Unit 2: The Study of Drama and Poetry Higher · PDF fileEnglish Literature Unit 2: ... include...

147

General Certificate of Secondary Education 2012

English Literature

Unit 2: The Study of Drama and Poetry

Higher Tier

[5110]

SPECIMEN

MARK SCHEME

148

Introduction A variety of responses is possible and expected in English Literature, but whatever the chosen question, assessment should be based on the candidates’ responses to the following assessment objectives and their interpretation as set out below. Assessment Objective 1: Respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations. This will be conveyed by the candidate’s ability to: demonstrate knowledge and understanding of the text; understand and communicate explicit and implicit meanings; substantiate point of view by relevant reference, inference and deduction, using appropriate and

effective quotation as required; express convincing and supported personal responses, opinions and preferences; provide insights into characters, relationships, attitudes and values. Quality of written communication is also being assessed through AO1. This requires that candidates: ensure that text is legible and that spelling, punctuation and grammar are accurate so that meaning is clear; select and use a form and style of writing appropriate to purpose; and, organise information clearly and coherently, using appropriate vocabulary. All mark grids include a descriptor under AO1 assessing QWC through reference to the structure/organisation of responses and accuracy in expression. Assessment Objective 2: Explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings. This will be conveyed by the candidate’s ability to: comment meaningfully on the texts studied referring to the appropriateness of the form and

structure adopted by the writer; describe and appreciate the effectiveness of general and specific uses of language and stylistic

devices; appreciate changing mood, atmosphere and tone and comment upon how they are achieved. Assessment Objective 3: Make comparisons and explain links between texts, evaluating writers’ different ways of expressing meaning and achieving effects. This will be conveyed by the candidate’s ability to: identify similarities and differences between texts; make and explore connections and comparisons between texts; select and juxtapose relevant details of theme, character and tone; analyse similarities in the use of language, structure and form.

149

Assessment Objective 4: Relate texts to their social, cultural and historical contexts; explain how texts have been influential and significant to self and other readers in different contexts and at different times. This will be conveyed by the candidate’s ability to: show an awareness of the context in which texts were written; take into account alternative interpretations of texts; give a personal response. Every effort should be made to assess the work of the candidate positively. Examiners should annotate scripts and comment appropriately on points made and insights expressed. Annotation and the award of marks should be based on the appropriate assessment matrix. Arriving at a Final Mark Markers should use the general assessment matrix which sets out the broad criteria for the five mark bands in combination with the specific requirements set down for each question.

150

Section A – Drama

In this section we are assessing two assessment objectives: AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations; and AO2 Explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings.

Guidelines to assessing AO2 in candidates’ responses to Drama (Higher Tier) Assessment Objective 2 requires candidates to “explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings.” Key terms in the question: “With reference to the ways the named dramatist presents...” Uses of Language and Stylistic Devices/Dramatic Techniques When assessing candidates’ responses to drama, some of the following uses of language and stylistic devices may be noted. (This list is neither prescriptive nor exhaustive, but is intended as a helpful guide to examiners.) - division into acts and scenes; - stage directions; - use of some technical terms (e.g. exposition, protagonist, hero, minor character, denouement); - cohesive elements (e.g. repetition of words or ideas, climax, sequential ordering); - use of flashback; - asides, soliloquy, dramatic monologue, use of narrator; - tonal features (e.g. emphasis, exclamation); - interaction through dialogue and movement; - use of punctuation to indicate delivery of lines (e.g. interruption, hesitation, turn-taking,

listening); - reportage; - vocabulary choices; - staging (setting, lighting, use of properties, on-stage characters but unseen by others); - costume and music effects.

151

Assessment Matrix – Higher Tier Unit 2 – Section A: Drama

Assessment Objective

Band 0 Mark [0]

Band 1: Very Little [1]–[10]

Band 2: Emerging [11]–[18]

Band 3: Competent [19]–[26]

Band 4: Good [27]–[34]

Band 5: Excellent [35]–[40]

Begins to focus on question Begins to develop a response

Some focus on question Fairly developed response

AO1 Argument

Response not worthy of credit

Some writing about text or task Very basic level of accuracy in written expression and coherence of response. Form mostly appropriate

Attempt to focus on question Simple, straightforward, or limited response Assertion, basic conclusion, narrative or description Fairly sound level of accuracy in written expression and coherence of response. Form mostly appropriate

Some argument

Competent level of accuracy in written

expression and coherence of response. Form mostly

appropriate

Sustained focus on question Reasoned response

Developed argument

An appropriate form of response which is clearly constructed and accurately expressed

Persuasive, coherent answer to the question set Evaluative response

Sustained argument

An appropriate form of response which is clearly constructed and expressed with fluency and precision

AO2 Form and Language


Simplistic comments about characters, settings and events Little or no awareness of structure, form or dramatic techniques

Some awareness of characters, settings and events Some awareness of structure, form or dramatic techniques Occasional reference to dramatist’s words

Comments on characters, settings and events Comments on structure, form or dramatic techniques Some understanding of the dramatist’s use of language

Interpretation of characters, settings and events Some discussion on the effects of structure, form or dramatic techniques Meaningful comment on some stylistic devices, with the emergence of a critical vocabulary

Assured interpretation of characters, settings and events Developed discussion on the effects of structure, form or dramatic techniques Analysis of the dramatist’s language and style, using appropriate critical terminology

152

Answer one question from this section. 1 Friel: Dancing at Lughnasa

(a) With reference to the ways Friel presents Gerry Evans, show how far you agree that Gerry

Evans is unreliable.

Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0

Band 1 Very Little 1–10

Band 2 Emerging 11–18

Band 3 Competent 19–26

Band 4 Good 27–34

Band 5 Excellent 35–40

The following textual details may be used as supporting material. The words in bold may form part of an argument.

Gerry’s relationships with Chris and Michael: Gerry has obviously made an impression on Chris: when he is seen approaching she wants to look

her best; Chris is nervous when she sees Gerry approaching; Gerry is attracted to Chris and takes pains to amuse her; Chris is aware of his shortcomings and is willing to overlook them because he can charm her; Gerry makes Chris forget her worries; when Gerry proposes to Chris he appears to be sincere; he tries to fix the wireless to keep Chris happy, although he knows nothing about wireless sets; Gerry appears to show an interest in Michael but does nothing concrete to support him; Gerry convinces Chris and Michael that he has bought his son a bicycle, but it never arrives; Gerry is an infrequent visitor.

Gerry’s relationships with the other members of the Mundy family: the sisters place no reliance on him during the distress of Rose’s disappearance; Kate sees through him and holds him in contempt; Agnes refuses to look at Gerry; Gerry has flirted with Agnes and still tries to get her attention; Agnes is still interested in him; she gets jealous when Gerry dances with Chris; although Agnes knows Gerry is unreliable and has caused Chris to sink into depression, she gets

angry when Kate criticises him.

Candidates’ arguments might include the following: the character Friel presents is one who wants to appear interested and at ease, but is sometimes

unconvincing; Gerry appears lighthearted and insincere; he appears nervous and unsure of his reception at the Mundy household; he is prone to exaggeration; he is a charismatic man, with natural grace and charm and may have meant everything he said –

when he said it.

