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GCSE ENGLISH LITERATURE TEACHERS' GUIDE 1

Contents

GCSE English Literature Teachers’ Guide (Linear) PAGE Overview 2 Contacts and resources 4 Summary of assessment 5 GCSE English Literature Possible course plans 7-10 Controlled assessment (Shakespeare/Poetry Linked Task) 11

GCSE English Literature folder contents 11-12

General controlled assessment guidance 13

GCSE English Literature Reading controlled assessment exemplars: 14-29 Shakespeare / literary heritage poetry External assessment (GCSE English Literature Overview 30-31

Past paper question types 32-33

Tips on tackling extract questions 34 Tips on tackling unseen poetry questions 35-36 Closed book examinations – some advice 37

Examples of responses to unseen poetry questions 38-45 (Foundation Tier and Higher Tier)

Overview of assessment of spelling, punctuation and grammar (Unit 2) 46 Examples of responses to Unit 2a extract/essay questions 47-50 Examples of responses to Unit 2b extract/ essay questions 51-55

Acknowledgements and thanks 56


Overview

WJEC has revised its specifications in the English subject area for first teaching from September 2012 (first award 2014) for GCSE English Language and September 2010 (first award 2012) for GCSE English Literature. We are offering three qualifications: - GCSE English Language - GCSE English - GCSE English Literature (final award summer 2014. After this date, centres will need to follow the strengthened GCSE English Literature specification for first award in 2015). Information about the strengthened GCSE English Literature is on our website. These specifications are fully accredited. We hope that this online teacher guide to all aspects of the specification will prove useful to teachers in both their planning for, and their delivery of, the course. Key features of the specifications are: *Direct email and phone contact with subject officer and administrative support *Straightforward, efficient administration *Training offered across Wales *Tried and trusted assessment *Reliable and well-established senior examiner team. *Online item level results analysis *Free copies of the WJEC Poetry Collection *Audio CD of poetry in the WJEC Poetry Collection Further information on our specifications is available as follows: Main GCSE English page: http://www.wjec.co.uk/englishgcse GCSE English Language: Specification: http://www.wjec.co.uk/uploads/publications/17195.pdf Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/17197.pdf GCSE English Literature: Specification: http://www.wjec.co.uk/uploads/publications/8319.pdf Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/8323.pdf

https://www.wjec.co.uk/uploads/publications/18136.pdf

http://www.wjec.co.uk/englishgcse

http://www.wjec.co.uk/uploads/publications/8319.pdf



Please note the following: - Pupils at mainstream maintained schools in England must be entered for EITHER GCSE English OR GCSE English Language and GCSE English Literature; -GCSE English and GCSE English Language is a prohibited combination in the same series; - GCSE English and GCSE English Literature is a prohibited combination in the same series; - Controlled assessment tasks will be published in the April of the year preceding the unit award (i.e. tasks for 2014 will be published in April 2012);


Contacts and resources Address WJEC, 245 Western Avenue, Cardiff, CF5 2YX GCSE English Team [email protected] Subject Officer Kirsten Wilcock 029 2026 5023 Subject Officer Nancy Hutt 029 2026 5374 Subject Support Officer Matt Oatley 029 2026 5054 Subject Support Officer Charlotte Dix 029 2026 5051 Entry Level Subject Officer Julia Harrison 029 2026 5074 [email protected] Subject Support Officer Fleur Andrews 029 2026 5070 [email protected] Electronic resources Website www.wjec.co.uk/englishgcse Email bulletin tick the ‘Subscribe’ box at the bottom of the GCSE English page on the WJEC website Twitter feed http://twitter.com/wjecgcseenglish Printed resources Bookshop Follow link from www.wjec.co.uk to buy the following WJEC materials: Oxford University Press WJEC 2010 resources Heinemann WJEC 2010 resources On Course for KS4 (WJEC National Language Unit): 1. Pre-1914 Anglo-Welsh Poetry;

2. Autobiographical, Travel, and Narrative Writing; 3. Modern Poems by Welsh Poets; 4. A Selection of Welsh Women Poets; 5. Real Welsh Lives 1: Contemporary Non-literary Resources; 6. Real Welsh Lives 2: More Contemporary Non-literary Resources.

mailto:[email protected]

mailto:[email protected]

http://www.wjec.co.uk/englishgcse

http://www.wjec.co.uk/


GCSE English Literature

EXTERNAL ASSESSMENT 35% (2 hrs) June

Unit 1: Prose (different cultures) and poetry (contemporary) (50 Raw Marks; 70 UMS)

Section A 21% (INDIVIDUAL TEXTS IN CONTEXT)

Different Cultures Prose: Of Mice and Men (Steinbeck); OR Anita and Me (Syal); OR To Kill a Mockingbird (Lee); OR I

Know Why the Caged Bird Sings (Angelou); OR Chanda’s Secrets (Stratton)

Section B 14% (COMPARATIVE STUDY)

Contemporary: Unseen poetry comparison

EXTERNAL ASSESSMENT 40% (2 hrs) June June

Unit 2a: Literary heritage drama and contemporary prose (68 Raw Marks*; 80 UMS)

INDIVIDUAL TEXTS IN CONTEXT

English/Irish/Welsh Literary Heritage Drama: Othello (Shakespeare); OR Much Ado About Nothing

(Shakespeare); OR An Inspector Calls (Priestley); OR Hobson’s Choice (Brighouse); OR A Taste of Honey (Delaney) (20%)

Contemporary Prose: Paddy Clarke, Ha Ha Ha (Doyle); OR Heroes (Cormier); OR Never Let Me Go (Ishiguro); OR About

a Boy (Hornby); OR Resistance (Sheers) (20%)

OR

Unit 2b: Contemporary drama and literary heritage prose (68 Raw Marks*; 80 UMS)


Contemporary Drama: The History Boys (Bennett); OR Blood Brothers (Russell); OR A View from the Bridge (Miller);

OR Be My Baby (Whittington); OR My Mother Said I Never Should (Keatley) (20%)

English/Irish/Welsh Literary Heritage Prose: Silas Marner (Eliot);OR Pride and Prejudice (Austen); OR A

Christmas Carol (Dickens); OR Lord of the Flies (Golding); OR Ash on a Young Man’s Sleeve (Abse) (20%)

CONTROLLED ASSESSMENT (LINKED TEXTS) 25% June

Unit 3: Poetry and drama (literary heritage) (40 Raw Marks; 50 UMS)

English/Irish/Welsh literary heritage: Poetry [taken from WJEC GCSE poetry collection] and play by Shakespeare – chosen by the centre (but not Othello or Much Ado About Nothing).

*This total includes additional marks for spelling, punctuation and the accurate use of grammar. ASSESSMENT OPPORTUNITIES

June 2013-2014

Unit 1

Unit 2a

Unit 2b

Unit 3

Subject Award


Overlap between specifications

English English

Language English

Literature

Unit 1 (Reading)

Common unit in English and English Language

Unit 1 (Reading)

Unit 2 (Writing)

Common unit in English and English Language

Unit 2 (Writing)

Unit 3 (Writing)

Writing tasks interchangeable between English and English Lang

Unit 3 (Writing)

Unit 3 (Reading)

Linked text task assessed in GCSE English and English Literature Unit 3

Unit 3 (Reading)

English different cultures reading task draws on English Literature set text list Unit 1

Unit 4 (S and L)

Speaking and Listening assessed in GCSE English and English Language

Unit 4 (S and L)

Unit 3 (Reading)

English Language reading task draws on English Literature set text list

Units 1 and 2


Possible course plans We present these course plans to help teachers in their planning. However, we must stress that there are many other ways of organising the specification content, and these suggestions should not be seen as prescriptive. Clearly teachers will wish to consider the needs and abilities of their students when planning courses. We hope that the suggestions which follow might prove a useful starting point for this planning.


English Language and English Literature course structure - presuming that both subjects to be taught across two years

Notes

Since the Shakespeare/poetry linked task is likely to take up the most time, it may be wise to get on with it early in the two year course. In addition, if the student moves to a GCSE English only entry, this time will not have been wasted.

In this plan, the chosen GCSE English Language Extended text is from the different cultures English Literature set text list.

Year 10 Year 11

English Language English Literature English Language English Literature

Autumn term Explain course content and general plan Practise skills for Descriptive writing S and L: Practise and complete Individual presentation assessment Assess students’ S and L group work on textual issues linked with Literature study

Study poetry for Shakespeare/poetry linked task and in preparation for the Eng. Lit. unseen poetry test (Unit 1) Study Shakespeare text; introduce Shakespeare/poetry linked task. Assessment session for Shakespeare/linked poetry piece.

Prepare for and assess S and L Role play Prepare for Studying Spoken Language unit and complete with assessment session. Prepare students for Unit 1 Reading- comprehension skills/question types/approaches etc

Teach Unit 2a/b chosen drama text

Spring term Set task and prepare for Extended text essay (based on different culture text)

Study different cultures prose text for Unit 1 English Literature exam

Prepare students for Unit 2 Writing: formats/audience/tone purpose/accuracy Submit sample controlled assessment to moderator

Teach Unit 2a/b chosen prose text. Submit sample controlled assessment to moderator

Summer term Prepare for Narrative/expressive writing controlled assessment. Revise descriptive writing skills Assessment session for Descriptive and Narrative/expressive writing Assessment session for Extended text essay

Continue to study different cultures prose text Revise approaches to unseen poetry comparison

Practise responses to exam type tasks Revise set texts and practise responses to exam style questions Sit Unit 1 and Unit 2 exams


Plan for students taking GCSE English Language in Year 10 and GCSE English Literature in Year 11

Notes:

The approach suggested above would preclude any opportunity for students to move to GCSE English once the GCSE English Literature qualification had been sat.

Year 10 Year 11

English Language English Literature

Autumn term Explain course content and general plan Practise skills for Descriptive and Narrative/expressive writing S and L: Practise and complete Individual presentation assessment Assessment session for Description and Narrative/expressive writing Study text for Extended Text controlled assessment

Study poetry for Shakespeare/poetry linked task and in preparation for the Eng. Lit. unseen poetry test (Unit 1) and controlled assessment Study Shakespeare text; introduce Shakespeare/poetry linked task. Assessment session for Shakespeare/linked poetry piece Study approaches to unseen poetry comparison in preparation for sitting Unit 1. Study chosen different cultures prose set text

Spring term Assessment session for Extended text essay Prepare for and assess S and L Role play Prepare for Studying Spoken Language unit and complete with assessment session Submit sample controlled assessment to moderator

Study chosen Drama and Prose texts (Unit 2a/b) in preparation for exam Submit sample controlled assessment to moderator

Summer term Prepare students for Units 1 Reading- comprehension skills/question types/approaches etc Prepare students for Unit 2 Writing: formats/audience/tone purpose/accuracy Practise responses to exam type tasks

Revise and practise examination responses for Units 1& 2a/b Sit Unit 1 and Unit 2 exams


Proposed course structure for students taking GCSE English only

Notes

It is possible for students to retake controlled assessment tasks providing that they attempt a completely different title.

Year 10 Year 11

Autumn term Explain course content and general plan Practise skills for First person writing Assessment session for First person writing S and L: Practise and complete Individual presentation assessment Study chosen different cultures prose set text

Study poetry for Shakespeare/poetry linked task Study Shakespeare text; introduce Shakespeare/poetry linked task

Assessment session for Shakespeare/poetry linked piece

Spring term Assessment session for different cultures prose text essay Prepare for and assess S and L Role play Prepare and complete assessment for S and L Group work

Prepare for and assess Third person writing. Prepare students for Unit 1 Reading- comprehension skills/question types/approaches etc Prepare students for Unit 2 Writing: formats/audience/tone purpose/accuracy Submit sample controlled assessment to moderator

Summer term Practise responses to exam type tasks

Test examination skills


Controlled assessment: Shakespeare and poetry linked task

Overview

GCSE English Literature:

CONTROLLED ASSESSMENT (LINKED TEXTS) 25% June

Unit 3: Poetry and drama (literary heritage) (40 Raw Marks; 50 UMS)

English/Irish/Welsh literary heritage: Poetry [taken from WJEC GCSE poetry collection] and play by Shakespeare – chosen by the centre (but not Othello or Much Ado About

Nothing).

GCSE English Literature Controlled Assessment folder contents

Summary of requirements

One assignment linking English, Welsh or Irish Literary Heritage poetry and a Shakespeare play – but not Othello or Much Ado About Nothing. (Up to four hours assessment time.)

Notes

Poetry choices are from the WJEC poetry collection. The stipulated themes and linked group of poems for each assessment series can be located on our secure website www.wjecservices.co.uk. These poems must be used. Students should study all the poems on the list linked to the chosen theme. However, it is recognised that students are likely to focus on two or three poems in their final written controlled assessment. The WJEC Poetry Collection may be ordered free of charge. Please email: [email protected]

Any Shakespeare play may be chosen except for those listed in the GCSE English Literature set text list (currently Othello and Much Ado About Nothing). The Shakespeare text chosen must be thematically linked to poems from the relevant stipulated group, as published on the WJEC secure website. Assignments must consider the ways in which the thematic link is explored in the texts.

Students may have clean copies of the texts they are working on plus one A4 side of their own notes which must not include a plan or essay draft. All notes must be collected and kept secure within the centre at the end of each formal assessment session.

While comparison is not specifically required, showing the links between the two texts will almost certainly result in some comparative work.

Tasks and text choices are based on a number of common themes. The tasks will be replaced each year. Centres must use the correct tasks for the year in which certification will take place.

http://www.wjecservices.co.uk/


Generic tasks stressing the thematic link between the texts will be provided by WJEC. Exemplar tasks will be in three parts requiring the study of each text in turn before a final section where the student identifies the links and comments upon them.

Planning and preparation time for the task is set out in the specification.

