and convincing response to poems offered

A full understanding of the poems will be illustrated in responding to the question. Identification of tone and mood should be precise, with supporting textual reference. The structure of the poems will be clearly recognised and the development of the ideas acknowledged. Comments on language will be assured. A personal response might include a preference, with a reasoned justification.


36-40 Originality in analysis shown/ interpretation of comparisons and connections offered/ perceptive use of quotation/ complete command of poems demonstrated

A confident and lucidly argued interpretation will be offered. A personal engagement with the poems may lead to a variety of interpretations. Such interpretations will be explored through a close and sensitive analysis of the language of each poem. Comments on language, and its effects, will be sophisticated. Alternative interpretations may be recognised: personal preferences will be confidently expressed and justified. Responses may show flair and individuality.


Collection A: In Such a Time as This 2 Re-read the poem Dulce et Decorum Est. Choose ONE other poem from In Such a Time as This

in which the subject of death is also central, and compare how the two poems convey experiences of this theme.

This question is phrased to allow for comparison of Dulce et Decorum Est, with poems such as Death in Leamington or Brendon Gallacher, as well as the more obvious choices of The Send-off or from War Music. The questions’ emphasis on “how… convey experiences of” points candidates towards an examination of the writer/writers’ style and technique. Any text-based comparative approach should be given consideration.


Begins to use the text to develop ideas. For example, might write about the drama and violence of Dulce et Decorum Est as against the very different tone of Death in Leamington. Addresses aspects of technique and expression. Selects relevant quotations in support of points being made about the content and language of the poems.


Uses specific details, chosen appropriately, to address the question directly. Details, at this level and above, should be expected from both Dulce et Decorum Est and the other chosen poem. Identifies, or offers an interpretation of, the key aspects of the poems. Might, for example, contrast the grim reality of death as it is presented in Dulce et Decorum Est, with the more stylised approach of War Music, or with the very personal and childlike sentiments expressed in Brendon Gallacher. Will comment specifically on language and expression to illustrate the answer.

26-30 Interpretative skills shown/ specific comparisons and connections made/ reference to selective details to support views/comments on the significance of language

An overview and a clear understanding of the poems will be demonstrated. Comments on technique might include details of characterisation, imagery, the use of dialogue, or the presentation of ideas by any other means. The perspective, or viewpoint, of each writer will be identified, with some understanding shown of how this is manifested in the poems.






Collection B: Identity 3 Re-read the poems Warning and Mirror, both of which raise the theme of ageing. Compare the

ways in which the two writers express their views on this subject. This is a very direct question, and focuses firmly on what is close to the heart of each of the poems. Obvious responses may take the line of contrasting the upbeat, humorous attitude to the approach of old age shown in Warning, with the more negative viewpoint (“like a terrible fish”) of Mirror. However, more able candidates may see greater complexities (Warning is not all optimism, for example); and “the ways in which” requires comment on technique as well as on content, for a full answer. Any text-based comparative approach should be given consideration.


Begins to use the text to develop ideas. For example, might consider the use of the first person in each poem: in Warning the writer creates a credible character for herself, now and in the future, whereas the voice of the Mirror is used in a very deliberate and very different way. Addresses aspects of technique and expression. Selects relevant quotations in support of points being made about the content and language of the poems.


Uses specific details, chosen appropriately, to address the question directly. Details, at this level and above, should be expected from both poems. Identifies, or offers an interpretation of, the key aspects of the poems. Might, for example, examine the use of humour in Warning, comparing this with the tone (? dispassionate, passive) of Mirror. Will comment specifically on language and expression to illustrate the answer.


An overview and a clear understanding of the poems will be demonstrated. Comments on technique might include details of characterisation, imagery, structure, vocabulary, or the presentation of ideas by any other means (“…things in boxes…” as opposed to “… an agitation of hands…”). The perspective, or viewpoint, of each writer will be identified, with some understanding shown, of how this is manifested in the poems.






Collection B: Identity 4 Re-read the poem Still I Rise. Choose AT LEAST ONE other poem from Identity which also

expresses views in a similar way. Compare the methods used in Still I Rise and in your other chosen poem or poems, in the way the poets express their views.

This question is very open. There is a wide choice of other poems in Identity which could be used and almost any of them could be said to express views in a similar way, even if they do not have the same directness as Still I Rise: the candidates will have to focus firmly on “the methods”, however, to reach the higher grades, even if the choice of subject matter is open. Any text-based comparative approach should be given consideration. As the question stipulates “at least one other”, equal credit should be given to different approaches. The candidate is free to choose an approach which looks at only one other poem, in some depth, or to write about two or more other poems, in broader terms. Both are equally acceptable.


Begins to use the text to develop ideas. For example, might identify the rigour and confidence of Still I Rise, and compare it with Warning; or with the strong views – expressed very differently – of Once Upon a Time. Addresses aspects of technique and expression. Selects relevant quotations in support of points being made about the content and language of the poems.


Uses specific details, chosen appropriately, to address the question directly. Details, at this level and above, should be expected from both Still I Rise and the other chosen poem/poems. Identifies, or offers an interpretation of, the key aspects of the poems. Might, for example, discuss the tone of each poem with some insight. Will comment specifically on language and expression to illustrate the answer.


An overview and a clear understanding of the poems will be demonstrated. Comments on technique might include details of characterisation, imagery, the use of dialogue, or the presentation of ideas by any other means. The perspective, or viewpoint, of each writer will be identified, with some understanding shown of how this is manifested in the poems. The strong personal voice of Still I Rise might be compared to some of the Heaney poems in Identity, for example – they may not be alike in terms of aggression, but could be said to show pride, or confidence in expressing ideas, in a similar way.




Collection C: Nature 5 Re-read the poems Thistles and A Blade of Grass. Both of these poems focus closely on

something simple and everyday, in order to express ideas and feelings. Compare how the two writers make use of this technique.

For some candidates, Thistles may not express ideas and feelings which are necessarily symbolic or representative of humankind – it may be seen simply as a close observation of, and reflection on, the plant’s characteristics and ability to regenerate; others may see it as a metaphor for the human world: neither approach is excluded by this question. For most candidates, A Blade of Grass will, no doubt, be seen as dealing more obviously in relationships and “ideas”. The question asks for a strong focus from candidates on the writers’ skills: any text-based comparative approach should be given consideration.


Begins to use the text to develop ideas. For example, there may be a contrast identified between the third-person approach of Thistles and the first-person stance in A Blade of Grass. Addresses aspects of technique and expression. Selects relevant quotations in support of points being made about the content and language of the poems.


Uses specific details, chosen appropriately, to address the question directly. Details, at this level and above, should be expected from both poems. Identifies, or offers an interpretation of, the key aspects of the poems. Might, for example, look carefully at the lexicon of each poem in order to emphasise the contrasting tones and approaches: the first stanza of A Blade of Grass could be contrasted with “the gutturals of dialects” and “a plume of blood”. Will comment specifically on language and expression to illustrate the answer.


An overview and a clear understanding of the poems will be demonstrated. Comments on technique might include details of characterisation, imagery, structure, or the presentation of ideas by any other means. The perspective, or viewpoint, of each writer will be identified, with some understanding shown of how this is manifested in the poems.




Collection C: Nature 6 Re-read the poem The Thought-Fox in which a creature is described in order to express ideas

about the world of mankind. Choose ONE other poem from Nature which also draws on the world of nature to present themes in the human world, and compare how this is achieved in the two poems.

This question lends itself to a wide choice of poems: there are obvious examples (some where “nature” is in the form of a creature, some not), such as Break of Day in the Trenches, The Horses; or Keeping Orchids, A Blade of Grass or Nettles. Similarity of subject matter is not important here: the focus is on “how nature is used”, rather than the form it takes. Any text-based comparative approach should be given consideration.


