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The document outlines the examination details for the Pearson Edexcel Level 1/Level 2 GCSE (9–1) English Literature exam scheduled for May 17, 2023. It includes instructions for candidates on how to fill out their information, the structure of the exam, and advice on answering questions. The exam consists of two sections focusing on Shakespeare and Post-1914 Literature, with a total of 80 marks available.

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0% found this document useful (0 votes)

40 views48 pages

EL311et0 01 Que 20230518

Uploaded by

slawekmaks12paj

We take content rights seriously. If you suspect this is your content, claim it here.

Available Formats

Download as PDF, TXT or read online on Scribd

You are on page 1/ 48

Please check the examination details below before entering your candidate information

Candidate surname Other names

Centre Number Candidate Number

Pearson Edexcel Level 1/Level 2 GCSE (9–1)

Wednesday 17 May 2023
Morning (Time: 1 hour 45 minutes) Paper
reference 1ET0/01
English Literature  

PAPER 1: Shakespeare and Post–1914 Literature

You must have: Total Marks

Questions and Extracts Booklet (enclosed)

Instructions
• Use black ink or ball-point pen.
• centrethe
Fill in boxes at the top of this page with your name,
number and candidate number.
• Answer the question on one text from Section A and one text from Section B.
• You should spend about 55 minutes on Section A.
• Answer
You should spend about 50 minutes on Section B.
• – there may
the questions in the spaces provided
be more space than you need.

Information
• This is a closed book exam.
• The marksmark
The total for this paper is 80.
• – use this asfora guide
each question are shown in brackets
as to how much time to spend on each question.
• The marks available for the accuracy of your writing are clearly indicated.
Advice
• Read each question carefully before you start to answer it.
• Check your answers if you have time at the end.
Turn over

P72891A
©2023 Pearson Education Ltd.
N:1/1/1/1/
*P72891A0120*
SECTION A
Shakespeare
Indicate which question you are answering by marking a cross in the box . If you change your
mind, put a line through the box and then indicate your new question with a cross .

Chosen question number: Question 1 Question 2 Question 3

Question 4 Question 5 Question 6

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

2
*P72891A0220* 
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

3
 *P72891A0320* Turn over
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4
*P72891A0420* 
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5
 *P72891A0520* Turn over
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

6
*P72891A0620* 
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

7
 *P72891A0720* Turn over
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8
*P72891A0820* 
(Section A continued).. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TOTAL FOR SECTION A = 40 MARKS

9
 *P72891A0920* Turn over
SECTION B
Post-1914 Literature
Indicate which question you are answering by marking a cross in the box . If you change your
mind, put a line through the box and then indicate your new question with a cross .

Chosen question number: Question 7 Question 8 Question 9

Question 10 Question 11 Question 12

Question 13 Question 14 Question 15

Question 16 Question 17 Question 18

Question 19 Question 20 Question 21

Question 22 Question 23 Question 24

Question 25 Question 26 Question 27

Question 28 Question 29 Question 30

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10
*P72891A01020* 
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11
 *P72891A01120* Turn over
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

12
*P72891A01220* 
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

13
 *P72891A01320* Turn over
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

14
*P72891A01420* 
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15
 *P72891A01520* Turn over
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............................................................................................................................................ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16
*P72891A01620* 
(Section B continued). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

................................. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........................................................................................................................................... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TOTAL FOR SECTION B = 40 MARKS

TOTAL FOR PAPER = 80 MARKS

17
 *P72891A01720*
BLANK PAGE

18
*P72891A01820* 
BLANK PAGE

19
 *P72891A01920*
BLANK PAGE

20
*P72891A02020* 
Pearson Edexcel Level 1/Level 2 GCSE (9–1)
Wednesday 17 May 2023
Morning (Time: 1 hour 45 minutes) Paper
reference 1ET0/01
English Literature
 

PAPER 1: Shakespeare and Post-1914 Literature

Questions and Extracts Booklet

Do not return this Booklet with the Answer Booklet.

