4ET1 02 Rms 20190822

Mark Scheme (Results)
Summer 2019
Pearson Edexcel International GCSE

In English Literature (4ET1)
Paper 2: Modern Drama and Literary
Heritage Texts
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June 2019
Publications Code 4ET1_02_1906_MS
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© Pearson Education Ltd 2019
General Marking Guidance
• All candidates must receive the same treatment. Examiners must mark the first
candidate in exactly the same way as they mark the last.
• Mark schemes should be applied positively. Candidates must be rewarded for
what they have shown they can do rather than penalised for omissions.
• Examiners should mark according to the mark scheme not according to their
perception of where the grade boundaries may lie.
• There is no ceiling on achievement. All marks on the mark scheme should be
used appropriately.
• All the marks on the mark scheme are designed to be awarded. Examiners
should always award full marks if deserved, i.e. if the answer matches the
mark scheme. Examiners should also be prepared to award zero marks if the
candidate’s response is not worthy of credit according to the mark scheme.
• Where some judgement is required, mark schemes will provide the principles by
which marks will be awarded and exemplification may be limited.
• When examiners are in doubt regarding the application of the mark scheme to a
candidate’s response, the team leader must be consulted.
• Crossed out work should be marked UNLESS the candidate has replaced it with
an alternative response.
AO1 Demonstrate a close knowledge and understanding of texts,

maintaining a critical style and presenting an informed personal
engagement.
AO2 Analyse the language, form and structure used by a writer to create
meanings and effects.
AO4 Show understanding of the relationships between texts and the contexts in
which they were written.
SECTION A – Modern Drama
Question Indicative content
Number
1 Examiners should be alert to a variety of responses and should

A View reward points that are clearly based on evidence from the play.
from the Evidence of a degree of personal response must be given. This is
Bridge not an exhaustive list but the following points may be made:
(AO1)
• conflict is central to the events of the play. Eddie is the cause of much
of this conflict as he is at odds with all the other characters in one way
or another. He also suffers from inner conflict throughout the play,
struggling to deal with his feelings as Catherine grows into a young
woman
• Eddie battles his own conscience when he reports Marco and Rodolfo
to the Immigration Bureau, breaking his own rules: ‘you can quicker
get back a million dollars that was stole than a word that you gave
away’
• conflict exists between the American way of life and the old way of life
that was experienced in Italy. The Italian patriarchal heritage is in
conflict with the new world of America and its emphasis on law, justice
and equality. Eddie’s inability to let Catherine live her own life reflects
this conflict
• Eddie and his wife, Beatrice, are in quiet conflict over the state of their
relationship as Beatrice is frustrated by their lack of closeness: ‘When
am I gonna be a wife again, Eddie?’ She supports him, however, and
he dies in her arms at the end of the play
• conflict develops between Eddie and Rodolfo as Rodolfo and Catherine
grow closer. Eddie is unimpressed by Rodolfo’s flamboyant style and
resents his blond hair and unusual skills of sewing and singing. Eddie
says: ‘The guy ain’t right’ to express his discomfort and feelings that
Rodolfo is a threat. Later in the play, Eddie is contemptuous of
Rodolfo: ‘he’s only a punk…’
• Eddie clashes with Marco in a conflict over Rodolfo. Marco displays his
superior strength when he lifts the chair over his head and later comes
looking for Eddie when he realises that Eddie has reported him to the
Immigration Bureau.
(AO2)
• Language: Eddie and Catherine are in conflict when Catherine wants to
start a job as stenographer. He questions the decision: ‘What job?
She’s gonna finish school’
• Language/Structure: Eddie calls Catherine ‘Madonna’, a reference to the
Virgin Mary from the Catholic religion of his homeland. This term of
endearment is in conflict with his unnatural love for his niece
• Language/Structure: Eddie’s conflict with Marco springs from betrayal
and vengeance. After Marco learns of Eddie’s duplicity in reporting him
and his brother to the authorities, his tone is accusatory and savage:
‘Animal! You go on your knees to me!’
• Form/Structure: conflict is created in the characterisation of both
Rodolfo and Marco, who are antagonists to Eddie, catalysts in his tragic
fall
• Form/Structure: Eddie’s death in the brawl with Marco ends the conflict
and the play.
5
Level Mark AO1 Demonstrate a close knowledge and understanding of texts,
maintaining a critical style and presenting an informed
personal engagement. (15 marks)
AO2 Analyse the language, form and structure used by a writer to
create meanings and effects. (15 marks)
0 No rewardable material.
Level 1-6 • Limited knowledge and understanding of the text.
1 • The response is simple with little evidence of personal
engagement or critical style.
• Minimal identification of language, form and structure.
• Limited use of relevant examples in support.
Level 7-12 • Some knowledge and understanding of the text.
2 • The response may be largely narrative with some evidence of
personal engagement or critical style.
• Some comment on the language, form and structure.
• Some use of relevant examples in support.
Level 13-18 • Sound knowledge and understanding of the text.
3 • The response shows relevant personal engagement and an
appropriate critical style.
• Sound understanding of language, form and structure.
• Use of clearly relevant examples in support.
Level 19-24 • Thorough knowledge and understanding of the text.
4 • The response shows thorough personal engagement and a
sustained critical style.
• Sustained analysis of language, form and structure.
• Use of fully relevant examples in support.
Level 25-30 • Assured knowledge and understanding of the text.
5 • The response shows assured personal engagement and a
perceptive critical style.
• Cohesive evaluation of language, form and structure.
• Discriminating use of relevant examples in support.
6
Number
A View reward points that are clearly based on evidence from the play.
From the Evidence of a degree of personal response must be given. This is not
Bridge an exhaustive list but the following points may be made:
(AO1)
• Beatrice is married to Eddie Carbone. They have no children, but bring up
Beatrice’s orphaned niece, Catherine, caring for her like a daughter
• Beatrice is a good wife to Eddie, maintaining their home and considering
Eddie’s feelings: ‘I’m just worried about you.’ She defers to Eddie and is
careful to avoid upsetting him before the arrival of her cousins
• Beatrice prepares meticulously for the arrival of her cousins, Marco and
Rodolfo, from Sicily. She wants everything to be in order and regrets that
she ‘didn’t even buy a new tablecloth’. She is anxious before their arrival
in Red Hook
• Beatrice appreciates that Catherine needs to follow a different course in
her life and encourages her growing independence: ‘It means you gotta be
your own self more’
• Beatrice is pragmatic in her handling of Eddie’s interest in Catherine. She
confronts the situation, telling Eddie: ‘You want somethin’ else, Eddie, and
you can never have her!’
• Beatrice views the relationship of Catherine and Rodolfo as positive and
urges Eddie to ‘tell her good luck’
• ultimately, Beatrice remains loyal to Eddie. She stays with him rather than
attending the wedding
• Beatrice’s love for Eddie is finally recognised. When Eddie lies dying in her
arms, he realises the value of his loyal wife and his last words are: ‘My B!’
(AO2)
• Language/Structure: Beatrice represents the idea of a traditional

housewife in the play. Her concern with domestic matters reflects her
position as homemaker and mother figure: ‘I was gonna clean the walls. I
was gonna wax the floors’
• Language/Structure: Catherine and Beatrice are contrasting characters in
the play. Even though Beatrice fulfils the role of a traditional housewife,
she defends Catherine’s decision to go out to work, focusing on the
healthy salary she will earn: ‘Fifty dollars a week, Eddie’
• Language: Beatrice uses a euphemism to express her frustration at
Eddie’s lack of interest in her as a wife: ‘When am I gonna be a wife
again, Eddie?’
