Umd English HL P2 Preparatory Examination
Umd English HL P2 Preparatory Examination
GRADE 12
UMLAZI DISTRICT
ENGLISH HOME LANGUAGE P2
MARKS: 80
TIME: 2½ hours
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.
SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POEM – COMPULSORY question
SECTION B: NOVEL
Answer ONE question.
SECTION C: DRAMA
Answer ONE question.
• 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.
TABLE OF CONTENTS
SECTION A: POETRY
Prescribed poetry: Answer ANY TWO questions
QUESTION NO QUESTION MARKS PAGE
NO
1. ‘At a Funeral’ Essay question 10 6
2. ‘This Winter Coming’ Contextual 10 7
question
3. ‘The Morning Sun is Shining’ Contextual 10 9
question
4. ‘It is a Beauteous Evening, Calm and Contextual 10 10
Free’ question
AND
Unseen Poetry: COMPULSORY QUESTION
5. ‘The Dark Side of Humanity’ Contextual 10 11
question
SECTION B: NOVEL
CHECKLIST
Use this checklist to ensure that you have answered the correct number of questions.
B: Novel
(Essay or Contextual) 6–9 1
C: Drama
(Essay or Contextual) 10–15 1
SECTION A: POETRY
PRESCRIBED POETRY
Read the poem below and then answer the question that follows.
In the poem ‘At a funeral’, the speaker depicts the hardships and sacrifices of those who
fought for freedom.
With close reference to diction, imagery and tone, critically discuss the validity of this
statement.
[10]
Your response should take the form of a well-constructed essay of 250–300 words
(about ONE page).
Read the poem below and then answer the questions that follow.
2.1 Refer to lines 1–3: ‘walking in the thick rain … not frightened?’.
(2)
How is the mood established in these lines?
2.2 Refer to lines 4–5: ‘The sea is swollen … sinking away’. (2)
2.3 Refer to lines 9–12: ‘in every part … madam’s house is clean’.
Critically comment on the suitability of these lines as a conclusion to the poem. (3)
[10]
Read the poem below and then answer the questions that follow.
Comment on the effectiveness of the image in the context of the poem. (3)
Critically comment on the suitability of these lines as a conclusion to this poem. (3)
[10]
Read the poem below and then answer the questions that follow.
4.2 Refer to lines 2–3: ‘The holy time is quiet … with adoration’.
Account for the speaker’s use of the image in these lines. (2)
4.4 Refer to lines 9–14: ‘Dear child! dear girl! … we know it not’.
Critically discuss how the diction in these lines conveys the speaker’s view of
the girl. (3)
[10]
AND
5.1 Discuss the impact of the repetition of the line ‘Caught in the act’. (2)
Explain how the above lines contribute to the mood of the poem. (2)
5.3 Refer to lines 3–7: ‘Magnified by the sheer brutality … humanity lives on’.
What does the imagery in these lines convey about the terrorists’ attitude
towards their victims? (3)
5.4 Refer to lines 16–21: ‘Slavery, black Africans … Xenophobia in South Africa’.
Critically discuss how these lines reinforce the central idea of the poem. (3)
[10]
TOTAL SECTION A: 30
SECTION B: NOVEL
Your response should take the form of a well-constructed essay of 400–450 words
Read the extracts below and then answer the questions that follow.
EXTRACT A
'Sibyl is the only thing I care about. What is it to me where she came from? From her
little head to her little feet, she is absolutely and entirely divine. Every night of my life I
go to see her act, and every night she is more marvellous.'
'That is the reason, I suppose, that you never dine with me now. I thought you must
have some curious romance on hand. You have; but it is not quite what I expected.' 5
'My dear Harry, we either lunch or sup together every day, and I have been to the
Opera with you several times,' said Dorian, opening his blue eyes in wonder.
'You always come dreadfully late.'
'Well, I can't help going to see Sibyl play,' he cried, 'even if it is only for a single act. I
get hungry for her presence; and when I think of the wonderful soul that is hidden away 10
in that little ivory body, I am filled with awe.'
