GRAAD 12

GRADE 12

ENGLISH HOME LANGUAGE PAPER 2

PREPARA
UMLAZI DISTRICT
ENGLISH HOME LANGUAGE P2
PREPARATORY EXAMINATION 2023

MARKING GUIDELINES

MARKS: 80

TIME: 2½ hours

These marking guidelines consists of 28 pages.

ENGLISH HOME LANGUAGE PREPARATORY EXAMINATIONS UMD SEPTEMBER 2023

NOTE TO MARKERS

• These marking guidelines are intended as a guide for markers.

• The marking guidelines will be discussed with the marking panels before marking
commences at the marking centres.
• Candidates' responses must be considered on their merits.

MARKING GUIDELINES

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, the first of which 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 question 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 considered.

11. Answers to contextual questions must be assessed holistically in the light of

the discussion during the standardisation of the marking guidelines.

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SECTION A: POETRY

PRESCRIBED POETRY

QUESTION 1: ESSAY QUESTION

AT A FUNERAL – Dennis Brutus

• Use the following, among other points, as a guide to marking this question.
Responses might differ, depending on the candidate's sensitivity to and
understanding of the poem.
• Refer to page 27 for the rubric to assess this question.

•Valencia Majombozi, was killed by Apartheid forces during the Sharpeville

Massacre; the speaker pays tribute to this young female doctor.
•The elaborate display ‘pageantry’ is indicative of how they honour the
individual. The funeral ceremony was dignified with an extensive display of
colour (‘black, green and gold’– these are the colours which represent the flag of the
resistance movement. These words are used to make a bold statement that the
death of the young female doctor will motivate the oppressed to strengthen their
resistance towards the apartheid government. This ‘pageantry’ is for a fallen hero
who was killed while fighting for her freedom. The reference to ‘pageantry’ conveys
the speaker’s respect for the deceased who symbolises the irrepressible and
formidable spirit of the young people who fought against oppressive laws.
•The line ‘In bride-white, nun's-white veils’ represents the purity and highlights that
these freedom fighters are innocent victims of the brutality of the apartheid system.
•The speaker mourns the loss of a young person who had enormous talent and
potential which have now gone to waste. She has become a symbol of resistance to
the harsh apartheid laws that restricted the freedom of Black people in South Africa.
•Throughout stanza 1, there is a melancholic mood as the speaker joins the
other mourners in paying their respects to the deceased.
•The tone in stanza 1 is calm and reverent which is in keeping with the
speaker’s admiration for the deceased. However, in stanza 2, there is a huge shift
in tone as the speaker makes a strong political statement and renews his
commitment to the fight for freedom in South Africa. His tone is commanding
(‘Arise’), agitated (‘enraged’) and contemptuous (‘carrion books of death’) that
represent, the Pass laws which dictated the lives of Black people and restricted their
freedom of movement by making it compulsory for them to carry Pass books at all
times.
•The speaker stresses that humans were reduced to dead flesh (“carrion”), which is
tagged and includes certain information. From the moment of birth, Black persons
were given this Pass Book, so that they would cease to be human beings.
•Thus, they would become ‘carrion’ or dead flesh, which ties in with the notion of
abortion. The symbolism of ‘death's-head tyranny’ is reminiscent of the power of the
Nazis in Germany who were extremely powerful in destroying their opposition.
•The ‘scythe’ alludes to the grim reaper that represents death. Their army tanks that
rolled through the streets of Berlin with the insignia of skull and crossbones were
cheered wildly by their supporters. The speaker suggests that similar methods were
employed by the Apartheid regime to suppress opposition to their policies.
The final line of the poem, ‘Better that we should die, than we should lie down’

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is ominous as the speaker is motivated by the deaths of all those who have
sacrificed their lives in the struggle against Apartheid. He honours the bravery
of those who have fought selflessly against the injustices perpetrated by the
Apartheid regime, which was responsible for the destruction of the lives,
dreams and hopes of the people who protested against these unfair laws.

QUESTION 2: CONTEXTUAL QUESTION

THIS WINTER COMING - Karen Press

2.1 The words ‘thick rain’ is an indication that the winter rain is heavy and
relentless. A foreboding, despondent mood is created through the harsh,
bleak weather conditions in winter. The speaker is entering a period filled
with fear, hardships and death under the prevailing state of emergency.

[Award 1 mark for identifying the mood, 1 mark for the discussion.] (2)

2.2 The tone is fearful/sombre/sad/uncertain/despairing/anxious/solemn.

The metaphor of the sea as ‘swollen churning in broken waves’ highlights the
destructiveness of the ocean depicting it as not peaceful or serene. The
danger of the sea alludes to the impending danger that the people will face.

[Award 1 mark for identifying the tone, 1 mark for the explanation.] (2)

2.3 The line ‘sad women climbing buses’ highlights the difficulties, unhappiness
and hardships of the black women. ‘The children in every doorway crying’
shows that these mothers work tirelessly whilst neglecting their own homes
and families. The line ‘madam’s house is clean’ reinforces a life of comfort and
ease, pleasure and satisfaction (the privileged whites in society), at the
expense of Black people. As a White person, ‘madam’ is unaffected and
undeterred by the current ‘state of emergency’ in the country, whilst the black
domestic workers are enduring suffering, pain, poverty and hardship. This
contrast is highly effective in highlighting the disparity in the experiences
/lifestyle of whites and black South Africans.

[Award 3 marks only if the juxtaposition is well-discussed.] (3)

2.4 ‘Who’s not frightened … now?’ is a rhetorical question that reminds us

throughout the poem of the prevailing fear which is caused by the State of
Emergency in 1986 in South Africa. The concluding lines are effective as they
create a sense of urgency as the time is “now”, for the children are the future
agents of change in the liberation struggle. Their determination to fight the
oppressors aggravate a more urgent sense of fear shown by the use of the
word ‘now’. At first the anaphora of one line in the conclusion it is extended to
two lines, this highlights that the winter/ danger/unrest/violence is about to
arise. it is ominous and serves as a warning of the imminent danger.

[Award 3 marks only if a critical discussion is included.] (3)

[10]

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QUESTION 3: CONTEXTUAL QUESTION

THE MORNING SUN IS SHINING – Olive Schreiner

3.1 The words ‘morning sun is shining’ and ‘golden sunbeam’ have positive
connotations, it creates a happy joyful mood. These lines paint a glorious
picture of joy and delight. Nature is glowing (“shining”, “golden”) in her
perfection, a splendid display of colour (‘green, green’). The repetition of the
word ‘green’ emphasises the vibrancy of nature and the personification of the
sunbeam dancing has connotations of life and joy adding to the mood of
happiness.

