MS3
WELSH JOINT EDUCATION COMMITTEE
£3.00
CYD-BWYLLGOR ADDYSG CYMRU
General Certificate of Secondary Education
Tystysgrif Gyffredinol Addysg Uwchradd
MARKING SCHEMES
SUMMER 2007
ENGLISH LITERATURE
INTRODUCTION
The marking schemes which follow were those used by the WJEC for the 2007 examination
in GCSE English Literature. They were finalised after detailed discussion at examiners'
conferences by all the examiners involved in the assessment. The conferences were held
shortly after the papers were taken so that reference could be made to the full range of
candidates' responses, with photocopied scripts forming the basis of discussion. The aim of
the conferences was to ensure that the marking schemes were interpreted and applied in the
same way by all examiners.
It is hoped that this information will be of assistance to centres but it is recognised at the
same time that, without the benefit of participation in the examiners' conferences, teachers
may have different views on certain matters of detail or interpretation.
The WJEC regrets that it cannot enter into any discussion or correspondence about these
marking schemes.
Specification A - Higher Tier
Mark/Grade Scale - HIGHER TIER
For the Higher Tier we aim to establish the following relationship between marks and
grades.
(N.B. This tier will lead to awards from grades A* - D; the scale allows for
performances which fall below this on occasion.)
GRADE
BAND
SECTIONS A & B
Part (a) and
SECTION C
(/10)
SECTIONS A & B
Parts (b) and (c)
(/20)
U-F
0-1
0-4
E/D
C/B
A/A*
2-4
5-9
5-7
10 - 14
8 - 10
15 - 20
GRADE
PAPER
(/70)
U-F
0 - 16
E
17 - 25
D
26 - 34
C
35 - 43
B
44-52
A
53 - 62
A*
63 - 70
Within each of the two-grade bands for part (b) and (c) questions there are effectively
two marks for each grade and one mark which falls between: e.g. C = 10-11; C/B = 12;
B = 13/14. You are asked to decide on a "band" first, and then "fine-tune" within this.
It is important to remember that a candidate's overall grade will be the result of several
aggregated marks: unless positive achievement is rewarded where it is shown, as
indicated in the mark scheme, our overall expectations in terms of grade boundaries
will prove to be unrealistic. The overall mark must be reviewed to check that it places
the candidate in the appropriate grade.
GRADE CRITERIA
The following descriptions have been provided to indicate the way in which progression
within the three criteria is likely to occur. Each successive description assumes
demonstration of achievements in lower grades.
You are asked to place work initially within a grade or grade band and then to fine-tune using
the marks within the band. It is recognised that work will not always fit neatly into one of the
descriptions. There will always be an element of "trade-off" : it will be particularly important
to give credit to grade A* qualities where they occur.
1
U
G
F
E
D
C
B
A
A*
Knowledge and Interpretation
Exploring Language,
of Text
Structure and Forms
Narrative
with
frequent Not to be expected in
misreadings.
this range.
Narrative with some misreading.
Not to be expected in
this mark range.
Some understanding of main May make generalised
features, including characters and comments
about
themes. Generalised reference to stylistic effects.
relevant aspects.
Narration with varying degrees of Recognition of, and
clarity and economy. Selection of simple commenting on,
relevant material.
particular features of
style.
More detailed reference to text- Beginning to see how
quoting, 'echoing' or paraphrasing different aspects of
as necessary. Awareness of sub- style combine to create
text.
Some discussion of effects; e.g. changes in
characters/relationships.
Still mood and atmosphere.
reliant on narrative mode.
Detailed reference to text. Some Some understanding of
probing of sub-text. Extended how meanings and
discussion
of ideas are conveyed
characters/relationships.
through
language,
Awareness of some of the cultural structure and form.
and social contexts of texts.
Increasingly assured selection and
incorporation of relevant material.
Understanding of sub-text.
Conveying Response
Brief
and
often
irrelevant.
Simple expression of
opinion with little
textual support.
Response conveyed in
appropriate
ways.
Simple opinion about
text,
character,
situation.
Empathy
simply expressed.
Addresses task and
uses text to support
views.
Opinions related to
question and conveyed
with some clarity.
Points aptly supported
by reference to text.
Clear and structured
response.
Able to
sustain
character's
view/voice with some
consistency.
Appreciation
of
a Focused and sustained
variety of ways in response.
which
effects
are
achieved.
Exploration
and Ideas conveyed
evaluation of the ways coherently. Opinions
meaning, ideas and confidently expressed
feelings are conveyed and insights clearly
through
language, articulated.
structure and form.
Assured selection of key areas of
text.
Able to speculate/offer
tentative judgements in exploring
text,
taking
into
account
alternative
approaches.
Evaluation
of
characters/
relationships/situations/attitudes/
motives. Able to identify and
comment on social, historical and
cultural contexts.
Awareness of literary tradition
shown.
Text consistently handled with Assured analysis
confidence. Overview and ability stylistic features.
to move from specific to general.
2
of Cogent and sustained
development of literary
arguments.
SECTION A
1.
I Know Why The Caged Bird Sings
(a)
Read the extract on the opposite page then answer the following question:
With close reference to the extract, show how Maya Angelou creates
mood and atmosphere here.
[10]
E/D
Answers will be general, and dependent on relatively simple
narrative/reorganisation. Empathy/awareness at D.
C
Answers will still be reliant on narrative, but will include highlighting
of specific detail.
