literature in english ssc ii

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AGA KHAN UNIVERSITY EXAMINATION BOARD

SECONDARY SCHOOL CERTIFICATE

CLASS X EXAMINATION

MAY 2015

Literature in English

Time: 3 hours Marks: 75

INSTRUCTIONS

Please read the following instructions carefully.

1. Check your name and school information. Sign if it is accurate.

2. RUBRIC. There are THREE sections. Attempt ALL sections. Section I addresses ‘Plays’. It

has two parts. Attempt any ONE part from Section I. Section II addresses ‘Essays’ and Section

III addresses ‘Poetry’. In each section there are Constructed Response Questions and a choice

of Extended Response Questions.

3. When answering the questions:

Read each question carefully.

Use a black pencil for diagrams. DO NOT use coloured pencils.

DO NOT use staples, paper clips, glue, correcting fluid or ink erasers.

Complete your answer in the allocated space only. DO NOT write outside the answer box.

4. The marks for the questions are shown in brackets ( ).

I agree that this is my name and school.

Candidate's signature


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Section I: (Plays) (Total 25 Marks)

(ATTEMPT ANY ONE PART FROM SECTION I)

Part A

George Bernard Shaw: PygmalionQ.1. (Total 10 Marks)

Read the passage carefully and answer the questions that follow:

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THE BYSTANDER [to the girl]: You be careful; give him a flower for it. There's a bloke here

behind taking down every blessed word you're saying. [All turn to the man who is taking notes].

THE FLOWER GIRL [springing up terrified]: I ain't done nothing wrong by speaking to the

gentleman. I've a right to sell flowers if I keep off the kerb. [Hysterically] I'm a respectable girl: so

help me, I never spoke to him except to ask him to buy a flower off me. [General hubbub, mostly

sympathetic to the flower girl, but deprecating her excessive sensibility. Cries of don't start

hollerin. Who's hurting you? Nobody's going to touch you. What's the good of fussing? Steady on.Easy, easy, etc., come from the elderly staid spectators, who pat her comfortingly. Less patient

ones bid her shut her head, or ask her roughly what is wrong with her. A remoter group, not

knowing what the matter is, crowd in and increase the noise with question and answer: What's the

row? What she do? Where is he? Why is he taking her down. What! him? Yes: him over there:

Took money off the gentleman, etc. The flower girl, distraught and mobbed, breaks through them

to the gentleman, crying mildly]. Oh, sir, don't let him charge me. You don’t know what it means to

me. They'll take away my character and drive me on the streets for speaking to gentlemen. They —

THE NOTE TAKER [coming forward on her right, the rest crowding after him]: There, there,

there, there! Who's hurting you, you silly girl? What do you take me for?

THE BYSTANDER: It's all right: he's a gentleman: look at his boots. [Explaining to the note taker]

She thought you was a copper's nark, sir.

THE NOTE TAKER [with quick interest]: What's a copper's nark?

THE BYSTANDER [inept at definition]: It's a — well, it's a copper's nark, as you might say. What

else would you call it? A sort of informer.

THE FLOWER GIRL [still hysterical]: I take my Bible oath I never said a word —

THE NOTE TAKER [overbearing but good-humoured]: Oh, shut up, shut up. Do I look like a policeman?

THE FLOWER GIRL [far from reassured]: Then what did you take down my words for? How do I

know whether you took me down right? You just show me what you've wrote about me. [The note

taker opens his book and holds it steadily under her nose, though the pressure of the mob trying to

read it over his shoulders would upset a weaker man]. What's that? That ain't proper writing. I can't

read that.

THE NOTE TAKER: I can. [Reads, reproducing her pronunciation exactly] "Cheer ap, Keptin; n'

haw ya flahrorf a pore gel."

THE FLOWER GIRL [much distressed]: It's because I called him Captain. I meant no harm. [To

the gentleman] Oh, sir, don't let him lay a charge agen me for a word like that. You —


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THE GENTLEMAN: Charge! I make no charge. [To the note taker] Really, sir, if you are a

detective, you need not begin protecting me against molestation by young women until I ask you.

Anybody could see that the girl meant no harm.

THE BYSTANDERS GENERALLY [demonstrating against police espionage]: Course they could.

