EXAMINATIONS COUNCIL OF SWAZILAND in collaboration with UNIVERSITY OF CAMBRIDGE LOCAL EXAMINATIONS SYNDICATE Swaziland General Certificate of Secondary Education * 9 4434 8388* LITERATURE IN ENGLISH 687/01 Paper 1 (Closed Books) October/November 20 Additional Materials: READ THESE INSTRUCTIONS FIRST Answer Booklet/Paper As listed in Instructions to Supervisors If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. Do not use staples, paper clips, highlighters, glue or correction fluid. 2 hours 1 minutes Answer three questions: one question from Section A (Drama), one question from Section B (Poetry) and one question from Section C (Prose). At least one of these must be a passage-based question (marked*) and at least one must be an essay/ empathic question. At the end of the examination, fasten all your work securely together. All questions in this paper carry equal marks. This document consists of 14 printed pages and 2 blank pages. DC (CW) 19794/3 [Turn over
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3 CONTENTS Texts Question Page(s) Numbers Section A: Drama William Shakespeare Macbeth *1, 2, 3 4 William Shakespeare Romeo and Juliet *4,, 6 6 Athol Fugard Master Harold and the Boys *7, 8, 9 8 9 Section B: Poetry Jack Hydes (ed.) Touched with Fire: Section A: *, 11, 12 11 Footprints in the Dew Brian Walter and Groundwork: An Introduction to *13, 14, 1 12 Felicity Wood Reading and Writing about poetry William Shakespeare Sonnets *16, 17, 18 13 Section C: Prose Lucy Z. Dlamini The Amaryllis *19, 20, 21 14 Williams Golding Lord of the Flies *22, 23, 24 1 Barrie Wade, ed. Into the Wind: Contemporary *2, 26, 27 16 Stories in English [Turn over
4 SECTION A: DRAMA Answer one question from this section. WILLIAM SHAKESPEARE: Macbeth Either *1 Lady Macbeth: Lady Macbeth: Gentlewoman: Lady Macbeth: Gentlewoman: Gentlewoman: Lady Macbeth: Lady Macbeth: Gentlewoman: Gentlewoman: Hark, she speaks. I will set down what comes from her, to satisfy my remembrance the more strongly. Out, damned spot! out, I say! One, two; why then tis time to do t. Hell is murky. Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our pow r to account? Yet who would have thought the old man to have had so much blood in him? Do you mark that? The Thane of Fife had a wife; where is she now? What, will these hands ne er be clean? No more o that, my Lord, no more o that; you mar all with this starting. Go to, go to; you have known what you should not. She has spoke what she should not, I am sure of that. Heaven knows what she has known. Here s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! What a sigh is there! The heart is sorely charg d. I would not have such a heart in my bosom for the dignity of the whole body. Well, well, well. Pray God it be, sir. This disease is beyond my practice. Yet I have known those which have walk d in their sleep who have died holily in their beds. Wash your hands, put on your nightgown, look not so pale. I tell you yet again, Banquo s buried; he cannot come out on s grave. Even so? To bed, to bed; there s knocking at the gate: Come, come, come, come, give me your hand. What s done cannot be undone. To bed, to bed, to bed. Exit Lady Macbeth Will she go now to bed? Directly. Foul whisp rings are abroad. Unnatural deeds Do breed unnatural troubles; infected minds To their deaf pillows will discharge their secrets. More needs she the divine than the physician. God, God forgive us all. Look after her; Remove from her the means of all annoyance, And still keep eyes upon her. So, good night. My mind she has mated, and amaz d my sight. I think, but dare not speak. Goodnight, good doctor. 1 20 2 30 3 40
In the extract, the Doctor says of Lady Macbeth, More needs she the divine than the physician. Making close reference to the extract, show how far you agree with the doctor s words. Or 2 In your view how successfully does Macbeth follow his wife s advice to Look like the innocent flower but be the serpent under it? Or 3 You are Lady Macbeth overhearing Macduff ask your husband Wherefore did you so? (kill Duncan s guards) immediately after Duncan s death is discovered. Write your thoughts. [Turn over
