ENGLISH HOME LANGUAGE PAPER 2
GRADE 12
NATIONAL SENIOR CERTIFICATE EXAMINATIONS
MEMORANDUM
MAY/JUNE 2021

NOTE TO MARKERS

• These marking guidelines are intended as a guide for markers.
• The marking guidelines will be discussed with the marking panel before marking commences at the marking centre.
• Candidates' responses must be considered on their merits.

INSTRUCTIONS

1. Wherever a candidate has answered more than the required number of questions, mark only the first answer/response. (The candidate may NOT answer the essay and the contextual question on the same genre.)
2. If a candidate has answered all four questions in SECTION A (prescribed poems), mark only the first two.
3. If a candidate has answered two contextual or two essay questions in SECTIONS B and C, mark the first one and ignore the second. If a candidate has answered all four questions (novel) and/or all six questions (drama), mark only the first answer in each section, provided that one contextual and one essay have been answered.
4. If a candidate gives two answers where the first is wrong and the next one correct, mark the first answer and ignore the next.
5. If answers are incorrectly numbered, mark according to the marking guidelines. 
6. If a spelling error affects the meaning, mark incorrect. If it does not affect the meaning, mark correct.
7. Essay questions: If the essay is shorter than the required word count, do not penalise, because the candidate has already penalised himself/herself. If the essay is too long, assess on merit and discuss with senior markers.
8. Contextual questions: If the candidate does not use inverted commas when asked to quote, do not penalise.
9. For open-ended questions, no marks should be awarded for YES/NO or I AGREE/DISAGREE. The reason/substantiation/motivation/justification is what should be considered.
10. No marks should be awarded for TRUE/FALSE or FACT/OPINION. The reason/substantiation/motivation/justification is what should be marked.
11. Answers to contextual questions must be assessed holistically in the light of the discussion during the standardisation of the marking guidelines.

SECTION A: POETRY
PRESCRIBED POETRY
QUESTION 1: POETRY – ESSAY QUESTION
'MOTHO KE MOTHO KA BATHO BABANG' – Jeremy Cronin

• Use the following points, among others, as a guideline to marking this question. Responses might differ, depending on the candidate's sensitivity to and understanding of the poem.
• Refer to page 25 for the rubric to assess this question.

The speaker is in solitary confinement and is forbidden from communicating with the other prisoners. Even though their contact is severely restricted, the prisoners find ways to support one another.

• They use signals to offer one another encouragement, strength and camaraderie; they buoy each other up to maintain their sanity/humanity. It is important that someone acknowledges their presence and offers hope for the future.
• The repetition of ‘I see’ emphasises there is comfort in acknowledging the presence of another person. The speaker uses the mirror as an ingenious means of communication. He is excited to discover 'There's a person down there'. This makes his solitary confinement more bearable.
• 'antennae' suggest the prisoners are receptors to and senders of signals.
• The ironic use of 'free hand' and 'talkative' suggests that, in spite of their hardship, the prisoners are able to maintain a sense of humour. They are able to preserve their humanity in the face of adversity.
• '(Later. Maybe later we can speak)' are words of comfort and help to establish a feeling of well-being. Even though communication is difficult at present, there is the possibility of establishing contact at a later stage. This offers the speaker hope.
• The hand that communicates 'Strength brother' while slipping 'quietly behind' intimates intimacy and comfort. The black fist conveys solidarity/unity/defiance. The prisoners are steadfastly maintaining resistance to apartheid even while in prison. Their shared opposition to apartheid is conveyed by the use of 'brother'.
• The tone of 'Hey! Wat maak jy daar?' is demanding and threatening, conveying the voice of authority. The warder's words reflect the harshness of the prisoners' world and contrast with the supportive messages of the prisoners to express solidarity.
• The prisoner's reply, 'No, just polishing baas' counteracts the aggression of the warder. The prisoner's tone appears to be submissive and innocent; he realises that he has to use deception to placate the warder.
• Structurally, the narrative is on the left with the translation in brackets on the right to ensure the reader's understanding of the sign language used by the prisoners. Even though their communication is silent, it is still effective in conveying a message and in connecting the prisoners. Their having to use sign language stresses the need for secrecy, as well as the value of maintaining human contact in spite of their isolation.
• The use of enjambment suggests that, despite their separation, there is an intimacy and natural flow to the communication.
• In spite of their isolated incarceration, the prisoners maintain human contact. They are prepared to risk punishment to establish a bond of solidarity. They overcome the warders' and government's best efforts to oppress them; they are triumphant and uplift each other. [10]
  [Accept valid alternative responses.]

QUESTION 2: POETRY – CONTEXTUAL QUESTION
'FIRST DAY AFTER THE WAR' – Mazisi Kunene
2.1 The 'wedding party' represents the coming together of different families to form a union. The event is cause for joyous celebration. In the same way that weddings forge bonds between families, the end of war means the unification of different groups of people. An agreement has been reached and there is peace and harmony.
[Award 2 marks for any two relevant and distinct points.] (2)
2.2 The open space represents the freedom people experience after the oppression and restrictions of the apartheid era. The people are able to use the open space to shout out their joy without inhibitions. People feel free to move wherever they desire. They are able to express their excitement about their new-found freedom which seems boundless.
Candidates might refer to the people's joy as unrestrained and impulsive.
[Award 2 marks for any two relevant and distinct points.] (2)
2.3 Freedom is personified as a woman walking through the country. Her footprints are proof that there is indeed something to celebrate. At first there was anticipation of a memorable event but no evidence of it; however, the footprints are a tangible sign of the arrival of freedom, bringing hope and optimism to the people.
[Award 3 marks for two ideas well discussed.] (3)
2.4 The poem is about the triumph over oppression; there is a celebration of the end of war/apartheid and the unification of people who were previously separated. The people 'held hands', which suggests that they feel a close bond with one another; there is a shared excitement about a united future. The fact that hands were held with 'a stranger' symbolises the coming together of people who were hitherto kept apart; new relationships can now be fostered. The people's shouting 'across the waterfalls' indicates their excitement and desire to share their joy with others. The spirit is so infectious that people come from 'all lands' to celebrate in a show of support; humanity is unified by the occasion. The discord and strife that was previously experienced has been replaced by 'peace'. There is a celebration of cohesion/unity and a sense that reconciliation has been achieved.
[Award 3 marks for any two sensory images linked to the central message, fully discussed.] (3)
[10]