What business is it of yours? You mind your own affairs. He wants promotion, he does. Taking

down people's words! Girl never said a word to him. What harm if she did? Nice thing a girl can't

shelter from the rain without being insulted, etc., etc., etc. [She is conducted by the more

sympathetic demonstrators back to her plinth, where she resumes her seat and struggles with her

emotion].

THE BYSTANDER: He's a blooming busybody: that's what he is. I tell you, look at his boots.

THE NOTE TAKER [turning on him genially]: And how are all your people down at Selsey?

THE BYSTANDER [suspiciously]: Who told you my people come from Selsey?

THE NOTE TAKER: Never you mind. They did. [To the girl] How do you come to be up so far

east? You were born in Lisson Grove.

THE FLOWER GIRL [appalled]: Oh, what harm is there in my leaving Lisson Grove? It wasn't fit

for a pig to live in; and I had to pay four-and-six a week. [In tears] Oh, boo-hoo-oo-

THE NOTE TAKER: Live where you like; but stop that noise.


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a. It is quite clear that the note taker is a decent person. Why is he doubted to be ‘an informer’? By

citing evidence from the passage, identify what is his real profession. (4 Marks)

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b. George Bernard Shaw does not reveal the names of the characters in this passage. Justify his

purpose for adopting this style. (6 Marks)

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Q.2. (Total 15 Marks)

Compose a response of about 200 words to any ONE of the options a or b.

EITHER

a. Do you think Shaw has a deliberate purpose in portraying Prof. Henry Higgins as being socially

inept? Elaborate upon the character ‘Henry Higgins’ and state how his character is symbolic of

middle class’s obsession with social customs.

OR

b. Do you think that the ending of the play ‘Pygmalion’ is justified? Explain the end of the play and

state the ways in which you would change the ending if given a chance.

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(ATTEMPT ANY ONE PART FROM SECTION I)

Part B

Anton Chekov: The Cherry Orchard


Read the passage carefully and answer the questions that follow:

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No.... They've got to collect their luggage and so on.... [Pause] Lubov Andreyevna has been living

abroad for five years; I don't know what she'll be like now.... She's a good sort – an easy, simple

person. I remember when I was a boy of fifteen, my father, who is dead – he used to keep a shop in

the village here – hit me on the face with his fist, and my nose bled.... We had gone into the yard

together for something or other, and he was a little drunk. Lubov Andreyevna, as I remember her

now, was still young, and very thin, and she took me to the washstand here in this very room, the

nursery. She said, "Don't cry, little man, it'll be all right in time for your wedding." [Pause] "Little

man".... My father was a peasant, it's true, but here I am in a white waistcoat and yellow shoes... a pearl out of an oyster. I'm rich now, with lots of money, but just think about it and examine me, and

you'll find I'm still a peasant down to the marrow of my bones. [Turns over the pages of his book].

Here I've been reading this book, but I understood nothing. I read and fell asleep.

[Pause.]

DUNYASHA: The dogs didn't sleep all night; they know that they're coming.

LOPAKHIN: What's up with you, Dunyasha...?

DUNYASHA: My hands are shaking. I shall faint.

LOPAKHIN: You're too sensitive, Dunyasha. You dress just like a lady, and you do your hair like

one too. You oughtn't. You should know your place.

EPIKHODOV: [Enters with a bouquet. He wears a short jacket and brilliantly polished boots which

squeak audibly. He drops the bouquet as he enters, then picks it up] The gardener sent these; says

they're to go into the dining-room. [Gives the bouquet to DUNYASHA.]

DUNYASHA: Very well.

[Exit.]

EPIKHODOV: There's a frost this morning – three degrees, and the cherry-trees are all in flower. I

can't approve of our climate. [Sighs] I can't. Our climate is indisposed to favour us even this once.

And, Ermolai Alexeyevitch, allow me to say to you, in addition, that I bought myself some boots

two days ago, and I beg to assure you that they squeak in a perfectly unbearable manner. What

shall I put on them?

LOPAKHIN: Go away. You bore me.

EPIKHODOV: Some misfortune happens to me every day. But I don't complain; I'm used to it, and

I can smile.


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[Dunyasha comes in and brings Lopakhin some kvass]: I shall go. [Knocks over a chair] There....