6 WILLIAM SHAKESPEARE: Romeo and Juliet Either *4 Juliet: Nurse: Juliet: Nurse: Juliet: Nurse: Juliet: O, I have bought the mansion of a love, But not possess d it; and though I am sold, Not yet enjoy d. So tedious is this day As is the night before some festival To an impatient child that hath new robes, And may not wear them. O, here comes my nurse, Enter Nurse with cords And she brings news; and every tongue that speaks But Romeo s name speaks heavenly eloquence. Now, nurse, what news? What hast thou there? The cords That Romeo bid thee fetch? Ay, ay, the cords. [Throws them down. Ay, me! what news? Why dost thou wring thy hands? Ah, well-a-day! he s dead, he s dead, he s dead. We are undone, lady, we are undone. Alack the day! he s gone, he s kill d, he s dead. Can heaven be so envious? Romeo can, Though heaven cannot. O Romeo, Romeo! Who ever would have thought it? Romeo! What devil art thou that dost torment me thus? This torture should be roar d in dismal hell. Hath Romeo slain himself? Say thou but I, And that bare vowel I shall poison more Than the death-darting eye of cockatrice. I am not I if there be such an I ; Or those eyes shut that make thee answer I. If he be slain, say I ; or if not, No ; Brief sounds determine of my weal or woe. Nurse: I saw the wound, I saw it with mine eyes God save the mark! here on his manly breast. A piteous corse, a bloody piteous corse; Pale, pale as ashes, all bedaub d in blood, All in gore-blood. I swounded at the sight. 1 20 2 30 3 How far, and in what ways, does this extract make you sympathise with the two characters, Juliet and the Nurse? Or Young men s love lies not truly in their hearts, but in their eyes. From your reading of the play, how far do you agree with Friar Lawrence s remark to Romeo? Or 6 You are Tybalt, having just killed Mercutio. Write your thoughts.
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8 ATHOL FUGARD: Master Harold and the Boys Either *7 Sam: Hally: Sam: [His violence ebbing away into defeat as quickly as it flooded.] You re right. So go on, then: groan again, Willie. You do it better than me. [To Hally.] You don t know all of what you ve just done Master Harold. It s not just that you ve made me feel dirtier than I ve ever been in my life I mean, how do I wash off yours and your father s filth? I ve also failed. A long time ago I promised myself I was going to try and do something, but you ve just shown me Master Harold that I ve failed. [Pause] I ve also got a memory of a little white boy when he was still wearing short trousers, and a black man, but they re not flying a kite. It was the old Jubilee days, after dinner one night. I was in my room. You came in and just stood against the wall, looking down at the ground, and only after I d asked you what you wanted, what was wrong, I don t know how many times, did you speak and even then so softly I almost didn t hear you. Sam, please help me to go and fetch my Dad. Remember? He was dead drunk on the floor of the Central Hotel Bar. They d phoned for your Mom, but you were the only one at home. And do you remember how we did it? You went in first by yourself to ask permission for me to go into the bar. Then I loaded him on to my back like a baby and carried him back to the boarding house with you following behind carrying his crutches. [Shaking his head as he remembers.] A crowded Main Street with all the people watching a little white boy following his drunk father on a kaffir s back! I felt for that little boy Master Harold. I felt for him. After that we still had to clean him up, remember? He d messed in his trousers, so we had to clean him up and get him into bed. [Great pain.] I love him, Sam. I know you do. That s why I tried to stop you from saying these things about him. It would have been so simple if you could have just despised him for being a weak man. But he s your father. You love him and you re ashamed of him. You re ashamed of so much! And now that s going to include yourself. That was the promise I made to myself: to try and stop that happening. [Pause.] After we got him to bed you came back with me to my room and sat in a corner and carried on just looking down at the ground. And for days after that! You hadn t done anything wrong, but you went around as if you owed the world an apology for being alive. I didn t like seeing that! That s not the way a boy grows up to be a man! But the one person who should have been teaching you what that means was the cause of your shame. If you really want to know, that is why I made you that kite. I wanted you to look up, be proud of something, of yourself [Bitter smile at the memory] and you certainly were that when I left you with it up there on the hill. Oh, ja something else! if you ever do write it as a short story, there was a twist in our ending. I couldn t sit down there and stay with you. It was a Whites Only bench. You were too young, too excited to notice then. But not anymore. If you re not careful Master Harold you re going to be sitting up there by yourself for a long time to come, and there won t be a kite in the sky. [Sam has got nothing more to say. He exits into the kitchen, taking off his waiter s jacket.] 1 20 2 30 3 40 4 What makes this moment in the play so moving and important for you?