B
Answers will be thoughtful and thorough, with some appreciation of
the creation of mood and atmosphere.
A/A* Answers will be assured, analytical, with clear appreciation of
Angelou’s techniques.
(b)
Write about the relationship between Maya and her father, Daddy Bailey,
and how it is presented in I Know Why The Caged Bird Sings
[20]
E/D
Answers will be dependent on simple judgements and some discussion
of the relationship between Maya and her father.
C
Answers will reveal a more secure knowledge of the text, supporting
judgements with apt detail.
B
Answers will be detailed and thoughtful.
A/A* Selection of apt detail will support an evaluative, assured response,
with, perhaps, originality at A*
(c)
How does Maya Angelou present her experiences of education in I Know
Why The Caged Bird Sings?.
[20]
E/D
Answers will be narrative driven and probably underdeveloped.
C
Answers will be more focused, with better coverage of relevant areas
of the text.
B
Answers will be thoughtful and thorough.
A/A* Answers will be assured, with clear overview and insight.
3
2.
Pride and Prejudice
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Elizabeth speaks and behaves here. How does it affect
your feelings towards her?
[10]
E/D
Answers will probably operate on the level of simple paraphrase, with
some discussion of Elizabeth, and, probably, empathy at D.
C
Candidates will select and highlight detail in order to support their
judgements.
B
Answers will be detailed and thoughtful.
A/A* Answers will be closely read and analytical, showing a sensitive
understanding of Elizabeth.
(b)
What do you think of Mrs. Bennet and the way she is presented to the
reader?
[20]
E/D
Answers will be at the level of simple judgements and some discussion
of Mrs. Bennet and her relationships with others.
C
Answers will reveal a more secure knowledge of the text, and
judgements will be supported by apt detail.
B
Answers will be detailed and thoughtful.
A/A* Answers will be evaluative and assured, with, perhaps, originality at A*.
(c)
To what extent do you find Pride and Prejudice an effective title for the
novel?
[20]
As with all open questions, be flexible in judging what is offered - there’s no
“right answer”!
E/D
Answers will be based on narrative, at a relatively simple level, with
some discussion at D.
C
Answers will still be dependent on narrative, but will use it more
selectively to support judgements.
B
Answers will be thoughtful and thorough.
A/A* Answers will be evaluative and assured, with, perhaps, originality at
A*.
4
3.
Paddy Clarke Ha Ha Ha
(a)
Read the extract on the opposite page then answer the following question:
With close reference to the extract, show how Roddy Doyle creates mood
and atmosphere here.
[10]
E/D
Answers will tend towards reorganisation, with some awareness of
mood and atmosphere at D.
C
Candidates will track through the extract, selecting and highlighting
relevant detail.
B
Discussion of the extract will be thoughtful and thorough.
A/A* Answers will be assured and analytical.
(b)
Imagine you are Paddy’s mother. At the end of the story you think back
over its events. Write down your thoughts and feelings. Remember how
Paddy’s mother would speak when you write your answer.
[20]
E/D
Answers will be narrative driven, with an awareness of Paddy’s
mother’s possible views of characters and events at D.
C
Answers will reveal clear empathy with Paddy’s mother, along with
apt detail from the text.
B
Answers will be sustained and reveal an understanding of characters
and relationships.
A/A* Answers will be convincing in terms of chosen detail, standpoint, and
voice.
(c)
In your opinion who or what had the greatest influence over Paddy as he
was growing up, in your opinion? Remember to support your answer with
detailed reference to the text.
[20]
As with all open questions, be receptive to a range of possible choices here,
and mark according to the matrix.
E/D
Answers will be based on simple narrative and judgements, with some
discussion at D.
C
Answers will be more selective and focused, with apt use of the text.
B
Answers will be thorough and thoughtful.
A
Answers will be astute and evaluative, and, at A*, may be original.
5
4.
Silas Marner
(a)
Read the extract on the opposite page then answer the following question:
With close reference to the extract, show how George Eliot creates mood
and atmosphere here.
[10]
E/D
Answers will be dependent on reorganisation, with awareness of mood
and atmosphere at D.
C
Discussion will be more focused, and supported by apt detail.
B
Discussion of the extract will be thorough and thoughtful.
A/A* Answers will be closely read, assured and analytical.
(b)
Show how the arrival of Eppie changes Silas’s life.
[20]
E/D
Answers will be dependent on simple narrative, with some discussion
and awareness at D.
C
Answers will be more focused, supported by apt detail.
B
Answers will be thorough and thoughtful.
A/A* Answers will be assured and well considered, revealing clear insight,
and, perhaps, originality at A*.
(c)
To what extent is it possible to feel sympathy for Godfrey Cass?
Remember to support your answer with detailed reference to the text.
[20]
E/D
Answers will be dependent on narrative, with some discussion of
Godfrey at D.
C
Answers will still be narrative driven, but more focused, with
judgements aptly supported.
B
Answers will be sustained and reveal some understanding of Godfrey.
A/A* Answers will be evaluative and well considered, with “to what extent”
clearly addressed at A*.
6
5.
To Kill A Mockingbird
(a)
Read the extract on the opposite page then answer the following question:
With close reference to the extract, show how Harper Lee creates mood
and atmosphere here.
[10]
E/D
At this level, expect paraphrase, with some discussion and awareness
at D.
C
Answers typified by systematic selecting and highlighting of detail.
