2010 literature exam

LITERATUREWritten examination

Thursday 4 November 2010 Reading time: 3.00 pm to 3.15 pm (15 minutes) Writing time: 3.15 pm to 5.15 pm (2 hours)

TASK BOOK

Structure of book

Tasks Marks

1 202 20

Total 40

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaperand/orwhiteoutliquid/tape,dictionaries.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Taskbookof64pages,includingtheAssessment criteriaandachecklistonpage64.• Oneormorescriptbooks.Allscriptbookscontainunruled(roughworkonly)pagesformakingnotes,

plansanddraftsifyouwish.

The task• Youarerequiredtocompletetwopiecesofwritingbasedontwo textsselectedfromthelistonpages

2and3ofthistaskbook.

Each text must be chosen from a different part.• Eachpieceofwritingisworthhalfofthetotalassessmentfortheexamination.• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)ofthescriptbook(s).• Writethepart numbers andtext numbersofyourselectedtextsonthefrontcover(s)ofyourscript

book(s).

• AllwrittenresponsesmustbeinEnglish.

At the end of the task• Placeallotherusedscriptbooksinsidethefrontcoverofoneoftheusedscriptbooks.• Youmaykeepthistaskbook.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2010

Victorian Certificate of Education 2010

2010LITEXAM 2

InstructionsYouarerequiredtocompletetwopiecesofwritingbasedontwo textsselectedfromthelistonpages 2and3.Thelistisdividedintofiveparts.Thetextsyouselectmustbechosenfromdifferentparts.You must not write on two texts from the same part.Ifyouanswerontwotextsfromthesamepart,oneofthepieceswillbeawardedzeromarks.1. Findthepassagesforthetextsonwhichyouwishtowrite.2. Threepassageshavebeensetforeverytext.3. Thepassagesareprintedintheorderinwhichtheyappearinthetexts.4. Foreachofyourselectedtexts,youmustuseoneormoreofthepassagesasthebasisforadiscussionof

thattext.5. Inyourpiecesofwriting,referindetailtothepassageorpassagesandthetexts.Youmayincludeminor

referencestoothertexts.

Table of contents

Part 1: Novels Page

1–1 JaneAusten Emma 4–5

1–2 PatBarker Regeneration 6–7

1–3 AnneBrontë The Tenant of Wildfell Hall 8–9

1–4 CharlesDickens Bleak House 10–11

1–5 EMForster A Passage to India 12–13

1–6 GailJones Sixty Lights 14–15

1–7 SimonLeys The Death of Napoleon 16–17

1–8 IanMcEwan Atonement 18–19

1–9 MaryShelley Frankenstein 20–21

Part 2: Plays

2–1 JackDavis No Sugar 22–23

2–2 DarioFo Accidental Death of an Anarchist 24–25

2–3 MichaelFrayn Copenhagen 26–27

2–4 BrianFriel The Freedom of the City 28–29

2–5 HenrikIbsen Hedda Gabler 30–31

2–6 HannieRayson Hotel Sorrento 32–33

2–7 WilliamShakespeare Hamlet 34–35

2–8 WilliamShakespeare Much Ado About Nothing 36–37

2–9 Sophocles Antigone 38–39

3 2010LITEXAM

Part 3: Short stories

3–1 AntonChekhov The Lady with the Little Dog and Other Stories 40–41

3–2 DHLawrence Three Novellas: The Fox/The Captain’s Doll/ 42–43 The Ladybird

3–3 KatherineMansfield The Collected Stories 44–45

Part 4: Other literature

4–1 AnnaFunder Stasiland 46–47

4–2 OrhanPamuk Istanbul 48–49

4–3 TobiasWolff This Boy’s Life 50–51

Part 5: Poetry

5–1 JudithBeveridge Wolf Notes 52–53

5–2 WilliamBlake Blake’s Poetry and Designs 54–55

5–3 GwenHarwood Collected Poems 56–57

5–4 SeamusHeaney Beowulf 58–59

5–5 JohnKeats The Major Works 60–61

5–6 PhilipLarkin Collected Poems 62–63

Assessment criteria 64

A checklist for planning and revising 64

2010LITEXAM 4

1: Novels1 – 1 Jane Austen: Emma

Use one or more of the passages selected as the basis for a discussion of Emma.

THISQUESTIONISCONTINUEDONPAGE5

1.

“Nogreatvarietyoffacesforyou,”saidEmma.“Ihadonlymyownfamilytostudyfrom.Thereismyfather—anotherofmyfather—buttheideaofsittingforhispicturemadehimsonervous,thatIcouldonlytakehimbystealth;neitherofthemveryliketherefore.Mrs.Westonagain,andagain,andagain,yousee.DearMrs.Westonalwaysmykindestfriendoneveryoccasion.Shewouldsitwhenever I askedher.There ismysister;andreallyquiteherownlittleelegantfigure!—andthefacenotunlike.Ishouldhavemadeagoodlikenessofher,ifshewouldhavesatlonger,butshewasinsuchahurrytohavemedrawherfourchildrenthatshewouldnotbequiet.Then,herecomeallmyattemptsatthreeofthosefourchildren;—theretheyare,HenryandJohnandBella,fromoneendofthesheettotheother,andanyoneofthemmightdoforanyoneoftherest.Shewassoeager tohave themdrawn that Icouldnotrefuse;butthereisnomakingchildrenofthreeorfouryearsoldstandstillyouknow;norcanitbeveryeasytotakeanylikenessofthem,beyondtheairandcomplexion,unlesstheyarecoarserfeaturedthananymama’schildreneverwere.Hereismysketchofthefourth,whowasababy.Itookhim,ashewassleepingonthesofa,anditisasstrongalikenessofhiscockadeasyouwouldwishtosee.Hehadnestleddownhisheadmostconveniently.That’sverylike.IamratherproudoflittleGeorge.Thecornerofthesofaisverygood.Thenhereismylast”—unclosingaprettysketchofagentlemaninsmallsize,whole-length—“mylastandmybest—mybrother,Mr.JohnKnightley.—Thisdidnotwantmuchofbeingfinished,whenIputitawayinapet,andvowedIwouldnevertakeanotherlikeness.Icouldnothelpbeingprovoked;forallmypains,andwhenIhadreallymadeaverygoodlikenessofit—(Mrs.WestonandIwerequiteagreedinthinkingitverylike)—onlytoohandsome—tooflattering—butthatwasafaultontherightside—afterallthis,camepoordearIsabella’scoldapprobationof—“Yes,itwasalittlelike—buttobesureitdidnotdohimjustice.”Wehadhadagreatdealoftroubleinpersuadinghimtositatall.Itwasmadeagreatfavourof;andaltogetheritwasmorethanIcouldbear;andsoIneverwouldfinishit,tohaveitapologizedoverasanunfavourablelikeness,toeverymorningvisitor inBrunswickSquare;—and,asIsaid,Ididthenforsweareverdrawinganybodyagain.ButforHarriet’ssake,orratherformyown,andastherearenohusbandsandwivesinthecaseatpresent,Iwillbreakmyresolutionnow.” Mr.Eltonseemedveryproperlystruckanddelightedbytheidea,andwasrepeating,“Nohusbandsandwivesinthecaseat presentindeed,asyouobserve...”

* * *

2.

‘ButMr.Knightleydoesnotwanttomarry.Iamsurehehasnottheleastideaofit.Donotputitintohishead.Whyshouldhemarry?—Heisashappyaspossiblebyhimself;withhisfarm,andhissheep,andhislibrary,andalltheparishtomanage;andheisextremelyfondofhisbrother’schildren.Hehasnooccasiontomarryeithertofilluphistimeorhisheart.” “MydearEmma,aslongashethinksso,itisso;butifhereallylovesJaneFairfax——” “Nonsense!HedoesnotcareaboutJaneFairfax.Inthewayoflove,Iamsurehedoesnot.Hewoulddoanygoodtoher,orherfamily;but——” “Well,”saidMrs.Weston,laughing,“perhapsthegreatestgoodhecoulddothem,wouldbetogiveJanesucharespectablehome.” “Ifitwouldbegoodtoher,Iamsureitwouldbeeviltohimself;averyshamefulanddegradingconnection.HowwouldhebeartohaveMissBatesbelongingtohim?—TohaveherhauntingtheAbbey,andthankinghimalldaylongforhisgreatkindnessinmarryingJane?—‘Soverykindandobliging?—Buthealwayshadbeensuchaverykindneighbour!’Andthenflyoff,throughhalfasentence,tohermother’soldpetticoat.‘Notthatitwassuchaveryoldpetticoateither—forstillitwouldlastagreatwhile—and,indeed,shemustthankfullysaythattheirpetticoatswereallverystrong.’” “For shame, Emma!Do notmimic her.You divertmeagainstmyconscience.And,uponmyword, Idonot thinkMr.Knightleywould bemuch disturbed byMiss Bates.Littlethingsdonotirritatehim.Shemighttalkon;andifhewantedtosayanythinghimself,hewouldonlytalklouder,anddrownhervoice.Butthequestionisnot,whetheritwouldbeabadconnexionforhim,butwhetherhewishesit;andIthinkhedoes.Ihaveheardhimspeak,andsomustyou,soveryhighlyofJaneFairfax!Theinteresthetakesinher—hisanxietyaboutherhealth—hisconcernthatsheshouldhavenohappierprospect!Ihaveheardhimexpresshimselfsowarmlyonthosepoints!—Suchanadmirerofherperformanceonthepianofortéandofhervoice!Ihaveheardhimsaythathecouldlistentoherforever.Oh!andIhadalmostforgottenoneideathatoccurredtome—thispianofortéthathasbeensentherbysomebody—thoughwehaveallbeensowell satisfiedas toconsideritapresentfromtheCampbells,mayitnotbefromMr.Knightley?Icannothelpsuspectinghim.Ithinkheisjustthepersontodoit,evenwithoutbeinginlove.”

* * *

5 2010LITEXAM

1: Novels1 – 1 Jane Austen: Emma – continued

3.

“...Hadyounotbeensurroundedbyotherfriends,Imighthavebeentemptedtointroduceasubject,toaskquestions,tospeakmoreopenlythanmighthavebeenstrictlycorrect.—IfeelthatIshouldcertainlyhavebeenimpertinent.” “Oh!”criedJane,withablushandanhesitationwhichEmmathoughtinfinitelymorebecomingtoherthanalltheeleganceofallherusualcomposure—“therewouldhavebeennodanger.Thedangerwouldhavebeenofmywearyingyou.Youcouldnothavegratifiedmemorethanbyexpressinganinterest——.Indeed,MissWoodhouse,(speakingmorecollectedly,)withthe consciousnesswhich I have ofmisconduct, very greatmisconduct,itisparticularlyconsolingtometoknowthatthoseofmyfriends,whosegoodopinionismostworthpreserving,are not disgusted to such a degree as to—I have not timeforhalf that I couldwish to say. I long tomakeapologies,excuses,tourgesomethingformyself.Ifeelitsoverydue.But,unfortunately—inshort,ifyourcompassiondoesnotstandmyfriend——” “Oh!youaretooscrupulous,indeedyouare,”criedEmma,warmly,andtakingherhand.“Youowemenoapologies;andeverybodytowhomyoumightbesupposedtoowethem,issoperfectlysatisfied,sodelightedeven—” “Youareverykind,butIknowwhatmymannersweretoyou.—Socoldandartificial!—Ihadalwaysaparttoact.—Itwas a life of deceit!—I know that Imust have disgustedyou.” “Praysaynomore.Ifeelthatalltheapologiesshouldbeonmyside.Letusforgiveeachotheratonce.Wemustdowhateveristobedonequickest,andIthinkourfeelingswilllosenotimethere.IhopeyouhavepleasantaccountsfromWindsor?” “Very.” “Andthenextnews,Isuppose,willbe,thatwearetoloseyou—justasIbegintoknowyou.” “Oh!astoallthat,ofcoursenothingcanbethoughtofyet.IamheretillclaimedbyColonelandMrs.Campbell.” “Nothing can be actually settled yet, perhaps,” repliedEmma,smiling—“but,excuseme,itmustbethoughtof.” ThesmilewasreturnedasJaneanswered, “Youareveryright;ithasbeenthoughtof.AndIwillowntoyou,(Iamsureitwillbesafe),thatsofarasourlivingwithMr.ChurchillatEnscombe,itissettled.Theremustbethreemonths,atleast,ofdeepmourning;butwhentheyareover,Iimaginetherewillbenothingmoretowaitfor.” “Thankyou,thankyou.—ThisisjustwhatIwantedtobeassuredof.—Oh!ifyouknewhowmuchIloveeverythingthatisdecidedandopen!—Goodbye,goodbye.”

* * *

2010LITEXAM 6

1: Novels1 – 2 Pat Barker: Regeneration

Use one or more of the passages selected as the basis for a discussion of Regeneration.


1.

PatBarker,Regeneration,PenguinBooks,1992

pp66–67

2.


pp106–108

7 2010LITEXAM

1: Novels1 – 2 Pat Barker: Regeneration – continued

3.


p249

2010LITEXAM 8

1: Novels1 – 3 Anne Brontë: The Tenant of Wildfell Hall

Use one or more of the passages selected as the basis for a discussion of The Tenant of Wildfell Hall.


1.

‘Itamazesme,MrsGraham,howyoucouldchoosesuchadilapidated,rickettyoldplaceasthistolivein.Ifyoucouldn’taffordtooccupythewholehouse,andhaveitmendedup,whycouldn’tyoutakeaneatlittlecottage?’ ‘Perhaps,Iwastooproud,MrFergus,’repliedshe,smiling;‘Perhaps I took a particular fancy for this romantic, old-fashionedplace–butindeed,ithasmanyadvantagesoveracottage–inthefirstplace,yousee,theroomsarelargerandmore airy; in the secondplace, theunoccupied apartments,whichIdon’tpayfor,mayserveaslumber-rooms,ifIhaveanythingtoputinthem;andtheyareveryusefulformylittleboytorunaboutinonrainydayswhenhecan’tgoout;andthen,thereisthegardenforhimtoplayin,andformetoworkin.YouseeIhaveeffectedsomelittleimprovementalready,’continuedshe,turningtothewindow.‘Thereisabedofyoungvegetablesinthatcorner,andherearesomesnowdropsandprimrosesalreadyinbloom–andthere,too,isayellowcrocusjustopeninginthesunshine.’ ‘Butthen,howcanyoubearsuchasituation–yournearestneighbourstwomilesdistant,andnobodylookinginorpassingby?–Rosewouldgostarkmadinsuchaplace.Shecan’tputonlifeunlesssheseeshalfadozenfreshgownsandbonnetsaday–not to speakof the faceswithin;butyoumight sitwatchingatthesewindowsalldaylong,andneverseesomuchasanoldwomancarryinghereggstomarket.’ ‘Iamnotsurethelonelinessoftheplacewasnotoneofitschiefrecommendations–Itakenopleasureinwatchingpeoplepassthewindows;andIliketobequiet.’ ‘Oh!asgoodastosay,youwishwewouldallofusmindourownbusiness,andletyoualone.’ ‘No,Idislikeanextensiveacquaintance;butifIhaveafewfriends,ofcourseIamgladtoseethemoccasionally.Noonecanbehappyineternalsolitude.Therefore,MrFergus,ifyouchoosetoentermyhouseasafriend,Iwillmakeyouwelcome;ifnot,Imustconfess,Iwouldratheryoukeptaway.’ShethenturnedandaddressedsomeobservationtoRoseorEliza. ‘And,MrsGraham,’saidheagain,fiveminutesafter,‘wewere disputing, aswe came along, a question that you canreadily decide for us, as itmainly regarded yourself – andindeed,weoftenholddiscussionsaboutyou;forsomeofushavenothingbettertodothantotalkaboutourneighbours’concerns,andwe,theindigenousplantsofthesoil,haveknowneachothersolong,andtalkedeachotheroversooften,thatwearequitesickofthatgame;sothatastrangercomingamongstusmakesaninvaluableadditiontoourexhaustedsourcesofamusement.Well,thequestion,orquestionsyouarerequestedtosolve–’ ‘Hold your tongue, Fergus!’ criedRose, in a fever ofapprehensionandwrath. ‘Iwon’t I tell you.The questions you are requested tosolvearethese:–First,concerningyourbirth,extraction,andpreviousresidence.Somewillhaveitthatyouareaforeigner,andsomeanEnglishwoman;someanativeofthenorthcountry,andsomeofthesouth;somesay–’

* * *

2.