'You can dine with me to-night, Dorian, can't you?' He shook his head.
'To-night she is Imogen,' he answered, 'and to-morrow night she will be Juliet.'
'When is she Sibyl Vane?'
'Never.' 15
'I congratulate you.'
'How horrid you are! She is all the great heroines of the world in one. She is more than
an individual. You laugh, but I tell you she has genius. I love her, and I must make her
love me. You, who know all the secrets of life, tell me how to charm Sibyl Vane to love
me!' 20
[Chapter 4]
Discuss the irony of Dorian’s words in the context of the novel as a (3)
whole.
7.4 Refer to lines 13–15: “ ‘To-night she is Imogen’ ... ‘Never’ ’’.
AND
EXTRACT B
7.5 Refer to lines 3–4: ‘His forehead was … felt wildly excited’.
Account for Dorian’s feelings of excitement and anxiousness. (3)
Explain what these lines suggest about Dorian’s accountability for Basil’s
death. (3)
7.7 Refer to lines 14–15: ‘ ‘‘You must tell me ... to meet, though’’.’
Using Extracts A and B as a starting point, critically discuss Lord Henry’s views
on marriage. (4)
[25]
The reward for taming Richard Parker is life; failing to tame him means death.
Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages).
[25]
Read the extracts below and then answer the questions that follow.
EXTRACT C
I made it to the middle of the boat, to the edge of the tarpaulin. It was a hard crawl. I felt
I was climbing the side of a volcano and I was about to look over the rim into a boiling
cauldron of orange lava. I lay flat. I carefully brought my head over. I did not look over any
more than I had to. I did not see Richard Parker. The hyena was plainly visible, though. It
was back behind what was left of the zebra. It was looking at me. 5
I was no longer afraid of it. It wasn’t ten feet away, yet my heart didn’t skip a beat. Richard
Parker’s presence had at least that useful aspect. To be afraid of this ridiculous dog when
there was a tiger about was like being afraid of splinters when trees are falling down. I
became very angry at the animal. “You ugly, foul creature,” I muttered. The only reason I
didn’t stand up and beat it off the lifeboat with a stick was lack of strength and stick, not 10
lack of heart.
Did the hyena sense something of my mastery? Did it say to itself, “Super alpha is
watching me- I better not move”? I don’t know. At any rate, it didn’t move. In fact, in the
way it ducked its head it seemed to want to hide from me. But it was no use hiding.
It would get its just deserts soon enough. 15
[Chapter 49]
9.1 Explain why Pi describes the story with the animals as the ‘better story’. (3)
9.2 Refer to lines 2–3: ‘I was climbing … boiling cauldron of orange lava’.
Discuss what these lines convey about Pi's state of mind at this point in the
novel. (3)
9.3 Refer to lines 12–13: ‘Did the hyena sense something … “Super alpha is
watching me– I better not move”?’
Discuss how Pi asserts himself as the super alpha on the boat. (3)
9.4 Refer to lines 9–11: ‘ “You ugly, foul creature, I muttered.” …lack of strength and
stick, not lack of heart’.
Critically discuss how these lines parallel the encounter between Pi and the (3)
French cook in the second story.
.
AND
EXTRACT D
Then Richard Parker, companion of my torment, awful, fierce thing that kept me
alive, moved forward and disappeared forever from my life. I struggled to shore
and fell upon the sand. I looked about. I was truly alone, orphaned not only of my
family, but now of Richard Parker, and nearly, I thought, of God. Of course, I wasn’t.
…
After some hours, a member of my own species found me. He left and returned 5
with a group. They were six or seven. They came up to me with their hands covering
their noses and mouths. I wondered what was wrong with them. They spoke to me
in a strange tongue. They pulled the lifeboat onto the sand. They carried me away.