• Structure: Beatrice acts as a peacemaker in the family, trying to draw
Eddie, Catherine and Rodolfo together
• Structure/Form: Beatrice can be viewed as the victim in the play, losing
both Catherine (in marriage to Rodolfo) and Eddie (who dies, leaving her a
widow) by the end of the play.
7
8
Number
3 Examiners should be alert to a variety of responses and should reward
An points that are clearly based on evidence from the play. Evidence of a
Inspector degree of personal response must be given. This is not an exhaustive
Calls list but the following points may be made:
(AO1)
• candidates are most likely to write about the portrayal of Mr and Mrs
Birling as members of the older generation. Candidates may also
consider other characters such as the Crofts, Joe Meggarty or Inspector
Goole
• Mr and Mrs Birling, the Crofts and, ultimately, Gerald believe in
capitalism and prioritise themselves and their own needs. Sheila and
Eric are more open to socialist views and feel guilty about what has
happened to Eva/Daisy
• Mr and Mrs Birling are in their fifties and are portrayed as pompous and
self-assured. Early in the play Mr Birling lectures Sheila, Eric and
Gerald: ‘Now you three young people, just listen to this’
• Mr and Mrs Birling try to avoid responsibility for their parts in
Eva’s/Daisy’s demise. Mrs Birling denies any involvement: ‘I accept no
blame for it at all’
• Sheila is horrified at the lack of care and sympathy shown by her
parents after learning of Eva’s/Daisy’s fate. She says: ‘You began to
learn something. And you’ve stopped now … it frightens me the way you
talk, and I can’t listen to any more of it’
• Gerald seems to side with the older generation in the end and this may
be because of his background. It is he who finds out that Inspector
Goole is not a real police inspector when he bumps into a policeman and
asks him about the Inspector. Ultimately his interest is more focused on
proving that the Inspector is not real than caring about what has
happened to Eva/Daisy
• after Gerald’s revelation that the Inspector is not real, both Mr and Mrs
Birling take the whole thing lightly. Mr Birling mocks Sheila and Eric:
‘Now look at the pair of them – the famous younger generation who
know it all. And they can’t even take a joke’.
(AO2)
• Language/Structure: Priestley’s use of dramatic irony emphasises the
ridiculousness of Mr Birling’s views: ‘…you’ll be living in a world that’ll
have forgotten all these Capital versus Labour agitations and all these
silly little war scares’
• Language: when Mrs Birling tells Eric that she is ashamed of him, Eric
mirrors her language with the words: ‘But don’t forget I’m ashamed of
you as well – yes, both of you’
• Language/Structure: Gerald’s complacent attitude to finding out that the
Inspector is not real is in line with the older generation: ‘Everything’s all
right now’. He expects Sheila to take the ring back
• Structure: in terms of age, Gerald Croft lies between the younger and
older generations. The Inspector deals with him less harshly than Mr and
Mrs Birling
• Form/Structure: Sheila and Eric are presented as a contrast to the older
generation who are set in their ways and immovable. The parents and
children reverse roles by the end of the play with Sheila and Eric taking
responsibility and assuming authority.
9
10
Number
An reward points that are clearly based on evidence from the play.
Inspector Evidence of a degree of personal response must be given. This is not
Calls an exhaustive list but the following points may be made:
(AO1)
• as the play opens, the Birling family are presented as looking forward to
a hopeful and positive future, celebrating the engagement of their
daughter, Sheila, to the eligible Gerald Croft, son of Lord and Lady Croft
• the play was written by Priestley in 1945 but is set in 1912 so the
audience have the benefit of hindsight as the drama unfolds. The First
World War would start in two years, yet Birling describes talk of war as
‘silly’. He similarly offers the view that there will be no unrest in the
workforce, yet the National Coal Strike took place in 1912
• Eric’s fear of the future foreshadows the terrible loss of life suffered by
his generation in the First World War. He challenges Mr Birling’s view,
saying, ‘What about war?’ but is silenced by him
• the omniscient Inspector Goole seems to know and understand a great
deal about events surrounding Eva’s/Daisy’s life and death. It is only at
the end of the play that the audience realises that he knows the future,
even though he implies this: ‘I’m waiting … To do my duty’
• Inspector Goole is a timeless, classless character who serves the
dramatic purpose of trying to teach the Birlings and the audience a
lesson. His warning speech towards the end of the play suggests an
apocalyptic future for humanity if his lessons are not heeded: ‘We are
responsible for each other. And I tell you that the time will soon come
when, if men will not learn that lesson, then they will be taught it in fire
and blood and anguish’
• Sheila and Eric represent hope for the future as they are touched by the
Inspector’s message of social responsibility. Sheila becomes the
Inspector’s advocate and shares his role as Priestley’s mouthpiece: ‘I
remember what he said, how he looked, and what he made me feel.
‘‘Fire and blood and anguish!’’ And it frightens me the way you talk’.
(AO2)
• Language: Mr Birling’s most obvious inaccurate prophecy about the
future is his faith in the Titanic, set to sail in April 1912. Birling uses
repetition to emphasise his belief in the ship’s invincibility: ‘unsinkable,
absolutely unsinkable’
• Language/Structure: Gerald agrees with Mr Birling that the future looks
like ‘a time of steadily increasing prosperity’, aligning the two
characters through this view
• Language: Mr Birling sees a blossoming future for his firm, linking the
union of Sheila and Gerald to that of the companies: ‘perhaps we may
look forward to the time when Crofts and Birlings are no longer
competing but are working together – for lower costs and higher prices’
• Form/Structure: dramatic irony is a key technique used by Priestley.
The audience knows that Mr Birling’s pronouncements about the future
are going to be proved wrong. This demonstrates to the audience how
misguided he is in his views
• Form/Structure: Priestley manipulates time for dramatic purposes
through his supernatural presentation of the omniscient Inspector Goole
who delivers the news of Eva’s/Daisy’s death before it has taken place.
11
12
Number
The points that are clearly based on evidence from the play. Evidence of a
Curious degree of personal response must be given. This is not an exhaustive
Incident list but the following points may be made:
of the (AO1)
Dog in • the title of the play is significant because the plot is centred on the incident
the of the death of Wellington, the dog belonging to Christopher’s neighbour,
Night- Mrs Shears. The plot follows Christopher’s investigations into who killed the
time dog and the consequences of his discoveries
• the title of the play comes from the novel of the same name: The Curious
Incident of the Dog in the Night-time. It is taken from the short story,
Silver Blaze, which is a Sherlock Holmes mystery
• the murder of the dog is ‘curious’. At first it is assumed by the police and
Mrs Shears that Christopher killed Wellington as it is he who finds the body
and is discovered standing next to it. Christopher tells the policeman plainly
‘I did not kill the dog’
• Christopher’s love of dogs is a key motif throughout the play. When Ed tries
to put him off investigating the murder by saying, ‘It’s a bloody dog’,
Christopher replies ‘I think dogs are important too’
• Christopher’s investigation into the dog’s murder leads him to unveil the
mystery of his own mother’s disappearance and the truth behind
Wellington’s death. It is revealed that Ed Boone killed the dog in a fit of
anger at Mr Shears who had run away with Judy Boone
• Ed Boone’s confession that he killed Wellington is a dramatic climax in the
play and follows Christopher’s discovery that his mother is not dead as he
has been led to believe. Ed reveals that he killed Wellington when the ‘red
mist’ came down, following an argument he had with Mrs Shears. This
resolves the mystery behind the curious incident
• the solving of the mystery prompts Christopher to run away to London to
live with his mother, but the play ends happily as he is ultimately
reconciled with Ed. Significantly, Christopher receives the gift of a ‘little
sandy-coloured Golden Retriever’ from Ed.