Turn over

P72891A
©2023 Pearson Education Ltd.
N:1/1/1/1/
*P72891A*
BLANK PAGE

2 P72891A

Answer the question on ONE text from Section A and ONE text from Section B.
The extracts for use with Section A are in this question paper.

SECTION A – Shakespeare Page

1 (a) and 1(b) – Macbeth4
2 (a) and 2(b) – The Tempest6
3 (a) and 3(b) – Romeo and Juliet8
4 (a) and 4(b) – Much Ado About Nothing10
5 (a) and 5(b) – Twelfth Night12
6 (a) and 6(b) – The Merchant of Venice14

SECTION B – Post-1914 Literature Page

EITHER
British Play
7 OR 8 – An Inspector Calls: J B Priestley 16
9 OR 10 – Hobson’s Choice: Harold Brighouse 17
11 OR 12 – Blood Brothers: Willy Russell 18
13 OR 14 – Journey’s End: R C Sherriff 19
15 OR 16 – The Empress: Tanika Gupta 20
17 OR 18 – Refugee Boy: Benjamin Zephaniah
(adapted by Lemn Sissay) 21
OR
British Novel
19 OR 20 – Animal Farm: George Orwell 22
21 OR 22 – Lord of the Flies: William Golding 23
23 OR 24 – Anita and Me: Meera Syal 24
25 OR 26 – The Woman in Black: Susan Hill 25
27 OR 28 – Coram Boy: Jamila Gavin 26
29 OR 30 – Boys Don’t Cry: Malorie Blackman 27

P72891A 3
 Turn over
SECTION A
Shakespeare
Answer the question on ONE text from this section.
You should spend about 55 minutes on this section.
You should divide your time equally between parts (a) and (b) of the question.
Macbeth – from Act 1 Scene 7, lines 35 to 67
In this extract, Lady Macbeth reacts to Macbeth’s decision that they must not go ahead with
their plan to kill Duncan.
LADY MACBETH
Was the hope drunk, 35
Wherein you dressed yourself? Hath it slept since?
And wakes it now to look so green and pale
At what it did so freely? From this time
Such I account thy love. Art thou afeard
To be the same in thine own act and valour, 40
As thou art in desire? Wouldst thou have that
Which thou esteem’st the ornament of life,
And live a coward in thine own esteem,
Letting ’I dare not’ wait upon ’I would,’
Like the poor cat i’the adage?
MACBETH
Prithee, peace. 45
I dare do all that may become a man –
Who dares do more is none.
LADY MACBETH
What beast was’t then
That made you break this enterprise to me?
When you durst do it, then you were a man!
And, to be more than what you were, you would 50
Be so much more the man. Nor time nor place
Did then adhere, and yet you would make both.
They have made themselves, and that their fitness now
Does unmake you. I have given suck, and know
How tender ’tis to love the babe that milks me. 55
I would, while it was smiling in my face,
Have plucked my nipple from his boneless gums,
And dashed the brains out! – had I so sworn as you
Have done to this.
MACBETH
If we should fail, –
LADY MACBETH
We fail?
But screw your courage to the sticking-place 60

4 P72891A

And we’ll not fail! When Duncan is asleep
(Whereto the rather shall his day’s hard journey
Soundly invite him), his two chamberlains
Will I with wine and wassail so convince,
That memory, the warder of the brain, 65
Shall be a fume, and the receipt of reason
A limbeck only.

