Cambridge IGCSE™

LITERATURE IN ENGLISH 0475/12

Paper 1 Poetry and Prose October/November 2021

1 hour 30 minutes

You must answer on the enclosed answer booklet.

* 8 1 4 1 1 2 8 4 7 5 *

You will need: Answer booklet (enclosed)

INSTRUCTIONS
● Answer two questions in total:
Section A: answer one question.
Section B: answer one question.
● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper,
ask the invigilator for a continuation booklet.

INFORMATION
● The total mark for this paper is 50.
● All questions are worth equal marks.

This document has 28 pages. Any blank pages are indicated.

DC (RCL/DF) 200619/3
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CONTENTS

Section A: Poetry

text question
numbers page[s]

Songs of Ourselves Volume 1: from Part 3 1, 2 pages 4–5

Songs of Ourselves Volume 2 : from Part 2 3, 4 pages 6–7
Carol Ann Duffy: from New Selected Poems 1984–2004 5, 6 pages 8–9

Section B: Prose

text question
numbers page[s]

Charlotte Brontë: Jane Eyre 7, 8 pages 10–11

Anita Desai: In Custody 9, 10 pages 12–13
Zora Neale Hurston: Their Eyes Were Watching God 11, 12 pages 14–15
Henry James: Washington Square 13, 14 pages 16–17
John Knowles: A Separate Peace 15, 16 pages 18–19
George Orwell: Nineteen Eighty-Four 17, 18 pages 20–21
Alan Paton: Cry, The Beloved Country 19, 20 pages 22–23
from Stories of Ourselves 21, 22 pages 24–25

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SECTION A: POETRY

Answer one question from this section.

SONGS OF OURSELVES VOLUME 1: from Part 3

Remember to support your ideas with details from the writing.

Either 1 Read this poem, and then answer the question that follows it:

Muliebrity

I have thought so much about the girl

who gathered cow-dung in a wide, round basket
along the main road passing by our house
and the Radhavallabh temple in Maninagar.
I have thought so much about the way she 5
moved her hands and her waist
and the smell of cow-dung and road-dust and wet canna lilies,
the smell of monkey breath and freshly washed clothes
and the dust from crows’ wings which smells different –
and again the smell of cow-dung as the girl scoops 10
it up, all these smells surrounding me separately
and simultaneously – I have thought so much
but have been unwilling to use her for a metaphor,
for a nice image – but most of all unwilling
to forget her or to explain to anyone the greatness 15
and the power glistening through her cheekbones
each time she found a particularly promising
mound of dung –
(Sujata Bhatt)

How does Bhatt strikingly convey her memory of this moment?

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Or 2 Explore how Millay memorably communicates her thoughts and feelings in Sonnet 29.

Sonnet 29

Pity me not because the light of day

At close of day no longer walks the sky;
Pity me not for beauties passed away
From field to thicket as the year goes by;
Pity me not the waning of the moon, 5
Nor that the ebbing tide goes out to sea,
Nor that a man’s desire is hushed so soon,
And you no longer look with love on me.
This have I known always: Love is no more
Than the wide blossom which the wind assails, 10
Than the great tide that treads the shifting shore,
Strewing fresh wreckage gathered in the gales:
Pity me that the heart is slow to learn
When the swift mind beholds at every turn.

(Edna St Vincent Millay)

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SONGS OF OURSELVES VOLUME 2: from Part 2

Remember to support your ideas with details from the writing.

Either 3 Read this poem, and then answer the question that follows it:

The Caged Skylark

As a dare-gale skylark scanted in a dull cage,

Man’s mounting spirit in his bone-house, mean house, dwells –
That bird beyond the remembering his free fells;
This in drudgery, day-labouring-out life’s age.
Though aloft on turf or perch or poor low stage 5
Both sing sometímes the sweetest, sweetest spells,
Yet both droop deadly sómetimes in their cells
Or wring their barriers in bursts of fear or rage.

Not that the sweet-fowl, song-fowl, needs no rest –

Why, hear him, hear him babble and drop down to his nest, 10
But his own nest, wild nest, no prison.