(AO2)
• Language: Christopher’s language (delivered through Siobhan) has the
tone of an investigator in its precise and formal tone: ‘It was seven minutes
after midnight. The dog was lying on the grass in the middle of the lawn in
front of Mrs Shears’ house’
• Language: Christopher’s investigation into the curious death of Wellington
leads him to speak to people he would not otherwise approach. He
interrogates Mr Thompson among others: ‘Do you know who killed
Wellington?’
• Form/Structure: the mystery surrounding Wellington’s death forms a
platform for the audience to learn about Christopher’s character and
provides dramatic tension in the play
• Language/Form/Structure: the opening stage direction is directly linked to
the play’s title and is shocking to the audience: ‘A dead dog lies in the
middle of the stage. A large garden fork is sticking out of its side’. This sets
the scene for the play’s events.
13
14
Number
The reward points that are clearly based on evidence from the play.
Curious Evidence of a degree of personal response must be given. This is
Incident of not an exhaustive list but the following points may be made:
the Dog in (AO1)
the Night- • Christopher’s parents are Ed and Judy Boone and their relationship is
time presented as the catalyst for the events in the play. When the play
opens, Christopher believes that his mother is dead, as Ed has chosen
to tell him this lie rather than the truth that she has left them both for
a life with Mr Shears, a neighbour
• Ed tries to avoid the truth, and possible confrontation with
Christopher, hence his lies about Judy being dead and his hiding of
the letters. Ed’s jealousy of Judy’s relationship with Mr Shears leads
to his killing of Wellington in a fit of rage
• Christopher and his father share a loving, but sometimes strained,
relationship: ‘How many times do I have to tell you, Christopher?’
However, Ed is usually patient and caring with his son and he also
shows great determination in trying to get Christopher access to the
Maths A-level at his school
• the audience and Christopher find out the truth about Judy when he
finds letters that she has sent to him but which have been hidden by
Ed. Judy tries to be honest, comparing herself with Ed: ‘I’m not like
your father. Your father is a much more patient person. He just gets
on with things and if things upset him he doesn’t let it show’
• Christopher turns to Judy when he discovers his father’s lies, running
away to the address in London that he has taken from her letters.
Judy is protective of him when she finds him waiting, soaking wet in
the cold on her doorstep: ‘Will you let me help you get your clothes
off? I can get you a clean T-shirt … You could get yourself into bed’
• by the end of the play, Christopher has learnt to trust his father
again, but is living with his mother in a bedsit.
(AO2)
• Language: Ed is stubborn in his attempts to ensure that Christopher
can do his Maths A-level. When told there are no facilities, he retorts
‘Then get the facilities’
• Language/Structure: Judy Boone’s letters to Christopher show the
audience how she struggled to cope with his challenging behaviour
and the strain it put on her marriage to Ed. She says that Ed seemed
more able to cope with Christopher. When she saw them together,
Christopher seemed calm: ‘And it made me so sad because it was like
you didn’t need me at all’
• Structure: the stage directions show how Ed is openly affectionate
towards his son: ‘Ed holds his right hand up and spreads his fingers
out in a fan. Christopher does the same with his left hand. They make
their fingers and thumbs touch each other’
• Form/Structure: Judy is an absent parent for the first half of the play
as she is believed dead. Christopher’s discovery that she is alive is a
dramatic revelation that changes the course of events.
15
16
Number
7 Examiners should be alert to a variety of responses and
Kinder- should reward points that are clearly based on evidence from
transport the play. Evidence of a degree of personal response must be
given. This is not an exhaustive list but the following points
may be made:
(AO1)
• Faith is in her early twenties and lives with her mother, Evelyn. As
the play opens she is about to leave home. Lil is presented both in
her thirties and as an older woman in her eighties. She treats Faith
as a granddaughter
• as the play opens, Faith is getting ready to leave home and looking
through some old boxes of toys. Lil has come to visit from
Manchester and comes to the attic to call Faith downstairs. Her
manner is down-to-earth: ‘Just get this lot boxed and neaten up
the room. I’ll do tea’
• Lil returns to the attic to hurry Faith along and finds her looking
through some letters and photos in a box. She has a direct
approach when Faith says, ‘I will put the things away…’. Lil replies
‘You said that before’
• Faith questions Lil about the ‘little Jewish girl you had staying with
you during the war’. She does not know that Eva and Evelyn are
the same person at this point. Lil does not reveal the truth but
Faith suspects she is hiding something: ‘Why are you being so
cagey?’
• Faith respects Lil’s authority, but is persistent with regard to the
photo. Lil tries to protect Evelyn’s privacy by telling Faith ‘leave it’
• Lil is unsettled by Faith’s discovery of Evelyn’s true identity and
sees it as undermining her status with Faith: ‘Aren’t I real now?’
• Lil defends Evelyn. When Faith says ‘I could kill you’ to Evelyn, Lil
intervenes: ‘I’ll bloody kill you first’.
(AO2)
• Language: Lil shows care to Faith and a practical, no-nonsense
approach: ‘Stop fretting and eat your Madeira cake’
• Language/Structure: Lil’s conversation with Faith reveals things
about Faith’s growing up as Evelyn’s daughter. Faith states that
Evelyn ‘used to tell me. She said she was told it when she was
little’
• Language: Faith is sensitive to Lil’s feelings, noticing that she is
upset to find that Evelyn has kept so much from her childhood as
Eva: ‘It’s upset you, hasn’t it?’
• Structure: Lil acts as a mediator between Evelyn and Faith,
dissipating tension: ‘You two have the quietest arguments’
• Structure/Language: Samuels creates dramatic tension in the
exchange between Faith and Lil where Faith realises that Eva is
Evelyn: ‘Is she Mum?’
• Form/Structure: Lil crosses time zones, creating a dramatic link
between the experiences of Faith and her mother throughout the
play’s action.
17
18
Number
Kinder- reward points that are clearly based on evidence from the play.
transport Evidence of a degree of personal response must be given. This is
not an exhaustive list but the following points may be made:
(AO1)
• fear is what motivates Helga and other German Jewish parents to send
their children to Britain on the Kindertransport. Helga expresses the
urgency of Eva’s need to leave on the train: ‘There’s no ‘later’ left,
Eva’
• Eva is separated from her parents when she boards the train but she
seems to be more excited than afraid. She reassures her mother:
‘Mutti! Vati! Hello! Hello! See. I did get into the carriage’
• Hitler incites understandable fear in Eva and her family. When she
crosses the border, she rejoices: ‘The border! It’s the border! Yes!
We’re out! Out! Stuff your stupid Hitler’
• the Ratcatcher is sinister and menacing. At the beginning of the play,
Eva is reading the Ratcatcher story and asks her mother the meaning
of the word ‘abyss’. In the story, the children disappear into the abyss,
following the Ratcatcher
• in hiding the watch and jewellery in Eva’s shoe, Helga shows that she
is afraid she may not live to see her daughter again
• Helga’s fears of losing her daughter are proved true when she tries to
reunite with her en route to New York to start a new life after the war.
Eva refuses to go with her and accuses Helga of being the Ratcatcher:
‘You were the Ratcatcher. Those were his eyes, his face’
• Evelyn is afraid of Faith finding out her childhood identity as Eva. She
fears the truth of her past.
(AO2)
• Language: Helga is afraid for Eva travelling to England alone but
emphasises the need for her to do things herself. She uses
imperatives, showing the importance of her instructions: ‘Eva, sew on
your buttons now’
• Language: Eva’s inability to communicate with the English Organiser
makes her afraid. She speaks in German, crying when she realises no-
one is coming to meet her: ‘Niemand kommt?’