[Award 1 for the identification of the mood. 1 mark for the discussion
thereof.] (2)

3.2 The tone and mood change from joyful and celebratory to one of grief and
sorrow. Although the speaker states that Nature is beautiful and to be
celebrated, her grief is larger than that. She does not find solace in the
beauty. Lines 1-12 describe the morning in splendour and glory. However,
lines 13-14 are sharply contrasted as the speaker’s tone changes to sadness
and despair. It is apparent that the absence of a loved one (‘hand I never
touch’, ‘face I never see’) brings misery and heartache. Therefore, not even
the radiance of the morning can bring solace nor replace the deep void and
sense of loss.

[Award 2 marks for one idea well-discussed. the change in tone must be
clear.] (2)

3.3 The earth is personified as a person being fully adorned, draped and dressed
attractively. She is pleasantly appealing. The word ‘dressed’ gives an
indication that this beauty/ contentment happiness may only be on the surface
drawing a contrast with the pain and suffering that lies deep within human
beings. It is evident that the beauty of nature is in contrast with the pain of
loss and grief. However, this becomes meaningless in light of the loss and the
sense of emptiness the speaker feels.

[Award 3 marks for two ideas fully discussed. Award 3 marks only if the
effectiveness of the image is discussed.]
[Credit alternate valid responses] (3)

3.4 Yes. The rhetorical question challenges the reader to reflect on whether it is
possible to enjoy the beauty of the world around us in the face of pain, grief
and sorrow. The speaker alludes to the fact that the outward physical beauty
is forever jaded and tinged with our inner sorrow and misery. Pain dwells with
us and is a reality of life, despite beauty surrounding us. There is a tone of
sadness as she questions the purpose /value of this beauty if she cannot
share it with her loved one. The speaker points out that all the beauty in
nature is of no value in this situation. She finds no solace in her beautiful
surroundings. In fact, the beauty of the scene is in contrast to her own
depression, even the light of the morning sun cannot bring her happiness.

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There is someone whom she has lost and this loss induces a depression that
no lovely day can lessen
OR
[No. Accept answers on merit.]
[Award 3 marks for Two well- developed ideas. A critical discussion must be
included.] (3)
[10]
QUESTION 4: CONTEXTUAL QUESTION
IT’S A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth

4.1 The words ‘calm and free’ creates a peaceful, quiet, tranquil and serene
atmosphere.

[Award 1 mark for identification of the mood, 1 mark for the explanation.] (2)

4.2 The speaker compares the evening to the prayer time of a nun who is
silent or breathless as she is completely absorbed in her prayer. This
comparison emphasises the silence and tranquillity of the evening.

[Award 2 marks for a clear account on the use of the image.] (2)

4.3 This indicates that just like God is eternal, the ocean continues forever. The
‘greatness of heaven’ emphasises the power of the divine that makes the
beauty of nature possible. The ‘mighty being’ is an indication of God’s power,
that determines the constant movements of the waves. The speaker states
that God makes this thunderous sound ‘everlastingly’. The ‘sound like
thunder’ is the sound of the ‘sea,’ which the speaker is asking the child to
listen to. This shows the link that exists between the power of nature and the
power of God.

[Award 3 marks for two ideas fully discussed.] (3)

4.4 “Dear child! dear girl!” is said in a loving tone. He expresses his love and
adoration for his daughter. The speaker views the girl as pure, innocent and
closely connected to God. Just as a father holds his precious child close to
protect and cherish him/her, the girl is unknowingly protected and cherished
by Abraham as one of God’s children. Furthermore, the mention of ‘Abraham’s
bosom’ is in reference to a place of comfort in the afterlife. However, in the
sestet, the speaker suggests that the girl feels God’s comfort all the time. ‘The
temple’s inner shrine’ refers to a sacred site that is only accessible during
certain ceremonies. The speaker suggests that the girl has access to this
special sanctuary, thereby indicating that she has a close connection with
God. By stating that ‘God being with thee when we know it not’ he means that
the girl experiences the presence of God, unlike adults who do not have this
connection.

[Award 3 marks for a clear discussion of these lines with the use of
appropriate diction.] (3)
[10]

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UNSEEN POETRY (COMPULSORY)

QUESTION 5: CONTEXTUAL QUESTION

THE DARK SIDE OF HUMANITY – Kenneth Maswabi

5.1 The repetition of the line ‘caught in the act’ emphasises the brutality,
inhumanness and ruthlessness associated with terrorism/makes one feel
guilty as if one is caught red-handed doing something wrong or criminal.

[Award 2 marks for one idea.] (2)

5.2 These lines contribute to the dark/grave/serious/solemn/sombre/depressed/

gloomy mood of the poem. Man uses the same evil methods over and over to
cause pain and suffering in the world. The bleak and depressing atmosphere
is further reinforced by the use of the words ‘evil intentions’ and ‘the dark side
of humanity is alive’. The repetition of the words ‘the same’ is an indication of
the continuity of this type of brutal acts which creates a sense of
hopelessness and gloom.

[Award 2 marks for one idea fully discussed. 1 mark for the mood and 1 mark
for the diction.] (2)

5.3 The image depicts how heinous, appalling, horrific and atrocious the crimes
are. The word ‘remorseless’ shows the lack of feelings, empathy or sympathy
of the perpetrators after the intentional murder of innocent people. This
callousness of the terrorists serves to highlight the acts of violence. The
image of the acts being ‘magnified’ made larger/ more pronounced merely on
the basis of the extent of the brutality is a reflection of the terrorist’s heartless/
unfeeling/ aggressive/indifferent/ attitude towards their victims as revealed by
the words ‘the dark side of humanity’.

[Award 3 marks for two ideas fully discussed.] (3)

5.4 In lines 16 - 21 the persona/speaker lists the various forms of torment in

countries across the world. By doing so he effectively accentuates that man,
regardless of nationality has the capacity and the propensity for evil, rage,
violence, aggression, unscrupulousness, domination and tyrannical behaviour.
This further exposes the injustices and cruelties that come with warfare and
the exploitation by people who wield power.

[Award 3 marks for TWO well-developed ideas. There must be a critical

discussion.] (3)

.
[10]
TOTAL SECTION A: 30

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SECTION B: NOVEL
THE PICTURE OF DORIAN GRAY – Oscar Wilde

QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION

• Below is the basis for answering this essay. Use the following 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 learners to support their
arguments.
• Refer to page 28 for the rubric to assess this question.

