Confidential

GRAAD 12

SENIOR CERTIFICATE EXAMINATIONS

NATIONAL SENIOR CERTIFICATE EXAMINATIONS

ENGLISH HOME LANGUAGE P2

MAY/JUNE 2025

MARKS: 80

TIME: 2½ hours

This question paper consists of 27 pages.

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INSTRUCTIONS AND INFORMATION

1. Read these instructions carefully before you begin to answer the questions.

2. Do NOT attempt to read the entire question paper. Consult the table of contents
on page 4 and mark the numbers of the questions set on texts you have studied
this year. Thereafter, read these questions and choose the ones you wish to
answer.

3. This question paper consists of THREE sections:

SECTION A: Poetry (30)

SECTION B: Novel (25)
SECTION C: Drama (25)

4. Answer FIVE questions in all: THREE in SECTION A, ONE in SECTION B and

ONE in SECTION C as follows:

SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POEM – COMPULSORY question

SECTION B: NOVEL
Answer ONE question.

SECTION C: DRAMA
Answer ONE question.

5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):

• Answer questions ONLY on the novel and the drama you have studied.
• Answer ONE ESSAY QUESTION and ONE CONTEXTUAL QUESTION.
If you answer the essay question in SECTION B, you must answer the
contextual question in SECTION C.
If you answer the contextual question in SECTION B, you must answer the
essay question in SECTION C.
Use the checklist to assist you.

6. LENGTH OF ANSWERS:

• The essay question on Poetry should be answered in about

250–300 words.
• Essay questions on the Novel and Drama sections should be answered in
400–450 words.
• The length of answers to contextual questions should be determined by
the mark allocation. Candidates should aim for conciseness and
relevance.

7. Follow the instructions at the beginning of each section carefully. 2025

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8. Number your answers correctly according to the numbering system used in this
question paper.

9. Start EACH section on a NEW page.

10. Suggested time management:

SECTION A: approximately 40 minutes

SECTION B: approximately 55 minutes
SECTION C: approximately 55 minutes

11. Write neatly and legibly.

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TABLE OF CONTENTS

SECTION A: POETRY

Prescribed Poetry: Answer ANY TWO questions.

QUESTION NO. QUESTION MARKS PAGE NO.
1. 'It is a Beauteous Evening …' Essay question 10 6

2. 'Poem of Return' Contextual question 10 7

3. 'Talk to the Peach Tree' Contextual question 10 8

4. 'Solitude' Contextual question 10 9

AND

Unseen Poetry: COMPULSORY question

5. 'Praise Song for My Mother' Contextual question 10 10

SECTION B: NOVEL

Answer ONE question.*

6. The Picture of Dorian Gray Essay question 25 11

7. The Picture of Dorian Gray Contextual question 25 11

8. Life of Pi Essay question 25 14

9. Life of Pi Contextual question 25 14

SECTION C: DRAMA

Answer ONE question.*

10. Hamlet Essay question 25 17

11. Hamlet Contextual question 25 17

12. Othello Essay question 25 21

13. Othello Contextual question 25 21

14. The Crucible Essay question 25 25

15. The Crucible Contextual question 25 25

*NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.

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CHECKLIST

Use this checklist to ensure that you have answered the correct number of questions.

SECTION QUESTION NO. OF TICK

NUMBERS QUESTIONS ()
ANSWERED
A: Poetry
1–4 2
(Prescribed Poetry)
A: Poetry
5 1
(Unseen Poetry)
B: Novel
6–9 1
(Essay or Contextual)
C: Drama
10–15 1
(Essay or Contextual)

NOTE: In SECTIONS B and C, ensure that you have answered ONE ESSAY question
and ONE CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.

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SECTION A: POETRY

PRESCRIBED POETRY

Answer any TWO of the following questions.

QUESTION 1: ESSAY QUESTION

Read the poem below and then answer the question that follows.

IT IS A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth

1 It is a beauteous evening, calm and free;

2 The holy time is quiet as a nun
3 Breathless with adoration; the broad sun
4 Is sinking down in its tranquillity;
5 The gentleness of heaven is on the sea:
6 Listen! the mighty Being is awake,
7 And doth with his eternal motion make
8 A sound like thunder – everlastingly.
9 Dear child! dear girl! that walkest with me here,
10 If thou appear untouched by solemn thought
11 Thy nature is not therefore less divine:
12 Thou liest in Abraham's bosom all the year,
13 And worshipp'st at the Temple's inner shrine,
14 God being with thee when we know it not.