• Language/Structure: fear is symbolised by the fictional figure of The
Ratcatcher, a fearsome character who also plays the English
Organiser, the Nazi Border Official, the Postman and the Station Guard
• Structure: the Ratcatcher forms part of the play’s narrative and
appears as a foreboding shadow in the attic, symbolising repressed
emotions and long-held fears
• Form/Structure: the Ratcatcher music creates a dramatic mood of fear
and threat for the audience.
19
20
Number
Death and reward points that are clearly based on evidence from the play.
the King's Evidence of a degree of personal response must be given. This is not
Horseman an exhaustive list but the following points may be made:
(AO1)
• Elesin Oba is the horseman of the recently-deceased king of the village.
It is his duty to follow the Yoruba custom of taking his own life to follow
the king into the afterlife. Iyaloja is ‘mother’ of the marketplace and,
although she is leader of the women in the village, she is obedient to
men and is presented as particularly deferential to Elesin
• when Elesin sees the young woman in the marketplace, he is filled with
desire and requests her for his bride prior to his ritual suicide: ‘Iyaloja,
who is she? I saw her enter your stall; all daughters I know well’
• although this woman is promised to her son, Iyaloja agrees to the hasty
marriage to Elesin because of her great respect for and awe of Elesin’s
task. She does warn him that the attractions of the physical world may
damn him: ‘You wish to travel light. Well, the earth is yours. But be sure
the seed you leave in it attracts no curse’
• Elesin’s delay demonstrates that he is tied to the real world, as Iyaloja
warned, and still craves life. He tries to blame others for his failure:
‘First I blamed the white man, then I blamed the gods for deserting me’
• Iyaloja turns on Elesin when he fails to complete the ritual. She is bitter
that she and the other women have shown him deference and lavished
him with ‘sweetmeats’, yet he has betrayed them: ‘We called you leader
and oh, how you led us on’
• when Iyaloja visits Elesin in prison she is no longer deferential and
submissive. Instead she is angry and mocks him. She does not soften
the news of Olunde’s suicide, instead using it to punish Elesin: ‘Because
he could not bear to let honour fly out of doors, he stopped it with his
life’.
(AO2)
• Language: Elesin pretends to be annoyed with Iyaloja but she takes his
anger seriously and tries to work out how to appease him
• Language/Structure: early in the play, Elesin explains why Iyaloja and
the women of the market place are so important to him, using the
metaphor: ‘This market is my roost. When I come among the women I
am a chicken with a hundred mothers’
• Language/Structure: Iyaloja’s understanding of Elesin’s desire to remain
with the living foreshadows his later failure to enact the death ritual:
‘Elesin, even at the narrow end of the passage I know you will look back
and sigh a last regret for the flesh that flashed past your spirit in flight’
• Language/Structure: the dramatic ending of the play is heightened by
Iyaloja’s scornful accusation of Elesin: ‘The son has proved the father
Elesin, and there is nothing left in your mouth to gnash but infant gums’
• Form/Structure: the changes in Iyaloja’s and Elesin’s relationship reflect
the turning points in the play’s narrative structure. Her view goes from
respect and deference to scorn and hatred.
21
22
Number
10 Examiners should be alert to a variety of responses and
Death and should reward points that are clearly based on evidence from
the King's the play. Evidence of a degree of personal response must be
Horseman given. This is not an exhaustive list but the following points
may be made:
(AO1)
• ritual is important because it represents Nigeria’s attempts to retain
its unique identity in the face of colonial control and tyranny
• the ritual that Elesin is supposed to perform is to take his own life
in order to join his king in the afterlife
• the suicide ritual brings friction between the Yoruba and the white
colonialists, who do not understand its significance or respect its
purpose
• the Praise-Singer has a ritualistic part in the play as his role is to
follow Elesin, singing his praises prior to the suicide. During the
death ritual he takes on the role of the deceased king to speak with
Elesin
• poetry, music and dance are evident throughout the play and are
important aspects of the rituals and ceremonies of the Yoruba
• the Pilkingses show that they have no respect or understanding of
Yoruba ritual when they wear the egungun costumes as fancy
dress. This is an insulting and ignorant act and Amusa is horrified
that they are dishonouring the ‘uniform of death’
• the importance of his cultural heritage prompts Olunde to take his
father's place by completing the suicide ritual himself after Elesin
fails to do so. Even though he has lived in the west for four years,
Olunde retains allegiance to the old ways of the Yoruba.
(AO2)
• Language: the play’s rituals are expressed in poetic language: ‘The
night is not so dark / That the albino fails to find his way’
• Language: the description of Elesin entering the trance prior to his
ritual suicide is poignant: ‘Elesin in his motions appears to feel for a
direction of sound, subtly but he only slips deeper into his trance-
dance’
• Language/Structure: stories are key aspects of ritual in the play.
Elesin reassures the Praise-Singer by telling him the story of the
‘Not-I bird’
• Structure: the play’s action centres around the suicide ritual that
Elesin is supposed to perform as the king’s horseman
• Structure/Form: it is ironic that it is Olunde with his western
education who finally completes the ritual suicide
• Structure: the ending of the play, with the deaths of Elesin and
Olunde, demonstrates the return of power to the rituals of the
Yoruba, as Iyaloja’s words look to the future: 'Now forget the dead,
forget even the living. Turn your mind only to the unborn'.
23
24
SECTION B – Literary Heritage Texts
Number
Romeo reward points that are clearly based on evidence from the play.
and Evidence of a degree of personal response must be given. This is not
Juliet an exhaustive list but the following points may be made:
(AO1)
• Benvolio is Romeo’s cousin and tries to keep the peace in Verona
• Benvolio reports Romeo’s whereabouts to his parents. He describes
Romeo’s state of mind as pensive and distracted in ‘the grove of sycamore’
• Benvolio cares about Romeo’s unrequited love for Rosaline and also seems
to have distractions of his own as he admits to the Montagues: ‘A troubled
mind drove me to walk abroad’
• Benvolio accompanies Romeo to the Capulet party and, with Mercutio, tries
to find him when it is time to go home. He calls after him and tells
Mercutio: ‘He ran this way, and leapt the orchard wall’
• Benvolio reassures Mercutio that Romeo will uphold his honour by
responding to Tybalt’s call for a duel: ‘Romeo will answer it’
• Benvolio tries to ensure that the rules of duelling are obeyed when
Mercutio and Tybalt confront one another: ‘We talk here in the public
haunt of men! / Either withdraw unto some private place, / Or reason
coldly of your grievances, / Or else depart’
• Benvolio tells Romeo of the death of Mercutio: ‘O Romeo, Romeo! Brave
Mercutio’s dead!’
• Benvolio advises Romeo to flee after he has killed Tybalt, recognising that
‘The Prince will doom thee death / If thou art taken’.
(AO2)
• Language: Benvolio’s name means ‘good will’ or ‘well-wisher’
• Language/Structure: Benvolio plays the part of peacekeeper in the play. In
the opening affray, he orders the fighting men ‘Part, fools!’
• Language/Structure: Benvolio joins Mercutio in mocking the Nurse: ‘Two,
two! A shirt and a smock’
• Language: Benvolio tries to prevent the altercation between Tybalt and
Mercutio, warning: ‘The day is hot, the Capels are abroad’
• Language: Benvolio uses metaphorical language to describe the loss of
Mercutio: ‘That gallant spirit hath aspired the clouds, / Which too untimely
here did scorn the earth’
• Structure: Benvolio is a catalyst in the plot, as it is he that convinces
Romeo to attend the Capulet party
• Structure: Benvolio contrasts with Mercutio
• Form/Structure: Benvolio stands slightly apart from the tragedy and is
therefore able to give credible information and advice to characters, such
as when he advises Romeo to flee after Tybalt is slain.