QUESTION 3: POETRY – CONTEXTUAL QUESTION
'FUNERAL BLUES' – WH Auden
3.1 The word conveys the speaker's depressed state of mind because of the loss of his partner./The word, 'blues' is associated with mournful subject matter and mood; this conveys the speaker's despair, sorrow and heartache at the loss of his partner.
[Award 2 marks for any two relevant and distinct points.] (2)
3.2 The poem is about death and mourning. The word, 'moaning' has an onomatopoeic effect and reinforces the feelings of loss/grief/despondency/ despair conveyed in the poem. The magnitude of the speaker's grief is such that he superimposes his pain onto the droning sound of the aeroplane.
[Award 2 marks only if significance is discussed.] (2)
3.3 'My' is repeatedly used by the speaker to emphasise the close bond/intimacy he shared with his loved one. It is indicative of the central role the partner played in the speaker's life; now that his partner has died, he feels his life has no meaning. The word also implies the possessive attachment the speaker has for his partner. The speaker is characterised as being overwhelmingly self-absorbed, focusing entirely on his own loss.
[Award 3 marks for any two ideas well discussed.] (3)
3.4 The speaker is so distraught/devastated/sad that he requests that all sources of light ('stars' and 'moon') are extinguished because there is no longer any hope in the world. The cosmic elements should be taken apart ('dismantle') as his world has collapsed. The world's natural beauty should be destroyed ('pour away' and 'sweep up') because his world is bleak. These actions minimise the magnitude of these natural elements and emphasise the speaker’s perception that everything pales into insignificance because of his loss. He experiences no pleasure or comfort in elements that traditionally soothe troubled souls. He is disillusioned with life and sees no end to his anguish ('For nothing now can ever come to any good').
[Award 3 marks only if diction and mood are fully discussed.] (3)
[10]

QUESTION 4: POETRY – CONTEXTUAL QUESTION
'FELIX RANDAL' – Gerald Manley Hopkins
4.1 Felix Randal is described as the epitome of manliness. The speaker's intention is to highlight Felix's commendable qualities./He creates a favourable impression of Felix's attributes and strength which other men might emulate.
[Award 2 marks for any two relevant and distinct points.] (2)
4.2 ‘Fatal’ shows that the disorders have taken complete control of his body and there is no hope of recovery. The words, 'fleshed there' depict how ingrained the afflictions are. The word, 'contended' suggests that the diseases are vying for dominance in his body.
[Award 2 marks for any two relevant and distinct points.] (2)
4.3 By referring to Felix Randal as 'child', the speaker is highlighting Felix's helplessness/vulnerability. It also shows the speaker’s compassion toward Felix. His debilitating illness has reduced Felix to a child-like state; he needs to be nurtured/looked after as he is unable to do things for himself. As a priest, the speaker's use of 'child' is significant as it is a reminder that, in the eyes of the Church, Felix is a child of God. By being anointed, Felix accepts God as his parent figure, and submits to His will.
[Candidates might refer to the use of 'child' as being ironic, bearing in mind Felix's strength and masculinity.]
[Award 3 marks for any two ideas well discussed.] (3)
4.4 The speaker's attitude is one of admiration/approval of Felix Randal. He respects and praises Felix's strength and stature ('powerful amidst peers'). The words, 'fettle' and the 'random grim forge' reinforce Felix's hardworking, diligent nature. The speaker will remember Felix as a larger-than-life, energetic ('boisterous') man. The lines are a celebration of Felix Randal's legacy.
[Award 3 marks only if diction and the speaker's attitude are fully discussed.] (3)
[10]

UNSEEN POETRY (COMPULSORY)
QUESTION 5: CONTEXTUAL QUESTION 'BURNING THE FIRE BREAK' – Ingrid Andersen
5.1 The speaker views the fire as an enemy/intruder against whom she has to defend/protect her property.
[Award 2 marks for a distinct idea.] (2)
5.2 A mood of panic and fear is evident in these lines. The word, 'whipped' suggests the swirling nature of the wind, which has caused the fire to spread 'out of control'./The fire 'threatens' the speaker's home, heightening the mood of fear and anxiety./The phrase, 'all hands are needed' suggests that there is a sense of urgency with which people must respond to fight the fire.
[Award 1 mark for identification of mood and 1 mark for the discussion.] (2)
5.3 The fire is personified as a fierce monster that carelessly throws or 'flings' itself into the grass, unconcerned about the havoc it will bring. It is unpredictable and unstoppable as it 'reaches into/longer grass'; it suggests that nothing can escape the destructive force of the fire; the personification is reinforced by describing the fire as 'angry' which suggests its fierceness and viciousness. This idea is supported by 'spits and roars' which brings to mind the fire's savagery and ferocity. The fire's comparison to a 'wall' conveys the idea of its being an insurmountable barrier. The image is effective because it emphasises the dangerous nature of the fire and its capacity for great destruction as it devastates/decimates everything in its path.
[Award 3 marks for any two images well discussed.] (3)
5.4 Initially, the speaker's attitude is one of irritation at having to leave her peaceful sanctuary to fight the fire that is threatening her home and garden. The word, 'called' indicates that she is being forced to leave her safe space. She is hesitant and nervous about getting involved ('I stand') because she is inexperienced ('I've not done this before') at fighting fires. When the fire moves closer to her home, she moves into action; she is not prepared to yield and 'stand(s) firm' in her determination to vanquish the fire. This unwavering and resolute attitude is reflected in her authoritative assertion that the fire 'shall not pass'.
[Award 3 marks only if the shift in attitude is discussed.] (3)
[10]
TOTAL SECTION A: 30

SECTION B: NOVEL
QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION

• Below is the basis for answering this essay. Use the following as a guideline only. However, also allow for answers that are different, original and show evidence of critical thought and interpretation.
• A range of examples should be used by the candidates to support their arguments.
• Refer to page 26 for the rubric to assess this question.