Agree
• Lord Henry is an amoral character – he has no sense of morality. He is
arrogant.
• He does not see the hurt he causes. He is a superficial man living in a
superficial society.
• Basil does not want Lord Henry to meet Dorian as he is afraid that Lord
Henry will influence him negatively. Lord Henry dismisses Basil’s fears in a
rather condescending manner and forges ahead, anyway, intentionally doing
what Basil was worried about.
• Lord Henry displays no concern about how Basil would react to him meeting
Dorian and the impact that he would have on Dorian.
• Lord Henry is immediately captivated by Dorian and sees him in a cold and
detached manner, Dorian is almost a scientific experiment to Henry, he does
not regard his actions as being wrong.
• Lord Henry speaks to Dorian about the pursuit of pleasure and tells him that
• youth and beauty are precious. He is all about beauty and has a contempt for
conventional morality. He sees Dorian as a disciple with the capability to live
out Lord Henry’s philosophy of hedonism. This influence is evident in Dorian’s
growing obsession with his own portrait which symbolises his pursuit of
eternal youth and beauty while indulging in a life of moral decadence.
• Lord Henry gives Dorian the ‘Yellow Book’ which is about the hedonistic life of
a Frenchman, this book becomes Dorian’s bible, and he devotes himself to
the search of pleasure disregarding moral conventions and human feelings.
• Lord Henry’s statement about genius and women cut down Dorian’s joy and
shows a very simplified view of the world. When Dorian declares that Sybil
Vane is the object of his affection and a genius on stage, Lord Henry counters
that women cannot be geniuses and that there are only 5 women in London
that are worth conversing with.
• Dorian asks Lord Henry to sympathise because it is Lord Henry’s influence
that can be blamed for Dorain’s passion and curiosity to try everything.
• Lord Henry tries to persuade Dorian to believe that listening to his conscience
will only bring him pain. Dorian must give into temptation if he wants to be
happy. Dorian listens to Henry’s words and has a justification for acting
sinfully.
• Lord Henry influences Dorian by advising him to make the most of his youth.
He therefore instils a fear of death in Dorian that drives the young man to sell

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his soul to the devil in exchange for eternal youth.

• 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 is associated with corrupt and degenerate behaviour such as
gambling, fighting, drug-taking and sexual promiscuity. After abandoning his
morality, it is an easy step for Dorian to become a murderer. His summoning
of Alan Campbell to dispose of Basil's body is a callous act.
• Dorian is implicated in scandals surrounding his friends who have all had their
reputations ruined and are ostracised by their families and society.

Disagree
• 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 immoral from the beginning. He knows how to behave; he knows the
values and morals that he needs to subscribe to but chooses not to. He does
not see the hurt he causes– he is afraid to call Lady Agatha after standing her
up for the duet as he knows that he has let her down, but he still acts in a way
that makes him happy rather than considering the feelings of others.
• Basil mentions as he is describing Dorian to Lord Henry that Dorian can be
“horribly thoughtless and seems to take a real delight in giving me pain” and
then this clearly shows Dorian’s immoral ways.
• Dorian had a tendency to be a selfish, narcissistic man that he ultimately
became.
• 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 is changed by his interactions with Lord Henry and Basil Hallward, but
he makes his own choices.
• 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.
• Dorian commits the murder of Basil.

[Credit valid alternative responses.] [25]

QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION

7.1 Dorian has met and fallen in love with Sibyl Vane. He is now at Lord Henry’s
(Harry) house discussing his love for Sibyl with Lord Henry (Harry) and his
intentions to marry Sibyl. Lord Henry (Harry) realises that this is the reason
Dorian has not spent time with him recently.

[1 mark for an explanation of what happened prior to the incident, 1 mark for a
motivation/elaboration. 1 mark for the link to the main issue in the extract.] (3)

7.2 The Victorian society is a classist society. Sibyl is of the working class. Her

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background is rather squalid. A match between Sibyl and Dorian would be

regarded by her class as an excellent match. However, Dorian would be seen
to be ‘marrying below his class’s and his marriage would not be favourably
looked on by people within his social rank.

[Award full marks for three distinct ideas or two ideas well discussed.] (3)

7.3 Lord Henry (Harry) appears to be hurt, neglected, overlooked and he realises
that the reason thereof is Dorian’s time spent with Sybil. When Dorian
explains they do still see each other every day, either for lunch, or supper,
they have been to the opera on several occasions, Henry justifies his feelings
of being hurt by saying that Dorian arrives late. Henry intended to view Dorian
as a science experiment, and this is simply another facet of Henry’s ‘cat and
mouse’ game that he is playing with the unwitting, who, in this instance is
Dorian.

[Award full marks for three distinct ideas or two ideas well-discussed.] (3)

7.4 Dorian portrays Sybil as naïve and timid his description of Sybil is detached
from realty and when the theatre manger offers to reveal her background he
declines only wanting to know about the girl he sees on stage. Dorian in
actual fact does not love Sibyl. He is merely, like Romeo (in the
Shakespearean plays that Sibyl acts) in love with the idea of love. Also, like
Romeo and Juliet, they have not known each other very long. Sibyl did not
even know Dorian’s name. Dorian does not know Sibyl, as she is ‘never’
herself. He only sees the personalities of the characters that she portrays, he
does not know Sibyl’s true character and ultimately is ‘in love’ with a made-up
character.

[Award full marks for three distinct ideas or two ideas well-discussed.] (3)

7.5 Dorian is in a state of heightened excitement; he has committed murder and

appears to have got away with it. He murdered Basil Hallward in the early
hours of that morning and then blackmailed his ‘friend’, Alan Campbell to
dispose of the body.

[Candidates must explain his feelings of excitement and anxiousness.

Award 3 marks for two ideas well-discussed.] (3)

7.6 The narrative voice that calls Dorian’s actions a ‘tragedy’ (an event that
causes great suffering) that he had to ‘pass through’; highlights the fact that
Dorian in his narcissism did not view Basil’s death as a result of his own
actions but sees himself as a victim who was exposed to the tragedy of his
friend’s death. Basil’s murder does way heavily on Dorian’s mind but he is
more plagued by the fact that it bothers him than the murder itself. He finds a
way to blame Basil in his own mind, in an effort to avoid his conscience.

[Award three marks for three distinct points or two points well discussed.] (3)

7.7 Lady Narborough views people as merely something to collect, people are not

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human beings, but objects to be moved around at her will and the will of
others who she does value. This suggests that the upper classes like her see
other humans as nothing more than playthings for their pleasure and
entertainment. Lady Narborough pledges to find Dorian a suitable wife. She
reveals her prejudiced attitude towards those who are less fortunate.