(AO4)
• family links were important to the Elizabethans who would expect loyalty
and close knit bonds between cousins
• duelling was a means by which conflicts were resolved amongst noblemen
in Elizabethan England. It was considered an honourable means of dealing
with dispute but was illegal
• violence was rife in Verona at the time the play is set. Deadly battles were
fought over petty differences.
25
AO2 Analyse the language, form and structure used by a writer
to create meanings and effects. (10 marks)
AO4 Show understanding of the relationships between texts and
the contexts in which they were written. (10 marks)
• There is little comment on the relationship between text and
context.
• There is some comment on the relationship between text and
context.
• There is relevant comment on the relationship between text
and context.
• There is a detailed awareness of the relationship between
text and context.
• Understanding of the relationship between text and context is
integrated convincingly into the response.
26
Number
Romeo and points that are clearly based on evidence from the play. Evidence of a
Juliet degree of personal response must be given. This is not an exhaustive
list but the following points may be made:
(AO1)
• time is an important theme. It may appear static but characters are often
rushing and there is a real sense of urgency and speed in the play. Time
and fate go hand in hand, with one influencing the other
• the presence of the Prologue, who sets out the play’s entire action in the
opening speech, is beyond the scope of real time and shows the irrelevance
of time to the play’s outcome
• Romeo and Juliet meet and fall in love with great haste. This is in contrast
with the idea of the ‘old accustomed feast’. Capulet’s ball is the first he has
held in thirty years. The speed with which Romeo and Juliet agree to marry
is swift indeed, since they have known each other only for a matter of
hours. The haste in which this decision is made contributes to the play’s
ultimate tragedy
• events speed up dramatically from the ill-timed meeting of Mercutio and
Tybalt which results in both their deaths. Benvolio warns Mercutio of the
likely outcome should they meet the Capulets, but Mercutio is in high
temper and logic fails to sway him. The timing of Romeo’s entrance and the
fact that Mercutio is hurt because of his intervention demonstrate the
importance of time in the play
• time is also important to Juliet when she takes the Friar’s potion as it has a
limited effect and she is warned that within forty-eight hours she will wake
• time brings about the play’s final tragedy when Romeo, in banishment in
Mantua, does not receive the Friar’s letter about Juliet’s feigned death.
Believing her to be dead, he rushes with great haste to Verona and, after
demanding poison from the apothecary, kills himself at Juliet’s side before
she has come round from the effects of the potion. It can be argued that
his impulsive actions here, in not taking his time, result in the deaths of
both characters.
(AO2)
• Language/Structure: time is an important structural device. The Prologue
sets out the time scale of the play as it opens as ‘the two hours’ traffic of
our stage’
• Language/Structure: Lord Capulet tells Paris that he should wait ‘two more
summers’ before marrying Juliet as she is so young. Later, he rushes,
bringing the wedding forward with tragic results
• Language: Juliet uses hyperbole to describe how long it will feel waiting to
see Romeo again: ‘’Tis twenty years till then’
• Language: Juliet uses metaphorical language to bemoan the slow pace of
time as she awaits the arrival of Romeo at her chamber: ‘Gallop apace, you
fiery-footed steeds’.
(AO4)
• Elizabethans were superstitious about time, noting the day and hour of, for
example, a fall from a horse and considering it an unlucky time to ride
• Elizabethans believed in astrology, using the sun and moon to mark time
• Shakespeare compressed the action of the play into just four days instead
of the months of the original poem.
27
context.
context.
and context.
text and context.
28
Number
Macbeth points that are clearly based on evidence from the play. Evidence of a
degree of personal response must be given. This is not an exhaustive list
but the following points may be made:
(AO1)
• the theme of death emerges early in the play, the Captain describes the
courage of Macbeth and Banquo facing death in battle against the Norwegians.
He describes Macbeth’s sword which ‘smoked with bloody execution’
• Macbeth profits by the death of the Thane of Cawdor, receiving his title as a
gift for his service from Duncan. After the Witches’ prophecies, he is
disconcerted when Duncan announces that Malcolm is his heir
• the murder of Duncan is a turning point in the play as it marks a disruption in
the natural order: ‘And his gashed stabs looked like a breach in nature’
• Lady Macbeth describes Duncan in death as still regal: ‘His silver skin laced
with his golden blood’
• the death of Banquo is reported to Macbeth by the murderers he employs to do
the job. Significantly, Macbeth is no longer able to do the murders himself as
he wants to avoid further guilt. Macbeth falsely hopes that he will be ‘safe’ with
Banquo dead and yet he is haunted by Banquo’s ghost at the banquet
• the deaths of the Macduff family show the escalating power and fear of
Macbeth as he tries to eliminate his enemies. Their deaths are reported to
Macduff in stark terms: ‘Your castle is surprised – your wife and babes /
Savagely slaughtered’
• the death of Young Siward reflects the sacrifices of the English army in
attempting to unseat the tyrant, Macbeth
• the death of Macbeth by Macduff’s sword forms the play’s dramatic climax.
Macbeth’s belief that he is invulnerable makes his demise more poignant.
(AO2)
• Language: Malcolm admires the brave attitude to death evident in the Thane of
Cawdor when he is executed: 'Nothing in his life / Became him like the leaving
it’
• Language: Lady Macbeth’s death from suicide moves Macbeth. His soliloquy
has an air of regret: ‘She should have died hereafter: / There would have been
a time for such a word’
• Language/Structure: the death of Duncan occurs off stage, creating a strong
effect of dramatic tension. External signs reflect the murder: ‘I heard the owl
scream and the crickets cry’
• Form/Structure: the deaths from murder, committed or ordered by Macbeth,
convey not only his transition to power but also how his character develops as
a result of death
• Structure: Macduff’s grief at the deaths of his family is used by Malcolm as a
means of driving his hatred and need for vengeance against Macbeth.
(AO4)
• it was a common belief in Jacobean England that death was a matter of fate
and when it was a person’s time to die, that was it
• one of the main reasons that Shakespeare wrote Macbeth was to demonstrate
the awful consequences of murdering a king. This was part of the play’s appeal
to King James I
• many people in Jacobean England believed that ghosts were real. To some,
ghosts were souls of the dead now wandering earth until they could reach
heaven.
29
context.
context.
and context.
text and context.
30
Number
Macbeth points that are clearly based on evidence from the play. Evidence of a
degree of personal response must be given. This is not an exhaustive
(AO1)
• there are a number of powerful men presented in the play. These include:
Duncan, Macbeth, Macduff and Malcolm
• Duncan is powerful as the rightful King of Scotland when the play opens. He
is presented as regal and generous, praising the efforts of his generals in
battle and giving Macbeth a title in return for his loyalty
• Duncan knows his own mind and announces his son, Malcolm, as his heir:
‘We will establish our estate upon / Our eldest, Malcolm’
• Macbeth is a powerful man, using the Witches’ prophecies to feed his own
ambitions. He is rewarded by Duncan, but this is not enough for him. He is
arguably not as powerful as his wife who influences him
• Macbeth creates a powerful hold on Scotland, based on fear. He is described
as a ‘tyrant’ and feared by his subjects and thanes
• Macduff is a powerful man. He defies Macbeth by refusing to attend his
coronation at Scone. The Witches convey his power to Macbeth in the
warning: ‘Beware Macduff!’ His power is fuelled by his desire for revenge
after Macbeth has his family slain
• revenge makes Macduff powerful and he defeats Macbeth in hand-to-hand
combat. The fight scene between the two is dramatic and violent
• Malcolm is not, at first, a powerful man. When he flees Scotland after his
father’s death he can be considered weak, but his strategic approach to
opposing Macbeth by gathering the support of the English proves successful
in the long run. This, and his ability to win over Macduff to his cause, mark
him out as a powerful diplomat and leader.