Begins to use the text to develop ideas. For example, might comment on the very personal and subjective Thought-Fox, contrasting it with, for example, A Blade of Grass (perhaps linked closely by subject matter); or with Break of Day in the Trenches, where the context is very different. Addresses aspects of technique and expression. Selects relevant quotations in support of points being made about the content and language of the poems.


Uses specific details, chosen appropriately, to address the question directly. Details, at this level and above, should be expected from The Thought-Fox and the other chosen poem. Identifies, or offers an interpretation of, the key aspects of the poems. Might, for example, show some insight in establishing how “nature” has been used and to what purpose. Will comment specifically on language and expression to illustrate the answer.


An overview and a clear understanding of the poems will be demonstrated. Comments on technique might include details of characterisation, imagery, any use of dialogue, or the presentation of ideas by any other means. The perspective, or viewpoint, of each writer will be identified, with some understanding shown of how this is manifested in the poems.




SECTION B: MODERN PROSE

If you choose to answer on this section, answer ONE question on ONE text.

You should spend about 45 minutes on the question in this section. Of Mice and Men 7 This book offers us a range of sad, and sometimes pathetic, characters. How, in your view,

does the writer make us feel particularly sympathetic towards any of them? The phrasing of the question allows for a response focused on a single character; or on a range. Straightforward responses may be based on character studies of Candy, Crooks or Curley’s wife, with other candidates, perhaps concentrating on Lennie or George. However, at higher grades candidates will need to go beyond this, and the “how” element of the question, involving some analysis of the writer’s technique, will become more prominent.

16-20 Predominantly narrative account/some developed comment on content/plot/ character/motive/setting/theme

Begins to use the text to develop ideas. Might, for example, focus on a character such as Crooks – his isolation, the racism he faces and so on.

21-25 More focused accounts/ awareness and insight shown regarding content/plot/ character/motive/setting/theme

Uses specific detail chosen appropriately to address the question directly. Might, perhaps, look at one or more characters’ backgrounds. For example, might refer to Curley’s wife – the “guy in pitchers…” through to “So I married Curley” and her plight on the ranch in this unhappy marriage. She is, perhaps, even more “pathetic” in death.

26-30 Selective use of text. Assessment of ideas, purposeful references to content/plot/character/ motive/setting/theme

An overview of the text is evident. At this level candidates are unlikely to concentrate exclusively on one character – some generalised conclusions may be expected on the “how” element of the question.

31-35 Sustained and developed use of text. Reflection on content/plot/ character/motive/setting/theme

A full understanding of the text will be evident. A sympathetic understanding of the characters and their lives will be displayed, with an awareness of the writer’s skill in characterisation. There will be a well-developed response based on this understanding.

36-40 Analytical use of text/ extrapolation on content/plot/ character/motive/setting/theme

Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May offer a variety of perspectives – may, for example, dispute the original premise… Slim is not “sad” or “pathetic” to most readers, but an understanding of how he is presented may help in building up an overall response to the question – we may still be “sympathetic” towards him. Definitions of “sympathetic” may emerge - “feeling sorry for” or “empathy with” perhaps. Responses may show flair and originality.


Of Mice and Men 8 “This book is a study of how power over others can be used, or abused.”

By reference to the text, show whether or not you agree with this observation.

This question is very open, and a wide range of responses is anticipated. Definitions of “power” (or “abuse”) may differ, and any interpretation of the question which is firmly rooted in the text should be given consideration. Obvious “abuses” may be catalogued – the racism shown towards Crooks might be an obvious example, but there are many possible variations on the theme. Is even George “an abuser” (the Sacramento River episode); is Lennie an (unwitting) abuser of his great physical power?


Begins to use the text to develop ideas. Might, for example, write about how Curley derives his power, largely, from his status as the boss’s son and how he abuses this.


Uses specific detail chosen appropriately to address the question directly. Curley, as in the example above, might be discussed as a character who clearly abuses his power over the ranch hands, but also over his wife… who in her turn abuses Crooks and the other “bindle stiffs” – “I could get you strung up so easy it ain’t even funny”.


An overview of the text is evident. As perhaps suggested in the 21-25 box above, the ranch could be seen as representing a hierarchy of power, based on status, race, gender, (dis)ability and so on. References to characters and relationships will be purposeful, in support of the overall interpretation of the text and the question.


A full understanding of the text will be evident. Some candidates may take the positive approach – that George, for example, uses his “power” over Lennie to protect and guide him (the Sacramento River episode notwithstanding); and that the bleak picture of “abuse” is not unrelieved.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May offer a variety of perspectives: might, for example, contrast Curley with Slim, who has genuine authority (a form of power) through character and personality, rather than through position. The response to the original observation will be convincingly argued and illustrated. Responses may show flair and originality.


To Kill a Mockingbird 9. “In this book, things are not always what they seem at first sight.”

How does the book develop the theme of appearance and reality?

Remembering at all times that the novel is narrated by Scout, candidates are asked to reveal an awareness of the difference between her childish perception of certain events and her adult understanding, which is implied throughout. There is no required content for this essay and all text based answers should be credited.

16-20

Predominantly narrative account/some developed comment on content/plot/ character/motive/setting/theme

Begins to use the text to develop ideas. There may be an awareness that a number of characters are not what they first appear to be.


Uses specific details, chosen appropriately, to address the question directly. Candidates may focus on Boo Radley who appears to be a dangerous madman and recluse, but is in fact something very different.


An overview of the text is evident. May select Dolphous Raymond as a character who is initially perceived as drunk who has turned his back on his own community and lives amongst the negroes.


A full understanding of the text will be evident. There may be an appreciation of the role that the theme of deception plays in our understanding of the growing awareness of Scout, who comes to realise that things in the adult world are not always what they appear to be.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There may be an awareness of links between characters that support the author’s purpose about not judging people too easily, perhaps citing Ms Dubose as an example.


To Kill a Mockingbird 10 “Scout tells the story, but Atticus is more important as he represents the writer’s views.”

To what extent do you agree?

This is a question that allows candidates to comment on how the reader’s experience is shaped by Scout’s narration of events; and on Atticus, who embodies a range of key qualities such as courage, tolerance, justice and family values. There is clearly not a single answer to this question and by rehearsing these arguments candidates will demonstrate a clear understanding of the writer’s views, characters and text. Any interpretation of “the writer’s views” which is text-based should be given consideration.


Begins to use the text to develop ideas. May regard certain characters as symbolising certain qualities, e.g. Atticus and tolerance


Uses specific details, chosen appropriately, to address the question directly. Candidates may focus on Atticus and how he transmits his values to his family.


An overview of the text is evident. May recognise that without Atticus the key themes of tolerance and justice would not have been adequately developed.


A full understanding of the text will be evident. There may be an appreciation of the complexity of the book and an appreciation of the value of Scout and Atticus; in fact, how the novel reveals itself through the interplay of these two characters as Scout slowly begins to understand what Atticus means and stands for.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There may be a consideration of the nature of the text as a didactic tool rather than a character-based narrative, with conclusions being drawn on the basis of this consideration.


Animal Farm 11 What are the roles of Major and Moses in this book? Candidates are free to argue in any way they choose about the roles of Major and Moses. There may be some awareness of each character’s function in the allegory and the very different ideologies they represent. Some imbalance in the treatment of the two characters is acceptable. Credit any text-based responses.


Begins to use the text to develop ideas. May offer character studies of Major and Moses.


Uses specific details, chosen appropriately, to address the question directly. For example, may have a growing sense of what the themes and issues of the text are and may begin to relate these to the characterisation of Major and Moses.


An overview of the text is evident. Candidates may recognise that Major is a catalyst for the whole story, while Moses’s reappearance on the farm is an indication of the betrayal of Major’s ideas.


A full understanding of the text is evident. There may be a clear and comprehensive sense of the writer’s use of Old Major and Moses, linked to an examination of themes and ideas.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There may be consideration of the text as an allegory and the roles of Old Major and Moses in it. Responses may acknowledge the links with the historical events in a meaningful way.