OnthedayofLadyLowborough’sarrival,Ifollowedherintoherchamber,andplainlytoldherthat,ifIfoundreasontobelievethatshestillcontinuedhercriminalconnectionwithMrHuntingdon,Ishouldthinkitmyabsolutedutytoinformherhusbandofthecircumstance–orawakenhissuspicionsatleast–howeverpainfulitmightbe,orhoweverdreadfultheconsequences.Shewasstartledatfirst,bythedeclaration,sounexpected, and sodeterminatelyyet calmlydelivered; butrallyinginamoment,shecoollyrepliedthatifIsawanythingatall reprehensibleorsuspicious inherconduct,shewouldfreelygivemeleavetotellhislordshipallaboutit.Willingtobesatisfiedwiththis,Ilefther;andcertainlyIsawnothingthenceforth particularly reprehensible or suspicious in herdemeanourtowardsherhost;butthenIhadtheothergueststoattendto,andIdidnotwatchthemnarrowly–fortoconfessthetruth,Ifearedtoseeanythingbetweenthem.Inolongerregardeditasanyconcernofmine,andifitwasmydutytoenlightenLordLowborough,itwasapainfulduty,andIdreadedtobecalledtoperformit. Butmyfearswerebroughttoanend,inamannerIhadnotanticipated.Oneevening,aboutafortnightafterthevisitors’arrival,Ihadretiredintothelibrarytosnatchafewminutes’respitefromforcedcheerfulnessandwearisomediscourse–foraftersolongaperiodofseclusion,drearyindeed,asIhadoftenfoundit,Icouldnotalwaysbeartobedoingviolencetomyfeelings,andgoadingmypowerstotalk,andsmileandlisten,andplaytheattentivehostess–oreventhecheerfulfriend:–Ihadjustensconcedmyselfwithinthebowofthewindow,andwaslookingoutuponthewestwherethedarkeninghillsrosesharplydefinedagainsttheclearamberlightofevening,thatgraduallyblendedandfadedawayintothepure,paleblueoftheuppersky,whereonebrightstarwasshiningthrough,asiftopromise–‘Whenthatdyinglightisgone,theworldwillnotbeleftindarkness,andtheywhotrustinGod–whosemindsareunbecloudedbythemistsofunbeliefandsin,areneverwhollycomfortless,’–whenIheardahurriedstepapproaching,andLordLowboroughentered–thisroomwasstillhisfavouriteresort.Heflungthedoor towithunusualviolence,andcasthishatasideregardlesswhereitfell.Whatcouldbethematterwithhim?Hisfacewasghastlypale;hiseyeswerefixedupontheground;histeethclenched;hisforeheadglistenedwiththedewsofagony.Itwasplainheknewhiswrongsatlast!

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9 2010LITEXAM

1: Novels1 – 3 Anne Brontë: The Tenant of Wildfell Hall – continued

3.

Shehadnotheardoftheinjuryhehadsustainedatmyhands;andIhadnot thecouragetotellher.‘Yourbrotherwillnothelpus,’Isaid:‘hewouldhaveallcommunionbetweenustobeentirelyatanend.’ ‘Andhewouldberight,Isuppose.Asafriendofboth,hewouldwishusbothwell;andeveryfriendwouldtellusitwasourinterest,aswellasourduty,toforgeteachother,thoughwemightnotsee itourselves.Butdon’tbeafraid,Gilbert,’sheadded,smilingsadlyatmymanifestdiscomposure,‘thereislittlechanceofmyforgettingyou.ButIdidnotmeanthatFrederick should be themeans of transmittingmessagesbetweenus,onlythateachmightknow,throughhim,oftheother’swelfare; – andmore than this ought not to be; foryouareyoung,Gilbert, andyouought tomarry– andwillsometime, thoughyoumay think it impossible now: – andthoughIhardlycansayIwishyoutoforgetme,Iknowitisrightthatyoushould,bothforyourownhappinessandthatofyourfuturewife;–andthereforeImustandwillwishit,’sheaddedresolutely. ‘Andyouareyoungtoo,Helen,’Iboldlyreplied,‘andwhenthatprofligatescoundrelhasrunthroughhiscareer,youwillgiveyourhandtome–I’llwaittillthen.’ Butshewouldnotleavemethissupport.Independentlyofthemoralevilofbasingourhopesuponthedeathofanother,who,ifunfitforthisworld,wasatleastnolesssoforthenext,andwhoseameliorationwouldthusbecomeourbaneandhisgreatesttransgressionourgreatestbenefit,–shemaintainedittobemadness:manymenofMrHuntingdon’shabitshadlivedtoaripethoughmiserableoldage;–‘andifI,’saidshe,‘amyounginyearsIamoldinsorrow;buteveniftroubleshouldfailtokillmebeforevicedestroyshim,think,ifhereachedbutfiftyyearsorso,wouldyouwaittwentyorfifteen–invagueuncertaintyandsuspense–throughalltheprimeofyouthandmanhood–andmarryatlastawomanfadedandwornasIshallbe–withouteverhavingseenmefromthisdaytothat?–Youwouldnot,’shecontinuedinterruptingmyearnestprotestationsofunfailingconstancy,–‘orifyouwouldyoushouldnot.Trustme,Gilbert;inthismatterIknowbetterthanyou.Youthinkmecoldandstonyhearted,andyoumay,but–’ ‘Idon’tHelen.’ ‘Well,nevermind;youmightifyouwould–butIhavenotspentmysolitudeinutteridleness,andIamnotspeakingnowfromtheimpulseofthemomentasyoudo:Ihavethoughtofallthesemattersagainandagain;Ihavearguedthesequestionswithmyself,andponderedwellourpast,andpresent,andfuturecareer;and,believeme,Ihavecometotherightconclusionatlast.Trustmywordsratherthanyourownfeelings,now,andinafewyearsyouwillseethatIwasright–thoughatpresentIhardlycanseeitmyself,’shemurmuredwithasighassherestedherheadonherhand.

* * *

2010LITEXAM 10

1: Novels1 – 4 Charles Dickens: Bleak House

Use one or more of the passages selected as the basis for a discussion of Bleak House.


1.

Shelivedatthetopofthehouse,inaprettylargeroom,fromwhichshehadaglimpseoftheroofofLincoln’sInnHall.Thisseemedtohavebeenherprincipalinducement,orginally,fortakingupherresidencethere.Shecouldlookatit,shesaid,inthenight:especiallyinthemoonshine.Herroomwasclean,butvery,verybare.Inoticedthescantiestnecessariesinthewayoffurniture;afewoldprintsfrombooks,ofChancellorsandbarristers,waferedagainstthewall;andsomehalf-dozenreticules andworkbags, ‘containing documents,’ as sheinformedus.Therewereneithercoalsnorashesinthegrate,andIsawnoarticlesofclothinganywhere,noranykindoffood.Uponashelfinanopencupboardwereaplateortwo,acuportwo,andsoforth;butalldryandempty.Therewasamoreaffectingmeaninginherpinchedappearance,IthoughtasIlookedround,thanIhadunderstoodbefore. ‘Extremelyhonoured,Iamsure,’saidourpoorhostess,withthegreatestsuavity,‘bythisvisitfromthewardsinJarndyce.Andverymuchindebtedfortheomen.Itisaretiredsituation.Considering.Iamlimitedastosituation.InconsequenceofthenecessityofattendingontheChancellor.Ihavelivedheremanyyears. I passmydays in court;myevenings andmynightshere. Ifind thenights long, for Isleepbut little,andthinkmuch.Thatis,ofcourse,unavoidable;beinginChancery.IamsorryIcannotofferchocolate.Iexpectajudgmentshortly,andshallthenplacemyestablishmentonasuperiorfooting.Atpresent,Idon’tmindconfessingtothewardsinJarndyce(instrictconfidence),thatIsometimesfinditdifficulttokeepupagenteelappearance.Ihavefeltthecoldhere.Ihavefeltsomethingsharperthancold.Itmattersverylittle.Prayexcusetheintroductionofsuchmeantopics.’ Shepartlydrewaside thecurtainof the long lowgarret-window,andcalledourattention toanumberofbird-cageshangingthere:somecontainingseveralbirds.Therewerelarks,linnets,andgold-finches–Ishouldthinkatleasttwenty. ‘Ibegantokeepthelittlecreatures,’shesaid,‘withanobjectthatthewardswillreadilycomprehend.Withtheintentionofrestoringthemtoliberty.Whenmyjudgmentshouldbegiven.Ye-es!Theydieinprison,though.Theirlives,poorsillythings,aresoshortincomparisonwithChanceryproceedings,that,onebyone,thewholecollectionhasdiedoverandoveragain.Idoubt,doyouknow,whetheroneofthese,thoughtheyareallyoung,willlivetobefree!Ve-rymortifying,isitnot?’

* * *

2.

Twilightcomeson;gasbeginstostartupintheshops;thelamplighter,withhisladder, runs along themarginof thepavement.Awretchedeveningisbeginningtoclosein. In his chambers,Mr Tulkinghorn sits meditating anapplicationtothenearestmagistrateto-morrowmorningforawarrant.Gridley,adisappointedsuitor,hasbeenhereto-day,andhasbeenalarming.Wearenot tobeput inbodilyfear,and that ill-conditioned fellow shall be held to bail again.Fromtheceiling,foreshortenedAllegory,inthepersonofoneimpossibleRomanupsidedown,pointswiththearmofSamson(outofjoint,andanoddone)obtrusivelytowardthewindow.WhyshouldMrTulkinghorn,forsuchno-reason,lookoutofwindow?Isthehandnotalwayspointingthere?Sohedoesnotlookoutofwindow. Andifhedid,whatwoulditbetoseeawomangoingby?Therearewomenenoughintheworld,MrTulkinghornthinks–toomany;theyareatthebottomofallthatgoeswronginit,though,forthematterofthat,theycreatebusinessforlawyers.Whatwoulditbetoseeawomangoingby,eventhoughsheweregoingsecretly?Theyareallsecret.MrTulkinghornknowsthat,verywell. Buttheyarenotalllikethewomanwhonowleaveshimandhishousebehind;betweenwhoseplaindress,andherrefinedmanner, there is something exceedingly inconsistent. Sheshouldbeanupperservantbyherattire,yet,inherairandstep,thoughbotharehurriedandassumed–asfarasshecanassumeinthemuddystreets,whichshetreadswithanunaccustomedfoot–sheisalady.Herfaceisveiled,andstillshesufficientlybetraysherselftomakemorethanoneofthosewhopassherlookroundsharply. Sheneverturnsherhead.Ladyorservant,shehasapurposeinher,andcanfollowit.Sheneverturnsherhead,untilshecomestothecrossingwhereJoplieswithhisbroom.Hecrosseswithher,andbegs.Still,shedoesnotturnherheaduntilshehaslandedontheotherside.Then,sheslightlybeckonstohim,andsays‘Comehere!’ Jofollowsher,apaceortwo,intoaquietcourt.

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11 2010LITEXAM

1: Novels1 – 4 Charles Dickens: Bleak House – continued

3.

Arrivingathomeandgoingup-stairs,we found thatmyguardianwasout,andthatMrsWoodcourtwasouttoo.WewereintheverysameroomintowhichIhadbroughtmyblushinggirl,whenheryouthfullover,nowhersoalteredhusband,wasthechoiceofheryoungheart;theverysameroom,fromwhichmyguardianandIhadwatchedthemgoingawaythroughthesunlight,inthefreshbloomoftheirhopeandpromise. Wewere standingby theopenedwindow, lookingdowninto the street,whenMrWoodcourt spoke tome. I learnedinamomentthathelovedme.Ilearnedinamomentthatmyscarredfacewasallunchangedtohim.IlearnedinamomentthatwhatIhadthoughtwaspityandcompassion,wasdevoted,generous,faithfullove.O,toolatetoknowitnow,toolate,toolate.ThatwasthefirstungratefulthoughtIhad.Toolate. ‘WhenIreturned,’hetoldme,‘whenIcameback,noricherthanIwentaway,andfoundyounewlyrisenfromasickbed,yetsoinspiredbysweetconsiderationforothers,andsofreefromaselfishthought—’ ‘O,MrWoodcourt,forbear,forbear!’Ientreatedhim.‘Idonotdeserveyourhighpraise.Ihadmanyselfishthoughtsatthattime,many!’ ‘Heavenknows,belovedofmylife,’saidhe,‘thatmypraiseisnotalover’spraise,butthetruth.YoudonotknowwhatallaroundyouseeinEstherSummerson,howmanyheartsshetouchesandawakens,whatsacredadmirationandwhatloveshewins.’ ‘O,MrWoodcourt,’criedI,‘itisagreatthingtowinlove,itisagreatthingtowinlove!Iamproudofit,andhonouredbyit;andthehearingofitcausesmetoshedthesetearsofmingledjoyandsorrow–joythatIhavewonit,sorrowthatIhavenotdeserveditbetter;butIamnotfreetothinkofyours.’ Isaiditwithastrongerheart;forwhenhepraisedmethus,andwhenIheardhisvoicethrillwithhisbeliefthatwhathesaidwastrue,Iaspiredtobemoreworthyofit.Itwasnottoolateforthat.AlthoughIclosedthisunforeseenpageinmylifeto-night,Icouldbeworthierofitallthroughmylife.Anditwasacomforttome,andanimpulsetome,andIfeltadignityriseupwithinmethatwasderivedfromhim,whenIthoughtso. Hebrokethesilence. ‘IshouldpoorlyshowthetrustthatIhaveinthedearonewhowill evermorebe asdear tomeasnow,’ and thedeepearnestnesswithwhichhesaidit,atoncestrengthenedmeandmademeweep,‘if,afterherassurancethatsheisnotfreetothinkofmylove,Iurgedit.DearEsther,letmeonlytellyouthatthefondideaofyouwhichItookabroad,wasexaltedtotheHeavenswhenIcamehome.

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2010LITEXAM 12

1: Novels1 – 5 E M Forster: A Passage to India

Use one or more of the passages selected as the basis for a discussion of A Passage to India.


1.

Assuredofherapprobation,Ronnycontinued:‘TheeducatedIndianswillbenogoodtousifthere’sarow,it’ssimplynotworthwhileconciliatingthem,that’swhytheydon’tmatter.Mostofthepeopleyouseeareseditiousatheart,andtherest’drunsquealing.Thecultivator–he’sanotherstory.ThePathan–he’samanifyoulike.Butthesepeople–don’timaginethey’reIndia.’Hepointedtotheduskylinebeyondthecourt,andhereandthereitflashedapince-nezorshuffledashoe,asifawarethathewasdespisingit.Europeancostumehadlightedlikealeprosy.Fewhadyieldedentirely,butnonewereuntouched.Therewasasilencewhenhehadfinishedspeaking,onbothsidesofthecourt;atleast,moreladiesjoinedtheEnglishgroup,buttheirwordsseemedtodieassoonasuttered.Somekiteshoveredoverhead,impartial,overthekitespassedthemassofavulture,andwithanimpartialityexceedingall,thesky,notdeeplycolouredbuttranslucent,pouredlightfromitswholecircumference.Itseemedunlikelythattheseriesstoppedhere.Beyondtheskymustnottherebesomethingthatoverarchesalltheskies,moreimpartialeventhanthey?Beyondwhichagain... TheyspokeofCousin Kate. Theyhadtriedtoreproducetheirownattitudetolifeuponthestage,andtodressupasthemiddle-classEnglishpeopletheyactuallywere.NextyeartheywoulddoQuality StreetorThe Yeomen of the Guard.Saveforthisannualincursion,theyleftliteraturealone.Themenhadnotimeforit,thewomendid nothing that they could not sharewith themen.Theirignoranceoftheartswasnotable,andtheylostnoopportunityof proclaiming it to one another; itwas the public-schoolattitude,flourishingmorevigorouslythanitcanyethopetodoinEngland.IfIndianswereshop,theartswerebadform,andRonnyhadrepressedhismotherwhensheinquiredafterhisviola;aviolawasalmostademerit,andcertainlynotthesortofinstrumentonementionedinpublic.Shenoticednowhow tolerantandconventionalhis judgementshadbecome;when theyhadseenCousin Kate inLondon together in thepast,hehadscornedit;nowhepretendedthatitwasagoodplay, inorder tohurtnobody’s feelings.An ‘unkindnotice’hadappeared in the localpaper, ‘thesortof thingnowhitemancouldhavewritten’,asMrsLesleysaid.Theplaywaspraised,tobesure,andsowerethestagemanagementandtheperformanceasawhole,butthenoticecontainedthefollowingsentence:‘MissDerek,thoughshecharminglylookedherpart,lackedthenecessaryexperience,andoccasionallyforgotherwords.’Thistinybreathofgenuinecriticismhadgivendeepoffence,notindeedtoMissDerek,whowasashardasnails,buttoherfriends.MissDerekdidnotbelongtoChandrapore.ShewasstoppingforafortnightwiththeMcBrydes,thepolicepeople,andshehadbeensogoodastofillupagapinthecastatthelastmoment.Aniceimpressionoflocalhospitalityshewouldcarryawaywithher.