1 (a) Explore how Shakespeare presents the character of Lady Macbeth in this extract.
Refer closely to the extract in your answer.
(20)
(b) In this extract, Lady Macbeth appears to have power over her husband.
Explain the importance of power elsewhere in the play.
In your answer, you must consider:
• where power is shown
• the effects power has within the play.
You must refer to the context of the play in your answer.
(20)
(Total for Question 1 = 40 marks)

P72891A 5
 Turn over
The Tempest – from Act 4 Scene 1, lines 1 to 32
In this extract, Prospero promises that Ferdinand may marry his daughter, Miranda.
PROSPERO
(To FERDINAND) If I have too austerely punished you,
Your compensation makes amends: for I
Have given you here a third of mine own life,
Or that for which I live – who once again
I tender to thy hand. All thy vexations 5
Were but my trials of thy love, and thou
Hast strangely stood the test. Here, afore Heaven,
I ratify this my rich gift. O Ferdinand!
Do not smile at me that I boast her off,
For thou shalt find she will outstrip all praise, 10
And make it halt behind her.
FERDINAND
I do believe it,
Against an oracle.
PROSPERO
Then, as my gift, and thine own acquisition
Worthily purchased, take my daughter. But
If thou dost break her virgin-knot before 15
All sanctimonious ceremonies may
With full and holy rite be ministered,
No sweet aspersion shall the heavens let fall
To make this contract grow. But barren hate,
Sour-eyed disdain and discord shall bestrew 20
The union of your bed with weeds so loathly
That you shall hate it both. Therefore take heed,
As Hymen’s lamps shall light you!
FERDINAND
As I hope
For quiet days, fair issue, and long life,
With such love as ’tis now, the murkiest den, 25
The most opportune place, the strong’st suggestion
Our worser genius can, shall never melt
Mine honour into lust, to take away
The edge of that day’s celebration –
When I shall think, or Phoebus’ steeds are foundered, 30
Or Night kept chained below.
PROSPERO
Fairly spoke.
Sit, then, and talk with her. She is thine own.

6 P72891A

2 (a) Explore how Shakespeare presents the character of Prospero in this extract.
Refer closely to the extract in your answer.
(20)
(b) In this extract, Prospero tells Ferdinand that he must be obedient and do what he
has been told to do.
Explain the importance of obedience elsewhere in the play.
In your answer, you must consider:
• where obedience is presented
• the effects of characters doing what they are told.
You must refer to the context of the play in your answer.
(20)
(Total for Question 2 = 40 marks)

P72891A 7
 Turn over
Romeo and Juliet – from Act 5 Scene 1, lines 1 to 33
In this extract, Romeo thinks about a dream that has made him feel happier.
ROMEO
If I may trust the flattering truth of sleep,
My dreams presage some joyful news at hand.
My bosom’s lord sits lightly in his throne,
And all this day an unaccustomed spirit
Lifts me above the ground with cheerful thoughts. 5
I dreamt my lady came and found me dead –
Strange dream, that gives a dead man leave to think! –
And breathed such life with kisses in my lips
That I revived and was an emperor.
Ah me! How sweet is love itself possessed, 10
When but love’s shadows are so rich in joy!
Enter BALTHASAR (Romeo’s servant), in riding-boots.
News from Verona! How now, Balthasar?
Dost thou not bring me letters from the Friar?
How doth my lady? Is my father well?
How fares my Juliet? That I ask again, 15
For nothing can be ill if she were well.
BALTHASAR
Then she is well, and nothing can be ill.
Her body sleeps in Capel’s monument,
And her immortal part with angels lives.
I saw her laid low in her kindred’s vault, 20
And presently took post to tell it you.
O pardon me for bringing these ill news,
Since you did leave it for my office, sir.
ROMEO
Is it e’en so? Then I defy you, stars!
Thou know’st my lodging. Get me ink and paper – 25
And hire post-horses. I will hence tonight.
BALTHASAR
I do beseech you, sir, have patience.
Your looks are pale and wild, and do import
Some misadventure.
ROMEO
Tush, thou art deceived.
Leave me, and do the thing I bid thee do. 30
Hast thou no letters to me from the Friar?
BALTHASAR
No, my good lord.
ROMEO
No matter. Get thee gone,
And hire those horses. I’ll be with thee straight.
Exit BALTHASAR