[Award three marks for three distinct points or two points well discussed.] (3)
7.8 In extract A, Lord Henry congratulates Dorian for finding a woman to marry
who is never actually herself. In the second extract, Lord Henry mentions that
a man can only be happy in marriage if he does not love his wife.
Lord Henry’s marriage is one of infidelity and lack of marital commitment. Lord
and Lady Henry merely inhabit the same house, their marriage is in name
only. They both lead completely separate lives. It appears that Lord Henry
does not value the idea of marriage, he is married, but in a loveless marriage
which that combined with his amoral world view gives him a cold and callous
view of marriage (and indeed women) in general. Lord Henry says that people
talk nonsense about a happy marriage and that a man can be happy with any
women as long as he does not love her. Furthermore, he feels that because
marriage makes a person unselfish people in marriages lack individuality.

[Accept and credit relevant alternate answers.]

[Learners must refer to both Extracts as well as make a comment on Lord
Henry’s views on marriage] (4)

[25]

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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 the rubric on page 28 to assess this question.

The reward for taming Richard Parker is life and failing to tame him means
death.

• When Pi is stranded on the lifeboat with a tiger, he is faced with the struggle
for survival.
• His situation is life threatening and he is faced with gruelling and inhumane
circumstances. He also has to contend with despair at the loss of his family
and his complete isolation.
• His fear towards Richard Parker is one of the reasons for his survival. Pi
describes Richard Parker as an extremely dangerous, fearful, and vicious
predator who kills the hyena and the Blind Frenchman, thus ‘saving’ Pi’s life.
• In taming Richard Parker, Pi is able to assert himself as the alpha on the boat
thus ensuring his survival and humanity at the end of the novel.
• Pi’s childhood experiences in the zoo helps him understand animal
psychology and the behaviour patterns of animals, thus he becomes the
zookeeper on the lifeboat. He provides food and water to Richard Parker and
cleans up after him. This gives Pi sense of purpose.
• He takes on the role of a zookeeper in the ecosystem of the lifeboat and
develops a sense of accountability for Richard Parker’s wellbeing. Pi cleans
up after Richard Parker’s faeces, this serves to further assert Pi’s dominance
on the lifeboat.
• As a result, Richard Parker becomes dependent on Pi as the provider of food,
saving them both from certain death.
• This gives Pi a purpose to continue living. If he did not wake up every morning
and fish to feed Richard Parker, tend to the solar stills and clean after Richard
Parker, then he would have surely perished with hunger and thirst.
• Pi becomes the circus trainer on the boat by using a whistle and rocking the
boat.
• This helps to establish boundaries as well as flight distance in the event of
Richard
• Parker perceiving Pi as a threat, Pi would be able to flee onto the raft.
• In taming Richard Parker, Pi creates a companion to stave off the loneliness.
He feels responsible for Richard Parker’s welfare, therefore he does not
abandon him on Algae Island, and instead he waits for him.
• When they wash up on the shores of Mexico, it is the human (Pi) who is
rescued and able to forge a life for himself, while Richard Parker disappears
and is never seen again.
• If Pi failed to tame Richard Parker, then Pi would have been consumed by his
primal instincts to survive without any remorse for his actions.

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• If Pi failed to tame Richard Parker, it would mean the death of his Pi’s humanity.

QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION

9.1 In the human story, man’s vices/weaknesses are exposed. It is a story of

greed, murder, deceit and cannibalism. The story with the animals is a story
that is therefore easier to accept over the one in which humans are exposed
as murderous and cannibalistic. It is the better story as it requires a leap of
faith and imagination that Pi could have survived 227 days at sea with a
Bengal tiger on board. It protects his humanity, allows him to cope with what
happened on board the lifeboat. The ‘better story’ proves Mamaji’s prediction
that he will tell us a story that will make us believe in God. The better story
does not offer rational explanations which show that his idea of faith is linked to
the more unlikely belief than the more rational response.

[Award 3 marks if the candidate understands the concept of the ‘better story’
and can engage in a discussion linking animals to the ‘better story’.] (3)

9.2 Pi is aware that he is surrounded by danger. He is terrified, afraid and fearful.

His reference to the lifeboat as a ‘boiling cauldron of orange lava’
highlights his feelings of despair and terror as he assesses his current
situation to be as dangerous as a cauldron of hot lava, one in which the
zebra’s life was already ebbing away. The presence of the Bengal tiger, the
hyena and the sharks in the water places him in imminent danger. Pi is very
aware of the struggle to survive in his surroundings.

[Award 3 marks for any two ideas well-discussed, refence must be made to
Pi’s state of mind.] (3)

9.3 His upbringing in the zoo in Part 1 helps him understand animal psychology
and animal behaviour, for example, ‘prusten’ which coveys to Pi that Richard
Parker has no intention of attacking him.
• He becomes the zookeeper by cleaning up after Richard Parker’s bowel
movements and asserts his dominance by taunting him with the faeces. ”Pi’s
knowledge of zoo’s and animal behaviour is crucial in this chapter as he
knows that leaving faeces in an animals enclosure will invite parasites and the
opportunity for the animal to eat them and become ill.
Pi holds the faeces in his hand and stares at Richard Parker to show his
dominance. He made it clear to Richard Parker that it was his right, to fondle
and sniff his faeces if he wanted to. This works in the training of Richard
Parker. Pi has become more opportunistic and has become alert to any
chance to exert further domination over Richard Parker
• He is the provider of food and water.
• Pi establishes himself as the super alpha male on the lifeboat by using his
understanding of animal behaviour and his knowledge of territoriality.
• He is the ringmaster on the boat. He conditions Richard Parker by
simultaneously blowing the whistle and rocking the boat so that Richard

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Parker will associate the sound of the whistle with seasickness.

[Award 3 marks for any TWO ideas that are well-discussed.] (3)

9.4 In both the stories the hyena/French cook is portrayed as unpredictable,

greedy, cunning, vicious and a scavenger. Hyenas prey on those who are
weaker but are cowardly and afraid of confronting a more powerful adversary.
In the same way that the hyena attacks and feeds off the zebra, the French
cook is cowardly as he viciously attacks the injured sailor. The hyena is a
reminder of the savagery of which humans are capable when survival is at
stake.

