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TRANSCRIPT
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INTRODUCTION
The results of the first HKDSE Examination were released on 20 July 2012. To enhance the
understanding of the standards of the HKDSE Examination, authentic samples of candidates’ scripts
have been selected to form this set of exemplars to illustrate the performance standards at different
levels.
There are 3 papers in this subject. This set of exemplars is selected from candidates’ scripts of the
written conventional papers to illustrate the typical performance standards at different levels. Paper
1 Section A comprises critical analyses questions of set text extracts while Paper 1 Section B and
Section C deal with seen and unseen poetry respectively. Paper 2 is comprised of essay type
questions on all the set texts excepting poetry*, while Paper 3 is comprised of two independently
written works, a short and an extended piece with the literary subject matter chosen by the candidates
themselves. Exemplars for Paper 3 will appear in a separate volume due to their length.
It should also be noted that for Literature in English there are two sets of set texts. The exemplars
here are from Set 1, as only very few candidates chose Set 2.
It is advisable to read this set of exemplars together with the question papers and the marking schemes
in order to understand the requirements of the questions and the marking criteria. The question
papers and the marking schemes will be published in the Examination Report and Questions Papers
for 2012 HKDSE which will be available for sale in November this year.
* Please note that, due to the limited number of candidates who provided consent for the use of their
work, there is no exemplar for Level 1 in Paper 2.
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Level 5 exemplar and comments
Paper 1
Sample 1: Section B, Question 3
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Comments
The candidate addresses the main issues comprehensively and perceptively, drawing out the subtext
of describing the art of poetry from both poems and comparing them ably (though the analysis of
sandpiper is considerably more assured than that of swinging on Birches). On the shorter
questions, the candidate answers succinctly and mostly accurately, correctly identifying the fat
image in III, though (iv) is very thin and (v) requires more justification for what fricatives and
sibilance suggest.
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Sample 2: Section C, Question 6
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Comments
Though it is difficult to excel in the Unseen Poetry Section, and artificial to ascribe a level to this
particular section alone, this answer shows a clear understanding of the use of the monster as a
psychological cypher, and deals with the abstract notions embodying it in a sophisticated manner.
The candidate’s recognition of the poem’s diction as helping to build atmosphere should also be
noted.
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Level 4 exemplar and comments
Sample 3: Section A, Question 2
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Comments
The candidate’s answers are on target (though perhaps less so in (iii)) and show a sensitivity to and
understanding of the text. Though there is too much direct quotation the candidate is able to
extract from them insightful generalizations about Othello and the attitudes of the Venetian Council.
Only in the section on magic does the candidate have difficulties illuminating the reader on its
significance to the play as a whole.
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Sample 4: Section B, Question 4
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Comments
A lower end Level 4, this analysis of the set poems shows a clear awareness of the main
preoccupations of the poems and their contrasting styles, though the writer encounters some
difficulties with identifying what certain poetic techniques contribute to the work (the ‘s’s creating
‘silence’ in the Larkin poem in particular). More could be said about how ‘The Wanderer’ is torn,
but the shared theme of loneliness provides a coherent link in the answers to some of the
sub-questions.
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Sample 5: Section C, Question 5
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Comments
Again, a lower end Level 4. Though fluently and stylishly written, with the poem clearly
understood for its visual imagery, the writer overall needs to make more use of poetic terminology
and avoid making assertions such as ‘the last three lines … gives hope’. That said, the answer to
(iii) is first rate and shows a sophisticated ability to relate the ‘science’ to the image described.
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Level 3 exemplar and comments
Sample 6: Section A, Question 1
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Comments
A superficial but logical account of Ralph’s and Othello’s arrivals with a several attempts to
compare the texts in a straightforward manner.
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Sample 7: Section B, Question 4
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Comments
The writer shows some understanding of the poems in terms of content, language and technique, but
reads too much particularly into the Larkin poem, ideas regarding temptation and resistance not
being sufficiently well supported by the text. The response in (iii) is better reasoned, with the
‘anxious’ house interpreted well, even if this is not strictly an example of personification.
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Sample 8: Section C, Question 5
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Comments
The writer addresses (i) most ably but approaches the other sub-questions in a less organized
fashion. However, most of the salient points are acknowledged and the effect of such features as
run-on lines is identified in a straightforward manner.