Candidates might argue that Dorian is entirely responsible for his fate, or they might argue that he is only partly responsible as there are other contributing factors.

• Dorian's own nature is responsible for his downfall. Although his appearance creates the impression that he is pure and innocent, his selfishness is evident in his self-absorption and wilful nature.
• Dorian is changed by his interactions with Lord Henry and Basil Hallward but he makes his own choices.
• Dorian is intrigued by the theories of Aestheticism and new Hedonism espoused by Lord Henry. His moral weakness and naivety allow him to be tempted and corrupted by ideas of self-indulgence and self-gratification. Dorian's fascination with and commitment to the pursuit of pleasure contribute to his demise.
• His initial wish that the portrait should age while he remains young is an indicator of his narcissistic, self-centred nature, and his potential for moral degradation.
• Dorian allows himself to be influenced by the yellow book given to him by Lord Henry, seeing it as a template for his own lifestyle.
• Dorian's treatment of Sybil is cruel and egotistical. Her later suicide makes him aware that his wish about the portrait has come true. This realisation encourages his depravity.
• At various times in the novel, Dorian is aware of the danger of Lord Henry's ideas and resolves to reject them. At times he is filled with self-disgust and regret but he does not have the willpower/strength of his convictions to change. He continues to engage in questionable behaviour and becomes increasingly degenerate.
• High society's awareness of his corrupting influence on others does not prevent him from spending more time indulging in even seedier and more immoral acts.
• When confronted by Basil, Dorian refuses to take responsibility for any of his evil deeds, preferring to blame others. Dorian's murder of Basil helps to seal his fate.
• Dorian's attempt at destroying the painting leads to his death. His sacrifice of his soul is fatal. Candidates might argue that Dorian is not entirely responsible for his own downfall.
• Basil's portrait encourages Dorian's self-absorption and his 'worshipping' of Dorian makes Dorian aware of his 'good looks'. Basil is also responsible for introducing Dorian to Lord Henry who, Basil knows, will be a bad influence on Dorian.
• Lord Henry encourages Dorian's inherent hedonism. His ideas activate Dorian's latent desires. Lord Henry is intrigued by the idea of having the power to influence another person. He sees Dorian as a scientific experiment of sorts. As an impressionable young man, Dorian is unable to resist Lord Henry's influence and once committed to an aesthetic lifestyle, he does not have the strength of character to reject it. [Credit valid alternative/mixed responses.] [25]
  

QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION
7.1 Lord Henry had previously cautioned Dorian from getting involved in the inquest as it might be damaging to his reputation. He probably thinks that Dorian might be interested in knowing the outcome and will feel relieved/reassured to know that he has not been connected to Sibyl's death. In Lord Henry's mind, this should bring closure to any feelings of love and/or guilt Dorian might still be feeling for Sibyl.
[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
7.2 Dorian is irritated with Lord Henry's drawing attention to the inquest as he does not want to be reminded of the unsavoury circumstances of Sibyl's death. His tearing up of the newspaper report is his way of denying the unpleasantness of the situation, and of removing any evidence of his connection to her death. He is afraid that his servants might realise the link, and he is worried that they will discover the changes that are appearing on the portrait. He is becoming suspicious of his servants and his paranoia has caused him to move the portrait up to the attic.
[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
7.3 The yellow book becomes a guiding force in Dorian's life. He is enraptured/ intrigued by the story of the main character, a young Parisian who lives a totally hedonistic life; his indulgence of every desire without restraint appeals to Dorian. He has numerous copies of the book and he spends his life trying to emulate the lifestyle of the main character. Reading the book encourages Dorian to blur the lines between 'virtue and vice' which allows him to behave with impunity. Later, he realises the harmful impact the book has had on him when he refers to it as a 'poisonous book' and he asks Lord Henry to promise not to give a copy to anyone else.
[Award 3 marks for any two ideas well discussed.] (3)
7.4 Dorian is encouraged to seek out beauty by the aesthetic principles espoused by Lord Henry. It is this that causes Dorian to express his desire to remain young and beautiful and for the portrait to age instead of him. When his wish is granted, Dorian is granted immunity from aging – and from being held accountable for his sins. This means that he is undeterred from committing increasingly depraved acts which cause his soul to become tarnished. Dorian spends his life pursuing beauty and pleasure in an attempt to avoid the unpleasant reality around him and to avoid feeling any uncomfortable emotions. The portrait comes to represent his soul and when he is taunted by its ugliness, he stabs the portrait, killing himself in the process.
[Candidates might also refer to how assessing people and things on their aesthetic appeal may be misleading and it is Dorian's lack of awareness of this that contributes to his downfall.]
[Award 3 marks for any two ideas well discussed.] (3)
7.5 After Basil's murder the previous day, Dorian blackmails Alan Campbell into disposing of the body. Later that evening, he attends a dinner with Lord Henry. He returns home and burns Basil's possessions to remove all traces of Basil's visit. Dorian then visits an opium den where he comes across Adrian Singleton, whose reputation has been ruined as a result of his association with Dorian.
[Award 3 marks for any three distinct points.] (3)
7.6 The sailor is James Vane. Upon hearing the woman mention the name, 'Prince Charming', he jumps up because he has spent years trying to track down the person to whom the name belongs. 'Prince Charming' is the name Sibyl gave Dorian and James has sworn to kill him if he harms his sister. James realises that he now has the opportunity to discover the true identity of 'Prince Charming' and to exact his revenge.
[Award 3 marks for any two ideas well discussed.] (3)
7.7 Destiny is personified as a book-keeper/accountant who is determined to collect the debt that is due to her. Dorian has lived his life believing the portrait gives him immunity. He has been able to get away with his immoral and corrupt behaviour with his reputation intact. It has led him to believe that he can continue his sinful ways. However, Dorian begins to realise that there are always consequences for one's actions and that there is no escape from having to pay for one's sins in one way or another. Because he is never held accountable, he finds it easy to ignore these moments of reflection, leaving his behaviour unchanged.
[Award 3 marks for any two ideas well discussed.] (3)
7.8 These names encapsulate Dorian's character as he is both charming and evil. He is considered to be an urbane sophisticate – refined, elegant and cultured. Young men want to emulate his style and women are fascinated by him. His character is believed to be as beautiful and pure as his appearance. However, this façade belies his sinful nature. The portrait's taking on the effects of Dorian's immoral deeds allows him to act with impunity, knowing that no one will believe the rumours of his degenerate/debauched lifestyle. Dorian becomes more and more immersed in immorality: his heartless rejection of Sibyl that results in her death; his murder of Basil and blackmail of Alan Campbell; his callous indifference to the plight of his various associates; his involvement in London's seedy underbelly.
[Award 4 marks only if the contradictory nature of Dorian's character is discussed.] (4)
[25]

