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GCE EXAMINERS' REPORTS

ENGLISH LITERATURE

AS/Advanced SUMMER 2013

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Unit Page LT1 1 LT2 10 LT3 14 LT4 20

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ENGLISH LITERATURE

General Certificate of Education

Summer 2013

Advanced Subsidiary

LT1: Poetry and Drama Principal Examiner: Dr Jennifer McConnell

General Comments

We are now into the fifth year of the specification and it is pleasing to see that most candidates are well aware of the requirements of the paper. In many cases, teachers are to be congratulated for preparing candidates thoroughly for the demands of this exam. Examiners noted with pleasure the number of well-planned, focused and engaged essays which effectively balanced the different assessment objectives. Overall, there were very few scripts where candidates weren't able to engage with the texts to some extent. However, as in previous years, there are some issues that need to be taken into account.

Section A: Poetry post-1900

AO1

As in previous years, there are still some candidates who are not taking time to plan their essays. Planning is vital if candidates are to write focused, relevant essays.

In a significant minority of cases, candidates did not answer the given question or else began by answering the given question and then drifted into a different question, perhaps one that they felt more comfortable with. Planning will help to ensure that all points are relevant.

There are still some candidates who are taking a chronological approach to poems. Working through the poems stanza by stanza is not an effective approach and often results in a lack of relevance. Candidates are advised to select relevant techniques to analyse.

AO2

Many candidates are able to discuss the effects of techniques with ease and there were some sophisticated explorations of how writers create meaning. It is pleasing that many candidates are clearly aware of the need to ‘dig’ into quotations. However, a significant minority of candidates are embedding quotations without discussing how meaning is created. These candidates often scored highly on AO1 (concepts) but did less well on AO2.

Examiners also noted some issues with how candidates approached form and structure. Some candidates spent a lot of time listing the number of stanzas and lines per stanza: this is just feature spotting. In addition, there were a number of unsubstantiated and assertive claims for what the structure of poems might suggest. While it is valid to suggest that the nine-line stanzas in Plath’s ‘You’re’ may be linked to the nine months of pregnancy (as the poem is about a pregnant woman), it is less valid to suggest that because a poem looks ‘neat’ on the page it reflects Heaney’s confidence in his identity or because a poem has varying line-lengths, it reflects Larkin’s discomfort with the world. It is essential that candidates only make comments on structure that are valid and can be substantiated.

In the main, the most effective responses analysed only two core poems.

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AO3i

The strongest responses used the partner text as a lens through which to discuss the core text. However, some candidates are still discussing the partner text in isolation from the core text. Candidates can make links to the partner during or after their discussion of a core poem – either approach is valid, as long as the focus remains on the core text. If candidates choose to make links to the partner after writing about each core poem, they may want to think about a C/P/C/P/C structure, where ‘C’ is the core and ‘P’ is the partner.

There were fewer responses where candidates missed out the partner text altogether: this is encouraging. However, there were quite a few instances of candidates writing too much on the partner text – in some cases more was written on the partner than the core: this is not an effective way to approach AO3i.

AO3ii

As stated in previous reports, candidates can choose to include critical quotations if they wish – however, this is not a requirement for AO3ii and care must be taken when candidates are learning critical quotations. In order for candidates to at least ‘make use’ of readings (the Band 3 descriptor) the critical quotation needs to be relevant to the question and the candidate has to engage with it in some way. Some had clearly included all of the critical quotations they had learned without regard to their relevance.

A significant minority of candidates included quotations from critics that were not particularly helpful.

There are still some cases where candidates do not include any readings at all or even any tentative language (such as ‘perhaps’).

It is worth reminding candidates that AO2 is an effective way into AO3ii. If candidates explore the different (valid) ways in which a line or a technique can be read, then they are effectively addressing both AO2 and AO3ii.

In some cases, candidates use ‘signpost’ phrasing such as ‘some critics might argue’ or ‘another reading could be’ and then go on to give the same reading, only worded differently.

Notes on Questions T.S. Eliot: Selected Poems (Core text) (Prufrock and Other Observations, The Waste Land, The Hollow Men, Ariel Poems) W.B. Yeats: Selected Poems (Partner text) Q.1 What connections have you found between the ways in which Eliot and Yeats

write about time and its passing in their poems? In your response you must include detailed critical discussion of at least two of Elliot’s poems.

Candidates engaged well with this question. Not surprisingly, ‘Prufrock’ was a

popular choice and there were some sensitive analyses of the poem and of the presentation of Prufrock’s indecision. Other successful poems included ‘Portrait of a Lady’, ‘Rhapsody on a Windy Night’, ‘Preludes’ and ‘Animula’, with interesting links being made to ‘When You Are Old’, ‘The Lake Isle of Innisfree’ and ‘Sailing to Byzantium’. However, some candidates simply gave a list of examples of time within the poems.

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Q.2 Compare the ways in which Eliot and Yeats write about religion and/or spirituality in their poems. In your response you must include detailed critical discussion of at least two of Elliot’s poems.

There were some really impressive responses to this question with perceptive and

sophisticated handling of concepts. Candidates chose a wide range of poems including, ‘Journey of the Magi’, ‘A Song for Simeon’, ‘Animula, ‘The Hollow Men’ and sections from ‘The Waste Land’ and these poems were often discussed with real confidence. Many successfully focused on Eliot’s use of water symbolism to represent religion/spirituality. Candidates made successful links to Yeats’ ‘The Magi’ and ‘The Second Coming’.

Philip Larkin: The Whitsun Weddings (Core text) Dannie Abse: Welsh Retrospective (Partner text) Q.3 ‘Larkin rarely seems to feel comfortable with the world around him.’ In the light

of this statement, compare the ways in which Larkin and Abse present the world around them. In your response you must include detailed reference to at least two of Larkin’s poems.

The strongest responses engaged with the quotation in some way. The quotation

allows candidates a way into AO3ii (multiple readings). Candidates wrote successfully about Larkin’s speakers as detached and there were some perceptive comments on Larkin’s attitudes to society. Successful poems included ‘Here’, ‘The Whitsun Weddings’, ‘Mr Bleaney’ and ‘Toads Revisited’. Most candidates contrasted Larkin’s detachment with Abse’s warmth, although some focused on poems which arguably show discomfort with the world, such as ‘Return to Cardiff’.

Q.4 Compare the ways in which Larkin and Abse write about relationships between

men and women in their poems. In your response you must include detailed critical discussion of at least two of Larkin’s poems.

‘Talking in Bed’ and ‘Wild Oats’ were popular choices. Some candidates chose to write

about ‘Sunny Prestatyn’ which is not a useful choice for a discussion of the presentation of relationships between men and women. In a few cases candidates seemed unaware that the poem was about a poster. Some candidates are still loading their essays with biographical material and some used this to make assertions about the poems, often uncritically equating the speaker with Larkin. Effective contrasts were made to a range of Abse poems, including ‘Blond Boys’, ‘Postcard to his Wife’ and ‘Scene from a Married Life’.