Completed assignments should be about 1,500 -2,000 words in length but this is a guide only. Overlong responses will inevitably be self-penalising as will very short responses that do not address all the assessment objectives

An example of folder content

Generic task Many plays and poems are concerned with the relationship between men and women. Choose a relationship in a Shakespeare play you have studied and compare it with the way a similar relationship is presented in poetry. Poetry selection

The Passionate Shepherd: ChristopherMarlowe The Sun Rising: John Donne Cousin Kate: Christina Rossetti Sonnet 18: William Shakespeare Valentine: Carol Ann Duffy A Frosty Night: Robert Graves How do I love thee? Elizabeth Barrett Browning The Flea: John Donne Twice Shy: Seamus Heaney Whoso List to Hunt: Sir Thomas Wyatt Porphyria's Lover: Robert Browning A Married State: Katherine Philips A Woman to her Lover: Christina Walsh Sample tasks:

Examine the way Shakespeare presents the relationship between Romeo and Rosaline in the play.

Examine the way Wyatt presents his love for the unobtainable woman in Whoso List to Hunt. In your response refer to other poems that you have studied.

What is your response to the pieces of literature you have read? Make links between them, considering how the theme is presented by each writer.


General guidance on the controlled assessment units

In amending the suggested tasks, teachers should be aware of the ability of the candidates. Some tasks are more challenging than others and it would be wise to steer less able candidates towards those tasks in which they will be able to handle the material competently within the prescribed time limit. The final assessment session may be arranged in a number of ways. Candidates will have a maximum of four hours for this assignment since two texts are being studied. These time allowances may be broken into shorter sessions to fit into the lesson schedule. Candidates are permitted one A4 side of notes in the assessment session and the teacher must check these notes before the assessment begins to ensure they do not contain a plan or a draft. All work and the A4 side of notes must be collected and kept secure within the centre at the end of each formal assessment session. Alternatively, teachers may wish to arrange an assessment session in the examination hall. The latter approach would have the advantage of ensuring that all the candidates complete their work under the same conditions. During the final assessment period, candidates are allowed to consult clean copies of the texts they are using. Once the assessment session is complete, students are not permitted to resubmit work. After the completion of the assessment session, the work will be marked in the normal way, in line with the existing structures. (See specifications for details).Candidates may see their marked essays but it is important that the essays are kept securely in the teacher’s possession to prevent any tampering with the work. All candidates must complete and sign the appropriate controlled assessment coversheet(s). This is a JCQ requirement. Moderation will take place at two levels: (i) Within the centre to ensure that a uniform standard has been applied across the teaching groups. This internal moderation should be carried on a regular basis and before marks are inputted to WJEC. It is useful if one teacher takes responsibility for final the moderation procedure within a centre, sampling the work of each teaching group. (ii) Through the inspection of a sample of the work by WJEC moderators Details of external moderation procedures can be found in our specification. The moderation sample is generated by our computer system. There is no prescribed time limit for teaching and learning when preparing the texts for the Literature task. However, the preparation time for this assignment should be about 15 hours. During this period, the students can make suitable notes on their texts and plan out their approaches. They may also look at critical texts and other aids. Candidates are not permitted to write drafts of their essays. Please note that students must have clean copies of the texts in the controlled assessment itself. Given the nature of this assignment and the time limits, students will need to be focused on the task from the onset of their writing. Candidates who spend time on extraneous aspects, like biographical details, will put themselves at a disadvantage. Despite the conditions set out in the specifications for conducting controlled assessment, it is important that teachers are aware that plagiarism may still occur. If plagiarism is discovered after the assessment session, it will not be possible for the candidate to rewrite the work and no marks will be awarded.


Linked Poetry and Shakespeare texts

Exemplar 1: Band 4

Examine Shakespeare’s representation of soldiers in conflict in Macbeth. Examine Owen's representation of soldiers in Dulce et Decorum Est.. Refer to the other poems related to conflict in your answer. What is your response to the pieces of literature you have read? Makes links between the ways writers have considered and presented the theme of conflict. Recently we have been reading 'Macbeth' which deals with the issues of conflict and fighting. If people are at war and they kill we see them as brave heroes but when people kill out of war we see them as murderers. I will also be looking at the links of conflict between ‘Macbeth’ and War poetry. In ‘Macbeth’, we hear the story of a man who starts off loyal at war and ends up committing several murders including that of Duncan and Macduff’s family. During the play there needed be a lot of conflict to keep the audience entertained. He started and ended the play with a battle because it makes people feel like they have enjoyed the play because it has a tense start and a tense end. The thoughts of Macbeth from the beginning of the play when he was a loyal soldier and at the end when we see him as a murderer are completely different. I think this is because you should kill in war when you are fighting for your own country but committing murder whilst you are off of the battlefield is wrong. At the beginning of Act 1 Scene 2, soldiers seem to be well-respected by the king, "who like a good and hardy soldier fought ...... hail brave friend!" By using the adjectives 'good' and 'hardy' to describe the soldier, we, know that the king is praising his bravery. Also the phrase 'brave friend' emphasises that the king views the soldiers who are fulfilling their duty as close to him. Macbeth is represented as violent in Act 1 Scene 2.".... unseam'd him from the nave to chops and fix'd his head upon our battlement walls." The word 'unseam'd' shows that Macbeth is powerful and determined. Also he is praised for how violent he is. The soldiers thought well of and had lots of respect for the king. "So well thy words become thee as they wounds; they smack of honour both”. The fact that the soldier has a lot of wounds suggests that he fought for his country to protect the king and he is praised by the king for the way he fought. Macbeth is described as brave. "For brave Macbeth - well he deserves that name." This shows that Macbeth has earned himself a 'name' and he is known for killing and fighting". In Act 5 of ‘Macbeth’, he has completely transformed from a loyal soldier fighting for his country to a maniacal killer. He seems to have lost all sense of morality. "Our castle's strength will laugh a siege to scorn”. This shows that Macbeth is laughing because he feels invincible. This also shows that he has believed the witches' prophecies and thinks that no army can defeat him. Also he has murdered so many people that he isn't scared anymore. "Forgot the taste of fear". This shows that he has no conscience and he is no longer scared to fight and kill. Macbeth compares himself to a bear. "They have tied me to a stake; I cannot fly, but, bear-like, I must fight the course. What's he that was not born of woman? Such a one am I to fear, or none.”


This." suggests that Macbeth is strong and powerful like a bear but he also feels like part of their entertainment. Also, in this Paragraph it suggests that he feels strong, invincible and unbeatable when he says "such a one am I to fear, or none". You will be afraid to hear his name because of what people think and say about him. "Thou'll be afraid to hear it." This shows that his name is a symbol of fear because of the name and reputation he has. He solves his problems by fighting and by getting revenge. "I have no words: my voice is in my sword". This shows that he solves his problems by fighting and killing instead of arguing and shouting. In the poem, ‘Dulce et Decorum Est’, Owen is describing the war and life as being a soldier in a negative way the opposite to what Jesse Pope described in 'The Game'. In the poem, Owen describes a gas attack and he says a lot about the feelings and emotions of soldiers at war. The message he is trying to get across is that there is nothing good or heroic about dying even if it is for your country. But if you do live you would have to cope will remembering all of the pain that you and your friends went through. During the First World War as soon as men turned 18 they were forced to join up. If they didn't join up they were given a white feather which meant they were betraying the country and people would mock them. They used recruitment posters to persuade people to join up and the pictures on the posters made it look like they were talking directly to you. There were also poems such as 'The Game' by Jessie Pope which persuaded young men to want to join up by making it out to be fun and all a big game when it was not because it was your whole life on the line. The soldiers were living in bad conditions and they were suffering heroes. I know this because ‘Knock-kneed, coughing like hags we cursed through sludge’. This shows they are suffering because they have fought and walked for too long and they feel tired so they are beginning to drag their feet through the sludge. He also uses a simile to show even though they are young because of the conditions they feel like old men. The men die in agony. I know this because ‘blood came gargling from froth corrupted lungs’. This shows they were suffering and they were in a lot of pain because the poet uses onomatopoeic words like ‘gargling’ to make the reader imagine the scene and empathises with it. In ‘Dulce’, men suffered inner conflict or trauma due to their experiences. I know this because ‘my friend you would not tell with such high zest, to children ardent for some desperate glory". This shows that the soldiers wouldn't tell people about their experiences with confidence. Also, he uses a bitter tone which brings out and shows the fear of his experiences. The soldiers are represented as naive dupes when the poet says "The old lie; Dulce et decorum est pro patria mori". This means "it is sweet and right to die for your country." This phrase is to try to make people feel patriotic and to persuade young people to join up for the army. It also makes people sound like heroes if you die for your country. Owen calls it the 'old lie' because he doesn't agree with the quote and doesn't think 'young people' are old enough to know what they want and he doesn't think it is right to die for your country or live but live with, terrors, regrets and remembering people dying. We have also studied two other poems that have different views on fighting wars. The first one was a poem by Rupert Brooke called ‘The Soldier’. In this poem he has a very different view to Owen of dying in war. He was saying that war is good and fun and using words such as “laughter”, “gentle”, “peace” and "English heaven" and putting a positive view on war and dying.


We have also read ‘The Charge of the Light Brigade' by Alfred, Lord Tennyson and he also has a very different view to Owen. His poem was describing the Crimean war and it was about sending people to war on horse-back with only swords when the Russians was firing guns and canons at them. It also goes on a lot about bravery and being noble, "Honour the charge they made. Honour the light brigade, noble six hundred". This suggests that they will be remembered and so will the way in which they died. In the texts which we have read, there are some similarities in the way conflict is presented. For example in both 'Macbeth' and ‘The Soldier’ violence is glorified. Also soldiers should be respected for their bravery and their honour. Similes and metaphors are used in both ‘Macbeth’ (where he is compared to animals) and ‘Dulce’ (where they are used to show the honour of war). There are also many contrasting features including the purposes of the pieces. Shakespeare uses conflict to excite and engage the reader whereas Owen uses graphic images to shock his audience. In ‘Dulce’, violence is used to show the realistic side of war. Finally Owen sees death in war as a waste of time and life. My favourite poem out of them all was Owen’s poem. This is because it is the most realistic and I think it is the only poem which shows the real horror of life in war and the life of a soldier. I think it sounds more realistic because he isn't saying that it is fun, gentle and peaceful. I think that some of the things in the poem such as there will be a place which is forever England, is true but they make war and dying for your country sound good when it is not. So in the texts I have written about we get very different ideas of conflict and what is and is not good behaviour. Sometimes it seems all right to kill while in others killing and being killed is seen as something horrific and evil. Commentary In the student’s analysis of the theme of conflict in the Shakespeare play, the opening comment sums up their basic view before moving on to look specifically at Macbeth. The student makes general statements and there are some comments on language. This analysis of language is at a fairly simple level though. The student moves through the text and refers to the text throughout with some simple analysis. The student finishes the section on Shakespeare a bit abruptly but there are some clear views on the theme of conflict in the play. The student then moves on to look at how the theme of conflict is presented in the poetry they have studied. There is some vagueness at the start and the white feather bit does not add much. However, the analysis improves and later the student refers to the text carefully with some analysis. Unfortunately, there is a slightly muddled conclusion to the Owen section and the student partly misreads Brooke’s poem. Overall there is not much done on Tennyson. The linking section is a bit empty but some good points are made about Owen’s intentions and there is some attempt to make connections to Macbeth. This response fulfils Band 4 criteria at a low level.


Exemplar 2: Band 5

Task: Look at the way conflict is investigated in Romeo and Juliet and in poems chosen

from the selection. In your response, makes links between the ways the writers have considered and presented the theme of conflict. Throughout Shakespeare's play 'Romeo and Juliet', one of the main themes is conflict and conflict gradually escalates as the play reaches its tragic climax. From the start of the play, in the prologue, we are told of the futility of conflict as suggested by ‘ancient grudge’. The word 'ancient' suggests that the 'grudge' started long ago, meaning the real reason for it is long since forgotten, and therefore, the 'grudge' is petty though the resulting conflict is not. Additionally, the word 'grudge' suggests the consequences of the conflict are long lasting. We are also told how contagious conflict and the 'ancient grudge' can be, ‘civil blood makes civil hands unclean’. The choice of the word 'civil' shows that the 'grudge' has gone beyond private and spread into society, highlighting how infectious it can be. Moreover, the word 'blood' implies death, proving the dangerous consequences of conflict both physically and mentally. Furthermore, the word ‘unclean’ reminds the audience of blood stains which yet again remind us of the deadly consequences of conflict, and also the long term effects of conflict, like the scars and the lingering guilt. The prologue inevitably ends with a Shakespearean rhyming couplet just as the tragedy will always end in the deaths of Romeo and Juliet, 'Death-marks of love'. The juxtaposition of the words 'death' and 'love', shows Shakespeare's beliefs that love isn't just a sweet thing, but also a deadly one. At the start of Act 3 scene 1, we are informed that it's set in a public place and are immediately reminded of the Prince's warning, 'if ever you disturb our streets again, your lives shall pay the forfeit of the peace'. This immediately creates a tense atmosphere as the audience anticipate conflict. Throughout the play, the Prince is used as a voice of reason. The first character to speak is Benvolio. His name is derived from the word ‘benevolent’, so it is not surprising his character acts in the role of the peacemaker. Nevertheless, this creates further tension, as when he gives a warning, it’s normally because conflict is approaching: 'let's retire: The day is hot... these hot days is the mad blood stirring'. This use reflects some beliefs in Shakespeare's time, that when the days were hot, people would get hot headed, becoming animalistic and slipping down the hierarchy of being. This mirrors Shakespeare's beliefs that conflict is degrading. The use of personification creates a number of effects. Firstly, the word 'mad' further highlights the beliefs that when it was hot, you could lose your mind. Additionally, it suggests how insane conflict is and how 'mad' it is to shed blood because of a petty grudge. It also suggests loss of control, of both mind and body, showing how easy it is to get carried away by conflict. The word 'stirring' suggests something being awoken and gradually made worse, therefore indicating that dangerous conflict is on its way.