With close reference to structure, imagery and tone, discuss how the speaker reflects
on people's connection to nature in this poem.

Your response should take the form of a well-constructed essay of 250–300 words
(about ONE page). [10]

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QUESTION 2: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

POEM OF RETURN – Jofre Rocha

1 When I return from the land of exile and silence,

2 do not bring me flowers.

3 Bring me rather all the dews,

4 tears of dawns which witnessed dramas.
5 Bring me the immense hunger for love
6 and the plaint of tumid sexes in star-studded night.
7 Bring me the long night of sleeplessness
8 with mothers mourning, their arms bereft of sons.
9 When I return from the land of exile and silence,
10 no, do not bring me flowers ...

11 Bring me only, just this

12 the last wish of heroes fallen at day-break
13 with a wingless stone in hand
14 and a thread of anger snaking from their eyes.

2.1 What does the word, 'When' (line 1) suggest about the speaker's time in exile? (2)

2.2 Refer to line 10: 'no, do not bring me flowers …'.

Explain the effect of the double negative in this line. (2)

2.3 Refer to lines 11–13: 'Bring me only … stone in hand'.

2.3.1 Identify the figure of speech in line 13. (1)

2.3.2 Comment on the effectiveness of this image in the context of the

poem. (2)

2.4 Refer to lines 7–8: 'Bring me the … bereft of sons.'

Critically discuss how the diction in these lines is linked to the central message
of the poem. Your response should include TWO examples of diction. (3)
[10]

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QUESTION 3: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

TALK TO THE PEACH TREE – Sipho Sepamla

1 Let's talk to the swallows visiting us in summer
2 ask how it is in other countries
3 Let's talk to the afternoon shadow
4 ask how the day has been so far
5 Let's raise our pets to our level
6 ask them what they don't know of us
7 words have lost meaning
8 like all notations they've been misused
9 most people will admit
10 a whining woman can overstate her case
11 Talk to the paralysing heat in the air
12 inquire how long the mercilessness will last
13 Let's pick out items from the rubbish heap
14 ask how the stench is like down there
15 Let's talk to the peach tree
16 find out how it feels to be in the ground
17 Let's talk to the moon going down
18 ask if it isn't enough eyeing what's been going on
19 come on
20 let's talk to the devil himself
21 it's about time

3.1 Refer to lines 9–10: 'most people will … overstate her case'.
3.1.1 Identify the sound device in these lines. (1)
3.1.2 What does the word, 'whining' suggest about the woman in the context
of these lines? (2)

3.2 Explain the use of colloquial language throughout the poem. (2)

3.3 Refer to lines 13–14: 'Let's pick out … like down there'.
Comment on the effectiveness of this image in the context of the poem. (2)

3.4 Refer to lines 19–21: 'come on/let's … it's about time'.

Critically discuss how the tone of the final stanza emphasises the central
message of the poem. (3)
[10]

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QUESTION 4: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

SOLITUDE – Ella Wheeler Wilcox

1 Laugh, and the world laughs with you;
2 Weep, and you weep alone;
3 For the sad old earth must borrow its mirth,
4 But has trouble enough of its own.
5 Sing, and the hills will answer;
6 Sigh, it is lost on the air;
7 The echoes bound to a joyful sound,
8 But shrink from voicing care.

9 Rejoice, and men will seek you;

10 Grieve, and they turn and go;
11 They want full measure of all your pleasure,
12 But they do not need your woe.
13 Be glad, and your friends are many;
14 Be sad, and you lose them all, –
15 There are none to decline your nectared wine,
16 But alone you must drink life's gall.

17 Feast, and your halls are crowded;

18 Fast, and the world goes by.
19 Succeed and give, and it helps you live,
20 But no man can help you die.
21 For there is room in the halls of pleasure
22 For a large and lordly train,
23 But one by one we must all file on
24 Through the narrow aisles of pain.