Man’s spirit will be flesh-bound when found at best,

But uncumberèd: meadow-down is not distressed
For a rainbow footing it nor he for his bónes rísen.

(Gerard Manley Hopkins)

Explore the ways in which Hopkins uses words and images so strikingly in this poem.

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Or 4 How does Constantine powerfully convey the desire to see dolphins in Watching for
Dolphins?

Watching for Dolphins

In the summer months on every crossing to Piraeus

One noticed that certain passengers soon rose
From seats in the packed saloon and with serious
Looks and no acknowledgement of a common purpose
Passed forward through the small door into the bows 5
To watch for dolphins. One saw them lose

Every other wish. Even the lovers

Turned their desires on the sea, and a fat man
Hung with equipment to photograph the occasion
Stared like a saint, through sad bi-focals; others, 10
Hopeless themselves, looked to the children for they
Would see dolphins if anyone would. Day after day

Or on their last opportunity all gazed

Undecided whether a flat calm were favourable
Or a sea the sun and the wind between them raised 15
To a likeness of dolphins. Were gulls a sign, that fell
Screeching from the sky or over an unremarkable place
Sat in a silent school? Every face

After its character implored the sea.

All, unaccustomed, wanted epiphany, 20
Praying the sky would clang and the abused Aegean
Reverberate with cymbal, gong and drum.
We could not imagine more prayer, and had they then
On the waves, on the climax of our longing come

Smiling, snub-nosed, domed like satyrs, oh 25

We should have laughed and lifted the children up
Stranger to stranger, pointing how with a leap
They left their element, three or four times, centred
On grace, and heavily and warm re-entered,
Looping the keel. We should have felt them go 30

Further and further into the deep parts. But soon

We were among the great tankers, under their chains
In black water. We had not seen the dolphins
But woke, blinking. Eyes cast down
With no admission of disappointment the company 35
Dispersed and prepared to land in the city.

(David Constantine)

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CAROL ANN DUFFY: from New Selected Poems 1984–2004

Remember to support your ideas with details from the writing.

Either 5 Read this poem, and then answer the question that follows it:

Head of English

Today we have a poet in the class.

A real live poet with a published book.
Notice the inkstained fingers girls. Perhaps
we’re going to witness verse hot from the press.
Who knows. Please show your appreciation 5
by clapping. Not too loud. Now

sit up straight and listen. Remember

the lesson on assonance, for not all poems,
sadly, rhyme these days. Still. Never mind.
Whispering’s, as always, out of bounds – 10
but do feel free to raise some questions.
After all, we’re paying forty pounds.

Those of you with English Second Language

see me after break. We’re fortunate
to have this person in our midst. 15
Season of mists and so on and so forth.
I’ve written quite a bit of poetry myself,
am doing Kipling with the Lower Fourth.

Right. That’s enough from me. On with the Muse.

Open a window at the back. We don’t 20
want winds of change about the place.
Take notes, but don’t write reams. Just an essay
on the poet’s themes. Fine. Off we go.
Convince us that there’s something we don’t know.

Well. Really. Run along now girls. I’m sure 25

that gave an insight to an outside view.
Applause will do. Thank you
very much for coming here today. Lunch
in the hall? Do hang about. Unfortunately
I have to dash. Tracey will show you out. 30

How does Duffy make this poem so entertaining?

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Or 6 In what ways does Duffy make War Photographer such a powerful poem?

War Photographer

In his darkroom he is finally alone

with spools of suffering set out in ordered rows.
The only light is red and softly glows,
as though this were a church and he
a priest preparing to intone a Mass. 5
Belfast. Beirut. Phnom Penh. All flesh is grass.

He has a job to do. Solutions slop in trays

beneath his hands, which did not tremble then
though seem to now. Rural England. Home again
to ordinary pain which simple weather can dispel, 10
to fields which don’t explode beneath the feet
of running children in a nightmare heat.