Credit any other valid references. Uses of Language and Stylistic Devices/Dramatic Techniques, in response to the key term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

153

(b) Look again at the extract from Act 1, beginning near the bottom of page 2 with the stage directions The lighting changes and ending on page 6 with the stage directions Rose closes the front of her apron. She is on the point of tears. Silence.

With reference to the ways Friel presents the Mundy sisters in the extract and elsewhere in the

play, show how far you agree that they show care and concern for one another. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34


The following textual details may be used as supporting material. The words in bold may form part of an argument.

What Maggie, Chris, Agnes and Rose say and do in the extract: Maggie agrees to help Chris by washing her hair; Maggie humours Rose by dancing with her; Agnes is patient with Rose’s questioning; Chris and Maggie try to warn Rose about Danny Bradley; Agnes shows sympathy to Rose; Agnes watches out for Michael.

Friel’s use of language and dramatic techniques in the extract: the lighting suggests harmony; Maggie encourages Rose by imitating her shuffle; When Rose’s inability to remember what she has been told about Africa upsets her, Maggie catches

Rose’s hand to distract her and they dance as they sing; Agnes is hesitant, guarded, when Rose proposes going to the pictures – she does not want to agree

to anything which would harm her sister; Rose twice interrupts Maggie. This shows Rose’s agitation. She does not understand her sister’s

concern; when Chris says “Bastard” softly, this is so that Rose will not hear and be upset.

The Mundy sisters’ attitude to Rose and Chris elsewhere in the play: the sisters all show particular concern for Rose although she sometimes irritates them; Agnes is especially protective of Rose; Rose angers Kate who tells her to shut up; the other sisters try to shield Rose and Agnes from the knowledge that their knitting is no longer

needed; when Rose does not return from bilberry picking the sisters are distraught; when Rose returns Chris and Agnes are gentle with her whereas Kate’s anxiety is evident through

her aggressive questioning; Agnes accompanied Rose when she left home and supported her in London; the other sisters showed their concern by searching for Rose and Agnes; the sisters all help Chris rear Michael, welcoming him into the family; Kate brings Chris cod-liver oil because she is pale; Kate settles Chris’s nerves before the latter goes out to meet Gerry;

154

Gerry Evans’s presence causes some disruption in the relationship between the sisters and Chris; the sisters help Chris through her bouts of depression. Credit any other valid references. Uses of Language and Stylistic Devices/Dramatic Techniques, in response to the key term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

155

2 Miller: All My Sons (a) With reference to the ways Miller presents Kate, show how far you agree that Kate may be

both pitied and disliked. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of an argument. Kate Keller: she is guilty of poor treatment of the Deever family: she is rude and confrontational with Ann

and she is patronising towards George; she is prepared to sacrifice her own son’s happiness, truth, justice and her own health to ensure her

husband’s continuing peace of mind; her actions involved in securing her husband’s peace of mind may be seen as selfless or selfish; she is determined to keep her family together; she is determined that the entire family will not accept that Larry is dead; she suffers from headaches, insomnia and paranoia; she develops an interest in astrology; she exercises control over Keller, Chris and George. Credit any other valid references. Uses of Language and Stylistic Devices/Dramatic Techniques, in response to the key term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

156

(b) Look again at the extract in Act Two beginning on page 65 with Chris’s words, “What do you mean, you packed her bag?” and ending on page 68 with Keller’s words, “For you, a business for you!”

With reference to the ways Miller presents Joe and Kate in the extract, and Chris elsewhere in

the play, show how far you agree that their lives are based on dishonesty. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of an argument. What we learn about Joe’s and Kate’s dishonesty in the extract: Kate’s outburst implies that Joe has been lying to Chris all along; Kate has willingly gone along with Joe’s lies to protect him and the family, particularly Chris; Kate tells Chris that he must let go of his father if he really believes that Larry is dead; at first Keller denies any wrongdoing in Larry’s death or the death of the other pilots; he puts forward the argument that Larry did not fly the P-40 aircraft; he tries to reason with Chris that he could not kill anyone; he tries to justify his actions by talking about the pressure he was under from the government; he tries to justify his actions by saying that he had built the business over forty years; he tries to justify his actions by saying he did it for Chris. Miller’s use of language and dramatic techniques in the extract: the argument between Chris and Kate uses a series of short sentences to build tension; Kate’s dramatic smack across Joe’s face; the extract builds towards Kate’s revelation, subsides while Chris is transfixed, then builds slowly

again towards Keller’s ultimate justification; Miller supplies clear and explicit stage directions to inform characterisation. Chris Keller elsewhere in the play: Chris has maintained contact with Ann Deever, who is still seen by his parents as Larry’s girl; Chris has invited Ann to the Keller house with the intention of asking her to marry him; Chris confides in his father but does not know how to break the news to his mother; Chris understands that his mother will be against the wedding, as to agree would be to admit that

Larry was dead; Chris firmly believes in his father’s innocence; Chris rages against anyone who calls his father’s innocence into question, particularly George

Deever; Jim Bayliss believes Chris is naïve and hypocritical and must know that his father is guilty. Credit any other valid references. Uses of Language and Stylistic Devices/Dramatic Techniques, in response to the key term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

157

3 O’Casey: Juno and the Paycock (a) With reference to the ways O’Casey presents Mrs Madigan, show how far you agree that Mrs

Madigan is motivated by self-interest. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of the argument. Her attitude to Boyle: she is scathing, angry, and sarcastic when she comes for repayment of the loan; she angrily demands repayment from Boyle; she calls him names; she enjoys the discomfort she causes him. Her attitude to those who suffer: she comforts Juno, but only after she has held her in suspense about Johnny; she says nothing to Mary, even though Mary is upset about Johnny; she is angry about how Mary can be expecting a baby without a father. Her actions: she pawned goods in her uncle’s house to lend money to Boyle for her own ends; she physically attacks Boyle; she removes the gramophone in lieu of repayment of her loan; she acts impulsively: she rushes towards Boyle, catches up the gramophone, goes to the door to

shout at the police; she comes straight up to Juno after learning why the police are at the door.

Her opinions and the way she expresses them: she repeats her insult to Boyle that he is an old reprobate; she humorously shows that she has few illusions about going to heaven; she loudly condemns police inadequacy, whatever government is in power. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

158

(b) Look again at the extract in Act 2 beginning on page 35 with the stage direction Steps are heard approaching, and Juno, opening the door, allows Bentham to enter and ending on page 38 with Bentham’s words, “Oh, I’m very sorry, Mrs Boyle; I never thought…”.

With reference to the ways Miller presents Bentham in the extract, and other characters

elsewhere in the play, show how far you agree that their attitudes to the Boyle family change when they think the Boyles have come into money.


Band 0 None 0




Band 4 Good 27–34


The following textual details may be used as supporting material. The words in bold may form part of the argument.

What Bentham says and does in the extract: he is polite; he tries to impress the Boyles with his odd religion, with his knowledge of the law, and with his

book-learning; he gives the impression that the Boyles are a desirable family to marry into.

O’Casey’s use of language and dramatic techniques in the extract: contrast between the sophisticated language and register of Bentham and the Dublin dialect of the

Boyles; Bentham’s manipulation of the Boyles: compliments Mary, behaves courteously towards Mrs

Boyle and flatters Boyle’s sense of self-importance; the growing unease of Johnny as Bentham discusses “energies”.