8 P72891A

3 (a) Explore how Shakespeare presents the character of Romeo in this extract.
Refer closely to the extract in your answer.
(20)
(b) In this extract, Romeo suffers when he hears the shocking news about Juliet.
Explain the importance of suffering elsewhere in the play.
In your answer, you must consider:
• how suffering is shown
• the effects suffering has within the play.
You must refer to the context of the play in your answer.
(20)
(Total for Question 3 = 40 marks)

P72891A 9
 Turn over
Much Ado About Nothing – from Act 4 Scene 1, lines 20 to 51
In this extract, Claudio announces that he will not marry Hero because she is not a virgin.
CLAUDIO
Stand thee by, Friar. Father, by your leave: 20
Will you with free and unconstrainèd soul
Give me this maid, your daughter?
LEONATO
As freely, son, as God did give her me.
CLAUDIO
And what have I to give you back, whose worth
May counterpoise this rich and precious gift? 25
DON PEDRO
Nothing, unless you render her again.
CLAUDIO
Sweet Prince, you learn me noble thankfulness.
There, Leonato, take her back again:
Give not this rotten orange to your friend.
She’s but the sign and semblance of her honour. 30
Behold how like a maid she blushes here!
O, what authority and show of truth
Can cunning sin cover itself withal!
Comes not that blood as modest evidence
To witness simple virtue? Would you not swear, 35
All you that see her, that she were a maid
By these exterior shows? But she is none.
She knows the heat of a luxurious bed.
Her blush is guiltiness, not modesty.
LEONATO
What do you mean, my lord?
CLAUDIO
Not to be married; 40
Not to knit my soul to an approvèd wanton.
LEONATO
Dear my lord, if you in your own proof
Have vanquished the resistance of her youth,
And made defeat of her virginity –
CLAUDIO
I know what you would say. If I have known her, 45
You will say she did embrace me as a husband,
And so extenuate the ’forehand sin.
No, Leonato,
I never tempted her with word too large,
But, as a brother to his sister, showed 50
Bashful sincerity and comely love.

10 P72891A

4 (a) Explore how Shakespeare presents the character of Claudio in this extract.
Refer closely to the extract in your answer.
(20)
(b) In this extract, Claudio believes that he has been tricked into marrying Hero.
Explain the importance of tricking others elsewhere in the play.
In your answer, you must consider:
• the ways others are tricked
• the effects tricking others has.
You must refer to the context of the play in your answer.
(20)
(Total for Question 4 = 40 marks)

P72891A 11
 Turn over
Twelfth Night – from Act 4 Scene 3, lines 1 to 33
In this extract, Sebastian feels as though he has walked into a dream.
SEBASTIAN
This is the air; that is the glorious sun;
This pearl she gave me, I do feel ’t and see ’t;
And though ’t is wonder that enwraps me thus,
Yet ’t is not madness. Where’s Antonio then?
I could not find him at the Elephant; 5
Yet there he was, and there I found this credit,
That he did range the town to seek me out.
His counsel now might do me golden service;
For though my soul disputes well with my sense
That this may be some error, but no madness, 10
Yet doth this accident and flood of fortune
So far exceed all instance, all discourse,
That I am ready to distrust mine eyes,
And wrangle with my reason that persuades me
To any other trust but that I am mad 15
Or else the lady’s mad; yet if ’t were so,
She could not sway her house, command her
followers,
Take and give back affairs and their dispatch
With such a smooth, discreet, and stable bearing
As I perceive she does. There’s something in ’t 20
That is deceivable. But here the lady comes.
Enter OLIVIA and a PRIEST.
OLIVIA
Blame not this haste of mine. If you mean well,
Now go with me and with this holy man
Into the chantry by; there, before him,
And underneath that consecrated roof, 25
Plight me the full assurance of your faith,
That my most jealous and too doubtful soul
May live at peace. He shall conceal it
Whiles you are willing it shall come to note,
What time we will our celebration keep 30
According to my birth. What do you say?
SEBASTIAN
I’ll follow this good man, and go with you;
And, having sworn truth, ever will be true.