Something is happening. A stranger’s features

faintly start to twist before his eyes,
a half-formed ghost. He remembers the cries 15
of this man’s wife, how he sought approval
without words to do what someone must
and how the blood stained into foreign dust.

A hundred agonies in black and white

from which his editor will pick out five or six 20
for Sunday’s supplement. The reader’s eyeballs prick
with tears between the bath and pre-lunch beers.
From the aeroplane he stares impassively at where
he earns his living and they do not care.

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SECTION B: PROSE

Answer one question from this section.

CHARLOTTE BRONTË: Jane Eyre

Remember to support your ideas with details from the writing.

Either 7 Read this passage, and then answer the question that follows it:

I now stood in the empty hall; before me was the breakfast-room door,
and I stopped, intimidated and trembling. What a miserable little poltroon
had fear, engendered of unjust punishment, made of me in those days!
I feared to return to the nursery, and feared to go forward to the parlour;
ten minutes I stood in agitated hesitation; the vehement ringing of the 5
breakfast-room bell decided me; I must enter.
‘Who could want me?’ I asked inwardly, as with both hands I turned
the stiff door-handle which, for a second or two, resisted my efforts.
‘What should I see besides Aunt Reed in the apartment? – a man or a
woman?’ The handle turned, the door unclosed, and passing through, and 10
curtseying low, I looked up at – a black pillar! – such, at least, appeared to
me, at first sight, the straight, narrow, sable-clad shape standing erect on
the rug; the grim face at the top was like a carved mask, placed above the
shaft by way of capital.
Mrs Reed occupied her usual seat by the fireside; she made a signal 15
to me to approach; I did so, and she introduced me to the stony stranger
with the words –
‘This is the little girl respecting whom I applied to you.’
He – for it was a man – turned his head slowly towards where I stood,
and having examined me with the two inquisitive-looking gray eyes which 20
twinkled under a pair of bushy brows, said solemnly, and in a bass voice –
‘Her size is small; what is her age?’
‘Ten years.’
‘So much?’ was the doubtful answer; and he prolonged his scrutiny
for some minutes. Presently he addressed me – 25
‘Your name, little girl?’
‘Jane Eyre, sir.’
In uttering these words I looked up: he seemed to me a tall gentleman,
but then I was very little; his features were large, and they and all the lines
of his frame were equally harsh and prim. 30
‘Well, Jane Eyre, and are you a good child?’
Impossible to reply to this in the affirmative: my little world held a
contrary opinion: I was silent. Mrs Reed answered for me by an expressive
shake of the head, adding soon, ‘Perhaps the less said on that subject the
better, Mr Brocklehurst.’ 35
‘Sorry indeed to hear it! She and I must have some talk;’ and bending
from the perpendicular, he installed his person in the arm-chair, opposite
Mrs Reed’s. ‘Come here,’ he said.
I stepped across the rug: he placed me square and straight before
him. What a face he had, now that it was almost on a level with mine! what 40
a great nose! and what a mouth! and what large prominent teeth!
‘No sight so sad as that of a naughty child,’ he began, ‘especially a
naughty little girl. Do you know where the wicked go after death?’
‘They go to hell,’ was my ready and orthodox answer.
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‘And what is hell? Can you tell me that?’ 45

‘A pit full of fire.’
‘And should you like to fall into that pit, and to be burning there for
ever?’
‘No, sir.’
(from Chapter 4)

How does Brontë make this moment in the novel so disturbing?

Or 8 To what extent does Brontë portray Mr Rochester as a victim?

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ANITA DESAI: In Custody

Remember to support your ideas with details from the writing.

Either 9 Read this passage, and then answer the question that follows it:

Doors opened on to the unlit verandas all around the silent well of
the courtyard where one bare electric bulb burned.

Content removed due to copyright restrictions.

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Deven dropped his eyes and his head sank in admission of this
indubitable truth.
(from Chapter 3)

How does Desai make this such a dramatic moment in the novel?

Or 10 In what ways does Desai strikingly convey the desire for money throughout the novel?

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ZORA NEALE HURSTON: Their Eyes Were Watching God

Remember to support your ideas with details from the writing.