[Award 3 marks for any TWO ideas that are well-discussed. The response
must be a critical discussion of the allegory.] (3)

9.5 Upon realisation that Algae island is carnivorous, Pi decides to leave the
island. He gathers as much supplies as he can. He could not abandon
Richard Parker. His loyalty to Richard Parker remains, even though he would
have been safer and would have had more food and water. He leaves with a
very heavy heart – it means more pain and suffering for them on the Pacific
Ocean. The lifeboat washes ashore in Mexico. Pi feels abandoned
when Richard Parker leaves him unceremoniously without a proper goodbye
and disappears. This makes it difficult for Pi to prove the existence of the tiger.
Humans rescue him and take him to the hospital. His health and safety being
secured, he realises that he no longer needed his alter ego to survive hence
the unceremonious parting.

[1 mark for an explanation of what happened prior to the incident, 1 mark for a
motivation/elaboration. 1 mark for the link to the main issue in the extract.] (3)

9.6 Pi maintains his faith in God, who is his only resolve at this point. This is the
most healthy way for Pi to deal with this situation, when he is suffering so
much. Easier to turn to higher power that dwell on situation. faith provides
refuge and distraction. This emphasises the role faith plays in Pi’s ultimate
survival. Pi believes in the divinity and the power of God. Despite his suffering
and hardships during his time as a castaway Pi’s faith remains steadfast and
he says very assuredly that although his family and Richard Parker
abandoned him, God does not.

[Award 3 marks for any TWO ideas that are well-discussed.] (3)

9.7 During the 227 days at sea Richard Parker is Pi’s alter ego and coping
mechanism which allowed him to survive. When the boat reaches the
Mexican shore and therefore civilization, he no longer needed that part of him
that killed, ate meat and became savage. It marks the point in the novel where
the co-dependency is broken. To severe ties from Richard Parker would
translate to him distancing himself from the heinous acts that he commits to
ensure his survival.

[Award 3 marks for any TWO ideas that are well-discussed.] (3)

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9.8 Pi needed Richard Parker to survive.

Candidates may agree with the statement as creating the alter ego of Richard
Parker helped Pi to hold onto his humanity and forge a life for himself in
Canada. Richard Parker- even though he is a savage beast and a threat to
Pi’s safety, one cannot deny that the orange beast is responsible for Pi’s
survival and hope in more ways than one. He rescues Pi from the attacks of
the hyena and the blind Frenchman. His presence on the lifeboat keep Pi alert
and provide him with daily schedule and purpose that force Pi to stay focused
on surviving. Finally, he provides companionship for Pi on the ocean Richard
Parker was the escapism that Pi needed to help him deal with murder and
cannibalism. Richard Parker gave him purpose to stay alive
Richard Parker served as motivation for Pi to continue. Richard Parker the
companion staved off loneliness, keeping Pi sane.

[4 marks for two well-developed ideas.] (4)

[25]

TOTAL SECTION B: 25

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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 the rubric on page 28 to assess this question.

• Hamlet is initially seen as a young man who is weighed down by the loss of
his beloved father followed by the hasty marriage of his mother. He appears
alone and distraught – lost in deep thought about his situation/circumstances.
• He is unable to share this deep sense of grief with anyone. The face of
Denmark has changed since the death of his noble father.
• A sense of trust and loyalty emerges when Horatio insists that the guards
reveal their sighting of the ghost to Hamlet.
• Horatio holds Hamlet in high esteem and feels he must be duly informed and
attempts to ensure Hamlet’s safety and well-being. His concern for Hamlet is
genuine and sincere.
• After seeing the ghost and listening to the details of the murder Hamlet is
uncertain and hesitant, he feels the need to establish the truth. He is unsure
about placing his trust in the revelation of the ghost.
• He feels betrayed by his mother; she proves to be unworthy of his trust. He
loathes her submissive and doting nature towards Claudius.
• Queen Gertrude cannot be trusted either, she might have betrayed King
Hamlet and pursued an adulterous relationship with Claudius.
• Hamlet feels trapped in a world of lies and deceit, and shares the revelation of
King Hamlet’s murder with the only person he can trust and that is Horatio.
• He discovers that his friends, Rosencrantz and Guildenstern are
untrustworthy since they followed the instructions of Claudius and sought out
Hamlet with the intention of providing feedback to Claudius.
• Claudius and Gertrude place their trust in Rosencrantz and Guildenstern to
discover the reason for Hamlet’s changed behaviour.
• Later in the play Hamlet refuses to reveal the whereabouts of Polonius’s body,
he clearly distrusts Rosencrantz and Guildenstern. His response to their line
of questioning can be seen as vague and disjointed. He is deliberately
evasive.
• In order to continue his act of madness (antic disposition) he rejects Ophelia.
His sole purpose is to seek revenge. At this point he is disillusioned with
women and questions their lack of faithfulness, he sees them as feeble and
weak. His mother’s actions have coloured his perception of women and
Hamlet does not view Ophelia as a young lady that he can love and trust.
• Hamlet speaks to Polonius knowing full well that he too is nothing but a
meddling fool, he is sceptical about Polonius’s actions and words.
• Polonius does not fully trust his children; this can be seen when he orders
Reynaldo to spy on Laertes in Paris, although he offers him advice he does
not allow his son to be completely on his own.
• Polonius also sees his daughter Ophelia as a naïve young girl who cannot be

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trusted with matters of the heart, he manipulates, controls and directs her
thoughts and actions.
• Ironically Ophelia places her trust in her father and submits to his requests.
She engages in conversation with Hamlet and the outcome is that Ophelia
feels confused and unhappy with Hamlet’s conduct. It taints her idea of love
and she will slowly wither because of Hamlet’s rejection of her.
• Hamlet only fully trusts Horatio and informs him about the Mousetrap play, he
wants Horatio to observe Claudius closely, to note his reaction to the play.
• This bond of trust is strengthened since Hamlet provides Horatio with
information about his journey to England (sent to England by Claudius) and
details of his escape.
• The bond of trust between Hamlet and Horatio remains steadfast throughout
the scenes of chaos and turmoil.
• Claudius wins Laertes’s trust and easily manipulates him to abide by his plan
to kill Hamlet. Laertes’s seething anger blinds him from seeing Claudius as
calculating and scheming, he trusts him and believes Claudius is assisting
him in seeking revenge for his father’s death.
• Laertes eventually sees Claudius for the villain that he is and reveals the
details of the fencing match (the poisoned tip), his trust in Claudius is lost and
he redeems himself by making a confession to Hamlet.
• Trust throughout the play is a delicate strand woven into a web of deceit and
lies, it’s a fragile strand that can be easily broken and we witness that happen
repeatedly in the play.

[Credit valid/ alternate /mixed responses.] [25]

QUESTION 10: HAMLET – CONTEXTUAL QUESTION

11.1 Polonius is not a reliable source as he cannot be easily trusted and appears
to be a meddling fool. The truth is not synonymous or easily associated with
his character. The words ‘I use no art at all’ is ironic as Polonius uses
subterfuge (plots and schemes with Claudius) to spy on Hamlet. He is petty,
meddling and hypocritical.