…
I wept like a child. It was not because I was overcome at having survived my ordeal,
though I was. Nor was it the presence of my brothers and sisters, though that too was 10
very moving. I was weeping because Richard Parker had left me so unceremoniously.
What a terrible thing it is to botch a farewell.
…
That bungled goodbye hurts me to this day. I wish so much that I’d had one last look
at him in the lifeboat, that I’d provoked him a little, so that I was on his mind. I wish
I had said to him then-yes, I know, to a tiger, but still– I wish I had said, “Richard 15
Parker, it’s over. We have survived. Can you believe it? I owe you more gratitude
than I can express. I couldn’t have done it without you. I would like to say it formally:
Richard Parker, thank you. Thank you for saving my life.
[Chapter 94]
9.6 Refer to lines 3–4: ‘I was truly alone, orphaned … nearly, I thought, of God’.
Explain what these lines reveal about Pi’s relationship with God. (3)
9.7 Refer to lines 11–12: ‘I was weeping because Richard Parker had left
me … to botch a farewell’.
9.8 Refer to line 18: ‘ “Richard Parker, thank you. Thank you for saving my
life”.’
[25]
SECTION C: DRAMA
In Hamlet, trust is either won or lost amidst the conflict and turmoil that is central to the
play.
Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages).
[25]
Read the extracts below and then answer the questions that follow.
EXTRACT E
Polonius
Madam, I swear I use no art at all.
That he is mad, tis true: ‘tis pity;
And pity ‘tis ‘tis true–a foolish figure!
But farewell it, for I will use no art.
Mad let us grant him then. And now remains 5
That we find out the cause of this effect
Or rather say, the cause of this defect,
For this effect defective comes by cause.
Thus it remains, and the remainder thus.
Perpend. 10
I have a daughter– have while she is mine–
Who in her duty and obedience, mark,
Hath given me this. Now gather, and surmise.
[The Letter.]
To the celestial, and my soul's idol, the most beautified Ophelia —
That's an ill phrase, a vile phrase; ‘beautified’ is a vile 15
phrase. But you shall hear.
[Reads.]
Thus in her excellent white bosom, these,
QUEEN
Came this from Hamlet to her?
POLONIUS
Good madam, stay awhile. I will be faithful.
[Reads Letter.]
Discuss how these lines reflect Polonius’s attitude towards Ophelia. (3)
11.3 Refer to lines 20–27: ‘Doubt thou the stars are fire … whilst this machine is to him,
Hamlet’.
Based on your knowledge of the play as a whole, discuss whether the sentiments
expressed in Hamlet’s letter to Ophelia, are justified. (3)
11.4 Refer to lines 28–31: ‘This, in obedience… All given to mine ear’.
AND
EXTRACT F
HAMLET
Ay, lady, it was my word.
Thou wretched, rash, intruding fool, farewell!
I took thee for thy better. Take thy fortune.
Thou find'st to be too busy is some danger.
Leave wringing of your hands. Peace! sit you down, 5
And let me wring your heart; for so I shall,
If it be made of penetrable stuff;
If damned custom have not braz'd it so
That it be proof and bulwark against sense.
QUEEN
What have I done, that thou darest wag thy tongue 10
In noise so rude against me?
HAMLET
Such an act
That blurs the grace and blush of modesty;
Calls virtue hypocrite; takes off the rose
From the fair forehead of an innocent love, 15
And sets a blister there; makes marriage vows
As false as dicers' oaths—O, such a deed
As from the body of contraction plucks
The very soul, and sweet religion makes
A rhapsody of words! Heaven's face doth glow; 20
Yea, this solidity and compound mass,
With tristful visage, as against the doom,
Is thought-sick at the act.
QUEEN
Ay me, what act,
That roars so loud and thunders in the index? 25
HAMLET
Look here upon this picture, and on this,
The counterfeit presentment of two brothers.