B
Discussion of the extract will be thorough and thoughtful.
A/A* Answers will be assured and analytical.
(b)
Imagine you are Aunt Alexandra. At the end of the novel you think back
over its events. Write down your thoughts and feelings. Remember how
Aunt Alexandra would speak when you write your answer.
[20]
E/D
Answers will be narrative driven, with awareness and empathy at D.
C
Answers will still be narrative driven, but more selective in choice of
detail, and will reveal some understanding of Aunt Alexandra’s views
of characters and events.
B
Answers will be sustained and reveal an understanding of Aunt
Alexandra’s attitudes.
A/A* Answers will be convincing in terms of detail, standpoint, and voice.
(c)
How is the trial of Tom Robinson important to the novel as a whole? [20]
As with all open questions, be receptive to a range of ideas here: there are
various possible approaches. Judge according to the matrix.
E/D
Answers will be narrative driven, with some discussion at D.
C
Answers will still be narrative driven, but more focused, and
judgements will be supported by apt detail.
B
Answers will be thorough and thoughtful, with discussion of the
importance of the trial.
A/A* Answers will be assured and evaluative, and, perhaps, at A*, original,
with the issue of “importance “ clearly addressed.
7
6.
Of Mice and Men
(a)
Read the extract on the opposite page then answer the following question:
With close reference to the extract, show how John Steinbeck creates
mood and atmosphere here.
[10]
E/D
Answers will be dependent on paraphrase to a certain extent, with
awareness/empathy at D.
C
Candidates will select and highlight detail in order to support their
judgements.
B
Discussion of the extract will be thorough and thoughtful.
A/A* Answers will be assured, analytical, and show real appreciation of
Steinbeck’s creation of mood and atmosphere.
(b)
How is the character of Slim important to the novel as a whole?
[20]
E/D
Answers will be dependent on narrative, with some discussion of Slim
at D.
C
Answers will be more focused in their discussion of Slim, and
supported by apt detail.
B
Discussion of Slim will be thoughtful and detailed, with some
appreciation of his importance in the novel.
A/A* Answers will be evaluative, with a detailed knowledge of the text, and
reveal insight into the importance of Slim’s character.
(c)
The title Of Mice and Men refers to how plans and dreams often go
wrong. To what extent do you find it an effective title for the novel? [20 ]
E/D
Answers will be narrative driven, with awareness emerging at D.
C
Answers will reveal a sound knowledge of the text, with apt detail to
support judgements.
B
Answers will be thorough and thoughtful.
A/A* Answers will be evaluative and appreciative, with, perhaps, originality
at A*.
8
7.
Stone Cold
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Shelter speaks and behaves here. What does it reveal
of his state of mind?
[10]
(b)
E/D
Answers will tend to be underdeveloped, with some awareness and
discussion of Shelter’s state of mind at D.
C
Discussion will be more focused and supported by apt detail.
B
Discussion of the extract will be thorough and thoughtful.
A/A*
Answers will be closely read, assured, evaluative and analytical.
How does Swindells’ presentation of Gail affect readers’ attitudes
towards her?
[20]
E/D
Answers will be based on narrative, with some discussion of Gail at D.
C
Answers will reveal a secure knowledge of the text, with apt selection
to support judgements.
B
Answers will be detailed and thoughtful.
A/A* Answers will use their detailed knowledge of the text with assurance,
and will be astute and evaluative.
(c)
Show how Link’s character changes throughout the novel and explain the
reasons for these changes.
[10]
E/D
Answers will be narrative dependent, with discussion emerging at D.
C
Answers will still be narrative driven, but use of the text will be more
selective, and discussion of Link and the changes to his character more
focused.
B
Answers will be more sustained in their discussion of Link’s changing
character. The second part of the question ( the reasons for changes )
will be clearly addressed.
A/A* Answers will be astute, evaluative and well considered, with the issue
of the changes to Link’s character discussed with sensitivity.
9
8.
Anita and Me
(a)
Read the extract on the opposite page then answer the following question:
How does Meera Syal suggest Meena’s feelings in this extract?
[10]
E/D
Answers will tend towards reorganisation, with empathy and
awareness at D.
C
Discussion will be more focused and supported by relevant detail.
B
Discussion of the extract will be thorough and thoughtful.
A/A* Answers will be closely read, assured and analytical, revealing clear
appreciation of Syal’s techniques.
(b)
Anita and Me deals with Meena’s growing up. Show how this is presented
in the novel.
[20]
E/D
Answers will be dependent on relatively simple narrative, with some
discussion and awareness at D.
C
Answers will still be narrative driven, but use of knowledge of the text
will be more focused and selective.
B
Answers will be more sustained, with thorough discussion of Meena
and her relationships with others. The issue of presentation will
probably be addressed only implicitly, however.
A/A* Answers will be cogent and astute, with assured use of relevant detail
and the “how” of the second part of the question addressed with
assurance.
(c)
How is the character of Sam Lowbridge important to the novel as a
whole?
[20]
As with all open questions, approach with an open mind, be receptive to a
range of responses, and use the matrix as a guide.
E/D
Answers will tend to be general and based on partial narrative, with
some discussion and awareness of Sam at D.
C
Answers will still be narrative dependent, but with apt focus on key
areas of the text.
B
Answers will be thorough and thoughtful, with an emerging
appreciation of Sam’s importance.
A/A* Answers will be evaluative, assured, and, perhaps, at A*, original, with
the issue of Sam’s importance addressed with some success.