Sylvia Plath: Poems Selected by Ted Hughes (Core text) Ted Hughes: Poems Selected by Simon Armitage (Partner text) Q.5 Compare the ways in which Plath and Hughes write about family in their

poems. In your response you must include detailed critical discussion of at least two of Plath’s poems.

Candidates found a number of ways into this question: there were some superb

analyses of the father/daughter relationships presented in ‘Daddy’ and ‘Full Fathom Five’ (often contrasted effectively with Hughes’ ‘The Bee God’ and ‘Being Christlike’). Candidates wrote effectively on mother/child relationships, for example in ‘You’re’ and ‘Morning Song’, while others explored the presentation of family as a burden in ‘Tulips’, ‘Ariel’ and ‘Lesbos’. Some candidates wrote implicitly on family rather than explicitly – it is important to keep explicit focus on the given question.

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Q.6 ‘Plath’s world is narrow and self-absorbed.’ In the light of this statement, compare the ways in which Plath and Hughes present their views of the world. In your response you must include detailed reference to at least two of Plath’s poems

The strongest responses engaged with the quotation in some way. The quotation allows candidates a way into AO3ii (multiple readings). While there were some sophisticated responses to this question, as stated in previous years, there is a tendency among some candidates to load their essays with biographical material and this often leads to assertive readings of the poems: the focus must always be on the text itself. In addition, some candidates began by writing about the poets’ views of the world and then drifted into an essay on nature (a particular issue when it came to making links to Hughes). While discussing the natural world is a valid way into the question, it is essential that candidates answer the question that has been asked.

Carol Ann Duffy: Selected Poems (Core text) (Standing Female Nude, The Other Country, The World’s Wife) Sheenagh Pugh: Selected Poems (Partner text) Q.7 Compare the ways in which Duffy and Pugh write about relationships between

men and women in their poems. In your response you must include detailed critical discussion of at least two of Duffy’s poems.

For both questions there were still centres where candidates wrote about poems not

among those specified and centres where candidates seemed unaware of where lines were indented because of typesetting not form. Successful poems for this question included ‘Standing Female Nude’ and poems from The World’s Wife collection. There were some perceptive discussions of how Duffy and Pugh present the objectification of women. However, some candidates chose less appropriate poems such as ‘Shooting Stars’, ‘Oppenheim’s Cup and Saucer’ and even ‘Girlfriends’. It is essential that candidates choose poems appropriate for the given question.

Q.8 What connections have you found between the ways in which Duffy and Pugh

use first person speakers in their poems? In your response you must include detailed critical discussion of at least two of Duffy’s poems.

Some candidates could have paid more attention to key words in this question. Some

chose poems with first person speakers but then seemed to think the job was done and discussed the poems without focusing on the 'use' of first person speakers or relied on the claim that first person 'automatically' meant you sympathised with the speaker and shared their emotions. Successful poems included ‘Education for Leisure’ and ‘Girl Talking’ and for Pugh, ‘Intercity Lullaby’ and ‘Sweet 18’.

Seamus Heaney: New Selected Poems (Core text) (Death of a Naturalist, Door into the Dark, The Haw Lantern) Owen Sheers: Skirrid Hill (Partner text) Q.9 Compare the ways in which Heaney and Sheers write about identity in their

poems. In your response you must include detailed critical discussion of at least two of Heaney’s poems.

Candidates found a range of valid and interesting ways into this question, including explorations of personal identity (there were some nuanced discussions of ‘Digging’), political identity (drawing for example on Heaney and Sheers’ poems on battles), the shift from childhood to adulthood and struggles with identity. Some candidates were a little insecure on ‘Requiem for the Croppies’, with some thinking it is about the 1916 Easter Rising; one candidate even said that the speaker was Heaney himself.

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Q.10 ‘What is most distinctive about Heaney’s poetry is its powerful, often surprising imagery.’ In the light of this statement, compare the ways in which Heaney and Sheers use powerful and surprising imagery in their poems. In your response you must include detailed reference of at least two of Heaney’s poems.

Candidates chose a range of poems, for example linking those with similar images

such as ‘Blackberry Picking’ and ‘Hedge School’. The strongest answers explored how powerful and surprising imagery was used. However, some candidates simply asserted 'powerful' or 'surprising' as they worked their way through poems. With a question like this, candidates may wish to choose a theme (or more than one theme) as a way into the question – for example, they may want to show how Heaney uses powerful and surprising imagery to present the theme of childhood or death, etc.

Eavan Boland: Selected Poems (Core text) (New Territory, The War Horse, The Journey) Clare Pollard: Look, Clare! Look! (Partner text) Q.11 What connections have you found between the ways in which Boland and

Pollard write about social and/or political issues in their poems? In your response you must include detailed critical discussion of at least two of Boland’s poems.

Very few responses were seen.

Q.12 Compare the ways in which Boland and Pollard write about sorrow and sadness in their poems. In your response you must include detailed critical discussion of at least two of Boland’s poems.

Very few responses were seen.

Section B: Drama post-1990

There are still some candidates who seem to think that AO3ii (multiple readings) is assessed in Section B. At times, critical readings were included to the exclusion of AO4 (context).

AO1

As with Section A, there were a number of responses which drifted from the question. It is essential that candidates read the question carefully and answer the question that has been asked. Again, as with Section A, planning will help with focus and relevance.

Some candidates worked through the given extract chronologically; this led to a lack of relevance.

Some candidates are not spending enough time on the given extract. A good rule of thumb is to do approximately 50% of the essay on the given extract.

AO2

There was evidence of perceptive grasp of dramatic techniques, with some candidates discussing props, costume, music, staging and lighting with confidence. However, in some cases there wasn’t enough direct comment on dramatic techniques.

Some candidates discussed characters as real people rather than as fictional constructs. It can be useful to encourage candidates to use the word ‘presents’ when discussing characters, and also to think of the function of the character within the play.

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AO4

As stated in previous reports, the best way to approach AO4 is through AO2. Responses must have a literary focus: in fact, it can be helpful to think of AO2 as driving all of the other AOs in both sections of the exam.

Some candidates are still ‘tagging’ context on at the beginning or end of their essays, without linking comments directly to the text.

While it is appropriate for candidates to include brief references to relevant context in their introduction, some began their essays with long contextual overviews with no reference to the question or the play until the last line of the introduction (and sometimes with no reference to either at all).

Some centres are not doing enough on wider context.

Some comments on context (and in particular comments on audience response) are too generalised.

Notes on Questions David Hare: Murmuring Judges Q.13 Re-read Act 2 Scene 1 from the beginning on page 50 to page 54

(CUDDEFORD: It adds to a richness of culture, a depth, a breadth of vision you only find in an Inn.). Discuss how Hare presents ideas about class in this extract and at least one other point in the play.

There were some impressive responses which showed sophisticated handling of

concepts and dramatic techniques. Candidates clearly enjoyed discussing the effects of techniques such as staging, lighting and costume. While the majority of candidates were secure on class, some were a little uncertain, for example discussing Barry as an upper class character.

