GCE A2 LEVEL Exemplifying Examination Performance English Literature

Size: px

Start display at page:

Download "GCE A2 LEVEL Exemplifying Examination Performance English Literature"

Blaise Kennedy
6 years ago
Views:

1 GCE A2 LEVEL Exemplifying Examination Performance English Literature For first teaching from September 2008 This is an exemplification of candidates performance in A2 examinations (Summer Series 2010) to support the teaching and learning of the English Literature specification A2 1: Pope: The Rape of the Lock

2 2 CCEA EXEMPLIFYING EXAMINATION PERFORMANCE

3 EXEMPLIFYING EXAMINATION PERFORMANCE A2 English Literature Introduction These materials illustrate aspects of performance from the 2010 summer A2 examination series of CCEA s revised GCE Specification in English Literature. Students grade A responses are reproduced as written in the examination. They are accompanied by commentaries written by senior examiners. The commentaries draw attention to the strengths of the students responses and indicate, where appropriate, how improvements could be made. The materials exemplify the standard for the lifetime of the specification. It is intended that they should provide a benchmark of candidate performance and help teachers and students to raise standards. The texts included for exemplification are dependent on the questions chosen by candidates in the summer 2010 examination series. For further details of our support package, please visit our website at Best wishes Majella Corrigan Education Manager, English Language, English Literature and English mcorrigan@ccea.org.uk Telephone: (ext. 2200) CCEA EXEMPLIFYING EXAMINATION PERFORMANCE 3

4 4 CCEA EXEMPLIFYING EXAMINATION PERFORMANCE

5 A2 1 (AL211/1): Section A: The Study of Poetry Pope: The Rape of the Lock CCEA EXEMPLIFYING EXAMINATION PERFORMANCE 5

6 6 CCEA EXEMPLIFYING EXAMINATION PERFORMANCE

7 A2 Unit 1 English Literature Q3a By referring closely to extract 3(a), printed in the accompanying Resource Booklet, and other appropriately selected parts of the text, and making use of relevant external contextual material on the nature of the mock-epic form, examine the poetic methods which Pope uses to present trivial things as might contests. Student s response The Rape of the Lock was written by Alexander Pope to bring together two feuding families. After the yound Lord Petre cut off a lock of Arabella Fermor s hair and the two families fell out, John Caryll commissioned Pope to write a poem making light of the subject as he himself believed that The taking of Miss Bell Fermor s hair was taken too seriously. So, Pope decided to write the poem in mock-epic style, echoing many classic Greek epics such as The Odyssey and The Aenied. Therefore the poem followed a high, epic, style that served to ridicule the subject rather than dignify it. This also resulted in the poem containing many epic parallels with Greek classics. Pope presents many trivial things as epic tasks worthy of great heroes, for example; Umbriel s descent into the cave of spleen is similar to Odysseus descent into the underworld, and the boat ride along the Thames echoes Aeneas journey across the sea between Troy and Rome. In the extract the first thing to stand out is the language used. What is simply Belinda awakening from her night s sleep is presented as an important, otherworldly event. Even in the first line, the contrast between dire and am rous sets this out as an incredibly serious matter. The word mighty is used twice to emphasise the importance of what is to come. Belinda herself is described as a Goddess, wellbred and gentle, placing her on a pedastal straight away as if she were a Goddess. He then goes onto describe her as A Youth more glitt ring than a Birth-night Beau and also as the Fairest of Mortals setting Belinda out against the crowd, despite admitting; Slight is the subject. His obvious disdain for Belinda is apparent by his mocking tone, however to bring the two families together Pope needed to be incredibly complimentary. The lexis used is clearly influenced by Greek epics, as the word Thrice (common in many epics) is applied to the ringing of a bell. Also, Pope mentions Elves and moonlight shadows and even Angel Powers elevating this seemingly trivial and unimportant feud by placing it alongside mystical beings. More of this otherworldliness by mentioning heav nly flow rs and bright inhabitants to present trivial things with magnificent beauty. Even the colours that are described in the extract, silver, golden, and white elevate this beyond the norm by describing everything so grandly. There are countless dynamic verbs used throughout the extract as well, e.g. assault, reject, shot and knock d sound exciting and meaningful. Even the adverbs used, rousing shake make it sound epic. Pope uses many phrases to draw attention to the triviality, often using punctuation to emphasise them, e.g. Hear and believe! and I sing- This verse to Caryll, Muse! both sound like they are from a typical Greek epic. Some sentences contrast within themselves, e.g. And in soft bosoms dwells such mighty Rage - in this soft bosoms contrasts drastically with mighty rage that serves to mock the event. Even in this extract alone, Pope has alluded to epic conventions. Firstly the invocation of a muse and a dedication to a man, John Caryll, which seems ridiculous considering the subject is hardly epic. He then goes on to introduce the sylphs which serve as the divine machinery throughout the poem. However, rather than influence the fates (which is what Zeus or Athena would have done) they instead tend to altogether more trivial things such as prolonging Belinda s rest and later in the novel guarding her petticoat. This only further serves to magnify the inferiority of Belinda and the theft of her lock. Throughout the rest of the novel, the language is largely the same. When they are traveling along the Thames (which is presented as an epic voyage) they catch a glimpse of Hampton Court which is described as having Golden flow rs, rising tow rs and a majestic frame, a huge exaggeration. CCEA EXEMPLIFYING EXAMINATION PERFORMANCE 7