[Award 3 marks for reference to the irony and a discussion thereof.] (3)

11.2 ‘While she is still mine’ these words reflect Polonius’s character as a
controlling father. He treats Ophelia as an object /possession and disregards
her feelings and thoughts. He believes that Ophelia needs to be directed as
she is submissive and clearly oblivious of the ways of the world or matters of
the heart. He advises her more than he listens to her.

[Award 1 mark for reference to attitude and 2 marks for a discussion

thereof.] (3)

11.3 Yes. Hamlet truly loved Ophelia, however the need to seek revenge and the
solemn promise to the ghost took precedence. Hamlet had to intentionally

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reject Ophelia in order to achieve his purpose. When Ophelia was placed in
her grave Hamlet jumped in and confessed his true love for her and
challenged Laertes stating that ‘forty thousand brothers’ could not have loved
her more.

No. The words in Hamlet’s letter did not match his actions. He was harsh in
his treatment of her, verbally insulting /attacking her (‘get thee to a nunnery…
speech). There was no real need to reject Ophelia on the basis of seeking
revenge. Hamlet should have loved and protected Ophelia.

[Award 3 marks for a well-developed discussion]

[Credit alternate responses] (3)

11.4 Yes. These words reveal his untrustworthy character as he betrays his
daughter’s confidence and exploits her to further his own political desires.
This betrayal is indicative of Polonius’s unscrupulous and meddlesome
behaviour. He manipulates Ophelia to spy on Hamlet despite the risk
involved.

[A no answer is highly unlikely but credit on merit.]

[Award 3 marks for TWO ideas well-discussed.] (3)

11.5 Hamlet now has the evidence that Claudius is guilty and has reason to act.
Hamlet mistakenly kills Polonius and berates his mother for her indiscretions,
and desecrating the sanctity of marriage. He forces her to look at the picture
and to acknowledge the differences between King Hamlet (godlike qualities)
and Claudius (murderous and evil).

[1 mark for an explanation of what happened prior to the incident, 1 mark for a
motivation/elaboration. 1 mark for the link to the main issue in the extract.] (3)

11.6 Hamlet wants his mother to compare her late husband to Claudius. He draws
her attention to how different they were in form and character. He portrays his
father as saintly, compares him to the Sun God Hyperion. He states that he
(the late King Hamlet) seemed to be put together by God to be the perfect
man. He describes Claudius as a rotten ear of corn likely to infect the one
next to it. He questioned her about leaving a saintly man like his father
(‘fair mountain’) only to descend to a man like Claudius (‘moor’). He
repeatedly questions her lack of ability to judge, she cannot see that she
has made a poor decision.

[Award 3 marks for a well-developed discussion. The difference in Hamlet’s

views must be clear.] (3)

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11.7. Queen Gertrude throws her arms in the air questioningly or she might hold her
hands to her chest pointing to herself as she appeals to Hamlet to reveal her
wrongdoing. She might also shake her head in disbelief as she is perplexed
about Hamlet’s accusations. Her tone might be shocked/confused/defensive
as Hamlet is alluding to the incestuous relationship between Claudius and
Gertrude and his feelings of betrayal at Gertrude's loyalty to Claudius.

[Credit valid alternative responses.]

[The candidate's response should be convincing in context.]
[Award 3 marks only if the candidate refers to both body language and tone
and includes a justification.] (3)

11. 8 Hamlet believes that women lack judgement, as in the case of Gertrude who
married his late father's brother Claudius only two months after King Hamlet’s
death. The brevity of her mourning period for her husband indicates her lack
of respect to their marriage vows. ‘Have you eyes’ – this line is repeated by
Hamlet which emphasises his disbelief/shock that woman can be so weak in
their judgement and not steadfast in their commitment.

Hamlet rejects Ophelia to pursue his plan of revenge and does not look upon
her favourably based on his mother’s conduct which has subsequently
influenced his response to Ophelia. Hamlet is so consumed by grief and the
desire for revenge that he calls Ophelia a 'breeder of sinners' and suggests
that she join a nunnery. He declares that he has not loved her.

[Award 4 marks for a well –developed discussion with reference to both

female characters] (4)

[25]

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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 28 for the rubric to assess this question.

• At the beginning, Desdemona proves to be bold and assertive when she takes
the initiative in her courtship with Othello displaying a desire to break free
from the shackles of a patriarchal society. Her audacious nature and
independent spirit are demonstrated very early in the play and should be seen
as a merit to her character.
• Desdemona elopes with Othello, a black man and a foreigner in white-
dominated Venice. In so doing, she defies her genteel Venetian breeding and
rebels against her father who is a distinguished Senator, dispelling the notion
that she needs his approval.
• When Desdemona is summoned to the council chamber, she openly declares
her love for Othello, choosing her husband over her father. Evidently, her
strong-willed and courageous nature shows her determination to erode the
stereotypical attitudes of her time in the interests of love.
She is unafraid of challenging the conventions of her society. Her rejection of
many suitors demonstrates her independence. When she falls in love with
Othello, she is prepared to defend her choice by standing up to her father and
the Duke. Desdemona proves to be courageous, proud and confident.
• Her courage is brought to the fore when Othello describes how they met and
fell in love. Desdemona intimated that she loved Othello’s stories of his
adventures and that if he had a friend that could narrate such stories, she
would be interested. She was bold in expressing her feelings.
• Desdemona has been a willing participant in the relationship, encouraging
Othello's advances. She does not refute Othello's version of her involvement
in the courtship and readily shows her allegiance to Othello as her husband.
• Once Othello is deployed to Cyprus, Desdemona boldly insists on
accompanying her husband as she accepts that she would no longer be
welcome in her father’s house as well as deems it unnatural for a husband
and wife to live apart after marriage. Desdemona’s faith in as well as depth of
love for Othello are unquestionable.
• When Cassio asks Desdemona to plead his case to Othello in an attempt to
be re-instated, he recognises Desdemona’s courage in asserting her opinions
and acknowledges her love for Othello as well as her admiration for his
reputation in the military.
• Desdemona’s faith in her friendship towards Cassio is clearly demonstrated
when she relentlessly confronts Othello about re-instating Cassio regardless
of Othello’s hostility and animosity towards her. Her unstinting devotion to
Cassio’s cause is laudable.
• Her courage and faith are further exemplified when she says to Othello, “I
have not deserved this” after being struck by him. Desdemona accepts that it
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was Othello’s jealous rage that drove him to inflict violence upon her and
forgives him for not believing in her innocence.
• Desdemona’s faith in the inherent goodness of others is also evident when
she turns to Iago for help after being publicly, verbally, and physically abused
by Othello. The reservoir of trust she placed in others was a natural and
instinctive response as she expected her own honesty and goodness to be
mirrored in society.
• At the end, when Othello finally confronts Desdemona about her ‘infidelity’,
she does not merely accept his accusations but tries to dissuade him by
profusely refuting the allegations brought against her. She courageously
challenges Othello, defending herself in the same way she defended their
love before the Senate.
• In her dying breath, Desdemona remains devoted and loving towards Othello
when she refuses to implicate him in her murder. She fearlessly accepts her
fate.
• Ironically, Desdemona’s actions of courage and faith, however commendable,
result in her demise at the end of the play.