10
SECTION B
9.
Under Milk Wood
(a)
Read the extract on the opposite page then answer the following question:
Show how Dylan Thomas creates mood and atmosphere in this extract.
[10]
E/D Answers will be dependent on re-telling, with some awareness of
mood and atmosphere at D.
C
Judgements will be supported by apt detail.
B
Candidates will discuss the detail of the extract, showing an emerging
appreciation of mood and atmosphere.
A/A* Answers will be closely read and analytical.
(b)
Under Milk Wood tells of one day in the life of Llareggub. How does
Dylan Thomas create the atmosphere of a day passing in his play?
Think about:
•
what happens at different times of the day;
•
the characters featured at different times of the day;
•
the roles of Captain Cat and 1st and 2nd Voice (Voice in some
editions);
•
the way the play is written;
•
anything else you think important.
[20]
E/D
Answers will re-tell parts of the play, with some discussion of relevant
features at D.
C
Answers will be supported by apt detail. At this level more of the
bullet points will be addressed with some success.
B
Answers will be thorough and thoughtful.
A/A* Answers will be confident, astute, and appreciative of structure and
style.
(c)
How are dreams important in Under Milk Wood?
[20]
As this is a very open question, be receptive to a range of ideas, and judge
according to the matrix.
E/D
Answers will be based on narrative, with some discussion at D.
C
Answers will be more focused, with solid knowledge of the text used
to support judgements.
B
Answers will be thoughtful and sustained.
A/A* Answers will be carefully considered and evaluative, with, perhaps,
originality at A*.
11
10.
A View From The Bridge
(a)
Read the extract on the opposite page then answer the following question:
With close reference to the extract, show how Arthur Miller creates mood
and atmosphere for an audience here.
[10]
E/D
Answers will be dependent on simple narrative, with some discussion
of mood and atmosphere (probably at the level of some discussion of
characters) at D.
C
Discussion will be more focused, and supported by relevant detail.
B
Discussion of the extract will be thorough and thoughtful.
A/A* Answers will be closely read, assured and analytical.
(b)
Imagine you are Rodolfo. At the end of the play you think back over what
has happened. Write down your thoughts and feelings. Remember how
Rodolfo would speak when you write your answer.
[20]
E/D
Answers will be narrative driven, with an awareness of Rodolfo’s
possible views of characters and events at D.
C
Answers will reveal some understanding of Rodolfo’s possible views
of characters and events, and will be confident in use of text.
B
Answers will be sustained, revealing an understanding of characters
and relationships, through Rodolfo’s viewpoint.
A/A* Answers will be convincing in terms of chosen detail, standpoint, and
voice.
(c)
To what extent can Eddie be blamed for his own death?
[20]
E/D
Answers will be narrative driven, with some discussion of Eddie at D.
C
Although still based on narrative, answers will be more focused, and
supported by apt detail.
B
Answers will be sustained and reveal some understanding of the causes
of Eddie’s death.
A/A* Answers will be cogent, evaluative and well considered, with “to what
extent” clearly addressed at A*.
12
11.
An Inspector Calls
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Sheila speaks and behaves here. What does it reveal
about her character?
[10]
E/D
Answers will tend towards reorganisation, with some discussion of
Sheila at D.
C
Discussions of Sheila will be more focused, with relevant detail from
the extract to support judgements.
B
Answers at this level will be typified by sustained discussion of Sheila
as revealed in this extract.
A/A* Answers will be assured, evaluative and analytical.
(b)
Give advice to the actor playing Mrs. Birling on how she should present
the character to an audience.
[20]
Candidates will approach this type of task in different ways. Judge according
to the knowledge and understanding shown, the bottom line being to what
extent the answer would be useful to an actor in that role.
E/D
Answers will be dependent on fairly simple narrative, with an
awareness of a valid approach to the character of Mrs. Birling at D.
C
Candidates will use a sound knowledge of the text to support their
interpretation of Mrs. Birling.
B
Interpretation of Mrs. Birling’s character will be rooted in a detailed
discussion of characters and relationships, supported by apt detail.
A/A* Interpretation of the character of Mrs. Birling will be assured and
evaluative, and, at A*, may be original.
(c)
How is the character of Inspector Goole important to the play as a whole?
[20]
As with all open questions, there is no ‘right answer”. Judge according to the
matrix, and to knowledge and understanding shown.
E/D
Answers will tend to be general, probably dependent on simple
narrative, but with some awareness and emerging discussion at D.
C
Answers will probably be narrative driven, but with apt focus on key
areas of the text.
B
Answers will be thoughtful and thorough, with some clear discussion
of the Inspector’s importance.
A/A* Answers will be evaluative, assured, and, perhaps, at the top, original,
with the Inspector’s importance addressed with some success.
13
12.
The Merchant of Venice
Please bear in mind that the characters in this play can be interpreted very
differently, and allow for this in your judgements of candidates’ responses.
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Portia and Bassanio speak and behave here. What
impressions would an audience receive of them?
[10]
E/D
Candidates will re-tell the extract and make simple comments on the
characters.
C
Answers will be more detailed and focused, with selection of relevant
detail to support judgements.
B
Discussion of the characters will be detailed and thoughtful.
A/A* Answers will be assured and evaluative, showing an astute assessment
of the characters of Portia and Bassanio as they appear in the extract.