12 P72891A

5 (a) Explore how Shakespeare presents the character of Sebastian in this extract.
Refer closely to the extract in your answer.
(20)
(b) In this extract, Sebastian suggests that marrying Olivia would be beneficial to his
social position.
Explain the importance of social position elsewhere in the play.
In your answer, you must consider:
• the way social position is shown
• the effects of social position within the play.
You must refer to the context of the play in your answer.
(20)
(Total for Question 5 = 40 marks)

P72891A 13
 Turn over
The Merchant of Venice – from Act 1 Scene 3, lines 101 to 136
In this extract, Shylock is reminding Antonio how badly the merchant has treated him in
the past.
SHYLOCK
Signior Antonio, many a time and oft
In the Rialto you have rated me
About my moneys and my usances.
Still have I borne it with a patient shrug,
For sufferance is the badge of all our tribe. 105
You call me misbeliever, cut-throat dog,
And spit upon my Jewish gaberdine –
And all for use of that which is mine own.
Well then, it now appears you need my help.
Go to, then – you come to me, and you say, 110
’Shylock, we would have moneys.’ – You say so –
You that did void your rheum upon my beard,
And foot me as you spurn a stranger cur
Over your threshold – moneys is your suit.
What should I say to you? Should I not say 115
’Hath a dog money? Is it possible
A cur can lend three thousand ducats?’ – Or
Shall I bend low, and in a bondman’s key,
With bated breath and whisp’ring humbleness
Say this: 120
’Fair sir, you spat on me on Wednesday last –
You spurned me such a day – another time
You called me dog – and for these courtesies
I’ll lend you thus much moneys’?
ANTONIO
I am as like to call thee so again – 125
To spit on thee again, to spurn thee too.
If thou wilt lend this money, lend it not
As to thy friends – for when did friendship take
A breed for barren metal of his friend?
But lend it rather to thine enemy – 130
Who if he break, thou mayst with better face
Exact the penalty.
SHYLOCK
Why, look you how you storm!
I would be friends with you, and have your love,
Forget the shames that you have stained me with,
Supply your present wants, and take no doit 135
Of usance for my moneys, and you’ll not hear me.

14 P72891A

6 (a) Explore how Shakespeare presents the character of Shylock in this extract.
Refer closely to the extract in your answer.
(20)
(b) In this extract, Shylock explains how he is prepared to be friends with Antonio.
Explain the importance of friendship elsewhere in the play.
In your answer, you must consider:
• where friendship is shown
• the effect of friendship within the play.
You must refer to the context of the play in your answer.
(20)
(Total for Question 6 = 40 marks)

TOTAL FOR SECTION A = 40 MARKS

P72891A 15
 Turn over
SECTION B
Post-1914 Literature – British Play OR British Novel
Answer ONE question from this section, on EITHER a British Play OR a British Novel.
You should spend about 50 minutes on this section.
BRITISH PLAY
An Inspector Calls: J B Priestley
Your response will be marked for the range of appropriate vocabulary and sentence structures, and
accurate use of spelling and punctuation.
EITHER
7 Sheila: I have an idea – and I had it all along vaguely – that there was something
curious about him. He never seemed like an ordinary police inspector.
In what ways is mystery significant in the play?
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 7 = 40 marks)

OR
8 Sheila: You’re squiffy.
Eric: I’m not.
Mrs Birling: What an expression, Sheila! Really the things you girls pick up these days!
Explore the importance of the younger generation in An Inspector Calls.
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 8 = 40 marks)

16 P72891A

Hobson’s Choice: Harold Brighouse
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
9 Hobson: I’m warning you your conduct towards your parent’s got to change.
Explain the relationship between Maggie and Hobson in the play.
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 9 = 40 marks)

OR
10 Maggie: You can afford five hundred pounds and you’re going to pay five
hundred pounds.
How is money important in Hobson’s Choice?
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 10 = 40 marks)