When Tybalt arrives, the atmosphere immediately changes, becoming much tenser, because of his dangerous reputation, yet he remains polite to Mercutio as Mercutio is not his real target. Mercutio's name is derived from the word ‘mercury’, a fiery unpredictable element, mirroring Mercutio's fiery unpredictable personality, "by my heel I care not." The line shows how Mercutio acts with his heart, making him a loveable character but his personality is conflicting to that of Benvolio's, "by my head." When Mercutio is stabbed, he is outraged that it's the result of such a petty 'grudge' and comments 'a plague a' both houses'. The word 'plague’ links to the infectious and long lasting effects of conflict. It also shows that Mercutio wants their suffering to be long and painful, just like the 'ancient grudge' and relates to how deadly something so petty can be. The word 'both' shows that Mercutio blames the grudge for his death and wants all involved to suffer, linking to the inevitability of the tragedy and Romeo and Juliet's deaths. We are informed once more of this inevitability, 'this day’s black fate on more days doth depend; this but begins woe others must end'. The rhyming couplet inevitably suggests importance, highlighting how pivotal this scene is. Moreover, the word ‘black’ is pessimistic, highlighting the negative effects of conflict. It also suggests the Black Death, a deadly, fearful, and contagious plague linking to how scary and fatal conflict is, as well as how fast it spreads. Additionally, the words 'black fate' show the inevitability of death, and the pessimistic word 'black' shows what a bad thing conflict is to have to die for. Mercutio's death makes the audience want revenge, as Mercutio was the most 'alive' character. This displays how easy it is for a conflict so petty to become so dangerous. Romeo is banished and narrowly escapes a death sentence. The conflict, based as it is on a flimsy and forgotten pretext, has ruined many lives and resulted in two deaths. Shakespeare seems to suggest that the characters’ narrow-minded and childish desire for revenge leads to conflict out of all proportion to the reason for it. Wilfred Owen in his poem ‘Dulce et Decorum Est’ conveys the futility of conflict on a bigger scale. He was writing during the First World War and had direct experience of the terrible suffering of the troops in the front line. He begins his poems with a comment on the soldiers returning from battle who look ‘like old beggars under sacks.’ The word ‘old’ portrays the fact that even though the people who signed up to become soldiers were young, they experienced enough to last them a life time and their youth was swiftly stolen from them unfairly. Moreover, the simile uses the word, ‘beggars’, showing how even though men signed up believing they would gain honour and glory, they lost their lives, in very unheroic surroundings and miserable ways, therefore making them poor like beggars. Additionally, the word also shows how desperate the men were, initially for glory, but in the end just to survive. The word ‘under’ suggests being weighed down, as a result indicating, both the physical and psychological burdens conflict can bring. It also suggests how overwhelming the experience must have been, and suggests being dragged down - possibly with the guilt conflict brings. Similarly, in Owen's poem, ‘The Send Off’ we are told of the negativity of conflict. The men go to battle ‘Down the close darkening lanes’. The words ‘down’ and ‘darkening’ are pessimistic and create a gloomy atmosphere. Additionally, they suggest the effects of conflict worsening and becoming more and more serious. It also creates a sense of the inevitability of death as a consequence of war and conflict as the words suggest that the men are going into night, perhaps a permanent one.


Throughout ‘Dulce et Decorum Est’ we are also told of the serious effects of conflict: ‘all went lame; all blind’. The repetition of the word ‘all’ shows the inevitability that everyone involved in conflict will feel its consequences. More over, the word 'all' demonstrates how throughout the traumas of conflict and war, the men were united, creating a poignant comment on their likely fate. The iambic pentameter highlights the unity, and orderly conduct of the men as it creates a rhythm similar to that of men marching obediently. However, it also shows their lack of independence and how the soldiers rely on each other, and follow orders without question. In the second stanza, the iambic pentameter breaks, creating a sense of disorder and chaos: ‘Gas! Gas! Quick, boys!’. The use of caesura, along with varied punctuation highlights the panic and breakdown of order. Repetition of the word, ‘Gas!’ emphasises how serious and deadly war can be. This is a danger which must be taken seriously. Moreover, the word, ‘Quick’ creates an even greater sense of urgency, and the word ‘boys’ emphasises how tragic it is for such young people to be put in the fatal situations conflict leads to. It additionally links back to the word, ‘old’, showing how wasteful conflict can be. The word ‘boys’ also indicates the innocence of youth and the way they obey orders without question. Similarly, we are told of the scarring effects of the conflict, ‘incurable sores on innocent tongues’. Again we are informed of youth's innocence, as well as the terrible effect conflict and war can have, both psychologically and physically, indicating the tragic wastefulness of the situation. Again, in ‘The Send Off’, we are told of youth's innocence, ‘breasts were stuck all white’. The colour ‘white’ indicates purity and innocence and the soldiers’ innocent acceptance of their fate, as well as their ignorance of war and conflict's consequences. In ‘Dulce et Decorum Est’, we are also told of the unimaginable experience of war and conflict, ‘in all my dreams... guttering, choking, drowning.’ The words ‘all’ and ‘my’, link back to the fact that conflict is unforgettable and at times unavoidable. Moreover, the word ‘my’ shows how unimaginable the consequences of conflict are. Not only does the poor soldier suffer awfully, the writer is scarred by the experience. The wounds are not just visible; they scar the soul too. The emotive words, ‘guttering, choking, drowning’, are very vivid and encourage people to imagine what the experience must have been like. Further onomatopoeia, ‘gargling’, helps to add emphasis on how vivid Owen's nightmares about war are. Owen uses imagery in the form of metaphors and similes in an attempt to portray how ghastly and disgusting war is: ‘floundering like a man in fire or lime’. The word ‘floundering’ creates images of drowning, therefore demonstrating how helpless the men were and how overwhelming and powerful, as well as brutal, war can be. Additionally, the word ‘lime’ refers to lime gas demonstrating the deadly seriousness of conflict, as well as the inevitability that if you're unprepared you'll die. There are no second chances. The word ‘lime’ could also suggest the fruit lime and the fact that lime is sour, the opposite of 'sweet' and the fact that soldiers signed up for glory but received the opposite - death. Moreover, it could also indicate the fact that the war was anything but 'sweet' and happy. Also, limes are acidic showing the fact that conflict burns and eats away at you.


Conflict's sourness is further indicated by the use of ‘the old lie’, ‘Dulce et Decorum est pro patria mori’. Here Owen points out to those who have no experience of the realities of the war believe that it is right and proper to die for one’s country but we should never pretend that it is ‘sweet’. As he has described, death in wartime is likely to be ugly, cruel and painful and that those who by some miracle survive will live with the appalling images in their minds forever. In these poems and others in the selection, the writers give a very negative impression of conflict and suggest that it rarely brings anything but misery to those involved. Although 'Romeo and Juliet' differs in form to the poems, they all share some common ground in that they are all concerned with the unpleasant side of conflict. In both 'Romeo and Juliet', as well as Rupert Brooke's poem 'The Soldier', the characters appear to believe that conflict is honourable. In that poem the word ‘richer,’ indicates the glorious rewards of conflict. Throughout 'Romeo and Juliet', characters like Tybalt and Mercutio, the main trouble makers, believe that they should fight to remain honourable and to prove their masculinity, thus they are depicted in the play as noblemen. However, Shakespeare appears to challenge this belief, as, by the end of the play, the main catalysts of conflict are dead, proving the futility and pettiness of feud. Likewise, the use of first person narrative in ‘The Soldier’, engages the audience, depicting Brooke's patriotic beliefs, ‘a body of England's’, and as a result showing that Brooke believes that he owes his life to his country. Moreover, the fact that Brooke wrote ‘The Soldier’ at the beginning of the war, indicates how strongly influenced people were by propaganda at the time, ‘it is sweet and right to die for your country’, proving that people thought that conflict and war was going to be glorious. After reading Owen’s poems, Brooke could be accused of naivety. In contrast, Wilfred Owen's poem, ‘Dulce et Decorum Est,’ was written towards the end of the First world, displaying the fact that conflict is the complete opposite of ‘sweet’ and ‘right’, instead suggesting that it is bitter and acidic, eating away at you and having a scarring affect. We know this as in the poem it says, ‘you would not tell with such high zest’. This displays how dangerous and unspeakable the consequences of conflict are. There is also a sense of accusation here which reinforces his bitterness. The word ‘you’ seems to encompass all those who have no direct experience of the fighting. We are also told of conflict's serious consequences, ‘froth corrupted lungs’, displaying how tainted and dark conflict is and how it plays with your mind making you think that you're being honourable when you are not. Furthermore, the pairing of ‘corrupted lungs’ indicates conflict’s damaging affects both internally and externally, in body and mind. In addition, it also shows how conflict makes you vulnerable and less independent, as well as how deadly it is, as without our organs we could not survive. Similarly, in 'Romeo and Juliet', we are told of how damaging and ‘vile’ conflict is. Using the word ‘vile’ displays how disgusting Shakespeare believed conflict to be and demonstrates how infectious conflict is. We are also told of this contagiousness when Mercutio realises that he is about to die, "a plague a' both your houses", therefore acting as a reminder of the black death, and Mercutio's disbelief that a conflict so petty, could swiftly become a conflict so deadly. Furthermore, ‘a' both’ shows that Mercutio blames the grudge itself, more than the people involved in the conflict. This is surprising as Mercutio was one of the characters that initially believed conflict noble and honourable, showing how truly deceitful conflict is.


Likewise, in Tennyson's poem, ‘The Charge of the Light Brigade’, at the very end we are told of his beliefs on conflict and war, "honour the Light Brigade". This suggests that Tennyson believes that the men who fight are brave and noble but that the ‘blunder’, which caused their horrific deaths, was the result of a misguided understanding of the word ‘honour’. In ‘The Charge of the Light Brigade’, Tennyson repeats the word 'hell', further highlighting conflict's deadly consequences and, therefore, its futility. It also indicates that conflict isn't rewarding to those who engage in it but instead ultimately futile, an idea Owen investigates in a poem not in the Collection called ‘Futility’. Brooke in his poem uses a different kind of imagery. Here he does not stress the awfulness of the war scene but instead writes about ‘flowers’, ‘dreams’ and a rural dream world of ‘ways to roam’. He also tells us how patriotic he believes conflict to be, indicating his beliefs that sometimes conflict is the key to peace, and that you have to make sacrifices for the 'greater good', and in order to achieve your ‘dreams’. This would be unlikely to impress Owen with his more realistic picture of death on the battlefield. In ‘The Charge of the Light Brigade’, the inevitability of conflict is hinted at from the very start of the poem, ‘all in the valley of death’. The fact this line is situated towards the beginning of the poem, illustrates the fact that the men are already destined to die. Moreover, the word ‘all’ shows how no one can escape the death that conflict brings, and the word ‘in’ demonstrates how in a way the men are already dead, yet they're noble as they continue fighting despite their helplessness. Similarly, in the Prologue of ‘Romeo and Juliet’, we are told that Romeo and Juliet are destined to die, ‘star-cross'd.’ The phrase indicates that Romeo and Juliet’s destinies are mapped out in the stars and are unavoidable. This links clearly with most of the poetry mentioned where inevitability and fate lead the soldiers to a similar terrible conclusion. Moreover, the word ‘cross'd’ could also have a reference to biblical teaching, as in Christianity, it is believed that Jesus was crucified as a sacrifice for the ‘greater good’. Correspondingly, at the end of 'Romeo and Juliet', Capulet uses the word 'sacrifices', which further demonstrates the fact that Romeo and Juliet's deaths were a sad necessity in order to end the conflict. In 'Romeo and Juliet', we are also informed that conflict is animalistic and degrading, as Mercutio says, ‘a cat, to scratch a man to death’. The word ‘cat’ demonstrates how those involved in conflict slip down the hierarchy of being, which is shocking for the audience as Mercutio was one of the initiators of conflict, demonstrating how truly dishonourable conflict can be. Moreover, the ironic word Mercutio uses about his injury, ‘scratch’, stresses the fact that such petty conflict can have such serious consequences. In contrast, throughout 'The Soldier', Brooke reveals his beliefs that conflict is glorious and rewarding, ‘hearts at peace under an English heaven’. These words demonstrate Brooke's belief that in order to get to heaven you must first prove your bravery and masculinity, through conflict and appropriate conduct within it. In Shakespeare's play, 'Romeo and Juliet', throughout the orderly iambic pentameter, there are numerous scenes of conflict, demonstrating how conflict may seem ordered and noble at times but really it's manic and dishonourable.


Most of the pieces of literature that I have studied are similar in that they depict conflict as futile and dishonourable. Even 'The Soldier' has a melancholy tone despite Brooke's claims that conflict is glorious, indicating that deep down, at some level, we are all aware of conflict's inevitable, deadly consequences. Commentary This student gets straight to the language making sensible comments about the implications of the Prologue. She then moves to Act 3 scene 1 making some good analysis of the language at the opening of the scene. The Shakespeare section is strong with its consistent stress on the way Shakespeare has used language to shape our responses about the idea of conflict. However, it ends rather abruptly. In the poetry section she easily moves between the texts and makes clear and interesting points. Although the reference to the significance of ‘lime’ as a fruit is questionable, it is pleasing that she is trying to probe the text. The final section of the essay is very good. The student moves between the poems she has studied and the Shakespeare text with ease drawing on her extensive knowledge of the verse and the play to weave a convincing linking section. This student easily fulfils the Band 5 assessment criteria. Her work demonstrates good selection, detailed reference to the texts, character evaluation and assured exploration and evaluation of the ways in which the language of the works is shaped for effect. The work is well organised and the final section is detailed and developed. Able candidates will have little difficulty in writing more than the word guide within the 4 hours allowed – in this case nearly double. This itself is not an issue: the only consideration is the quality of the response as judged by the criteria, and it would be quite possible for work much nearer the word guide to reach the top end of Band 5. In this case there is no sense of over-writing in what is a cogent, critical response which demonstrates flair and originality of interpretation. Subtle links are established between texts supported by apt textual references. It deserves the highest mark.