4.1 Refer to lines 1–2: 'Laugh, and the … you weep alone'.

What do these lines suggest about the nature of life? (2)

4.2 Explain the repeated use of the pronoun, 'you' in the poem. (2)

4.3 Refer to lines 15–16: 'There are none … drink life's gall.'

4.3.1 Identify the figure of speech in line 16. (1)

4.3.2 Comment on the effectiveness of this image in the context of the poem. (2)

4.4 Refer to lines 23–24: 'But one by … aisles of pain.'

Critically discuss how the diction in these lines is linked to the central message
of the poem. Your response should include TWO examples of diction. (3)
[10]

AND

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UNSEEN POETRY (COMPULSORY)

QUESTION 5: CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow.

PRAISE SONG FOR MY MOTHER – Grace Nichols

1 You were
2 water to me
3 deep and bold and fathoming

4 You were
5 moon's eye to me
6 pull and grained and mantling

7 You were
8 sunrise to me
9 rise and warm and streaming

10 You were
11 the fishes red gill to me
12 the flame tree's spread to me
13 the crab's leg/the fried plantain1 smell
14 replenishing replenishing

15 Go to your wide futures, you said

Glossary: 1plantain – a starchy fruit that is part of the banana family

5.1 What does the word, 'PRAISE' in the title suggest about the speaker's view of
her mother? (2)

5.2 Explain the implication of the use of past tense in the poem. (2)

5.3 Refer to lines 1–2: 'You were/water to me'.

5.3.1 Identify the figure of speech used in these lines. (1)

5.3.2 Comment on the effectiveness of this image. (2)

5.4 Refer to line 15: 'Go to your wide futures, you said'.

Discuss how this line contributes to the central message of the poem. (3)
[10]

TOTAL SECTION A: 30

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SECTION B: NOVEL
Answer ONLY on the novel you have studied.
THE PICTURE OF DORIAN GRAY – Oscar Wilde
Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual question).
QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION
Dorian Gray's mentors have a significant impact on the man he becomes.
Critically discuss the validity of the above statement in relation to the novel.
Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]
QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
Lord Henry had not yet come in. He was always late on principle, his principle being that
punctuality is the thief of time. So the lad was looking rather sulky, as with listless fingers
he turned over the pages of an elaborately-illustrated edition of Manon Lescaut that he
had found in one of the book-cases. The formal monotonous ticking of the Louis
Quartorze clock annoyed him. Once or twice he thought of going away. 5
At last he heard a step outside, and the door opened. 'How late you are, Harry!' he
murmured.
'I am afraid it is not Harry, Mr Gray,' answered a shrill voice.
He glanced quickly round, and rose to his feet. 'I beg your pardon. I thought – '
'You thought it was my husband. It is only his wife. You must let me introduce myself. 10
I know you quite well by your photographs. I think my husband has got seventeen of
them.'
'Not seventeen, Lady Henry?'
'Well, eighteen, then. And I saw you with him the other night at the Opera.' She laughed
nervously as she spoke, and watched him with her vague forget-me-not eyes. She was 15
a curious woman, whose dresses always looked as if they had been designed in a rage
and put on in a tempest.
…
'I like Wagner's music better than anybody's. It is so loud that one can talk the whole
time without other people hearing what one says. That is a great advantage; don't you
think so, Mr Gray?' 20
…
Dorian smiled, and shook his head: 'I am afraid I don't think so, Lady Henry. I never talk
during music, at least during good music. If one hears bad music, it is one's duty to drown
it in conversation.'
'Ah! that is one of Harry's views, isn't it, Mr Gray? I always hear Harry's views from his
friends.' 25
[Chapter 4]
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7.1 Place this extract in context. (2)

7.2 Refer to line 13: 'Not seventeen, Lady Henry?'
Account for Dorian's reaction in this line. (2)
7.3 Refer to lines 1–2: 'Lord Henry had … thief of time.'
Explain what these lines reveal about Lord Henry. (2)
7.4 Refer to line 14: 'And I saw you with him the other night at the Opera.'
Suggest what this line conveys about the relationship between Lord Henry and
his wife in the context of the novel. (3)
7.5 Refer to lines 15–17: 'She was a … in a tempest.'
Explain the irony of Lord Henry's choice of wife. (2)
7.6 Refer to line 24: 'Ah! that is one of Harry's views, isn't it, Mr Gray?'
Based on your knowledge of the novel as a whole, discuss the significance of
Lord Henry's influence on Dorian. (3)
AND
EXTRACT B