Joxer: he is all the more prepared to enjoy Boyle’s hospitality and stand by him, as long as he will benefit

by such action; he obsequiously listens to Boyle’s legal and financial talk; he agrees with what Boyle says; later he enjoys Boyle being humiliated; he aids and abets needle Nugent in retrieving the tailor-made clothes.

Needle Nugent: he is critical of the lack of decorum of the Boyles at the party, yet is prepared to give credit and

makes Boyle new clothes on the strength of the legacy; he rushes into Boyle’s room and summarily takes the suit back, once he realises the truth.

Candidates may argue the following: Mrs Madigan is prepared to enjoy the hospitality and liquor provided free by the Boyles at the party,

but she also lends money to Boyle – though with interest added; Juno is able to get more goods “on tick”.

Credit any further valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

159

4 Priestley: An Inspector Calls (a) With reference to the ways Priestley presents Gerald Croft, show that Gerald is sometimes

selfish and sometimes thoughtful in his relationships with Sheila and Eva/Daisy.


Band 0 None 0




Band 4 Good 27–34


The following textual details may be used as supporting material. The words in bold may form part of the argument.

What you learn about the way Gerald treats Sheila he tries to dupe her into believing that he has been trying for a long time to become a member of

the family, yet he was away most of the summer; he has lied to her (e.g. “I was awfully busy at the works all that time”); he seems to regard her as a well-won prize, and well-deserved; her half-serious, half-playful, mock-aggressive tones suggest that he does not give her confidence

to be really comfortable in his company; he is a mixture of egocentricity (e.g. “You can drink to me”) and humility (e.g. “I hope I can

make you as happy as you deserve to be”); he spoils a normally private moment of giving an engagement ring, turning it into a public

demonstration by producing it in public; he gives her the ring in the box; he shows consideration in buying the very ring she had admired, but his smile may be considered

as evidence of self-congratulation; he does not respond to Sheila’s hasty kiss of thanks, and indeed says nothing more to Sheila before

she exits; Mrs Birling acknowledges his adroitness (“That was clever of you, Gerald”); later in the play there are sharp and bitter exchanges between Gerald and Sheila as the tension

increases; his suggestion that she take back the ring may be construed as thoughtless and insensitive.

What you learn about the way Gerald treats Eva/Daisy: he speaks affectionately of Daisy, and had behaved chivalrously towards her (Joe Meggarty, meal,

accommodation, money); he is apparently honest about his and Daisy’s fondness for each other, but admits enjoying her

admiration of him as a Fairy Prince; he is honest about seeing Daisy, admitting that he lied to Sheila; he openly tells the family that the affair was not disgusting, but refuses to give details to Sheila; he is dispassionate about breaking off the affair with Daisy, but also admits to feeling bad about it; he had given her an “allowance”, but admits his parting gift was not much; he knew nothing of where she went (suggesting he had not tried hard to find out), but does ask the

Inspector a series of questions now about her whereabouts; he seems to be affected by the recollection of Daisy, and needs to be alone.

Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

160

(b) Look again at the extract beginning on page 51 with the Inspector’s words, “When did you first meet this girl?” and ending on page 53 with Eric’s words, “I got it - from the office….”

With reference to the ways Priestley presents Eric in the extract and Eric and Sheila elsewhere

in the play, show how far you agree that the behaviour of Eric and Sheila to Eva/Daisy was selfish? Do you have any sympathy for Eric and Sheila? Give your reasons for your opinions.


Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of the argument. Eric in the extract: Eric was drunk when he “picked up” the girl; he forced himself upon her; he slept with her though he felt no love for her, because she pleased him (“pretty and a good

sport)”; he speaks of women in a disrespectful manner: “fat old tarts”. he criticizes others, but not Eva/Daisy; he does eventually give a clear account of what happened: it is not a flattering one; he shows remorse; he and the girl do seem to have got some comfort out of their conversation; he was in a “hell of a state about her pregnancy; he did react to this news, albeit by stealing. Priestley’s use of language and dramatic techniques in the extract: evidence is suggested that Eric frequented the Palace Bar: “she wasn’t the usual sort”; his drunkenness is indicated in the same way; “Easily turns nasty…. Threatened….” shows his potential for violence; Eric’s uncertainty about when he got the news of her pregnancy may suggest his self-absorbtion. Elsewhere in the play: in Milward’s Sheila gave way to an impulse of spite; she threatens the shop with loss of custom; she admits her behaviour there was self-centred: “I was in a bad temper…I insisted…I was

absolutely furious”; she was “jealous”; she used “the power she had” to punish.

161

However, she is the first to change – first tearfulness and then more considered views about selfishness; her confession is full and unflattering to herself; she denies bitterly to Gerald that she is a “selfish, vindictive creature”; she attempts to protect her mother from the Inspector and from the furious Eric; she accepts responsibility for her actions: “I’m not a child”; she is horrified to discover that Eva/Daisy was going to have a baby; during the course of the play, she becomes interested in the enquiry, its nature and effects, at a more

thoughtful level than any other character; she understands the concept of shared responsibility: “Between us we drove that girl to suicide.” Eric: Eric’s drunkenness and erratic behaviour may be construed as remorse and sympathy may be

accorded; Eric’s misery at the end of the play may also draw sympathy. Credit ay other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

162

5 Russell: Blood Brothers (a) With reference to the ways Russell presents Mickey, show how far you agree that Mickey is

responsible for the things that go wrong in his life. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of the argument. Mickey: Mrs Johnstone sets the events in motion when she gives one of her twins to Mrs Lyons; Mickey’s playing with guns at the young age perhaps foreshadows his demise; he makes friends with Edward through chance at a young age not knowing that they are related; the role of superstition in the play, black cats etc. suggest Mickey is not wholly responsible for

what happens; Mickey’s lack of interest in education, “You’re both suspended”; Mickey’s and Linda’s rushed wedding and her pregnancy, both at a young age; during the wedding, Mickey sits “apart” from Linda; his relationship with Edward deteriorates when Edward arrives back from university, “I wish I

could still believe in all that blood brother stuff”; Mickey agrees to take part in the robbery with Sammy for “Fifty notes”; Mickey chooses to act as look-out during the robbery; Mickey is arrested and jailed for seven years; The Narrator tells us that Mickey falls into depression; Mickey’s reliance on medication is shown during Linda’s visit, “Leave me alone will y’” Mickey’s unhappiness and discontent is shown as he asks Linda to leave and the Warder escorts

her away; Sammy has a role to play in the robbery and is part to blame for leading Mickey astray. when Mickey gets out of jail, he fails to find employment and becomes reliant on anti-depressants,

“I can’t live without them”; Mickey takes anti-depressants because they make him feel “invisible”; when he hears about Edward and Linda, he takes the gun from under the floorboard; Mickey takes the decision to stop taking his pills; Mickey’s final words, “I could have been him” indicate that events in his life have been beyond his

control; the disadvantages of his family background and class prevent him from securing employment. Reward candidates who can offer a balanced argument based on the decisions he makes in life as well as events which are out of his control. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

163

(b) Look again at the extract on page 49 beginning with the stage direction Mrs Johnstone appears, clutching a letter and ending at the end of Act One.

With reference to the ways Russell presents dreams of happiness in the extract, and elsewhere

in Act One, show how far you agree that there is no escape from unhappiness for the Johnstone family.


Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of the argument.