[Triumphantly]

There, you see, if I may use the word, what circumstances I am in, so to speak. It is even simply

marvellous.

[Exit.]

DUNYASHA: I may confess to you, Ermolai Alexeyevitch, that Epikhodov has proposed to me.

LOPAKHIN: Ah!

DUNYASHA: I don't know what to do about it. He's a nice young man, but every now and again,

when he begins talking, you can't understand a word he's saying. I think I like him. He's madly in

love with me. He's an unlucky man; every day something happens. We tease him about it. Theycall him "Two-and-twenty troubles".

LOPAKHIN: [Listens]

There they come, I think.

DUNYASHA: They're coming! What's the matter with me? I'm cold all over.

LOPAKHIN: There they are, right enough. Let's go and meet them. Will she know me? We haven't

seen each other for five years.

DUNYASHA: [Excited]

I shall faint in a minute.... Oh, I'm fainting!


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a. ‘You dress just like a lady and you do your hair like one too. You oughtn’t. You should know

your place’ (lines 16-17). Discuss the social issue raised by the author and your personal opinion

about it. (4 Marks)

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b. Discuss with reference to the passage, what memory does Lopakhin have of Lubov Andreyevna.

(6 Marks)

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EITHER

a. In February of 1861, Russia's vast population of serfs was liberated for good, bringing a long-

awaited social change in the Russian society. ‘The Cherry Orchard’ by Anton Chekov also deals

with this social change and offers a perspective of the newly liberated lives of the Russian serfs.

How does Anton Chekov’s ‘The Cherry Orchard’ deal with the theme of independence and

liberation? Support your answer with examples from the play.

OR

b. “All Russia is our orchard. The earth is so wide, so beautiful, so full of wonderful places.

[Pause]. Just think, Anya. Your grandfather, your great-grandfather and all your ancestors owned

serfs; they owned human souls. Don't you see that from every cherry-tree in the orchard, from

every leaf and every trunk, men and women are gazing at you? If we're to start living in the

present isn't it abundantly clear that we've first got to redeem our past and make a clean break

with it? And we can only redeem it by suffering and getting down to real work for a change.”

Act III

Explain the imagery and the major theme from the play ‘The Cherry Orchard’ by Anton Chekov.

What does this quote tell you about the Russian society portrayed by Chekov?

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Section II: (Essays) (Total 25 Marks)


Answer the following questions from the recommended essays:

a. What do you know about the valley of Tawaseen? Mention any FOUR of them with reference to

the essay ‘Stopping by the Moon’ by Allama Iqbal. (5 Marks)

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b. According to the essay ‘Greening the Red Planet’ by Darrach & Petranek, how will the climate

of Mars change after human inhabitation? (5 Marks)

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EITHER

a. Lahore is often termed as the cultural hub of Pakistan. Intizar Hussain’s essay ‘My Fifty Years in

Lahore’ represents a perspective on the development of Lahore’s culture. How did the culture of

Lahore develop after 1947? Elaborate with reference to the text.

OR

b. How does the use of imagery influence the main idea of the essay, ‘Three Days to See’ by Helen

Keller? Support your answer with textual evidences.

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Section III: (Poetry) (Total 25 Marks)


Answer the following questions from the recommended poems.

a. Explain the given lines with reference to the context. (5 Marks)

I had few memories of your love

Or kindness, even speech.

‘The chapattis are well-cooked’; ‘Stop that

At once.’ How could you reach

To me through those? How could I understand

What lay behind your hand?

My act to you had one intent,

To thwart you. I recallThe fear, hate, the contempt I felt

At that. It would appal

That sixteen-year-old to observe in me

The opposite of all three.

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b. Explain the given lines with reference to the context. (5 Marks)

Man is light and man is fire,

Man is far and man is near,

He who is perfect or defective,He in devilish acts effective,

And he who lights the way, is man.

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EITHER

a. Explain any TWO themes reflected in ‘To the Cuckoo,’ by William Wordsworth.

OR

b. The single running theme of the poem ‘Past and Present’ by Thomas Hood seems to be the

contrast of the joy filled days of the past and the present days of pain and sorrow. Explain the

given sentence with reference to the poem.

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literature in english ssc ii

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