* * *

2.

AMarabarcavehadbeenhorridasfarasMrsMoorewasconcerned, for she had nearly fainted in it, and had somedifficultyinpreventingherselffromsayingsoassoonasshegotintotheairagain.Itwasnaturalenough:shehadalwayssuffered from faintness, and the cave hadbecome too full,becausealltheirretinuefollowedthem.Crammedwithvillagersandservants,thecircularchamberbegantosmell.ShelostAzizandAdelainthedark,didn’tknowwhotouchedher,couldn’tbreathe,andsomevilenakedthingstruckherfaceandsettledonhermouthlikeapad.Shetriedtoregaintheentrancetunnel,butaninfluxofvillagerssweptherback.Shehitherhead.Foraninstantshewentmad,hittingandgaspinglikeafanatic.Fornotonlydidthecrushandstenchalarmher;therewasalsoaterrifyingecho. ProfessorGodbolehadnevermentionedanecho;itneverimpressedhim,perhaps.TherearesomeexquisiteechoesinIndia;thereisthewhisperroundthedomeatBijapur;therearethelong,solidsentencesthatvoyagethroughtheairatMandu,andreturnunbrokentotheircreator.TheechoinaMarabarcaveisnotlikethese,itisentirelydevoidofdistinction.Whateveris said, the samemonotonousnoise replies, andquivers upanddownthewallsuntilitisabsorbedintotheroof.‘Boum’is thesoundasfaras thehumanalphabetcanexpress it,or‘bou-oum’,or‘ou-boum’–utterlydull.Hope,politeness,theblowingofanose,thesqueakofaboot,allproduce‘boum’.Eventhestrikingofamatchstartsalittlewormcoiling,whichistoosmalltocompleteacircle,butiseternallywatchful.Andifseveralpeopletalkatonceanoverlappinghowlingnoisebegins,echoesgenerateechoes,andthecaveisstuffedwithasnakecomposedofsmallsnakes,whichwritheindependently. AfterMrsMoorealltheotherspouredout.Shehadgiventhesignalforthereflux.AzizandAdelabothemergedsmilingandshedidnotwanthimtothinkhistreatwasafailure,sosmiledtoo.Aseachpersonemergedshelookedforavillain,butnonewasthere,andsherealizedthatshehadbeenamongthemildestindividuals,whoseonlydesirewastohonourher,andthatthenakedpadwasapoorlittlebaby,astrideitsmother’ship.Nothingevilhadbeeninthecave,butshehadnotenjoyedherself;no,shehadnotenjoyedherself,andshedecidednottovisitasecondone.

* * *

13 2010LITEXAM

1: Novels1 – 5 E M Forster: A Passage to India – continued

3.

‘Imustgobacknow,goodnight,’saidAziz,andheldouthis hand, completely forgetting that theywere not friends,and focusing his heart on somethingmore distant than thecaves,somethingbeautiful.Hishandwastaken,andthenheremembered howdetestable he had been, and said gently,‘Don’tyouthinkmeunkindanymore?’ ‘No.’ ‘Howcanyoutell,youstrangefellow?’ ‘Notdifficult,theonethingIalwaysknow.’ ‘Canyoualwaystellwhetherastrangerisyourfriend?’ ‘Yes.’ ‘ThenyouareanOriental.’Heunclaspedashespoke,withalittleshudder.Thosewords–hehadsaidthemtoMrsMooreinthemosqueatthebeginningofthecycle,fromwhich,aftersomuchsuffering,hehadgotfree.NeverbefriendswiththeEnglish!Mosque, caves,mosque, caves.And here hewasstartingagain.Hehandedthemagicointmenttohim.‘Takethis,thinkofmewhenyouuseit.Ishallneverwantitback.Imustgiveyouonelittlepresent,anditisallIhavegot;youareMrsMoore’sson.’ ‘Iamthat,’hemurmuredtohimself;andapartofAziz’smindthathadbeenhiddenseemedtomoveandforceitswaytothetop. ‘ButyouareHeaslop’sbrotheralso,andalas,thetwonationscannotbefriends.’ ‘Iknow.Notyet.’ ‘Didyourmotherspeaktoyouaboutme?’ ‘Yes.’AndwithaswerveofvoiceandbodythatAzizdidnotfollowheadded:‘Inherletters,inherletters.Shelovedyou.’ ‘Yes, yourmotherwasmybest friend in all theworld.’Hewassilent,puzzledbyhisowngreatgratitude.WhatdidthiseternalgoodnessofMrsMooreamountto?Tonothing,itbroughttothetestofthought.Shehadnotbornewitnessinhisfavour,norvisitedhimintheprison,yetshehadstolentothedepthsofhisheart,andhealwaysadoredher.‘Thisisourmonsoon, thebestweather,’he said,while the lightsof theprocessionwavedasthoughembroideredonanagitatedcurtain.‘HowIwishshecouldhaveseenthem,ourrains.Nowisthetimewhenallthingsarehappy,youngandold.Theyarehappyout therewith their savagenoise, thoughwecannot followthem;thetanksareallfull,sotheydance,andthisisIndia.Iwishyouwerenotwithofficials,thenIwouldshowyoumycountry,butIcannot.PerhapsIwilljusttakeyououtonthewaternow,foroneshorthalf-hour.’ Wasthecyclebeginningagain?Hisheartwastoofull todrawback.Hemustslipoutinthedarkness,anddothisoneactofhomagetoMrsMoore’sson.Heknewwheretheoarswere–hiddentodeterthevisitorsfromgoingout–andhebroughtthesecondpair,incasetheymettheotherboat;theFieldingshadpushedthemselvesoutwithlongpoles,andmightgetintodifficulties,forthewindwasrising.

* * *

2010LITEXAM 14

1: Novels1 – 6 Gail Jones: Sixty Lights

Use one or more of the passages selected as the basis for a discussion of Sixty Lights.


1.

Herfacewasawhitelampinaseaofbrass.Shewishedherselfdark.ShewishedherselfIndian,partof this throngofpurposeful,myth-saturated, interconnectedpeople.Nowand thenshepassedanother foreigner,aman,inevitably,whowouldnod,ortouchtherimofhishat,asifexchangingsecretEnglishmessagesincode.Lucyhadnowishtocommunicatewiththeseotherlampswhofelt–shecouldtell–thattheyshonemorebrightlyandmoreimportantlythananyoneelse,thattheydispensedwhitelightwithacivilisingpurpose.Inherimaginationsheflickeredinthemidstofthecrowd, her face appearing here and there, inconstant andimpermanent,akindoffleetingfigment,inamoregeneralandself-sufficientseaofbrown.OnlyoncedidsheseeWilliamCrowley’sfaceinthedistance,half-shadedunderanawning,partiallyaverted,andherheartjoltedandherpulsequickened.Whenhesawherandrealisedwhoshewas,heturnedquicklyintoanalley.Coward,Lucythought.Yetshefelt–shehadtoadmitit–annoyedatherownexcitation. For all his self-enclosure, IsaacNewtonwas impressedwithLucyStrange and her spirited assertions. She had nointerestinthevariousEnglishwomen’ssocialclubs,ofbridgeorbadminton,ofchit-chatorchurchtalk,butbefriendedtheservants,salaamedcompletestrangers,madetripstothePersianbazaar,wherenoforeign-bornwomanwoulddarebeseen,andregardedeverythingwithawide-awakeandintentionedgaze.Hehadseenherpauseatamarketstalljusttoleanoverandbreatheinitsscent;hehadseenhercryoutwithtearsinhereyes,comingunexpectedlyuponasmallstatueofLakshmi,decoratedwithstringsofyellowrosesandorangemarigolds.Bashanti,whounderstoodbutcouldnot(orwouldnot)speakEnglish,clearlyadoredher,andevenAsokseemedtowatchherwithuntypical interest.Shehadchangedtheveryspaceand dimensions of his house: everyonewas conscious ofherpresenceas if shewasahumanmagnetpullingat theirfaces; everyoneorientated their perceptions aroundher.HediscoveredLucypatientlyteachingAsokthegameofchess,andnotlongafter,braidingBashanti’slongblackhair,withnonotionatallthatamemsahibdoesnot–shouldnot–performsuchmundaneandrank-breakingacts.Morethanthis,IsaacsuspectedLucyof“nativeappetites”:shemettheworldwithadistinctlyimpassionedsensuality.

* * *

2.

VioletStrangemovedinwithThomas,Lucyandthebaby,andfromthebeginninghermarriagewasastateofeffusion.Sheevenenjoyedhernewname.“Theywereallstrangers,”shesaid,“andyettheywereunestranged.TheywerethestrangestfamilyinLondonandwouldproducestrange,strangechildren.” SinceThomasandLucyhadthoughtoftheirnameonlywithakindofhabitualandvaguedisparagement,Violet’sinvigorateddelightstruckthemasbothenchantingandcurious. (“Shemarried you for your name,”Lucywhispered toThomas,andhetiltedhisheadandheartilylaughed.) Inbedatnight,feedingEllenasquietlyasshecould,LucycouldheartheintimatenoisesofThomasandViolettalkingtogether.Thespecifictoneoftheirtalkwasthatofvoicesgiventoeachother,withpurerelief,innew-foundcommunity. Itwasaworldnowofsmallrooms,acommandingbaby,andabridewhojokedandcookedandplantedlittlevasesofviolets(“sothatyouwon’tforgetwhoIam!”)ineverycorneroftheircosydwelling.LucyunderstoodthatbothThomasandViolethadadimensionofjoy,ofkeenness-to-life,thatshedidnotseemtopossess.Sheadmiredthelovingplaybetweenthemandfeltalittlejealous;theairaroundthenewlywedswaschargedwithsexualanticipationandneitherThomasnorVioletcouldpasseachotherinaroomwithoutinsomewaybrushingskin,orclothes,orofferinginaudiblewordsofendearment.Thomashadpossessedacollectionofsnakeskinswhenhewasachild:whydoesLucyrememberthisnow?Therewerethree,infact.Hekepttheminabox,revealingthemonspecialoccasions,andwithinordinatepride.Onebyonehewouldholdthemuplikestreamers,andtheywoulddangleandswayfrailly,stripsofdiamondorzigzag,finelywoven sheaths, stillmagicallyintactafterlifedeparted.Heguardedeachsnakeskinasifitwasatalismanofsecretknowledge.Now,watchingThomasandVioletprepareamealtogether,cuttingupmeatandvegetablesfor Irish stew, talking softly in sing-songvoices,with theirheadsinclinedineachother’sdirection,shethoughtagainforsomereasonofthethreepaperyskinsherbrotheroncekeptinaboxunderhisbed.Thomashadshedskinsmanymoretimesthanshe.

* * *

15 2010LITEXAM

1: Novels1 – 6 Gail Jones: Sixty Lights – continued

3.

she was on hampstead heath, resting, her eyes gently closedagainstincipientlystormyweather.Somethingredolentinthethrashingtreesinthewind–theirfiercebreathynoise,theirimplicationofwavycurrents–madeLucythinkagainoftheseavoyagethathadreturnedhertoEngland. Itwasonthisjourneyshehadrealisedherlifewasatripod.Australia,EnglandandIndiaallheldher–upheldher–onaplatformofvision,seekingherownfocus.Thesewerethezonesofhereye,theconditionsofhersalutaryestrangement.OntheshipLucyhadbefriendedasailor,Jock.Hewasadourmanofsixtyorso,whosharedherfascinationfortheoceananditscuriouslighteffects.Hejoinedheronthedeckinhissmallleisuredmomentstotalkinhushedconfidencesofhisnauticalpassions.Lucytoldhimofthesystemsofexposureinphotographythatmightcapturesea-patternorcloud,andofthechemicalimmersionthatfixesthesheenoflightuponwater.Everything that is seen,Lucy toldhim,willonedaysomewhereberegistered.Nomatterhowfleeting.Howslight.Howapparentlyineluctable.Jockthesailorwasunconvinced.Hewouldshowher,heclaimed,somethingwhichcouldnotbe trapped.For tendaysLucyandJockwatched thesunsettogether.Ontheeleventhdayithappened:the green ray.Thereisinthemysteryofrecedinglightacasual,curiousmomentinwhich,bysomerarecombinationofrefractionandtheangleofdescendingbeams,thesunitselfflashesgreenforthreeorfourseconds,justbeforeittipshalftheworldintodarkness.Lucydefinitelysawit.Itwasunmistakable.Sailorseverywhereacrosstheglobecallthisphenomenonthegreenray.Theskywas ribbedwith light.The sky resembled,Lucy thought, asilken sari enfolded, its coloursflashing just as themovingbodyanimatedtheridgesandvalleysofagarment. InLondonLucyopenedhereyestoemeraldgreenandaseaofwhitecumulus.Itwassummernow,andtheairwaswindyandwarm.ShecouldseeEllenbythepondandMrsMinchinbendingoverher.Ellen’sbonnethadblownbackwardsandjiggledatherneck,andMrsMinchinheldherownhatwithonehandandwiththeotherwasreachingforthechild.Theirdressesheavedandslappedintheunstableair.Aribbonflewoutandfellback:allwasadjusting;allwastransient. Mrs Minchin will be a mother, after all. Lucywasconsoledandunconsoled.Theylookedbeautifultogether.Theypossessedatrulyrareandsolarrefulgence.

* * *

2010LITEXAM 16

1: Novels1 – 7 Simon Leys: The Death of Napoleon

Use one or more of the passages selected as the basis for a discussion of The Death of Napoleon.


1.

Closing his eyes, he abandons himself to the flow of hismemories,andbeginstorelivethewholeordeal,asithappened,fromdawntodusk.“Itwasrainingonthatday,itwaspissingdown...”Andinspiteofthepeacefulsunshineandthepuresongofaninvisiblelarkpiercinghigherandhigherintothebluesky,likeamediuminatracehesummonsupandbringstolifetherealspiritoftheplain.BeforeNapoleon’sveryeyes,thefalsedecorofpastoralcalm,withitsfieldsandcowsandploughonthehorizon,partslikeanaïvelypaintedcountrysceneonatheatrecurtain,revealingthesombretruththatisalwaysthere,hiddenbehindtheveilofappearances. ...Inamurkytwilight,underalowsky,men,horsesandcannonareoncemoreboggeddowninthemud.Acrossthesoddenfieldscomestheloudrumbleofregimentsonthemove,whilethemuffledboomofcannoncanbeheardinthedistance.Themenhavebeenmarchingallnighttomeettheirfate,wearyasbeastsofburden;hereandthereinthegrass,afewarealreadydead,theireyeswideopenwithastonishment. Yet when did this vision, which at first seemed sooverwhelminglytrueineverydetail,suddenlybecomeconfusedandbegintofallapart?Napoleonagainexperiencesthesamedizzinessthathehadfeltintheunfamiliarbedroom.EdmondtheVeteranfoamsatthemouthandscreamsandwhirlsaroundonhiscrutchlikeonepossessed,ashegoes throughall thetorments of that incredible day.Under this hail ofwords,Napoleon is horrified to discover the image ofanother Waterloo,whichismoreandmoredifficulttoreconcilewithhisownmemoryandsenseoflogic.Hecannolongerfindasinglelandmarkontheplain;evenashestaresatit,thescenebecomesweirdlydistorted.EdmondtheVeteran’sincantationisdrawinghimintoawhirlwindwherehisreasonfaltersandisabouttobeswallowedup.Hestrugglestobreakfree;withonefinaleffort,hesuddenlyresistsandinterruptshisrelentlessguide:“No,no!It’snotthegrenadierswhoareholdingBelle-Alliance,it’sthedragoons!...”