As soon as the man entered, Dorian pulled his cheque-book out of a drawer; and spread
it out before him.
'I suppose you have come about the unfortunate accident of this morning, Thornton?' he
said, taking up a pen.
'Yes, sir,' answered the gamekeeper. 5
'Was the poor fellow married? Had he any people dependent on him?' asked Dorian,
looking bored. 'If so, I should not like them to be left in want, and will send them any sum
of money you may think necessary.'
'We don't know who he is, sir. That is what I took the liberty of coming to you about.'
'Don't know who he is?' said Dorian, listlessly. 'What do you mean? Wasn't he one of 10
your men?'
'No, sir. Never saw him before. Seems like a sailor, sir.'
…
'Was there anything found on him?' said Dorian, leaning forward and looking at the man
with startled eyes. 'Anything that would tell his name?'
'Some money, sir – not much, and a six-shooter. There was no name of any kind. 15
A decent-looking man, sir, but rough-like. A sort of sailor, we think.'
Dorian started to his feet. A terrible hope fluttered past him. He clutched at it madly.
'Where is the body?' he exclaimed. 'Quick! I must see it at once.'
[Chapter 18]

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7.7 Describe the 'unfortunate accident' (line 3) to which Dorian refers. (2)

7.8 Refer to lines 13–16: 'Was there anything … sailor, we think.'

Comment on the role that James Vane plays in the novel. (3)

7.9 Refer to line 1: 'As soon as … of a drawer'.

In your view, is Dorian's reaction to the man's death indicative of the upper
class's attitude towards the working class in the context of the novel? Justify
your response. (3)

7.10 During the course of the novel, Dorian consistently escapes the consequences
of his actions.

Critically discuss the validity of the above statement. (3)

[25]

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LIFE OF PI – Yann Martel

Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual question).

QUESTION 8: LIFE OF PI – ESSAY QUESTION

Pi's mentors have a significant influence on the man he becomes.

Critically discuss the validity of the above statement in relation to the novel.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT C

A few days after the meeting on the esplanade, I took my courage into my hands and
went to see Father at his office.

'Father?'

'Yes, Piscine.'

'I would like to be baptised and I would like a prayer rug.' 5

My words intruded slowly. He looked up from his papers after some seconds.

'A what? What?'

'I would like to pray outside without getting my pants dirty. And I'm attending a Christian
school without having received the proper baptism of Christ.'

'Why do you want to pray outside? In fact, why do you want to pray at all?' 10

'Because I love God.'

'Aha.' He seemed taken aback by my answer, nearly embarrassed by it. There was a
pause. I thought he was going to offer me ice cream again. 'Well, Petit Séminaire is
Christian only in name. There are many Hindu boys there who aren't Christians. You'll
get just as good an education without being baptised. Praying to Allah won't make any 15
difference, either.'

'But I want to pray to Allah. I want to be a Christian.'

'You can't be both. You must be either one or the other.'

'Why can't I be both?'

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He said nothing, only looked at me, his brow furrowed. Suddenly business called. 20

'Talk to Mother about it.'

She was reading.

'Mother?'

'Yes, darling.'

'I would like to be baptised and I would like a prayer rug.' 25

'Talk to Father about it.'

'I did. He told me to talk to you about it.'

'Did he?' she laid her book down.

'I have a book here that you'll like.'

[Chapter 26]

9.1 Refer to lines 1–2: 'A few days … at his office.'

Describe the encounter to which Pi refers. (2)

9.2 Refer to line 7: 'A what? What?'

Account for Father's tone in this line. (2)

9.3 Refer to lines 20–21: 'He said nothing … Mother about it.'

Explain how these lines are typical of Pi's father. (2)

9.4 Refer to lines 22–24: 'She was reading.'/"Mother?"/"Yes, darling.'' '

Suggest what these lines convey about the relationship between Pi and his
mother in the context of the novel. (3)

9.5 Using this extract as a starting point, discuss how faith is crucial for Pi's survival
on the lifeboat. (3)

9.6 Refer to line 29: 'I have a book here that you'll like.'

Based on your knowledge of the novel as a whole, comment on the significance

of Pi's having been exposed to the power of stories when he was growing up. (3)

AND
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EXTRACT D

In my case, to protect myself from Richard Parker while I trained him, I made a shield
with a turtle shell. I cut a notch on each side of the shell and connected them with a
length of rope. The shield was heavier than I would have liked, but do soldiers ever get
to choose their ordnance?