What Mrs Johnstone says in the extract: Mrs Johnstone sings about her family’s new beginning, “We’re startin’ all over again”; Mrs Johnstone conveys a sense of optimism for the future, “Oh, bright new day”; Mrs Johnstone dreams of living somewhere, “where nobody’s heard our name”; Mrs Johnstone dreams of living a new life without her family’s “reputation following me”; Mrs Johnstone exaggerates what their new life will be like, “the air is so pure”; poverty accompanies the dreams, “we’re leaving the rags”; a sense of excitement is created, “let’s wash our hands of this lot”; Mrs Johnstone’s excitement reaches such a pitch that “I could dance”.

Russell’s use of language and dramatic techniques in the extract: Mrs Johnstone’s singing and dancing throughout the extract is an expression of her happiness and

optimism for the future; her singing contrasts with the children’s spoken words; Mrs Johnstone’s happiness for the move is punctuated by Donna Marie’s question, “Is it a

summons mother?”; the audience is reminded of the family’s reputation through Sammy’s exclamation of “I’ve never

robbed nothin’, honest mam”; the “worried” tone in Mickey’s voice, “Where’s that, mam?” contrasts with his mother’s dreams

of escaping their poor quality of life; humour is created through Mrs Johnstone speaking in a “posh voice” to her neighbours; the audience is reminded of the family’s reputation as the neighbours all exclaim together, “Praise

the Lord, he has delivered us at last”; Mrs Johnstone exudes confidence as she “marches” out of her house, though with her “battered

suitcases”; Sammy indicates to his mother the presence of the policeman, “trying to get her to shut up”; Mrs Johnstone speaking “We’ll be all right out here son”, conveys optimism; Mrs Johnstone picks up the picture of the Pope and dances with it; a joyful and frantic scene is depicted as Mrs Johnstone suddenly exclaims, “Get off that bleedin’

cow before I kill you”; while her dancing represents hope, it also symbolises a short-lived pleasure.

164

Mrs Johnstone’s dreams of happiness elsewhere in Act One: the musical opens with Mrs Johnstone singing about her husband, “And we went dancing”; the reminiscence about dancing is interrupted by the milkman demanding payment; Mrs Johnstone dreams of her children having “loads of things to eat”; Mrs Johnstone frequently refers to going dancing “like Marilyn Monroe”; Tentatively and wondering, Mrs Johnstone sings, “If my child was raised in a palace like this”; throughout the act, various debt collectors arrive and creditors remove items from the house; Mrs Johnstone sings about living on the “Never never”; a policeman arrives enquiring about Mickey to which Mrs Johnstone dreams, “Maybe some day,

We’ll move away”. Reward candidates who can present an argument that contrasts Mrs Johnstone’s dreams of escape with the perpetual cycle of poverty that she lives in. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

165

6 Shakespeare: Macbeth (a) With reference to the ways Shakespeare presents Macbeth show how far you agree that

Macbeth is evil. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of the argument. His acts of courage: he is a valiant hero in the opening battle scenes; he fights gallantly in support of his king; he faces the enemy with indomitable courage; he faces his enemies courageously at the end when heavily outnumbered; he faces Macduff in the final battle, refusing to yield to Malcolm and his supporters. His desire for power: his soliloquies indicate that Macbeth knows he will be troubled by his conscience, yet the further he

is steeped in blood, the more ruthless he becomes; his words to others show an increasing wariness and secrecy, as well as an increasing degree of

irrational autocracy; he removes all those who he believes threaten him: the murder of Banquo and the attempt on

Fleance’s life, the murder of Macduff’s family; he returns to the witches to know more and control his destiny.

The way he rules Scotland: he becomes increasingly autocratic; there are numerous descriptions by others of the state of Scotland under his rule – poverty, fear,

murder, people deserting and joining rebel forces under Malcolm; he pays spies; he is described as a “tyrant”. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

166

(b) Look again at Act I Scene iii. With reference to the ways Shakespeare presents the witches in this scene, and elsewhere in the

play, show how far you agree that the witches are frightening and powerful. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of the argument.

What the witches look like in Act I Scene iii: they have beards; they have choppy fingers; they have skinny lips; Banquo says that they look not like the inhabitants of the earth; Banquo says they are wild in their attire.

Shakespeare’s use of language and dramatic techniques in Act I Scene iii: the setting on the heath and the sound effect of thunder create an eerie atmosphere; the use of rhyming couplets; the use of repetition; the chants used create tension, expectation and a sense of magic; Macbeth’s opening line in the scene echoes the witches last line in Act I Scene i; Macbeth is rapt; the stage direction, Witches vanish, adds to the mystery and magic. What you learn about the witches in Act IV Scene i: they chant as they circle a cauldron in a strange supernatural ritual; they throw in repulsive ingredients to make a sickening brew; Macbeth commands them to bring forth the apparitions but they set the limit to their obedience; they call the apparitions their masters. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

167

7 Shakespeare: Romeo and Juliet (a) With reference to the ways Shakespeare presents the Nurse, show how far you agree that she is

helpful to the Capulet family. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of an argument. Her work in the Capulet household: she nursed and weaned the infant Juliet; she has been with the family for many years; she helps Juliet as a chamber-servant, settling her at night and waking her in the morning; she looks after Juliet’s clothes. Her involvement in Juliet’s love-life: her initial enthusiasm for Juliet marrying Paris; at the dance, she identifies the lovers for each other; she is used as a go-between by Juliet, carries messages and arranges meetings: “I am the drudge and

tool in your delight”; practical help: the rope-ladder; news bearer of Romeo’s banishment; offers to fetch Romeo to “comfort” Juliet after death of Tybalt; delivers Juliet’s ring to Romeo; warns Juliet of her mother’s approach at the dawn farewell of the lovers; defends Juliet from her father’s scolding over her refusal to marry Paris; reverts to recommending marriage to Paris, on which Juliet calls her “ancient damnation”. Additional material may include: her time-consuming garrulity; the questionable influence of her bawdy sense of humour; her liking for “aqua vitae”; her help with kitchen arrangements; her forwardness in addressing Old Capulet: “cotquean”; her (comic?) effusions of grief at Juliet’s death; her interactions with Peter, her man. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

168

(b) Look again at the extract in Act I scene i (lines 66-106), beginning with Benvolio’s words “Part, fools! Put up your swords” and ending when Prince Escalus says “Once more, on pain of death, all men depart.”

With reference to the ways Shakespeare presents the feuding between Montagues and Capulets

in the extract, show that there are differing attitudes to it. To what extent does the Prince bring the feuding under control elsewhere in the play? Give reasons for your opinions.


Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. The words in bold may form part of an argument. What the characters say and do in the extract: Benvolio, a peace-maker, tries to part the combatants; Tybalt immediately challenges Benvolio; Benvolio appeals for co-operation; the Guard intervenes: “Down with” both factions; old Capulet calls for his sword; however Lady Capulet scoffs at her husband; these attitudes are mirrored in the old Montague couple; the Prince appeals, threatens, commands – but does not punish. Shakespeare’s use of language and dramatic technique in the extract: use of shouted commands and exclamations to create an excited atmosphere; contrast between Benvolio and Tybalt; significance of Benvolio’s name; violent rhetoric of Tybalt; repeated shouting by Officer, “Down….down….down” as accompaniment to action; inappropriate costume of Old Capulet, yet the old are drawn into the brawl; incongruity as the old people trade insults; mirroring of attitudes of old couples; Prince’s firmness, at first unheeded; Prince’s commands, “throw…. Hear”; Prince’s imagery suggests absence of serious cause of fighting; “bred of an airy word”; Prince emphasises repetitive nature of fighting; imagery enforces violence of the fighting; final threat from Prince: “On pain of death….”