LIFE OF PI – Yann Martel
QUESTION 8: LIFE OF PI – ESSAY QUESTION

• Below is the basis for answering this essay. Use the following as a guideline only. However, also allow for answers that are different, original and show evidence of critical thought and interpretation.
• A range of examples should be used by the candidates to support their arguments.
• Refer to page 26 for the rubric to assess this question.

• After the sinking of the Tsimtsum, Pi is stranded on a lifeboat in the middle of the Pacific. He soon realises that he needs to take responsibility for his own survival.
• Pi's determination to live leads him to invent various coping methods to overcome the ordeals with which he is faced.
• His character and natural abilities play an important role in his survival: he is intelligent, avidly curious, a practical problem-solver and possesses a vivid imagination. All of these qualities contribute to his taking responsibility for his fate.
• His creation of Richard Parker, a powerful predator, as an alter-ego is a survival mechanism. He becomes the alpha male who will protect the more vulnerable part of his being. In this way he distances himself from the atrocities of which he is capable.
• Pi realises that he will have to set aside his ethics/moral values and his vegetarianism. He has to overcome his abhorrence for eating meat and to deal with the taking of life in order to survive.
• He also creates the story with the animals to avoid having to acknowledge the horror and cruelty he encounters in the second story in which he is faced with cannibalism, murder, the brutal death of his mother, his own taking of human life.
• He uses the knowledge that he has acquired in his earlier life to keep himself alive – his upbringing in a zoo, familiarity with the behaviour of animals, the lessons his father has taught him about the dangers of wild animals, the education he has received from the Biology teacher, Mr Kumar.
• Pi's preoccupation with the taming of the tiger keeps him from dwelling on the loss of his family. He realises that in order to survive he has to delineate and defend his territory from Richard Parker on the lifeboat.
• His religious faith sustains him when he falls into a state of hopelessness and despair.
• He staves off loneliness and boredom on the lifeboat by distracting himself with story-telling. His anthropomorphising of Richard Parker partially stems from his desire for companionship.
• He also begins to watch the teeming marine life and compares the sea to a city – this observation has the effect of calming him and giving him a sense of hope.
• The algae island might be an illusion that Pi has created as a safe haven/refuge/a temporary respite from the perils of the ocean and his imminent death. Paradoxically, the island also represents a threat to his survival as it is carnivorous. This gives Pi the impetus to continue on his journey until he reaches the shores of Mexico.
• Once he reaches Mexico, Pi takes responsibility for the story he chooses to believe. By choosing the more palatable story, he unburdens himself from his inhumanity, thus allowing him to move on.
• In Canada he assumes responsibility for the type of life he leads: he chooses to study, marry and have a family. His life is happier, more fulfilled and content than one would expect from someone who has undergone such trauma.
  [A cogent 'Disagree' response is unlikely. However, treat all responses on their merits.]
  [Accept valid alternative/mixed responses.]
  [25]
  

QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION
9.1 Pi is a peace-loving, gentle-hearted person who values all life. He says that he loves all God's creatures. Here, his vicious slaughtering of the turtle is cruel and savage/brutal. His hunger causes him to be ruthless and heartless in his hacking at the turtle. His actions are contrary to his vegetarian lifestyle. Pi displays little concern/empathy for the pain he is inflicting on the turtle.
[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
9.2 Pi is resentful that he has had to work so hard to kill the turtle and he has gained so little from it. Pi appears to begrudge the fact that Richard Parker is the main beneficiary of his efforts. Pi acknowledges the necessity of keeping Richard Parker alive as his own survival depends on it; however, it is a situation which he finds difficult to accept. [Award 3 marks for any two ideas well discussed OR three ideas.] (3)
9.3 Having grown up in a zoo, Pi is aware of the need to house different species in different areas. He makes reference to how zoo enclosures create a sense of familiarity for the animals, and as long as their needs are met, they are comfortable in a confined environment. His father teaches him about the danger of encroaching on an animal's territory when he forces Pi and Ravi to watch the tiger devouring the goat. Pi allows Richard Parker the run of the lifeboat and ensures that he is provided with food and water, thus keeping Richard Parker as content as he can be under the circumstances. Pi establishes his own territory on the raft. Pi, like Richard Parker, marks his territory, thus ensuring mutual respect for each other's space.
Pi is also aware of the unlikely alliances that are sometimes struck between animals (the rhinoceros and goats that lived companionably in the same enclosure in the zoo). This knowledge gives him hope that he and Richard Parker can also co-exist successfully.
[Award 3 marks for any two ideas well discussed.] (3)
9.4 Pi's second story suggests that Richard Parker is created as Pi's alter-ego. His presence makes the reader aware of the brutality to which Pi resorts to survive his ordeal. Pi creates Richard Parker as a means of distancing himself from his own savage nature. By projecting his behaviour on to a tiger, he is able to justify his otherwise immoral actions, thus making it easier to live with the knowledge of his inhumanity. Richard Parker represents Pi's survival instinct at its most extreme. [Award 3 marks only if significance is well discussed.] [Award a maximum of 2 marks if only the first story with animals is discussed.] (3)
9.5 Having been stranded at sea for months, Pi becomes dehydrated, malnourished and delusional. He has a strange encounter with a blind Frenchman, another castaway, who is then killed by Richard Parker. Pi's lifeboat then drifts toward an island of trees. Initially Pi thinks he is hallucinating, but is later convinced that the island is real when he and Richard Parker are able to walk on the island and eat its vegetation.
[Award 3 marks for any three distinct points.] (3)
9.6 Pi uses the whistle to tame and train Richard Parker. He establishes himself as the alpha male by blowing on the whistle each time he wants to assert his authority. The harsh sound of the whistle alarms Richard Parker, and causes him to become submissive. The more Pi repeats the exercise, the more compliant Richard Parker becomes. In this way, Pi is able to control Richard Parker and ensure his own safety. [Award 3 marks only if significance is well discussed.] (3)
9.7 When Pi first sees the lush green leaves, he anticipates how delicious they will taste and how they will satisfy his hunger. However, upon tasting how bitter they are, he is left dissatisfied and disillusioned. In the same way, Pi initially sees the algae island as a pleasant place where he can spend the rest of his life. However, when he discovers human teeth in the fruit produced by a large tree, Pi realises that the island is carnivorous/deadly and that he has to leave immediately. Should he stay on the island, his experiences will be bitter and leave him regretting his decision.
[Award 3 marks for any two ideas well discussed.] (3)
9.8 Pi's stay on the island is part of a restorative/healing process for him where he sets aside his bestiality and returns to a vegetarian lifestyle. He seems to find a sense of enjoyment and contentment despite the trauma he has experienced. Pi is forced to question whether he is able to remain on the island in isolation for the rest of his life, or whether he should return to the world. The island lulls Pi into a false sense of security, but when he realises the truth about the island, he is forced to question the depth of his faith. Pi's stay on the island makes him aware of the dangers of having a shallow/superficial faith. Pi's leaving the island is an acknowledgement of how meaningful/important his faith is to him. This experience strengthens his faith and prepares him for his reintegration into society. [Award 4 marks for any two ideas well-developed.] (4) [25]

SECTION C: DRAMA
HAMLET – William Shakespeare
QUESTION 10: HAMLET – ESSAY QUESTION

• Below is the basis for answering this essay. Use the following as a guideline only. However, also allow for answers that are different, original and show evidence of critical thought and interpretation.
• A range of examples should be used by the candidates to support their arguments.
• Refer to page 26 for the rubric to assess this question.

• King Hamlet's ghost demands that Hamlet avenge his 'foul and most unnatural murder' by Claudius who has usurped the throne and married Queen Gertrude.
• Hamlet assumes an antic disposition to investigate the truth of the ghost's claims. To convince others of his 'madness', his behaviour toward Ophelia is cruel and destructive; his rejection of her and his killing of Polonius contribute to her madness and eventual death.
• Despite the ghost's telling Hamlet to leave his mother to her own conscience, Hamlet's treatment of Gertrude is harsh and disparaging.
• Hamlet procrastinates because he questions the validity of the ghost and the information it has provided. He is caught between his duty to avenge his father's death and his own moral belief that unjustified revenge results in self-damnation. His delay also contributes to the destruction/deaths of many characters.
• After receiving confirmation of Claudius's guilt during the performance of The Mouse-trap, Hamlet has an opportunity to wreak vengeance while Claudius is apparently praying. However, his desire to ensure that Claudius suffers the same damnation as his father, causes him to defer taking revenge. His actions are vindictive and deliberate. This delay gives Claudius time to plot treachery against Hamlet, also resulting in the destruction of other characters, including his and Hamlet's deaths.
• Hamlet vindictively sends Rosencrantz and Guildenstern to their deaths.
• After returning to Denmark, Hamlet is more focused and acknowledges that vengeance is necessary. He accepts whatever fate has in store for him, even if it results in his death.
• Fortinbras seeks to avenge his father, who was killed by King Hamlet, by preparing to invade Denmark to reclaim his father's lands. Fortinbras's decisiveness causes more angst for Hamlet as he berates himself for procrastinating in avenging his own father's death.
• Laertes also desires to avenge Polonius's murder. He rashly charges into the palace to kill Claudius whom he assumes is responsible. When Claudius persuades him that Hamlet is the culprit, Laertes resorts to treachery and deceit to achieve his goal. His honour and integrity are destroyed by his actions.
• Laertes deceives Hamlet by insincerely reconciling with him. His perfidious poisoning of the rapier ultimately causes Hamlet's and his own deaths.
• Hamlet realises that vengeance is not a worthy/constructive way of achieving justice. Fortinbras's setting aside his desire for revenge and subsequent elevation to king of Denmark is evidence of this.
  [Credit responses that make reference to the context of the play i.e. divinity of revenge; Hamlet is forced against his better nature to take revenge to restore order in the kingdom.]
  [Credit valid alternative/mixed responses.]
  [25]
  