The first time I tried, Richard Parker bared his teeth, rotated his ears full round, vomited 5
a short guttural roar and charged. A great, full-clawed paw rose in the air and cuffed my
shield. The blow sent me flying off the boat. I hit the water and instantly let go of the
shield. It sank without a trace after hitting me in the shin. I was beside myself with terror
– of Richard Parker, but also of being in the water.

I was at it again next time I caught a turtle. Its shell was smaller, lighter, and made for a 10
better shield. Once more I advanced and started stamping on the middle bench with my
foot.

I wonder if those who hear this story will understand that my behaviour was not an act
of insanity or a covert suicide attempt, but a simple necessity. Either I tamed him, made
him see who was Number One and who was Number Two – or I died the day I wanted 15
to climb aboard the lifeboat during rough weather and he objected.
[Chapter 72]

9.7 Refer to lines 1–2: 'In my case … a turtle shell.'

Explain how Pi's upbringing has prepared him to train Richard Parker. (2)

9.8 Refer to lines 5–6: 'The first time … roar and charged.'

How do these lines influence your attitude to Richard Parker at this stage in the
novel? Substantiate your response. (2)

9.9 Refer to lines 3–4: 'The shield was … choose their ordnance?'

In your view, is Pi's identifying himself with a soldier effective in capturing his
approach to life on the lifeboat? Justify your response. (3)

9.10 Pi's relationship with Richard Parker undergoes a profound shift in the course
of the novel.

Critically discuss the validity of the above statement. (3)

[25]

TOTAL SECTION B: 25

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SECTION C: DRAMA

Answer ONLY on the play you have studied.

HAMLET – William Shakespeare

Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual

question).

QUESTION 10: HAMLET – ESSAY QUESTION

In Hamlet, the characters are responsible for the corruption in the kingdom of Denmark.

Critically discuss the validity of the above statement with close reference to a minimum
of TWO characters.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 11: HAMLET – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT E

LAERTES
My necessaries are embarked. Farewell.
And sister, as the winds give benefit
And convoy is assistant, do not sleep,
But let me hear from you.
OPHELIA
Do you doubt that? 5
LAERTES
For Hamlet, and the trifling of his favour,
Hold it a fashion, and a toy in blood,
A violet in the youth of primy nature,
Forward, not permanent, sweet, not lasting,
The perfume and suppliance of a minute, 10
No more.

(Enter Polonius)
POLONIUS
What is't, Ophelia, he hath said to you?
OPHELIA
So please you, something touching the Lord Hamlet.
POLONIUS
Marry, well bethought. 15
'Tis told me he hath very oft of late
Given private time to you, and you yourself
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Have of your audience been most free and bounteous.

If it be so, as so 'tis put on me,
And that in way of caution, I must tell you, 20
You do not understand yourself so clearly
As it behoves my daughter and your honour.
What is between you? Give me up the truth.
OPHELIA
He hath, my lord, of late made many tenders
Of his affection to me. 25
POLONIUS
Affection, pooh! You speak like a green girl
Unsifted in such perilous circumstance.
Do you believe his 'tenders', as you call them?
OPHELIA
I do not know, my lord, what I should think.
POLONIUS
Marry, I will teach you. Think yourself a baby, 30
That you have ta'en these tenders for true pay
Which are not sterling.
[Act 1, Scene 3]

11.1 Place this extract in context. (2)

11.2 Refer to lines 6–11: 'For Hamlet, and … minute,/No more.'

Explain why Laertes warns Ophelia about Hamlet's intentions. (2)

11.3 Refer to lines 16–19: ' 'Tis told me … put on me'.

Explain why Polonius's methods of acquiring information are considered the

norm in Claudius's court. (2)

11.4 Refer to lines 30–32: 'Marry, I will … are not sterling.'

Based on your knowledge of the play as a whole, discuss Polonius's sincerity

in his concern for Ophelia. (3)