Exemplar 3: Band 5

Task: Explore the developing relationship between Beatrice and Benedick up to the end of Act Three, scene 1. Discuss and compare the views of love and marriage expressed in two of the poems you have studied. What is your response to the pieces of literature you have read? Make links between the ways the writers have considered and presented the themes of love and marriage. By the end of Shakespeare’s ‘Much Ado About Nothing’ we see that Beatrice and Benedick are together. However, throughout the play, we are given mixed signals on the characters’ relationship. To begin with we get the impression that Beatrice dislikes Benedick when she asks the messenger: ‘I pray you, is Signior Mountanto returned from the wars or no?’ Initially we would conclude that this meant that she didn’t like Benedick. However, the fact that she showed any interest at all might indicate otherwise. Shortly after this, we are lead to believe that Beatrice and Hero might have been talking about Benedick in private. Hero comments: ‘My cousin means Signior Benedick of Padua.’ This suggests further, Beatrice’s interest in him. As the scene progresses, Leonato refers to Beatrice and Benedick’s exchange of insults as a ‘merry war’ between friends. At this point, we are unsure as to the truth behind this due to the harsh comments previously made by Beatrice. As we read on, Beatrice then asks the messenger of Benedick’s new companion. Although her remark is sarcastic, the fact that she shows an interest at all may indicate an interest. Furthermore, when Beatrice asks again of Benedick’s ‘new sworn brother’ we might question her persistence to find out. As the scene progresses, Benedick is introduced to the play. It may be the case that Beatrice simply wants recognition and attention from Benedick when she voices: ‘I wonder that you will still be talking Signior Benedick. Nobody marks you’. Though, of course, she has. In contrast, the comment itself was clearly out of unkindness, and again we are unsure of the relationship between the characters. Benedick’s reply is the first sign of retaliation and is equally as hurtful: ‘What, my dear Lady Disdain – are you yet living?’ Although the comment is in self-defence, we see a antagonistic relationship between the two characters, and are lead to believe it will stay this way. Since the characters are clearly interested in each other and becuase this is a comedy, we can presume that they will get together by the end of the play. The next thing we notice is Benedick’s opinion of himself and women. He states: ‘But it is certain I am loved of all ladies only you excepted and I would I could find in my heart that I had not a hard heart, for truly, I love none’. This is the first indication in the play of Benedick’s disdain for women and his ability to tease. Shortly after when Benedick leaves the heated argument, Beatrice’s comment hints at a previous relationship, ‘You always end with a jade’s trick. I know you of old.’ We are unsure if this indicates a romantic relationship or simply a relationship between two characters. However, we are led to believe there is some sort of history between them.


Later on in a conversation between Claudio and Benedick, we see Benedick state: ‘Do you question me as an honest man should do, for my simple true judgment or would you have me speak after my custom as being a professed tyrant to their sex?’ This is the first indication in the play that suggests Benedick’s disrespect towards women and marriage is in fact a forged act. Shortly after, Benedick introduces the topic of Beatrice to the conversation, which suggests some sort of attraction. He says: ‘There’s her cousin an’ she were not possessed with a fury, exceeds her as much in beauty as the first of May doth the last of December’. Despite his first remark, describing her as possessed with fury gives the impression of spite, the following comment, describing her beauty and the fact that he mentioned her before only suggests an attraction to her. Shortly after, Dan Pedro is introduced to the conversation and comments on Benedick’s supposed hate of women. He comments: ‘Thou wast ever an obstinate heretic in the despite of beauty’. Claudio also backs this up with his comment of Benedick’s efforts stick to his act: ‘And never could maintain his part but in the force of his will’. This gives us an insight as to what other characters in the play think about Benedick’s act, which as stated here, they believe, is merely put on. In the next act, the first thing we notice is Beatrice bringing the topic of Benedick into the conversation. In a conversation between her and Hero, Beatrice comments: ‘He were an excellent man that were made just in the midway between him and Benedick’. This quite obviously suggests that there is something about Benedick that she finds attractive, this might lead us to believe in an attraction developing. Reading on from here, we see Beatrice making a speech about her attitude towards men and feeling about being controlled by one. She says: ‘Would it not grieve a woman to be overmastered with a piece of valiant dust?’ We start to see what it is about marriage that Beatrice disagrees so strongly with. Throughout the play she continues to insist, she will never be wed, this leads us to believe the relationship between her and Benedick will never develop into anything more. Later on in the play, we hear a conversation between Beatrice and Benedick. We know that Benedick is in disguise as does Beatrice. However, Benedick himself is unaware that she has learned this. After Benedick takes the opportunity to insult Beatrice, he attempts to hear Beatrice compliment him: ‘I pray you, what is he?’ This might mean that Benedick is interested in her opinion of him, and has gone to very extreme measures of disguising himself to find out. Shortly after when Beatrice has insulted him, we see Benedick complaining and sharing his hurt with Don Pedro. He states: ‘She speaks poniards and every word stabs’. Benedick’s speech indicates how much he cares about Beatrice’s opinion of him. He also begins to exaggerate, suggesting he cares and is genuinely hurt by Beatrice’s words. As the speech progresses, Benedick comments: ‘I would not marry her, though she were endowed with all that Adam had left before he transgressed’. The rejection of Eden suggests the strength of his apparent feelings. Although initially the sentence describes disklike and hatred towards Beatrice, the fact that he was thinking about the possibilities of marriage and introducing it to the conversation, can only be described as a Freudian slip. Later on in the scene, in a conversation between Beatrice and Don Pedro, Beatrice reveals, ‘I gave him use for it, a double heart for his single one. Marry, once before he won it of me with false dice.’ For the first time in the play, we learn some details of Beatrice and Benedick’s previous relationship. We also learn that Beatrice was hurt in the relationship and we begin to realise why she might feel so spitefully towards him. Shortly after in a conversation between Don Pedro, Leonato and Claudio, they decide to con Beatrice and Benedick into loving each other. Dan Pedro comments: ‘She were an excellent wife for Benedick’.


This again gives us an indication to what other characters think about Beatrice and Benedick. In this instance it suggests these characters see an aspect of the relationship that Beatrice and Benedick don’t. In the next scene, to begin with, we see Benedick voice his thoughts through soliloquy: ‘May I be so converted with these eyes?’ Here, Benedick is opening up and questioning if in fact, he himself could be in love like his companion Claudio. This might suggest he’s finally admitting his hatred towards women and marriage is an act, and that he could in fact fall in love. As the speech progresses, Benedick gives his opinion of the perfect woman: ‘Rich she shall be, that’s certain: wise, or I’ll none; virtuous or I’ll never cheapen her, fair or I’ll never look on her: mild or come not near me, noble or not I for an angel; of good discourse, an excellent musician and her hair shall be of what colour it please God.’ Although at first, this may indicate an arrogance in Benedick, that he could attract such a woman, we also see that Benedick is willing to commit to a woman if he finds one that pleases him. Shortly after, when Benedick is led to believe that Beatrice loves him, he shows us what we’ve all suspected. He states: ‘Love me? Why it must be requited’. We now can see that Benedick has always loved Beatrice for him to have changed his attitude so quickly. Shortly after in the speech, Benedick describes Beatrice in the same way he earlier described the perfect woman. This might suggest that he’d earlier based his ideal woman on Beatrice. A little later on, Beatrice is also tricked into believing Benedick loves her. She states: ‘Benedick, love on. I will requite thee, Taming my wild heart to thy loving hand.’ Beatrice’s apparent sudden change of heart clearly shows that she has had feelings for Benedick all along. Ultimately, throughout the play, the readers have been lead to believe that Beatrice and Benedick would end up together since they both protest too much about their indifference to each other. By Act 3, scene 1, through trickery they have been forced to face up to their real feelings. The two poems I am going to explore are ‘Valentine’ and ‘Woman to her lover’. The first thing we notice is the title ‘Valentine’. This leads us to believe that the poem is going to be, as suggested, romantic. However, the first line of the poem is a slight contradiction: ‘Not a red rose or a satin heart’ This could have two meanings. We could assume that the writer is indicating that she has no interest in giving her lover or husband anything. However, the fact that she is specific about what objects she will not offer him may suggest that she is saying that she doesn’t want to be stereotypical. In the second line, we are confused a little and introduced to an onion: ‘I give you an onion’. This again indicates that the reason behind the first line in the poem was the idea of not being so typical. The introduction of the onion prepares us for the idea and depth behind it in the following lines. We then see the writer dive into a delicate, beautiful side of what we as readers would consider an average, dull onion: ‘It is a moon wrapped in brown paper. It promises light’ This indicates a reference to the inner beauty of a relationship, despite the often, typical or dull exterior. As the poem progresses, the writer moves on to more emotional and painful aspects of love. ‘It will blind you with tears like a lover’. Readers could argue that this could be a reference to tears of joy. However, the use of the word ‘blind’ emphasizes floods of tears which one usually associated with tears of sadness. In the next two lines, the writer confirms the suggestion of tears being caused by sadness, ‘It will make your reflection a wobbling photo of grief’. The use of the word ‘wobbling’ indicates being unstable and use of the word ‘grief’ confirms the sadness behind the tears as opposed to joy. By this point in the poem we start to question why the writer is referring to all this grief on Valentine’s day. The next line may suggest a reason behind it all. ‘I am trying to be truthful.’


The sentence is presented by itself very forward and blank, suggesting that they may have had a dishonest relationship previously. Reading on from here the poet uses the words ‘possessive’ and ‘faithful’ to describe a ‘fierce kiss’ and also their relationship. She has used the words in the same sentence separated by the word ‘and’. This could mean that she is suggesting that the possessiveness in the relationship is as good as the faithfulness. It might also be that one person in the relationship is possessive, the other faithful. Towards the end of the poem the writer introduces the idea of marriage; ‘Its platinum loops shrink to a wedding ring if you like.’ The use of the word ‘you’ may emphasize that he wants marriage. This could suggest his dominance over her, however the fact that she uses the word ‘if’ suggests she is considering or questioning it as if she has a choice. The writer then asserts her opinion of marriage, ‘Lethal. Its scent will cling to your fingers, cling to your knife.’ The use of the word ‘lethal’ and ‘cling’ suggest her belief of marriage being more like a vicious contract that will ruin the relationship. The use of the word ‘knife’ refers the reader back to the image of an onion and also ends the poem on an unromantic, cold tone suggesting the danger within love. A Woman To Her Lover The first thing we notice is the title ‘A woman to her lover,’ already this suggests that the poems going to be about a woman’s role in marriage or a relationship. However, we are unsure if the tone is going to be positive or negative, whereas in ‘Valentine’ we are more easily lead to believe that the poem will be romantic. In the first few lines of ‘A woman to her lover’ the poet describes the idea of possession and being dominated. ‘Do you come to bend me to your will.’ Although the writer of ‘Valentine’ doesn’t emphasize anything on domination of possession, towards the end of the poem the idea of her lover making the decision is raised when she emphasizes the word ‘you’ in the line ‘if you like’. However, the fact that she uses the word ‘if’ indicates that she is merely considering and has some choice in the matter. This is unlike the sentiment in ‘A woman to her lover.’ Reading on from here, we see the poet of ‘A woman to her lover’ describe the ‘drudgery and silence’ in marriage. This could be compared to the line in ‘Valentine’ ‘It will make your reflection a wobbling photo of grief.’ Both women raise the point of being unhappy in marriage. However, in ‘Valentine’ we see more emotion and sadness, whereas in ‘A woman to her lover’ we see more frustration and anger. A little later on, we see the idea of possession and dominance emphasised in both poems. In ‘A woman to her lover’ the poet refuses to be there only for her partner’s ‘clamorous desires’. She emphasises her insistence to not be used by using the word ‘only’ in the line ‘only for your sense delight’. This links directly to the use of the word ‘possessive’ in ‘Valentine’. However, in ‘Valentine’ we are unsure if the word ‘possessive’ is considered negative as it is paired with the word ‘faithful ‘in the line ‘possessive and faithful as we are’. Towards the end of the poem, ‘A woman to her lover’ becomes more romantic as it describes the ‘passion’ and ‘joy’ of marriage if both partners are treated with respect in equality. This links to ‘Valentine’, when at the beginning of the poem, the writer compares love to an onion. ‘It promises light’ This line, like ‘A woman to her lover’, suggests the joys and light that love can promise if done right. Ultimately, both poems raise the same points and opinions, however the order in which this is done and the tone of the end sentiment influences how we judge the poem by the end, ‘Valentine’ starting more romantic (though in an unusual way) and ending on a harsher, negative attitude towards marriage, whilst ‘A woman to her lover’ starts on an aggressive tone and finishing on the joys of marriage and love.