See what a grace was seated on this brow;
Hyperion's curls; the front of Jove himself;
An eye like Mars, to threaten and command; 30
A station like the herald Mercury
New lighted on a heaven-kissing hill:
A combination and a form indeed
Where every god did seem to set his seal
To give the world assurance of a man. 35
This was your husband. Look you now what follows.
Here is your husband, like a mildew'd ear
Blasting his wholesome brother. Have you eyes?
Could you on this fair mountain leave to feed,
And batten on this Moor? Ha! have you eyes?
[Act 3, Scene 4]
11.6 Refer to lines 28–30: ‘See what a grace was seated… Mars, to threaten
and command’.
Discuss what these lines reveal about Hamlet’s differing views of his father and
his uncle. (3)
11.7 Refer to lines 10–11: ‘What have I done … rude against me?’.
If you were the director of a production of Hamlet, how would you instruct the
actor to deliver these? Pay special attention to body language and tone. (3)
Motivate your instructions.
[25]
In the play Othello, Desdemona is depicted as a bold and independent character who displays
courage and faith.
Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages).
[25]
Read the extracts below and then answer the questions that follow.
EXTRACT G
IAGO
If I can fasten but one cup upon him,
With that which he hath drunk tonight already,
He’ll be as full of quarrel and offense
As my young mistress' dog. Now my sick fool Roderigo,
Whom love hath turned almost the wrong side out, 5
To Desdemona hath tonight caroused
Potations pottle-deep, and he’s to watch.
Three lads of Cyprus, noble swelling spirits
(That hold their honors in a wary distance,
The very elements of this warlike isle) 10
Have I tonight flustered with flowing cups,
And they watch too. Now ’mongst this flock of
drunkards
Am I to put our Cassio in some action
That may offend the isle. 15
But here they come.
If consequence do but approve my dream
My boat sails freely, both with wind and stream.
MONTANO
To th' platform, masters. Come, let’s set the watch. 20
Exit GENTLEMEN
IAGO
You see this fellow that is gone before,
He is a soldier fit to stand by Caesar
And give direction. And do but see his vice,
'Tis to his virtue a just equinox,
The one as long as th' other. 'Tis pity of him. 25
I fear the trust Othello puts him in
On some odd time of his infirmity
Will shake this island.
MONTANO
But is he often thus?
IAGO
'Tis evermore the prologue to his sleep. 30
He’ll watch the horologe a double set If drink rock not his cradle.
MONTANO
It were well The general were put in mind of it.
Perhaps he sees it not, or his good nature …
[Act 1, Scene 3]
13.2 Refer to lines 4–5: ‘Now my sick fool Roderigo … almost the wrong side’.
What do the above lines reveal about Iago’s opinion of Roderigo? (3)
13.3 Refer to lines 11–15: ‘Have I tonight flustered…That may offend the isle’.
Using these lines as a starting point, discuss how Iago’s manipulation brings
about Cassio’s downfall. (3)
13.4 Refer to lines 26–28: ‘I fear the trust Othello puts him in … Will shake this
island’.
(4)
Based on your knowledge of the play as a whole, critically discuss the irony
of Iago’s words. .
AND
EXTRACT H
OTHELLO
. . . But there where I have garnered up my heart,
Where either I must live or bear no life,
The fountain from the which my current runs
Or else dries up – to be discarded thence!
Or to keep it as a cistern for foul toads 5
To knot and gender in! Turn thy complexion there;
Patience, thou young and rose-lipped cherubin,
Ay, there look grim as hell!
DESDEMONA
I hope my noble lord esteems me honest.
OTHELLO
O, ay! As summer flies are in the shambles, 10
That quicken even with blowing. O, thou black weed
Who art so lovely fair and smell’st so sweet
That the sense aches at thee, would thou hadst ne’er been born!
DESDEMONA
Alas, what ignorant sin have I committed?
OTHELLO
Was this fair paper, this most goodly book, 15
Made to write ‘whore’ on? What, committed!
Committed! O, thou public commoner!