11.5 Should Ophelia be held responsible for her actions towards Hamlet in the
context of the play? Justify your response. (3)

AND

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EXTRACT F

CLAUDIUS
O, Gertrude, come away!
The sun no sooner shall the mountains touch,
But we will ship him hence, and this vile deed
We must with all our majesty and skill
Both countenance and excuse. Ho! Guildenstern! 5
Rosencrantz and Guildenstern enter
Friends both, go join you with some further aid.
Hamlet in madness hath Polonius slain,
And from his mother's closet hath he dragged him.
Go, seek him out, speak fair, and bring the body 10
Into the chapel. I pray you, haste in this.
Rosencrantz and Guildenstern off
Come, Gertrude, we'll call up our wisest friends,
And let them know both what we mean to do
And what's untimely done. (So haply slander) 15
Whose whisper o'er the world's diameter,
As level as the cannon to his blank
Transports his poisoned shot, may miss our name,
And hit the woundless air. O, come away!
My soul is full of discord and dismay. 20

ROSENCRANTZ
What have you done, my lord, with the dead body?
HAMLET
Compounded it with dust whereto 'tis kin.
ROSENCRANTZ
Tell us where 'tis that we may take it thence,
And bear it to the chapel.
HAMLET
Do not believe it. 25
ROSENCRANTZ
Believe what?
HAMLET
That I can keep your counsel and not mine own. Besides, to be demanded of a sponge,
what replication should be made by the son of a king?
ROSENCRANTZ
Take you me for a sponge, my lord?
HAMLET
Ay, sir, that soaks up the king's countenance, his rewards, his authorities. But such 30
officers do the king best service in the end. He keeps them like an apple in the corner of
his jaw, first mouthed to be last swallowed. When he needs what you have gleaned, it is
but squeezing you, and, sponge, you shall be dry again.
[Act 4, Scenes 1 and 2]

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11.6 Refer to lines 5–9: 'Ho! Guildenstern! … he dragged him.'

11.6.1 Describe the circumstances that led to Hamlet's killing of Polonius. (2)

11.6.2 Explain what Claudius's instructions to Rosencrantz and

Guildenstern suggest about their characters. (2)

11.7 Refer to line 20: 'My soul is full of discord and dismay.'

Comment on the irony in this line in the wider context of the play. (3)

11.8 Refer to lines 30–33: 'Ay, sir, that … be dry again.'

If you were the director of a production of Hamlet, how would you instruct the
actor to deliver these lines? Pay specific attention to body language and tone.
Motivate your instructions. (3)

11.9 Hamlet's antic disposition is too convincing to be an act.

Critically discuss the extent to which you agree with the above statement. (3)
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OTHELLO – William Shakespeare

Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual

question).

QUESTION 12: OTHELLO – ESSAY QUESTION

In Othello, the characters' search for justice and revenge has devastating
consequences.

Critically discuss the validity of the above statement with reference to the play.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 13: OTHELLO – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT G

RODERIGO
I would not follow him then.
IAGO
O, sir, content you.
I follow him to serve my turn upon him.
We cannot all be masters, nor all masters
Cannot be truly followed. You shall mark 5
Many a duteous and knee-crooking knave
That, doting on his own obsequious bondage,
Wears out his time much like his master's ass,
For naught but provender; and when he's old–cashiered!
Whip me such honest knaves. Others there are 10
Who, trimmed in forms and visages of duty,
Keep yet their hearts attending on themselves,
And throwing but shows of service on their lords,
Do well thrive by them; and when they have lined their coats,
Do themselves homage. These fellows have some soul, 15
And such a one do I profess myself.

RODERIGO
What a full fortune does the thick-lips owe
If he can carry it thus!