In Shakespeare’s ‘Much Ado about Nothing’, we see many links regarding love and marriage, to the poems ‘Valentine’ and ‘A woman to her lover’. One of the first is where Benedick refers to marriage as like the ‘yoke’ that is forced on to bulls. He considers love a burden, similar to in ‘A woman to her lover’ when the poet uses the word ‘drudgery’ and ‘silence’ to describe marriage. This link is interesting because although they are both genuinely the same opinion, one is of a man and the other of a woman. Shortly after, we see Claudio’s more superficial, typical opinion of marriage. ‘Come thronging soft and delicate desires’. These desires could be what the writer of ‘Valentine’ is trying to convince her lover that marriage is not all about, ‘It will blind you with tears like a lover’ In ‘Valentine’ the poet sees marriage as more of a contract that will destroy the relationship. As we read on, we see an aspect of possession and dominance but from a father figure, ‘Father, as it please you’ Although not directly linked to marriage the idea of a man owning and controlling a woman is raised. The point is again emphasized in later points in the play when Claudio accuses Don Pedro of ‘stealing’ his new possession. This idea of a man trying to dominate a woman is raised in ‘A woman to her lover’, ‘No servant will I be’ The writer refuses to be over powered, much like Beatrice in ‘Much Ado About Nothing’. As the play progresses, we see Beatrice comment on marriage, ‘Would it not grieve a woman to be over mastered with a piece of valiant dust?’ This is much like the attitude of the writer of ‘A woman to her lover’ when she refuses to be made a bondslave. The theme of possession and dominance is carried out for the whole of the first paragraph of the poem and often raised in the play. Later on in the play, we see Benedick describe the woman he desires. He expects complete perfection, like many of the men the writer of ‘A woman to her lover’ is addressing, ‘A wingless angel who can do no wrong’ The idea of a woman being lower than a man has been raised previously both in the poem and in the play. However, here we see a different aspect, one where a woman is seen as higher than a man, put on a pedestal, the writer of ‘A woman to her lover’ expresses her feeling about both extremes, she simply desires equality. Ultimately, both poems share links with the play ‘Much Ado About Nothing’ in the sense of marriage and relationships. Both the poems and the play, alternate between positive and negative aspects and opinions on the matter. Commentary: There is close probing quality to this essay and the linking section is both detailed and thoughtful. The entire essay is centred on the actual words of the texts and there is a close attention to detail. The investigation of the poetry is thorough and mature. The pieces are seen in terms of their negative and positive attitudes and the theme of dominance. It deserves a high band 5 mark.


Exemplar 4 Band 3

Task: The theme of love is the major one in the poems you have studied. Choose two poems and write about the way love is expressed making links between the ways writers have considered and presented it in their works. Can you see any links between the views of love and marriage in the poems and in ‘Romeo and Juliet’? These two poems are written with so much love but they are totally different to each other and I will explain later on. The ‘Sonnet’ is a petrarchan sonnet with Iambic pentameters. ‘The Flea’ is written stanzas of rhyming couplets. ‘Sonnet’ is a huge emotional love poem. Every line makes you think of love and what could be happening. Every line as well is about love. Even when you might not think she is on about love here: “Most quiet need, by sun and candlelight”. If you read this you wouldn’t think it’s to do with love because it mentions then sun and candlelight but it is because she is saying bright as sun and candlelight. So we can see that the lines you don’t expect to be about love mostly and will be about love and its just representing something to explain it. Moving on to compare the poems and explain how far apart they are in some cases but are close in other ways. To start to comparing them I’m going to say that they’re both about love but that is the only thing they really stands out and live is a common one. I’m going to start by saying what I think about Romeo throughout the play. I’m going to start by saying that he is a very mixed emotions person. He goes in and out of emotion like no tomorrow. His attitude at the start is very mixed. He has one or two emotions going on. He is very besotted in love and he is a very charming. He is charming and nice in one or two lines. “It is the east, and Juliet is the sun Arise, fair sun, and kill the envious moon” So he very charming here because he is relating to Juliet as the sun which means she is bright coloured and everyone wants to be like the sun and everyone like to see the sun. Then further on – he has more deep thoughts when Juliet asks him: “Why are you a Montague?” So now he’s in deep thought thinking WHAT IF! Would I love to see her as much as I do now? Juliet is very sensitive girl. She isn’t at a mature age but she acts very maturely for her age. I think Romeo loves this in Juliet she speaks in a very mature way as well as thinking. “If they see thee they will murder thee” So she’s thinking very maturely and acting like an adult although she is 14. Most 14 year old girls want to be loved and throw themselves at boys older but she is as I repeat again very mature and sensible girl. The audience in this I think would be pretty shocked how mature this 14 year old girl is in her love for Romeo. Then as we move on Juliet starts putting him in some awkward situations. She says thing like: “O swear not by the moon, th’inconstant moon, That monthly changes in her circled orb Less that thy love prove likewise variable”


Then Romeo says: “What shall I swear by?” I think this puts him and the audience in quite an awkward situation because he may have to swear by something he doesn’t want to but then it all changes when Juliet says the lines after him: “Do not swear at all” Then I think the tension disappears out of the play because Juliet thinks they have faith and trust each other. Conclusion: Firstly in my conclusion I am going to say that Romeo is a very passionate lover. He says all the right things to Juliet to make her feel like the best girl and the best treated girl. Then, we move on to Juliet who is only 14 but looks at love very mature way. She does not throw herself into Romeo’s arms. She waits to see what’s occurring then she becomes in love with him at first sight, but if we move back when she says: “Why are you not a Capulet?” Then we think she is thinking if only he was one of my family, would I love him even more or even if he was in no one’s family would they still think about each other like they do? But at the end of the play, we find out how much they love each other and I suspect a few more people think the same. Commentary: The essay is vague in all respects and relies on a mostly narrative approach but there are some references to the text and a few reasonable points made. There are very few links. It has an honesty about it but knowledge of the texts is limited. It just fits the bottom end of Band 3 criteria.


External assessment (English Literature Units 1 and 2)

GCSE English Literature

EXTERNAL ASSESSMENT 35% (2 hrs) June

Unit 1: Prose (different cultures) and poetry (contemporary) (50 Raw Marks; 70 UMS)

Section A 21% (INDIVIDUAL TEXTS IN CONTEXT)

Different Cultures Prose: Of Mice and Men (Steinbeck); OR Anita and Me (Syal); OR To Kill a Mockingbird (Lee); OR I Know Why the Caged Bird Sings (Angelou); OR Chanda’s Secrets (Stratton)

Section B 14% (COMPARATIVE STUDY)

Contemporary: Unseen poetry comparison

EXTERNAL ASSESSMENT 40% (2 hrs) June June

Unit 2a: Literary heritage drama and contemporary prose (68 Raw Marks*; 80 UMS)


English/Irish/Welsh Literary Heritage Drama: Othello (Shakespeare); OR Much Ado About Nothing (Shakespeare); OR An Inspector Calls (Priestley); OR Hobson’s Choice (Brighouse); OR A Taste of Honey (Delaney) (20%)

Contemporary Prose: Paddy Clarke, Ha Ha Ha (Doyle); OR Heroes (Cormier); OR Never Let Me Go (Ishiguro); OR About a Boy (Hornby); OR Resistance (Sheers) (20%)

OR

Unit 2b: Contemporary drama and literary heritage prose June

(68 Raw Marks*; 80 UMS)


Contemporary Drama: The History Boys (Bennett); OR Blood Brothers (Russell); OR A View from the Bridge (Miller); OR Be My Baby (Whittington); OR My Mother Said I Never Should (Keatley) (20%)

English/Irish/Welsh Literary Heritage Prose: Silas Marner (Eliot);OR Pride and Prejudice (Austen); OR A Christmas Carol (Dickens); OR Lord of the Flies (Golding); OR Ash on a Young Man’s Sleeve (Abse) (20%)

*This total includes additional marks for spelling, punctuation and the accurate use of grammar

*Candidates are not permitted to take copies of the set texts into the examination.


Unit 1 Section A requires study of a prose text from a different culture. It will require candidates to answer two questions on the chosen prose text. The first question (part (a)) will require close reading of an extract. The second question will offer a choice of tasks (parts (b) and (c)) relating to the text as a whole.

Unit 1 Section B will consist of a question offering some structure for candidates to explore, respond to, and compare two contemporary unseen poems. Candidates should be prepared for this by studying at least 15 contemporary unseen poems of the centre’s choosing. Past papers can be a useful resource for this.

Unit 2a requires study of a drama text from the English/Irish/Welsh literary heritage and a contemporary prose text. It will require candidates to answer two questions on each text. In each case the first question (part (i)) will require close reading of an extract. The second question will offer a choice of tasks (parts (ii and (iii)) relating to the text as a whole.

OR

Unit 2b requires study of a contemporary drama text and a prose text from the English/Irish/Welsh literary heritage. It will require candidates to answer two questions on each text. In each case the first question (part (i)) will require close reading of an extract. The second question will offer a choice of tasks (parts (ii) and (iii)) relating to the text as a whole.


Examples of past paper question types Higher Tier Extracts

With close reference to the extract, show how ---------- creates mood and atmosphere here. Look closely at how --------- speaks and behaves here. How does it affect your feelings

towards him/her?

Look closely at how --------- speaks and behaves here. What does it reveal of his/her state of mind?

How does -------- suggest ---------’s feelings in this extract? Look closely at how ---------- and ----------- speak and behave here. What does it reveal

about their relationship? Look closely at how ---------- speaks and behaves here. What impressions would an

audience receive of his/her character? Look closely at how --------- speaks and behaves here. How might it affect an audience’s

feelings towards him/her? Essays

Write about the relationship between --------- and ------------ and how it is presented. What do you think of ---------- and the way s/he is presented to the reader? Imagine you are ---------. At the end of the novel/play, you think back over its events.

Write down your thoughts and feelings. Remember how --------- would speak when you write your answer.

In your opinion, who or what had the greatest influence on --------? Support your answer with detailed reference to the text.

Show how ----------- is affected by -----------. To what extent is it possible to feel sympathy for ----------? Remember to support your

answer with detailed reference to the text. How is the character of ----------- important to the novel/play as a whole?

Show how and why the character of --------- changes throughout the novel/play. To what extent ....... ( is someone responsible, etc. )

Give advice to the actor playing --------- on how s/he should present the character to an audience.

How does --------- present the theme of --------- in ----------? Why do you think --------- called the novel/play ---------- ? To what extent do you find ---------- an effective title for the novel/play? How is ---------- important to the novel/play as a whole?


Foundation Tier Extracts:

What are your thoughts and feelings as you read this extract? Remember to give reasons for what you say, and to support your answer with words and phrases from the text.

What do you think of the way ----x---- speaks and behaves here? Give reasons for what you say, and support your answer with words and phrases from the text.

What impressions of ---x---- do you have when you read this extract? Give reasons for what you say, and support your answer with words and phrases from the text.

What does this extract show you about ----x-----’s feelings? Give reasons for what you say, and support your answer with words and phrases from the text.

What are your thoughts and feelings about ----x----here? Give reasons for what you say, and remember to support your answer with words and phrases from the text.

Essays (similar to Higher, but more simply expressed and/or with more support, such as bullet points ) such as:

What do you think of -------?

Imagine you are ------- At the end of the novel/play you think back over its events. Write down your thoughts and feelings.


Tips on tackling the extract questions Before you start, check the focus of the question(s), then highlight or underline relevant details (words/phrases, rather than big chunks) covering key relevant parts of the extract. It’s useful to ask yourself why this particular extract has been chosen: it may be a turning point in the story, or it may reveal something new or significant about a character, for example. This could be a starting point for your answer. Then, establish an overview, summing up what you will say in the rest of your answer, clearly addressing the question. Focus is really important here. You need to position yourself and make clear what your point of view is: as long as you back up what you say with evidence from the text, your interpretation is likely to be valid. Be specific – for example, if the question is about how the writer creates mood and atmosphere, say straight away what the mood and atmosphere is, or if it is about a character, make a clear point about the character in question. Tackle the key areas of the extract, selecting and highlighting detail. DON’T FORGET THE QUESTION! Make sure you go right to the end of the extract – there will be a good reason why it starts and ends where it does. If it’s relevant, you may make brief reference to other parts of the text - to put the extract in context – but your main concern is the extract. Don’t, whatever you do, treat the extract as an unseen (“it makes the reader wonder why they are there”). Don’t get so caught up by analysing the detail that you neglect the content – what is actually going on in the extract. In the play extract, make full use of the stage directions, and analyse them as closely as you do the dialogue – look really closely at how the characters speak and behave. If you’re doing Shakespeare, remember that there are very few, if any, stage directions, in his plays, and all the information is in the characters’ words: candidates often do not do themselves justice in the Shakespeare extract because they do not look closely enough at the words and their implications. Foundation Tier candidates may be asked to give their thoughts and feelings or to write about audience reaction to the part of the play featured in the extract. If so, you could write about the mood and atmosphere, or how the extract relates to what’s gone before, or on the behaviour of characters. Avoid being general, and always support what you say with reference to the text of the extract. REMEMBER THAT EACH EXTRACT QUESTION SHOULD TAKE YOU ABOUT 20 MINUTES TO COMPLETE!


Tips on tackling the unseen poetry question...... Reading and writing about poems...where to start?

Before you start writing about a poem in detail, read and re-read it, ideally underlining and annotating as you go. You may well find your initial opinions alter once you’ve read the poem a couple of times! Points to think about during these initial readings:

Take note of the title: it may be perfectly self-explanatory, or it may carry a deeper meaning. Either way, it usually gives a useful lead.

What is the train of thought? The best way to determine this is to track through systematically, reading in units of sense, not line by line. It’s usually useful to read from punctuation mark to punctuation mark, which will help break the poem into units of sense. NEVER UNDERESTIMATE THE END OF A POEM! Often the poet’s key message comes towards the end of the poem, so it’s important to be thorough.

Is there are specific voice? If so, whose? Poets sometimes write as if they were a different character (sometimes called the persona), although often they write as themselves, too. In either case, what is the effect of the voice?

Is it addressed to someone? Love poems, for example, sometimes use the second person (“you”) which can create a very intimate feeling. If the poem is addressed to a specific person, what is the effect of this?

What is the aim of the poem? Does it, for example, tell a story, describe an experience, protest about something, describe a place? Try asking yourself why the poet wrote the poem.

What is its mood and atmosphere? Does it change at all? How do you know? Pinpoint words and phrases that help create the mood and atmosphere. (If you’re a bit stuck, some people find it helpful to think in terms of the sort of music or colours that would provide a background to the poem.)

Focus closely on the words used, and their effects.

Is there any distinctive imagery, and what are the effects of any imagery used?

NEVER “SPOT” TECHNIQUES (“There is a simile in the second stanza”) It’s fine to use the terminology, but what’s most important is to understand the effects of the actual words and phrases used.