* * *

2.

‘I’dratherstarve,’healwaysusedtosay,‘thandeserttheEmperor.’HereallybelievedthattheEmperorwouldreturn.Therewereafewofthem,realfanaticswhonevergaveup,butwhatgoodpeople!Talkingofstarving–Icantellyou,that’sjustwhathappenedtohim,ornearenough.Sellingpumpkinswon’tkeepaman,speciallyintimeslikethesewhicharesodifficultforpeoplewhorefusetoknuckleunder.Besides,tobefrank,hewasn’tcutoutforbusiness.Andofcourse,hehadtodevotehimselftohisrealmissioninlife,asheusedtocallit.Politicstookupallhistimeandenergy.Itwasthesameforhisfriends.You’llmeet them, I’ll introduce you.There’s themedicalofficer,DrLambert-Laruelle,SergeantMauriceandtheothers.They’realwaysatthecafé,LesTroisBoules.Tolookatthem,you’dthinktheyweremenofleisureplayingtheirusualgameof cards.Between you andme, I think theywere plottingsomething.But I’m awoman and a soldier’swife. I knowbetterthantopokemynosewhereit’snotwanted.Truchautwasn’tonetotalk,andIcertainlywouldn’thavetriedtoworminformationoutofhim.WhenhecamehomefromLesTroisBouleslookingworried,Iwouldn’thavedaredspeaktohimaboutthebusinessandbotherhimwithmypettyworriesaboutmonthlybills,settlementdatesandsoon.Although,heavenknowsthereweretimeswhenitwouldhavebeensucharelieftoconfideinhimandtellhimallmybusinessproblems.Yousee,I’mtheonewholooksafterthebusiness.It’sjustasmallconcernthatIbeganfromnothing:mycousinsarefarmersinAvignon.TheysendtheirfruittoParisandwetrytosellitwherewecan.Intheory,itshouldwork,butwhatcanIdo,there’snoonebutmetorunthewholething;Ihadnoexperience,andIcan’treallycopeonmyown.

* * *

17 2010LITEXAM

1: Novels1 – 7 Simon Leys: The Death of Napoleon – continued

3.

while he appreciatedtheOstrich’sdevotion,Napoleonwasworriedbythenewturnhissituationseemedtobetaking. Hisindomitablewill,whichtheworstmisfortunescouldnothaveshaken,hadimperceptiblybeendivertedtowardsdomesticjoysandsmall-timeprosperity.Thisunexpectedsuccess,triflingthoughitwas,neverthelessbroughtwithitakindofeasewhichhecouldnotentirelyignore.Itwasbeginningtotransformthegroundbeneathhisfeetintoasoft,shiftingterrainwherehisresolutioncouldbecomeweakandslowlysinkwithouttrace.Themore business improved and theOstrichfilled his lifewith touchingnewcomforts, the lesshe resembled the realNapoleon. Everytimehewenttothebarber’s,hestaredintothedoublemirrorandwashorrifiedyetfascinatedtoseehowhisoriginalfeaturesweredisappearinglittlebylittleandbeingreplacedbythoseofastrangerhedespisedandhated,andwhoinspiredinhimagrowingfeelingofdisgust.Hehadputonalotofweightandwasnowcompletelybald.IfhehadlookedlikethiswhenhemetBommel (Justin),howcould the sergeant everhaverecognisedhim?And–notsolongago–themedicalofficerhimself?When,afterfinalisingaparticularlycleverdeal,heheardhimselfbeingcongratulatedbysomebrokerincolonialgoodswho paid tribute to his brilliant business acumen, aburning lust foraction ran throughhim–oh! tostartagainfromscratch,tobreakfreeatoncefromthiswarmmorassthatthreatenedtoengulfhim! Yetthemedicalofficer’spropheticjibe,advisinghimtobecontentwithmakinghisfortuneinwatermelons,stillranginhisears,andthememoryofthattwilightvisittoDrQuinton’sasylumhungoverhimlikeanimminentthreat.Besides,thisthreatwasquitereal,ashewassoontofindout.

Hehadmadeatentativeattempt–ratheranawkwardone,itistrue–togettheOstrichtoshareinhissecret. The result of this approachwas disastrous.At first, shedid not understand anything; then,when she finallymadeoutwhatheseemedtobeaimingat,aheart-rendinglookofastonishmentandterrorspreadoverherface.Napoleonrealisedhowdistressedshewasanddidhisbesttobeataretreat,makingalaboriousefforttochangethesubjectoftheirconversation.Shepretendedtofollowwhathewassaying,fightinghardnottoburstintotears.

* * *

2010LITEXAM 18

1: Novels1 – 8 Ian McEwan: Atonement

Use one or more of the passages selected as the basis for a discussion of Atonement.


1.

IanMcEwan,Atonement,Vintage,RandomHouse,2005

pp173–175

2.


p209

19 2010LITEXAM

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3.


pp370–371

2010LITEXAM 20


1: Novels1 – 9 Mary Shelley: Frankenstein

Use one or more of the passages selected as the basis for a discussion of Frankenstein.

1.

WhenIwasaboutfifteenyearsoldwehadretiredtoourhousenearBelrive,whenwewitnessed amost violent andterriblethunder-storm.ItadvancedfrombehindthemountainsofJura;andthethunderburstatoncewithfrightfulloudnessfromvariousquartersof theheavens. I remained,while thestormlasted,watchingitsprogresswithcuriosityanddelight.AsIstoodatthedoor,onasuddenIbeheldastreamoffireissuefromanoldandbeautifuloak,whichstoodabouttwentyyardsfromourhouse;andsosoonasthedazzlinglightvanished,theoakhaddisappeared,andnothingremainedbutablastedstump.Whenwevisiteditthenextmorning,wefoundthetreeshattered in a singularmanner. Itwasnot splinteredby theshock,butentirelyreducedtothinribbonsofwood.Ineverbeheldanythingsoutterlydestroyed. BeforethisIwasnotunacquaintedwiththemoreobviouslawsofelectricity.Onthisoccasionamanofgreatresearchinnaturalphilosophywaswithus,and,excitedbythiscatastrophe,heenteredontheexplanationofatheorywhichhehadformedonthesubjectofelectricityandgalvanism,whichwasatoncenewandastonishingtome.AllthathesaidthrewgreatlyintotheshadeCorneliusAgrippa,AlbertusMagnus,andParacelsus,thelordsofmyimagination;butbysomefatalitytheoverthrowofthesemendisinclinedmetopursuemyaccustomedstudies.Itseemedtomeasifnothingwouldorcouldeverbeknown.All that had so long engagedmy attention suddenly grewdespicable.Byoneofthosecapricesofthemind,whichweareperhapsmostsubjecttoinearlyyouth,Iatoncegaveupmyformeroccupations, setdownnaturalhistoryandall itsprogenyasadeformedandabortivecreation,andentertainedthegreatestdisdainforawould-besciencewhichcouldneverevenstepwithinthethresholdofrealknowledge.InthismoodofmindIbetookmyselftothemathematics,andthebranchesofstudyappertainingtothatscience,asbeingbuiltuponsecurefoundations,andsoworthyofmyconsideration. Thusstrangelyareoursoulsconstructed,andbysuchslightligamentsareweboundtoprosperityorruin.WhenIlookback,itseemstomeasifthisalmostmiraculouschangeofinclinationandwillwastheimmediatesuggestionoftheguardianangelofmylife–thelasteffortmadebythespiritofpreservationto avert the storm thatwas even thenhanging in the stars,andreadytoenvelopeme.Hervictorywasannouncedbyanunusualtranquillityandgladnessofsoul,whichfollowedtherelinquishingofmyancient and latterly tormenting studies.ItwasthusthatIwastobetaughttoassociateevilwiththeirprosecution,happinesswiththeirdisregard. Itwas a strong effort of the spirit of good; but itwasineffectual.Destinywastoopotent,andherimmutablelawshaddecreedmyutterandterribledestruction.

* * *

2.

Suddenly,asIgazedonhim,anideaseizedmethatthislittlecreaturewasunprejudiced,andhadlivedtooshortatimetohaveimbibedahorrorofdeformity.If,therefore,Icouldseizehimandeducatehimasmycompanionandfriend,Ishouldnotbesodesolateinthispeopledearth. ‘Urgedbythisimpulse,Iseizedontheboyashepassedanddrewhimtowardsme.Assoonashebeheldmyform,heplacedhishandsbeforehiseyes,andutteredashrillscream;Idrewhishandforciblyfromhisfaceandsaid,“Child,whatisthemeaningofthis?Idonotintendtohurtyou;listentome.” ‘Hestruggledviolently.“Letmego,”hecried;“monster!uglywretch!youwishtoeatmeandtearmetopieces–Youareanogre–Letmego,orIwilltellmypapa.” ‘“Boy,youwillneverseeyourfatheragain;youmustcomewithme.” ‘“Hideousmonster!letmego.Mypapaisasyndic–heisM.Frankenstein–hewillpunishyou.Youdarenotkeepme.” ‘“Frankenstein! youbelong then tomy enemy– to himtowardswhomIhavesworneternalrevenge;youshallbemyfirstvictim.” ‘Thechildstillstruggled,andloadedmewithepithetswhichcarrieddespairtomyheart;Igraspedhisthroattosilencehim,andinamomenthelaydeadatmyfeet. ‘Igazedonmyvictim,andmyheartswelledwithexultationandhellishtriumph;clappingmyhands,Iexclaimed,“Itoocancreatedesolation;myenemyisnotinvulnerable;thisdeathwillcarrydespairtohim,andathousandothermiseriesshalltormentanddestroyhim.” ‘AsIfixedmyeyesonthechild,Isawsomethingglitteringonhisbreast.Itookit;itwasaportraitofamostlovelywoman.Inspiteofmymalignity,itsoftenedandattractedme.ForafewmomentsIgazedwithdelightonherdarkeyes,fringedby deep lashes, and her lovely lips; but presentlymy ragereturned: I remembered that Iwas forever deprived of thedelightsthatsuchbeautifulcreaturescouldbestow;andthatshewhoseresemblanceIcontemplatedwould,inregardingme,havechangedthatairofdivinebenignitytooneexpressiveofdisgustandaffright.

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1: Novels1 – 9 Mary Shelley: Frankenstein – continued

3.

Hehadheardmystorywiththathalfkindofbeliefthatisgiventoataleofspiritsandsupernaturalevents; butwhen hewas called upon to act officially inconsequence,thewholetideofhisincredulityreturned.He,however,answeredmildly,‘Iwouldwillinglyaffordyoueveryaidinyourpursuit;butthecreatureofwhomyouspeakappearstohavepowerswhichwouldputallmyexertionstodefiance.Whocanfollowananimalwhichcantraversetheseaofice,andinhabitcavesanddenswherenomanwouldventuretointrude?Besides,somemonthshaveelapsedsincethecommissionofhiscrimes,andnoonecanconjecture towhatplacehehaswandered,orwhatregionhemaynowinhabit. ‘IdonotdoubtthathehoversnearthespotwhichIinhabit;and if he has indeed taken refuge in theAlps, hemay behuntedlikethechamois,anddestroyedasabeastofprey.ButIperceiveyourthoughts:youdonotcreditmynarrative,anddonotintendtopursuemyenemywiththepunishmentwhichishisdesert.’ AsIspoke,ragesparkledinmyeyes;themagistratewasintimidated:–‘Youaremistaken,’saidhe.‘Iwillexertmyself;andifitisinmypowertoseizethemonster,beassuredthatheshallsufferpunishmentproportionatetohiscrimes.ButIfear,fromwhatyouhaveyourselfdescribedtobehisproperties,that thiswill prove impracticable; and thus,while everypropermeasureispursued,youshouldmakeupyourmindtodisappointment.’ ‘Thatcannotbe;butallthatIcansaywillbeoflittleavail.Myrevengeisofnomomenttoyou;yet,whileIallowittobeavice,Iconfessthatitisthedevouringandonlypassionofmysoul.Myrageisunspeakable,whenIreflectthatthemurderer,whomIhaveturnedlooseuponsociety,stillexists.Yourefusemyjustdemand:Ihavebutoneresource;andIdevotemyself,eitherinmylifeordeath,tohisdestruction.’ ItrembledwithexcessofagitationasIsaidthis;therewasa frenzy inmymanner,andsomething, Idoubtnot,of thathaughtyfiercenesswhichthemartyrsofoldaresaidtohavepossessed.But to aGenevanmagistrate,whosemindwasoccupiedbyfarotherideasthanthoseofdevotionandheroism,thiselevationofmindhadmuchtheappearanceofmadness.Heendeavouredtosoothemeasanursedoesachild,andrevertedtomytaleastheeffectsofdelirium. ‘Man,’Icried,‘howignorantartthouinthyprideofwisdom!Cease;youknownotwhatitisyousay.’ Ibrokefromthehouseangryanddisturbed,andretiredtomeditateonsomeothermodeofaction.

* * *

2010LITEXAM 22

2: Plays2 – 1 Jack Davis: No Sugar

Use one or more of the passages selected as the basis for a discussion of No Sugar.

1.

constable: Here’syourbi-carb.gran: Whataboutthemwanbru?constable: What?milly: Blankets!sergeant: Look,there’snothin’Icandoaboutitexceptput

inaremindertotheDepartmentinPerth.Whydon’tyousegoaroundtoStJohn’sandaskthevicar?

milly: Forblankets?He’llgiveusnothin’,he’slikethat.gran: [adopting a praying attitude]Yeah,whenhecometo

GubmentWellhegoeslikethatwithhiseyesclosedandhesaystheLordwillhelpyou,andnowheprayswithhiseyesopen,’causetime’forelastWowWowbithimontheleg ...mustawantedabita’holymeat.

milly: Youforgotourmeatorder.sergeant: Nomeatthisweek.milly: What?sergeant: Finished;infuturenomeatisincludedinrations.gran: Why?constable: There’sabloodydepressionon.milly: Whatarewegunnadoformeat?constable: There’splentyofroosandrabbits.gran: Whatabouttjirrung?constable: Whataboutwhat?milly: Fat!sergeant: Fatisclassifiedasmeat.I’llseewhatIcandoabout

theblanketsforyouse.milly: Iwant’em’foreCissiegitsoutahospital.sergeant: Ican’tpromiseanything,butI’llcheckwiththe

Department.gran: An’you’resupposedtobenative’tector. [gran and milly take their rations and exit.]sergeant: LookslikeI’mtheoneneedsprotectin’.constable: Shouldputapinchofstrychnineintheflour.sergeant: ToolatetoadopttheTasmaniansolution.neville: [yelling]Munday! [jimmy stands and enters the office.] Theeleveno’clockmixedgoods,makesureyou’reonit. [He hands jimmy the voucher.] Andtrytokeepoutoftroubleforawhile. [jimmy shuffles off at a snail’s pace.] You’dbettergetamoveon ifyou’regoing tocatch that

train.jimmy: Don’tthinkI’llworryaboutthemixedgoods,catch

the five o’clockKalgoorlie train instead.Haven’t beendowninthebigsmokeforafewweeks,mighthaveabitofalookaround.

neville: Yougetonthattrain–jimmy: [interrupting]Youknowone thingaboutFremantle

Gaol?Evensomeofthemscrewsarepolite–notlikethisplace.[Walking off]NativeProtector,couldn’tprotectmydogfromfleas.

neville: [returning to his office]Cheeky,toobloodycheeky.