…
IAGO
Awake! What ho, Brabantio! Thieves, thieves, thieves!
Look to your house, your daughter, and your bags! 20
Thieves, thieves!
Enter Brabantio at a window above
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BRABANTIO
What is the reason of this terrible summons?
What is the matter there?
RODERIGO
Signior, is all your family within? 25
IAGO
Are your doors locked?
BRABANTIO
Why, wherefore ask you this?
IAGO
Zounds, sir, you're robbed. For shame, put on your gown;
Your heart is burst–you have lost half your soul.
Even now, now, very now, an old black ram 30
Is tupping your white ewe. Arise, arise,
Awake the snorting citizens with the bell,
Or else the devil will make a grandsire of you.
Arise, I say!
[Act 1, Scene 1]

13.1 Explain the reason for Iago's conversation with Roderigo at this early stage in
the play. (2)

13.2 Refer to lines 19–21: 'Awake! What ho … bags! Thieves, thieves!'

What effect does the repetition of the word, 'thieves' have on Brabantio? (2)

13.3 Refer to lines 3–5: 'I follow him … be truly followed.'

Discuss what these lines reveal about Iago. (2)

13.4 Othello is referred to as 'thick-lips' (line 17), 'an old black ram' (line 30) and 'the
devil' (line 33).

Is this manner of referring to Othello the norm in Venetian society? Motivate

your answer. (3)

AND

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EXTRACT H

IAGO
No, let me know;
And knowing what I am, I know what she shall be.
OTHELLO
O, thou art wise, 'tis certain.
IAGO
Stand you awhile apart;
Confine yourself but in a patient list. 5
Whilst you were here erewhile, mad with your grief
(A passion most unsuiting such a man)
Cassio came hither. I shifted him away
And laid good 'scuse upon your ecstasy,
Bid him anon return and here speak with me, 10
The which he promised. Do but encave yourself,
And mark the fleers, the gibes and notable scorns
That dwell in every region of his face,
For I will make him tell the tale anew,
Where, how, how oft, how long ago and when 15
He hath and is again to cope your wife.
I say, but mark his gesture. Marry, patience!
Or I shall say you're all in all in spleen.
And nothing of a man.
OTHELLO
Dost thou hear, Iago? 20
I will be found most cunning in my patience,
But (dost thou hear?) most bloody.
IAGO
That's not amiss,
But yet keep time in all. Will you withdraw?
Othello hides himself 25
Now will I question Cassio of Bianca,
A housewife that by selling her desires
Buys herself bread and clothes. It is a creature
That dotes on Cassio–as 'tis the strumpet's plague
To beguile many and be beguiled by one. 30
He, when he hears of her, cannot refrain
From the excess of laughter. Here he comes.
Re-enter Cassio
As he shall smile, Othello shall go mad,
And his unbookish jealousy must conster 35
Poor Cassio's smiles, gestures, and light behaviour
Quite in the wrong. How do you now, lieutenant?
CASSIO
The worser that you give me the addition
Whose want even kills me.
[Act 4, Scene 1]

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13.5 Place this extract in context. (2)

13.6 Refer to lines 6–9: 'Whilst you were … upon your ecstasy'.

Explain why Iago would not want Cassio to be present when Othello regains
consciousness. (2)

13.7 Refer to lines 31–32: 'He, when he ... excess of laughter.'

Discuss whether Cassio's behaviour towards Bianca is consistent with his

behaviour towards all women. (3)

13.8 Refer to line 3: 'O, thou art wise, 'tis certain.'

Comment on the irony in this line. (3)

13.9 Refer to lines 34–37: 'As he shall … in the wrong.'

If you were the director of a production of Othello, how would you instruct the
actor to deliver these lines? Pay specific attention to body language and tone.
Motivate your instructions. (3)

13.10 Refer to lines 20–22: 'Dost thou hear … most bloody.'

Based on your knowledge of the play as a whole, critically discuss how these
lines reveal the shift in Othello's character. (3)
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THE CRUCIBLE – Arthur Miller

Answer EITHER QUESTION 14 (essay question) OR QUESTION 15 (contextual

question).
QUESTION 14: THE CRUCIBLE – ESSAY QUESTION

In The Crucible, the characters are responsible for the corruption in Salem.

Critically discuss the extent to which you agree with this statement. Refer to a minimum
of THREE characters in your response.

Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages). [25]

QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION

Read the extracts below and then answer the questions that follow.