Animal Farm 12 How effectively does the writer present the gradual corruption of the ideals of Animalism? This is a central question and should prove accessible to candidates of all abilities. The question of how effectively it is done is intended to be the discriminator: answers of the very highest quality may be convincing on this point by an examination of Orwell’s style and be aware of the hints that Orwell gives the reader throughout the book that the rebellion is being betrayed – from the pigs’ early acquisition of the apples to the final transformation into human beings. Most answers will probably concentrate, justifiably, on the changing of the Seven Commandments and Napoleon’s strategies to increase his power, but others may well make use of the use of animals and fable genre in their arguments.


Begins to use the text to develop ideas. May perhaps concentrate on the changing of the commandments or the acquisition of power by the pigs.


Uses specific details, appropriately chosen, to address the question directly. In addition to the above, there may be an attempt to address the question of “effectively” with some acknowledgement of Napoleon’s growing dictatorship and the ending of the novel.


An overview of the text is evident. Responses will demonstrate a detailed awareness of how the ideals are slowly eroded. Specific incidents related to particular commandments may be cited as well as a growing awareness of the pigs’ manipulation of the other animals.


A full understanding of the text is evident. Responses will take a more balanced view, making a well-supported case for the effectiveness of Orwell’s writing and may make more developed points about style and the manner of writing.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. The awareness of links with history will be used in a sophisticated way.


Lord of the Flies 13 Do you believe that the writer presents a bleak view of human nature in this book? Candidates are free to take any line of argument they wish. As ever, we should be looking to reward highly answers which are highly conceptualised and which are equal to the sheer complexity of Golding’s view. The growing dominance of Jack and his hunters, the deaths of Simon and Piggy, and the setting alight of the island in order to kill Ralph are the assault of evil against all civilised values. How far we are redeemed by the presence of Simon and Piggy, and the survival of Ralph, is open to debate.


Begins to use the text to develop ideas. May assert a view of the question, but will use evidence without confidence. May refer to unpleasant events in the novel without generalising in response to the question.


Uses specific details, chosen appropriately, to address the question directly. Will start to address the question by offering a definition of what bleak view of nature means to Golding and using straightforward examples such as Jack splitting the boys on the island and the deaths of Piggy and Simon.


An overview of the text is evident. Will offer a coherent view of Golding’s view of human nature with full substantiation from the text. In addition to the above, may be aware of the wider context of the nuclear war which is the reason the boys are travelling in the first place and the rejection of democracy by Jack and the choir in favour of a right-wing military putsch.


A full understanding of the text is evident. As well as the above, may be aware of the severe limitations with which Golding presents, say, Ralph and Piggy and ineffectiveness at standing up for the rule of reason and order.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. In addition to all the points above, may be aware of the insights Simon achieves with the pig’s head on a stick and see the problems the novel presents in religious or metaphysical terms.


Lord of the Flies 14 How does the writer use Simon, and the effect of his death, to convey the ideas in the book? Simon’s mysticism represents a way of seeing the Beast and the evil of humanity as inherent in the human condition. ‘You knew, didn’t you? I’m part of you,’ the pig’s head tells Simon. This question asks candidates to consider the writer’s use of Simon and the effects of his death. There maybe a range of responses to this question: credit any text-based response. Better responses will demonstrate an understanding of Simon’s role in the book in relation to the other characters and the development of the plot.


Begins to use the text to develop ideas. May re-tell some of the events involving Simon.


Uses specific details, chosen appropriately, to answer the question directly. May begin to choose details which help to address the question, such as details from Simon’s conversation with the Beast, and the irony of his death.


An overview of the text is evident. May start to reflect more thoughtfully on Simon’s role in the book and the way he contrasts with Ralph and Jack.


A full understanding of the text is evident. May display a clear and cogent sense of Golding’s use of Simon and the way his insights are another way of seeing the problem of the Beast, the problem of evil.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. The response to Simon and his death will be convincingly argued and supported.


The Other Side of Truth 15 How successfully are the themes of freedom and justice explored in this book? This is a question that asks candidates to consider the terms justice and freedom in the broadest possible sense in relation to the novel. It is likely that many may interpret this question as one about political freedom and freedom of speech. Credit all text-based responses. Nevertheless, there is ample scope for candidates to explore issues of personal freedom; freedom from bullying and harassment, being judged for what you are and what you believe in, rather than through the prejudices of others. The question asks candidates to make an evaluation and it is their ability to do this successfully with sound justification, rather than to catalogue instances of injustice, that will be a feature of the better answers.


Begins to use the text to develop ideas. There may be awareness that injustice and lack of freedom are themes throughout the novel and candidates may perhaps narrate an incident such as the manner in which the family have to flee from Nigeria because of what the father has written.


Uses specific details, chosen appropriately, to address the question directly. Candidates might consider the injustice of locking up Sade’s father when he arrives in England even though he has committed no crime.


An overview of the text is evident. Candidates will increasingly offer and justify responses to the judgement asked for in the question and may consider these issues from a personal point of view, such as the manner in which Sade and Femi lose all sense of personal freedom and are placed with families and put in schools without their say-so when they arrive in London.


A full understanding of the text will be evident. There will be increasing facility in justifying comments made. Candidates may begin to see a relationship between the personal and political issues and how Sade’s experiences could be seen to mirror the larger political issues of the novel.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There will be a clear understanding of the evaluation made and may, perhaps, refer to the way in which the freedom of the press is contrasted in England and Nigeria.


The Other Side of Truth 16 Why do you think the writer chose the title, The Other Side of Truth? This is a broad-based interpretative question that goes to the heart of the novel and its purpose. As a result it is likely that there may be a range of responses to this question. Candidates may choose to emphasise the novel as one of human interest, as we follow the fortunes of Femi and Sade, whereas others may see it as a political message. Credit all text-based responses.


Begins to use the text to develop ideas. There may be an awareness that the title directs us to the less acceptable side of life, be that personal or political. May refer to the experiences of the children on the streets of London after they have been deserted by Mrs Bankole.


Uses specific details, chosen appropriately, to address the question directly. Candidates may choose to focus on Sade’s father as an embodiment of the values of truth and his imprisonment and treatment at the hands of British officialdom representing one manner in which ideas are developed.


An overview of the text is evident. There may be an assessment that the writer’s purpose is to deliver a clear and didactic moral message about the freedom of the press, and that the choice of title reflects this. May refer to Sade’s use of the television news to publicise her father’s plight as an example of this.


A full understanding of the text will be evident. For example, there may be a sustained focus upon how the title highlights the moral lessons that Sade learns as she herself is forced to commit acts that are against her real nature, such as in her theft from the shop.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May offer a variety of interpretations of the title, and may choose to contrast life in Nigeria with life in England to reveal that one country does not have a monopoly on the truth.


Twenty-One Stories 17 For most readers to enjoy short stories, it is important that the settings are believable. In your

opinion does the writer achieve this in this collection? Illustrate your answer by referring to Across the Bridge and a setting from AT LEAST ONE of the other stories in this collection.

This question is a very central one and, especially in Greene’s case, a fairly straightforward one too. Of course, candidates have not been asked about the tone or mood of the setting described – they are assessing an opinion about Greene’s skill as a writer; nonetheless, they should still be rewarded if they characterise the general setting as one of a sort of seedy squalor which often complements the characters.


Begins to use the text to develop ideas. Might use The Blue Film and its seedy South-East Asian setting as a point of reference.


Uses specific details, chosen appropriately, to address the question directly. May use a sense of London as depicted in The Destructors.


An overview of the text is evident. May make use of the seedy London of Jubilee or the faded provincial squalor of The Innocent.


A full understanding of the text is evident. May use the two different Londons presented in The Basement Room or the London of A Little Place off the Edgware Road.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May make use of A Drive in the Country with its deliberate and interesting contrast between the countryside beyond the city and the neat, ordered suburbia that is returned to at the end of the story.


Twenty-One Stories 18 “The Destructors is about conflict.”