(AO2)
• Language: Lady Macbeth considers Macbeth to lack power and uses
metaphorical language to suggest his core weakness: ‘Yet do I fear thy
nature. / It is too full o’ the milk of human kindness’
• Language: Lady Macbeth may be considered the power behind Macbeth. She
uses a first-person plural voice, asserting their invincibility even in her
madness: ‘What need we fear who knows it, when none can call our power
to account?’
• Language/Structure: Macduff’s power and single-mindedness reflect his
position opposing Macbeth. His grief becomes ‘the whetstone’ of his sword
• Language/Structure: the wave of power that Macbeth rides after killing
Duncan leads to a change in his response to fear, driving him to further
tyranny: ‘My strange and self-abuse / Is the initiate fear, that wants hard
use. / We are yet but young in deed’.
(AO4)
• Macbeth was written for James I in 1606. It is in part a cautionary tale to
warn potential assassins or usurpers of the awful fate that would await them
if they dared to seize power from the rightful ruler
• a Jacobean audience would have recognised Malcolm’s power coming directly
from God because of the Divine Right of Kings
• the power of the Witches and Lady Macbeth lies behind Macbeth’s own
power and would have reminded a Jacobean audience of its hollow impact.
Power is transient and temporary.
31
context.
context.
and context.
text and context.
32
Number
Merchant of Evidence of a degree of personal response must be given. This is
Venice not an exhaustive list but the following points may be made:
(AO1)
• the events of the play take place in Venice and Belmont which are both
in Italy
• Venice is an exhilarating, multicultural city, a trading hub in the Adriatic
where money was made partly because of the open business
environment that needed moneylenders such as Shylock
• Shylock’s house is the setting where the audience encounters his
daughter, Jessica. She is unhappy there: ‘Our house is hell’. She tells
Lancelot Gobbo that he relieves her boredom and she is sad that he is
leaving
• Portia’s house is situated in Belmont, a place where people have
bohemian views and easy affluence. It is both beautiful and peaceful,
reflecting Portia’s role as heroine. It is the scene of her romantic
encounter with Bassanio whom she accepts as her husband following
the casket test: ‘This house, these servants, and this same myself / Are
yours – my lord’s. I give them with this ring’
• the courtroom is a significant setting because it forms the context for
the central drama of Antonio’s trial. It is also the place where Shylock is
punished and forced to convert to Christianity.
(AO2)
• Language: Portia is described in romantic terms: ‘Her sunny locks /
Hang on her temples like a golden fleece, / Which makes her seat of
Belmont Colchos’ strand / And many Jasons come in quest for her’
• Language: Antonio recognises the status held by strangers by law in
Venice: ‘The Duke cannot deny the course of law – / For the commodity
that strangers have / With us in Venice’
• Language/Structure: the court is the scene of Shylock’s defeat,
humiliation and punishment. It forms the dramatic climax of the play’s
action. His fate is meted out without compassion: ‘He shall do this – or
else I do recant / The pardon that I late pronouncèd here’
• Structure: Belmont is a contrast to the city of Venice
• Structure: the play’s action in the court is tense and formal. The Duke
holds the power in the court and what takes place there affects all the
characters significantly.
(AO4)
• unlike England, Venice had laws in place to protect non-native traders
from the late thirteenth century
• although Venice of the sixteenth century was more tolerant than
England, Jews were forced to live in ghettos there
• Shakespeare’s use of Belmont as a setting is one of several recurring
contrasts in Shakespeare of court/urban settings and pastoral ones.
33
context.
context.
and context.
text and context.
34
Number
Merchant Evidence of a degree of personal response must be given. This is not
of Venice an exhaustive list but the following points may be made:
(AO1)
• the question requires candidates to consider the sincerity of Bassanio’s
and Portia’s relationship as true love. It is possible to argue either way or
to look at points from both sides
• Bassanio makes it clear to his friend, Antonio, at the beginning of the
play that he intends to go to Belmont to woo Portia. His opening line is
about her wealth which suggests he is not truly seeking love, but a
fortune: ‘In Belmont is a lady richly left’
• Bassanio has lost his fortune through profligate spending, which casts
doubt on the sincerity of his love for Portia. Some sources suggest that
Bassanio is more romantically interested in Antonio than Portia but needs
her for the money and social status. She recognises that Antonio is his
‘bosom lover’
• Portia shows herself to be somewhat shallow in her romantic interest
when she rejects the Prince of Morocco because of his skin colour: ‘If he
have the condition of a saint and the complexion of a devil, I had rather
he should shrive me than wive me’. This view sheds doubt on Portia’s
criteria for choosing a partner
• Portia welcomes Bassanio’s friends and pledges her support for her new
husband upon hearing of Antonio’s situation. She disguises herself as a
man in order to defend Antonio, not even revealing herself to Bassanio.
(AO2)
• Language: Bassanio uses romantic language to describe why he wants to
woo Portia: ‘she is fair, and – fairer than that word – / Of wondrous
virtues’ as well as ‘richly left’
• Language/Structure: upon their meeting, the language in Bassanio’s and
Portia’s speeches has a semantic field of torture: ‘the rack’, ‘my torturer’
and the oxymoron, ‘happy torment’
• Language/Structure: Portia urges Bassanio to hesitate before choosing a
casket, suggesting that she really hopes he will be successful: ‘in
choosing wrong / I lose your company’
• Language: on opening the leaden casket and Portia’s gift of the ring,
Bassanio’s language is romantic and impassioned: ‘Madam, you have
bereft me of all words. / Only my blood speaks to you in my veins’
• Structure: Portia’s ring is a symbol of trust and true love in the play.
Bassanio gives it away under pressure from the disguised Portia, creating
a sub-plot. The ring is finally restored and all is well between the couple.
(AO4)
• arranged marriages were common at the time Shakespeare was writing
and at the time the play is set. A wealthy man such as Portia’s father
would expect to put conditions on her choice of husband, even after his
own death
• wives became the property of their husbands upon marriage in the time
Shakespeare was writing
• there is a tradition in Elizabethan theatre of female characters disguising
themselves as men and finding love whilst in that disguise, e.g. Rosalind
and Viola.
35
To

context.
context.
and context.
text and context.
36
Number
Pride and points that are clearly based on evidence from the novel. Evidence of a
Prejudice degree of personal response must be given. This is not an exhaustive list
(AO1)
• Lydia is youngest of the five Bennet daughters; she is fifteen when the novel
begins and is presented as the most similar to her mother, Mrs Bennet, in
that she is silly, impulsive and frivolous
• Lydia has no thought for decorum and enjoys flirting with officers in the
town. The fact that Mrs Bennet lets her come out into society at such an
early age reflects casual parenting
• she manages to persuade her parents to let her go to Brighton with Colonel
Forster and his wife. This proves to be a foolish decision
• Elizabeth recognises the dangers in allowing Lydia free rein: ‘If you, my dear
father, will not take the trouble of checking her exuberant spirits … she will
soon be beyond the reach of amendment’
• Lydia is materialistic, borrowing money to spend on frippery, even things she
does not like: ‘Look here, I have bought this bonnet. I do not think it is very
pretty; but I thought I might as well buy it as not’
• when Lydia runs away, she comes close to bringing complete shame on her
family
• Lydia is unmoved about all the fuss she has caused upon her return to
Longbourn. She breezes back to her family with ‘easy assurance’.