169

The fighting in Act III scene i Benvolio exerts his influence to restrain the violence, but to no avail; Romeo reminds the brawlers that “the Prince expressly hath forbid this bandying in Verona streets”; the peacemakers are overborne by the provocation and aggressiveness offered by Mercutio and

Tybalt; there are appeals to honour as well as faction; Mercutio’s realization, too late, of the true nature of the feuding. Attitudes to the fighting elsewhere in the play: old Capulet assumes that the Prince’s warning, falling equally, will be observed; members of the rival families, however, routinely refer to each other as “enemy” and “foe”; Tybalt bristles at the discovery that a Montague is present at old Capulet’s celebration, but the old

man subdues him; Tybalt sends a challenge to Romeo, and Mercutio is obviously unwilling that it should go

unanswered; Lady Capulet insists that “blood of Montague” must be shed as vengeance for the killing of Tybalt; she demands “justice” from the Prince; the Prince again acts, issuing punishments – banishment (for Romeo), threats and fines; Lady Capulet says she will attempt to poison Romeo in Mantua; the feud survives in the church-yard, where Paris accosts Romeo, “vile Montague”, and attacks him

as the murderer of “my love’s cousin”; old Capulet notices that the sheath of the dagger in Juliet’s body is on Romeo’s back; the elders of the families are shaken by the catastrophe – death of Lady Montague, premonition of

death of Lady Capulet; Prince’s final summing-up to the families includes himself in the condemnation: “All are

punished”; this is his third attempt to arbitrate; at the end of the play, the old men are reconciled. Reward candidates who can appreciate differences and changes in attitudes to the family rivalry. Credit any other valid references. Use of Language and Stylistic Devices/Dramatic Techniques in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

170

8 Shakespeare: The Merchant of Venice (a) With reference to the ways Shakespeare presents Gratiano, show how far you agree that

Gratiano is a loyal friend to Bassanio. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following details may be used as supporting material. The words in bold may form the basis of an argument. Early scenes: he supports Bassanio on his borrowing mission to Antonio; Gratiano’s enthusiasm, his readiness to get involved (in expedition to Belmont, in abduction of

Jessica); Bassanio warns him that his reckless tongue may be a danger on the trip to Belmont; Gratiano’s imagery of pursuit and enjoyment in II.iv. Gratiano’s behaviour at the trial: his outbursts against Shylock, supporting his friend Bassanio; his exuberant taunting of Shylock; he mirrors Bassanio’s behaviour in expressing his willingness to sacrifice his wife to save Antonio; perhaps vindictive comments to Shylock about hanging and about Shylock’s “christening”; his vehement, exclamatory sometimes racy style of speech – sometimes checked by more sober

characters; his mirroring of Bassanio’s actions in engaging himself to Nerissa; his imagery identifies his

interests with those of his master; his helpfulness to Bassanio – carries ring to Portia after trial. His behaviour in Belmont in Act V: he implicates Bassanio in trouble when Nerissa challenges him about his lost ring; his behaviour (threats of violence) provides a comic parallel to Bassanio’s when they are

embarrassed by their wives; he plays his part in the ending of the play, looking forward, together with his friend to married

happiness. Additional material may include: he supports Bassanio on his borrowing mission to Antonio; Gratiano’s enthusiasm, his readiness to get involved (in expedition to Belmont, in abduction of

Jessica); Bassanio warns him that his reckless tongue may be a danger on the trip to Belmont; Gratiano’s imagery of pursuit and enjoyment in II.iv; his vehement, exclamatory sometimes racy style of speech – sometimes checked by more sober

characters;

171

his mirroring of Bassanio’s actions in engaging himself to Nerissa; his imagery identifies his interests with those of his master;

his helpfulness to Bassanio – carries ring to Portia after trial. Credit any other valid references. Use of language and stylistic devices/dramatic techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

172

(b) Look again at Act III scene ii, line 291 to the end of the scene. (The extract begins with Portia’s words “Is it your dear friend that is thus in trouble?”)

With reference to the ways Shakespeare presents Portia and Bassanio in the extract and

elsewhere in the play, show how far you agree that they are loyal to each other. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the dramatist’s methods and intentions (AO2).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following details may be used as supporting material. The words in bold may form the basis of an argument. What Portia and Bassanio say in the extract: Portia’s immediate and practical offer of help for his friend; her concern that Bassanio should remain faultless; her concern for her husband’s peace of mind; her involvement in his affairs (“But let me hear the letter of your friend”); Bassanio’s promise to hurry back to her. Shakespeare’s use of language and dramatic techniques in the extract: use of direct question “What sum….?” to show Portia’s practical support; her (assumed?) incredulity over the paucity of the amount of the debt; her (postured?) extravagance; her rapid instructions “First…. And then….meantime….you shall….to help Bassanio with a ready-

made plan”; contrasting use of flat prose (the letter) after formal rhymed verse emphasises Bassanio’s painful

state of mind and Portia’s support; final rhymed quatrain provides formal expression of Bassanio’s loyalty to his wife. What Portia and Bassanio do in the court scene: Portia’s plan to go to the trial is conceived in a mixture of high spirits and determination but with

the aim “to see our husbands”; the disguise, the persuasion, the arguments are largely undertaken for the sake of her husband; Bassanio claims he would sacrifice “all”, including his wife, to save his friend; Portia dryly observes that this would be unwelcome to his wife; gratitude and his promise to his wife struggle in Bassanio when he is asked for his ring; Portia’s behaviour in asking for the ring may draw comment: Is it really deception? Is she testing

him? Portia and Bassanio in Belmont at the end of the play: on arrival at Belmont Portia says “We have been praying for our husbands’ welfare”; Portia’s expressed hope that Bassanio will be a happy husband; continuation of the deception of Bassanio about the ring; Bassanio unable to lie or deny the loss of the ring; comic confrontation, repeated use of the word “ring”; Bassanio’s impassioned plea of justification;

173

a shadow reality of marital disloyalty is suggested by Portia (“Watch me like Argus”) and then dissolved;

Bassanio re-swears his loyalty. Credit any other valid references. Use of language and stylistic devices/dramatic techniques, in response to the Key Term “presents”, see Guidelines at the start of this section. Use the Assessment Matrix.

174

Section B: Poetry In this section we are assessing four assessment objectives: AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations; AO2 Explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings; AO3 Make comparisons and explain links between texts, evaluating writers’ different ways of expressing meaning and achieving effects; and AO4 Relate texts to their social, cultural and historical contexts; explain how texts have been influential and significant to self and other readers in different contexts and at different times. Guidelines to Assessing AO2 in Candidates’ Response to Poetry (Higher Tier) Assessment Objective 2 requires candidates to “explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings.” Key terms in the question (Higher Tier): “With close reference to the ways each poet uses language…” Uses of Language and Stylistic Devices/Poetic Techniques When assessing candidates’ responses to poetry, some of the following uses of language and stylistic devices may be noted. (This list is neither prescriptive nor exhaustive, but is intended as a helpful guide to examiners.) - versification and structure (use of some terms, e.g. quatrain, couplet, octave, metre, iambic

rhythm); - specific forms (e.g. ode, sonnet, monologue, lyric); - similes and metaphors; - imagery and use of the senses (especially visual imagery and auditory imagery); - alliteration and other “sound” features (e.g. assonance, consonance, repetition, rhyme and

rhythm); - vocabulary choices; - repetition of words or ideas; - use of punctuation; - visual impact of the poem on the page.