QUESTION 11: HAMLET – CONTEXTUAL QUESTION
11.1 Rosencrantz and Guildenstern, Hamlet's school friends, have been sent for by Claudius and Gertrude to discover the cause of Hamlet's strange behaviour. When Hamlet discovers that their loyalties have shifted to Claudius and that they are in fact spying on Claudius's behalf, he refuses to co-operate with them. Hamlet becomes excited by a group of players who have arrived and is planning for them to perform a play at court.
[Award 3 marks for any three distinct points.] (3)
11.2 The lines suggest that Claudius is suspicious of Hamlet's behaviour and believes that his madness is assumed. He regards Hamlet as a threat and he suspects that Hamlet might know of his vile deeds.
[Award 3 marks for two ideas well discussed.] (3)
11.3 Claudius is pleased with Hamlet's involvement with the players as he thinks it will distract him from pursuing his investigation into King Hamlet's murder. However, what Claudius does not realise, is that Hamlet is using the play to discover the truth about his father's death. Hamlet has asked the players to insert a special speech into the play, The Murder of Gonzago. The play resembles the events of King Hamlet's death and Hamlet is convinced that Claudius's reaction will reveal his guilt.
[Award 3 marks only if irony is well discussed.] (3)
11.4 Throughout the play, spying is used by characters to protect themselves or their honour, or to disguise their ulterior motives. This creates an atmosphere of deceit, deception and distrust. Hamlet decides to put on an antic disposition to help him expose Claudius and avenge his father's death. He uses The Mouse-trap to secretly observe Claudius's reaction, which he hopes will confirm Claudius's guilt.
Polonius orders Reynaldo to spy on Laertes in Paris to protect the family honour. Polonius and Claudius use Ophelia as bait to confirm Polonius's belief that Hamlet's madness is due to his unrequited love for Ophelia. Claudius has his own motives for agreeing to the spying, as he suspects that Hamlet's madness is feigned and that Hamlet is a threat to him.
Gertrude and Claudius summon Hamlet's closest friends, Rosencrantz and Guildenstern, to spy on Hamlet. Rosencrantz and Guildenstern betray Hamlet in exchange for gaining the King's favour.
The characters' spying contributes to the tragic ending of the play.
[Credit valid alternative responses.]
[Award 3 marks only if significance is well discussed.] (3)
11.5 After Hamlet has killed Polonius, he is shipped off to England by Claudius who has given Rosencrantz and Guildenstern letters ordering Hamlet's execution as soon as he arrives in England. Hamlet escapes from the ship and returns to Denmark in secret. He has not yet returned to court and so is unaware of Ophelia's death.
[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
11.6 Hamlet has been loving toward Ophelia, as evidenced by the love tokens and letters he has sent her. Because of his mother's hasty remarriage and Ophelia's betrayal, Hamlet regards all women as fickle and duplicitous. Hamlet becomes harsh, and cruelly rejects Ophelia, callously condemning her to a nunnery. Hamlet's rejection of Ophelia is also intended to make his antic disposition more convincing.
In this extract Hamlet's true feelings for Ophelia are evident. He is overwhelmed by shock and grief at the news of her death and proclaims his love for her.
[Award 3 marks only if the change in attitude is discussed.] (3)
11.7 Laertes might hold up his hands to stop the grave diggers from filling the grave before jumping into the grave himself. Thereafter he beckons them to come forward to cover him with earth. His tone might be grief-stricken/distraught/dramatic/impassioned to convey how devastated he is by Ophelia's death.
[Accept valid alternative responses.]
[The candidate's response should be convincing in context.]
[Award 3 marks only if the candidate refers to body language and tone, and includes a justification.] (3)
11.8 In Extract E, Claudius's corrupting influence on Rosencrantz and Guildenstern is evident. He has manipulated them into spying on Hamlet and later, escorting Hamlet to England. They betray their friendship with Hamlet to gain Claudius's favour.
In Extract F, Claudius's reminder to Laertes of their plot against Hamlet indicates that Laertes has succumbed to Claudius's corruption. Claudius has convinced Laertes that Hamlet is their mutual enemy and has persuaded him to prove his love for his father by killing Hamlet. Laertes's suggestion that the sword point be dipped in poison to ensure Hamlet's death is further evidence that he has been corrupted by Claudius.
Gertrude is possibly corrupted by Claudius when she commits adultery and later incest. She also unwittingly colludes with Claudius to spy on Hamlet. Ophelia is a pawn who is manipulated by Claudius and her father into spying on Hamlet.
The comment that 'something is rotten in the state of Denmark' conveys how far-reaching Claudius's corrupting influence has been. His corruption has devastating consequences for the characters in the play.
[Candidates might argue that characters are already corrupt and thus Claudius cannot be held responsible for their actions.]
[Accept valid alternative/mixed responses.]
[Award 4 marks only if reference is made to both texts.] (4)
[25]

OTHELLO – William Shakespeare
QUESTION 12: OTHELLO – ESSAY QUESTION

• Below is the basis for answering this essay. Use the following as a guideline only. However, also allow for answers that are different, original and show evidence of critical thought and interpretation.
• A range of examples should be used by the candidates to support their arguments.
• Refer to page 26 for the rubric to assess this question.

At the beginning of the play Iago is determined to seek revenge on Othello for overlooking him for promotion while appointing Cassio as his lieutenant. He also believes rumours that Othello has slept with his wife, Emilia. He tells Roderigo that he hates Othello and that he is determined to serve his 'turn upon him'.

Iago's revenge initially focuses on the destruction of Othello's marriage, as well as his peace of mind. He uses Othello's insecurities to undermine him and leads him to believe that Desdemona is committing adultery with Cassio. Later, he realises that in order to secure his own life against Othello's wrath, he also has to destroy Cassio and Desdemona. His vengeful actions result in the deaths of Desdemona and Othello.

Iago also vindictively kills Emilia when she refuses to keep quiet about his role in the tragedy.

When Iago realises that Roderigo is no longer willing to be used as a tool in his plan of revenge, he ruthlessly kills him as he has outlived his usefulness.

Iago's desire for revenge leads to the destruction of the reputations of several characters: Iago's malicious comments to Montano about Cassio causes doubt about his leadership ability; his intimations about Othello's abuse of Desdemona sullies Othello's reputation as a person of honour and integrity; Desdemona's virtue is turned into 'pitch' by Iago's insinuations that she is promiscuous and adulterous.

Iago is also determined to seek revenge on Cassio of whom he is jealous. Cassio's honour is destroyed by Iago's exploitation of Cassio's weakness for drinking and leads to his dismissal as Othello's lieutenant. However, this damage to Cassio's reputation is short-lived as he is appointed governor of Cyprus at the end of the play.