Choose AT LEAST ONE other story from this collection which also deals with the theme of conflict. By referring to The Destructors and your chosen story, or stories, show how the writer explores this theme.

There is a wealth of material in this collection which candidates may make use of to answer this question. Candidates are free to interpret ‘conflict’ in any way they deem appropriate, and in The Destructors may consider it to be conflict between children and adults; or conflict between children themselves; or Trevor’s internal conflict. Candidates may choose another story with a similar conflict or are free to choose a story which highlights other types of conflict. Any text-based comparative approach should be given consideration. Other stories that might be chosen by candidates could include; A Drive in the Country; The Basement Room; Brother; I Spy or The End of the Party. Some imbalance in the treatment of the two stories is acceptable.


Begins to use the text to develop ideas. Candidates may identify the conflict in The Destructors and their chosen story, offering particular episodes in illustration.


Uses specific details, chosen appropriately, to address the question directly. May make comparisons between similar explorations of ‘conflict’, or may contrast different types of conflict.


An overview of the text is evident. A more developed appreciation of the writer’s exploration of conflict will be clear, and appropriate examples will be offered from both stories.


A full understanding of the text is evident. Identification of conflict will be precise, with detailed textual reference.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May offer a variety of types of conflict and may contrast the writer’s exploration of conflict in analytical detail.


SECTION C: MODERN DRAMA


You should spend about 45 minutes on the question in this section. An Inspector Calls 19 “Sheila is the most interesting character in the play, because the writer allows her to change

and develop.” How far do you agree with this comment?

This is a direct and focused question, and requires appreciation of the writer’s craft in characterisation, creating and developing relationships, structure, and plot development. At a modest level, candidates may not offer much more than an account of how Sheila does (or does not) “change” as the play progresses; more aware candidates may identify subtleties in characterisation which prepare the audience for any such “change” in the early scenes – or may deny that she does change at all. There is also a hint in the question which invites comment on any other characters (“the most interesting”) and any text-based interpretation of the question along these lines should be given consideration.


Begins to use the text to develop ideas. Might, for example, characterise Sheila as a fairly conventional daughter and fiancée when the play opens, and may contrast this with her later behaviour.


Uses specific detail chosen appropriately to address the question directly. Will no doubt refer to the Milward’s episode, and how the Inspector reveals its significance, in some detail.


An overview of the text is evident. Her relationship with her parents, with Eric, and also with Gerald, will be seen in the context of the play, and of her development, as a whole. May suggest that her engagement was no more than part of her father’s business strategy – and that her later rejection of this is crucial to her development and increasing self-awareness.


A full understanding of the text will be evident. Perhaps a case will be made that the writer does not really “change” her: events simply bring out the potential (for good?) in her character which was always there. She (and Eric, perhaps) acquire self-knowledge in accepting responsibility – whereas her parents do not.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. The full potential of the question may be exploited – there might, perhaps, be careful thought about what makes her, or any of the other characters, truly “interesting”.


An Inspector Calls 20 “Part ghost story, part murder mystery, part moral lecture.”

To what extent do you agree with this description of An Inspector Calls?

This is a very open question. Candidates are obviously free to choose any (or all) of the three aspects mentioned in the quotation – or indeed, to suggest alternatives of their own. Some weaker responses might do little more than show how the play is, for example, a ghost story, by re-telling the narrative: but there is the potential in this question for stronger responses to explore almost any aspects of the writer’s craft and intentions.


Begins to use the text to develop ideas. Might, for example, look at the sequence of events in the play, to show how the Inspector’s gradual revelations give the audience a succession of “clues”, as in a murder mystery.


Uses specific detail, chosen appropriately, to address the question directly. May well focus closely on the ending of the play, the “hoax”, to illustrate the “ghost story” aspect. May comment on the Inspector’s constant message (of responsibility for others and so on) to discuss the “moral lecture”.


An overview of the text is evident: candidates may show balance in referring to all three aspects of the quotation, before arriving at an argued and well-illustrated conclusion.


A full understanding of the text will be evident. Might, for example, focus on the “moral lecture” aspect, and, as well as establishing what the message of the lecture is, may offer a judgement on how, and on how successfully, the message is delivered.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Thoughtful candidates may offer an individual response – some may wish to go beyond the limits of the quotation, arguing a case for an interpretation outside these categories – or complementary to them.


Educating Rita 21 “This play is not about education. It is about social class and cultural differences.”

Do you agree?

This question enables candidates to wholeheartedly agree, disagree or present a balanced response to the quotation. All of these represent valid responses. Some candidates may conflate aspects of culture and education and they are quite entitled to do this, providing that the point is clearly made. It is possible, though not likely, that some candidates could argue that the play is about something else entirely, such as self-discovery. In order to justify such an argument candidates would have to deal with the issues outlined in the title, and as such this would also represent a valid response to the text. It is possible that some candidates could be distracted into writing about issues of social equality and access to learning. Credit text-based, rather than issues-based responses.


Begins to use the text to develop ideas. May refer to Frank’s party where Rita does not know the “right” clothes to wear or the “right” wine to bring.


Uses specific details, chosen appropriately, to address the question directly. Candidates may contrast Rita’s initial enthusiasm for Ruby Fruit Jungle with her later dismissal of it and her appreciation of William Blake. May refer to the jobs that Rita and Frank have and what these reveal about their relative social class.


An overview of the text is evident. An assessment of what Frank’s world consists of and what Rita needs to learn in order to gain access to that world. The opening of Act 2 can be referred to and the arrival of the character Trish, where we see Rita outgrowing her reliance upon Frank as a means of accessing culture.


A full understanding of the text will be evident. Candidates will offer a clear understanding of the links between education, culture and social class. Answers at this level may interpret education as being more than formal learning, and may see Rita’s increased self-esteem as a function of her increased confidence in aspects of culture and her ability to mix with other social classes, such as the other students and the lecturer at the summer school.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May offer exploration of the complex relationship between the factors in the question, and may consider the relative values about culture and class that are being questioned in the play, developing Frank’s view that Rita appears to have come so far, for so little.


Educating Rita 22 “Rita has as much influence on Frank as he has on her.”


This question invites candidates to consider aspects of character development in the light of mutual influence. Some candidates may interpret this as questioning the traditional concept of education as a one-way process, which is a valid response as long as it strongly text-based. Others will interpret “influence” as being broader than education and may cite the changing speech patterns, clothing and even hair styles of the two characters as evidence of mutual influence. Answers in the upper mark ranges may analyse reasons for the mutual influence of Rita and Frank, possibly suggesting the mutual disillusionment of the two characters as being an important factor in their desire for change. Credit any text-based response to the question.


Begins to use the text to develop ideas. Might, for example, narrate the manner in which one aspect of one of the characters changes, such as Rita’s manner of speaking going from “There’s loads I don’t know” to, “…you don’t do Blake without doing innocence and experience, do y’?”


Uses specific details, chosen appropriately, to address the question directly. May refer directly to Rita’s growth in sophistication, knowing the right clothes to wear and the right wine to drink.


An overview of the text is evident. Candidates will recognise that a wide range of “influence” can be seen on the characters and that clearly both characters change during the course of the play. Answers at this level and beyond are likely to focus on the evaluative element of how much influence, rather than simply citing examples of influence.


A full understanding of the text will be evident. Candidates may consider the significance of certain key texts, such as Frank admitting that he has read Rubyfruit Jungle and considered it to be excellent, and Rita’s mastery of Peer Gynt.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Answers at this level may analyse reasons for their mutual change, such as their unfulfilled relationships and their disillusionment with their current lives.


A View from the Bridge 23 “Most of the time now we settle for half and I like it better.” says Alfieri at the end of the

play. How far would you agree that the events of this play are caused by the failure, on the part of some of the characters, to compromise?

Candidates are invited to discuss how the inability of some characters to “compromise” affects the course of events. Much discussion of Eddie can be expected, but responses may also argue that other characters do not compromise. Credit any text-based responses.