* * *

2.

neal: . . . AustraliaDay,theceremony.MrNevillelikestohavetheagendainadvance.I’dlikeyoutosayafewwordsyourselfandanappropriatehymn.

sister: We’vebeenpractising‘ThereIsaHappyLand’. . . Ithoughtitwouldbe...

neal: Good.sister: I thought itmightbenice ifMrNevilleannounced

thehymn.neal: Yeah,allright.Whatwasitagain?sister: ‘ThereIsaHappyLand’.

[neal writes it down and shuffles his papers. He ignores her. Pause.]

Isthatall,MrNeal?neal: Justamoment . . .There’sanothermatterI’d like to

discusswithyou. Ibelieveyou’vebeen lendingbooks–novels–tosomeofthenatives.

sister: Yes,Ihave.neal: There’sasortofunofficialdirectiveonthis;it’sthesort

ofthingwhichisn’tencouragedbytheDepartment.sister: What do youmean?That youdon’t encourage the

nativestoread?neal: That’sright.sister: [incredulously]Butwhy? I’d intended to ask your

permissiontostartasmalllibrary.neal: I’msorry,Sister,but–sister: [interrupting]Itwon’tcosttheDepartmentapenny,I

cangetthebooksdonated.Goodbooks.neal: It’squiteoutofthequestion.sister: Butwhy?neal: Look,my experiencewith natives in SouthAfrica

andherehas taught– ledmetobelievethat there’sa lotofwisdom in theold adage that ‘a little knowledge is adangerousthing’.

sister: Ican’tbelievewhatyou’resaying.neal: LookSister,I’vegotabigmobhere,oversevenhundred

–youknowthat–andthere’senoughtroublemakerswithoutgivingthemideas.

sister: ButMrNeal–neal: [interrupting]Idon’tthinkthere’sanythingmoretobe

saidonthesubject.sister: Well,I’dliketosaysomethingonanothersubject.neal: Yes?sister: Theuseofviolencebyyournativepolicementoenforce

attendanceatmyreligiousinstructionclasses.neal: If I didn’tmake attendance compulsory, you’d have

noneofthemthere.sister: I’dpreferthattheycomeoftheirownfreewill.neal: Look,Sister,ifyou’renothappyhere,Icouldarrangea

transferforyoutoanothersettlement;perhapsMullaBulla,ontheedgeoftheGibsonDesert.

[She goes to leave, but stops by the door.]sister: Gettingbacktothebooks,whatdoyouclassifythe

Bibleas? [She exits.]neal: [To himself]Bloodydo-gooders.

* * *


23 2010LITEXAM

2: Plays2 – 1 Jack Davis: No Sugar – continued

3.

Long Pool Camp, Moore River, day. gran seems to have aged suddenly. She sits and stares into the smouldering fire, quietly grumbling and singing. cissie and david play knucklebones. milly and sam play cards. mary watches over the baby who sleeps in a kerosene tin. A loud whistle is heard in the distance.

sam: Whothehellisthat?david: Boyswhistlingatgirls,Ibet.mary: No. [The whistle is heard again.] Iknowthatwhistle,that’sJoe.It’sJoe,it’sJoe! [cissie and david start to run.]milly: Comeback,youtwo!Comeback!david: It’sJoe,Mum.It’sJoe. [The kids run off.]joe: [off]Hey!Whereareallyoublackfellas? [joe enters carrying a sugar bag and with david on his

back. They are followed by cissie. He sees mary and they embrace. He swings her around and around. david falls off, laughing and yelling. joe wears a yellow shirt and black pants.]

How’severybody?Gawd,it’sgoodtobeback.sam: Yeah, son,wewasn’t expectin’ you for another two

weeks.david: [yelling, pointing to the tin]Yourbabyinthere![Quietly]

Sleepin’.joe: Howareyou,Gran?gran: Bitcrook.[Rubbing her leg]Meleggittired,littlebit,

thisone.mary: Comeandseebaby. [They walk to where the baby sleeps.]joe: Gawd. [Pause.] Canhesitup?mary: Givehimtime.He’sonlytenweeksold.joe: Whatdidyoucallhim?sam: Wecallhimkoolbardi,Nyoongahname.gran: Magpie.mary: Wewaitedforyoutocomehometogivehimawetjala

name. [Silence.]joe: IwannacallhimJimmy. [Silence.]mary: Yeah. [gran begins to wail and cry.]joe: Eh,Gran,gotsomethin’hereforyou. [He dives his hand into the sugar bag and produces a

wooden pipe and a tin of tobacco.] Herey’are,Gran,realpipeandrealgnummarri,notnigger

twist.gran: Woolah, kwobiduk, cooo-ooh.joe: [pulling out coloured ribbons]Herey’are,Cissie,ribbons

foryourhair.cissie: Ohthanks,brother,they’remoorditj. [She ties yellow and red ribbons in her hair.]

joe: Herey’are,gnoon. [He gives david a pocket knife.] Herey’are,Mum. [He produces a needle and cotton.] AndDad. [He produces tobacco and papers.]sam: Hey,realpapers.Rizlas.Goodonya,son.milly: Didn’tyougitnothin’forMary?joe: CourseIdid,Mum.

* * *

2010LITEXAM 24

2: Plays2 – 2 Dario Fo: Accidental Death of an Anarchist

Use one or more of the passages selected as the basis for a discussion of Accidental Death of an Anarchist.

1.

Maniac Soyouliedontelevisionandinthepaperswhenyousaidthathisalibihadcollapsedandtheevidencewasstackedup against him.Not contentwith using these little cheats,scamsandwhoppers to tripupsuspects,youthenuse themtosabotagethegoodfaithofagullibleandgormlesspublic.(Ignoring the Superintendent’s attempt to object.)Pleaseletmefinish.Hasn’tanyoneevertoldyouthatgivingoutfalseormisleadinginformationisaseriousoffence?

Superintendent Infact,myofficerassuredmethat–

Maniac Stopdumpingonpeople!Answerthis,Inspector–wheredidyougettheinformationthattheanarchistdancerhadconfessed?I’vereadallthetranscriptsofinterviewscarriedoutbythepoliceandtheinvestigatingjudge...(He shows them to everyone present.)Andnowheredoestheaforementionedanarchistadmittobeinginvolvedinbombingthebank.Sodidyoumakeupthatconfessionaswell?Answer!

Inspector Yes,wemadeitup.

Maniac Thatis...inspired.Youtwoshouldtakeupcreativewriting.Infact,youmaywellgetthechanceinprison.Alwaysbeenamarvellousplacetowrite.Okay,you’reprobablyfeelingalittlebitdepressedrightnow.Sowhatbettertimetoaddthatthereisdamningproofofgrossnegligenceonyourpart,thatyou’rebothdeadinthewater,andthatinanattempttomaketherestofthepolicelookgoodtheHomeOfficearegoingtocrucifyyou.

Superintendent Idon’tbelieveit!

Inspector Howcanthey–

Maniac Soyour careers are ruined, but that’s politics foryou.Youpolicewereusefulatfirst.Butthemoodhaschanged.Peopleareangryaboutthedeathoftheflyinganarchist.Theywanttoseeacoupleofheadsroll...and,hey,herearetwo!

Superintendent Theywantourheads?

Inspector Yes!* * *

2.

Maniac Ontheeveningwhentheanarchistjumpedoutofthewindow,thesunneverset.

The three policemen exchange blank glances.

Superintendent Idon’tunderstand.

The Maniac pretends to get annoyed.

Maniac ItwasDecemberandthewindowwasstillwideopenatmidnight,soitcan’thavebeencold.Andtheonlywayitcouldn’thavebeencoldisifthesunhadn’tset.Itmusthavesetlater,atoneo’clock,likeinNorwayinJuly.

Superintendent No,they’donlyjustopenedit,togetabitofairintotheroom,amIright?

Inspector Yes,therewasalotofsmoke.

Constable 2 Theanarchistsmokedalot.

Maniac Soyou’dopenedthewindows,butpresumablynottheshutters.

Inspector Yes,andtheshutters.

Maniac InDecember?Atmidnightwith the thermometerplummetingbelow zero and a thick fog descending?What–‘Weneedair,weneedair!Comeandgetme,pneumonia!’–kindofthing?Soyoumusthavebeenwearingcoats?

Inspector No,justjackets.

Maniac Snazzy!

Inspector Itwasn’tcold,honestly.

Superintendent No,itwasn’tcold.

Maniac No?Thateveningtheweatherforecastforthewholeofthecountrywasfortemperatureslowenoughtofreezethebollocksoffapolarbear.Butyoulotweren’tcold.‘Springtime!’Whatwasyoursecret–yourownpersonalAfricanmonsoonkit?You’vedivertedtheGulfStreamthroughthesewersunderthepolicestation?

Inspector I’msorry,Idon’tgetit–yousayyou’reheretohelpusthenyouspendthewholetimesneeringatourevidenceandmakinguslookpathetic.

Maniac Okay,maybeIdoexaggerate,andIdohaveaslighttendencytocompletelyrubbisheverythingyousay...That’sbecausedealingwithyou is likedoingoneof thosepuzzlebooksboughtbychildrenandretards:‘Findthethirty-sevenmistakesmade by InspectorBarryStupidhead.’How am Isupposedtohelpyou?

* * *


25 2010LITEXAM

2: Plays2 – 2 Dario Fo: Accidental Death of an Anarchist – continued

3.

Maniac Ahyes.Sothere’samassivescandal.Massarrestsof politicians.The odd trial.Lots of big cheeses sweating.Lords,membersofparliament,colonels...LiberalDemocratsratheroverexcitedandtearful.TheMail on Sunday sacksitseditor.TheLefttriestobanfascists.Andfinallythechiefofpoliceiscarriedshoulder-highthroughthestreetsforcarryingoutsuchafearlessoperation.Shortlyafterwardshe’spolitelytoldtoretire.

Superintendent No,Captain. Idon’t like thesegratuitousinsinuations...

Journalist This time I agreewith the superintendent.Ascandallikethatwouldactuallyboostthestandingofthepolice.Thepublicwouldhaveanenhancedsenseofwell-beingandanewrespectforourjusticesystem.

Maniac Absolutely, so the scandalwouldhave served itspurpose.Peoplesaytheywantrealjustice...sowefobthemoffwithaslightlylessunjustsystemofjustice.Workershowlthatthey’rebeingflayedlikedonkeys...sowearrangefortheflaying tobea little less severeandslash theirhowlingentitlement,buttheexploitationgoeson.Theworkforcewouldrathernothavefatalaccidentsinthefactory...sowemakeitateenybitsaferandincreasecompensationpaymentstowidows.They’dliketoseeclassdivisionseliminated...sowedoourbesttobringtheclassesmarginallycloseror,preferably,justmakeitseemthatway.

Theywantarevolution...andwegivethemreforms.We’redrowningtheminreforms.Orpromisesofreforms,becauselet’sfaceit,they’renotactuallygoingtogetanything.

Inspector Are you aware that it’s an offence to showcontemptforthejudiciary?

Superintendent He’sbonkers.

Bertozzo Iknowheis,I’vebeentryingtotellyouforhalfanhour.

Maniac Yousee,youraveragecitizendoesn’twantthedirtandtheinjusticetogoaway.He’sjusthappytoseeitexposed,let’sallhaveajollyscandal,andeveryonegetssomethingtotalkabout.That,forhim,iswhatfreedommeansinthebestofallpossibleworlds.Hallelujah!

Bertozzo (grabbing the Maniac’s wooden leg and shaking it)Look,hislegisn’treal!

Maniac Yesitis.It’swalnut.

Superintendent It’sallright,weknow...

Bertozzo It’satrick,it’sstrappedonattheknee.(He starts to undo the straps.)

Inspector Oi,Bozo,leavehimalone.Whatdoyouwanttodo,dismantlehimcompletely?

* * *

2010LITEXAM 26

2: Plays2 – 3 Michael Frayn: Copenhagen

Use one or more of the passages selected as the basis for a discussion of Copenhagen.

1.

MichaelFrayn,Copenhagen,MethuhenStudentEdition,2003

pp42–43


2.


pp76–78

27 2010LITEXAM

2: Plays2 – 3 Michael Frayn: Copenhagen – continued

3.


pp85–86

2010LITEXAM 28

2: Plays2 – 4 Brian Friel: The Freedom of the City

Use one or more of the passages selected as the basis for a discussion of The Freedom of the City.

1.

BrianFriel,The Freedom of the City,Faber&Faber,2005

pp120–121

2.


pp134–135


29 2010LITEXAM

2: Plays2 – 4 Brian Friel: The Freedom of the City – continued

3.


pp154–155

2010LITEXAM 30

2: Plays2 – 5 Henrik Ibsen: Hedda Gabler

Use one or more of the passages selected as the basis for a discussion of Hedda Gabler.

1.

HenrikIbsen,Hedda Gabler,Penguin,1961

pp294–295

2.


pp319–320


31 2010LITEXAM

2: Plays2 – 5 Henrik Ibsen: Hedda Gabler – continued

3.


pp350–351

2010LITEXAM 32

2: Plays2 – 6 Hannie Rayson: Hotel Sorrento

Use one or more of the passages selected as the basis for a discussion of Hotel Sorrento.


1.

On the verandah at marge’s place. They sit drinking coffee. marge has TheGuardianarticle in her lap.

dick: Thesebloodysmartarseexpatriates.Imeanwhatisitthatmakesthemthinkthatlivingelsewhereautomaticallyqualifiesthemtomakesweepinggeneralisationsaboutthisplace.A culture isn’t static for godsake.Things change.Thewomanhasn’t livedhere for tenyears.Lookwhat’shappenedinthattime.

marge: Yes,itisabitdisappointing,Ihavetoadmit.dick: Disappointing.Jesus!Thewoman’sanidiot.marge: No,she’snot.She’snotanidiot.

dick scoffs.

dick: Imightseemlikeanidiot,talklikeanidiot.Butdon’tbedeceived.Iam anidiot!

marge: Well, I think someof the things she saysarequitetrue.Ilovethisbit,

‘If you ask the average Brit what he knows aboutAustralia,he’llprobablysayFostersandvomit.ThetroubleisthatyouraverageAussieblokeonthelooseinLondon,regardless ofwhether he’s backpackingorwheeling anddealing,doesnothing todispel that image.When ImeetAustraliansoverhereItakesomecomfortinthefactthatitisonlyaminoroutbreak.Athomewe’retalkingepidemic!’

dick: Oh,veryfunny.Whatabout thisstatement– this isacountrythat’srifewithxenophobiaandanti-intellectualism?Likethatbittoodidyou?

marge: No.Butthemediaforcethemtogiveanopinion.dick: No.No.Lookifshehasanyintelligence,anycommon

sense,shemakesitabundantlycleartoherinterviewerthatherperceptionsaboutaplace,[thatshehasn’tlivedinfortenyears],areobviouslygoingtobeoutdated.Andallthatstuffaboutthefather.

marge: But she’s right!There’s awhole generationof oldboyslikethat.

dick: Yeah,thereis.Buttheydonotrepresent‘thespiritofAustralianlife’orwhatevershesaid.Notanymore.That’sthewholepoint.Thewoman’soutoftouch.

Pause.

OkayifIringKellyattheoffice?marge: Why?dick: IthinkI’llgethertotrackdownthisMoynihanwoman

inLondon.I’vegotanideaforapieceonAustralia’simageproblemabroad.Thiscouldfitinverynicely.

* * *

2.

edwin: ThingschangeintenyearsMeg.meg: No.They haven’t.That’s just it. It’s like there’s this

highlyelasticisedthreadthat’stiedaroundusthreeanditstretchesfromAustraliatoBritainandtotheStatesandallofasuddenit’sjustgivenoutandthwackwe’reflungbacktogetheragain.Andwe’rejustthesamelittlegirls,butthistimeinwomen’sbodies.Andwedon’tknowanymorethanwhenwestartedout.[Sighing]I’mbeginningtofeelquitemiddleaged.

edwin: I’m not surprised.This town feels like everyonein itwas born intomiddle age.D’you know, the onlyconversationsI’vehadsincewearrivedhavebeenaboutchildrenandcompost.

meg: Peopledon’tknowwhattosaytous.Griefmakespeoplerealisehowinadequatetheyare.

edwin: Yes.