9 Or 8 Explore any two moments that you have found amusing in Master Harold and the Boys. Refer closely to the text to support your answer. Or 9 You are Hally, just after Sam and Willie have explained to you the beauty of ballroom dancing, and you are about to write your essay entitled A world without collisions. Write your thoughts. [Turn over
SECTION B: POETRY Answer one question from this section. JACK HYDES, ed.: Touched with Fire. Section A: Footprints in the Dew Either * Telephone Conversation The price seemed reasonable, location Indifferent. The landlady swore she lived Off premises. Nothing remained But self-confession. Madam, I warned, I hate a wasted journey I am African. Silence. Silenced transmission of Pressurized good-breeding. Voice, when it came, Lipstick coated, long gold-rolled Cigarette-holder pipped. Caught I was, foully. HOW DARK? I had not misheard ARE YOU LIGHT OR VERY DARK? Button B. Button A. Stench Of rancid breath of public hide-and-speak. Red booth. Red pillar-box. Red double-tiered Omnibus squelching tar. It was real! Shamed By ill-mannered silence, surrender Pushed dumbfoundment to beg simplification. Considerate she was, varying the emphasis ARE YOU DARK? OR VERY LIGHT? Revelation came. You mean like plain or milk chocolate? Her assent was clinical, crushing in its light Impersonality. Rapidly, wave-length adjusted, I chose. West African sepia and as afterthought, Down in my passport. Silence for spectroscopic Flight of fancy, till truthfulness clanged her accent Hard on the mouthpiece. WHAT S THAT? conceding DON T KNOW WHAT THAT IS. Like brunette. THAT S DARK, ISN T IT? Not altogether. Facially, I am brunette, but, madam, you should see The rest of me. Palm of my hand, soles of my feet Are a peroxide blond. Friction, caused Foolishly, madam by sitting down, has turned my bottom raven black One moment, madam! sensing Her receiver rearing on the thunderclap About my ears Madam, I pleaded, wouldn t you rather See for yourself? 1 20 2 30 3 (by Wole Soyinka) How does Wole Soyinka use humour in this poem to deal with a serious subject?
11 Or 11 Ozymandias by P.B. Shelley and Cold in the Earth by Emily Brontë are both poetic reflections on death. How have these two poems influenced your thoughts and feelings about death? Remember to refer closely to the words and phrases of both poems in your response. Or 12 Poems have the ability to change our lives. Choose two poems that you have studied and say how and why they have particularly impressed and affected you. (You must not use Telephone Conversation in your response.) [Turn over
12 BRIAN WALTER and FELICITY WOOD: Groundwork Either *13 Sonnet 18 Shall I compare thee to a summer s day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer s lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance or nature s changing course untrimm d. But thy eternal summer shall not fade, Nor lose possession of that fair thou ow st; Nor shall Death brag thou wand rest in his shade, When in eternal lines to time thou grow st. So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. (by William Shakespeare) What makes this such a memorable poem for you? Support your answer by close reference to the words and phrases in the sonnet. Or 14 Good poetry always has the power to move readers. Explore two poems in your selection that have moved you, and explain how and why you were so affected by them. (You must not use Sonnet 18 in your response.) Or 1 How do David Rubadiri in An African Thunderstorm and Olive Schreiner in The Morning Sun is Shining memorably portray the weather of Africa and its effects upon human life?