Brabantio's desire for revenge against Othello for 'bewitching' his daughter, and his refusal to accept their marriage, lead to the destruction of his relationship with Desdemona, whom he cruelly rejects, as well as his own death of a broken heart.

Roderigo's malicious behaviour in informing Brabantio about Desdemona's elopement might also be seen as an act of revenge against Brabantio who has rejected his courtship of Desdemona.

Once Othello is convinced of his wife's affair, he is overwhelmed by jealousy and becomes intent on revenge. He plots Cassio's and Desdemona's downfall with Iago and makes an unholy pact with him to kill them.

Othello's actions cause the destruction of his happiness and his marriage.

Othello's behaviour toward Desdemona becomes increasingly vindictive and he cruelly treats her as a prostitute, strikes her in a fit of jealousy and ultimately murders her. When he discovers that he has wronged Desdemona, Othello destroys himself. [Credit valid alternative/mixed responses.] [25]

QUESTION 13: OTHELLO – CONTEXTUAL QUESTION
13.1 The Turkish attack on Cyprus has been averted thanks to the terrible storm that has destroyed the Turkish fleet. Othello and the other characters have safely arrived in Cyprus. A celebration of their victory over the Turks, as well as a celebration of Desdemona and Othello's marriage, is to be held. Othello has instructed Cassio, as his second-in-command, to take charge of the watch as the people are still fearful/uneasy after the Turkish invasion.
[Award 3 marks for any three distinct points.] (3)
13.2 Cassio's words in these lines convey his respect and admiration for Desdemona. He has a high opinion of her morals and it is clear he holds her in high esteem. While he admires her beauty, he does not regard her in a sexual light.
Iago however, is clearly disrespectful and his use of gross sexual innuendo indicates that he views her as promiscuous/wanton. His comments about her are crude and vulgar.
[Award 3 marks only if the contrasting attitudes are discussed.] (3)
13.3 Iago's jealousy of Cassio and his dissatisfaction with Othello's appointment of Cassio as his lieutenant, have sparked his desire to bring about Cassio's downfall. Iago is opportunistic and is quick to grasp that he will be able to use Cassio's susceptibility to alcohol in his plan of revenge against Othello. He intends to get Cassio drunk to cause disorder in Cyprus. He hopes that it might lead to Cassio's dismissal, as well as destroy Othello's trust in Cassio. [Award 3 marks for any two ideas well discussed.] (3)
13.4 Cassio is clearly aware of the consequences of his becoming drunk. He knows his limits and acknowledges that he has already drunk one cup of wine. Yet he allows himself to be persuaded by Iago's comment implying that he will be seen as a spoil-sport if he refrains from drinking with the 'gallants' of Cyprus and that he might offend them. Cassio loses sight of the fact that Othello has put him in charge of the watch and has also warned him to practise restraint. He completely forgets his duty and the position of responsibility he holds as lieutenant.
Cassio regards Iago as a trusted friend and has no reason to suspect his intentions toward him. He therefore puts aside his misgivings about drinking more than one cup of wine, and gives in to Iago's insistence that he celebrate Othello's marriage with the young men of Cyprus.
[Award 3 marks for any two ideas discussed critically.] (3)
13.5 YES.
Desdemona's kind and generous nature is evident in these lines. Her sensitivity and compassion cause her to empathise with Cassio's suffering. She sees and believes the best in others. She has pledged her help in getting Cassio reinstated and wastes no time in approaching Othello.
At the beginning of the play Othello mentions that while Desdemona is first drawn to his exotic stories, she soon wants to know more about his life. Her compassion and empathy for Othello because of the suffering he has endured are what spark the love between them and she shows great determination in her wooing of him.
[A cogent 'No' response is unlikely. However, treat all responses on their merits.]
[Award 3 marks for any two ideas well discussed.] (3)
13.6 Desdemona might stand close to Othello and put her hand on Othello's chest/arm while looking up into his face/smiling at him while speaking to him. Her tone might be assertive/demanding/cajoling/pleading/nagging/badgering as she tries to get Othello to commit to a meeting with Cassio. She is determined to fulfil her promise to Cassio to have him reinstated.
[Accept valid alternative responses.]
[The candidate's response should be convincing in context.]
[Award 3 marks only if the candidate refers to body language and tone, and includes a justification.] (3)
13.7 Othello professes that he will grant Desdemona any request because of his love for her. However, he refuses to reinstate Cassio as she implores him to do and he plots to murder Cassio./It is also ironic that while he expresses his love for her here, he later refuses her the opportunity to defend herself against his accusations and becomes abusive, ultimately killing her.
[Award 3 marks only if irony is well discussed.] (3)
13.8 Othello states that his love for Desdemona is all consuming, and that should he stop loving her, his world will fall into a state of chaos and he will be damned. He also implies that the entire universe will revert to a state of disorder.
When Othello is persuaded by Iago that Desdemona is unfaithful, he repudiates his love for her. His state of harmony is destroyed and his mind is in chaos. Desdemona has become so integral to his life that without his love for her, even his 'occupation' becomes pointless. His excessive jealousy and desire for vengeance overwhelm him and all else becomes meaningless. His actions result in the destruction of his world and in his death.
[Accept valid alternative/mixed responses.]
[Award 4 marks for any two ideas discussed critically.] (4)
[25]

THE CRUCIBLE – Arthur Miller
QUESTION 14: THE CRUCIBLE – ESSAY QUESTION

• Below is the basis for answering this essay. Use the following as a guideline only. However, also allow for answers that are different, original and show evidence of critical thought and interpretation.
• A range of examples should be used by the candidates to support their arguments.
• Refer to page 26 for the rubric to assess this question.