175

Assessment Matrix – Higher Tier Unit 2 – Section B: Poetry


Band 0 Mark [0]

Band 1: Very Little ]1]–[10]



Band 4: Good [27]–[34]


Begins to focus on relevant content Begins to develop a response

Some focus on relevant content Fairly developed response

AO1 Argument


Some writing about text or task Very basic level of accuracy in written expression and coherence of response. Form mostly appropriate

Attempt to focus on content Simple, straightforward, or limited response Assertion, basic conclusion, narrative or description Fairly sound level of accuracy in written expression and coherence of response. Form mostly appropriate

Some argument

Competent level of accuracy in written expression and

coherence of response. Form mostly appropriate

Sustained focus on relevant content Reasoned response

Developed argument

An appropriate form of response which is clearly constructed and accurately expressed


Sustained argument

An appropriate form of response which is clearly constructed and expressed with fluency and precision



Simplistic comments about characters, settings and events Little or no awareness of structure, form or poetic techniques

Some awareness of characters, settings and events Some awareness of structure, form or poetic techniques Occasional reference to poet’s words

Comments on characters, settings and events Comments on structure, form or poetic technique Some understanding of the poet’s use of language

Interpretation of characters, settings and events Some discussion on the effects of structure, form or poetic techniques Meaningful comment on some stylistic devices, with the emergence of a critical vocabulary

Assured interpretation of characters, settings and events Developed discussion on the effects of structure, form or poetic techniques Analysis of the poet’s language and style, using appropriate critical terminology

AO3 Comparison and Contrast


Poems considered in isolation

Simple connections made between poems

Makes obvious comparisons and contrasts between poems

Recognition of and response to opportunities to compare and contrast poems

A synthesised approach to detailed comparison and contrast

AO4 Awareness of Context


No contextual material

Contextual material is present though not incorporated in argument

Some attempt to incorporate contextual material in argument

Selective use of contextual material to enhance argument

Response is enriched by use of contextual material

176

9 Anthology One: Themes – Love and Death

(a) Look again at Ozymandias by PB Shelley (List A) and at Richard Cory by EA Robinson (List B), which both deal with the theme of death.

With close reference to the ways each poet uses language, compare and contrast what the

speakers in the poems say about death. You should include relevant contextual material. Which poem do you find more moving? Give your reasons. Reward candidates who can sensibly acknowledge and discuss similarities and differences (AO3) and offer an informed personal response (AO1), backed up by a discussion of each poet’s use of language (AO2) and by knowledge of context (AO4).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. What each poem is about: Ozymandias: a traveller’s tale; describes a ruined statue in the desert; describes the cruel expression on the stone face; perhaps hints at the fate of the sculptor; contrasts the boastful epitaph and the surrounding desolation. Richard Cory describes an admired fellow-townsman; his appearance, demeanour, wealth; contrasts Richard Cory’s good fortune with the abject lives of the speaker and the other townsfolk; recounts briefly and without comment his suicide. Candidates’ response to use of language: Ozymandias sonnet – rather unusual rhyme-scheme; direct speech from a “traveller” who told the story to the speaker; clear break after octet; ironic use of contrast in sestet. Richard Cory 4 quatrains – alternate rhyme; use of contrast; use of simple connective “and” as details of Richard Cory accumulate; impressionistic description: he “glittered as he walked”; unexpectedness of the violent ending enhanced by use of word “calm”; use of 19th century diction to build up impression of Richard Cory as a gentleman. Similarities and differences in the poets’ attitudes and the candidates’ personal preference: both poems are anecdotal; description of Ozymandias is brief, with only one or two details whereas description of Richard

Cory is more detailed; both men are set apart; both men are successful and powerful – to no avail.

177

Candidates’ awareness of contexts: Candidates may show awareness of some of the following: Ozymandias Romantic interest in things remote and strange; 19th century archaeological discoveries. Richard Cory the cult of the gentleman; ideas about the outsider; the American small town setting. Reward candidates who engage meaningfully with each poet’s use of language. Credit any other valid references. Use of Language and Stylistic Devices/Poetic Techniques: see Guidelines at the start of this Section. Use the Assessment Matrix.

178

(b) Look again at Night of the Scorpion by Nissim Ezekiel (List B) which deals with the theme of love, and at one poem from List A which also deals with the theme of love. With close reference to the ways each poet uses language, compare and contrast what the

speakers in the poems say about love. You should include relevant contextual material. Which poem do you prefer? Give your reasons. Reward candidates who can sensibly acknowledge and discuss similarities and differences (AO3) and offer an informed personal response (AO1), backed up by a discussion of each poet’s use of language (AO2) and by knowledge of context (AO4).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 Selection of a second poem: This question is about what each speaker tells us about love, how the poets convey this, and the candidates’ personal response. There are several poems in List A which are appropriate for discussion with the named poem. The following textual details may be used as supporting material. What the named poem is about: Night of the Scorpion a scorpion stings the speaker’s mother in a village house; reactions and prayers of neighbours; the pain of the mother; the father’s resort to superstitious remedies; the mother’s recovery and expression of thanks to God. Candidates’ response to use of language: a memory poem, first person account; circumstantial detail establishes setting – “a sack of rice”; “sun-baked walls”; suggestion of exotic setting through the slightly alien diction and locutions of the neighbours, and

by their (to us) rather unusual religious beliefs: “May your suffering decrease/the misfortunes of your next birth”;

repetition of “they said” may prompt conclusions about the usefulness and genuineness of the neighbours’ concern;

contrast between the complacent neighbours and the agonized mother; use of listing (of prayers, of remedies, of details of setting) suggests protraction of the pain, and of

the “night of the scorpion”; use of contrast between description of father as “sceptic, rationalist” and what he is driven to do; imagery: the “diabolic” scorpion; simile of “swarms of flies” for neighbours; speaker (a child) vanishes in the hub-bub, only re-emerging at end of poem; mother’s no-nonsense remark denotes anti-climactic ending.

179

Similarities and differences in the poets’ attitudes and the candidates’ personal preference: Reward clear connections made between the mother’s love described by Nissim Ezekiel and the particular kind of love revealed in the self-chosen poem. Reward also comparisons and contrasts made between the poems as regards poetic technique and relevant contextual material. Reward a clearly argued preference. Candidates’ awareness of contexts: Candidates may show awareness of some of the following: Night of the Scorpion religious background of poem; co-existence of modern and traditional beliefs in developing countries. Credit any other valid references. Use of language and Stylistic Devices/Poetic Techniques: see Guidelines at the start of this section. Use the Assessment Matrix.