Q.14 Re-read Act 2 Scene 7 (page 99 to page 102). Discuss how power struggles

between men and women are presented in this extract and at least one other point in the play.

Again, there were some superb responses. Candidates showed real understanding

of Hare’s presentation of gender dynamics and of the characters as constructs. There were some excellent discussions of how staging showed power struggles, not just between Irina and Barry but also between Sandra and Barry and Irina and Sir Peter. It would be helpful if candidates make clear when they are discussing direct contextual influences on the text (e.g. ‘Birmingham Six’/ Asking Around) and when they are discussing contextual factors that would influence how later audiences would receive the play (e.g. Stephen Lawrence case).

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David Mamet: Oleanna Q.15. Re-read Act 3 from page 68 (CAROL: You think I’m a, of course I do.) to page

71 (CAROL: Oh. Your job. That’s what you want to talk about.). Discuss how Mamet uses Carol and John to explore social and political issues in this extract and at least one other point in the play.

Candidates successfully considered a number of social and political issues including

class, gender, political correctness, education and feminism. However, in some cases AO4 could be very general and this affected the success of these responses. In a large minority of cases candidates did not define which social and political issues they were going to discuss. Context was sometimes ‘tagged’ on, for example references to the Thomas/Hill case were often written about in isolation from the text – candidates need to ensure that all references to context are grounded in the text. There was also some evidence of generalised and assertive comments about aspects of context such as feminism.

Q.16 Re-read Act 2 from page 48 (CAROL: Do you deny it? Can you deny it...?) to

page 52 (CAROL: Good day. (She prepares to leave the room.)). Discuss how Mamet presents challenges to authority in this extract and at least one other point in the play.

There were some strong responses. However, some candidates wrote about power in general rather than challenges to authority; while power is a valid aspect of the question, candidates must keep focus on the question that has been asked. Some candidates wrote about John and Carol as real people rather than as fictional constructs. There was also a tendency to write about the reception of the play without making it relevant to the question.

Brian Friel: Dancing at Lughnasa

Q.17 Re-read Act 2 from the top of page 50 (GERRY: No false modesty. You know you’re a great dancer, Chrissie.) to page 52 ((Gerry runs on and calls through the window:)). Discuss how Friel presents the effects of changes in society in this extract and at least one other point in the play.

The strongest responses had a literary focus rather than being driven by context – it is always helpful to think in terms of AO2+AO4. Some candidates wrote about society in general rather than changes in society and this led to a lack of relevance in places. Some candidates were not wholly secure when discussing the Spanish Civil War – some stated that Gerry was signing up to the Irish Brigade (who fought on the side of Franco) when the play makes it clear that he has joined the International Brigade (who fought for the Spanish Republic).

Q.18 Re-read Act 1 from page 26 (KATE reads the paper – or pretends to.) to the bottom of page 29 (GERRY: What are you laughing at?). Discuss how Friel presents relationships between men and women in this extract and at least one other point in the play.

The strongest answers kept focus on relationships between men and women. Weaker answers tended to focus on the different roles of men and women, or else provided a character study of Gerry. Candidates often chose to discuss another extract with Chris and Gerry, which is a valid approach; others chose to explore the relationship between the sisters and Father Jack, which produced some interesting discussions.

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Tom Stoppard: Arcadia Q.19 Re-read Act 2 Scene 7 from page 104/page 106 in the new edition (Valentine

Listen – you know your tea’s getting cold.) to page 109/page 111 in new edition (Septimus has stood, and she nods him back into his chair.). Discuss how Stoppard uses scientific ideas in this extract and at least one other point in the play.

There were some impressive answers with confident (and at times sophisticated)

handling of the ways in which Stoppard uses scientific ideas. Almost all candidates were able to discuss to some extent Stoppard’s use of theories such as entropy, the Second Law of Thermodynamics and Chaos Theory. However, some candidates drifted from the question at times. Some candidates showed superb grasp of concepts but needed more focus on dramatic techniques such as props, costume and staging.

Q.20 Re-read Act 1 Scene 2 from page 27/page 29 in the new edition (She goes to

the garden door to bang her shoes together and scrape off the worst of the mud.) to page 30/page 33 in new edition (She holds his look.). Discuss how Stoppard presents women and attitudes towards women in this extract and at least one other point in the play.

There were some really interesting responses, with many candidates choosing to

discuss the differences (and in some cases the similarities) between Regency and twentieth century attitudes to women. Candidates enjoyed writing about the presentation of Hannah in relation to Bernard; however, some were a little insecure on Hannah’s relationship with Bernard. Most candidates chose to discuss the presentation of Thomasina as a genius, while others wrote equally productively on the presentation of Lady Croom and on the sexist attitudes displayed towards Mrs Chater.

Arthur Miller: Broken Glass Q.21 Re-read Re-read Scene 9 (page 61 to page 63/page 72 to 74 in new edition).

Explore Miller’s presentation of prejudice in this extract and at least one other point in the play.

Despite the play being written in the 1990s, some candidates wrote about how a 1930s audience would have responded to the play. This was an issue in both questions. The strongest answers focused on how Miller’s dramatic techniques showed the strained relationship between Gellburg and Case. Some candidates chose to write about another scene between Case and Gellburg, some focused on Gellburg’s own prejudice (particularly against the German Jews in Scene 1), while others wrote about prejudice against women. All of these proved to be valid and successful approaches.

Q.22 Re-read Scene 8 from page 58/page 68 in new edition (GELLBURG (reaching for his authority).) to the end of the scene on page 61/page 72 in new edition. Discuss how Miller presents ideas about masculinity in this extract and at least one other point in the play.

There were some truly superb responses to this question, with confident explorations of masculinity. Most candidates made a link to Gellburg’s impotence and many made productive contrasts between the presentation of Hyman and the presentation of Gellburg. It was pleasing to see sustained focus on dramatic techniques such as costume, props and stage directions. However, some candidates included limited reference to wider context beyond generalisations about the roles of men and women in 1930s America.

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Diane Samuels: Kindertransport Q.23 Re-read Act 2 Scene 2 from page 84/page 83 in new edition (HELGA. You

should change your mind and come with me.) to the end of the play. Discuss how Samuels presents the effects of events in 1930s/40s Germany on the characters in this extract and at least one other point in the play.

There were some very strong responses, with confident handling of concepts, and

candidates clearly enjoy writing about this play. Almost all candidates showed some understanding of the events in 1930s/40s Germany. However, in some cases, context dominated. The strongest answers threaded context throughout and kept focus on dramatic techniques: it is always useful to think in terms of AO2+AO4.

Q.24 Re-read Act 2 Scene 1 from page 73/page 72 in new edition (FAITH kneels

down and stares at the pieces. She tries to gather and fit them together.) to page 77/page 76 in new edition (EVA. I thought that you were not alive.). Examine how Samuels explores ideas about loss in this extract and at least one other point in the play.