Begins to use the text to develop ideas. May describe, in general terms, how some characters do not compromise.


Uses specific details, chosen appropriately, to address the question directly. May perhaps concentrate on Eddie and the importance to events of his failure to compromise.


An overview of the text is evident; a broader response to the question may encompass a range of characters who fail to compromise.


A full understanding of the text is evident. Perhaps candidates may make a case that in addition to the failure to compromise, other flaws are responsible for events: for example, pride and egotism.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. The full potential of the question may be explored. There may be more sophisticated responses dealing with the clash of cultures between the Italian immigrant community and American society.


A View from the Bridge 24 This play ends on a climax with the death of Eddie. How far do you agree that the writer

succeeds in building up dramatic tension in the course of Act 2? This question asks candidates to evaluate the writer’s skill in creating ‘dramatic tension’ in the course of Act 2, but they are encouraged to look beyond the obvious event at the end of the act. They are free to argue in any way they choose. Other responses may make detailed references to the writer’s dialogue and stage directions as ways in which tension is created.


Begins to use the text to develop ideas. Might describe moments or episodes which create tension.


Uses specific details, chosen appropriately, to address the question directly. Will probably refer to the tension between Eddie and Beatrice.


An overview of the text is evident. Will range with confidence over Act 2 exploring a variety of episodes which create ‘tension’.


A full understanding of the text is evident. Candidates will offer a clear understanding of how the writer creates tension throughout the act and argue that every little detail is focused towards the end of the act.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May include astute reference to specific dialogue and stage directions as well as covering most of the aspects outlined in the focus paragraph above.


Talking Heads 25 “In these monologues, many characters reveal more about themselves than they realise.”

By referring to Her Big Chance and AT LEAST ONE other monologue, show how the writer makes characters reveal so much about themselves.

This is a question about dramatic irony. Candidates do not have to use the term, but should be aware of the concept to be successful. Travis, in Her Big Chance, is an obvious example of a lack of self awareness, ironic in an actress, but all narrators can be used in this answer. The question focuses upon the techniques employed by the writer, though it is likely that some candidates may analyse the response of the audience. Are we supposed to be critical of Doris and her stubborn obsession with hygiene that ultimately leads to her downfall, or do we sympathise with a woman traumatised by her failure to have children? Candidates who engage in speculation at this level are likely to be in the upper mark ranges.


Begins to use the text to develop ideas. Might retell an incident from one of the monologues and indicate some features of character that are apparent to the audience, such as the fact that Lesley is actually very poor at judging people despite her constant claims to be “interested in interesting people”.


Uses specific details, chosen appropriately, to address the question directly. Details at this level should be expected from the other chosen monologue as well as Her Big Chance. The conclusion may be that Irene is an interfering busybody rather than a virtuous, public-spirited individual.


An overview of the text is evident and a clear grasp of Her Big Chance and the other chosen monologue will be evident. There may be an assessment of how much certain characters have contributed to their own situation, such as Muriel’s unquestioning trust in her son, Giles.


A full understanding of the text will be evident. There will be a more sustained view of characterisation through dramatic irony, so that candidates may comment on how humour is used to help us appreciate how socially dysfunctional Graham is, and yet how his suspicions of Mr Turnbull prove to be correct.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Analyses how the audience realise Lesley’s naivety at the same time as she tries to appear sophisticated and professional, and how this faux sophistication is scorned by others. May also consider whether characters such as Lesley or Muriel are quite as unaware as they appear, or whether they adopt their personas as a self-defence mechanism that stops them having to face some painful truths.


Talking Heads 26 Several of the narrators in the monologues have been described as, “intolerant, snobbish and

self-centred”. By referring to A Chip in the Sugar and AT LEAST ONE other monologue, show how the writer engages our interest in such characters, despite these characteristics.

There is scope here for candidates to wholly agree, disagree or take a more selective view of the judgements made. Candidates may conflate the three terms or see fine distinctions between them. Both approaches are valid and should be given credit for the quality of the answer given. The question invites candidates to comment on characterisation through the expression of extreme or outspoken views, such as, “Blaming it on the government. Frank says it’s the blacks.” Some characters are largely defined through intolerance and social pretence, such as Irene, whilst for others it is a lesser part of their character, such as Lesley in Her Big Chance.


Begins to use the text to develop ideas. May retell incidents from Susan’s life with the “Geoffrey Fan Club” in Bed Among the Lentils.


Uses specific details, chosen appropriately, to address the question directly. Details at this level should be expected from the other chosen monologue as well as A Chip in the Sugar. May comment on Doris’s self-centredness.


An overview of the text is evident and a clear grasp of A Chip in the Sugar and the other chosen monologue will be evident. There may be an awareness that some characters such as Graham are dismissively intolerant of some characters, such as Mr Turnbull, but are gently superior to others such as his mother, “She’ll look at my Guardian and she actually thinks for herself.”


A full understanding of the text will be evident. May reflect upon the motivation for some of the attitudes held or views expressed, for example, may consider that Doris’s views on the poor standards of cleanliness provided by Zulema are simply a manifestation of her dislike for all things modern.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There will be a clear understanding of a range of attitudes held and how they allow the audience to feel a sense of moral superiority to those voicing such opinions, sometimes presented as humorous, offensive or at other times simply incongruous, such as, “They sell mangoes in our post office, what explanation is there for that?”


Journey’s End 27 How successfully has the writer created a sense of the futility and hopelessness of war in this

play? The candidates do not have to agree with the assertion implied in the question; they may disagree; and therefore they are free to argue that the writer does not successfully build up a sense of futility in this play – the jokey atmosphere in the trenches, Osborne’s easy avuncularity, Stanhope’s perseverance – all mitigate a sense of futility. However, there is plenty of other evidence to support the assertion – the pointless raid in which Osborne is killed, the personal cost of his resilience on Stanhope, the degrading living conditions (put into a wider perspective by all those nostalgic descriptions about England and ‘home’).


Begins to use the text to develop ideas. Will perhaps assert that there is a sense of futility and offer some examples – Raleigh’s death, the pointlessness of the raid, other references to enormous loss of life and the small amount of territory gained.


Uses specific details, chosen appropriately, to address the question directly. May begin to choose episodes which demonstrate futility: for example, may pick out the monotony of waiting in the trenches for something to happen.


An overview of the text is evident. Will use examples well to build up a sense of futility and range all over the text, using examples mentioned above but also less obvious ones – the physical deprivations of trench life, which might be said to increase a sense of futility.


A full understanding of the text is evident. May mention all of the above but may well be very explicit about the different dramatic elements – set, sound effects, dialogue – which help to build up the mood of the play.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. A coherent sense of the writer’s skill in using all the elements of the play to convey a sense of the war. At this level answers may take issue with the notion of ‘futility’ – that does not matter; they are free to do this.


Journey’s End 28 In what ways does the writer use the character of Raleigh in this play? Candidates are asked to evaluate Raleigh’s character and how the writer uses him in a variety of ways. His youth and his lack of experience, it may be argued, and his death at the end of the play almost come to symbolise the fate of the entire generation. Candidates may argue that his status as a newcomer in the trenches (to whom everything has to be explained) is a useful dramatic function. His enthusiasm and naïveté are contrasted with the more bitter experiences of the other officers. Some candidates may also point out that his interaction with other characters, especially Osborne and Stanhope, allows the writer to develop ideas.


Begins to use text to develop ideas. May offer a largely narrative and descriptive account of Raleigh.


Uses specific details, chosen appropriately, to address the question directly. Responses may show some awareness of the importance of Raleigh’s interactions with other characters.


An overview of the text is evident. Candidates may contrast Raleigh’s youthful optimism with the officers’ attitudes and may start to explore the writer’s ideas.


A full understanding of the text is evident. Candidates should offer an understanding of Raleigh’s role in the play and the writer’s use of him to convey ideas about the war and, perhaps, about the nature of heroism.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May have a strong sense of the context of the war and argue, perhaps, that Raleigh symbolises the lost generations of the First World War.