Pause.

Tellme,doesanythingeverhappenhere?meg: No.Peopleliveoutquietprosaicineffectuallivesand

thentheydie.Andtheotherpeoplespendtherestoftheirlivesutterlyemotionallycrippledbytheexperience.Thatseemstobethepattern.

Silence.

edwin: Imustsay,Hilaryisquitearemarkablewomanisn’tshe?

meg: Whydoyousaythat?edwin: Thewayshecopeswiththings.meg: Oh,yes.Hilary copes.She ‘copes’ because she shuts

down.That’s theway she lives her life. She doesn’t letherselffeel.Shedoesn’tthinkaboutthingstoodeeply.It’slikeshemadeadecisionalongtimeagothatshewasdonewithcrying.Nothingornobodywasevergoingtohurtheragain.Soshe‘copes’magnificentlyandpeoplethinkshe’ssostrong,soremarkable.Idon’t.Ithinkshe’sacoward.

Silence.

edwin: Ithinkyou’rebeingveryunfair.Ican’timaginewhatitmustbelikeforher.She’shadtodealwiththreedeaths.Allofthemtragic.Ican’tevenbegintothinkhowonewouldeverreallydealwiththat.

meg: No,perhapsyoucan’t.edwin: AndIdon’tthinkyoucaneither.meg: Theyweremyparentstoo,Edwin...edwin: Iknow.meg: AndIwashere,remember,whenGarydied.edwin: Iknow.Buthewasn’tyourhusbandMeg.meg: No,hewasn’tmyhusband.ButIlovedhim.That’swhat

youdon’tunderstand.Ilovedhimtoo.

* * *

33 2010LITEXAM

2: Plays2 – 6 Hannie Rayson: Hotel Sorrento – continued

3.

hil: I’veneverownedanythinginmywholelife.Damnyou!Ineverevenownedmyownmarriage.Damnyou.Damnyou...

meg stands at the door.

Anddamnyou!

meg is silent.

meg: It’sabouttimeyoustarted.It’sabouttimeweallstarted.Toownwhat’shappenedtous.

pippa: WhyMeg?Sowecanallwritebest-sellers?meg: Yes.Allright,let’stalkaboutbest-sellers.Iwrotethat

book.AndIdidn’tstealanythingfromyouoryouoranyoneelsewhowantstolayclaimstoownership.

hil: But you don’tMeg.Youdon’t ownwhat’s happened.Don’tyouseethat?

meg: No.Ionlyownmystory.Andthat’saverysmallthing.pippa: Oh,yesit’syourbook.Yourstoryallright.It’sgotyour

namewrittenalloverit.Butit’sourintegrity.That’swhatyou’vestolen.

Silence.

meg: Isthatwhatyouthink?DoyoureallybelievethatIhaverobbedyouofyourintegrity?BecauseifI’mguiltyofthat,I’llrecalleverysinglecopyofthatbookfromeverypublisherandeverybookshopintheworld.I’llwithdrawitfromtheBookerprizerightnow...ifthat’swhatyouthink.

Pause.

But I always thought that integritywas something thatcouldn’tbegivenortakenaway.Thatitwastheonlythingapersoncouldown.

Silence.

D’youknowwhyIcamehome?BecauseIwantedtoseeifIcouldfitintothisfamilyagain.Iwantedtoseeifthethreeofuscouldbetogether.Iwanttoknownow,whetheryoutwothinkit’spossible?

Silence.

You’ll never forgiveme, will you, for writing aboutsomethingthatwecouldn’ttalkabout.

hil: Didweevertry?Didweeverreallytry?

The three women maintain their position in a freeze. Music plays.

scene nineteen_________________________________________________

Music continues as the three women maintain their freeze.

auctioneer: [voice over]Ladiesandgentlemen.I’dliketotakethisopportunitytowelcomeyoualltotheauctionofnumberoneTi-TreeRoad,Sorrento. It’snotoften that aproperty in suchaglorious locationas this,comeson tothemarketandwe’reverypleasedindeedtobeofferingittoyoutoday.

* * *

2010LITEXAM 34

2: Plays2 – 7 William Shakespeare: Hamlet

Use one or more of the passages selected as the basis for a discussion of Hamlet.

1.

hamlet . . .Youwere sent for – and there is a kind ofconfessioninyourlookswhichyourmodestieshavenotcraftenoughtocolour.Iknowthegoodkingandqueenhavesentforyou.

rosencrantz Towhatendmylord?hamlet That youmust teachme.But letme conjure you,

by the rightsofour fellowship, by the consonancyofouryouth,bytheobligationofourever-preservedlove,andbywhatmoredearabetterproposercanchargeyouwithal,beevenanddirectwithme,whetheryouweresentfororno.

rosencrantz (To Guildenstern)Whatsayyou?hamlet (Aside)NaythenIhaveaneyeofyou.–Ifyoulove

me,holdnotoff.guildenstern Mylord,weweresentfor.hamlet Iwilltellyouwhy.Soshallmyanticipationprevent

yourdiscovery,andyoursecrecytothekingandqueenmoultnofeather.Ihaveoflate,butwhereforeIknownot,lostallmymirth,forgoneallcustomofexercises;andindeeditgoessoheavilywithmydispositionthatthisgoodlyframe,theearth,seemstomeasterilepromontory;thismostexcellentcanopytheair,lookyou,thisbraveo’erhangingfirmament,thismajesticalrooffrettedwithgoldenfire–why,itappearethnootherthingtomebutafoulandpestilentcongregationofvapours.Whatapieceofworkisaman!Hownobleinreason,howinfiniteinfaculties,informandmovinghowexpressandadmirable,inactionhowlikeanangel,inapprehensionhowlikeagod!Thebeautyoftheworld,theparagonofanimals–andyet tome,what is thisquintessenceofdust?Mandelightsnotme–no,norwomanneither,thoughbyyoursmilingyouseemtosayso.

rosencrantz My lord, there was no such stuff inmythoughts.

hamlet Whydidye laugh then,when I saidmandelightsnotme?

rosencrantz Tothink,mylord,ifyoudelightnotinman,whatlentenentertainmenttheplayersshallreceivefromyou.We coted themon theway, and hither are theycomingtoofferyouservice.

hamlet Hethatplaysthekingshallbewelcome,hismajestyshall have tributeofme; the adventurousknight shallusehisfoilandtarget,thelovershallnotsighgratis,thehumorousmanshallendhispartinpeace,theclownshallmakethoselaughwhoselungsaretickleo’th’sere,andtheladyshallsayhermindfreely–ortheblankverseshallhaltfor’t.

* * *


2.

Enter ghost

hamlet Akingofshredsandpatches–Savemeandhovero’ermewithyourwings,Youheavenlyguards!–Whatwouldyourgracious figure?

gertrude Alashe’smad!hamlet Doyounotcomeyourtardysontochide,

ThatlapsedintimeandpassionletsgobyTh’importantactingofyourdreadcommand?Oh say!

ghost Donotforget.ThisvisitationIsbuttowhetthyalmostbluntedpurpose.Butlook,amazementonthymothersits.Ohstepbetweenherandherfightingsoul:Conceitinweakestbodiesstrongestworks.Speaktoher,Hamlet.

hamlet Howisitwithyoulady?gertrude Alas,howis’twithyou,

Thatyoudobendyoureyeonvacancy,Andwithth’incorporalairdoholddiscourse?Forthatyoureyesyourspiritswildlypeep,And,asthesleepingsoldiersinth’alarm,Yourbeddedhair,likelifeinexcrements,Startupandstandanend.Ogentleson,UpontheheatandflameofthydistemperSprinklecoolpatience.Whereondoyoulook?

hamlet Onhim,onhim!Lookyouhowpaleheglares.Hisformandcauseconjoined,preachingtostones,Wouldmakethemcapable.–Donotlookuponme,LestwiththispiteousactionyouconvertMysterneffects.ThenwhatIhavetodoWillwanttruecolour:tearsperchanceforblood.

gertrude Towhomdoyouspeakthis?hamlet Doyouseenothingthere?gertrude Nothingatall,yetallthatisIsee.hamlet Nordidyounothinghear?gertrude No,nothingbutourselves.hamlet Why,lookyouthere–lookhowitstealsaway–

Myfatherinhishabitashelived–Lookwherehegoes,evennowoutattheportal.

Exit Ghostgertrude Thisistheverycoinageofyourbrain.

ThisbodilesscreationecstasyIsverycunningin.

hamlet Ecstasy?Mypulseasyoursdothtemperatelykeeptime,Andmakesashealthfulmusic.ItisnotmadnessThatIhaveuttered.Bringmetothetest,AndIthematterwillreword,whichmadnessWouldgambolfrom.Mother,forloveofgrace,Laynotthatflatteringunctiontoyoursoul,Thatnotyourtrespassbutmymadnessspeaks;

* * *

35 2010LITEXAM

2: Plays2 – 7 William Shakespeare: Hamlet – continued

3.

laertes Layheri’th’earth,AndfromherfairandunpollutedfleshMayvioletsspring.Itellthee,churlishpriest,AministeringangelshallmysisterbeWhenthouliesthowling.

hamlet What,thefairOphelia!gertrude Sweetstothesweet,farewell. [Scattering flowers]

IhopedthoushouldsthavebeenmyHamlet’swife.Ithoughtthybride-bedtohavedecked,sweetmaid,Andnott’havestrewedthygrave.

laertes OhtreblewoeFalltentimestrebleonthatcursèdheadWhosewickeddeedthymostingenioussenseDeprivedtheeof.HoldofftheearthawhileTillIhavecaughtheroncemoreinminearms.

Leaps in the graveNowpileyourdustuponthequickanddeadTillofthisflatamountainyouhavemadeT’o’ertopoldPelionortheskyishheadOfblueOlympus.

hamlet [Advancing] WhatishewhosegriefBearssuchanemphasis?whosephraseofsorrowConjuresthewanderingstars,andmakesthemstandLikewonder-woundedhearers?ThisisI,HamlettheDane.

[Laertes climbs out of the grave]laertes Thedeviltakethysoul.[Grappling with him]hamlet Thoupray’stnotwell.

Ipritheetakethyfingersfrommythroat,ForthoughIamnotsplenitiveandrash,YethaveIinmesomethingdangerousWhichletthywisdomfear.Holdoffthyhand.

claudius Pluckthemasunder.gertrude Hamlet,Hamlet!all Gentlemen!horatio Goodmylord,bequiet.

[The Attendants part them].hamlet Why,Iwillfightwithhimuponthistheme

Untilmyeyelidswillnolongerwag.gertrude Omyson,whattheme?hamlet IlovedOphelia;fortythousandbrothers

CouldnotwithalltheirquantityofloveMakeupmysum.Whatwiltthoudoforher?

claudius OhheismadLaertes.

* * *

2010LITEXAM 36

2: Plays2 – 8 William Shakespeare: Much Ado About Nothing

Use one or more of the passages selected as the basis for a discussion of Much Ado About Nothing.


1.

beatrice . . . Lord,Icouldnotendureahusbandwithabeardonhisface!Ihadratherlieinthewoollen.

leonato Youmaylightonahusbandthathathnobeard.beatrice WhatshouldIdowithhim?Dresshiminmyapparel

andmakehimmywaiting-gentlewoman?He thathath abeardismorethanayouth,andhethathathnobeardislessthanaman;andhethatismorethanayouthisnotforme,andhethatislessthanaman,Iamnotforhim.ThereforeIwilleventakesixpenceinearnestofthebear-ward,andleadhisapesintohell.

leonato Wellthen,goyouintohell?beatrice No,buttothegate;andtherewillthedevilmeetme,

likeanoldcuckoldwithhornsonhishead,andsay‘Getyoutoheaven,Beatrice,getyoutoheaven;here’snoplaceforyoumaids.’SodeliverIupmyapes,andawaytoSaintPeterfortheheavens;heshowsmewherethebachelorssit,andthereliveweasmerryasthedayislong.

antonio (to Hero)Well,niece,Itrustyouwillberuledbyyourfather.

beatrice Yes,faith;itismycousin’sdutytomakecurtsyandsay,‘Father,asitpleaseyou.’Butyetforallthat,cousin,lethimbeahandsomefellow,orelsemakeanothercurtsyandsay,‘Father,asitpleaseme.’

leonato Well,niece,Ihopetoseeyouonedayfittedwithahusband.

beatrice NottillGodmakemenofsomeothermetalthanearth.Would it not grieve awoman to beover-masteredwithapieceofvaliantdust?Tomakeanaccountofherlifetoaclodofwaywardmarl?No,uncle,I’llnone.Adam’ssonsaremybrethren,and,truly,Iholditasintomatchinmykindred.

* * *

2.

claudio . . . There,Leonato,takeherbackagain, Givenotthisrottenorangetoyourfriend; She’sbutthesignandsemblanceofherhonour. Beholdhowlikeamaidsheblusheshere! O,whatauthorityandshowoftruth Cancunningsincoveritselfwithal! Comesnotthatbloodasmodestevidence Towitnesssimplevirtue?Wouldyounotswear, Allyouthatseeher,thatshewereamaid Bytheseexteriorshows?Butsheisnone; Sheknowstheheatofaluxuriousbed. Herblushisguiltiness,notmodesty.leonato Whatdoyoumean,mylord?claudio Nottobemarried, Nottoknitmysoultoanapprovèdwanton.leonato Dearmylord,ifyou,inyourownproof, Havevanquishedtheresistanceofheryouth, Andmadedefeatofhervirginity–claudio Iknowwhatyouwouldsay.IfIhaveknownher, Youwillsayshedidembracemeasahusband, Andsoextenuatethe’forehandsin. No,Leonato, Inevertemptedherwithwordtoolarge, But,asabrothertohissister,showed Bashfulsincerityandcomelylove.hero AndseemedIeverotherwisetoyou?claudio Outonthee!Seeming!Iwillwriteagainstit. YouseemtomeasDianinherorb, Aschasteasisthebudereitbeblown; Butyouaremoreintemperateinyourblood ThanVenus,orthosepamperedanimals Thatrageinsavagesensuality.hero Ismylordwell,thathedothspeaksowide?leonato SweetPrince,whyspeaknotyou?don pedro WhatshouldIspeak? Istanddishonoured,thathavegoneabout Tolinkmydearfriendtoacommonstale.leonato Arethesethingsspoken,ordoIbutdream?don john Sir,theyarespoken,andthesethingsaretrue.benedick Thislooksnotlikeanuptial.hero True?OGod!

* * *

37 2010LITEXAM

2: Plays2 – 8 William Shakespeare: Much Ado About Nothing – continued

3.

leonato Whichisthevillain?Letmeseehiseyes, That,whenInoteanothermanlikehim, Imayavoidhim.Whichoftheseishe?borachio Ifyouwouldknowyourwronger,lookonme.leonato Artthoutheslavethatwiththybreathhastkilled Mineinnocentchild?borachio Yea,evenIalone.leonato No,notso,villain,thoubeliestthyself– Herestandapairofhonourablemen, Athirdisfled,thathadahandinit. Ithankyou,Princes,formydaughter’sdeath; Recorditwithyourhighandworthydeeds. ’Twasbravelydone,ifyoubethinkyouofit.claudio Iknownothowtoprayyourpatience, YetImustspeak.Chooseyourrevengeyourself; Imposemetowhatpenanceyourinvention Canlayuponmysin;yetsinnedInot Butinmistaking.don pedro Bymysoul,norI; Andyet,tosatisfythisgoodoldman, Iwouldbendunderanyheavyweight Thathe’llenjoinmeto.leonato Icannotbidyoubidmydaughterlive, Thatwereimpossible;but,Iprayyouboth, PossessthepeopleinMessinahere Howinnocentshedied;andifyourlove Canlabouraughtinsadinvention, Hangheranepitaphuponhertomb Andsingittoherbones,singittonight. Tomorrowmorningcomeyoutomyhouse; Andsinceyoucouldnotbemyson-in-law, Beyetmynephew.Mybrotherhathadaughter, Almostthecopyofmychildthat’sdead, Andshealoneisheirtobothofus. Givehertherightyoushouldhavegivenhercousin, Andsodiesmyrevenge.claudio Onoblesir! Yourover-kindnessdothwringtearsfromme. Idoembraceyouroffer,anddispose ForhenceforthofpoorClaudio.