8 A2 Unit 1 English Literature Also Pope further mocks Belinda and her triviality when he alludes to her getting dressed as the hero preparing for battle. In this canto she is described as a Goddess while her aid is th inferior priestess and even states that Belinda has a heav nly image. This religious semantic field only further ridicules her as her toilet is hardly important or mighty. Throughout the novel, Pope also includes a sense of forboding ( With beating hearts the dire events they wait/ Anxious and trembling for the birth of fate ) up until the rape of the lock. Until then, Pope s poem contains yet more epic parallels, firstly in the form of the Baron s sacrifice to the gods and secondly during the card game ombre. The sacrifice alludes to the fact that the hero would sacrifice something to earn favour from the Gods. However, while Odysseus sacrifices a large ram, the Baron sacrifices tokens of his former loves in the form of clips and billet doux. The card game is presented as an epic battle with verbs such as springs fourth, mourn d, lurk d and leaps with vengeance used. Towards the end the Baron even Falls like thunder on the prostrate Ace. All of this importance placed on a card game only makes it seem ridiculous rather than the epic trial it is meant to be. The cutting of the lock itself is hugely exaggerated with Pope describing it as if the Baron were trying to take Belinda s like Thrice the foe drew near and thrice she look d back. The word is thrice used once again in highlight the triviality of the whole thing. Belinda s despair afterwards is immesurable, and she wildly overreacts, leaving a gnome called Umbriel to have to visit the cave of spleen, alluding to the heroes descent to the underworld. Even the ghostly description of the cave of spleen is vastly high is style; Pale spectres, gaping tombs and purple fires. Towards the end of the poem we are faced with the battle of the sexes, alluding to the epic battle fought at the end of many Greek classics. The language is highly exaggerated with men collapsing or reviving depending on the women s frowns or smiles, mocking both men and women alike and presenting the whole battle as nothing but a foolish spectacle. Finally at the end of the play it is revealed that the Baron has lost the lock but that it has into a star, for everyone to see. Pope shows his utter disdain by presenting her lock as a magical, epic object that deserves to be seen by everyone, completing ridiculing her and the theft of the lock. Examiner s Comments AO4: Detailed and extensive relevant external contextual information e.g. epic parallels to events in poem; epic conventions; purposes to which mock heroic genre can be put. Contextual information enhances argument relating to key terms. AO2: Good range of methods (e.g. use of contrast, repetition, diction, foreshadowing) linked with presentation of trivial things as mighty contests. AO1: Good textual knowledge. Maintains balance between consideration of extract and wider text. Suggestions for development: A more sustained analysis of methods on occasion would have benefited the answer. 8 CCEA EXEMPLIFYING EXAMINATION PERFORMANCE

Alexander Pope s Biography (Painting of Pope, c. 1727)

Alexander Pope s Biography (Painting of Pope, c. 1727) Alexander Pope s Biography 1688-1744 (Painting of Pope, c. 1727) Chronology 1700 (age 12): living with retired father on small estate in Windsor Forest. Much reading and writing (perhaps especially because