The Long and the Short and the Tall 29 How does the writer create and sustain dramatic tension in the play? Candidates are likely to explore the interaction between characters, but should not fail to recognise the tension that is created by their isolated position in relation to the enemy. There should be a recognition that the Japanese prisoner plays a crucial role in the development of tension, leading to the climax when he is shot. The disparate nature of the characters and their backgrounds is an area to be explored by candidates, particularly those of Bamforth and Johnstone. Some candidates may refer to the detailed stage directions and how they help to ensure that actions as well as words contribute to tension, such as the trembling of Whitaker before he shoots the prisoner.


Begins to use the text to develop ideas. May, for example, retell episodes from the play such as the discovery of the cigarette case in the pockets of the Japanese prisoner.


Uses specific details, chosen appropriately, to address the question directly. May choose to focus on the character of Johnstone as a source of aggression and hostility to others, particularly Bamforth and the Japanese prisoner. From his first words with Bamforth we anticipate conflict.


An overview of the text is evident with candidates showing an awareness of how the reactions to the Japanese prisoner are used to raise and lower tension.


A full understanding of the text will be evident. There may be reference to the dramatic purpose of the radio transmitter at the end of Acts 1 and 2.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There will be a clear understanding of the tension caused between individual characters, such as Bamforth and Whitaker and the tension generated by their situation.


The Long and the Short and the Tall 30 “The play raises a moral dilemma of war: should you kill a man in cold blood because he is the

enemy when you know that he is also a human being like yourself?” What methods does the writer use to address this issue?

The question asks candidates to understand how issues can be addressed through the medium of a drama. The key to this question is the use that the writer makes of the Japanese soldier and the different reactions of the other characters to him as a means of exploring this issue. Candidates may consider how the early part of the play is used to establish the common humanity of characters such as Evans and Bamforth, and how this is used as a counterpoint to attitudes expressed later in the play.


Begins to use the text to develop ideas. Might retell incidents relating to the Japanese prisoner, such as the discovery of his family pictures that help to humanise him as a character.


Uses specific details, chosen appropriately, to address the question directly. May choose to focus on Bamforth and his changing reaction to the prisoner, from his initial desire to shoot the prisoner from afar; his desire to bayonet the prisoner when first captured; to his determination to take him with them when they leave the hut.


An overview of the text is evident, with candidates showing how the character of the prisoner is presented as being more humane than the vindictive and violent Johnstone.


A full understanding of the text will be evident. There may be an understanding of how Mitchem is used to voice the issues of morality as seen through the eyes of a practising soldier with his cold logic which argues for the murder of the prisoner.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There should be an awareness that the writer is using the audience’s reaction to certain characters to influence how we respond to the views that they express: Bamforth’s humorous and humane character is attractive in contrast to the weakness of Whitaker or the inflexibility of Macleish.


SECTION D: MODERN LITERARY NON-FICTION


You should spend about 45 minutes on the question in this section. Angela’s Ashes 31 How does the writer create a sense of what England and the English mean to him and his

family? Although there are very few English people in the book, the English are a constant presence through references by the Irish characters. At the start of the book, these references tend to come from Frank’s father and are related to the songs he sings about the glory of laying down your life for Ireland in the service of the IRA, but once the family have moved back to Ireland the references become even more frequent. England and the English, very crudely, are the Protestant colonial power responsible, ultimately, for Irish economic stagnation, the Irish diaspora and the day-to-day difficulties the McCourt family faces. Candidates may observe that Frank as narrator reports what people say to him and the candidates may see, in his example towards the end of the book, not his disagreement with the general feeling about the English, but at least an acceptance on his part that destinies can be altered and lives controlled.


Begins to use the text to develop ideas. May give examples of clear anti-English sentiment displayed by Frank’s father or the censoring of English newspapers late on in the book.


Uses specific details, chosen appropriately, to address the question directly. May begin to choose episodes to illustrate the Irish sense of oppression at the hands of the English, and their own sense of themselves as victims – ready, as Frank’s father is after a few drinks, to lay down their lives for Ireland against the English.


An overview of the text is evident. May start to use examples of English people in the text more appropriately and may also move towards a sense of England not just as an oppressive colonial power but as a Protestant culture, alien to the Irish.


A full understanding of the text is evident. May include all the above but may also be aware of Frank’s growing awareness of the complexity of the issue. May note the work during World War Two that lures Irishmen to England and the mixed feelings that the Blitz evokes in ordinary Irish people.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May touch on many of the points given above and will come to a balanced, mature and cogent conclusion with, perhaps, some sense of the wider historical context of English colonialism.


Angela’s Ashes 32 “Although this book is filled with misery, poverty and death, the writer manages to convey a

strong sense of hope and optimism.” Do you agree there are reasons for hope and optimism to be found in this book?

There is a wealth of material to use in answer to this question. Candidates may refer to the endurance of the human spirit itself as embodied in Frank’s narrative and his survival. There is also the humour with which even very early parts of the book are suffused; there is the maturity of Frank towards the end of the book, exemplified by his attitudes to work and to alcohol which are so different from his father’s; and there is the dream of a better life in America with which the book ends. Candidates, of course, are free to disagree with the question or perhaps to agree to a limited extent – to acknowledge the existence of hope and optimism, but to argue that the overwhelming mood is one of melancholy.


Begins to use the text to develop ideas. May retell some incidents which can be seen as hopeful or perhaps assert that certain aspects of the text can be seen in an optimistic light.


Uses specific details, chosen appropriately, to address the question directly. May choose specific examples, probably from later in the book, such as Frank’s dogged saving of money to go to America, to show the truth of the quotation.


An overview of the text is evident. Will start to use examples from the text more thoughtfully. Will, perhaps, use Frank’s attitude to education and to alcohol to show how different he is from his father.


A full understanding of the text is evident. Answers may convey a strong sense of the text as a whole and how we have moved from the bleak opening surrounded by death and poverty to an ending of relative hope as Frank arrives in America.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May involve some mature reflection of the book’s overall tone and mood in the context of this question or may be aware of the symbolic importance of America in the centuries-old Irish diaspora.


The Diary of Anne Frank 33 “Anne Frank’s diary is a story of ordinary people in extraordinary circumstances.”

To what extent do you agree with this view?

Candidates may choose to emphasise either part of this question or to take issue with it, seeing the characters in the Annexe as extraordinary, though there is no justification for describing the events as ordinary. References may be made to the mundane events of daily life such as preparing food or the conversations that people have, and to the events of the war such as the expectation of invasion and the growing awareness of the treatment of the Jews by the Nazi regime. This is the essence of the content for candidates to consider as they seek to reach a balanced judgement.


Begins to use the text to develop ideas. May, for example, give a broad outline of the events of the Diary or may choose to adopt a character-by-character approach.


Uses specific details, chosen appropriately, to address the question directly. May concentrate on some key moments of ordinariness, such as the peeling of the potatoes, though may equally argue that the manner in which Anne describes this turns it into something quite extraordinary.


An overview of the text is evident, with candidates showing a clear awareness of the two aspects from the question. There may be an awareness that it is the depiction of family relationships, particularly mother and daughter relationships, that is highly recognisable and so, could be seen as “ordinary.”


A full understanding of the text will be evident. There may be sustained comment about the events of the war, and in particular the “extraordinary” fate of the Jews at this time.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. May offer a variety of interpretations and may recognise the importance of the character of Anne, through whom all of the reader’s impressions are filtered. It is her perception and presentation of events that makes them ordinary or extraordinary.


The Diary of Anne Frank 34 To what extent does the character of Anne change during the course of the Diary? This is an open question that invites candidates to explore the character of Anne. The essence of the question is not in merely tracing the changes that we see in the character of Anne, but in making a judgment about the extent of these changes. Credit all text-based responses.