Either 11 Read this passage, and then answer the question that follows it:

Sim Jones started off as soon as he was sure that Starks couldn’t
hear him.

Content removed due to copyright restrictions.

They bowed down to him rather, because he was all of these things, and
then again he was all of these things because the town bowed down.

(from Chapter 5)
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Explore how Hurston memorably portrays Joe Starks and Janie at this moment in the
novel.

Or 12 How far does Hurston show that Janie will not let others decide how she lives her life?

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HENRY JAMES: Washington Square

Remember to support your ideas with details from the writing.

Either 13 Read this passage, and then answer the question that follows it:

‘You told me that if I should have anything more to say about

Mr Townsend you would be glad to listen to it.’
‘Exactly, my dear,’ said the Doctor, not turning round, but stopping his
pen.
Catherine wished it would go on, but she herself continued. ‘I thought 5
I would tell you that I have not seen him again, but that I should like to do
so.’
‘To bid him good-bye?’ asked the Doctor.
The girl hesitated a moment. ‘He is not going away.’
The Doctor wheeled slowly round in his chair, with a smile that 10
seemed to accuse her of an epigram; but extremes meet, and Catherine
had not intended one. ‘It is not to bid him good-bye, then?’ her father
said.
‘No, father, not that; at least, not for ever. I have not seen him again,
but I should like to see him,’ Catherine repeated. 15
The Doctor slowly rubbed his under lip with the feather of his quill.
‘Have you written to him?’
‘Yes, four times.’
‘You have not dismissed him, then. Once would have done that.’
‘No,’ said Catherine; ‘I have asked him – asked him to wait.’ 20
Her father sat looking at her, and she was afraid he was going to
break out into wrath; his eyes were so fine and cold.
‘You are a dear, faithful child,’ he said at last. ‘Come here to your
father.’ And he got up, holding out his hands toward her.
The words were a surprise, and they gave her an exquisite joy. She 25
went to him, and he put his arm round her tenderly, soothingly; and then
he kissed her. After this he said –
‘Do you wish to make me very happy?’
‘I should like to – but I am afraid I can’t,’ Catherine answered.
‘You can if you will. It all depends on your will.’ 30
‘Is it to give him up?’ said Catherine.
‘Yes, it is to give him up.’
And he held her still, with the same tenderness, looking into her face
and resting his eyes on her averted eyes. There was a long silence; she
wished he would release her. 35
‘You are happier than I, father,’ she said, at last.
‘I have no doubt you are unhappy just now. But it is better to be
unhappy for three months and get over it, than for many years and never
get over it.’
‘Yes, if that were so,’ said Catherine. 40
‘It would be so; I am sure of that.’ She answered nothing, and he went
on. ‘Have you no faith in my wisdom, in my tenderness, in my solicitude for
your future?’
‘Oh, father!’ murmured the girl.
‘Don’t you suppose that I know something of men: their vices, their 45
follies, their falsities?’
She detached herself, and turned upon him. ‘He is not vicious – he is
not false!’
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Her father kept looking at her with his sharp, pure eye. ‘You make
nothing of my judgment, then?’ 50
‘I can’t believe that!’
‘I don’t ask you to believe it, but to take it on trust.’
Catherine was far from saying to herself that this was an ingenious
sophism; but she met the appeal none the less squarely. ‘What has he
done – what do you know?’ 55
‘He has never done anything – he is a selfish idler.’
‘Oh, father, don’t abuse him!’ she exclaimed, pleadingly.
‘I don’t mean to abuse him; it would be a great mistake. You may do
as you choose,’ he added, turning away.
‘I may see him again?’ 60
‘Just as you choose.’
‘Will you forgive me?’
‘By no means.’
(from Chapter 18)

How does James make this conversation so memorable and significant?

Or 14 In what ways does James suggest that Morris never really loved Catherine?

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JOHN KNOWLES: A Separate Peace

Remember to support your ideas with details from the writing.

Either 15 Read this passage, and then answer the question that follows it:

Our absence from dinner had been noticed.

Content removed due to copyright restrictions.

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Mr. Prud’homme released his breath with a sort of amazed laugh,

stared at Finny for a while, and that was all there was to it.

(from Chapter 2)

How does Knowles make Finny so likeable at this moment in the novel?

Or 16 In what ways does Knowles make Leper such a pitiful character?

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GEORGE ORWELL: Nineteen Eighty-Four

Remember to support your ideas with details from the writing.

Either 17 Read this passage, and then answer the question that follows it:

It was a bright cold day in April, and the clocks were striking thirteen.
Winston Smith, his chin nuzzled into his breast in an effort to escape the
vile wind, slipped quickly through the glass doors of Victory Mansions,
though not quickly enough to prevent a swirl of gritty dust from entering
along with him. 5
The hallway smelt of boiled cabbage and old rag mats. At one end
of it a coloured poster, too large for indoor display, had been tacked to
the wall. It depicted simply an enormous face, more than a metre wide:
the face of a man of about forty-five, with a heavy black moustache and
ruggedly handsome features. Winston made for the stairs. It was no use 10
trying the lift. Even at the best of times it was seldom working, and at
present the electric current was cut off during daylight hours. It was part of
the economy drive in preparation for Hate Week. The flat was seven flights
up, and Winston, who was thirty-nine and had a varicose ulcer above his
right ankle, went slowly, resting several times on the way. On each landing, 15
opposite the lift shaft, the poster with the enormous face gazed from the
wall. It was one of those pictures which are so contrived that the eyes
follow you about when you move. BIG BROTHER IS WATCHING YOU,
the caption beneath it ran.
Inside the flat a fruity voice was reading out a list of figures which 20
had something to do with the production of pig-iron. The voice came
from an oblong metal plaque like a dulled mirror which formed part of the
surface of the right-hand wall. Winston turned a switch and the voice sank
somewhat, though the words were still distinguishable. The instrument
(the telescreen, it was called) could be dimmed, but there was no way 25
of shutting it off completely. He moved over to the window: a smallish,
frail figure, the meagreness of his body merely emphasized by the blue
overalls which were the uniform of the Party. His hair was very fair, his face
naturally sanguine, his skin roughened by coarse soap and blunt razor
blades and the cold of the winter that had just ended. 30
Outside, even through the shut window-pane, the world looked cold.
Down in the street little eddies of wind were whirling dust and torn paper
into spirals, and though the sun was shining and the sky a harsh blue,
there seemed to be no colour in anything, except the posters that were
plastered everywhere. The black-moustachio’d face gazed down from 35
every commanding corner. There was one on the house-front immediately
opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the
dark eyes looked deep into Winston’s own. Down at street level another
poster, torn at one corner, flapped fitfully in the wind, alternately covering
and uncovering the single word INGSOC. In the far distance a helicopter 40
skimmed down between the roofs, hovered for an instant like a bluebottle,
and darted away again with a curving flight. It was the police patrol,
snooping into people’s windows. The patrols did not matter, however. Only
the Thought Police mattered.
Behind Winston’s back the voice from the telescreen was still babbling 45
away about pig-iron and the overfulfilment of the Ninth Three-Year Plan.
The telescreen received and transmitted simultaneously. Any sound that
Winston made, above the level of a very low whisper, would be picked
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up by it; moreover, so long as he remained within the field of vision which

the metal plaque commanded, he could be seen as well as heard. There 50
was of course no way of knowing whether you were being watched at any
given moment. How often, or on what system, the Thought Police plugged
in on any individual wire was guesswork. It was even conceivable that
they watched everybody all the time. But at any rate they could plug in
your wire whenever they wanted to. You had to live – did live, from habit 55
that became instinct – in the assumption that every sound you made was
overheard, and, except in darkness, every movement scrutinised.

(from Part 1)

How does Orwell make this such a striking opening to the novel?

Or 18 Explore how Orwell powerfully conveys the Party’s control of language.

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ALAN PATON: Cry, The Beloved Country

Remember to support your ideas with details from the writing.