(b)
Give advice to an actor playing Antonio on how he should present the
character to an audience.
[20]
Candidates will approach this type of task in a variety of equally valid ways.
Judge according to the knowledge and understanding shown; the bottom line
being to what extent the answer would be useful to an actor in that role.
E/D
Answers will be dependent on fairly simple narrative, with an
awareness of a valid approach to the character of Antonio.
C
Candidates will use a sound knowledge of the text to support their
interpretation of Antonio.
B
Interpretation of Antonio’s character will be rooted in a detailed
discussion of characters and relationships, supported by apt detail.
A/A* Interpretation of Antonio’s character will be assured and evaluative,
and, at the top, perhaps original.
(c)
The Merchant of Venice has been described as “a story of love and hate”.
Choose one of these emotions and show how it is presented in the play.
[20]
E/D Answers will be dependent on narrative, with some discussion of the
chosen emotion at D.
C
Answers will still be narrative driven, but will be more focused, with a
secure use of text.
B
Answers will be thorough and thoughtful.
A/A* Answers will be assured and cogent, and will address the issue of
presentation with confidence, particularly at A*, where there may also
be originality.
14
13.
Romeo and Juliet
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Juliet speaks and behaves here. What does it reveal to
an audience about her state of mind?
[10]
E/D
Answers will be based on simple reorganisation/paraphrase, with
empathy/some discussion of Juliet at D.
C
Answers will be more focused and detailed, with apt discussion of
Juliet and her state of mind.
B
Answers will contain thorough discussion of Juliet and her state of
mind as revealed in the extract.
A/A* Answers will be closely read, assured, and evaluative.
(b)
Give advice to an actor playing Romeo on how he should present the
character to an audience.
[20]
Candidates will approach this type of task in different ways. Judge according
to the knowledge and understanding shown, the bottom line being to what
extent the answer would be useful to an actor in that role.
E/D
Answers will be dependent on fairly simple narrative, with an
awareness of a valid approach to the character of Romeo.
C
Candidates will use a sound knowledge of the text to support their
interpretation of Romeo.
B
Interpretation of Romeo’s character will be rooted in a detailed
discussion of his character and relationships with others, supported by
apt detail.
A/A* Interpretation of the character of Romeo will be assured and
evaluative, and, at the top, perhaps original.
(c)
How does Shakespeare present the theme of conflict in Romeo and Juliet?
[20]
E/D Answers will be dependent on fairly simple narrative, with some
discussion of relevant parts of the play at D.
C
Answers will still be narrative driven, but will be more focused, with a
secure use of text.
B
Answers will be thorough and thoughtful.
A/A* Answers will be typified by a clear overview, with astute discussion of
the theme. At A*, there may be originality in the response.
15
14.
Othello
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Othello speaks and behaves here. What does it reveal
of his state of mind?
[10]
E/D
Answers will be dependent on simple re-telling, with empathy/basic
discussion of Othello at D.
C
Answers will be more focused and detailed, with apt discussion of
Othello and his state of mind (perhaps implicitly, at this level).
B
Answers will be more focused and detailed, with apt discussion of
Othello and his state of mind.
A/A* Discussion of Othello’s state of mind will be closely read, assured and
evaluative.
(b)
Imagine you are Cassio. At the end of the play you think back over its
events. Write down your thoughts and feelings. Remember how Cassio
would speak when you write your answer.
[20]
E/D
Answers will be at the level of simple narrative, with an awareness of
Cassio at D.
C
Answers will reveal a sound knowledge of the text, with an
understanding of Cassio.
B
Answers will be sustained and detailed, with a clear grasp of Cassio
and his relationships with others.
A/A* Answers will be convincing in terms of selection of detail, standpoint,
and voice.
(c)
Why do you think Othello’s relationship with Desdemona broke down?
[20]
As with all open questions, there is no ‘right answer” here, so judge
according to the matrix, and please be receptive to a range of possible
responses.
E/D
Answers will be reliant on (perhaps rather patchy!) narrative, with
some discussion of relevant issues emerging at D.
C
Discussion will be more focused, and knowledge of the text more
secure.
B
Answers will be thorough and thoughtful, supported by solid
knowledge of the text.
A/A* Answers will be carefully considered and evaluative, with, perhaps,
originality at A*.
16
15.
Hobson’s Choice
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Maggie speaks and behaves here. What impressions
would an audience receive of her character?
[10]
E/D
Expect paraphrase with simple discussion of character at this level.
C
Answers will be more focused, with aptly selected references to
support judgements.
B
Answers will be detailed and thoughtful.
A/A* Answers will be assured and evaluative, with close focus on the detail
of the extract.
(b)
For which character in Hobson’s Choice do you have the most sympathy?
Show how Harold Brighouse creates sympathy for your chosen character.
[20]
Candidates may write exclusively on their chosen character, or consider
others, before arriving at a final conclusion. Be flexible in judging what is
offered.
E/D
Answers will be narrative driven, with personal responses to
character(s), and empathy emerging at D.
C
Answers will reveal a secure knowledge of the play to support
discussion of the character(s).
B
Answers will be detailed and thoughtful, with a sound case developed
for the chosen character.
A/A* Answers will be cogent, well argued, with confident and apposite use
of supporting detail.
(c)
Show how Harold Brighouse presents the development of the relationship
between Willie and Maggie.
[20]
E/D
Answers will be narrative driven, with some discussion of characters
and relationships at D.