Begins to use the text to develop ideas. May, for example, retell certain incidents from the diary which characterise certain aspects of Anne’s personality, such as the incidents from April 5th, 1944 when we see a more mature Anne.


Uses specific details, chosen appropriately, to address the question directly. Might, for example, choose to highlight her growing ability to recognise her feelings for Peter, and her ability to recognise and express them.


An overview of the text is evident. Candidates will recognise that there are aspects of Anne’s character that do not change significantly, such as her outgoing, “chatty” personality that sustains the reader throughout.


A full understanding of the text will be evident. Candidates will recognise that the character of Anne is multifaceted and complex, and that she may at times appear to be contradictory – such as her statement that that she is not interested in politics balanced by the coverage that she gives to such things as the speech by Churchill.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There may be a suggestion that as Anne herself develops, the nature of the Diary changes, increasingly focusing upon the inner life of Anne and less upon the details of her life.


Bad Blood 35 “In my first high school year I had no friends.”

“We were made for each other, born again as best friends.” How much importance does the writer give to friendship, when presenting a picture of her life throughout the book?

This is a very open question, and any text-based interpretation should be given consideration. Some candidates may take the view that the writer’s intense ‘inner life’, her love of books, and the ramifications of her family life replace conventional ‘friends’; others might choose to write at length about the writer’s time spent with Gail – or, for example, Vic. The question also allows for comment on friendships which do not necessarily involve the writer herself: Grandfather and MB might be described as a ‘friendship’ outside the family. The ‘presenting this picture’ element of the question allows candidates to engage with aspects of the writer’s skill and technique, rather than discussing content alone.


Begins to use the text to develop ideas. Might, for example, give an account of the writer’s friendships – Gail as the most obvious example, perhaps – with some comment relating this to the question.


Uses specific detail chosen appropriately to address the question directly. Might, for example, choose particular episodes, involving Gail or others, and consider how these episodes fit into the overall impression which the writer creates of her life at this stage.


An overview of the text is evident. At times friendship was not important to the writer – ‘I became … agonisingly shy … I lived in books …’ but her years as a (relatively) outgoing teenager need also to be taken into account. The question asks for some evaluation of ‘importance’ – the writer’s own comments on her actions, in adult retrospection, may form part of the overview.


A full understanding of the text will be evident. The aspect of the question ‘when presenting this picture’ may be more fully addressed at this level. There may also be a fuller understanding of the role, as well as the technique, of the adult writer, and of how her evaluation of her childhood shapes the reader’s reaction.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Might interpret ‘friendship’ with particular emphasis: for example, were some family members ‘friends’ to her more than others? Candidates will show a full grasp of the writer’s technique, and of her approach to the re-creation of her own early years.


Bad Blood 36 How does the writer present her relationship with Vic to the reader? This is a narrowly focussed question and puts emphasis on the writer’s presentation of the relationship, rather than on the narrative alone. The view may be taken that Vic is presented sympathetically, for the most part, even though the marriage does not last. Thoughtful candidates may comment on how the writer allows others’ views of Vic to inform her re-creation of the time – ‘Vic was one of the family.’ Any text-based interpretation of the relationship should be given consideration.


Begins to use the text to develop ideas. Might, for example, give a narrative outline of the writer’s relationship with Vic, and how it developed.


Uses specific detail, chosen appropriately, to address the question directly. May choose particular episodes from their relationship to illustrate how she speaks of him, at the time or looking back as an adult autobiographer.


An overview of the text is evident. May well balance the early days (‘we were inseparable’) with evidence from later episodes. The aspect of the question which asks for comment on presentation will be given due attention: the craft of the writer in providing a perspective will be acknowledged and illustrated.


A full understanding of the text will be evident. May recognise subtleties in the presentation of the relationship, such as how Vic was seen by others (others with whom the writer had a pre-existing relationship of her own). ‘The more my parents saw of Vic, the more they liked him; he was much less … bloody-minded than me.’ The comments which the writer makes on Vic in the ‘Afterword’ might be considered, perhaps, as a footnote to the presentation of the relationship.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Candidates will show a full grasp of the writer’s technique, and of her approach to the re-creation of her time with Vic: this might include how she re-creates her feelings at the time and how, perhaps, she offers a different judgement now.


Chinese Cinderella 37 How successfully does the writer bring to life the personalities of Niang and Aunt Baba? At a simple level some candidates may interpret this question as asking for a character description of Niang and Aunt Baba. It is important that credit be given to the evaluative aspect of this question. This may involve candidates in being critical of Yen Mah, and seeing the characterisation as simple, even two dimensional at times. This is perfectly acceptable. Some may introduce a consideration of the intended readership and may argue that the simplicity of the characterisation is a function of the lack of sophistication of the intended readership. It may be that some candidates compare and contrast the two characters. This is not required, but if it helps candidates to clarify and express ideas then it is quite acceptable as a way to structure their answers. Credit all valid, text-based responses.


Begins to use the text to develop ideas. Might, for example, cite the manner in which Niang greets them all on their arrival at the house in Shanghai, with a restrictive list of rules that make clear their lowly status within the family.


Uses specific details, chosen appropriately, to address the question directly. Might consider how the incident where Niang is reunited with Little Sister reveals Niang to be insensitive, violent and a poor mother.


An overview of the text is evident. There may be an awareness that Aunt Baba fulfils many of the emotional functions of a parent, and perhaps a reference to the incident where most girls write about their mothers when set the writing task, “My Best Friend”, but Yen Mah writes movingly about Aunt Baba.


A full understanding of the text will be evident. There may be references to Aunt Baba symbolising the traditional virtues of China, whilst Niang’s French heritage is stressed, rather than her Chinese side.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There will be a clear understanding of the range of devices employed and a judgement made about their relative successes, with close reference to a range of incidents from the novel.


Chinese Cinderella 38 “There is as much to dislike in the personality of Adeline Yen Mah as there is to admire.”


Candidates are free to agree wholeheartedly with this statement, take exception to it, or offer a more balanced view. All of these represent valid responses. The question is inviting candidates to recognise a certain smug, self-serving dullness about her; a constant need to demonstrate her academic prowess, as she seems to have little else to offer in terms of skills or personality. Some may see that after disapproving of Niang because of her French background and presenting herself to the reader as an embodiment of Chinese values, there is a certain hypocrisy in the haste with which she deserts her native country. Candidates may reject these observations, but in doing so may well recognise and address them, and so produce a valid response to the text.


Begins to use the text to develop ideas. Might, for example, refer to the affection which Aunt Baba holds for her, which would seem to refute the first assertion in the question.


Uses specific details, chosen appropriately, to address the question directly. Might consider how the reader responds to her plotting against Niang after her arrival in Shanghai.


An overview of the text is evident. May, perhaps, refer to the incident when Yen Mah refuses to accept a lift from Dr Wu even though she is utterly drenched and nearly blown away by the storm.


A full understanding of the text will be evident. Some candidates may see as obsessive the manner in which Yen Mah puts up a front to the world whilst living a secret life of thwarted desires. When she lets this front down the reader can interpret it as a weakness, such as the incident when she is collected from St Joseph’s School by Aunt Reine Schilling.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Answers at this level might contrast the different cultural assumptions that are being made by reader and writer: where Yen Mah presents herself as loyal and respectful to her father, a western reader may interpret her behaviour as lacking in spirit and self-respect. The disparity between these views is a source of interest for many readers.


Down and Out in Paris and London 39 How effectively does the writer bring to life his experiences in the ‘spikes’? This question relates to a relatively brief period of the book, but there should be plenty of material on which candidates can base a response. Some candidates may focus on the subject matter: the conditions, the crowding, the characters the writer encounters, for example; others may take an approach which concentrates more on an analysis of the writer’s descriptive style. Better responses will no doubt cover both of these, and other aspects of the question: any text-based interpretation should be given consideration.


Begins to use the text to develop ideas. Might, for example, comment on the writer’s early experiences, after he can no longer afford ‘lodging houses’.