P72891A 17
 Turn over
Blood Brothers: Willy Russell
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
11 Narrator: So did y’ hear the story of the Johnstone twins?
As like each other as two new pins ...
Explore the significance of the Narrator in Blood Brothers.
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 11 = 40 marks)

OR
12 Mickey: You shot him, you shot him.
In what ways is violence important in the play?
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 12 = 40 marks)

18 P72891A

Journey’s End: R C Sherriff
Your response will be marked for the range of appropriate vocabulary and sentence structures, and
accurate use of spelling and punctuation.
EITHER
13 Colonel: Very well done, Raleigh. Well done, my boy. I’ll get you a Military Cross for this!
Splendid!
How is bravery presented in the play?
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 13 = 40 marks)

OR
14 Osborne: What kind of soup is this, Mason?
Mason: It’s yellow soup, sir.
Osborne: It’s got a very deep yellow flavour.
Explain how humour is significant in Journey’s End.
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 14 = 40 marks)

P72891A 19
 Turn over
The Empress: Tanika Gupta
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
15 Victoria: We are after all the Empress of India and it is only fitting that we should be
waited upon by such a noble gentleman of that land.
In what ways is Queen Victoria significant in the play?
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 15 = 40 marks)

OR
16 Dadabhai: According to Lord Salisbury it is because an English constituency is not ready
to elect a ‘Black man’, to represent them.
Explore how prejudice is important in The Empress.
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 16 = 40 marks)

20 P72891A

Refugee Boy: Benjamin Zephaniah (adapted by Lemn Sissay)
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
17 Mrs Fitzgerald: Alem, until you can go back home, you want to stay here with us, don’t
you? Not at the children’s home.
How are Mr and Mrs Fitzgerald significant in the play?
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 17 = 40 marks)

OR
18 Alem (reading a letter from his father): Please son, I want you to be strong, now I
need you to be strong more than ever, and your mother would want you to be strong.
Explain how courage is important in Refugee Boy.
You must refer to the context of the play in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 18 = 40 marks)

P72891A 21
 Turn over
BRITISH NOVEL
Animal Farm: George Orwell
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
19 Napoleon took no interest in Snowball’s committees. He said that the education of the
young was more important than anything.
In what ways is education important in Animal Farm?
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 19 = 40 marks)

OR
20 … old Major, the prize Middle White boar, had had a strange dream on the previous night
and wished to communicate it to the other animals.
Explore the significance of old Major in the novel.
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 20 = 40 marks)

22 P72891A

Lord of the Flies: William Golding
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
21 To keep a clean flag of flame flying on the mountain was the immediate end and no one
looked further.
Explain the significance of different symbols in Lord of the Flies.
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 21 = 40 marks)

OR
22 Here, invisible yet strong, was the taboo of the old life. Round the squatting child was the
protection of parents and school and policemen and the law.
In what ways is human nature presented in the novel?
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 22 = 40 marks)

P72891A 23
 Turn over
Anita and Me: Meera Syal
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
23 I had never realised there were so many mothers in the village, and it seemed each one
either came to our door … bearing gifts or full of advice.
Explore the importance of mothers in the novel.
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 23 = 40 marks)

OR
24 ‘Anger is good! But not used this way! Please! You’re going the wrong way!’
(Uncle Alan speaking to Sam Lowbridge)
How is anger significant in Anita and Me?
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 24 = 40 marks)

24 P72891A

The Woman in Black: Susan Hill
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
25 … her pent-up hatred and desire for revenge permeated the air all around.
(Jennet Humfrye, the woman in black)
How is obsession significant in the novel?
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 25 = 40 marks)

OR
26 I had a sudden vision of that row of small, solemn faces, with hands all gripping the
railings, that surrounded the school yard.
Explore the importance of children in The Woman in Black.
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 26 = 40 marks)