C
Answers will still be narrative driven, but use of knowledge of the text
will be more selective, and discussion of the relationship between
Willie and Maggie more focused.
B
Discussion of the relationship will be detailed and thoughtful.
A/A* Answers will be astute and evaluative, and at A*, may be original.
17
16.
Blood Brothers
(a)
Read the extract on the opposite page then answer the following question:
Look closely at how Linda speaks and behaves here. How might it affect
an audience’s reaction to her?
[10]
E/D
Answers will be dependent on re-telling the events of the extract, with
empathy and some discussion at D.
C
Discussion of Linda will be more focused, with relevant detail from the
extract to support judgements.
B
Answers will contain sustained and thoughtful discussion of Linda as
revealed in the extract.
A/A* Answers will be assured, evaluative and closely read.
(b)
What do you think of Mrs. Lyons and the way she is presented to an
audience?
[20]
E/D
Answers will be narrative driven, and may well be limited in scope.
Empathy and/or some discussion will emerge at D.
C
Answers will be more selective and focused, rooted in sound
knowledge of the text.
B
Discussion of Mrs. Lyons will be thoughtful and thorough, supported
by apt detail.
A/A* Discussion of Mrs. Lyons will be cogent, evaluative, and, at the top,
may be original.
(c)
How does Willy Russell present the theme of social class in Blood
Brothers?
[20]
E/D
Answers will be dependent on narrative, with some relevant discussion
of social class, albeit underdeveloped, at D.
C
Answers will still be narrative driven, but will be more focused, with a
secure use of text.
B
Answers will be thorough and thoughtful.
A/A* Answers will be cogent and well argued, with confident use of the text.
18
SECTION C
17.
Write about the poem and its effect on you.
You may wish to include some or all of these points:
•
•
•
•
•
the poem’s content - what it is about;
the ideas the poet may have wanted us to think about;
the mood or atmosphere of the poem;
how it is written - words or phrases you find interesting, the way the poem is
structured or organised, and so on;
your response to the poem.
[10]
The grade criteria will also apply to this section. In the light of responses to the poem,
further guidance will be given on the points that candidates are likely to make.
Additionally, by the end of the conference you will have a wide range of exemplar
material which will provide the main touchstone for the marking of the unseen poem.
E/D
Answers will be dependent on paraphrase, with awareness of mood and
atmosphere, and some awareness of subtext, perhaps, at D.
C
Candidates will select and highlight detail in order to probe the text. There will
be appreciation of some stylistic features and a clear personal response.
B
Candidates will discuss the poem thoroughly and with some confidence.
Some stylistic features will be addressed with some insight.
A
Answers at this level will be typified by overview, sensitivity of response, and
appreciation of a range of features and their contribution to the overall
meaning.
A*
All the above, in a cogent and confident response, with analysis and
appreciation of stylistic features.
19
Specification A - Foundation Tier
11.
Mark/Grade Scale - FOUNDATION TIER
For the Foundation Tier we aim to establish the following relationship between marks
and grades.
N.B. This tier will lead to awards for grades C-G; this scale allows for
performances which exceed this on occasion.
GRADE
BAND
SECTIONS A & B
Part (a) and
SECTION C
(/10)
SECTIONS A & B
Parts (b) and (c)
(/20)
GRADE
PAPER
(/70)
U
0–1
0-4
U
0 - 16
G
17 - 25
F
26 - 34
E
35 - 43
D
44 - 52
C
53 - 70
G/F
E/D
C/B
2–4
5–7
8 – 10
5-9
10 - 14
15 - 20
Within each of the two-grade bands for part (b) and (c) questions there are effectively
two marks for each grade and one mark which falls between: e.g. E = 10-11; E/D = 12;
D = 13-14. You are asked to decide on a "band" first, and then "fine-tune" within this.
It is important to remember that a candidate's overall grade will be the result of several
aggregated marks: unless positive achievement is rewarded where it is shown, as
indicated in the mark scheme, our overall expectations in terms of grade boundaries
will prove to be unrealistic. The overall mark must be reviewed to check that it places
the candidate in the appropriate grade.
GRADE CRITERIA
The following descriptions have been provided to indicate the way in which progression
within the three criteria is likely to occur. Each successive description assumes
demonstration of achievements in lower grades.
You are asked to place work initially within a grade or grade band and then to fine-tune using
the marks within the band. It is recognised that work will not always fit neatly into one of the
descriptions. There will always be an element of "trade-off": it will be particularly important
to remember that, while grade B cannot be awarded overall on this tier, potential B qualities
must be recognised.
20
U
G
F
E
D
C
B
A
A*
Knowledge and Interpretation
of Text
Narrative
with
frequent
misreadings.
Narrative with some misreading.
Exploring Language,
Structure and Forms
Not to be expected in
this range.
Not to be expected in
this mark range.
Some understanding of main May make generalised
features, including characters and comments
about
themes. Generalised reference to stylistic effects.
relevant aspects.
Narration with varying degrees of Recognition of, and
clarity and economy. Selection of simple commenting on,
relevant material.
particular features of
style.
More detailed reference to text- Beginning to see how
quoting, 'echoing' or paraphrasing different aspects of
as necessary. Awareness of sub- style combine to create
text.
Some discussion of effects; e.g. changes in
characters/relationships.
Still mood and atmosphere.
reliant on narrative mode.