13 WILLIAM SHAKESPEARE: Sonnets Either *16 Sonnet 2 When forty winters shall besiege thy brow, And dig deep trenches in thy beauty s field, Thy youth s proud livery, so gaz d on now, Will be a tatter d weed of small worth held. Then being ask d where all thy beauty lies, Where all the treasure of thy lusty days, To say, within thine own deep-sunken eyes Were an all-eating shame and thriftless praise. How much more praise deserv d thy beauty s use, If thou couldst answer This fair child of mine Shall sum my count, and make my old excuse Proving his beauty by succession thine! This were to be new made when thou art old, And see thy blood warm when thou feel st it cold. In this sonnet Shakespeare says time will dig deep trenches in thy beauty s field. Explore how he develops this idea in the sonnet, but offers some consolation. Or 17 Explore two sonnets that you have studied that particularly appeal to you and say why you liked them. (You must not use Sonnet 2 in your response.) Or 18 Sometimes love is not a pleasant experience. Explore Shakespeare s use of this idea with close reference to Sonnet 141 (In faith, I do not love thee ) and Sonnet 147 (My love is as a fever ). [Turn over
14 SECTION C: PROSE Answer one question from this section. LUCY Z. DLAMINI: The Amaryllis Either *19 I bowed to Reuben s pressure for us to linger out doors and talk. As we moved towards the outside of the cafeteria so we could sit on the concrete block, I espied couples here and there sauntering, with their arms locked around each other. Tana, began Reuben as he took hold of my hand, you know how I feel about you, and, from your own behaviour so far, I m encouraged to believe that at least you don t dislike me. Am I wrong, Tana? No, Reuben, you are not wrong, I heard myself responding. Say the words then, Tana. Let me hear you pronounce the magic words. Tell me clearly, that you love me, and that you always will. I love you, Reuben. And you will always love me? Say that too, Tana. As for that part, I said, remembering the happenings of the evening, it will depend on whether or not we agree on certain vital issues. Such as? Well, Reuben, I began, searching for the right words, let me just say I m glad it s you I have fallen in love with and not those other guys. I m glad too, Tana, oh, ecstatically glad, let me tell you! You re the most beautiful girl I ve ever set my eyes upon. At the same time though, he added as he freed my hand in order to support himself as he shifted backwards to make himself more comfortable, let me hear why you would rather have me than those other guys. Those other guys don t seem to know what love is, Reuben. For instance, I continued as I took the initiative to take his hand, which I then held in both of mine, we ve been at this campus hardly three weeks and some of these relationships have already been consummated. Indeed, if rumours are correct, I persisted, remembering Muzi, Patience and Sylvia and the rest of them, some people are already in their second or third relationships, all consummated already. What is all this rush for? Is it love or beastliness? Which means the Rector s advice went in through one ear and out of the other, I said as I gestured first to my right ear, which happened to be the one nearer Reuben, and then to my left. Oh There was an interval of silence during which I became conscious of the discordant shrill of seemingly millions of tiny insects. I could also see one or two couples still about. 1 20 2 30 Explore how the writer creates tension in this passage. Or 20 How far and in what ways does Dlamini encourage you to sympathise with Sylvia in the novel? Be sure to refer closely to the text in your response. Or 21 You are Tana and have just seen your O Level results. Write your thoughts.