(AO2)
• Language: Lydia is described as ‘unabashed, wild, noisy and fearless’
• Language: Mrs Bennet praises Lydia’s good humour in comparison to her
sisters: ‘Lizzy is not a bit better than the others; and I am sure she is not
half so handsome as Jane, nor half so good-humoured as Lydia’
• Language/Structure: Lydia’s letters are a structural device used by Austen to
inform the reader of her thoughts after leaving with Wickham. Her tone is
brimming with excitement and considering it all amusing: ‘What a good joke
it will be!’
• Structure: Lydia is at the centre of the most significant drama in Pride and
Prejudice when she runs away with Mr Wickham. She is rescued by her uncle
and Mr Darcy, who bribes Wickham to marry her
• Structure: Lydia’s marriage to Mr Wickham represents a relationship built on
shallow physical attraction and short-term gratification.
(AO4)
• the law of entailment meant that women such as Lydia and her sisters had
to find an eligible husband in order to be secure in life. Mr Wickham, as a
member of the militia, and an officer, gained some status which made him
more eligible for a good marriage
• at the time Austen was writing, elopement was a very serious issue. Its
effect on a girl’s reputation was devastating and both the Marriage Law of
1753 and Hardwicke Act consisted of strict rules. Obeying these was
expensive, hence elopement was a way of avoiding costs. To live together
outside marriage, as Wickham and Lydia did, was even more scandalous
• Austen’s Regency England was socially divided and class divisions were
established in family connections.
37
context.
context.
and context.
text and context.
38
Number
Pride and points that are clearly based on evidence from the novel. Evidence of a
Prejudice degree of personal response must be given. This is not an exhaustive
(AO1)
• family is a theme that runs through the novel. The Bennet family consists of
the parents and five daughters who have contrasting characters. Jane is
pleasant and beautiful and close to her sister, the witty Elizabeth. The two
are genuine friends. Mary is a quiet, studious girl who enjoys reading, while
Lydia and Kitty are foolish and shallow
• Mrs Bennet is the foolish, ineffective wife of Mr Bennet. His cutting wit and
sarcasm are shared by the second oldest of his daughters, Elizabeth. He
explains that on meeting Mrs Bennet he was ‘captivated by youth and beauty,
and that appearance of good humour, which youth and beauty generally give’
• it is hoped by Mrs Bennet that one of the Bennet daughters will marry Mr
Collins to keep the estate in their family
• Mr Gardiner is Mrs Bennet’s brother. The Gardiners act as parent figures to
Jane and Elizabeth. They also help to track down Lydia and Mr Wickham
• Mr and Mrs Phillips are the brother-in-law and sister of Mrs Bennet. Like Kitty
and Lydia, Mrs Bennet and Mrs Phillips share similar characteristics of
foolishness and frivolity. Mrs Phillips lives in Meryton and encourages the
interest of Lydia and Kitty in the young officers from the militia
• the theme of family can also be seen in Mr Darcy’s protection and care for his
young sister, Georgiana, when Mr Wickham attempted to seduce her
• it is also evident that there is a close bond between Mr Bingley and his sister,
Caroline
• Mr Darcy’s aunt, Lady Catherine de Bourgh, tries to influence him in his choice
of bride, demonstrating the power that family members felt they could bring
to bear to preserve their wealth and status. She had planned for Mr Darcy to
marry her own daughter.
(AO2)
• Language: Mr Collins recognises his importance to the Bennet family with a
pompous and condescending tone: ‘My situation in life, my connections with
the family of de Bourgh, and my relationship to your own, are circumstances
highly in my favour’
• Language: Mr and Mrs Gardiner are the brother and sister-in-law of Mrs
Bennet and are sensible, kindly and supportive. Austen compares Mr Gardiner
to his sister: ‘Mr Gardiner was a sensible, gentlemanlike man, greatly superior
to his sister, as well by nature as education’
• Form/Structure: the contrasting characters of the Bennet family such as Mr
and Mrs Bennet create humour in the novel
• Structure: the law of entailment is significant to the Bennet family as, in the
absence of a male Bennet heir, Mr Collins is set to inherit Longbourn. This
point is crucial to the novel’s plot and themes.
(AO4)
• although Mr Bennet realises that he is not well-suited to his wife, divorce was
very rare and confined to the upper classes in those times. It would have been
a big scandal for a family
• estates tended to be inherited through the male line at the time
• pressure from family was particularly focused on women and the expectation
to make a good match.
39
the context in which they were written. (10 marks)
context.
context.
and context.
text and context.
40
Number
Great points that are clearly based on evidence from the novel. Evidence of a
Expectations degree of personal response must be given. This is not an exhaustive list
(AO1)
• lies and deception are important including the identity of Pip’s benefactor,
Estella’s parentage and the nature of Compeyson’s crimes
• early in the novel, Pip deceives Joe and Mrs Joe by stealing food and a file to
take to the convict, Abel Magwitch
• when Pip visits Satis House to play with Estella, he lies to Joe and Mrs Joe
upon his return. He does not want to disappoint them and tell them how he
was really treated. He makes up lies that he played with flags: ‘Estella waved
a blue flag, and I waved a red one, and Miss Havisham waved one sprinkled
all over with little gold stars’
• the deceit of Compeyson destroys Miss Havisham and leaves her emotionally
distraught and bent on revenge. Compeyson was a con man who sought to
steal Miss Havisham’s money and jilted her at the altar. The court sided with
Compeyson when he and Magwitch appeared before them, simply because the
court was impressed by Compeyson’s gentlemanly appearance
• Estella misleads Pip into thinking she loves him and will marry him but is open
about her deceit. She asks him if he wants her to ‘deceive and entrap’
• Mr Jaggers allows Pip to believe that his money comes from Miss Havisham and
Pip is shocked when he discovers that his benefactor is, in fact, Magwitch
• Pip deceives himself in many respects, such as who his benefactor might be,
Estella’s feelings for him, his becoming a gentleman and his possible
relationship with Biddy.
(AO2)
• Language: Magwitch deceives the sergeant into thinking he stole the food
from a nearby village to protect Pip and stop him getting into trouble: ‘I took
some wittles, up at the village over yonder’
• Language/Structure: Estella is used by Miss Havisham to deceive suitors into
thinking Estella is in love with them but she explains that she has been
brought up to deceive everyone including Miss Havisham: ‘I must be taken as
I have been made’
• Language: Herbert Pocket uses a metaphor taken from his father to explain
how someone’s true nature cannot be hidden: ‘… no varnish can hide the
grain of the wood; and that the more varnish you put on, the more the grain
will express itself’
• Language/Structure: Pip describes how he has deceived himself: ‘All other
swindlers upon earth are nothing to the self-swindlers’
• Form/Structure: lies and deception are central to the novel’s plot although
some deception is unintentional.
(AO4)
• Dickens understood that having a higher social status was a benefit when in
court. Upper class individuals were more likely to be believed and given
another chance than those of the lower classes
• novels involving lies and deception with complex plot lines were popular with
Victorian readers. Wilkie Collins and Arthur Conan Doyle were two writers
who, along with Dickens, developed plots from lies and deceit
• lies and deception helped Dickens to write complex plots that filled the 10
columns he needed to write for 36 weeks in the newspaper.
41
context.
context.
and context.
text and context.
42
Number
Great reward points that are clearly based on evidence from the novel.
Expectations Evidence of a degree of personal response must be given. This is not
an exhaustive list but the following points may be made:
(AO1)
• Pip’s relationship with Estella begins in childhood when Mr Pumblechook
takes him to play with Estella at Satis House, at the behest of Miss
Havisham. He is in awe of her beauty and embarrassed by his working
class background: ‘Miss Havisham and Estella never sat in a kitchen, but
were far above the level of such common things’
• Pip falls madly in love with Estella: ‘I loved her against reason, against
promise, against hope, against happiness, against all discouragement
that could be’
• Pip’s quest to become a gentleman is focused on his goal to be good
enough to marry Estella
• when Pip plucks up the courage to confess his love to Estella, she coldly
tells him that she has decided to marry Bentley Drummle, an upper-class
waster who is abusive to Estella
• the story ends with Estella, widowed and changed by the abuse of her
late husband. Her arrogance has left her when she meets Pip again. She
admits: ‘I have been bent and broken, but – I hope – into a better
shape’
• there is hope for the relationship between Estella and Pip at the end of
the novel when he bumps into her at Satis House: ‘I saw no shadow of
another parting from her’.
(AO2)
• Language/Structure: Pip and Estella are from very different social
classes as children and Estella looks down on Pip
• Language: the name, Estella, means ‘star’, suggesting that she is both
unattainable and high above him
• Structure: arguably, both Pip and Estella are used by their adopted
parents to take revenge on society: Estella by Miss Havisham and Pip by
Magwitch
• Language/Structure: Estella’s cold rejection of Pip is a turning point as
he realises his dream of marrying her is over. Her words are cold and
final: ‘When you say you love me, I know what you mean, as a form of
words; but nothing more’
• Structure: Pip’s reunion with Estella at the ruins of Satis House
symbolises the idea of love rising from the ashes of disaster
• Form/Structure: as both the hero and narrator of the novel, Pip’s
relationship with Estella is shown from his point of view.
(AO4)
• both Pip and Estella are lucky to be raised by adoptive parents. In the
Victorian era, there were many orphans who were effectively outcasts
from society
• society at the time Dickens was writing was very class conscious and
marriage between an upper-class and a lower-class person was very rare
and frowned upon
• parts of Great Expectations are based on Dickens’s own life. Some
consider Estella to be based on his secret love, the young actress, Ella
Ternan.
43
context.
context.
and context.
text and context.
44
Number
The reward points that are clearly based on evidence from the novel.
Scarlet Evidence of a degree of personal response must be given. This is not
Letter an exhaustive list but the following points may be made:
(AO1)
• the relationship between Arthur Dimmesdale and Roger Chillingworth is
presented as tense because Chillingworth is aware that Dimmesdale is the
father of his wife’s illegitimate daughter, Pearl
• as a Puritan minister, Dimmesdale feels great guilt for fathering Hester’s
child. His guilt makes him an easy target for the vengeance of
Chillingworth
• Dimmesdale is a minister in the community of Massachusetts Bay, well-
educated and deep-thinking in his outlook
• Chillingworth is an educated man like Dimmesdale but he becomes cruel
and vengeful when he learns of Hester’s adultery with the minister. He
returns to Massachusetts Bay after having spent a year being held by the
Indians and learning their knowledge of herbs
• when Dimmesdale falls ill, Chillingworth, a doctor, treats him and realises
that the sickness is caused by unresolved guilt
• Chillingworth is obsessed with making Dimmesdale suffer until the
moment of his death
• one evening, Chillingworth sees that Dimmesdale has carved a red ‘A’
onto his chest in an act of self-punishment for his sin
• unlike Dimmesdale, Chillingworth is not a Puritan. He does not condemn
the pagan religions and uses his ‘black medicine’ to keep Dimmesdale
alive.
(AO2)
• Language: Arthur Dimmesdale personifies ‘human frailty and sorrow’
• Language/Structure: Chapter 9 is entitled ‘The Leech’, referring to
Chillingworth and outlining his motives and techniques for torturing
Dimmesdale
• Structure: when Dimmesdale and Chillingworth move into the same
house, they develop a sort of ‘intimacy’, which fuels the dark bond
between the two. Chillingworth seeks to intensify Dimmesdale’s suffering
• Language: Chillingworth witnesses the dramatic confession of Dimmesdale
in the third scaffold scene. Chillingworth is frustrated by Dimmesdale’s
salvation in confession and death, repeatedly lamenting: ‘Thou hast
escaped me!’
• Language/Structure: in asking for forgiveness for Chillingworth,
Dimmesdale provides closure in the novel as the active vendetta ceases
with his death: ‘May God forgive thee! ... Thou, too, hast deeply sinned!’
(AO4)
• the strict Puritan ideals of Massachusetts Bay required punishment and
repentance for those that transgressed religious laws
• conventional medicine was complemented by some practitioners with the
herbal remedies and methods of native Americans
• many people settled in Massachusetts during the early 1600s, often
enduring difficult and lengthy journeys to reach the colony.
45
context.
context.
and context.
text and context.
46
Number
The reward points that are clearly based on evidence from the novel.
Scarlet Evidence of a degree of personal response must be given. This is not
Letter an exhaustive list but the following points may be made:
(AO1)
• magic, including witchcraft and belief in the supernatural, is an important
theme in the novel
• ‘The Custom-House’ introduction includes an appeal by the writer to
remove any curses from his family
• Mistress Hibbins is a witch. She is the sister of Governor Bellingham and
invites people to join her in the forest to meet with the ‘Black Man’, the
embodiment of evil. She is tolerated for many years despite the
community’s strict beliefs, most likely because of her brother’s position
• the scarlet letter has connotations of magic and the supernatural to some
in the colony: ‘It was whispered by those who peered after her, that the
scarlet letter threw a lurid gleam along the dark passageway’
• a magic circle seems to surround Hester and Pearl. Hester appears
somehow protected by it. Her ‘beauty shone out, and made a halo of the
misfortune and ignominy in which she was enveloped’. As Pearl was born
an outcast from society, Hawthorne writes that destiny ‘had drawn an
inviolable circle round about her’
• Pearl sometimes makes a circle around herself as she plays, and other
aspects of her play have elements of magic: ‘The unlikeliest materials – a
stick, a bunch of rags, a flower – were the puppets of Pearl’s witchcraft’
• Chillingworth can be said to have used, what some in his community
would consider, magic in his torture of Dimmesdale. After Dimmesdale
dies, some in the community say that they have seen the red ‘A’ carved
into his chest and attribute it to Chillingworth’s noxious magic.
(AO2)
• Language: Pearl is described in magical terms: ‘elf-child’. Governor
Bellingham considers her similar to ‘children of the Lord of Misrule’
• Language/Structure: the scarlet letter itself is described in magical
terms: ‘It had the effect of a spell, taking her out of the ordinary’
• Language: magic is conveyed through a metaphorical description of
Pearl’s eye as a ‘black mirror’ where there is a ‘fiend-like’ face
• Language: Hester accuses Chillingworth of using magic to manipulate
Dimmesdale’s conscience: ‘You search his thoughts. You burrow and
rankle in his heart’
• Structure: Pearl can be said to embody magic. She appears in the novel
as an infant, then at the ages of three and seven. Both three and seven
are considered by some to be magic numbers
• Structure: an ironic contrast is drawn between the treatment of Mistress
Hibbins and Hester.
(AO4)
• Ann Hibbins was a real person, executed for witchcraft in 1656 in Boston.
• Hawthorne’s belief in Transcendentalism was well known. It was the idea
of a kind of natural magic: that spirituality expresses itself everywhere,
particularly in the natural world
• the Puritans believed that magic and the supernatural were evil and the
work of the devil.
47
context.
context.
and context.
text and context.

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Mark Scheme (Results)

Pearson Edexcel International GCSE

Pearson: helping people progress, everywhere

AO1 Demonstrate a close knowledge and understanding of texts,

1 Examiners should be alert to a variety of responses and should

• Language/Structure: Beatrice represents the idea of a traditional

Level Mark AO1 Demonstrate a close knowledge and understanding of texts,

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