Remember to make a point, prove it with evidence, then explain how the evidence you have selected makes your point (sometimes abbreviated to PEE).

What about the way the poem is put together, or organised - the lengths of lines, significant pauses, the use of stanzas, any distinctive rhythm or rhyme? Again, don’t spot, but explain how what you select fits in with the overall meaning.

What is your personal response? Does it, for example, connect with any of your own experiences or anything else you’ve read or seen?


When you’re ready to write, here are some points to bear in mind as you do so:

• sum up what the poem’s about;

• say something about the title;

• having divided the poem into units of sense, write about these units one at a time;

• focus on words and what they suggest to you;

• write about the mood and atmosphere;

• say why you think the poet wrote the poem, which will include its theme or message;

• give your feelings about the poem as a whole.

ALWAYS EXPLAIN YOUR POINTS CAREFULLY! For comparing and contrasting poems, there are three main approaches: Either: After a general introduction about both poems, write about poem 1, then about poem 2, then make points of similarity and comparison between them. Or: After a general introduction about both poems, write about poem 1, then write about poem 2, referring back to poem 1 and noting similarities and differences as you do so. Or: Discussing both poems at the same time (sometimes called the integrated approach) Whichever you choose, make sure that you write a roughly equal amount on each poem, and highlight similarities and differences between them, considering for example, the similarities and differences in content, theme, tone, structure, language and imagery.


Closed book examinations in GCSE English Literature - some advice Implications for marking Examiners are instructed to credit direct reference, which may take the form of direct quotation, or the use of other types of evidence. This direct reference and detailed knowledge (required for Band 3 and above) is shown through confident use of names, specific details, paraphrase, and very short, embedded quotations (a word or two, a phrase at the most). Some tried and tested strategies… Whilst in no way wanting to stray into the tuition of egg sucking, colleagues may want to try some of the following ideas, which are neither all-inclusive nor prescriptive. Most are of the interactive type: quizzes (with pupils setting questions, too); Blockbusters and similar games using interactive whiteboards, “Who said?” rounds; “Who am I?” rounds; group activities where pupils choose short, apt quotations to fit characters / key moments

(possibly utilising photos, particularly with plays); simple question and answer sessions at the beginning/end of lessons (these can be a

useful and simple way of reinforcing detailed knowledge of texts); mindmapping; dividing novel/play into key episodes, highlighting themes, key characters, and events; storyboarding with key quotations.


Examples of responses to Unit 1 poetry comparison (Foundation Tier) Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/8323.pdf Example 1 The first poem Woman Work has an effect on me by making me think how hard it must have been for a black person to live. It also makes me think that she has a lot of work to do which suggests that she is a slave and that she is working for a white person. This poem then goes on to say, “Storm, blow me from here with your fiercest wind let me float across the sky Til I can rest again.” This verse suggests she wants to fly away and be free. It also suggests that she is not being allowed to rest. In the next poem I Had Rather Be A Woman, the author is describing a woman who isn’t enjoying her life. She describes in the poem how the woman would much rather be an earwig. The woman says that she wants to be an earwig because she says that earwigs don’t have to “feed their children, feed the cat, feed the rabbits, feed the dishwasher,” she then goes on to say that “They don’t need clean sheets, clean clothes and clean carpets.” This suggests she is tired of having to do all of the chores and how she would like someone else to do all of her work for once in her life. These poems are similar in the way that both the poems talk about women having to do chores and work, they both talk about how both the women don’t want to work. Both the women want to be free of work.

This response shows an awareness of the subtext of both poems, and empathy with the situations of the women. Simple points of comparison are also made. These are qualities associated with the top of Band 3. To get a higher mark, more focus on selected detail would be necessary.

Example 2 The poem Woman Work shows that she is doing non stop work all day every day. I Had Rather Be A Woman is about a woman that feels as if she was an earwig. They are both similar because they both talk about housework and they both talk about looking after children. I Had Rather Be A Woman, the mood for this poem feels like she is not being treated like a woman and feels that she is being treated like something else. The mood for Woman Work is she feels like she is not getting any rest and always doing work. The poet may have wanted us to think of words like in Woman Work - “tend”, “mend”, “mop”, “shop” “fry”, “dry”, “feed”, “weed”, “press”, “dress”, “cut”, “hut”, “sick”, “pick.” “Let me rest tonight” (she needs a rest from the work) I Had Rather Be A Woman - “earwig”, “crawl out of bed”, “Next time I feel hysterical, I’ll bite a hole in a dahlia.” These words are important because it makes you feel about what both the woman are doing.

This response has the gist of both poems, and make simple points of comparison. There is an emerging awareness of subtext, mood and atmosphere. The response lacks development, however, and too much time is taken up by copying out words and phrases, with little, if any, discussion. This response represents achievement typical of grade low Band 3/high Band 2.



Example 3

The poems are both about women and about cleaning.

the content of the poems is about being a woman the poets want us to think about what it’s like to be a woman the mood and atmosphere of the poems is the first poem shows how bad it must be to be a woman and the second shows how good it must be to be a woman the poems are written differently the first poem rhymes and second poem uses words

that don’t rhyme I like the first poem because it rhymes and it’s easy to understand. I didn’t like the second poem because it doesn’t rhyme and it’s not as interesting.

This response represents achievement at the lower range, around the bottom of Band 2, top of Band 1. This is because of its minimalist approach - a comment per bullet point, and the simple level of the comments. There is a basic understanding evident, however, which merits reward.

Example 4 Woman Work is based on what jobs women have to do every day of the week, these include looking after their children, mending clothes, all the other household jobs that mothers have to do. This shows that women have a very busy life to uphold. The poet would have wanted us to think about all the things women have to do all week long, also that they hardly ever get a break from all of this. It states that women feel like they want to rest but know that nothing will get done without themselves doing it, this is the quote

“Storm, blow me from here With your fiercest wind Let me float across the sky Til I can rest”

The atmosphere of the poem is women do all sorts of jobs every day and they get tired, that they feel as if they need a break and just rest once in a while.

“Fall gently, snowflakes Cover me with white Cold icy kisses and Let me rest tonight.”

This stanza is stating that women just wish that sometimes they could just float away and rest just for one night without all the jobs they have to do.

The words and phrases that I find interesting are “Let me float across the sky til I can rest again” this is stating that she is extremely tired and just wants to go to sleep and rest with a good night’s sleep. Also “Cold icy kisses and Let me rest tonight” gets my interest

because again it is telling you how tired our parents can get when they have so many jobs to do each day. “Starshine, moon glow, you’re all that I can call my own.” This is telling us that sometimes they only get a few things that are just theirs no one else’s.

My response to the poem is that every day when women come back from work, they have so many jobs that they have to do each night, not necessarily the same each night, different, but still they have a lot to do every night and that maybe just sometimes we should help them.


The content of I Had Rather Be A Woman is based upon a woman who would rather be a woman than an earwig, but they are thinking about all the jobs they have to do, like feed the cat, feed the children, clean sheets, and many others. The woman is also thinking about her mother-in-law staying for Christmas and what a job it would be to cook for everyone’s Christmas dinner. She is also thinking about how earwigs can run around being totally irresponsible, also next time she feels hysterical she will bite a big hole in the flower. In my opinion, I think that the poem’s message of this particular piece is that sometimes we want to be something different than ourselves, we need to think about what will happen if we did change. The mood and atmosphere of the poem is about a woman that wants to become an earwig because she thinks it would be easier and maybe more exciting than being a woman. Then the woman realises that she should like herself for who she is and to not be anything different from herself. The part of the poem that interests me the most is line 6 to 16, it is listing all the things a woman has to do and it also helps you to understand how much they have to do. My response to the poem is that every day women have to do loads and loads of chores, which makes them really tired. It is trying to get the message over that we should help them more so that they get a bit of a break. Comparing these poems, they are both very similar. They are trying to get the message across that women have lots of jobs to do every single day and that we should help them, so the comparison is that they are both extremely similar.

This response represents achievement at the top band for Foundation tier. It is detailed and quite thoughtful, and selects and highlights relevant detail to support the judgements made. It would get a mark representing a clear Band 4.


Examples of responses to Unit 1 poetry comparison (Higher tier) Specimen assessment materials: http://www.wjec.co.uk/uploads/publications/8323.pdf Example 1 Woman Work and Overheard in County Sligo are two poems that differ in several ways but are essentially similarly themed. Both poems are written by women and follow the theme of a woman whose freedom has been restricted. While Overheard in County Sligo is more focused upon a woman’s yearning for freedom from the menial life as a housewife, “and the road runs down through the open gate and freedom’s there for the taking”, Woman Work has more to do with the persecution and enslavement of black people in 19th century America. This is indicated by the line, “and the cotton to pick”, as cotton was a booming industry in colonial America, with black slaves being forced to pick it in the fields. The mood of Overheard in County Sligo is a fairly negative one, building up what the woman aspired to be then cutting it down in the final stanza by having the woman claim that she “ought to feel [she is] a happy woman” whereas she clearly is not. The overall mood of the poem is aspiration cut down by a feeling of hopelessness as the woman realises she is doomed to live a housewife instead of live out her dreams. This poem reflects heavily upon the image of the typical housewife and seems to be meant to represent what all housewives wished they could be but were unable to become as a result of being forced into marriage by society. Woman Work is similar to Overheard in County Sligo in its mod but is less about what a woman wishes to be and more about what comforts her after a hard day at work. This has quite an impression on the reader with the sudden transition from the first stanza, a fast paced declaration of all the work that has to be done, to the second stanza which has a very calm feeling and is intended to be read out steadily and softly. In the final stanza the character declares, “Starshine, moonglow, you’re all that I can call my own,” which indicates that the woman has little other comfort in the world except the sun and the moon. The poem also indicates that the woman has little other comfort in the world except for the sun and the moon. The poem also indicates that the woman simply wishes that she could rest, and uses some very soft, gentle imagery with the word “rest” being used more than once. The woman requests several components of nature to assist her in resting, including the snow, “Cover me with white cold icy kisses and let me rest tonight,” and the wind, “with your fiercest wind, let me float across the sky ‘til I can rest again.” The use of nature is symbolic of how she is tired of living and working in the cold, restrictive environment of the home and the cotton fields. In Overheard in County Sligo, the poet describes a “square of yellow corn caught up by its corners and shaken” at her door. This square of corn “caught up” seems to be symbolic of how she is being held back from her aspirations, and the shaking may represent her being demoralised and weakened. The third stanza focuses on the woman’s aspirations, “I had thought to work on the Abbey stage or have my name in a book, to see my thought on the printed page, or still the crowd with a look.” This describes what she had hoped to do and builds the reader up, allowing them to empathise with her. Her aspiration to “see [her] thought on the printed page” is representation of how she wishes to reach out to people and have her thoughts recognised and her wish to “still the crowd with a look” is symbolic of her desire to have some control over the way people feel or act.



After having seen the woman’s aspirations underlined by the poet in the previous stanza it comes as a shock to the reader to suddenly see the woman instead announcing what she has to do each day instead of doing what she would like to do. This is similar to the first stanza of Woman Work wherein the character goes through each of the tasks she has to do quite briefly. The fourth stanza is effectively capped off as she declares that during her work she “[finds] my face in the glass.” This allows us to see that the woman cannot recognise that she has become a housewife and it comes as a shock to her to see her own reflection. Overheard in County Sligo ends quite bitterly, on a repetition of the first stanza wherein she declared, “I married a man from County Roscommon and I live in the back of beyond.” This bitterness is indicated by the repetition and her statement that she “ought to feel [she is] happy” now. This is quite unlike Woman Work which ends on a softer note and indicates that while the character is somewhat sad that she has nothing else to turn to, she is able to endure her hard work because she had no previous aspirations and only wishes to rest.

This response is evaluative, analytical and sensitive, and represents achievement at the top of Band 4.

Example 2 The two poems to compare are Woman Work by Maya Angelou and Overheard in County Sligo by Gillian Clarke. Woman Work gives us an idea of what the poem will be about, the jobs a woman has to do. Overheard in County Sligo is a more obscure title that does not really tell us anything about the content of the poem. Woman Work begins with a long list of jobs in rhyming couplets. This makes the pace fast as the lines are read one after the other with very few pauses. This has the effect of demonstrating to the reader how busy the woman’s life is and how she is very rushed. The list comes to an end with “Then see about the sick And the cotton to pick.” This is the only couplet which starts with “and”. This gives the impression that the woman is exasperated and ends the list wearily with just another chore to do. The fact that she has to pick cotton also seems to suggest that the voice of this woman is long ago. The pace of the poem now changes and slows. This gives the reader the impression that the woman is now praying for what she wants to happen. She wishes for rain to “cool my brow again.” This tells us that she is hot and wishes for rain to col her down. Then the prayers get more violent, she hopes that a storm will “blow me from here.” This impresses upon the reader how bad her life at the moment is, that she prays to be taken completely away from it. The final prayer certainly shows how desperate she is to escape from her life. She prays for snowflakes to cover her with “cold icy kisses and let me rest tonight.” She is asking for what seems to the reader to be death. This is a very shocking part of the poem, when the reader realises that she would rather freeze to death than remain a slave to the family. However, she talks about snowflakes, these are light and not often viewed as harmful. This gives the reader the idea that she does not mind dying. The soft word “snowflakes” makes it sound peaceful, which her current life certainly is not.