There was range of productive and interesting interpretations of loss, including loss

of parents, loss of childhood and loss of identity. The strongest responses explored how Samuels’ dramatic techniques helped to highlight the theme of loss, with some effective discussions of the use of time-shifts, innovative staging and props, in particular the dolls and the ripped up paper. However, there was a tendency among some candidates to write about the characters as real people rather than fictional constructs.

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ENGLISH LITERATURE

General Certificate of Education

SUMMER 2013

Advanced Subsidiary

LT2: Prose Study & Creative Reading Principal Examiner: Rhodri Jones General Comments It has been good to see progression once again this year in the delivery and assessment of this coursework module. Many centres are embracing the ethos of the module, encouraging independent reading and study and allowing candidates to explore their own creative ideas for their own writing. It is also good to note that the online CPD material has been useful in giving some centres approaches to teaching while also clarifying standards through exemplary material. In many cases this report will be preaching to the converted and if, as you read, you can say, “Yes, we do that” you will know that you are one of those centres who know the standards and get things right. If that’s the case, I should thank you for making the role of the moderator straightforward and pleasurable. Section A: Prose Study One of the exciting aspects of this module is to see the range of texts chosen by candidates. The best responses clearly come from the candidates’ own engagement and reading of the texts. However, even very good candidates were let down by poor task-setting. A poorly-worded task can make the difference of a grade and although most centres carefully craft tasks and use the advice provided, there are still many that don’t. The advice given in the past tends to be:

the task itself should give candidates a narrow enough focus for them to manage in 1500 words;

a brief quotation can, if well-worded, lead candidates to consider AO3 (other readings) of the core text;

candidates need to be steered away from dealing with the content as fact rather than fiction, the characters as real people rather than literary creations. Drawing attention to authorial craft is one way of achieving this e.g. ‘Consider the way Conrad presents…’;

the ‘core’ text needs to be foregrounded in the wording of the task.

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To get into the higher bands candidates should be able to analyse the detail while also considering the whole text. That relationship between close reading and overview is a sign of someone who has understood the whole text for themselves rather than regurgitating notes given by the teacher. Let’s take The Great Gatsby (probably the most popular text in this module) as an example. Despite the level of independence seen, Fitzgerald’s The Great Gatsby is a very popular text and I suspect that with Lurhmann’s film, its use will increase. It is a great novel and lends itself well to AS Level study. Although tasks in symbolism and characters can lend themselves well to this close analysis/overview approach, too many who responded to those types of tasks adopted an approach which merely listed symbols or commented on passages where the character appeared. These tasks were often helpful to some weaker candidates but seemed to limit the opportunities for many. The added danger of the character study is that it can lead to candidates treating them as real people and adopting a psychological approach. The same is true for tasks on ‘social class’ which, with context being foregrounded, can lead to a sociological reading of the texts. This isn’t always the case of course; LT1 Section B tends to have some contextual detail for candidates to focus on. However, if candidates aren’t aware of the centrality of textual analysis (AO2), they will struggle with that type of task. Another possible danger with task-setting is that centres can slip into teaching a text for a specific task. Candidates can then lose the overview while they also read the text in a very limited way. It is better that the candidate decides, after reading and studying, which area they would like to focus on for their essay. Another element that needs some care is in choosing partner texts. Again, many choose a Fitzgerald text as a partner text to The Great Gatsby while Wide Sargasso Sea by Jean Rhys is often matched with Brontë’s Jane Eyre. There is plenty of rich material to explore in these pairings. It is frustrating therefore to find candidates adopt a biographical approach with Fitzgerald’s texts and an approach that treats the characters of Rhys and Brontë’s novels as real people. The partner text is meant to illuminate the reading and understanding of the core text. Those working at the higher bands managed to move beyond merely noting similarities or differences in content to commenting on the similar or different way the writers’ choices of language, form and structure created meaning. Work that is only noting general similarities and differences that are merely surface features should not be awarded in the top bands. The second strand of AO3 (other readings) also needed to be more developed to reach the higher bands. Merely quoting a critic or offering another possible reading is not as productive as when these views are being explored, considered and evaluated. Moreover, the only references that too many candidates use are from websites such as Spark Notes or Shmoop. These can be good places for some candidates to begin to explore and support their reading but they shouldn’t be substituted for the type of critical response that could be used for the course. There is plenty of material available to use to enable candidates to stretch and challenge their reading of their chosen texts. Too many centres seemed to boost their candidates’ marks in this section through being very generous for AO3 and AO4. Some candidates had a great deal of contextual information but if that didn’t influence the reading of the text, then it wasn’t sound or confident analysis of wider context. Again, the contextual influences on the reading of the text need to be explored rather than stated if a candidate wants to reach the higher bands. Such generosity was often frustrating because even a cursory glance at the annotation of the essays would have shown the centre that a candidate who had only one reference to AO3 (other readings) for example, would hardly deserve to be scoring highly for that AO.

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A number of moderators commented on how well so many of the folders had been prepared: cumulative word counts were in place; bibliographies were detailed with centres using fitting essays and texts to support their candidates’ study; essays had been annotated in detail, often with supporting comments from the assessment grid; summative comments had been detailed while those on the coversheets clearly justified the awarded marks. The best centres also ensured that candidates remained within the word count and had stopped assessing if the candidate had exceeded it. When these weren’t in place, centres punished themselves through generous assessment and exceeding the word count. This is particularly frustrating when centres have been warned in previous years. I appreciate as a practising teacher that coursework can mean a great deal of painstaking work but getting the basics right tends to lead to greater success for the candidates.

To summarise, the key points are:

task-setting;

the choice of partner text;

adopting a literary approach;

making the most of AO3 and AO4;

the teacher annotating and assessing the folders thoroughly.

Section B: Creative Reading

Moderators enjoyed reading some lively, engaging creative work in this section. Some of the voices heard were particularly memorable and although the short story was the most popular form, it was good to see candidates exploring other genres in response to their stimulus texts. I always enjoy seeing candidates try their hand at poetry but many do need some more support from teachers. A collection of poems was often generously marked particularly when candidates seemed to have little sense of rhythm or line. I can understand why centres would want to reward ambition and the attempt of presenting something in poetry but care is needed in assessment.

Of greater concern was the fact that too often the stimulus text was ignored or touched on very briefly in commentaries. The assessment grid does mention, from Band 3 upwards, that candidates should respond to ‘writers’ techniques’. The use of the plural suggests that the candidates need to consider the ways in which the writer of the stimulus text has created meaning through form, structure and language as well as in their own writing. Some candidates were rewarded far too generously considering how little they referenced their stimulus text. It is expected that they quote and analyse their chosen text, albeit in not as much sustained detail as their analysis of their own writing. I still believe that one of the best examples we have of someone who has done this successfully is in the commentary on the story ‘Envoy’ from previous CPD material.