180

10 Anthology Two: Themes – Nature and War (a) Look again at Attack by Siegfried Sassoon (List C) and at In Westminster Abbey by John Betjeman (List D), which both deal with the theme of war. With close reference to the ways each poet uses language, compare and contrast what the

speakers in the poems say about war. You should include relevant contextual material. Which poem do you prefer? Give your reasons. Reward candidates who can sensibly acknowledge and discuss similarities and differences (AO3) and offer an informed personal response (AO1), backed up by a discussion of each poet’s use of language (AO2) and by knowledge of context (AO4).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. What each poem is about: Attack The stages of an infantry attack in the First World War: dawn; artillery barrage; tank attack; infantry deployed. In Westminster Abbey Through a satirical prayer to the “gracious Lord” to “bomb the Germans”, Betjeman reveals the selfishness, hypocrisy, and class and racial attitudes of a well-bred London lady. Candidates’ response to use of language: Attack recounted in 3rd person, but with a sudden and direct prayer, ”O Jesus” erupting in the final line; ominous description of “shrouded” landscape preceding the attack – the “ glow’ring sun”, the

“menacing scarred slope”; carefully selected verbs of motion; caesura to indicate pregnant pause between barrage and attack by infantrymen; use of listing in description of heavily burdened soldiers; use of soldiers’ slang; “going over the top”; apparent endlessness of the experience indicated by “time ticks blank and busy on their wrists” and

by the prayer, “O Jesus, make it stop!”; anti-heroic treatment of incident and soldiers; rhymed iambic pentameters. In Westminster Abbey direct address to God; tone is complacent, even condescending!; at times the standard language of prayer is echoed; shocking content is conveyed under a veil of politeness e.g. bombing of women; racial attitudes; the details of what makes “our Nation” for this lady are given in verse 4, right down to the address; references to war-time London, and war-time phraseology; contrast between the war and the well-padded life of the speaker; a kind of dramatic monologue; verse form and rhyme scheme suggest a hymn tune.

181

Similarities and differences in the poet’s attitudes and the candidates’ personal preference: Expect few similarities! But some of the following contrasts: danger v safety; terror v complacency; agonized appeal to God v patronizing attitude; hardship v comfort; contrasting settings; Sassoon attempts to relay the truth about an extreme experience, whereas Betjeman’s purpose is

satirical. Candidates’ awareness of contexts: Candidates may show awareness of some of the following: Attack war poetry of the First World War; the nature of trench warfare and how it is remembered. In Westminster Abbey satire; wartime London; pre-war British upper-class attitudes. Credit any other valid references. Use of language and Stylistic Devices/Poetic Techniques: see Guidelines at the start of this section. Use the Assessment Matrix.

182

(b) Look again at Death of a Naturalist by Seamus Heaney (List D) which deals with the theme of nature, and at one poem from List C which also deals with the theme of

nature.

With close reference to the ways each poet uses language, compare and contrast what the speakers in the poems say about nature. You should include relevant contextual material.

Which poem do you find more interesting? Give your reasons. Reward candidates who can sensibly acknowledge and discuss similarities and differences (AO3) and offer an informed personal response (AO1), backed up by a discussion of each poet’s use of language (AO2) and by knowledge of context (AO4).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 Selection of a second poem: This question is about what each speaker tells us about nature, how the poets convey this, and the candidates’ personal response. There are several poems in List C which are appropriate for discussion with the named poem. The following textual details may be used as supporting material. What the named poem is about: Death of a Naturalist a memory of childhood; describes the flax-dam “in the heart of the townland” where the speaker, a child, collects frogspawn; in school there are nature lessons about frog reproduction; the speaker shows how his feelings were affected by a particular visit to the flax-dam: pleasurable

interest becomes fear and disgust, and the significance of the title becomes clear. Candidates’ response to use of language: heavy odour of decay conveyed by carefully selected verbs: “festered”, “rotted”, “festered”; aural imagery of bubbles and bluebottles reinforced by prevalent use of onomatopoeia and

alliteration: “gargles”, “gauze of sound”; the speaker’s pleasure is evident: “but best of all….”; suspenseful wait for the frogspawn to hatch conveyed in the sequence of actions

“collect….range….wait and watch….burst; use of assonance in description of process (“fattening dots….nimble-/swimming tadpoles) from

immobility to movement; anecdotal account of Miss Walls’ lesson using linguistic register of the child; humorous touch in naïve belief in weather prophecy – confusion of cause and consequence; paragraphing indicates change – from continuity of “all year” to significance of “one day”; ominous words used of frogs: “angry”, “invaded”, “coarse”; weapon imagery: “cocked on sods”, “mud grenades”; threatening rhythms of their movements: “their loose necks pulsed like sails”; tonal change to disgust and fear; overwhelming use of onomatopoeia in concluding lines leading to “I sickened turned and ran”; brief final reflection suggesting emergence of new attitudes in speaker.

183

Similarities and differences in the poets’ attitudes and the candidates’ personal preference: Reward clear connections made between the treatment of nature in Death of a Naturalist and that in the self-chosen poem. Reward also comparisons and contrasts made between the poems as regards poetic technique and relevant contextual material. Reward a clearly argued preference. Candidates’ awareness of contexts: Candidates may show awareness of some of the following: maturational factors; rural life in Ulster in the post-war years. Credit any other valid references. Use of language and Stylistic Devices/Poetic Techniques: see Guidelines at the start of this section. Use the Assessment Matrix.

184

11 Anthology Three: Heaney and Hardy (a) Look again at Trout by Seamus Heaney and at Overlooking the River Stour by Thomas Hardy, which both deal with the theme of nature. With close reference to the ways each poet uses language, compare and contrast what the

speakers in the poems say about nature. You should include relevant contextual material. Which poem do you find more interesting? Give your reasons. Reward candidates who can sensibly acknowledge and discuss similarities and differences (AO3) and offer an informed personal response (AO1), backed up by a discussion of each poet’s use of language (AO2) and by knowledge of context (AO4).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. What each poem is about: Trout A descriptive poem, but with persistent weapon imagery, perhaps suggested by the trout’s shape, colour and movement. Overlooking the River Stour Detailed description of bird and plant life. The ending of the poem suggests that the attention paid to nature by the speaker derives from (perhaps deliberate) ignoring of what was taking place behind him. Candidates’ response to use of language: Trout title slips smoothly into first line; gun and weapon imagery runs from first line to last; smoothness is mentioned twice; onomatopoeic representation of fish falling back into water; power suggested in final “ramrodding” image; repetition of sounds “unravels/over gravel-beds”; possible suggestion of “plumb” in “smooth-skinned as plums”. Overlooking the River Stour in this poem there is a distinct speaker, involved in the situation and revealed in the final stanza; carefully rhymed stanzas. Care also taken to vary line length and with repetition of sounds and

lines. Intricacy may suggest full attention by observer; metaphor and simile for swallows and moor-hens. Light and water represented; plant life in third stanza. Observer notices change in colours. Use of “monotonous” strikes a jarring

note, possibly hinted at earlier; speaker emerges and is individuated. The scene separated from him by a pane of glass. Our

expectations confounded: the vivid realities he describes are merely “less things”. The important events were happening behind his back.

185

Similarities and differences in the poet’s attitudes and the candidates’ personal preference: “invisible” speaker v participating speaker; undercurrent of violence in imagery and diction of both poems; river setting; nature used as a distraction in Hardy. Candidates’ awareness of contexts: Candidates may show awareness of some of the following: Trout vogue for poems of animal description in ‘60s and ‘70s; specific setting of Hardy poem – “the Hardy country” – Wessex; inattention, especially in emotional matters, a recurring theme in Hardy. Reward candidates who engage meaningfully with each poet’s use of language. Credit any other valid references. Use of language and Stylistic Devices/Poetic Techniques: see Guidelines at the start of this section. Use the Assessment Matrix.