Detailed reference to text. Some Some understanding of
probing of sub-text. Extended how meanings and
discussion
of
characters/ ideas are conveyed
relationships. Awareness of some through
language,
of the cultural and social contexts structure and form.
of texts.
Increasingly assured selection and
incorporation of relevant material.
Understanding of sub-text.
Conveying Response
Brief
and
often
irrelevant.
Simple expression of
opinion with little
textual support.
Response conveyed in
appropriate
ways.
Simple opinion about
text,
character,
situation.
Empathy
simply expressed.
Addresses task and
uses text to support
views.
Opinions related to
question and conveyed
with some clarity.
Points aptly supported
by reference to text.
Clear and structured
response.
Able to
sustain
character's
view/voice with some
consistency.
Appreciation
of
a Focused and sustained
variety of ways in response.
which
effects
are
achieved.
Exploration
and Ideas
conveyed
evaluation of the ways coherently. Opinions
meaning, ideas and confidently expressed
feelings are conveyed and insights clearly
through
language, articulated.
structure and form.
Assured selection of key areas of
text.
Able to speculate/offer
tentative judgements in exploring
text,
taking
into
account
alternative approaches.
Evaluation
of
characters/
relationships/situations/attitudes/
motives. Able to identify and
comment on social, historical and
cultural contexts.
Awareness of literary tradition
shown.
Text consistently handled with Assured analysis
confidence. Overview and ability stylistic features.
to move from specific to general.
21
of Cogent and sustained
development of literary
arguments.
SECTION A
N.B. The two marks for the extract questions are there to help the candidates and answers
should be marked out of 10, rather than 5 + 5. It will therefore be necessary to balance the
relative merits of (i) and (ii), as it is important not to penalise unduly those candidates who
achieve more highly in one section. Some candidates may not split their responses; they
should not be penalised for so doing.
1.
I Know Why The Caged Bird Sings
(a)
Read the extract on the opposite page then answer the following
questions:
(i)
What are your thoughts and feelings as you read this extract?
[5]
(b)
(c)
(ii)
Choose parts of the extract that you find effective. Write about
them, explaining why you find them effective.
[5]
G/F
Answers will be simple and general.
E/D
Emerging selection, and, at D, some discussion and awareness, as well
as, perhaps, empathy.
C
Answers will be detailed, and judgements supported by aptly selected
references.
What do you think of Daddy Bailey, Maya’s father?
Think about:
•
his relationship with his children, Maya and Bailey;
•
his visit to Stamps;
•
his relationship with Dolores;
•
his trip to Mexico;
•
the way he speaks and behaves.
[20]
G/F
Answers will be brief and patchy in knowledge of Daddy Bailey.
E/D
Answers will be more focused, with some discussion at D.
C
Answers will reveal a secure knowledge of the text, used to back
judgements.
Maya had many experiences of racism as she grew up. Write about two or
three of these experiences. For each experience, explain how Maya coped.
[20]
G/F
Answers will be limited and general.
E/D
Answers will be more focused, with awareness, empathy and some
discussion at D.
C
Answers will reveal a secure knowledge of the text, through aptly
selected detail.
22
2.
Pride and Prejudice
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What are your thoughts and feelings about Elizabeth here?
(ii)
Choose parts of the extract that you find effective and write about
them, explaining why you find them effective.
[5]
G/F
Brief comments and simple responses.
E/D
More selection and emerging discussion of, and, perhaps, empathy
with, Elizabeth, and maybe Darcy.
C
Clear and detailed discussion of Elizabeth, and, perhaps, Darcy.
What do you think of Mrs. Bennet?
Think about:
•
her relationship with her husband;
•
her relationships with her daughters;
•
her relationships with other characters;
•
her attitudes to marriage;
•
the way she speaks and behaves.
(c)
[5]
[20]
G/F
General responses, with few, if any, references to the text.
E/D
More focus on bullet points (though not necessarily all), with some
discussion at D.
C
Judgements supported by apt references to the text. Bullets will
probably be addressed with some success.
Write about either “pride’ or “prejudice” as it appears in the novel. [20]
G/F
Patchy, simple narrative.
E/D
Emerging discussion and more selection, with some discussion/empathy
at D.
C
Secure discussion, rooted in the text.
23
3.
Paddy Clarke Ha Ha Ha
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What are your thoughts and feelings as you read this extract?
[5]
(ii)
Choose parts of the extract that you find effective. Write about
them, explaining why you find them effective.
[5]
G/F
Brief responses and simple comments.
E/D
More focus and selection, with empathy at D.
C
Clear and detailed discussion, with aptly supported detail.
Imagine you are Paddy’s mother. At the end of the story you think back
over its events. Write down your thoughts and feelings.
You may wish to think about:
(c)
•
•
•
your relationship with your husband;
your relationships with your children;
the break up of your marriage.
G/F
Answers will be narrative driven and brief, with little, if any, sense of
Paddy’s mother.
E/D
Answers will be more focused, with an awareness of Paddy’s mother’s
possible thoughts and feelings.
C
Answers will sound like Paddy’s mother, be well rooted in the text,
and show some understanding of her possible thoughts and feelings.
[20]
Write about the person who you think was most important to Paddy as he
was growing up. Give reasons for your choice.
[20]
G/F
Answers will be based on simple, general narrative.
E/D
Answers will be more focused, with some discussion of characters and
relationships at D.
C
Answers will reveal a sound knowledge of the text, and select sensibly
in order to support judgements.