I would warn against following the genre of ‘Envoy’ however. Science-fiction, fantasy, the gothic and dystopias are very difficult genres to get right and, again this year, I would encourage candidates to write about things closer to their own experience. Dystopias were particularly popular. The problem with such a genre is that candidates tend to spend so much time building the dystopian world that they forget to tell a story. Their commentaries also tend to be affected as the candidates explain the world they’ve created rather than analysing the way form, structure and language have been used to create meaning. Indeed, if candidates had a clearer sense of that meaning before they’d started their creative piece, their commentaries would be far more confident and detailed. Candidates who weren’t aware of the overall ideas they wanted to explore, or which were being explored in their stimulus texts, struggled to move beyond merely spotting techniques. Some grand claims were made for some techniques which were usually assertive and unsubstantiated. As I mentioned in last year’s report, too many of the techniques spotted in Section B (as in Section A) were more typical of poetry rather than prose. Alliteration and sound were often analysed in great detail when more obvious prose techniques, such as narrative voice, were ignored. It is clear that some centres need to assist candidates in exploring their stimulus texts and to think of ways in which they could be used to create their written pieces. At times the correlation between texts could be rather tenuous. In some cases, creative work seems to have been written before the stimulus text has been chosen. Stimulus texts should be read and studied by the candidate and then used as a stimulus for their own creative response.

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As with Section A, the most securely assessed candidates were usually the ones who’d annotated the creative work and the commentaries with detailed comments. This practice was much rarer than in Section A. Again, centres need to be reminded to stay within the limit for the word count while using one short story as a stimulus text is not appropriate. The stimulus text is one of the twelve studied over the whole course and needs to be a collection of stories, a published collection if possible. To summarise:

Avoid the pitfalls of genre-based writing;

Encourage candidates to write from their own experience;

It is not the content of the writing that makes it exciting but the way it is expressed;

Avoiding spotting techniques in the commentary;

The use of the stimulus text in the commentary. Hopefully, this year’s report has affirmed the work taking place at your centre. A great deal of excellent work was seen by moderators: well-structured, thoughtful and perceptive essays, lively and engaging creative writing and confident, analytical commentaries. Plenty of good practice was seen throughout the range of marks with most candidates engaging with their texts and being assessed conscientiously. Despite the hard work involved, moderators often commented on the good work of candidates and teachers alike which made the experience so rewarding .

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ENGLISH LITERATURE

General Certificate of Education

SUMMER 2013

Advanced

LT3: Period & Genre Study Principal Examiner: Lesley Hancock Anyone not fully convinced of the merits of internal assessment modules would do well to read some of the outstanding work seen by all moderators. Freed from the unavoidable constraints of exam modules, where texts and tasks are of necessity selected for them, many candidates demonstrate truly breathtaking analytical skill and mature understanding which makes the moderation process rewarding and a genuine pleasure. At the lower end of the range, it is clear to see that this module also allows the more pedestrian and less gifted candidates to demonstrate solid understanding and the benefits of exposure to a range of ideas and treatments. Their teachers’ comments testify to the confidence and independence this module has developed in candidates as vital preparation for higher education. Administration Most centres clearly took great pains to ensure that the sample was sent on time and in good order which was greatly appreciated by the moderators. However, some centres’ failure to adhere to the guidance in the WJEC’s Internal Assessment Moderation document made the process unnecessarily time-consuming. When preparing the sample, all centres should ensure:

the candidates’ work is arranged in rank order. Many centres also include a printout of the sample from the electronic mark sheet which is very useful.

each candidate’s folder is separately and securely fastened with a staple, paper clip or treasury tag.

candidates’ work is not placed inside individual manilla folders or polypockets.

marks on the coversheets are correctly added together and correspond to the total entered online. The best centres check this very carefully.

all coversheets are signed by both the candidate and the teacher and are completed in full.

the sample is posted to reach the moderator by the deadline. A small number of centres repeatedly send work late, well after the deadline, which is unfair and causes extra work for the moderator. If there is an unavoidable reason why the work cannot be posted on time, the centre should contact the Subject Officer.

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The majority of centres ensured that their candidates adhered to the strict regulations regarding word count. However, as there still appears to be some uncertainty in centres, it would be helpful to note the following points:

The total word count for each candidate’s folder should be clearly stated on the coversheet.

The word count should be accurate. It is not acceptable to give a casual estimate, especially as nearly all the work is word processed.

Cumulative word counts must be included at the foot of each page of the candidate’s work

Quotations are included in the word count as they further the candidate’s argument.

The task title, bibliography and brief footnotes referencing sources are not included in the total word count.

If any candidate exceeds 3,300 words, then the primary marker and internal moderator must cease marking at the point when the upper limit is reached and clearly indicate that they have done so.

Assessment

Once again, most centres’ assessment of their candidates’ work was secure and there was clear evidence of good practice. There were fewer examples of centres immediately awarding full marks to their top candidate, hopefully after considering the exemplar work available on the WJEC website. It seemed as if revisiting the standardising materials, ideally just prior to the final assessment process, had helped more centres form a realistic overview of their candidates’ work and the range of marks covered. However, moderators noted that there was some reluctance by centres to use Bands 1 and 2 which led to candidates’ work being generously assessed at the bottom of the sample at times. In cases where centres’ marks had to be adjusted, the inaccuracy in marking was often accompanied by sparse annotation and brief, generalised summative comments.

In general, insecure assessment tended to be characterised by:

use of random ticks with no or sparse annotation

overly effusive or complimentary marginal comments which didn’t accurately reflect the candidates’ achievements. While it is understandable that teachers would want to encourage their students and give praise wherever possible, the primary purpose of the annotation is to justify marks awarded to the external moderator.

brief, generic final comments with no individual appraisal of the work

awarding half marks for separate AOs. A whole mark should be given for each of the AOs, including a separate mark out of 5 for each strand of AO3.

giving comments on the coversheet for only one strand of AO3 instead of appraising both connections (AO3i) and alternative readings (AO3ii).

making adjustments to marks in the internal moderation process without indicating clearly how or why marks had been altered. It is very unhelpful when the marks awarded for each AO do not add up to the final mark awarded.

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Centres demonstrating good practice in assessment tended to:

annotate the candidates’ work in detail, using AO markers accompanied by brief but carefully chosen phrases from the band descriptors to indicate clearly the band achieved at that point.

show clear evidence of internal moderation. It is especially pleasing to see those centres who dual mark some or all of the folders and make absolutely clear how and why marks have been altered in the standardisation process. This is excellent practice, especially in centres with more than one teaching group or in consortia where efficient standardisation is vital.

ensure that comments reflect the AO descriptors but are also individual and specific rather than merely comprised of phrases copied from the criteria. The centres whose marking is most accurate are often those where markers are willing to give a full appraisal of the work, acknowledging candidates’ weaknesses as well as highlighting their strengths.