Either 19 Read this passage, and then answer the question that follows it:

He sat down and covered his face with his hands; and she, seeing
him, fell to sobbing, a creature shamed and tormented.

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Content removed due to copyright restrictions.

– Go well, umfundisi.
(from Book 1, Chapter 16)

How does Paton make this such a moving moment in the novel?

Or 20 How does Paton convince you that Absalom never had a chance of a fair trial?

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from Stories of Ourselves

Remember to support your ideas with details from the writing.

Either 21 Read this passage from The Open Boat (by Stephen Crane), and then answer the
question that follows it:

The correspondent remained in the grip of this strange new enemy –

a current. The shore, with its white slope of sand and its green bluff topped
with little silent cottages, was spread like a picture before him. It was very
near to him then, but he was impressed as one who, in a gallery, looks at a
scene from Brittany or Algiers. 5

He thought: ‘I am going to drown? Can it be possible? Can it be

possible? Can it be possible?’ Perhaps an individual must consider his
own death to be the final phenomenon of nature.

But later a wave perhaps whirled him out of this small deadly current,
for he found suddenly that he could again make progress toward the 10
shore. Later still, he was aware that the captain, clinging with one hand to
the keel of the dinghy, had his face turned away from the shore and toward
him, and was calling his name. ‘Come to the boat! Come to the boat!’

In his struggle to reach the captain and the boat, he reflected that
when one gets properly wearied, drowning must really be a comfortable 15
arrangement, a cessation of hostilities accompanied by a large degree
of relief, and he was glad of it, for the main thing in his mind for some
moments had been horror of the temporary agony. He did not wish to be
hurt.

Presently he saw a man running along the shore. He was undressing 20

with most remarkable speed. Coat, trousers, shirt, everything flew
magically off him.

‘Come to the boat,’ called the captain.

‘All right, captain.’ As the correspondent paddled, he saw the captain

let himself down to bottom and leave the boat. Then the correspondent 25
performed his one little marvel of the voyage. A large wave caught him and
flung him with ease and supreme speed completely over the boat and far
beyond it. It struck him even then as an event in gymnastics, and a true
miracle of the sea. An overturned boat in the surf is not a plaything to a
swimming man. 30

The correspondent arrived in water that reached only to his waist, but
his condition did not enable him to stand for more than a moment. Each
wave knocked him into a heap, and the under-tow pulled at him.

Then he saw the man who had been running and undressing, and
undressing and running, come bounding into the water. He dragged ashore 35
the cook, and then waded towards the captain, but the captain waved him
away, and sent him to the correspondent. He was naked, naked as a tree
in winter, but a halo was about his head, and he shone like a saint. He gave
a strong pull, and a long drag, and a bully heave at the correspondent’s
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hand. The correspondent, schooled in the minor formulæ, said: ‘Thanks, 40

old man.’ But suddenly the man cried: ‘What’s that?’ He pointed a swift
finger. The correspondent said: ‘Go.’

In the shallows, face downward, lay the oiler. His forehead touched
sand that was periodically, between each wave, clear of the sea.

The correspondent did not know all that transpired afterward. When 45
he achieved safe ground he fell, striking the sand with each particular part
of his body. It was as if he had dropped from a roof, but the thud was
grateful to him.

It seems that instantly the beach was populated with men with
blankets, clothes, and flasks, and women with coffee pots and all the 50
remedies sacred to their minds. The welcome of the land to the men
from the sea was warm and generous, but a still and dripping shape was
carried slowly up the beach; and the land’s welcome for it could only be
the different and sinister hospitality of the grave.

When it came night, the white waves paced to and fro in the moonlight, 55
and the wind brought the sound of the great sea’s voice to the men on the
shore, and they felt that they could then be interpreters.

How does Crane make this such a memorable ending to the story?

Or 22 Explore the ways in which the writer creates vivid impressions of the narrator in one of
the following stories:

• The Moving Finger (by Edith Wharton)

• The Stoat (by John McGahern)
• On Her Knees (by Tim Winton).

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