EXTRACT I

PUTNAM There are hurtful, vengeful spirits layin' hands on these children.
PARRIS But, Thomas, you cannot –
PUTNAM Ann! Tell Mr Parris what you have done.
MRS PUTNAM Reverend Parris, I have laid seven babies unbaptised in the earth.
Believe me, sir, you never saw more hearty babies born. And yet, 5
each would wither in my arms the very night of their birth. I have spoke
nothin', but my heart has clamoured intimations. And now, this year,
my Ruth, my only – I see her turning strange. A secret child she has
become this year, and shrivels like a sucking mouth were pullin' on
her life too. And so I thought to send her to your Tituba – 10
PARRIS To Tituba! What may Tituba – ?
MRS PUTNAM Tituba knows how to speak to the dead, Mr Parris.
PARRIS Goody Ann, it is a formidable sin to conjure up the dead!
MRS PUTNAM I take it on my soul, but who else may surely tell me what person
murdered my babies? 15
PARRIS (horrified): Woman!

PUTNAM Don't you understand it, sir! There is a murdering witch among us,
bound to keep herself in the dark. (PARRIS turns to Betty, a frantic
terror rising in him.) Let your enemies make of it what they will, you
cannot blink it more. 20
PARRIS (to Abigail): Then you were conjuring spirits last night.
ABIGAIL (whispering): Not I, Sir – Tituba and Ruth.
PARRIS (turns now, with new fear, and goes to Betty, looks down at her, and
then, gazing off): Oh, Abigail, what proper payment for my charity!
Now I am undone. 25
PUTNAM You are not undone! Let you take hold here. Wait for no one to charge
you – declare it yourself. You have discovered witchcraft –
[Act 1]
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15.1 Place this extract in context. (2)

15.2 Refer to line 24: 'Oh, Abigail, what proper payment for my charity!'

Account for Parris's statement. (2)

15.3 Describe the relationship between Putnam and Parris as revealed in this
extract. (2)

15.4 Refer to lines 13–14: 'Goody Ann, it … on my soul'.

Is the hypocrisy revealed by Mrs Putnam the norm in the village of Salem?
Motivate your response. (3)

15.5 Refer to line 22: 'Not I, Sir – Tituba and Ruth.'

Discuss how Abigail's response in the above line is typical of her. (3)

AND

EXTRACT J

DANFORTH This is a court of law, Mister. I'll have no effrontery here!

PROCTOR This is Mary Warren's deposition. I – I would ask you remember, sir,
while you read it, that until two weeks ago she were no different than
the other children are today. (He is speaking reasonably, restraining
all his fears, his anger, his anxiety.) You saw her scream, she howled, 5
she swore familiar spirits choked her; she even testified that Satan, in
the form of women now in jail, tried to win her soul away, and then
when she refused –
DANFORTH We know all this.
PROCTOR Aye, sir. She swears now that she never saw Satan; nor any spirit, 10
vague or clear, that Satan may have sent to hurt her. And she declares
her friends are lying now.
PROCTOR starts to hand Danforth the deposition, and HALE comes
up to Danforth in a trembling state.
HALE Excellency, a moment. I think this goes to the heart of the matter. 15
DANFORTH (with deep misgivings): It surely does.
HALE I cannot say he is an honest man; I know him little. But in all justice,
sir, a claim so weighty cannot be argued by a farmer. In God's name,
sir, stop here; send him home and let him come again with a lawyer –
DANFORTH (patiently): Now look you, Mr Hale – 20
HALE Excellency, I have signed seventy-two death warrants; I am a minister
of the Lord, and I dare not take a life without there be a proof so
immaculate no slightest qualm of conscience may doubt it.
DANFORTH Mr Hale, you surely do not doubt my justice.
[Act 3]

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15.6 Describe the circumstances that have led to this point in the play. (2)

15.7 Explain why Proctor feels that it is necessary to speak 'reasonably' (line 4). (2)

15.8 Refer to lines 21–23: 'Excellency, I have … may doubt it.'

Comment on the irony in these lines in the wider context of the play. (3)

15.9 Refer to line 1: 'This is a court of law, Mister. I'll have no effrontery here.'

If you were the director of a production of The Crucible, how would you instruct
the actor to deliver these lines? Motivate your instructions with reference to
both body language and tone. (3)

15.10 Refer to line 24: 'Mr Hale, you surely do not doubt my justice.'

Based on your knowledge of the play as a whole, critically discuss the extent
to which Danforth's justice can be doubted. (3)
[25]

TOTAL SECTION C: 25
GRAND TOTAL: 80

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