make clear how the separate strands of AO3 have been rewarded. Text Combinations

As centres have become more confident in teaching this unit, moderators report seeing some really inspiring text selections, and the candidates’ enthusiasm – and often their teachers’ - shines through their responses! This inventiveness was often evident in the thoughtful selection of partner texts, some obviously chosen to contrast with, and sharply illuminate, the core prose and poetry, rather than simply to echo their themes or concerns. It was particularly pleasing to see centres choosing partner texts from other conflicts to cast light on WWI core texts; The Reader, The Things They Carried, Henry V, The English Patient, Here Bullet and Keith Douglas’ verse were just some of the works used effectively to complement WWI core texts. There was also inventive use of “non-war” partner texts, linked to candidates’ specific themes, such as All My Sons, A Room with a View and A Handful of Dust. Some text combinations can be less helpful, however, and the most successful centres constantly review their text and task choices in order to give their candidates the very best chances to impress. It is worth remembering that texts might be approved by WJEC as being of sufficient literary merit and challenge for the unit, but not all combinations of those texts are equally appropriate or practical. Moderators often comment in reports on task selection, aiming to give objective and constructive advice, and it is always encouraging to note that centres have acted on the suggestions in the following year’s submission. However, a few centres persist in restricting their candidates’ chances of success by using the same unwise text combination and tasks which have been repeatedly advised against in moderators’ reports. While it is accepted that centres have to be mindful of the cost of purchasing new texts, especially in the current financial climate, they should nevertheless be willing to reconsider their approach when their candidates struggle to show individuality, structure a convincing argument or make meaningful connections between their current selection. For instance, an exploration of the failure of the American Dream in The Great Gatsby or Revolutionary Road as core prose and A Streetcar Named Desire or Death of a Salesman as partner might be feasible, but it was certainly harder to make effective connections with the poetry of either Emily Dickinson or Poe. The same was true in establishing convincing links between the concept of dreams in The Nun’s Priest’s Tale, The Great Gatsby and Cat on a Hot Tin Roof or linking Pride and Prejudice, Shakespeare’s sonnets and Williams’ Cat in a consideration of taboo love. The latter text and task combination led to some rather strained links, such as comparing Maggie’s unfulfilled passion for Brick with Mr Collins’ unrequited admiration for Lady Catherine!

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Task Choice If centres are financially constrained and committed to a certain text combination, it would be worthwhile discussing and revising task choices, so as to include greater variety and provide more opportunity for candidates to develop individual literary responses. For instance, candidates could discuss the presentation of rebellious or passive females, male oppression, marital disharmony, selfishness, vanity or mendacity in the aforementioned Chaucer/Fitzgerald/Williams selection. Perhaps the presentation of unhappiness, thwarted or obsessive desire or ambitions, isolation or delusions would be worthwhile topics for consideration in the American works listed. Quite a lot of centres opt to teach all three texts which is, of course, an acceptable approach; centres are best placed to judge what is most appropriate for their candidates. However, if all three texts are common to the whole group, it is vital that candidates are encouraged to select their own question from a wide range of tasks so that they can demonstrate the creativity and independence which are fundamental components of this unit. Unfortunately, in a small number of centres all the candidates are effectively responding to the same task, despite some minor differences in the wording of the question, and even worse, following a template or essay plan. This becomes evident when the same ideas and references, the same quotations from the text and other readers’ views, and essentially the same basic structure or argument emerge. Centres must be aware that this approach is not in keeping with the spirit of the module and should be avoided as it certainly disadvantages candidates; is very unlikely that any following such a template would be able to achieve high marks, especially in AO1 where creativity and originality are rewarded. As in the past, it was clear that carefully considered task setting was a crucial factor in candidates’ success. Happily, most centres have followed advice given in moderators’ reports or at CPD meetings to word tasks in such a way as to steer candidates towards the AOs and the appropriate weighting by:

foregrounding core texts to emphasise of the subordinate role of the partner as illumination;

inviting a solidly literary response by using the term “presentation” or “detailed critical analysis” as a direct steer to AO2;

including some direct reference to AOs 3 and 4 in the question;

making the focus of the task manageable and driven by AO2 rather than AO4. However, there were still some poorly worded tasks which hindered rather than helped the candidates, especially when the focus of tasks was too wide-ranging and unwieldy given only 3,000 words. Candidates struggling with very broad and abstract concepts such as power, love, relationships, gender, society, war would benefit from some qualifying adjectives to narrow their focus and make it easier to structure a coherent argument. When trying to consider love in Pride and Prejudice, Metaphysical poetry and Cat on a Hot Tin Roof, for instance, candidates at one centre tended to list so many different manifestations of love that they merely skimmed the surface of sexual, unrequited, taboo, maternal, family, platonic, superficial and destructive love in the texts! Yet a specific examination focus on the way any one or perhaps two of the topics covered was presented encouraged more depth of analysis so as to address AO2 more directly. Some candidates clearly gave themselves too much to do in 3,000 words and needed guidance from their teachers in how to word their tasks. For instance, a consideration of “the role of women in society and how it has changed” from The Merchant’s Tale, through Jane Eyre to A Doll’s House invited a response driven by generalised and overly simplified context, whereas a discussion of the ways in which the writers present the repressed wife might be a more appropriate literary focus.

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In another example of unwise wording, the candidate considering the “literal and emotional significance of meteorological conditions in wartime literature” perhaps inevitably strayed too far from a literary appreciation of the texts, resorting to some quite sweeping generalisations and a focus on real weather conditions in real conflicts such as Waterloo. Perhaps this task could have been helpfully reworded as an exploration of the ways in which the writers have presented and made use of weather conditions to shape meaning as a more solidly literary approach to the texts. Problems with Poetry Perhaps the most worrying trend noted by moderators, as mentioned in last year’s report, was the frequent side-lining of the poetry core text with the consequent deflation of marks in all AOs, but especially AOs 2 and 3i. Very often the core novel dominated and in some extreme cases there was more detailed and direct consideration of the partner play! There were perhaps several reasons for this crucial neglect of the core poetry which centres should be aware of and try to avoid:

Not all candidates seemed totally sure of the relative importance of the texts and some markers did not register this imbalance in their assessment, even when there was blatantly more focus on the partner text.

Centres sometimes selected the poetry text as the third option to fit an overall thematic approach rather than for its own intrinsic merit as poetry.

As recommended in last year’s report, it seems clear that most candidates making use of verse anthologies needed to be reminded that not all the poems included in selections are of equal literary merit; some candidates struggled to analyse technique in the poems selected because they were chosen for thematic links alone and lacked sophistication.

In a minority of centres, candidates are given a totally free choice of all three texts, which is admirably in keeping with the spirit of the unit. However, evidence would suggest that only the most confident and able candidates are capable of analysing poetry in sufficient depth without some direct guidance. It might be worthwhile some centres considering how much teaching of the core poetry text, to some or all candidates, would be most helpful. If a core poetry text is taught in some detail, it can then be linked with the candidate’s own choice of core prose and partner texts, thereby still fostering independence.

AO3 and AO4 Finally, there were a few issues which arose in relation to these AOs which might be helpful pointers:

It is a requirement that all candidates must include a full bibliography; when these were missing, it was often in centres where AO3ii was relatively weak.

Candidates need to be made repeatedly aware of the extremely serious consequences of plagiarism, especially when using materials taken from the internet. It is the centre’s responsibility to explain and emphasise the crucial difference between reading and absorbing material from study sites and lifting whole phrases or paragraphs from them without placing them inside inverted commas and referencing the sources in footnotes or the bibliography.