(Credit mixed/valid alternative responses.) [25]

QUESTION 13: OTHELLO – CONTEXTUAL QUESTION

13.1 Iago seeks to exact revenge after Othello promoted Cassio as lieutenant
instead of him. His aim is to ruin Cassio's reputation so that he will be
dismissed. Using Roderigo to initiate a brawl, he tries to get Cassio drunk. He
convinces Montano that this is Cassio's vice. Montano's suggestion plays into
Iago's plan when he says that Othello needs to be informed of Cassio's need
to consume alcohol daily.

[1 mark for an explanation of what happened prior to the incident in the

extract, 1 mark for a motivation. 1 mark for the link to the main issue in the
extract] (3)

13.2 Iago's reference to Roderigo as a ‘sick fool’ reveals the lack of respect he has
for Roderigo; in that he views his love for Desdemona as a weakness, over
which Roderigo has no control. His reference to Roderigo as being a 'fool'
reveals that Iago views him as gullible and easy to manipulate. He says that
‘love hath turned almost the wrong side out’ in reference to Roderigo’s
desperation to win Desdemona despite knowing that she is married to the
moor.

[Award 3 marks for any TWO well-developed ideas] (3)

13.3 Iago gets Cassio drunk, making it easy for Roderigo to provoke Cassio into a
brawl, first with Roderigo, then with Montano, whom he wounds. Othello,
called from his bed by the noise, stops the brawl and strips Cassio of his
lieutenancy. Iago lies to Montano that Cassio has a weakness for alcohol and
cannot go to bed without the consumption thereof. He intentionally twists his
statements to emphasise that Cassio is a drunkard but urging Montano to not
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think that he is too much of a drunk to be a great soldier thereby evoking great
concern in Montano, who insists that Othello be told.

[Award 3 marks for any THREE distinct ideas] (3)

13.4 It is ironic that Iago says he fears ‘the trust Othello puts him in’ in reference to
Cassio, yet Iago serves Othello specifically to exact revenge. Iago wins
Othello’s trust only to facilitate his plan of making it seem that Cassio and
Desdemona are engaged in an extra marital relationship. Secondly Iago says
that Cassio’s alleged vice of alcohol abuse will ‘shake this island’ when in fact
Iago manipulates Roderigo to be a part his evil plot which ends in Roderigo’s
death. Desdemona is thereafter murdered by Othello as a result of Iago
convincing him of Desdemona’s alleged infidelity. Iago then murders Emilia,
his wife, when she attempts to reveal the truth of Iago’s deeds. The tragic
loading of the stage is rooted in Iago’s machinations therefore it is Iago not
Cassio that shakes this island.

[Award 4 marks for any TWO well-developed ideas].

[Accept valid alternative responses drawn from the play as a whole] (4)

13.5. Othello expresses a deep sense of sorrow and despair as he says that his life
revolves around Desdemona. She is the ‘fountain’ i.e., source of his existence
and without her, his life is barren and devoid of meaning. Othello is now
convinced of Desdemona’s infidelity. He says “he must live or bear no life’ he
is angry and heartbroken hence, the sentiments echoed here is an indication
of his despair/pain, it prepares the reader for Desdemona’s imminent death
and devastation in the play.

[Award 1 marks for Othello’s feeling and 2 marks for a discussion thereof.] (3)

13.6 Othello once saw Desdemona as ‘lovely’ and ‘fair’ and ‘smell’st so sweet’ but
now she is perceived as a ’black weed’. Through her betrayal, Othello feels
that Desdemona has corrupted his soul and thrust him into a state of
emotional and spiritual darkness. The irony of Othello’s portrayal of
Desdemona is that she is in fact innocent and faithful, but it is Othello who is
the ‘weed’ who has contaminated their pure and genuine love through his
gullible and ignorant nature. Othello is so consumed by jealous rage that he is
blind to the reality of his wife’s innocence.

Award full marks only if candidates discuss the irony in relation to Othello’s
perception of Desdemona in context.] (3)

13.7. Previously, Othello was loving and respectful towards Desdemona but now he
is disgusted/appalled at the thought of her being unfaithful. He refers to
Desdemona as a ‘public commoner’ conveys his utter lack of respect for her
as he feels she is a public prostitute thereby stripping her of any dignity. His
once self-controlled, rational and disciplined demeanor is no more. Othello’s
language is insulting, derogatory and full of vulgar sexual innuendos. He
refers to Desdemona as a ‘whore’ and a ‘strumpet’ suggesting that he
believes she has been unfaithful, but he is too embarrassed to mention her

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indiscretions. Where once he was enthralled by her, now he is repulsed by her

and regards her as brazen and shameless.

[Award 3 marks only if candidates indicate the change in Othello’s character

and comment on the language. Award 3 marks for any two ideas well
discussed or any 3 distinct ideas.] (3)

13.8. Desdemona’s actions should be clearly directed at Othello. She could raise
her voice in outrage or in an impassioned plea with her head turned upwards
or gesturing dramatically in a prayer-like stance, palms clasped and pressed
against her chest. She could walk up to Othello and drop to her knees,
beckoning Othello to believe she is innocent with tear-filled eyes. Her tone
might be pleading, anxious, fearful, resigned. Desdemona has been
wrongfully accused and needs to convince Othello of her innocence.

[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)

[25]

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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 28 for the rubric to assess this question.