• The witch trials provide the villagers with the opportunity to exact revenge for perceived wrongs. The villagers feel perfectly justified in accusing others of witchcraft to satisfy their selfish ends and they experience no remorse for their malicious actions.
• Abigail uses Tituba to cast a spell to rid herself of Elizabeth whom she claims has blackened her name in the village. Abigail is envious of Elizabeth and uses the trials to destroy her. Abigail also believes that she will resume her affair with Proctor. Her plotting results in Elizabeth's arrest and Proctor's execution.
• Abigail threatens to exact revenge on the girls if they do not maintain the sham of their accusations. This results in the paranoia/hysteria which almost destroys Salem.
• When Mary is forced by Proctor to expose Abigail, Abigail and the girls turn on her. A terrified Mary retaliates by accusing Proctor of being in cahoots with the devil, leading to Proctor's arrest and execution.
• Putnam's vindictiveness causes him to seek retribution for his brother-in-law's not being appointed minister of Salem. Putnam uses his daughter to accuse George Jacobs of witchery to acquire his land.
• Mrs Putnam needs a scapegoat for the deaths of her babies and is eager to look for supernatural causes. Her desire for retribution results in Rebecca Nurse's arrest and hanging.
• When people disagree with or criticise Parris, he regards it as a personal insult. Once the witchcraft accusations have diverted attention from the girls and thus from him, he feels secure in his position and exploits the situation to retaliate against Proctor and Giles Corey for their criticism. Parris is spiteful when he raises questions about Proctor's commitment to the Church.
• The vindictiveness of the courts results in Giles Corey's arrest; he dies a senseless death to save his land for his family.
• Because of Danforth's and Hathorne's pride in their status as judges, they refuse to admit that they have made mistakes. This allows people to continue to exploit the justice system to satisfy their greed and exact revenge on their supposed enemies. The list of innocent victims continues to grow.
• The courts are used by the villagers to accuse and condemn enemies; they exploit the legal system to exact revenge, not justice.
• While Hale does not support revenge, his arrogance enables the accusations and vindictiveness to spiral out of control.
• Proctor's determination to hide his affair to protect his reputation means that he does not expose Abigail when she tells him that their activities in the wood had nothing to do with witchcraft.
• Even after the trials the dire consequences of vengeance are apparent: orphans roaming the streets; farms and livestock being neglected.
  [Credit valid alternative responses.]
  [25]
  

QUESTION 15: THE CRUCIBLE – CONTEXTUAL
15.1 Rebecca Nurse is widely known for her piety and charity. She is one of the most respected citizens of Salem. Her being mentioned indicates the extent to which the witch trials have spun out of control. The accusation that Rebecca is implicated in witchcraft emphasises the injustice of the trials which are exploited for ulterior motives.
[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
15.2 Puritans are expected to attend church faithfully and live pious lives. Proctor's poor attendance suggests a lack of faith and makes him a target for accusations of consorting with the devil. Hale is testing Proctor's commitment to the Church. Hale has been provided with this information by Parris who wants to cast doubt on Proctor's criticism of him.
[Award 3 marks for any two ideas well discussed OR three ideas.] (3)
15.3 The Puritans in Salem are a strictly patriarchal society – women have little social standing and men are regarded as superior. The addressing of Elizabeth as, 'Woman' is demeaning and impersonal. It does not recognise Elizabeth's individuality and it reminds her of her inferior position which dictates that she acquiesces to the authority, demands and expectations of men.
[Award 3 marks for any two ideas well discussed.] (3)
15.4 Initially Hale is firmly convinced that witchcraft exists in Salem based on the evidence that he has been given by the girls. However, it later becomes clear to him that the trials are based purely on the girls' false accusations. This raises his doubts as to the existence of witches in Salem. Hale denounces the court when they refuse to listen to his appeal for leniency; it is now clear that his attitude has changed.
[Award 3 marks only if the shift in attitude is well discussed.] (3)
15.5 Proctor has come to court to expose Abigail as a fraud and save Elizabeth. He has just confessed to adultery and Elizabeth has been called in to verify Proctor's accusation against Abigail. Elizabeth has lied to protect her husband's reputation.
[Award 3 marks for any three distinct points.] (3)
15.6 The line suggests that Danforth regards Abigail as innocent and vulnerable. Because of her apparent inexperience, Danforth believes Abigail to be honest and untainted, incapable of deceit. He considers her to be trustworthy and has faith in her ability to identify witches. Danforth assumes a fatherly role toward her because he believes that Abigail needs to be protected from Proctor's and Hale's accusations. Danforth however, is unaware of Abigail's duplicity and has been duped by her innocent façade.
[Award 3 marks for any two ideas discussed critically.] (3)
15.7 Hale might pace up and down/point his finger/raise his hands to heaven/clasp his hands in prayer/bang on a table. Hale's tone might be desperate/ supplicating/pleading/fearful/assertive since he is afraid of the consequences for Elizabeth and Proctor; he is anxious to make Danforth see the truth. Hale is desperate to save Proctor and Elizabeth and does his utmost to defend them.
[Accept valid alternative responses.]
[The candidate's response should be convincing in context.]
[Award 3 marks only if the candidate refers to body language and tone, and includes a justification.] (3)
15.8 Many of the villagers in Salem exploit the trials to satisfy their desire for vengeance. The villagers harbour grudges and retaliate against their perceived enemies. Abigail wants to destroy Elizabeth because she has blackened her name in the village; Abigail also hopes to resume her affair with Proctor. Mrs Putnam is unable to accept the deaths of her babies and needs a scapegoat. In an act of reprisal, she accuses Rebecca Nurse of the supernatural murder of her children. Mr Putnam is aggrieved by Parris's appointment as minister of Salem. He exploits the trials to gain more land and exact retribution from those he regards as having offended him. Parris resents being criticised and seizes the opportunity to strike out against Corey and Proctor, his main critics. Parris is also vindictive when he raises questions about Proctor's commitment to the Church.
Candidates might argue that greed and power are also factors that contribute to the upheaval in Salem.
[Accept valid alternative/mixed responses.]
[Award 4 marks for any two ideas discussed critically.] (4)
[25]
TOTAL SECTION C: 25
GRAND TOTAL: 80

SECTION A: Assessment rubric for literary essay: Poetry (10 Marks)

SECTION B AND C: Assessment rubric for literary essay – Novel and Drama: (25)