It is also helpful to steer candidates away from less worthy sources of other interpretations when addressing AO3ii, such as Amazon readers’ reviews or comments on online blogs, such as “This is the best book I’ve ever read!”

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Contextual material needs to be specific, relevant and accurate to be purposeful, and candidates should avoid sweeping generalisations such as “Women in Regency England were obedient to their husbands and always put their needs before their own”.

To avoid context-driven responses from the outset, it would be worthwhile advising candidates to make specific mention of their core texts in the opening sentence, rather than starting the essay – or even any paragraph – with reference to context. As a rule, it’s always best to start with the text.

I hope some of the issues raised in this report will be of use to centres in preparing their candidates for LT3 next year. It is perhaps easy to point to faults and weaknesses, but I’m sure most moderators would agree that the majority of centres should be commended for their hard work in preparing students for a challenging but very rewarding module.

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ENGLISH LITERATURE

General Certificate of Education

SUMMER 2013

Advanced Subsidiary/Advanced

LT4: Poetry and Drama 2 Principal Examiner: Stephen Purcell

General Remarks

As always, the quality of many responses was outstanding and there was evidence of excellent practice from the majority of centres. However, there remains a significant number of candidates who continue to take the sort of unproductive approaches which have been detailed in previous reports. In January 2013, an example of a poor essay introduction was published in the hope that such a stark and clear reminder would be useful in helping candidates to improve their work. Sadly, exactly the same weaknesses were once again quite common in essays which were clearly well informed and had the potential to score higher marks had the candidates’ approaches been more focused and relevant.

Other advice from past reports on matters such as the incorporation of raw historical data and the use of irrelevant critical material had also been ignored by many candidates who may well be disappointed that extensive efforts (sometimes over many sides in the answer booklets) will not have been as highly rewarded as they might have expected. For centres’ convenience, January’s advice is reprinted below but it is now necessary to add cautions concerning the use of filmed productions for Section B (TV documentary or drama materials for Section A) and the quality of handwriting.

References to stage or film productions of plays in Section B have always been welcomed when they are an aspect of the candidate’s overall creative response to the text. Relevant references to material of this sort can be rewarded under AO3ii as evidence of other readings or interpretations of plays demonstrated through directorial choices or actors’ presentations. However, this time there was a worrying number of essays (particularly on Hamlet) where the majority of the response was focused upon a description and appreciation of a particular production. Obviously enough, essays of this sort gave little consideration to the language of the plays but concentrated upon arbitrary interpretations of character and setting which made it very difficult for examiners to see how the majority of the assessment objectives had been addressed.

There was a slightly different issue in Section A where those who had studied John Donne gave excessive attention to the documentaries they had seen on Donne’s life and work. Once again, if these materials are used for the enrichment of teaching which is otherwise based very firmly upon a close reading of the poetry then they are to be welcomed. Unfortunately, many responses became unproductively biographical in their approach to the poems and used the entertaining guesswork of TV documentary as a substitute for close, critical analysis. Just as worrying were those candidates who based their responses to the Wife of Bath’s Prologue and Tale on a made-for-TV modernisation of the Tale so that ideas about the wife became inseparable from ideas about Julie Walters’ presentation of the character. It is, of course, impossible to be sure about what precisely is happening when candidates prepare for this examination, but with ready internet access to materials such as those above it is necessary to help candidates to an understanding of the differences between popular entertainment and the disciplines of literary studies.

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Very large numbers of scripts were seen where writing was almost illegible; there was also a marked tendency for handwriting to deteriorate badly after the first two or three sides of the answer booklet. Centres are strongly advised to make sure that candidates have had sufficient essay practice under timed conditions and, in cases where handwriting is found to be consistently illegible, it will be necessary to make appropriate arrangements for candidates to word process their responses.

Extract from Report – January 2013 Advice

Avoid introductions which take up time and space but contribute almost nothing to the essay. Here is an example of what should be avoided: Response to Question 5 January 2013

In this essay I will be exploring some of the ways in which William Blake makes use of landscape and/or nature in his poems in The Songs of Innocence and its comparison collection The Songs of Experience. I will also be comparing Blake’s use of these concepts with Christina Rossetti’s nineteenth century poem The Thread of Life in which she reflects about the quality of life.

Take care to avoid uncritical and sweeping remarks “obviously”; “completely”; “continually”; “throughout the text”; “indisputably” are prime examples of language where candidates have allowed debating tactics to substitute for creative, critical analysis which might have been better served by more tentative or provisional judgements.

Avoid lengthy, wide-reaching and general overviews of poetry or drama in introductions to essays and link the chosen question to aspects of the core text as swiftly as possible.

Remember that claims such as “Lear is blind and immoral” without discussion and support are mere assertions and of limited value in a literary essay.

Adopt and maintain an appropriate register of language. Essays at this level quickly become unconvincing when they suggest that Shakespeare might be “having a dig” at James I; the Fool is “only having a laugh” with Lear or that the Wife of Bath “goes off on one about virginity.”

Use technical terms (a requirement for AO1) carefully and never as a substitute for critical discussion. For example, simply spotting and labelling Lear’s hamartia or agnorisis does not really help to demonstrate a creative engagement with Shakespeare’s presentation of the character or the relevant literary concepts.

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Section A: Critical Reading of Poetry Item level data shows that while the “facility factor” (which measures the level of challenge presented by each of the questions) in this section is very similar across all five questions, the largest percentage of candidates attempted Question 2; Question 1 was the second most popular with questions 3, 4 and 5 proving equally attractive in third place.

Q.1 This was a popular question and attracted responses drawing upon all of the set texts. Wife of Bath candidates were good at spotting the possibly desperate hope for renewal or restoration of beauty and “husbounds fresshe abedde” but essays were often short of the textual analysis necessary to support these insights. Donne candidates demonstrated some very adept balancing between hope for successful seduction and hope for salvation while closely engaged candidates managed to uncover what they felt might be a darker side to Donne in poems such as ‘The Apparition’. However, the most sophisticated essays took this opportunity to explore different voices rather than attempt speculative biographical links. Those who had prepared Milton produced some excellent responses on Satan and Eve while weaving in some relevant contextual ideas about predestination. Lyrical Ballads is not a very popular text but responses to this question focused very strongly upon social hope or the lack of it and this was also true of Blake responses. In both cases, many candidates allowed their essays to be driven by AO4 and were not always successful in giving sufficient attention to the ways hope was presented through attention to tone, imagery and structure.