186

(b) Look again at Thatcher by Seamus Heaney and at The Old Workman by Thomas Hardy which both deal with ideas about work. With close reference to the ways each poet uses language, compare and contrast what the

speakers in the poems say about ideas about work. You should include relevant contextual material.

Which poem do you find more interesting? Give your reasons. Reward candidates who can sensibly acknowledge and discuss similarities and differences (AO3) and offer an informed personal response (AO1), backed up by a discussion of each poet’s use of language (AO2) and by knowledge of context (AO4).

Band 0 None 0




Band 4 Good 27–34

Band 5 Excellent 35–40 The following textual details may be used as supporting material. What each poem is about: Thatcher A description of a local workman: his manner, equipment, and work-materials. The Old Workman An old stone-mason explains to a questioner why he has aged so prematurely. Candidates’ response to use of language: Thatcher loose iambic pentameters, hinted rhyme; the thatcher is in demand, conveyed by “bespoke for weeks”; slow to start, his preparations are unhurried, and materials are tested before use; he is methodical and well-prepared: “laid out well-honed blades”; there are ideas of him slowly mastering the material “handful by handful”. The image of the staple

shows him getting it under control; heraldic term “couchant” may suggest the strangeness of the man and his work; verbs “shaved…. flushed….stitched” convey meticulousness; honeycomb image suggests intricacy of what he constructs; his audience, hitherto invisible, appear only as admiring gapers in final line –“they” – anonymous in

the face of his skill; the transmuting Midas image concludes this poem of praise. The Old Workman poem in dialogue form, question and answer – the mason’s apologia for his life; rhymed quatrains, conversational rhythms; use of technical terms: “quoin”, “ashlar”, “freestone”; word “mansion” suggests social gulf between workman and his employers; permanence of his work; his sudden injury conveyed onomatopoeically, “crack” – echoed by his dialect description of himself as “crookt”; separation of workman and employer, poor and rich, is conveyed in several ways; his satisfaction that he has benefited his employers conveyed in dialect phrase “right and tight”; he has the workman’s satisfaction that his work will outlast him.

187

Similarities and differences in the poets’ attitudes and the candidates’ personal preference: the thatcher described from outside whereas the mason speaks for himself; Heaney accents strangeness and skill whereas Hardy emphasises endurance; although methodical, there is a touch of the magical to the thatcher. We appreciate the mason’s

humanity and kindness, rather than his skill. Candidates’ awareness of contexts: Candidates may show awareness of some of the following: traditional crafts in Ulster; ideas of the skilled craftsman and pride in one’s work; the reference to the mason’s “life’s ache “ evokes a world where an injured workman received no

incapacity benefits, but worked on. Reward candidates who engage meaningfully with each poet’s use of language. Credit any other valid references. Use of language and Stylistic Devices/Poetic Techniques: see Guidelines at the start of this section. Use the Assessment Matrix.

188

Section C: Poetry In this section we are assessing two assessment objectives: AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and support interpretations; AO2 Explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings; Guidelines to Assessing AO2 in Candidates’ Response to Poetry (Higher Tier) Assessment Objective 2 requires candidates to “explore how language, structure and form contribute to writers’ presentation of ideas, themes and settings.” Key term in the question (Higher Tier): “how the poet uses language to convey…” Uses of Language and Stylistic Devices/Poetic Techniques When assessing candidates’ responses to poetry, some of the following uses of language and stylistic devices may be noted. (This list is neither prescriptive nor exhaustive, but is intended as a helpful guide to examiners.) - versification and structure (use of some terms, e.g. quatrain, couplet, octave, metre, iambic

rhythm); - specific forms (e.g. ode, sonnet, monologue, lyric); - similes and metaphors; - imagery and use of the senses (especially visual imagery and auditory imagery); - alliteration and other “sound” features (e.g. assonance, consonance, repetition, rhyme and

rhythm); - vocabulary choices; - repetition of words or ideas; - use of punctuation; - visual impact of the poem on the page.

189

Assessment Matrix – Higher Unit 2 – Section C: Poetry


Band 0 Mark [0]

Band 1: Very Little [1]–[5]



Band 4: Good [14]–[17]


Begins to focus on relevant content Begins to develop a response

Some focus on relevant content Fairly developed response

AO1 Argument


Some writing about text or task Very basic level of accuracy in written expression and coherence of response

Attempt to focus on content Simple, straightforward, or limited response Assertion, basic conclusion, narrative or description Fairly sound level of accuracy in written expression and coherence of response

Some argument

Competent level of accuracy in written

expression and coherence of response

Sustained focus on content Reasoned response

Developed argument

Response is clearly constructed and accurately expressed


Sustained argument

Response is clearly constructed and expressed with fluency and precision



Simplistic comments about characters, settings and events Little or no awareness of structure, form or poetic techniques

Some awareness of characters, settings and events Some awareness of structure, form or poetic techniques Occasional reference to poet’s words

Comments on characters, settings and events Comments on structure, form or poetic technique Some understanding of the poet’s use of language

Interpretation of characters, settings and events Some discussion on the effects of structure, form or poetic techniques Meaningful comment on some stylistic devices, with the emergence of a critical vocabulary

Assured interpretation of characters, settings and events Developed discussion on the effects of structure, form or poetic techniques Analysis of the poet’s language and style, using appropriate critical terminology

190

12 Unseen Poetry Write about the poem “The Explosion”. You should describe what the poet writes about and how he uses language to convey his thoughts and feelings. Reward candidates who can present a personal response and informed argument (AO1), backed up with understanding of the poet’s methods and intentions (AO2).

Band 0 None 0 Band 1 Very Little 1–10 Band 2 Emerging 11–18 Band 3 Competent 19–26 Band 4 Good 27–34 Band 5 Excellent 35–40

The Explosion describes a group of miners on their way to work in the early morning. The explosion in the pit is described only as a “tremor”; then the poet focuses on the momentary effects in nature. An italicized verse generalizes the event and places it in an eschatological context, after which the poet turns to the bereaved wives and their heightened memories of their husbands. Language analysis of The Explosion may include some of the following features: premonitory features (the title, the “pointing shadows”, the “tall gates”); the realistic detail used in the description of the miners; the characterizing detail of the lark’s nest, suggesting perhaps both the young miner’s high

spirits and respect for life; the sense of community and group spirit conveyed economically by “Fathers, brothers,

nicknames, laughter”; the image of the “tall gates” through which they must pass and through which they will not

return; methods used to convey the minimal effects of the explosion in the upper world (verse 5); use of italics to change the poem’s perspective and perhaps to offer a religious comfort; repetition of the word “second” to link in contrast the indifferent cows and the preternaturally

aware wives; the intensity of their experience conveyed by the image “Gold as on a coin”; the repetition of the egg image (traditional symbol of immortality); rhythmical, four-stress lines with rhythm strikingly broken to poignant effect in final line. Credit any other valid references. Use the Assessment Matrix.

Unit 2: The Study of Drama and Poetry Higher · PDF fileEnglish Literature Unit 2: ... include...

Documents

Transcript of Unit 2: The Study of Drama and Poetry Higher · PDF fileEnglish Literature Unit 2: ... include...