* * *

2010LITEXAM 38

2: Plays2 – 9 Sophocles: Antigone

Use one or more of the passages selected as the basis for a discussion of Antigone.

1.

Sophocles,Antigone,translatedbyEFWatlinginThe Theban Plays,

Penguin,2004

pp126–127

2.

Sophocles,AntigonetranslatedbyEFWatlinginThe Theban Plays,

Penguin,2004

pp142–143


39 2010LITEXAM

2: Plays2 – 9 Sophocles: Antigone – continued

3.

Sophocles,AntigonetranslatedbyEFWatlinginThe Theban Plays,

Penguin,2004

pp157–158

2010LITEXAM 40

3: Short stories3 – 1 Anton Chekhov: The Lady with the Little Dog and Other Stories

Use one or more of the passages selected as the basis for a discussion of The Lady with the Little Dog and Other Stories.

1.

AntonChekhov,The Lady with the Little Dog and Other Stories,PenguinClassics,2002

pp54–55

2.


pp272–273


41 2010LITEXAM

3: Short stories3 – 1 Anton Chekhov: The Lady with the Little Dog and Other Stories – continued

3.


pp319–320

2010LITEXAM 42

3: Short stories3 – 2 D H Lawrence: Three Novellas: The Fox/The Captain’s Doll/The Ladybird

Use one or more of the passages selected as the basis for a discussion of The Fox/The Captain’s Doll/The Ladybird.

1.

The Fox

Hesoundedhurt.Andhisvoicehadsuchacuriouspowerover her;makingher feel loose and relaxed.She struggledsomewhereforherownpower.Shefeltforaminutethatshewaslost—lost—lost.Thewordseemedtorockinherasifsheweredying.Suddenlyagainshespoke. “Youdon’tknowwhatyou’retalkingabout,”shesaid,inabriefandtransientstrokeofscorn.“Whatnonsense!I’moldenoughtobeyourmother.” “Yes I do knowwhat I’m talking about.Yes I do,” hepersisted softly, as if hewere producing his voice in herblood.“IknowquitewellwhatI’mtalkingabout.You’renotoldenoughtobemymother.Thatisn’ttrue.Andwhatdoesitmatterevenifitwas.Youcanmarrymewhateverageweare.Whatisage?Whatisagetome?Andwhatisagetoyou!Ageisnothing.” Aswoonwentoverherasheconcluded.Hespokerapidly—intherapidCornishfashion—andhisvoiceseemedtosoundinhersomewherewhereshewashelplessagainstit.“Ageisnothing!”Thesoft,heavyinsistenceofitmadeherswaydimlyoutthereinthedarkness.Shecouldnotanswer. Agreatexultanceleapedlikefireoverhislimbs.Hefelthehadwon. “Iwant tomarry you, you see.Why shouldn’t I?” heproceeded,softandrapid.Hewaitedforhertoanswer.Inthedusk he sawher almost phosphorescent.Her eyelidsweredropped,herfacehalf-avertedandunconscious.Sheseemedtobeinhispower.Buthewaited,watchful.Hedarednotyettouchher. “Saythen,”hesaid.“Saythenyou’llmarryme.Say—say?”Hewassoftlyinsistent. “What?”sheasked,faint,fromadistance,likeoneinpain.Hisvoicewasnowunthinkablynearandsoft.Hedrewveryneartoher. “Sayyes.” “OhIcan’t,”shewailedhelplessly,halfarticulate,asifsemi-conscious,andasifinpain,likeonewhodies.“HowcanI?” “You can,” he said softly, layinghis handgently onhershoulderasshestoodwithherheadavertedanddropped,dazed.“Youcan.Yes,youcan.Whatmakesyousayyoucan’t?Youcan.Youcan.”Andwithawfulsoftnesshebentforwardandjusttouchedherneckwithhismouthandhischin. “Don’t!”shecried,withafaintmadcrylikehysteria,startingawayandfacingroundonhim.“Whatdoyoumean?”Butshehadnobreathtospeakwith.Itwasasifshewaskilled. “ImeanwhatIsay,”hepersistedsoftlyandcruelly.“Iwantyoutomarryme.Iwantyoutomarryme.Youknowthat,now,don’tyou?Youknowthat,now?Don’tyou?Don’tyou?”

* * *

2.

The Captain’s Doll

When Iwas a boy I caught a bird, ablack-cap,andIputitinacage.AndIlovedthatbird.Idon’tknowwhy,butIlovedit.Isimplylovedthatbird.Allthegorse,andtheheather,andtherock,andthehotsmellofyellowgorse-blossom,andtheskythatseemedtohavenoendtoit,whenIwasaboy,everythingthatIalmostwasmad with,asboysare,seemedtometobeinthatlittle,flutteringblack-cap.Anditwouldpeckitsseedasifitdidn’tquiteknowwhatelsetodo;andlookroundabout,andbegintosing.Butinquiteafewdaysitturneditsheadasideanddied.Yes,itdied.—Ineverhadthefeelingagain,thatIgotfromthatblack-capwhenIwasaboy—notuntilIsawher.AndthenIfeltitallagain.Ifeltitallagain.Anditwasthesamefeeling.Iknew,quitesoonIknew,thatshewoulddie.Shewouldpickherseedandlookroundinthecagejustthesame.Butshewoulddieintheend.—Onlyitwouldlastmuchlonger.—Butshewoulddieinthecage,liketheblack-cap.” “But she loved the cage. She loved her clothes and herjewels.Shemusthavelovedherhouseandherfurnitureandallthatwithaperfectfrenzy.” “Shedid.Shedid.Butlikeachildwithplaythings.Onlytheywerebig,marvellousplaythingstoher.Ohyes,shewasneveraway from them.Shenever forgot her things—her trinketsandherfursandherfurniture.Shenevergotawayfromthemforaminute.Andeverythinginhermindwasmixedupwiththem.” “Dreadful!”saidHannele. “Yes,itwasdreadful,”heanswered. “Dreadful,”repeatedHannele. “Yesquite.Quite!Anditgotworse.Andherwayoftalkinggotworse.Asifitbubbledoffherlips.—Buthereyesneverlosttheirbrightness,theyneverlostthatfairylook.OnlyIusedtoseefearinthem.Fearofeverything—evenallthethingsshesurroundedherselfwith.Justlikemyblack-capusedtolookoutofhiscage—sobrightandsharp,andyetasifhedidn’tknowthatitwasjustthecagethatwasbetweenhimandtheoutside.Hethoughtitwasinsidehimself,thebarrier.Hethoughtitwaspartofhisownnature,tobeshutin.Andshethoughtitwaspartofherownnature.—Andsotheybothdied.” “WhatIcan’tsee,”saidHannele,“iswhatshewouldhavedoneoutsidehercage.Whatotherlifecouldshehave,excepther bibelots andherfurnitureandhertalk—?” “Whynone.Thereisnolifeoutside,forhumanbeings.” “Thenthere’snothing,”saidHannele. “That’strue.Inagreatmeasure,there’snothing.” “Thankyou,”saidHannele. Therewasalongpause.

* * *


43 2010LITEXAM

3: Short stories3 – 2 D H Lawrence: Three Novellas: The Fox/The Captain’s Doll/The Ladybird – continued

3.

The Ladybird

Theroomwasincompletedarkness.Therewasnomoonoutside.Shecouldnotseehim. “WherecanIsitdown?”shesaidabruptly. “Iwilltakeyoutothecouch,”hesaid,puttingouthishandandtouchingherinthedark.Sheshuddered. Shefoundthecouchandsatdown.Itwasquitedark. “Whatwereyousinging?”shesaidrapidly. “Iamsosorry.Ididnotthinkanyonecouldhear.” “Whatwasityouweresinging?” “Asongofmycountry.” “Haditanywords?” “Yes,itisawomanwhowasaswan,andwholovedahunterbythemarsh.Soshebecameawomanandmarriedhimandhadthreechildren.Theninthenightonenightthekingoftheswanscalled toher tocomeback,orelsehewoulddie.Soslowlysheturnedintoaswanagain,andslowlysheopenedherwide,widewings,andleftherhusbandandherchildren.” Therewassilenceinthedarkroom.TheCounthadbeenreallystartled,startledoutofhismoodofthesongintotheday-moodofhumanconvention.HewasdistressedandembarrassedbyDaphne’spresenceinhisdarkroom.She,however,satonanddidnotmakeasound.Hetoosatdowninachairbythewindow.Itwaseverywheredark.Awindwasblowingingustsoutside.Hecouldseenothinginsidehisroom:onlythefaint,faintstripoflightunderthedoor.Buthecouldfeelherpresenceinthedarkness.Itwasuncanny,tofeelhernearinthedark,andnottoseeanysignofher,nortohearanysound. She had beenwounded in her bewitched state, by thecontactwiththeeverydayhumanbeinginhim.Butnowshebegantorelapseintoherspell,asshesatthereinthedark.Andhetoo,inthesilence,felttheworldsinkingawayfromhimoncemore,leavinghimoncemorealoneonadarkenedearth,withnothingbetweenhimandtheinfinitedarkspace.Exceptnowherpresence.Darknessansweringtodarkness,anddeepansweringtodeep.Ananswer,neartohim,andinvisible. Buthedidnotknowwhattodo.Hesatstillandsilentasshewasstillandsilent.Thedarknessinsidetheroomseemedalivelikeblood.Hehadnopowertomove.Thedistancebetweenthemseemedabsolute. Thensuddenly,withoutknowing,hewentacrossinthedark,feelingfortheendofthecouch.Andhesatbesideheronthecouch.Buthedidnottouchher.Neitherdidshemove.Thedarknessflowedaboutthemthicklikeblood,andtimeseemeddissolved in it.They satwith the small, invisible distancebetweenthem,motionless,speechless,thoughtless.

* * *

2010LITEXAM 44

1.

Bliss

Miss Fultonmoved towards the hall and BerthawasfollowingwhenHarryalmostpushedpast. “Letmehelpyou.” Berthaknewthathewasrepentinghis rudeness—she lethimgo.Whataboyhewasinsomeways—soimpulsive—so—simple. AndEddieandshewereleftbythefire. “I wonderifyouhaveseenBilks’ newpoemcalledTable d’Hôte,” saidEddie softly. “It’s so wonderful. In the lastAnthology.Haveyougotacopy?I’dsoliketoshowittoyou.Itbeginswithanincrediblybeautifulline:‘WhyMustitAlwaysbeTomatoSoup?’” “Yes,”saidBertha.Andshemovednoiselesslytoatableoppositethedrawing-roomdoorandEddieglidednoiselesslyafterher.Shepickedupthelittlebookandgaveittohim;theyhadnotmadeasound. Whilehelookeditupsheturnedherheadtowardsthehall.Andshesaw...HarrywithMissFulton’scoatinhisarmsandMissFultonwithherbackturnedtohimandherheadbent. Hetossedthecoataway,puthishandsonhershouldersandturnedherviolentlytohim.Hislipssaid:“Iadoreyou,”andMissFulton laid hermoonbeamfingers on his cheeks andsmiled her sleepy smile.Harry’s nostrils quivered; his lipscurledbackinahideousgrinwhilehewhispered:“To-morrow,”andwithhereyelidsMissFultonsaid:“Yes.” “Hereitis,”saidEddie.“‘WhyMustitAlwaysbeTomatoSoup?’It’ssodeeplytrue,don’tyoufeel?Tomatosoupissodreadfullyeternal.” “Ifyouprefer,”saidHarry’svoice,veryloud,fromthehall,“Ican’phoneyouacabtocometothedoor.” “Oh,no.It’snotnecessary,”saidMissFulton,andshecameuptoBerthaandgavehertheslenderfingerstohold. “Good-bye.Thankyousomuch.” “Good-bye,”saidBertha. MissFultonheldherhandamomentlonger. “Yourlovelypeartree!”shemurmured. Andthenshewasgone,withEddiefollowing,liketheblackcatfollowingthegreycat. “I’ll shut up shop,” saidHarry, extravagantly cool andcollected. “Yourlovelypeartree—peartree—peartree!” Berthasimplyranovertothelongwindows. “Oh,whatisgoingtohappennow?”shecried. Butthepeartreewasaslovelyaseverandasfullofflowerandasstill.

* * *


2.

The Garden-Party

“Jose,comehere.”Lauracaughtholdofhersister’ssleeveanddraggedherthroughthekitchentotheothersideofthegreen baize door.There she paused and leaned against it.“Jose!” she said, horrified, “however arewe going to stopeverything?” “Stop everything, Laura!” cried Jose in astonishment. “Whatdoyoumean?” “Stopthegarden-party,ofcourse.”WhydidJosepretend? ButJosewasstillmoreamazed.“Stopthegarden-party?MydearLaura,don’tbesoabsurd.Ofcoursewecan’tdoanythingofthekind.Nobodyexpectsusto.Don’tbesoextravagant.” “Butwecan’tpossiblyhaveagarden-partywithamandeadjustoutsidethefrontgate.” Thatreallywasextravagant,forthelittlecottageswereinalanetothemselvesattheverybottomofasteeprisethatleduptothehouse.Abroadroadranbetween.True,theywerefartoonear.Theywerethegreatestpossibleeyesoreandtheyhadnorighttobeinthatneighbourhoodatall.Theywerelittlemeandwellingspaintedachocolatebrown. In thegardenpatchestherewasnothingbutcabbagestalks,sickhensandtomatocans.Theverysmokecomingoutoftheirchimneyswaspoverty-stricken.Littleragsandshredsofsmoke,sounlikethegreatsilveryplumes thatuncurledfromtheSheridans’chimneys.Washerwomenlivedinthelaneandsweepsandacobblerandamanwhosehouse-frontwasstuddedalloverwithminutebird-cages.Childrenswarmed.WhentheSheridanswerelittletheywereforbiddentosetfoottherebecauseoftherevoltinglanguageandofwhattheymightcatch.ButsincetheyweregrownupLauraandLaurieontheirprowlssometimeswalkedthrough. Itwas disgusting and sordid.They cameoutwitha shudder.But still onemust go everywhere; onemust seeeverything.Sothroughtheywent. “Andjustthinkofwhatthebandwouldsoundliketothatpoorwoman,”saidLaura. “Oh, Laura!” Jose began to be seriously annoyed. “Ifyou’regoingtostopabandplayingeverytimesomeonehasanaccident,you’ll leadaverystrenuous life. I’meverybitassorryaboutitasyou.Ifeeljustassympathetic.”Hereyeshardened.Shelookedathersisterjustassheusedtowhentheywerelittleandfightingtogether.“Youwon’tbringadrunkenworkmanbacktolifebybeingsentimental,”shesaidsoftly.

* * *

3: Short stories3 – 3 Katherine Mansfield: The Collected Stories

Use one or more of the passages selected as the basis for a discussion of The Collected Stories.

45 2010LITEXAM

3.