All unseen poems were used here with Clare’s ‘I Am’ and Jonson’s ‘Come, My Celia’ proving the most popular,

Q.2 This was also popular but produced some very alarming ideas of “ordinary” and “ugly”. The Wife’s references to herself needed very careful treatment and some rather clumsy essays could not distinguish between bawdy, coarse talk and the ugliness of rape or exploitative behaviour. Subtle responses to Donne once again examined voices in the different poems and made good use of the attitudes explored in ‘Love’s Alchemy’ as well as the use of “ordinary” objects in the construction of metaphysical conceits. Some Milton candidates regarded the fall of man as an ordinary, everyday story of country folk and only the most sophisticated candidates managed to unravel the moral ugliness of characters’ attitudes and the irony of the most (apparently) ordinary of domestic rearrangements resulting in the catastrophe of the fall. Lyrical Ballads was well addressed as candidates lost no time in applying the precepts of the Preface and looked at the language and lives of ordinary people. The best essays on Blake looked closely at the way ordinary objects became charged with such power as they took on symbolic value, while less inspired responses limited themselves to the ugliness of Blake’s world and became bogged down in social history.

‘The Quarrel’, ‘I Am’ and ‘Cities And Thrones And Powers’ were all used effectively for this question.

Q.3 This was well handled by most who attempted it. The only real problem arose from those who ignored the conventions of this type of question, disagreed assertively and then presented their own idea of what makes poetry effective without any further reference to the element of “surprise”. There was some interesting work on surprise as moral indignation in Chaucer’s presentation of the knight’s fate in the Wife’s Tale; Donne responses usually focused very effectively upon imagery but some managed to examine and support some of the subtle and surprising attitudes which emerge in Donne’s work. Milton essays looked at the ways “surprise” could be created for dramatic effect in a well- known story and responses to the Romantics looked at choices of subject matter and surprising insights: there was some good writing on ‘We Are Seven’ and highly engaged work on the surprising depth and resonance of Blake’s imagery and symbolism.

‘I Am’, Shelley’s ‘Sonnet’ and ‘The Quarrel’ once again proved popular.

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Q.4 Understandably enough, most essays looked at the didactic nature of great poetry and so the medieval and modern audiences have the true nature of women illuminated in the Wife; love and faith are the key elements illuminated by Donne and in Milton we are taught to understand the subtle dimensions of human relationships and weakness. Lyrical Ballads (with due reference to the Preface) adjusts our social vision and priorities while Blake shines an analytical light upon the evils in his society and the issues of religious faith. Very few essays attempted to stray beyond these boundaries (nobody as far as I know attempted the “Beauty is truth...” approach) and there was little upon the aesthetic qualities of poetry and how we might be persuaded to see significance beyond immediate social issues.

All of the unseens came into play here with some ingenious twists involving

persuasion and how a lover might be coaxed into “seeing the light” in responses to ‘Come, My Celia’.

Q.5 It was rewarding to see how many readers of Chaucer had moved beyond the

obvious assertions about the Wife’s brash confidence to an appreciation of the fundamental insecurity and uncertainty of her position. There was some sensitive reading of subtext here and well-judged support. A similar approach to Donne was taken by thoughtful candidates with some good analysis of both religious and secular poems and some excellent writing on ‘Good Friday Riding Westward’ from a number of centres which examined Donne’s use of the intellect to resolve uncertainty and achieve the security of faith. However, this question more than any other suffered from the assertive, biographical writing mentioned above. Milton answers looked mostly at the Adam and Eve relationship – some thoughtfully engaging the conundrums of predestination while others offered some sensitive and engaged responses to Satan – most making use of Blake’s famous assertion about Milton’s sympathies! In essays on Lyrical Ballads and Blake’s poetry most of the emphasis fell upon the perception of childhood /innocence, moral dilemma (as in ‘Expostulation and Reply’) and attitudes towards religion.

Candidates made productive use of all of the unseens. Section B: Shakespeare and Related Drama In this Section, item level data is most useful in reviewing each pair of questions on the same texts. Once again, the facility factor was comparable in each pair. However, in all but questions 10 and 11 there was a marked tendency for candidates to prefer the first question in the pair. There is always a temptation to read too much into statistical data, but there could be some relationship between the number of false starts to essays in Section B and the tendency to choose the first available question. At the very least, it is worth emphasising to candidates that they do have time for reflection and planning before embarking on their essays. King Lear and Oedipus Rex Question 6 was well addressed by most candidates who wrote about both physical and metaphorical blindness. While the average essay stuck to Lear, Gloucester and Oedipus some more adventurous writers took time to consider Cordelia’s inability to see the consequences of her actions and Jocasta’s unwillingness to face the obvious until the very end. There was well informed writing in response to Question 7, but many took “pity” and “fear” in their normal, everyday meanings and only a few undertook a confident analysis of literary convention.

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Hamlet and The Revenger’s Tragedy There were some very strong responses on the “seeming and being” theme in Question 8. The key to success was gaining control of a potential avalanche of material and many candidates did this well – establishing priorities in their essays while also ranging widely. Some hampered their progress in their work on Question 9 by spending too much of the essay on abstract, theoretical discussions of the nature of moral good and evil. Clearly, terms have to be established for comments to be valid but this should always be done in terms of the texts rather than as a separate debate. Measure for Measure and The Duchess of Malfi Candidates were less tempted to abstract and detached discussion in their responses to Question 10; most essays began with how oppression and good government are expressed through the dramas themselves and continued with strongly text-based examinations. There were some excellent discussions of the Duke’s and Angelo’s moral status and adventurous essays extended the interpretation of oppression and good government into personal lives and the role of religion. Duty in Question 11 was slightly less popular and tended to focus on the responsibilities of office with some critical views of the Duchess’ personal choices versus her public responsibility used to illuminate our views of Angelo. The Tempest and Doctor Faustus

There were some very strong responses to “the nature and practice of government” in Question 12 with ambitious candidates looking at Alonso and Antonio as well as Prospero himself. Good essays took full account of the importance of subplot and some wrote very interestingly on Prospero’s treatment of Miranda, Caliban and Ariel as an allegory of the management of the body politic. There were excellent responses to Question 13 but some became over schematic as they attempted to find point-for-point correspondence between the comic characters and the serious roles while others concentrated too heavily upon the nature and impact of the comedy rather than on the comedy as a vehicle for the key themes. Obviously, candidates were free to establish what they believed to be the key themes and all sensible suggestions were accepted.

Richard II and Edward II There are so very few responses to these texts that it is impossible to comment upon broad trends but in the essays that were seen it would be fair to say that while power was well handled in Question 14 most essays would have benefited from more attention to the poetic qualities of the plays. Responses tended to be driven by contextual reference rather than engagement with the language of the texts. In responses to Question 15 there was some thoughtful writing about the characters and motivations of the rebels but, again, insufficient attention to the language of the plays and the dramatic techniques used to create sympathy.

Marking LT4 is a demanding but highly rewarding task and I know I speak for all examiners on this unit in offering congratulations to centres on their hard work and professional approaches to preparing candidates. However, the job does have its lighter side and I felt that colleagues might like to share the thoughts of one candidate on the reasons why Shakespeare has achieved his iconic literary status:

“Theatre was popular in the seventeenth century because it was cheaper than gambling or whoring.” I suppose that just about sums it up! GCE English Literature Examiners’ Report (Summer 2013)/HL

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