Uses specific detail, chosen appropriately, to address the question directly. May comment on ‘realistic’ details which bring the account of the spikes ‘to life’ … eg ‘It is a curious but well-known fact that bugs are much commoner in south than north London’.


An overview of the text is evident. As well as reviewing the subject matter, candidates will give due weight to the ‘how effectively’ element of the question, offering a judgement on the writer’s skill and technique in re-creating places, events or characters.


A full understanding of the text will be evident. Responses may refer to the creation of atmosphere, or how the writer reflects on his experiences retrospectively: his ‘general remarks’ in chapter 36 might be taken into account, for example.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Candidates will form a clear judgement in response to the question, based on a command of the text.


Down and Out in Paris and London 40 “This book deals with grim realities, but does so in an interesting, and at times entertaining,

way.” What do you consider to be the ‘interesting’ and ‘entertaining’ elements of the book?

This question is very broad. It is phrased so that candidates do not necessarily have to find the book ‘interesting’ themselves. Candidates may point to the writer’s ‘interesting’ subject matter or the range of ‘entertaining’, even humorous, episodes or characters: or they may approach the question more in terms of an analysis of the writer’s style and approach – it is, perhaps, his perspective on, and involvement in, the events and relationships which give them their ‘interest’ and ‘entertainment’. Any text-based interpretation should be given consideration.


Begins to use the text to develop ideas. Might, for example, point to the ‘entertaining’ elements by drawing on one or two humorous moments – Paddy’s razor, for example, or some of the outrageous events in the Hôtel des Trois Moineaux.


Uses specific detail chosen appropriately to address the question directly. May offer particular examples of how the subject matter is in itself interesting – in that it exposes so believably a world which is unknown to most readers.


An overview of the text is evident. Both content and presentation will be acknowledged. Some candidates might split the quotation, suggesting that the book is ‘interesting’, whilst questioning ‘entertaining’.


A full understanding of the text will be evident. Some thought might be given to the writer’s purpose – presumably to raise awareness amongst his likely readership of conditions which may have been unknown to them – and how the writer therefore attempts (successfully or otherwise) to ‘interest’ and ‘entertain’ the reader.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Candidates will form a clear response to the question, based on a command of the text.


A Moment of War 41 “After the traumatic events in the book, the ending is disappointing.”

What is your opinion of the ending of this book?

Candidates are asked to evaluate the ending and they are free to adopt any line of argument they choose. Some may choose to see it as appropriate: it is a broadly chronological account and it ends when the writer leaves Spain; others may see its inconclusiveness as a fitting end to a book in which his participation in the Spanish Civil War has been inconclusive and ineffective.


Begins to use the text to develop ideas. Might offer an account of the ending.


Uses specific details, chosen appropriately, to address the question directly. Might argue that the ending is appropriate to the chronological structure of the whole text.


An overview of the text is evident. There may be awareness that the ending is somewhat anti-climactic, which candidates may realise was perhaps the writer’s intention.


A full understanding of the text is evident. Candidates may reflect on other parts of the text in order to frame an argument about the ending.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. Candidates may offer a variety of interpretations on how appropriate the ending is, with close reference to a range of incidents from the book.


A Moment of War 42 How does the writer create a positive impression of the lives of Spanish people, despite the

background of war? This book conveys a strong sense of respect for the Spanish people on the Republican side, and their way of life. Candidates may recognise that there is a sense of the way of life being under threat from the Civil War, and may see how the writer presents a clear view of the positive way people respond to living through a war. Credit any text-based responses.


Begins to use the text to develop ideas. Might make comments about how the writer isolates some positive details about some Spanish people.


Uses specific details, chosen appropriately, to address the question directly. The candidate’s comments on the writer’s choice of specific people will show an awareness of the writer’s intentions, such as the musicians or the innkeeper in Madrid.


An overview of the text is evident. May, perhaps, make observations on the stoicism of the Spanish people and the way they deal with particular incidents, such as the bombing raid on Valencia and the food shortages in Madrid.


A full understanding of the text is evident. Responses may, perhaps, refer to the importance of the Church and the Spanish people’s differing attitudes to it; or to the liberation of women under the Republican government.


Offers a confident and lucidly argued interpretation that shows elements of originality and flair. There may, perhaps, be a sense that the people are not presented in an homogenous way: candidates may offer a variety of interpretations, and may recognise that not all of the writer’s impressions of the Spanish people are positive.


The Assessment of the Quality of Written Communication May 2006 GCSE English Literature Paper 3H Mark Scheme

The following procedures should be adopted with reference to the criteria for the Quality of Written Communication in the mark scheme for the above examination paper in summer 2006. 1 The QWC marks, which may initially have to be determined by a second scrutiny of the script,

should be beneath the ‘subject total’ as the ‘QWC total’. 2 The ‘content’ mark should be out of 40 and the QWC mark should be out of 2; the ‘paper

total’ is therefore out of 42. 3 The criteria for the Quality of Written Communication are included below. For GCSE English

Literature paper 3H marks for QWC should be awarded to candidates on the following basis:

QWC Marks per Level

QWC Criteria Threshold Intermediate High

GCSE English Literature mark allocations 0 1 2

4 Criteria for the Quality of Written Communication

For each GCSE subject, 5% of the total marks available in written, terminal examination papers will be allocated to spelling, punctuation and grammar according to the following criteria:

Threshold performance Candidates spell, punctuate and use the rules of grammar with

only very limited success. Intermediate performance

Candidates spell, punctuate and use the rules of grammar with some accuracy; they use a range of specialist terms.

High performance Candidates spell, punctuate and use the rules of grammar with

greater accuracy, deploying a range of grammatical constructions; they use a wide range of specialist terms.


Grade-specific Descriptors: Higher Tier, Paper 3H

U 1 – 2 • answer makes a reference to the text or question • offers a rudimentary commentary.

G 3 – 5

• answer shows basic awareness of the question • offers some reference to the text • refers to some basic features(s) of the text • offers simple commentary on plot or character or theme.

F 6 – 10

• answer shows awareness of the question • refers to key feature(s) of the text • offers unelaborated comment(s) on the author’s method and/or use of

language • makes a basic personal response.

E 11 – 15

• makes a clear attempt to relate answer to the question • some reference to textual details • comments on author’s methods and/or use of language • offers personal response with some elaboration.

D 16 – 20

• answers are structured to the demands of the question • makes points supported by textual evidence • some awareness of the way that the author has developed

ideas/character/plot • shows some understanding of how the author uses language • offers detailed personal response.

C 21 – 25

• offers a direct and structured focus on the question • offers relevant textual details • comments on the ideas and themes in the text will be developed • explains the author’s use of language and supports with examples • awareness of the overall structure of the text • demonstrates a clear personal response.

B 26 – 30

• answer structured closely to the needs of the question • supports points made with carefully selected detail • clear understanding of the themes and ideas • clear and sustained knowledge of the text • comments appropriately on language, structure and form • explains and develops a personal response.

A 31 – 35

• confident and developed response to question • confident command of text in relation to the question • clear understanding and exploration of ideas and themes • engagement with language, structure and form • personal engagement with text and ability to evaluate issues.

A* 36 – 40

• close, sensitive engagement with question • consistent, evaluative and perceptive engagement with text • critical evaluation of themes and ideas • evaluates the way that language, structure and form contribute to meaning • sensitive insight and exploration based on personal response to issues.


Further copies of this publication are available from Edexcel Publications, Adamsway, Mansfield, Notts, NG18 4FN Telephone 01623 467467 Fax 01623 450481

Email [email protected]

Order Code UG017894 Summer 2006 For more information on Edexcel qualifications, please visit www.edexcel.org.uk/qualificationsAlternatively, you can contact Customer Services at www.edexcel.org.uk/ask or on 0870 240 9800 Edexcel Limited. Registered in England and Wales no.4496750 Registered Office: One90 High Holborn, London, WC1V 7BH

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