• In "The Crucible", Abigail Williams is often portrayed as the primary

antagonist, orchestrating the mass hysteria and witchcraft accusations that
engulf the puritanical town of Salem.
• However, a closer examination of her character and the oppressive society
in which she resides reveals that she is not a villain but rather an outcast,
struggling to find her place in a world where conformity and rigid moral
standards dictate every aspect of life.
• Abigail Williams is an orphan, left to navigate the harsh reality of Puritan
society without the support of a stable family.
• This status immediately casts her as an outsider, susceptible to suspicion
and judgment. In a society that highly values lineage and familial ties, Abigail's
lack of an honourable background exacerbates her outcast status.
• Consequently, she seeks refuge in the only place where she feels powerful
and desired – the world of the Salem witch trials. Her need for emotional
fulfilment is seen when she says, "You loved me, John Proctor, and whatever
sin it is, you love me yet!"
• In a puritanical society that suppresses individuality and encourages
conformity, Abigail struggles to find her identity. The Salem community is
stringent in its religious beliefs, viewing any form of deviation as a direct
defiance of God. This oppressive environment leaves Abigail yearning for
significance and validation.
• She becomes ensnared in her own web of lies, driven by the desperation to
be seen and heard, even if it means fabricating witchcraft to gain attention
and control. In her words "I never knew what pretence Salem was, …their
covenanted men! Abigail expresses her frustration with the strict and
hypocritical nature of Salem society. She feels oppressed by the expectations
placed upon her and rebels against the idea of conforming to societal norms.
• The societal restrictions of the time also leave Abigail without a voice or
agency. As a woman in a patriarchal society, she is expected to remain
subservient to men and denied any opportunity for personal growth or
independence.
• Her relationship with John Proctor, a married man, is a manifestation of her
desire for affection and love, which she cannot find within the rigid boundaries
imposed on her. Abigail's affair with John Proctor further solidifies her status
as an outcast and scapegoat for the town's collective guilt and moral decay.
• Abigail Williams' actions must also be seen in the context of the overwhelming
fear and hysteria gripping Salem. The girls who accuse others of witchcraft
are caught up in a frenzy fuelled by mass paranoia and a desire to deflect

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attention from their own sinful behaviour. In her desperation to avoid

punishment for her
own actions, Abigail resorts to manipulation and deception to shift blame onto
innocent the townspeople.
• While Abigail Williams' actions are undeniably harmful, she is a product of a
society that marginalizes and represses individuals.
• Her portrayal as a villain is an oversimplification that fails to acknowledge the
larger societal forces at play. By understanding the societal pressures and
constraints she faces, it becomes clear that Abigail is not inherently evil but
rather a deeply troubled and marginalised individual seeking solace and
acceptance in a world that denies her agency.
• Abigail Williams, the antagonist of "The Crucible," is not a villain in the
conventional sense. Instead, she is an outcast in a puritan society that
marginalises and oppresses her.
• Her actions, while harmful, are a manifestation of her struggle to find her
place in a world of rigid moral codes and social restrictions. By delving into the
complexities of her character and the environment in which she lives, we gain
a deeper understanding of the tragedy of Abigail Williams and the destructive
power of a society that ostracizes its own members.

(Credit mixed/valid alternative responses.) [25]

QUESTION 15: THE CRUCIBLE: CONTEXTUAL QUESTIONS

15.1 Tituba decides to accuse others in order to save her own life. She knew that
Goody Osburn was a midwife to Ann Putnam (who believes that Osburn killed
her children) and that Sarah Good is of low status, so it was safer for her to
accuse them.

[Award 3 marks for two well-developed points.] (3)

15.2 Hale is the driving force behind the witch trials, probing for confessions and
encouraging people to testify will catalyse the Hysteria in Salem. However,
later on (after hearing Mary and Proctor) he will oppose the witch trials but
unfortunately, the trials will no longer be in his hands but under the control of
Danforth and the theocracy. This will lead to widespread injustice, hypocrisy,
paranoia, ulterior motives and ultimately, deaths of a litany of innocent people.

[Award 3 marks for two well-developed points.] (3)

15.3 The simile/imagery depicts Betty as being a vulnerable/weak and innocent.

However, the girls (including Betty) will become the most powerful/
manipulative/vindictive characters who will have the entire town at their mercy.
It suggests that they have little agency (which is characteristic of unmarried
girls in Salem), but they easily overrule this by having a major influence in the
court.

[Award 3 marks for reference to the irony and a discussion thereof.] (3)

15.4 Tituba’s confession offers a way out for Abigail and she takes it. She
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“confesses” to consorting with the devil, which according to the theology of

Salem, means she is free from guilt. Then she goes about naming others,
thereby shifting the blame onto others and absolving herself. Seeing
Abbigail’s success, the other girls follow suit and with this pattern of hysterical,
self-serving accusations, the witch trials are underway.

[Award 3 marks for two well-developed points.] (3)

15.5 Elizabeth and Proctor are both in jail. It is the morning of Proctor’s scheduled
hanging and Danforth hopes that Elizabeth can persuade Proctor to confess
so as to add credibility to the court proceedings thus far (given Proctor’s
weighty influence on the Salem populace). Proctor refuses to be a hypocrite,
he feels guilty for betraying Elizabeth and accepts his fate, however Elizabeth
feels she is responsible for his adultery and therefore wants him to confess
and be saved.

[1 mark for an explanation of what happened prior to the incident, 1 mark for a
motivation. 1 mark for the link to the main issue in the extract.] (3)

15.6 Proctor experiences a moral decay (guilt) throughout the drama due to his
sinful actions (affair with Abigail). The imagery of rot evokes a sense of
diminished self-worth within Proctor which eventually causes his demise. His
inability to forgive himself results in his ultimate deterioration (state of rot).

[Award 3 marks only if the imagery is discussed.] (3)

15.7 Elizabeth will speak in a sad, regretful, despondent tone, holding herself
responsible for Proctor’s indiscrimination. Her eyes will be downcast, and her
shoulder’s will be slumped indicating her guilt and casting blame unto herself
for Proctor’s infidelity. Her actions and words are intended to influence Proctor
into a confession in order to save his life.

[Accept valid alternative responses]

[The candidate’s response should be convincing in context]
[Award 4 marks only if the candidate refers to body language and tone, and
includes a justification.] (3)

15.8 Our initial observation of their relationship (In Act 2) reveals a strained
marriage wherein Elizabeth loses faith in her husband due to his affair with
and subsequent meeting with Abigail. In the above lines, a renewal of their
bond is noted as Elizabeth takes on the blame for her husband’s
unfaithfulness which is indicative of the patriarchal society that serves as a
backdrop in this drama. Elizabeth’s introspection serves to cement their
marriage and proclaim her forgiveness. This enables Proctor to die
honourably.
[Award 4 marks for two ideas well-developed which must include a critical
comment.] (3)
[25]
TOTAL SECTION C: 25
GRAND TOTAL: 80

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