Finally, there are two pairs of lines which end the poem. Once again the writer lists things but this time it is a list of things the woman “can call my own.” All the words are natural and this is showing that she has no material possessions herself, only nature. This is why she prays for natural things to end her torment, that is all she has. The second poem is much more regularly structured than the first poem. It is split up into five stanzas of four lines. This is different from the first poem which was written like a train of thought, this one is laid out like a conversation, hence the title, Overheard in County Sligo. It starts off nicely, unlike Woman Work, with the first two lines in italics to show that this is how the conversation starts. It describes the house that the woman lives in and how it is “in the back of beyond.” The writer seems happy until she talks about the road running down through the gate and freedom being “there for the taking.” This hints that the woman is unhappy as she thinks about running away down the road to freedom. Like the first poem, the opening stanza is used to set the scene, the difference being that the stanzas are a regular size in contrast to the the longer stanza in the poem Woman Work. The third stanza is the woman saying what she wants to happen with her life, the woman in the other poem does not do this but prays for a way out of the life she she is in. The writer in Overheard in County Sligo tells us the woman had “thought to work on the Abbey stage.” Her life had obviously not turned out the way she planned. The fourth stanza lists what jobs the woman has to do. There are not as many as in the first poem and the layout of the verse suggests she is not as rushed as the first woman, especially as she has time to “find my face in the glass.” The woman in Maya Angelou’s poem does not have time to stop and look at her face in a mirror, she has too much to do. In the final stanza, the woman looks back on her life and says, “I ought to feel I’m a happy woman.” She feels that because she lies in the “lap of the land”, she should be happy but she evidently is not. The last two lines are repetitions of the first two. This is the only poem to use repetition of the two and this reminds us of the start of the conversation. At the beginning it seemed like the woman had a good life but through the poem we discovered she is not happy. The repeated two lines remind us of this. I find the second poem more effective because the reader steadily comes to realise that the woman is unhappy whereas we know straight away in the first poem. While both examine the theme of women being slaves in their own home, the second is more effective as it does it in a more familiar setting.

While this response gets off to a rather slow start, it becomes thorough, thoughtful and sensitive, with just enough analysis of stylistic features to get it in the highest band. It would get a mark just into Band 4


Example 3 Woman Work and Overheard in County Sligo are both poems written by women about two women’s lives. They are similar in theme and mood, as in both poems the women seem unhappy with their lives, and the mood is fairly bleak. Woman Work was written from the point of view of a black woman and the poem describes her work and life in the southern states of America. The first stanza is written in a rhyming style, and describes her list of jobs that she has to do. There are no commas, or pauses, until the end of the first stanza. The writer is conveying a sense of urgency, and the reader feels sympathy for the woman who obviously has to do so much on her own. It has a clear and obvious link to slavery, as the woman has to do so much, such as “the cotton to pick” which leads the reader to fully realise that she is a slave, as slaves were often used for cotton picking. The second stanza links in with natural things; commanding the sun to “shine on” her and for the rain to “rain on” her, and for dewdrops to cool their brow. This is a slower pace to the frantic first stanza and it seems as if the woman relies on natural things to help her, such as in the next stanza, where she calls on a storm to “blow me from here”, showing how unhappy she is. There are more natural references, and she calls on the snowflakes to “cover me....white” so that she can “rest tonight.” This image has an effect on the reader, as it seems as though she is wishing to be white, so that she may rest and not have to do all her jobs. The last lines state how natural things such as the “sun, rain, carving sky” and the “starshine” are “all that I can call my own.” This last line hits the reader, making them realise how, despite how much work she does, this woman has nothing, and relies on praying to natural things to help her, which makes the reader feel pity that this woman is obviously so lonely and has no one to help her. In comparison, in Overheard in County Sligo, the woman has plenty of things to call her own, such as “breakfast cloth” and other homely possessions. However, it seems as if this woman is just as trapped as the slave, despite the fact she is just a normal woman who lives in Ireland. It says how she lives “in the back of beyond”, which makes it seem as if this woman is isolated from people much like the slave from Woman Work. The second stanza states that “the road runs down through the open gate and freedom’s there for the taking” and this affects the reader by making them wonder if this woman has any freedom or not. After, the next stanza is about her dreams of working “on the Abbey stage” or to “have my name in a book” but those nice images about her mood are cast aside as the poet, in the next stanza, reminds us of her reality, that is “to order and dust the tumbled rooms” making it, again, seem as if this woman is just forced to tidy the house. Although the poems are different in style, Woman Work has short stanzas while Overheard in County Sligo has longer ones, both convey similar images, Despite the fact the two women are in different places, the message is conveyed that they are both equally unhappy. The mood in both is bleak, with both women wanting to leave their conditions, but both tied to where they are, by the people that own them.

This response is thoughtful and thorough, and would get a mark representing the top of Band 3. The discussion of Overheard in County Sligo is rather underdeveloped as are the points of comparison between the poems, but sensible points are made, and there is a sound grasp of subtext.


Example 4 The poem Woman Work is written by Maya Angelou and is about a black woman from the south of the U.S.A. who speaks about her life. Overheard in County Sligo is written by Gillian Clarke and is about a woman speaking about her life in Ireland. These two poems are both about the women’s own lives and how they are like slaves and not doing what they want to be doing in life. Woman Work starts by saying “I’ve got the children to tend, the clothes to mend.” This shows us straight away that it is her job to look after the children and also suggests that they are poor or live in a harsh environment as she needs to repair the clothes. It then says, “The floor to mop, the food to shop”, this again rhymes like the first two lines and states another two jobs that she must do. “Then the chicken to fry, the baby to dry, I got company to feed, the garden to weed,” this shows us that she is very busy and had got another child or at least has to look after another one. “I’ve got the shirts to press, the tots to dress, the cane to cut, I gotta clean up this hut,” these lines show us that this woman is made to do everything and has to cut the cane which is normally a man’s job. Also “this hut” may be referring to the woman’s house which backs up the fact that she is poor and possibly a slave. “Then see about the sick, and the cotton to pick,” this shows that one of them is being sick and shows that they may not be living in a very hygienic place and disease may be upon them. Picking cotton is thought of as being a slave’s job, a poor person’s job, this could be why the woman is doing it and would help to explain the poem. “Shine on me sunshine, rain on me rain, fall softly, dewdrops, and cool my brow again,” this tells us that she does not care about what happens to her. “Cool my brow again” suggests she is working all day. The next three stanza are the same, with the woman asking for rest on the last line of two of them, “Let me rest tonight.” The last line says, “You’re all that I can call my own.” This shows us that she has no possessions and the only thing she can call her own is natural things such as moonlight. Overheard in County Sligo starts with a line that is overheard by people in County Sligo. It then says, “with a field of cows and a yard of hens and six white geese on the pond”, this relates to the first poem as it shows the work she has to do with farming which is similar to the hard work in Woman Work. The next stanza says she has “a square of yellow corn” which she most probably has to cut down for food or money. This is very much like “the cane to be cut” in the first poem and is starting to show she may not want to be there. The last line in the stanza says, “and freedom’s there for the taking,” this tells us she is considering escaping and may be forced to work there much like being a slave in Woman Work. The stanza that follows it talks about her dreams, her ambitions in life. She wants to be on the Abbey stage or have her name in a book, all she wants in the first poem is rest, “let me rest tonight.” They both do not want to be doing the work they are doing and want to be in much different places. But then she goes back to doing tasks, which are all listed very similarly to the ones in the first poem. She feels she ought to be a “happy woman” because of what she has got. The last lines are repeated as they are said in the first stanza. She makes you feel as though you should be grateful for what you have and may be the theme in both poems.

This is an engaged response. The poems are tracked through, and details from both are selected and highlighted. There is evidence of inference, and valid points of comparison made. This response would get a mark representing the lower end of Band 3.


Unit 2a/b

Assessment of spelling, punctuation and grammar in Unit 2a and Unit 2b essay responses

For examinations from January 2013 in Wales, England and Northern Ireland, additional marks will be awarded for spelling, punctuation and grammar (SPaG) in GCSE English literature across all awarding bodies.

Additional SPaG marks have been added to the extended writing (20 mark) questions in Unit 2 (a and b) (candidates attempt two of these questions in total).

% Raw marks UMS

Unit 2 (a and b) 40 68 (60 +4+4) 80

Assessment Criteria

0 marks Candidates do not reach the threshold performance outlined in the performance description below. Threshold performance Candidates spell, punctuate and use the rules of grammar with reasonable accuracy in the context of the demands of the question. Any errors do not hinder meaning in the response. Where required, they use a limited range of specialist terms appropriately. Intermediate performance Candidates spell, punctuate and use the rules of grammar with considerable accuracy and general control of meaning in the context of the demands of the question. Where required, they use a good range of specialist terms with facility. High performance Candidates spell, punctuate and use the rules of grammar with consistent accuracy and effective control of meaning in the context of the demands of the question. Where required, they use a wide range of specialist terms adeptly and with precision

Credit for SPaG will only be given where candidates clearly attempt to answer the question.


Unit 2a higher tier extract responses

The following exemplars are taken from responses to the 2013 Unit 2 examinations. Much Ado About Nothing

With close reference to the extract, show how Shakespeare creates mood and atmosphere for an audience here.

In the extract from the play, Much ado About Nothing,” Shakespeare creates a tense mood and atmosphere by hiding Hero from Claudio, “Sweet, let me see your face.” This shows that Claudio is still unaware that he is about to marry Hero, however Shakespeare has already revealed to us that Antonio’s daughter is actually Hero. This perhaps makes us feel tense as we await the unmasking of Hero, and are curious as to what Claudio’s reaction will be. Alternatively, we may feel excited as we know that Hero and Claudio can be reunited. “Let me see your face” may show that Claudio is eager to see his future wife, perhaps to see if she is pretty. This suggests to the audience that Claudius is only interested in physical appearance, as he was with Hero, and is only marrying Antonio’s daughter out of guilt for Hero being wrongly shamed, “for this I owe you.” For the audience this may support the tense mood that is created as we wonder if Claudio will go through with marrying who he thinks to be a stranger and we may start to worry that the plan will fail. Shakespeare’s intention was to perhaps make the audience feel tense during this scene so that they are intrigued and continue to watch. Also, he perhaps masked Hero so only the audience know who Claudio is to marry, so that it would build up the curiosity and excitement of the atmosphere. In the extract, Shakespeare also creates a nervous atmosphere for the audience, “call her forth.” This may show that the wedding of Claudio and Antonio’s daughter is important and formal, which gives the impression to the audience that getting married was a big deal. However, this is contradicted with the fact that Claudius is willing to marry a complete stranger. We perhaps see that the characters are nervous, as most know that Claudio is about to be deceived, “Why, what’s the matter, That you have such a February face?” “Call her forth sounds like a formal way of asking for the bride, which may suggest to the audience that this wedding is important to the characters of the play. This perhaps adds to the nervous atmosphere, as we are curious as to whether this important event will have a happy ending. Shakespeare’s intention may have been to show the nervous atmosphere on the stage, so that the audiences would be affected by this and also feel a little anxious. He does this by building up the tension on the stage, “Which is the lady I must seize upon?” right up until the unmasking of Hero.

This response is well focused and engaged, with thorough and thoughtful discussion, although without the overview or close analysis associated with the highest marks. It is solidly in Band 3, with a mark of 7.


Hobson’s Choice

Look closely at the way Maggie and Willie speak and behave here. How does this create mood and atmosphere for an audience?

In this scene, Brighouse shows Maggie as a strong, single-minded woman, as she forces the “downtrodden” Willie Mossop to marry her. Willie creates a very nervous atmosphere around himself during this scene as he “hesitates” before he speaks, showing the audience that he is not altogether comfortable with the situation and isn’t confident in what he is saying. This lack of confidence could even be interpreted as weakness due to how easily Maggie can bend him to her will. When Maggie says, “You won’t go home tonight” to Willie he barely protests and in fact calls it a “‘appy dream,” when in fact he is obviously uncomfortable with the idea. Maggie dominates Willie so comfortably that it not only accentuates the air of strength around her, but it also highlights the weaknesses of Willie to the audience. This could be seen to create quite a sympathetic mood between Willie and the audience and also creates a very powerful mood around Maggie. This idea of Willie’s weakness and Maggie’s strength is backed up when Maggie simply ignores Willie’s protests, cutting him off “I’m - “ Such is the strength of Maggie’s character that she almost creates quite a feminist atmosphere in this scene. When Alice and Vickey enter they create a shocked and one could even say outraged mood by their reaction to Maggie’s news. Alice is so upset by the idea that she emphasises it by repeating Willie’s name: “You’re going to marry Willie Mossop! Willie Mossop!”

This response starts off very confidently discussing the characters of Maggie and Willie, although by the end it seems to be turning into a “mood and atmosphere” response. Nevertheless, there is sufficient overview, evaluation, and appreciation of stylistic features to tip it into Band 4, with a mark of 8.


Unit 2a foundation tier extract response

Paddy Clarke Ha Ha Ha

What thoughts and feelings do you have when you read this extract? Give reasons for what you say, and remember to support your answer with words and phrases from the extract.

When reading the extract it is straight away visible that Paddy is a ten year old boy by the way he changes what he’s saying so quickly. When he talks about Missis Bryrne being called “Specky Three Eyes” and it was the only funny thing about her, Paddy then goes back to talking about his human version of the Grand National. He flicks through what he wants to say. Reading the extract in a way makes you realise what it was like in the 1960s in Dublin, Ireland and how the children had to make up their own games to have fun and enjoy themselves and Paddy and his friends clearly like to be mischievous by jumping over their neighbours’ fences and ruining their gardens as a way to have fun. The fact that they scream and shout making as much noise as they can shows how naughty and mischievous they are and when Paddy explains “Once, Mr. McLoughlin had been cutting the grass when we all came over the hedge. He nearly had a heart attack,” shows that it means nothing to Paddy because he’s just a little boy getting into trouble with his friends. He says how by the end you can’t scream and shout because you’re so tired and itchy from the hedge shows that they aren’t really bothered if they get hurt, just as long as it was fun.

This is an engaged response to the extract, with a clear awareness of what is going on, supported by some apt detail, and including some appreciation of Doyle’s style (“He flicks through what he wants to say.”) These qualities would place it in Band 4 (Foundation tier) with a mark of 9 (just!)