P72891A 25
 Turn over
Coram Boy: Jamila Gavin
Your response will be marked for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation.
EITHER
27 Otis Gardiner, pots man, Jack-of-all-trades and smooth-tongued entrepreneur, ranted
non-stop.
In what ways is Otis Gardiner/the Coram Man/Mr Gaddarn significant in the novel?
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 27 = 40 marks)

OR
28 ‘No one knows about the child except the four of us. Remarkably, the secret has been
well kept.’ (Mrs Lynch)
Explain the importance of secrets in Coram Boy.
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 28 = 40 marks)

26 P72891A

Boys Don’t Cry: Malorie Blackman
Your response will be marked for the range of appropriate vocabulary and sentence structures, and
accurate use of spelling and punctuation.
EITHER
29 I was off to university in less than a month and there was no way I was going to let
Melanie and some baby ruin my plans ... (Dante)
Explain the significance of Dante in the novel.
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 29 = 40 marks)

OR
30 ‘Of course I know Adam is gay. I’ve come to terms with that.’ (Dad/Tyler Bridgeman)
How are different attitudes to sexuality presented in Boys Don’t Cry?
You must refer to the context of the novel in your answer.
(includes 8 marks for the range of appropriate vocabulary and sentence
structures, and accurate use of spelling and punctuation)
(Total for Question 30 = 40 marks)

TOTAL FOR SECTION B = 40 MARKS

TOTAL FOR PAPER = 80 MARKS

P72891A 27

BLANK PAGE

Sources:
Macbeth, Shakespeare, Pearson Education Ltd Longman School
The Tempest, Shakespeare, Pearson Education Ltd Longman School
Romeo and Juliet, Shakespeare, Pearson Education Ltd Longman School
Much Ado About Nothing, Shakespeare, Pearson Education Ltd Longman School
Twelfth Night, Shakespeare, Penguin Longman School
The Merchant of Venice, Shakespeare, Pearson Education Ltd Longman School
An Inspector Calls, JB Priestley, Pearson Education Ltd Heinemann
Hobson’s Choice, Harold Brighouse, Samuel French Ltd
Blood Brothers, Willy Russell, Methuen Drama, 2001
Journey’s End, RC Sherriff, Penguin Classics, 2000
The Empress, Tanika Gupta, Oberon Modern Plays, 2013
Refugee Boy, Benjamin Zephaniah, Bloomsbury, 2001
Animal Farm, George Orwell, Heinemann, 1972
Lord of the Flies, William Golding, Faber and Faber Edition, 2012
Anita and Me, Meera Syal, Harper Perennial, 2004
The Woman in Black, Susan Hill, Vintage 1998
Coram Boy, Jamila Gavin, Egmont, 2000
Boys Don’t Cry, Malorie Blackman, Corgi, 2011

28 P72891A


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EL311et0 01 Que 20230518

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EL311et0 01 Que 20230518

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Pearson Edexcel Level 1/Level 2 GCSE (9–1)

PAPER 1: Shakespeare and Post–1914 Literature

You must have: Total Marks

Chosen question number: Question 1 Question 2 Question 3

Question 4 Question 5 Question 6

TOTAL FOR SECTION A = 40 MARKS

Chosen question number: Question 7 Question 8 Question 9

Question 10 Question 11 Question 12

Question 13 Question 14 Question 15

Question 16 Question 17 Question 18

Question 19 Question 20 Question 21

Question 22 Question 23 Question 24

Question 25 Question 26 Question 27

Question 28 Question 29 Question 30

TOTAL FOR SECTION B = 40 MARKS

PAPER 1: Shakespeare and Post-1914 Literature

Questions and Extracts Booklet

SECTION A – Shakespeare Page

SECTION B – Post-1914 Literature Page

TOTAL FOR SECTION A = 40 MARKS

TOTAL FOR SECTION B = 40 MARKS

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SECTION A – Shakespeare Page

SECTION B – Post-1914 Literature Page