1 WILLIAM GOLDING: Lord of the Flies Either *22 Where s the man with the trumpet? Ralph, sensing his sun-blindness, answered him. There s no man with a trumpet. Only me. The boy came close and peered down at Ralph, screwing up his face as he did so. What he saw of the fair-haired boy with the creamy shell on his knees did not seem to satisfy him. He turned quickly, his black cloak circling. Isn t there a ship, then? Inside the floating cloak he was tall, thin and bony: and his hair was red beneath the black cap. His face was crumpled and freckled, and ugly without silliness. Out of this face stared two light blue eyes, frustrated now, and turning, or ready to turn, to anger. Isn t there a man here? Ralph spoke to his back. No, we re having a meeting. Come and join in. The group of cloaked boys began to scatter from close line. The tall boy shouted at them. Choir! Stand still! Wearily obedient, the choir huddled into line and stood there swaying in the sun. None the less, some began to protest faintly. But, Merridew. Please, Merridew can t we? Then one of the boys flopped on his face in the sand and the line broke up. They heaved the fallen boy to the platform and let him lie. Merridew, his eyes staring, made the best of a bad job. All right then. Sit down. Let him alone. But Merridew. He s always throwing a faint, said Merridew. He did in Gib.; and Addis; and at matins over the precentor. This last piece of shop brought sniggers from the choir, who perched like black birds on the criss-cross trunks and examined Ralph with interest. Piggy asked no names. He was intimidated by this uniformed superiority and the offhand authority in Merridew s voice. He shrank to the other side of Ralph and busied himself with his glasses. Merridew turned to Ralph. Aren t there any grown-ups? No. Merridew sat down on a trunk and looked round the circle. Then we ll have to look after ourselves. Secure on the other side of Ralph, Piggy spoke timidly. That s why Ralph made a meeting. So as we can decide what to do. We ve heard names. That s Johnny. Those two they re twins, Sam n Eric. Which is Eric? You? No you re Sam 1 20 2 30 3 In what ways do you find this passage both amusing and worrying? Or 23 The boys in the novel are victims of their own fears and insecurities. How far do you agree with this statement? Refer closely to the novel in support of your response. Or 24 You are Ralph, in the company of Sam and Eric, on your way to get back Piggy s glasses from Jack s tribe. Write your thoughts. [Turn over
16 BARRIE WADE, ed.: Into the Wind: Contemporary Stories in English Either *2 The policeman got off his motorcycle and leaned the machine sideways on to its prop stand. Then he took off his gloves and placed them carefully on the seat. He was in no hurry now. He had us where he wanted us and he knew it. This is real trouble, I said. I don t like it one bit. Don t talk to im any more than is necessary, you understand, my companion said. Just sit tight and keep mum. Like an executioner approaching his victim, the policeman came strolling slowly towards us. He was a big meaty man with a belly, and his blue breeches were skintight around his enormous thighs. His goggles were pulled up on to the helmet, showing a smouldering red face with wide cheeks. We sat there like guilty schoolboys, waiting for him to arrive. Watch out for this man, my passenger whispered. Ee looks mean as the devil. The policeman came round to my open window and placed one meaty hand on the sill. What s the hurry? he said. No hurry, officer, I answered. Perhaps there s a woman in the back having a baby and you re rushing her to hospital? Is that it? No, officer. Or perhaps your house is on fire and you re dashing home to rescue the family from upstairs? His voice was dangerously soft and mocking. My house isn t on fire, officer. In that case, he said, you ve got yourself into a nasty mess, haven t you? Do you know what the speed limit is in this country? Seventy, I said. And do you mind telling me exactly what speed you were doing just now? I shrugged and didn t say anything. When he spoke next, he raised his voice so loud that I jumped. One hundred and twenty miles per hour! he barked. That s fifty miles an hour over the limit! He turned his head and spat out a big gob of spit. It landed on the wing of my car and started sliding down over my beautiful blue paint. Then he turned back again and stared hard at my passenger. And who are you? he asked sharply. He s a hitch-hiker, I said. I m giving him a lift. I didn t ask you, he said. I asked him. Ave I done somethin wrong? my passenger asked. His voice was soft and oily as haircream. That s more than likely, the policeman answered. Anyway, you re a witness. I ll deal with you in a minute. Driving licence, he snapped, holding out his hand. I gave him my driving licence. 1 20 2 30 3 Explore how this passage from The Hitch-hiker by Roald Dahl creates suspense and anxiety. Or 26 Explore how one of the following characters undergoes a transformation: The white man in A Man Called Horse (by Dorothy M. Johnson) Molly in Samphire (by Patrick O Brian). Or 27 You are the sniper at the very end of the story The Sniper by Liam O Flaherty. Write your thoughts. Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (ECOS) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity.