ICSE BOARD PAPER - 2025

ENGLISH PAPER-2
[LITERATURE]
Class-10❑t h
(Solved)

Maximum Marks: 80 Time Allotted: Two Hours

Instructions to Candidates:
1. Answers to this Paper must be written on the paper provided separately.
2. You will not be allowed to write during the first 15 minutes.
3. This time is to be spent in reading the question paper.
4. The time given at the head of this Paper is the time allowed for writing the answers.
5. The paper has four Sections.
6. Section A is compulsory - All questions in Section A must be answered.
7. You must attempt one question from each of the Sections B, C and D and one other
question from any Section of your choice.
8. The intended marks for questions or parts of questions are given in brackets [ ].

SECTION A (Attempt all questions from this Section.)

Question 1 Choose the correct answers to the questions from the given options. (Do not copy the
questions, write ONLY the correct answers.)
(i) What does Antony describe as, ‘how bleeding piece of earth,’? (a) Caesar’s robe that was
stained with his blood (b) The blood-soaked spot on which Caesar lies (c) The bloodied pedestal
on which Caesar fell (d) Caesar’s lifeless body covered in blood
(ii) When Brutus says, ‘ambition’s debt is paid’, he means that ______. (a) Caesar’s greed for
power and possession had resulted in his death (b) Caesar had left seventy-five drachmas for
every citizen of Rome (c) Mark Antony would be permitted to speak at Caesar’s funeral (d) The
conspirators would be punished for assassinating Caesar
(iii) After Antony’s speech following Caesar’s assassination, the angry mob kills ______. (a)
Cinna the conspirator (b) Cinna the poet (c) Decius Brutus (d) Cicero
(iv) When Antony says, ‘He must be taught, and train’d, and bid go forth: A barren-spirited
fellow.’ he refers to ______. (a) Octavius (b) Lucilius (c) Lucius (d) Lepidus
(v) Who were the members of the Second Triumvirate, formed to rule over Rome after Caesar’s
assassination? (a) Julius Caesar, Crassus, Pompey (b) Marcus Brutus, Caius Cassius, Casca (c)
Mark Antony, Octavius Caesar, Lepidus (d) Octavius Caesar, Julius Caesar, Mark Antony
(vi) Which of the following words best describes Cassius’s mood when he says: ‘Come, Antony,
and young Octavius, come, Revenge yourselves alone on Cassius,’ (a) anxious (b) regretful (c)
fearful (d) frustrated
(vii) In the poem, ‘Haunted Houses’, what does the speaker see at his fireside that the stranger
cannot? (a) the speaker only sees what is physically present (b) the stranger can see the spirits
while the speaker cannot (c) the speaker sees both the present and the past (d) the stranger sees
both the present and the future
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16 ICSE, ENGLISH PAPER-2 (Literature), Class-X
(viii) In the poem, 'The Glove and the Lions', who does Count de Lorge 'sigh for'? (a) The lions
that ramped and roared (b) King Francis who loved a royal sport (c) The nobles who filled the
benches (d) The beauteous lively dame
(ix) Select the option that shows the correct relationship between Statements (1) and (2) from
Maya Angelou's poem, 'When Great Trees Fall': Statement 1: When great trees fall, the world is
left permanently unstable. Statement 2: In the poem, the natural world is depicted as reacting
with fear and uncertainty when great trees fall. (a) (1) is false, but (2) is true. (b) Both (1) and (2)
are false. (c) (1) is true, but (2) is false. (d) Both (1) and (2) are true.
(x) The poem, 'A Considerable Speck', expresses Frost’s ______. (a) love for the little organism
(b) respect for intelligent life (c) indifference to the tiny creature (d) anger at the mite's escape
(xi) Which of the given options contains the figure of speech that appears in the following line
from the poem, 'The Power of Music'? And in the sky the feathered fly turn turtle while They're
winging,
(a) You're one month on in the middle of May (b) Rainbow-tinted circles of light (c) And life is
too much like a pathless wood (d) The wind lies asleep in the arms of the dawn
(xii) In the short story, 'With the Photographer', the narrator asks the photographer, 'Is it me?'
because ______. (a) He is delighted with the photographer's skill (b) He looks very handsome in
the photograph (c) He is unable to recognise his own face (d) He is ashamed of how he looks in
the picture
(xiii) In the short story, 'The Elevator', which of the following does Martin's father NOT do when
Martin expresses his fear of the elevator? (a) He dismisses Martin's concerns (b) He encourages
Martin to use the stairs (c) He tells Martin to grow up and be brave (d) He watches TV and
ignores Martin's fear
(xiv) Choose the option that lists the sequence of events from Ray Bradbury's short story, 'The
Pedestrian':
1. One night, as he was nearing home, he was stopped by a police car.
 2. Since his answers were considered odd and unacceptable, he was forced to enter the car
and taken away.
3. Leonard Mead loved to walk through the empty streets at night.
4. A metallic voice from the car asked him a series of questions. (a) 2, 1, 3, 4 (b) 1, 3, 4, 2
(c) 3, 1, 4, 2 (d) 4, 1, 2, 3
(xv) Where was Adjoa born? (a) Nigeria (b) Ghana (c) Ethiopia (d) Kenya
(xvi) Why did M. Hamel have to leave the school after forty years of service? (a) He was not
allowed to teach French any longer (b) He had grown tired of his job as a school teacher (c) He
was thought to be too strict in his ways (d) He wanted to retire and take up farming
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SECTION B (Answer one or more questions from this Section.)
DRAMA (Julius Caesar by William Shakespeare)
Question 2 Read the extract from ‘Julius Caesar’ Act 3, Scene 2, given below and answer the
questions that follow: Antony: Friends, Romans, countrymen, lend me your ears; I come to bury
Caesar, not to praise him. The evil that men do lives after them, The good is oft interred with
their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious; If it
were so, it was a grievous fault, And grievously hath Caesar answer d it. Here, under leave of
Brutus and the rest— For Brutus is an honourable man; So are they all, all honourable men—
Come I to speak in Caesar’s funeral.
(i) What does Antony say he is there for? [3] What does he say he is not there for? What do you
think he is actually there for?
(ii) What were the three conditions that Brutus had laid down before allowing Antony to speak to
the citizens of Rome? [3]
(iii) List the three arguments that Antony uses immediately after he speaks these lines to prove
conclusively that Julius Caesar was not ambitious. [3]
(iv) Antony repeatedly uses certain words in his speech to describe Brutus. What are they? Why
does he do this? [3]
(v) Which one argument of Antony’s do you think had the greatest impact on his listeners? Give
a reason to support your answer. [4] What were the citizens’ feelings towards Antony before he
began his speech? How do their feelings towards him change at the end of his speech?
Question 3 Read the extract from ‘Julius Caesar’ Act 5, Scene 1, given below and answer the
questions that follow:
Cassius: Then, if we lose this battle, You are contented to be led in triumph Through the streets
of Rome?
Brutus: No, Cassius, no: think not, thou noble Roman, That ever Brutus will go bound to Rome;
He bears too great a mind. But this same day Must end that work the idea of March begun; And
whether we shall meet again I know not. Therefore our everlasting farewell take: Forever, and
forever, farewell, Cassius. If we do meet again, why, we shall smile; If not, why then, this
parting was well made.
(i) Why does Brutus say, ‘No, Cassius, no’? [3] What conditions may force Brutus to go bound
to Rome? Brutus says, ‘And whether we shall meet again I know not.’ What do these words
imply?
(ii) To what does Brutus refer when he says, ‘the work which the idea of March begun’? [3] How
was ‘that work’ begun? What political change would take place in Rome if Brutus and Cassius
lose this battle?
(iii) Earlier in this scene, Cassius had confided to Messala a strange occurrence that he had
observed when his army was on its way from Sardis to Philippi. [3] Describe this strange
occurrence.
(iv) How does Brutus die? [3] How does his manner of dying contradict the philosophy by which
he had lived his life?
(v) At the end of the play, Antony calls Brutus, ‘the noblest Roman of them all’. Why does he
say this? [3] What does this reveal of Antony’s character?
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18 ICSE, ENGLISH PAPER-2 (Literature), Class-X
SECTION C (Answer one or more questions from this Section.)
PROSE - SHORT STORIES (Treasure Trove – A Collection of Poems and Short Stories)
Question 4 Read the following extract from William Sleater’s short story, ‘The Elevator’ and
answer the questions that follow:
Martin felt nervous when he got back to the building after school. But why should he be afraid of
an old lady? He felt ashamed of himself. He pressed the button and stepped into the elevator,
hoping that it would not stop, but it stopped on the third floor. Martin watched the door slide
open …
(i) Who entered the elevator when the door slid open? Describe this person. [3]
(ii) Why was Martin afraid of using this elevator? [3]
(iii) What led to Martin’s fall down the stairs? [3] What did it result in?
(iv) How does the story end? [3] Bring out the element of horror in the ending.
(v) What was Martin’s father’s opinion of him? [4] What does this reveal to us about his father’s
character?
Question 5 Read the following extract from Alphonse Daudet’s short story, ‘The Last Lesson’
and answer the questions that follow:
“My children, this is the last lesson I shall give you. The order has come from Berlin to teach
only German in the schools of Alsace and Lorraine. The new master comes tomorrow. This is
your last French lesson. I want you to be very attentive.”
What a thunder-clap these words were to me! Oh the wretches; that was what they had put up at
the town-hall!
(i) What does the word, ‘that’ in the extract refer to? [3] What other ‘bad news’ had the villagers
received from the bulletin board outside the town-hall?
(ii) How does the narrator describe the daily bustle at the start of a typical school day? [3]
(iii) What was different on that morning when he arrived late for school? [3]
(iv) What thoughts filled the narrator’s head when he heard the above announcement? [3]
(v) What does M. Hamel urge his listeners never to forget? [4] M. Hamel writes a few words on
the board at the end of the lesson. What were they? What does he hope to inspire through his
words and actions on that day?
SECTION D (Answer one or more questions from this Section.)
POETRY (Treasure Trove – A Collection of Poems and Short Stories)
Question 6 Read the following extract from Leigh Hunt’s poem, ‘The Glove and the Lions’ and
answer the questions that follow:
And truly ‘twas a gallant thing to see that crowning show, Valour and love, and a king above,
and the royal beasts below.
(i) Describe the scene at the beginning of the poem. [3]
(ii) “Leigh Hunt uses vivid sound and visual images to describe the contest between the royal
beasts in the pit.” Justify with close reference to the text. [3]
(iii) Who was the ‘beauteous lively dame’ mentioned in the poem? [3] What did she do? What
prompted her to do this?
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(iv) Explain the following lines in your own words: (a) ‘smiling lips and sharp bright eyes which
always seemed the same’ (b) ‘the occasion is divine’ (c) ‘Faith, gentlemen, we’re better here
than there’
(v) When King Francis exclaims, “rightly done!”, what action of Count de Lorge does he
applaud? Why do you think the Count behaved the way he did?
Question 7 Read the following extract from Robert Frost’s poem, ‘A Considerable Speck’ and
answer the questions that follow:
This was no dust speck by my breathing bloom, But unmistakably a living mite With inclinations
it could call its own.
(i) What did the narrator first imagine the ‘speck’ to be? What does his use of the words ‘speck’
and ‘mite’ tell us about it?
(ii) What was the narrator doing when he spotted the speck? Which two words from the poem
helped you come to this conclusion?
(iii) What made him realise that he was dealing with ‘an intelligence’?
(iv) Why did the narrator conclude that the mite had feet?
(v) Describe the narrator’s initial response to the speck. What did he eventually decide to do
about it? Why does he make this decision? What does this decision reveal of his character?
SOLVED PAPER - 2025 19
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20 ICSE, ENGLISH PAPER-2 (Literature), Class-X
Answers
Answer 1 (i) Correct option: (d) Caesar’s lifeless body covered in blood Explanation: Antony
refers to Caesar’s dead body as a “bleeding piece of earth” to express his sorrow and rage over
Caesar’s assassination. (ii) Correct option: (a) Caesar’s greed for power and possession had
resulted in his death Explanation: Brutus justifies the assassination by saying that Caesar’s
ambition led to his downfall, implying that they killed him to prevent him from rising to absolute
power. (iii) Correct option: (b) Cinna the poet Explanation: After Antony’s speech, the angry
Roman mob turns violent. They mistake Cinna the poet for Cinna the conspirator and kill him,
showing how rage and chaos take over logic and reason. (iv) Correct option: (d) Lepidus
Explanation: In Act 4, Scene 1 of Julius Caesar, Antony refers to Lepidus as “a barren-spirited
fellow” and compares him to a mere beast of burden, suggesting that he is not fit to rule but only
to carry out orders. Antony and Octavius use Lepidus for their own purposes but do not consider
him an equal leader. (v) Correct option: (c) Mark Antony, Octavius Caesar, Lepidus
Explanation: The Second Triumvirate, formed after Julius Caesar’s assassination, consisted of
Mark Antony, Octavius Caesar (later Augustus) and Lepidus. This alliance was established to
consolidate power and avenge Caesar’s death, distinguishing it from the First Triumvirate, which
included Julius Caesar, Crassus and Pompey. (vi) Correct option: (b) regretful Explanation:
Cassius expresses deep sorrow and disappointment in this speech. He feels betrayed and weary
of the world, believing that even Brutus, whom he loves, has turned against him. His words
reflect self-pity and regret, particularly regarding the state of their friendship and the
consequences of their actions. (vii) Correct option: (c) the speaker sees both the present and the
past Explanation: In Haunted Houses by Henry Wadsworth Longfellow, the speaker perceives
both the present and the past, seeing the ghosts and memories that linger in the house. However,
the stranger, who is unfamiliar with the place, can only see what is physically present. The poem
emphasises how past experiences and spirits remain present for those who have lived in a place.
(viii) Correct option: (d) The beauteous lively dame Explanation: In The Glove and the Lions by
Leigh Hunt, Count de Lorge sighs for the “beauteous lively dame”, the lady he admires. She tests
his love by dropping her glove into the lion’s den, expecting him to retrieve it as proof of his
devotion. However, after successfully retrieving the glove, he throws it back at her face, realising
that her act was driven by vanity rather than true affection. (ix) Correct option: (a) (1) is false,
but (2) is true Explanation: The poem illustrates how the natural world reacts with fear and
uncertainty when great trees fall, describing trembling rocks, hiding lions and silent small
creatures. This supports Statement 2. However, Statement 1 is incorrect because the poem does
not suggest that the world remains permanently unstable; instead, it portrays an initial period of
grief and disorientation followed by gradual healing and restoration, emphasising that although
loss is profound, life continues with renewed awareness. (x) Correct option: (b) respect for
intelligent life Explanation: Robert Frost observes a tiny mite on his manuscript and recognises
its intelligence, hesitation and survival instincts. Rather than harming it, he allows it to rest,
appreciating its display of mind. The poem conveys admiration for even the smallest forms of
intelligence, rather than love, indifference, or anger, making respect for intelligent life the best
choice. (xi) Correct option: (d) The wind lies asleep in the arms of the dawn Explanation: The
given line “And in the sky the feathered fly turn turtle while they’re winging”, from The Power
of Music uses personification, as birds are described as turning turtle mid-flight in response to
the song. Similarly, option (d) personifies the wind by describing it as lying asleep in the arms of
the dawn, attributing human qualities to natural elements. (xii) Correct option: (c) He is unable
to recognise his own face Explanation: In With the Photographer by Stephen Leacock, the
narrator is shocked when he sees his photograph because the photographer has heavily altered his
facial features. His eyebrows are redrawn, his mouth is adjusted, and even his hair is removed.
The excessive retouching makes the narrator question whether the image is truly his, leading him
to ask, “Is it me?” out of disbelief. (xiii) Correct option: (b) He encourages Martin to use the
stairs Explanation: Martin’s father dismisses his concerns, tells him to grow up and be brave,
and watches TV while ignoring Martin’s fear. However, he does not encourage Martin to use the
stairs. Instead, he criticises Martin for doing so, implying that he is weak and cowardly. (xiv)
Correct option: (b) 1, 3, 4, 2 Explanation: Leonard Mead loved to walk through the empty streets
at night, enjoying the silence and solitude of the city. One night, as he was nearing home, he was
suddenly stopped by a police car, a
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rare sight in a world where walking was considered unusual. A metallic voice from the car
interrogated him, questioning his reasons for being outside. Since his answers were deemed odd
and unacceptable, he was forced to enter the car and taken away to the Psychiatric Centre for
Research on Regressive Tendencies.
(xv) Correct option: (b) Ghana
Explanation: Adjoa was born in a small village in Ghana.
(xvi) Correct option: (a) He was not allowed to teach French any longer
Explanation: In The Last Lesson, Prussia’s annexation of Alsace-Lorraine led to an order from
Berlin mandating German as the sole medium of instruction. M. Hamel, after 40 years, was
compelled to leave because teaching French was banned.
Answer 2
(i) Antony states he has come “to bury Caesar, not to praise him.” He emphasises that his
presence is for a solemn funeral oration, not a celebratory eulogy. He explicitly denies any
intention to praise Caesar, suggesting neutrality. However, this is a rhetorical tactic. He knows
the crowd expects praise at a funeral. By claiming he won’t praise Caesar, he piques their interest
and makes his eventual praise, when it comes, more impactful. His true purpose, masked by this
pretence of objectivity, is to manipulate the crowd against the conspirators. He aims to transform
public perception of Caesar from a potential tyrant to a beloved leader, paving his own path to
power. He subtly implies that Caesar’s good deeds are in danger of being forgotten, stating, “The
evil that men do lives after them; The good is oft interred with their bones,” thus making his
“neutral” speech all the more necessary and, therefore, effective.
(ii) Before allowing Antony to address the Roman citizens, Brutus imposed three strict
conditions to prevent any direct challenge to the conspirators’ narrative. First, Antony was
forbidden to blame the assassins, ensuring that his speech would not incite the people against
them. Second, he had to speak only after Brutus had addressed the crowd, allowing the latter to
shape public opinion first. Third, Antony was required to declare that he spoke with the
conspirators’ permission, reinforcing their authority. Brutus, believing in his own rhetoric,
underestimated Antony’s skill. Antony, though adhering to these conditions in form, masterfully
circumvented them in spirit. His repeated reference to “honourable men” drips with irony, subtly
eroding the credibility of Brutus’s words. His ability to work within these constraints while
simultaneously turning the tide against the conspirators is a testament to his political acumen.
(iii) Antony masterfully counters Brutus’s claim of Caesar’s ambition with three key points, each
designed to resonate deeply with the crowd. He
begins by recalling how Caesar refused the crown three times during the Lupercal festival,
asking, “Was this ambition?” A truly ambitious man would have seized such power without
hesitation. Next, Antony points to Caesar’s generosity, noting how he brought wealth to Rome
by ransoming captives, enriching the public treasury rather than himself. This selflessness stands
in stark contrast to the greed of an ambitious ruler. Finally, Antony stirs emotions by reminding
the crowd of Caesar’s compassion: “When that the poor have cried, Caesar hath wept.” Such
empathy, he argues, is not the mark of a power-hungry tyrant but of a leader who genuinely
cared for his people. These arguments, woven with restraint and precision, gradually turn the
crowd against Brutus and his conspirators.
(iv) Throughout his funeral speech, Mark Antony repeatedly refers to Brutus and the other
conspirators as honourable men. At first glance, this seems like a gesture of respect, aligning
with his claim that he does not seek to discredit them. However, the repetition of this phrase,
“But Brutus says he was ambitious, and Brutus is an honourable man”, slowly turns into a
weapon. Antony subtly shifts its meaning, transforming it from an affirmation into a bitter irony.
By juxtaposing Brutus’s supposed honour with examples of Caesar’s generosity and lack of
ambition, such as his refusals of the crown and his sympathy for the poor, Antony forces the
crowd to question whether Brutus is truly honourable. The phrase becomes laced with sarcasm,
sowing doubt and indignation among the Romans. Each repetition chips away at Brutus’s
credibility until the people, inflamed with rage, are ready to rise against the conspirators.
(v) Antony’s most impactful argument is his reminder that Caesar refused the crown three times
during the Lupercal festival. This directly contradicts the idea of ambition, as an ambitious man
would have eagerly accepted such power. The crowd, already swayed by Antony’s emotional
appeal, sees this as undeniable proof of Caesar’s humility, making it the most convincing point.
Before Antony’s speech, the citizens view him with suspicion, as he is associated with Caesar,
whom they now consider a tyrant. However, by the end of his speech, their feelings shift
dramatically. Antony’s skilful use of rhetoric, emotional appeals and subtle hints at Caesar’s
generosity and compassion turn the crowd against Brutus and the conspirators. The citizens, once
supportive of Brutus, are now enraged and call for revenge, showing how Antony’s words have
completely transformed their loyalty.
Answer 3
(i) Brutus says, “No, Cassius, no” in response to Cassius’s suggestion that he might be captured
and paraded as a prisoner through Rome if they lose the battle. Brutus, a man of great pride and
principle, cannot bear the thought of being led in disgrace through
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the streets of the city he sought to liberate. He would rather die than suffer such humiliation. His
words, "And whether we shall meet again I know not," suggest an acknowledgement of the
uncertainty of war. This moment is deeply poignant, as he and Cassius prepare for what could be
their final battle. The farewell they exchange carries a sense of inevitability, foreshadowing their
impending fates and reinforcing the tragic weight of their choices.
(ii) Brutus refers to Caesar's assassination when he speaks of "the work which the Ides of March
begun". The conspirators, led by Brutus and Cassius, assassinated Caesar on the Ides of March,
believing it would restore the Republic and prevent tyranny. However, their vision of Rome free
from dictatorship was never realised. If Brutus and Cassius lose the battle, Rome will fall under
the rule of Octavius and Antony, who will likely establish a new form of autocracy. This marks
the ultimate failure of the conspiracy, as their attempt to preserve the Republic instead paves the
way for an empire, proving the futility of their actions.
(iii) Earlier in the scene, Cassius tells Messala about a strange omen he observed while marching
from Sardis to Philippi. Two mighty eagles had perched on their banners, feeding from the hands
of their soldiers, which he initially took as a good sign. However, on the morning of the battle,
the eagles vanished, replaced by ravens, crows and kites circling ominously above them. Cassius,
who once dismissed omens as mere superstitions, begins to see this as a sign of their impending
doom. This change in his belief underscores his growing sense of fatalism and foreshadows his
tragic end.
(iv) Brutus dies by running onto his own sword, held by his loyal servant, Strato. His death is
deeply ironic because throughout his life, Brutus upheld Stoic philosophy, which teaches
endurance in the face of suffering and rejection of suicide as an escape from fate. He had earlier
criticised Cato for taking his own life, calling it cowardly. Yet, in the end, he does exactly that,
choosing death over dishonour. His suicide marks his final acknowledgement that their cause has
failed, and that Rome will no longer be what he fought for.
(v) Antony calls Brutus "the noblest Roman of them all" because, unlike the other conspirators,
Brutus did not kill Caesar out of envy or ambition but out of a sincere belief in the Republic. He
acted with what he thought was Rome's best interest at heart, even if his actions were misguided.
Antony, despite having fought against him, acknowledges this purity of intent. This moment
reveals Antony's ability to recognise virtue, even in his enemies. Though he has been ruthless
throughout the play, Antony's words here show a sense of honour and respect for true nobility,
reinforcing the complexity of his character.
Answer 4
(i) When the elevator door slid open on the third floor, it revealed the same fat lady Martin had
encountered earlier that morning. She was an imposing figure, clad in an old, green coat that
seemed to engulf her. Her face, with its large fleshy cheeks and absence of a discernible chin,
gave her a somewhat piggish appearance. Her small, sharp blue eyes, however, were the most
striking feature, fixated on Martin with an unsettling intensity that made him deeply
uncomfortable.
(ii) Martin's fear of the elevator was multifaceted. The elevator itself was old and poorly
maintained, with dim lighting, dirty walls and a tendency to shudder disconcertingly with every
stop. Its claustrophobic dimensions amplified his unease, especially when other passengers were
present. The constantly malfunctioning door, which slammed shut with a jarring clang, further
exacerbated his anxiety. Beyond these physical attributes, Martin harboured a deep-seated fear of
being trapped alone inside the elevator, a fear that was only heightened by the building's eerie
atmosphere.
(iii) Martin's fall down the stairs was a direct consequence of his escalating fear of the fat lady.
Upon seeing her waiting for him on the third floor, his anxiety reached a breaking point,
compelling him to flee in a blind panic. The dimly lit stairwell and his haste led to his
unfortunate tumble. This fall resulted in a broken leg, necessitating the use of crutches and
rendering him incapable of using the stairs, a consequence that would later prove to be a critical
turning point in his predicament.
(iv) The story concludes with a chilling climax that leaves Martin trapped and helpless. After his
father departs the elevator on the ninth floor, seemingly oblivious to Martin's pleas to accompany
him, the elevator stops on the tenth floor where the fat lady awaits. She quickly steps inside,
closing the door behind her, effectively sealing Martin's fate. The element of horror is amplified
by her sinister greeting, "Hello, Martin," followed by a chilling laugh as she presses the Stop
button, bringing the elevator to an abrupt halt. This ending leaves the reader with a sense of
dread and unease, highlighting Martin's vulnerability and the fat lady's malevolent intentions.
(v) Martin's father views him as a "coward" and a "fool", constantly criticising his timidity and
lack of bravery. He seems more concerned with Martin conforming to traditional notions of
masculinity than with understanding his fears. This reveals him to be a rather unsympathetic and
emotionally unintelligent character, more focused on outward appearances than his son's genuine
anxieties. He appears dismissive and even scornful of Martin's concerns, prioritising his own
perception of how a man should behave over his son's well-being. This ultimately contributes to
Martin's vulnerability and isolation, as he is left to face his fears alone.
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Answer 5
(i) In the extract, the word that refers to the order from Berlin mandating that only German be
taught in the schools of Alsace and Lorraine. This decree, signifying the imposition of Prussian
control over their education and culture, comes as a shock to the community. The bulletin board
outside the town hall had been a source of distressing news for the past two years, delivering
announcements of lost battles, military drafts and various orders from the commanding officer –
all grim reminders of the ongoing war and its consequences.
(ii) Franz, the narrator, vividly describes the typical start of a school day as a scene brimming
with energy and activity. He recounts the “great bustle” that permeated the air, audible even from
the street outside. The sounds of desks being opened and closed, students reciting lessons in
unison, their voices echoing through the classroom, and the authoritative rap of the teacher’s
ruler on the table all contribute to the vibrant atmosphere. This lively portrayal captures the
essence of a regular school day, filled with the youthful energy of students and the ever-present
authority of the teacher, creating a sense of normalcy that is now on the verge of being disrupted.
(iii) On this particular morning, Franz observes a stark contrast to the usual commotion. Instead
of the customary hustle and bustle, an unusual silence pervades the school. The students are
already seated, and M. Hamel walks up and down with his iron ruler, the atmosphere heavy with
a sense of gravity and foreboding. This unusual quietness reflects the sombre mood that has
settled over the school in light of the impending changes.
(iv) M. Hamel’s announcement that it was their last French lesson triggers a wave of regret and
remorse in Franz. He laments his past negligence towards his studies, recalling his preference for
leisurely activities like searching for birds’ eggs and going sliding on the Saar. His books, once a
burden, now appear as cherished companions, symbolising the opportunities he has squandered.
The thought of losing M. Hamel and the familiar comfort of his French lessons fills him with a
sense of loss and apprehension about the uncertain future.
(v) In his final lesson, M. Hamel passionately urges his students and the villagers to never forget
their French language and heritage. He emphasises the importance of preserving their linguistic
identity, especially in the face of occupation, stating that “when a people are enslaved, as long as
they hold fast to their language, it is as if they had the key to their prison.” He concludes the
lesson by writing “Vive La France!” (Long Live France!) on the blackboard, a powerful and
defiant gesture. Through his words and actions, M. Hamel seeks to inspire a renewed sense of
patriotism, cultural pride and resilience in his listeners, encouraging them to safeguard their
identity even under foreign rule.
Answer 6
(i) The poem opens with a grand spectacle in King Francis’s court. The scene is set in a royal
arena, where a group of lions are released into a pit. The atmosphere is charged with excitement
as the nobles, including the king and his courtiers, watch from the safety of the surrounding
benches. The lions, described as royal beasts, rampage and roar ferociously, creating a vivid and
dramatic display of raw power and danger, setting the stage for the central event of the poem.
(ii) Leigh Hunt masterfully employs vivid auditory and visual imagery to depict the fierce
contest between the lions. The sound imagery is striking: the lions “ramped and roared” with a
sound that “drowned the cries” of the spectators, conveying their overwhelming ferocity.
Visually, the scene is equally intense: the lions “tore each other in their slashing rage,” their
actions described with powerful verbs like “ramped,” “shook,” and “snapped.” The imagery of
their “heavy mane” and the “foam of their jaws” adds to the visceral and terrifying spectacle,
immersing the reader in the chaotic and brutal energy of the fight.
(iii) The “beauteous lively dame” was a noblewoman, the object of Count de Lorge’s affection.
She is portrayed as beautiful and spirited, with a sharp, observant nature. In a moment of vanity
and perhaps to test the Count’s devotion, she deliberately drops her glove into the lion’s den,
expecting him to retrieve it as a grand, chivalrous gesture to prove his love for her.
(iv) (a) The phrase describes the lady’s constant, seemingly unchanging expression of a smile
and sharp, bright eyes, suggesting a clever but perhaps superficial or calculating nature. (b) King
Francis declares the moment “divine” because he sees the lady’s act of dropping her glove as a
perfect opportunity for Count de Lorge to perform a spectacular feat of bravery and chivalry,
thereby proving his love in the most dramatic way possible. (c) These are the Count’s words
after he has thrown the glove back in the lady’s face. He means that he and the other spectators
are safer and better off in their seats, away from the dangerous lions, than he would have been in
the pit. It is a sarcastic remark, implying that her test was not worth the risk.
(v) King Francis applauds Count de Lorge’s act of throwing the glove back into the lady’s face.
The King, initially expecting a display of chivalric bravery, realises that the lady’s demand was
foolish and vain, risking a man’s life for a trivial whim. The Count’s action is a rejection of her
vanity and a reassertion of his own dignity. He likely behaved this way out of a mix of anger,
realisation and pride – anger at being used for a vain spectacle, realisation that her love was not
genuine, and pride that refused to be manipulated into such a dangerous and pointless act.
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Answer 7
(i) The narrator first assumed the speck was merely a piece of dust or a tiny, insignificant
particle. The words “speck” and “mite” immediately convey its minuscule size, suggesting
something so small it is barely noticeable and seemingly unimportant. This initial perception sets
the stage for the narrator’s subsequent shift in attitude as he discovers the speck is, in fact, a
living, intelligent creature.
(ii) The narrator was writing on a piece of white paper when he spotted the speck. The words
“written” and “paper” from the poem clearly indicate this activity. The context of the poem
suggests he was likely engaged in a creative or intellectual task, which makes his observation of
the tiny mite all the more significant, as it interrupts his work and captures his full attention.
(iii) The narrator realised he was dealing with “an intelligence” when he observed the mite’s
behaviour. He noticed its clear intention to avoid death, its evident hesitation and its calculated
movements. The mite’s ability to pause, change direction and exhibit a sense of self-preservation
convinced the narrator that it possessed a mind and will of its own, however rudimentary.
(iv) The narrator deduced that the mite had feet by observing its mode of movement. He saw it
“running” across the lines of his writing, a verb that implies the use of limbs for locomotion.
This observation led him to the logical conclusion that the creature must possess feet to propel
itself in such a manner across the surface of the paper.
(v) The narrator’s initial response to the speck was one of instinctive revulsion; he felt a “whisk
of something” – a reflexive urge to brush it away and eliminate the tiny intruder. However, upon
recognising its intelligence and will to live, he decided to let it be. He chose not to harm it,
allowing it to rest and escape. This decision reveals a deep-seated respect for all forms of life, no
matter how small. It shows a thoughtful, observant and empathetic character who values
intelligence and the instinct for survival above mere impulse or disgust.