I should make very forges of my cheeks,
That would to cinders burn up modesty,
Did I but speak thy deeds. What committed! 20
Heaven stops the nose at it, and the moon winks;
The bawdy wind, that kisses all it meets,
Is hushed within the hollow mine of earth
And will not hear it. What committed!
Impudent strumpet! 25
DESDEMONA
By heaven, you do me wrong.
OTHELLO
Are you not a strumpet?
DESDEMONA
No, as I am a Christian.
If to preserve this vessel for my lord
From any hated foul unlawful touch, 30
Be not to be a strumpet, I am none.
OTHELLO
What, not a whore?
DESDEMONA
No, as I shall be saved.
OTHELLO
Is’t possible?
DESDEMONA
O, heaven forgive us! 35
[Act 4, Scene 2]
Explain what these lines convey about Othello’s feelings at this (3)
point in the play.
13.6 Refer to lines 11–13: ‘O, thou black weed … hadst ne’er been born!’
13.7 Refer to lines 15–25: ‘Was this fair paper … Impudent strumpet!’.
Discuss how Othello’s diction in the above lines reflects a change in his
character.
(3)
If you were the director of a production of the play Othello, how would you
instruct the actress to deliver these lines? Motivate your instructions with
reference to both body language and tone. (3)
.
[25]
In The Crucible, Abigail Williams takes on the role of an outcast within the constraints of a
puritanical society.
Your response should take the form of a well-constructed essay of 400–450 words
(2–2½ pages).
[25]
Read the extracts below and then answer the questions that follow.
EXTRACT I
Account for Tituba accusing Sarah Good and Goody Osburn of witchcraft. (3)
15.2 Refer to lines 15–20: ‘Take courage, you must give…God will bless you
for your help’.
15.3 Refer to lines 18–19: ‘the devil is out and preying … flesh of the pure lamb’.
15.4 Refer to lines 21–25: ‘I want to open myself … I saw Bridget Bishop with the Devil!’
AND
EXTRACT J
PROCTOR: It is a pretense, Elizabeth.
ELIZABETH: What is?
PROCTOR: I cannot mount the gibbet like a saint. It is a fraud. I am not that
man. My honesty is broke, Elizabeth, I am no good man.
ELIZABETH: Oh, John. 5
PROCTOR: Nothing‘s spoiled by giving them this lie that were not rotten long
before.
ELIZABETH: And yet you‘ve not confessed till now. That speak goodness in you.
PROCTOR: Spite only keeps me silent. It is hard to give a lie to dogs!
(He holds her hand) I would have your forgiveness, Elizabeth. 10
ELIZABETH: It is not for me to give, John. I am –
PROCTOR: I’d have you see some honesty in it. Let them that never lied die
now to keep their souls. It is pretense for me, a vanity that will not
blind God nor keep my children out of the wind. What say you?
ELIZABETH: John, it come to naught that I should forgive you, if 15
you’ll not forgive yourself. It is not my soul, John, it is yours. Only
be sure of this, for I know it now: Whatever you will do, it is a
good man does it. I have read my heart this three month, John.
I have sins of my own to count. It needs a cold wife to prompt
lechery. 20
PROCTOR: Enough, enough –
ELIZABETH: Better you should know me!
PROCTOR: I will not hear it! I know you!
ELIZABETH: You take my sins upon you, John –
PROCTOR: No, I take my own, my own. 25
ELIZABETH: John, I counted myself so plain, so poorly made, no
honest love could come to me! Suspicion kissed you when
I did; I never knew how I should say my love. It were a cold
house I kept! [Act 4]
15.6 Refer to lines 6–7: ’nothing’s spoiled … were not rotten long before’.
15.7 Refer to lines 26–29: ‘John, I counted myself so plain … It were a cold
house I kept!’
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
(3)
reference to both body language and tone.
15.8 Refer to lines 15–20: ‘John it come naught that I… a cold wife to prompt
lechery.’
.
TOTAL SECTION C: 25
GRAND TOTAL: 80
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