Unit 2a higher tier essay response

Heroes

Francis says he “felt like a fake” rather than the hero he wanted to be. What do you think of Francis and the way he is presented in Heroes?

In heroes, Francis Cassavant is presented to us as a shy boy with low self-confidence who “didn’t have a best friend”, this shows us that Francis enjoys being by himself. I generally don’t have a strong opinion about Francis because Robert Cormier has written the book in a biased view. Francis is the protagonist and the author of what we read, and because he has such a negative view of himself we don’t really see a true view of him. Francis introduces himself we don’t really see a true view of him. Francis introduces himself into the book as an ex army veteran. “I have no face.” This suggests that Francis has a dry sense of humour because he has told us so bluntly about his injury. I don’t feel that Francis (as the first person) allows us to feel pity for him and he trys not to create an emotional view of himself. One example of this is when Francis is explaining his previous homelife to us, and when he tells us about both his parents dying “When [he] was 6” and “five years ago,” he doesn’t tell us how this emotionally affected him. Francis says that he “felt like a fake,” by this he means that he doesn’t believe himself to be a hero, because he originally went to war to kill himself to be a hero, without causing “shame” upon his family. Francis “first saw Nicole Renard in the 7th grade”, he instantly fell in love with her, and from that moment on he “silently committed his love” for her. This shows me that Francis is a romantic person with a deep love for Nicole. Because of how strong his love is, it is quite obvious that if something were to become between their love it would virtually end Francis’s life. Francis again gives us a biased view of Nicole because he is so deeply in love with her. Nicole was described as having “porcelain white skin” “black hair to her shoulders” and a “slender” body. When Larry came back from the war for a break, he begins to make Francis “jealous” of the way he treats Nicole, “The casual way she said Larry made me instantly jealous.” Larry betrays their trust by raping Nicole, but also Francis betrays Nicole by not helping her when he knew what he was doing. This causes Nicole understandable damage which she doesn’t really seem to ever recover from. Francis cannot forgive himself for leaving Nicole even when she practically begged him and “whispered in [his] ear “Don’t go.” Francis seemed to have acted in this way, because he considers Larry a “role model” and respects his every word. Francis’s actions left him devastated and angry at himself, he considered jumping off the church but didn’t want to bring “shame upon my family.” He decided the only way he could die honourably was to die in the war. When he was fifteen, he enlisted in the war was soon off fighting “the japs and the Germans.” Francis shot two young boys about the same age as him, which he was later upset about. Francis decided to jump on a sniper bomb to kill himself. One of the soldiers in the St. Jude’s club said “how many people did you save? How many men were you willing to die for?” when Francis is doubting himself. “We weren’t heroes, we were just there.” Francis and the other soldiers were only young “apple cheeked boys” who liked the glamorous idea of war. The war left lasting damage on each of the soldiers.

This response starts off focused on the character of Francis; although by the end it seems to be drifting into the one about war and its effects. Coverage of the novel is a bit patchy, but there is sufficient detailed reference to the text to place it in Band 3, with a mark of 12, and a SPaG mark of 3 (just!)


Unit 2b higher tier extract responses

The History Boys

How does Alan Bennett present the boys’ treatment of Irwin in this extract? In this scene Irwin has asked the boys about Hector’s teaching and they are comparing Hector’s teaching with Irwin’s. They are treating him like a fellow schoolboy mocking, and yet slightly flattering him, at the same time. Timms says that Hector’s lessons are for the pursuit of (knowledge) for its own sake,” but Posner says that they are “not useful.” Lockwood contradicts Irwin, “Oh no, sir,” and is insolent saying “crap” without any worry of retaliation. He is rude again, later, suggesting that Hector’s teaching is “higher than your stuff, sir. Nobler.” The boys do not worry about being punished for their behaviour and in this way treat Irwin as a trusted teacher, who they like to tease. Akhtar brings up the fact that Irwin is “very young” and wonders if he is on his “gap year.” To them Irwin seems only a few years older and in that way they treat him as one of their own, a fellow schoolboy. They tease him further, asking if they are “just a hiccup between the end of university and the beginning of life.” Dakin seems to be the only one who views Irwin in a different way, pursuing the subject of Auden, who, he says, “snogged his pupils.” This shows that Dakin treats Irwin differently than the other boys and perhaps gives us a hint of what is to come later on. Scripps also does not say much, in fact he says nothing. Perhaps this is showing us that he does not like Irwin, but does not not like him either. He does not treat him in any particular way other than how he would any other teacher. In this passage Irwin is treated by most of the boys in a teasing manner, like a fellow student. They call him “sir” thirty times as though to emphasise the bridge between them. However, Dakin treats Irwin a slightly sexual way, hinting at possible future meetings.

This is a thoughtful and thorough response to the extract from the play, with points supported by apt detail. It represents achievement at the top of Band 3, with a mark of 7.


A View From The Bridge Look closely at how Eddie speaks and behaves here. What does it reveal about him to an audience? From this extract, Eddie presents himself to the audience as being the dominant male figure. He belittles Catherine who is a woman herself by referring to her in the beginning of the extract as “baby.” It is revealed to the audience that Eddie is adamant that they listen to what he is telling both women; “You don’t see nothin’ and you don’t know nothin’.” Almost threatening them. In addition, Eddie gives the impression that they can not say anything as he tells them both, “You don’t understand.” A direct statement telling them what they supposedly do and don’t know. This adds to the presentation of Eddie being the dominant male that they rely on. At the middle of the extract, Eddie uses short, snappy sentences in order to get his point across to them as he is right, in his eyes. “I don’t care what question it is. You-don’t-know-nothin’” By using quick, short sentences, as well as pausing after each word, this not only adds emphasis to what he’s saying, but also shows to the audience that Eddie is serious about what he said. “You hear?” Almost confirming what he has told them. “Like Vinny Bolzano, remember Vinny?” Reassuring himself that they are fully aware of the consequences. Eddie is shown to still see Catherine as a child who doesn’t know much when he says, “Go ahead, tell her.” Speaking of her as like she is a child. This extract also reveals that Eddie full knows the consequences of telling on your family as he says, “On his own uncle!” which shows that he is clear. Eddie begins to get angry towards the end when the stage directions state “rises during this.” The first body language presented to the audience to show his authority (“as he gets up uneasily”) as he speaks to Catherine, like he is worried. Finally (“He is standing now, stretching his back”) implying to the audience he is above them, revealing to the audience that Eddie is the man of the house.

This is a well focused response, where close analysis of detail and style and effect leads to evaluation and overview, and is therefore placed in Band 4, with a mark of 8 or 9.


Unit 2b foundation tier extract response

Ash On a Young Man’s Sleeve. What thoughts and feelings do you have as you read this extract? Give reasons for what you say, and remember to support your answer with words and phrases from the extract.

My thoughts towards the extract is that when there is a game of rugby all the Wales supporters become one. They are all backing their country to victory chanting and singing to encourage the players to score of regain possession. Their feelings towards their country are very strong as some of the Wales supporters would follow rituals which were shouting “boo” and “shame” to the policemen when they ejected the intense supporters from the holy pitch. I get a strong feeling when I read the extract because the characters show a lot of passion towards their country and feel strongly about that. I thought that everybody must be close because they can turn around and talk to strangers about a game. The older spectator was keen to give his opinion on the team and claimed the team was better in the olden days and now had been replaced by students. Other spectators claimed that it was the referee’s fault that he couldn’t manage the game correctly and couldn’t judge whether it was offside or not. Everyone took part in shouting encouragement to the players and occasionally swore when no one could hear them. To me, the feelings are strong towards the extract because they were true believers in their country and it’s good to read about.

This response is well focused, with aptly selected details to support the points made, and is thus placed in Band 4 (Foundation tier) with a mark of 9.


Unit 2b higher tier essay response

A Christmas Carol Which character or characters have the greatest impact on Scrooge, in your opinion? A Christmas Carol was first published in 1943. Charles Dickens wrote this novel to illustrate the Victorian rich neglecting the poor. Dickens was a news reporter before this book and experienced first hand the struggles of the poor. Scrooge is a solitary, miser who is described “Oh, he was a tight-fisted hand on the grindstone.” A Christmas carol is about the redemption of Scrooge from a self-serving man to a generous, jolly man. There are many characters who help Scrooge on his path of salvation. The three Ghosts each carry out a thematic function. Te Ghost of Christmas past personifies memory - The Ghosts head is lit up to represent “illumination” and the power of free will we have to put this light out and cut out the past. Scrooge attempts to do this but many positive and negative lessons come from the past. When Scrooge is with the Ghost of Christmas Past is where we first see him show any emotion. “Your lip is trembling, and what is that upon your cheek?” said the spirit. Scrooge is embarrassed as he preffers to stay confined and repress his emotions, he mutters and claims it was a pimple. the Christmas Present is a personification of generosity it represents the generosity of material goods but mainly spiritual and kindness. Present has an important impact on Scrooge as he learns what he is missing out on and how other people view him, and the effect he has on the people he interacts with. The final Ghost could also be seen as having the greatest impact on Scrooge. The Ghost of Christmas yet to come personifies the end of time or could be seen as representing death. Dickens invites the reader to form an individual opinion on the good the ghost brings. Another character that could be seen as having the greatest impact on Scrooge is Tiny Tim. In my opinion Tiny Tim has the greatest impact on Scrooge. When Scrooge inquires into the fate of Tiny Tim. “Tell me spirit what is Tiny Tims fate.” This invites the reader to start to believe Scrooge has a chance of salvation. Tiny Tim is the son of Cratchits who represent the poor in the novel but still a full of joy and are grateful of each others company. The first step of Scrooges redemption occurs when his figurative “adoption” of Tiny Tim happens. He becomes a second father to him. Dickens impliys with this novel that nobody is too far past redemption and everyone can have a chance of redemption. The redemption of Scrooge is only possible through free will and the good will of the other characters. Scrooges redemption is laughed at and made a mockery out of but when he states “let them laugh” it shows he is a truly changed man. He is no longer bitter but generous to the people around him. “I will live in the past the present and the future.” This suggests all three of the ghosts have had a great and important impact on him. He has learnt from all the three ghosts as they all had a different meaning and purpose. All 3 ghosts were successful. Marleys Ghost could also be seen as part of Scrooges change as he warns him “I wear the chains forged in life” This scares Scrooge and makes him need to change. Overall I think these characters all played a key role in Scrooges redemption, and Scrooge would not have been able to change for the better without him.

This is a thoughtful and thorough response, although closer focus on fewer characters may have been advantageous. Nevertheless, the sustained discussion, including some rather “bolt-on”references to historical context, represents achievement solidly in Band 3, with a mark of 13, and 2 for SPaG.


Unit 2b foundation tier essay response

Blood Brothers Who do you think is the better mother, Mrs Johnstone or Mrs Lyons? Give reasons for what you say, and refer to events from throughout the play to support your answer. I think Mrs Johnstone is a better mother because firstly when she gives Edward away she does it because she thinks about his well being “And he won’t need worry about where his next meal is coming from.” This shows that she has thought about what would be the right thing to do for the child because at least one of her children will have proper education, toys and most of all a nice house “And if he makes too much noise outside in the garden the neighbours won’t mind.” She gives Eddie away not just for his well being but also for her other children. This shows that she is caring because rather than losing all the children she would only lose one but yet she won’t because the deal was she would be able to see him “And I’ll be able to see him “And I’ll be able to see him right.” She tries to keep her children out of trouble. This is seen in Acts 1 and 2 she sometimes does this by bribing the children and other times by ordering them “Mickey! What did I tell you, don’t go near the park.” This shows that she is a caring mother because she doesn’t want her child to get into any trouble firstly from the police and secondly so he doesn’t mix with the Lyons family. In Act 2 she bribes the two boys Sammy and Mickey by telling them that if they stay out of trouble she will make them their favourite dinner, “I’ll cook you your favourite dinner boys, just stay out of trouble.” I would say that she is a very good mother because she tends to know a lot about her children’s private life “And our Sammy goes dancing, he has a thing for red heads.” We are able to see this again with Mickey this time when she is hustling him to get ready for school. She does this by saying “Is it Linda, who you’ve been dreaming about?” She does this because she knows Mickey would get embarrassed and want to leave the house faster, which actually works because he does go out faster. This also shows that she is not only doing it to embarrass him but so he goes to school because she thinks without education he is going nowhere. She also tries to protect her children even when she knows that they have done wrong. I think she does this because she doesn’t want anyone to say anything bad about her children “And our Sammy has burnt down the school, but I think its the teachers fault.” This shows that she is willing to deny anything wrong that the children do by blaming it on someone else. This also shows that at times she can be reckless. When she gives the locket with a picture of Mickey inside it to Mickey, it shows how much she cares for each and everyone of her children. She does this so Edward will have something to remember Mickey by. We see that she cares for Edward as much as the other children because in one of the songs she sings she says, “And I miss that other child of mine, I sometimes wonder what he is doing.”

This is a detailed and engaged response, with fairly good coverage of the text, although the ending is not really addressed. Nevertheless, there is clear focus throughout, and judgements are supported by apt references to the text. These qualities place it at the top of Band 4 (Foundation tier) with a mark of 17, and a SPaG mark of 3.


Further examples of candidates’ exam responses for both Unit 1 and Unit 2a and 2b can be found in our CPD material which is on our secure website: www.wjecservices.co.uk Past papers and marking schemes can also be located on our secure website. Our specimen assessment materials include further examples of question papers for the externally assessed Units: http://www.wjec.co.uk/uploads/publications/8323.pdf Acknowledgements and thanks I am grateful to Stuart Sage, Mair Lewis and Margaret Graham for their contributions to this online resource, and the centres that gave us permission to reproduce students’ work. Nancy Hutt Subject Officer GCSE English Literature Teachers’ Guide (Linear)/HT 28 October 2013

http://www.wjecservices.co.uk/


gcse english / english language / english literature ... · - gcse english literature (final award...

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