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Level 2 exemplar and comments
Sample 9: Section A, Question 1
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Comments
This example of a strong Level 2 indicates many of the problems slightly below average candidates
have with relating to texts. The writer depends too heavily on regurgitating large chunks of the
text to which simplistic explanations are added. That said, the explanations are generally accurate
and logical comparisons are made between the texts. A shame, as with many of the answers to this
question, the beauty of the extracts is not really discussed.
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Sample 10: Section C, Question 6
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Comments
An example of a weak Level 2, the writer does not manage to broach the psychological dimension
given metaphorical weight by the image of the monster. Everything is interpreted literally, rather
than ‘literaturely’.
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Level 1 exemplar and comments
Sample 11: Section A, Question 1
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Comments
The writer mostly repeats lines from the Lord of the Flies extract and makes vague references to
‘the natural’ which forms the basis of Ralph’s experiences. The argument that the storm in Othello
is a prelude for the beauty, in the form of Desdemona, that arises from it, is logical however.
Again, the beauty of the extracts themselves is not discussed.
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Sample 12: Section B, Question 3
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Comments
Although in (i) the writer seems close to describing the relationship between Bishop as a poet and
the sandpiper’s behaviour, the answer becomes too repetitive and circular. As for the answers to
the other sub-questions, only (ii) and (v) make valid points, with (iv) proving superficial and (iii)
nonsensical.
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Level 5 exemplar and comments
Paper 2
Sample 13: Part II, Question 10
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Comments
Elegantly framed and showing a sophisticated understanding of the texts, the writer argues his/her
case well, although it is unlikely that most readers would encounter as despicable a villain as Iago in
real life. The candidate is able to point out the folly of believing in appearances and the dangers of
prejudicial thinking clearly and with considerable insight. A pity that more scrutiny is not given to
the idea of the set writers teaching lessons about life and whether or not this is appropriate.
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Level 4 exemplar and comments
Sample 14: Part I, Section C, Question 5
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Comments
The writer shows a thorough knowledge of Kitty’s strengths and shortcomings in a well-organized if
slightly overlong essay. However, even the better answers, such as this one, did not draw
sufficiently on technical aspects of the film which help us to ‘see’ her side of the story.
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Sample 15: Part I, Section D, Question 7
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Comments
A thorough and workmanlike answer to the question with the strengths of both forms of narrative
ably pointed out and in particular the somewhat manipulative use of the third-person in ‘Roman
Fever’ easily identified. The essay could, however, be broken into more easily digestible chunks
which would increase the clarity of the argument and contrast.
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Level 3 exemplar and comments
Sample 16: Part I, Section B, Question 3
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Comments
The writer conveys a sense of outrage quite adequately and provides strong support from the text for
Iago’s punishment. However, there is a tendency to relate details of incidents we are already aware
of rather than an inclination to explore the wider implications of Iago’s acts. He is, after all, a
threat to civilization and his evil is on an epic scale, rather than the personal, the latter seeming to be
how the writer prefers to present it. The candidate is to be commended for attempting a ‘creative’
question, even if, in the context of a letter, using quotation is not really appropriate.
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Sample 17: Part II, Question 9
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Comments
A reasoned response which starts well but ultimately disappoints in its attempts to contrast the three
characters’ leadership styles. The Lord of the Flies analysis would benefit from a few choice uses
of vocabulary such as ‘democratic’ and ‘tyrannical’. The Othello analysis is really rather weak,
and the reader has to intuit that Othello is over-dependent on his subordinates. The candidate does,
however, show satisfactory familiarity with the texts.
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Sample 18: Part II, Question 13
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Comments
The candidate explores the obvious forms of dishonesty in Othello and The Painted Veil and
demonstrates a clear knowledge of the texts, with considerable use of quotation from Othello. A
better essay would seek to categorize and compare these forms and tease out the more subtle types
of dishonesty from the texts/characters.
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Level 2 exemplar and comments
Sample 19: Part I, Section A, Question 1
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Comments
There is no doubt that the candidate has answered the question, but he/she has missed the invitation
to explore Simon’s inner psychology through the vehicle of the diary entries, and chooses instead to
simply relate what we already know about certain events from his own point of view. This is a
common danger in creative style essays which can be avoided by careful consideration of the scope
offered by the question.