The Woman at the Store

“Goodnightall,”shoutedJo. JimandIsatontwosacksofpotatoes.Forthelifeofuswecouldnotstoplaughing.Stringsofonionsandhalf-hamsdangled from the ceiling—whereverwe looked therewereadvertisements for “CampCoffee” and tinnedmeats.Wepointed at them, tried to read themaloud—overcomewithlaughterandhiccoughs.Thekid in thecounterstaredatus.Shethrewoffherblanketandscrambledtothefloor,whereshestoodinhergreyflannelnight-gownrubbingonelegagainsttheother.Wepaidnoattentiontoher. “Wotareyoulaughingat?”shesaiduneasily. “You!”shoutedJim.“Theredtribeofyou,mychild.” Sheflewintoarageandbeatherselfwithherhands.“Iwon’tbelaughedat,youcurs—you.”Heswoopeddownuponthechildandswungherontothecounter. “Gotosleep,MissSmarty—ormakeadrawing—here’sapencil—youcanuseMumma’saccountbook.” ThroughtherainweheardJocreakovertheboardingofthenextroom—thesoundofadoorbeingopened—thenshutto. “It’stheloneliness,”whisperedJim. “Onehundred and twenty-fivedifferentways—alas!mypoorbrother!” Thekidtoreoutapageandflungitatme. “Thereyouare,”shesaid.“NowIdoneitterspiteMummaforshuttingmeup’erewithyoutwo.IdonetheoneshetoldmeIneveroughtto.Idonetheoneshetoldmeshe’dshootmeifIdid.Don’tcare!Don’tcare!” Thekidhaddrawnthepictureofthewomanshootingatamanwitharookrifleandthendiggingaholetoburyhimin. Shejumpedoffthecounterandsquirmedaboutonthefloorbitinghernails. JimandIsattilldawnwiththedrawingbesideus.Therainceased,thelittlekidfellasleep,breathingloudly.Wegotup,stoleoutofthewhare,downintothepaddock.Whitecloudsfloatedoverapinksky—achillwindblew;theairsmelledofwetgrass.JustasweswungintothesaddleJocameoutofthewhare—hemotionedtoustorideon. “I’llpickyouuplater,”heshouted. Abendintheroad,andthewholeplacedisappeared.

* * *

3: Short stories3 – 3 Katherine Mansfield: The Collected Stories – continued

2010LITEXAM 46

4: Other literature4 – 1 Anna Funder: Stasiland

Use one or more of the passages selected as the basis for a discussion of Stasiland.


1.

AnnaFunder,Stasiland,Publishing,2006

pp73–74

2.


pp107–108

47 2010LITEXAM

4: Other literature4 – 1 Anna Funder: Stasiland – continued

3.


pp202–203

2010LITEXAM 48

4: Other literature4 – 2 Orhan Pamuk: Istanbul

Use one or more of the passages selected as the basis for a discussion of Istanbul.

1.

OrhanPamuk,Istanbul,Faber&Faber,2005

pp53–54

2.


pp215–216


49 2010LITEXAM

4: Other literature4 – 2 Orhan Pamuk: Istanbul – continued

3.


pp283–284

2010LITEXAM 50

4: Other literature4 – 3 Tobias Wolff: This Boy’s Life

Use one or more of the passages selected as the basis for a discussion of This Boy’s Life.

1.

TobiasWolff,This Boy’s Life,Bloomsbury,1989

pp82–83


2.


pp110–111

51 2010LITEXAM

4: Other literature4 – 3 Tobias Wolff: This Boy’s Life – continued

3.


pp220–221

2010LITEXAM 52

5: Poetry5 – 1 Judith Beveridge: Wolf Notes

Use one or more of the passages selected as the basis for a discussion of the poetry of Judith Beveridge.


1.

Crew

Grennansteering,cutsbacktheengine,throwsanothersquiddownthelengthofhalfthecraft.Waisttoneck,Daveystripsoff.Hismusclesbuild,thencollapseashecutsthesquidintoloops,allthatfleshwobblinglikethejowlsofagingmen.

Ikeepmyeyeonalineofdecayingsquallswherecloudsaretowingeachotherlikebull-nosedtugs.Ihearthunder,orwhatcouldbeawharfofshuntinghulls.Grennansteersagain.Theseaiswhitecaps,wind,theairthesoundoffrigatehawks

sendingoutacousticflares.Thesemenknowtheirstorms:thosethatdragslowlywiththeirdredge-loads;thosewhoselightningisasquickasthefishthatdartbetweentheteethofsharks;whosehail’saspredatoryastheeyesofbarracuda,archerfish.

Thisone,theysay,isnothing:agull’samplifiedsquallingintoanair-furnacedblowhole;oneyoucouldshoutScotticismsintoandnotchangethestrengthofthegusts.Grennanhaulsupmoresquid.Davey’sarmsandshoulders,onelongtattoo,

worktoapulsingblue.Someday,likeDaveyI’llcutupsquid,pulltheminlikeGrennan.I’llwatchthenightboilintoasloughofink,watchclouds–stackeduplikehogsheadsofblackeststout–emptythickandfast.I’llfeelmymusclesripplearrow-pierced

hearts,crossbowedskulls,mermaid-riddenanchors,asIpullontheropes;craziesallofus,testingourluckamongthunderheadsspanningskieslikegirdersofpig-iron.

* * *

2.

The Kite

TodayIwatchedaboyflyhiskite.Itdidn’tcrackleinthewind–butgaveoutabarelyperceptiblehum.

Atacertainheight,I’dswearIhearditsing.Hecouldmakeitclimbinanywind;couldcrankthoseanglesup,

makeitveerwiththeprecisionofaninsecttargetingasting;thenhe’dletitroilinrapturousfinesse,atiny

birdinmid-aircourtship.Whenlightningcrackedacrossthecliff–(likequickpaleflicksofyak-hair

fly-whisks)–hestayedsteady.Forsolonghekepthisarmsup,asifheknewhe’dhoistthatkiteenough.

Iaskedifitwasmadeofspecialsilk,ifhe’dusedsomeparticularstring–andwhathe’dheardwhileholdingit.

Helookedatmefromadistance,thenaskedaboutmyalmsbowl,myrobes,andaboutthatforwhich

amonklives.ItwasthenIsawIcouldtellhimnothinginthecohortwind,thatdidn’tsoundillusory.

* * *

53 2010LITEXAM

5: Poetry5 – 1 Judith Beveridge: Wolf Notes – continued

3.

Apprentice

It’llbedawnbeforethesawing’sdone;allnight cuttingitup,yetbydark’send,apine,orcypressmoon,fragrant,awaitingfinish.Iwatch

thelathedcurlsrolloff,sinuousasbeachnames woundupinanautilus.Ilovetheaxe’sdeskworkprose,thefourgradesofnightsky,

thethunderbroughtintosyncwiththecross-grain gnarls.AllnightIworkunderlightning’srough-edgedsaw.Irubattherings,polisheach

stumptoapeakofwell-loggedsummers.Allnight gettingarhythm,sealingtimeunderresin,mysweatmixingwiththedust,thesawsinging

asithitsaburl,sandpaperlendingwoodachoice ofstars.ThoughI’msorefromthestickingblades,thoughmyheartislikeabuck,rubbing

antlersonbark,thoughmyhandsseekconcert withthedark,bymorning’sfirstspill,nostrokewillbeunrung,notool-teasedcurlwill

lieunswept,orbetakenbywind;nowing-sown whorlloomuptothelevellingsun.Ilovethesilentgnarling,theingrainedrefusals;

designshewnfromskieshardenedbyasplintering glaze;sighsknurledintocurses,moon-edgedrehearsals;wordscurlingoffalumberman’stongue.

Allnightlisteningtothewoodcrack,tothesaw keenback.Myheartcominghardagain–&againiftheshrillstarsofsummerhavesung.

* * *

2010LITEXAM 54

5: Poetry5 – 2 William Blake

Use one or more of the passages selected as the basis for a discussion of the poetry of William Blake.

1.

The SICK ROSE

ORosethouartsick.Theinvisibleworm.ThatfliesinthenightInthehowlingstorm:

HasfoundoutthybedOfcrimsonjoy:AndhisdarksecretloveDoesthylifedestroy.

* * *

2.

And did those feet in ancient time

Anddidthosefeetinancienttime,WalkuponEngland’smountainsgreen:AndwastheholyLambofGod,OnEngland’spleasantpasturesseen!

AnddidtheCountenanceDivine,Shineforthuponourcloudedhills?AndwasJerusalembuildedhere,AmongthesedarkSatanicMills?

BringmemyBowofburninggold:BringmemyArrowsofdesire;BringmemySpear:Ocloudsunfold!BringmemyChariotoffire!

IwillnotceasefromMentalFight,NorshallmySwordsleepinmyhand:TillwehavebuiltJerusalem,InEngland’sgreen&pleasantLand.

WouldtoGodthatalltheLord’speoplewereProphets. NumbersXI.ch29v.

* * *


55 2010LITEXAM

5: Poetry5 – 2 William Blake – continued

3.

What is the price of Experience . . .

WhatisthepriceofExperiencedomenbuyitforasongOrwisdomforadanceinthestreet?Noitisboughtwiththeprice

OfallthatamanhathhishousehiswifehischildrenWisdomissoldinthedesolatemarketwherenonecometobuyAndinthewitherdfieldwherethefarmerploughsforbreadinvain

ItisaneasythingtotriumphinthesummerssunAndinthevintage&tosingonthewaggonloadedwithcornItisaneasythingtotalkofpatiencetotheafflictedTospeakthelawsofprudencetothehouselesswandererTolistentothehungryravenscryinwintryseasonWhentheredbloodisfilldwithwine&withthemarrowoflambs

ItisaneasythingtolaughatwrathfulelementsTohear thedoghowlat thewintrydoor, theox in the slaughter

housemoanToseeagodoneverywind&ablessingoneveryblastTo hear sounds of love in the thunder storm that destroys our

enemieshouseTorejoice in theblight thatcovershisfield,&thesickness that

cutsoffhischildrenWhileourolive&vinesing&laughroundourdoor&ourchildren

bringfruits&flowers

Thenthegroan&thedolorarequiteforgotten&theslavegrindingatthemill

Andthecaptiveinchains&thepoorintheprison,&thesoldierinthefield

Whentheshatterdbonehathlaidhimgroaningamongthehappierdead

ItisaneasythingtorejoiceinthetentsofprosperityThuscouldIsing&thusrejoice,butitisnotsowithme!

* * *

2010LITEXAM 56

5: Poetry5 – 3 Gwen Harwood: Collected Poems

Use one or more of the passages selected as the basis for a discussion of the poetry of Gwen Harwood.

1.

Father and Child

II Nightfall

GwenHarwood,Collected Poems,UniversityofQueenslandPress,2003

p276–277

2.

The Secret Life of Frogs


p331–332


57 2010LITEXAM

5: Poetry5 – 3 Gwen Harwood: Collected Poems – continued

3.

Night and Dreams

IV


p400–401

2010LITEXAM 58

5: Poetry5 – 4 Seamus Heaney: Beowulf

Use one or more of the passages selected as the basis for a discussion of the poem Beowulf.

1.

SeamusHeaney,Beowulf,Faber&Faber,2000

p14–15

2.


p49–50


59 2010LITEXAM

5: Poetry5 – 4 Seamus Heaney: Beowulf – continued

3.


p87–88

2010LITEXAM 60

5: Poetry5 – 5 John Keats: The Major Works

Use one or more of the passages selected as the basis for a discussion of the poetry of John Keats.

1.

On First Looking into Chapman’s Homer

MuchhaveItravell’dintherealmsofgold,Andmanygoodlystatesandkingdomsseen;RoundmanywesternislandshaveIbeenWhichbardsinfealtytoApollohold.OftofonewideexpansehadIbeentoldThatdeep-brow’dHomerruledashisdemesne;YetdidIneverbreatheitspuresereneTillIheardChapmanspeakoutloudandbold:ThenfeltIlikesomewatcheroftheskiesWhenanewplanetswimsintohisken;OrlikestoutCortezwhenwitheagleeyesHestar’datthePacific—andallhismenLook’dateachotherwithawildsurmise—Silent,uponapeakinDarien.

* * *

2.

Ode on a Grecian Urn

1Thoustillunravish’dbrideofquietness,Thoufoster-childofsilenceandslowtime,Sylvanhistorian,whocanstthusexpressAflowerytalemoresweetlythanourrhyme:Whatleaf-fring’dlegendhauntsaboutthyshapeOfdeitiesormortals,orofboth, InTempeorthedalesofArcady?Whatmenorgodsarethese?Whatmaidensloth?Whatmadpursuit?Whatstruggletoescape? Whatpipesandtimbrels?Whatwildecstasy?

2Heardmelodiesaresweet,butthoseunheardAresweeter;therefore,yesoftpipes,playon;Nottothesensualear,but,moreendear’d,Pipetothespiritdittiesofnotone:Fairyouth,beneaththetrees,thoucanstnotleaveThysong,norevercanthosetreesbebare; BoldLover,never,nevercanstthoukiss,Thoughwinningnearthegoal—yet,donotgrieve;Shecannotfade,thoughthouhastnotthybliss, Foreverwiltthoulove,andshebefair!

3Ah,happy,happyboughs!thatcannotshedYourleaves,noreverbidtheSpringadieu;And,happymelodist,unwearied,Foreverpipingsongsforevernew;Morehappylove!morehappy,happylove!Foreverwarmandstilltobeenjoy’d, Foreverpanting,andforeveryoung;Allbreathinghumanpassionfarabove,Thatleavesahearthigh-sorrowfulandcloy’d, Aburningforehead,andaparchingtongue.

4Whoarethesecomingtothesacrifice?Towhatgreenaltar,Omysteriouspriest,Lead’stthouthatheiferlowingattheskies,Andallhersilkenflankswithgarlandsdrest?Whatlittletownbyriverorseashore,Ormountain-builtwithpeacefulcitadel, Isemptiedofthisfolk,thispiousmorn?And,littletown,thystreetsforevermoreWillsilentbe;andnotasoultotell Whythouartdesolate,cane’erreturn.


61 2010LITEXAM

5: Poetry5 – 5 John Keats: The Major Works – continued

5OAtticshape!Fairattitude!withbrede Ofmarblemenandmaidensoverwrought,Withforestbranchesandthetroddenweed; Thou,silentform,dostteaseusoutofthoughtAsdotheternity:ColdPastoral! Whenoldageshallthisgenerationwaste, Thoushaltremain,inmidstofotherwoeThanours,afriendtoman,towhomthousay’st, ‘Beautyistruth,truthbeauty,’—thatisall Yeknowonearth,andallyeneedtoknow.

* * *

3.

‘Bright Star, would I were stedfast as thou art’

BrightStar,wouldIwerestedfastasthouart— Notinlonesplendorhungaloftthenight,Andwatching,witheternallidsapart, Likenature’spatient,sleeplessEremite,Themovingwatersattheirpriestliketask Ofpureablutionroundearth’shumanshores,Orgazingonthenewsoft-fallenmasque Ofsnowuponthemountainsandthemoors—No—yetstillstedfast,stillunchangeable Pillow’duponmyfairlove’sripeningbreast,Tofeelforeveritssoftswellandfall, Awakeforeverinasweetunrest,Still,stilltohearhertender-takenbreath,Andsoliveever—orelseswoontodeath—

* * *

2010LITEXAM 62

5: Poetry5 – 6 Philip Larkin: Collected Poems

Use one or more of the passages selected as the basis for a discussion of the poetry of Philip Larkin.

1.

Home is so Sad

PhilipLarkin,Collected Poems,TheMarvellPressandFaber&Faber,

Allen&Unwin,2003

p88

2.

Ambulances


Allen&Unwin,2003

p104


63 2010LITEXAM

5: Poetry5 – 6 Philip Larkin: Collected Poems – continued

3.

Aubade


Allen&Unwin,2003

p109

2010 LIT EXAM 64

Assessment criteria

The examination will address all of the criteria. All students will be examined against the following criteria.

1. Understanding of the text demonstrated in a relevant and plausible interpretation.

2. Ability to write expressively and coherently to present an interpretation.

3. Understanding of how views and values may be suggested in the text.

4. Analysis of how key passages and/or moments in the text contribute to an interpretation.

5. Analysis of the features of a text and how they contribute to an interpretation.

6. Analysis and close reading of textual details to support a coherent and detailed interpretation of the text.

A checklist for planning and revising

Have I included the part numbers and text numbers of my chosen texts on the front cover(s) of all script books?

Have I written on texts from two different parts?

Have I demonstrated my knowledge and understanding of the chosen texts?

Have I referred to the chosen texts in detail to illustrate or justify my responses?

Have I discussed at least one set passage for each text in detail?

Have I expressed myself effectively and appropriately?

Have I edited my final version for spelling, punctuation and sentence structure?

Are there places where my handwriting would be difficult to read and should be tidied?

Are any alterations I have made clear to the reader?

END OF TASK BOOK

2010 literature exam

Documents