24
4.
Silas Marner
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Godfrey speaks and behaves here?
Give reasons for what you say.
[5]
(ii)
What do you think of the way Nancy speaks and behaves here?
Give reasons for what you say.
[5]
G/F
Brief responses, with simple comments on the characters.
E/D
More focus and selection, with some discussion and empathy at D.
C
Clear and detailed discussion of the characters as revealed in the
extract.
Write about how the arrival of Eppie changes Silas’s life.
Think about:
•
Silas’s life before Eppie’s arrival;
•
how Silas’s life changed immediately after Eppie’s arrival;
•
Silas’s life with Eppie;
•
the end of the novel.
(c)
[20]
G/F
Simple, brief answers will be based on a general retelling of the story,
or parts of it.
E/D
More focus, with some discussion and, perhaps, empathy, at D.
C
Thoughtful discussion, with sound coverage of the bullet points, based
on sound knowledge of the text.
What do you think of Godfrey Cass?
Think about:
•
his relationship with his father and his brothers;
•
his relationship with Molly Farren;
•
his relationship with Nancy;
•
his relationship with Eppie;
•
the way he speaks and behaves at different points in the novel. [20]
G/F
Patchy, simple narrative.
E/D
Simple discussion, with clearer focus and some apt selection ( do not
expect coverage of all the bullet points at this level).
C
Thoughtful discussion, rooted in the text, with some successful
addressing of the bullet points.
25
5.
To Kill A Mockingbird
(a)
Read the extract on the opposite page then answer the following
questions:
(i)
(ii)
(b)
What are your thoughts and feelings about Jem here? Give
reasons for what you say.
[5]
What are your thoughts and feelings about Scout here? Give
reasons for what you say.
[5]
G/F
Brief responses, and simple comments on characters.
E/D
More focus and selection, with some discussion of Jem and Scout at D.
C
Clear and detailed discussion of the characters as revealed in the
extract.
Imagine you are Aunt Alexandra. At the end of the novel you think back
over its events. Write down your thoughts and feelings.
You may wish to think about:
•
your thoughts and feelings about your brother, Atticus;
•
your thoughts and feelings about Scout and Jem;
•
your thoughts and feelings about life in Maycomb;
•
your thoughts and feelings about what happened, including the trial.
[20]
(c)
G/F
Answers will be narrative driven and brief, with little, if any, sense of
Marner.
E/D
Answers will be more focused, with some awareness of Aunt
Alexandra’s possible view of events, although do not expect coverage
of all the bullet points at this level.
C
Answers will have a clear sense of Aunt Alexandra and her attitudes,
and show a detailed knowledge of the text.
Write about the trial of Tom Robinson and its impact on the novel as a
whole.
Think about:
•
•
•
•
the impact of the trial on the children;
the impact of the trial on the adults;
the impact of the trial on events in the novel;
anything else you think important.
G/F
Answers will be typified by simple , patchy narrative.
E/D
Answers will still be based on relatively simple narrative, but with
some discussion and awareness at D.
C
Answers will be detailed, revealing a sound knowledge of the text, and
clear focus on the question.
26
[20]
6.
Of Mice and Men
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What are your thoughts and feelings as you read this extract?
[5]
(ii)
Choose parts of this extract that you think are effective. Write
about them, explaining why you find them effective.
[5]
G/F
Responses will be simple and general.
E/D
Answers will be more selective, with some discussion at D.
C
Answers will be detailed, with apt selection to support judgements.
Imagine you are Slim. At the end of the novel you think back over the
time George and Lennie spent at the ranch. Write down your thoughts
and feelings.
You may wish to think about:
(c)
•
•
•
•
•
your impressions of Lennie and George;
what happened during Lennie and George’s time on the ranch;
your relationships with others on the ranch;
your role on the ranch;
anything else you think important.
[20]
G/F
Answers will be narrative driven and brief, with only a simple sense of
Link.
E/D
Answers will be more focused, with an awareness of Slim’s possible
attitudes, particularly at D.
C
Answers will reveal a sound knowledge of the text, and will have a
clear sense of Slim and his possible attitudes.
The title of the novel Of Mice and Men refers to how plans and dreams
often go wrong. Write about why you think John Steinbeck chose this title
for his novel.
Think about:
•
•
•
Lennie’s plans and dreams;
George’s plans and dreams;
the plans and dreams of other characters;
anything else you think important.
G/F
Answers will be simple and general;
E/D
Answers will address the idea of plans and dreams, with some apt
focus, and, perhaps, empathy at D.
C
Answers here will be typified by detailed and relevant reference to the
text.
•
27
[20]
7.
Stone Cold
(a)
Read the extract on the opposite page then answer the following
questions:
(i)
(b)
What impressions of Shelter do you have when you read this
extract?
[5]
(ii)
Choose words and phrases you find effective in creating these
impressions and write about them, explaining why you find them
effective.
[5]
G/F
Brief responses, and simple comments.
E/D
More focus and selection, with some discussion of Shelter at D.
C
Clear and detailed discussions of Shelter, with apt references to the
text.
What do you think about Gail?
Think about:
(c)
•
•
•
•
her relationship with Link;
how she speaks and behaves while she is on the streets;
how she speaks and behaves at the end of the novel;
how she is described by Robert Swindells, the author.
G/F
Answers will be based on simple, general narrative.
E/D
Answers will be more focused, with some awareness of Gail,
particularly at D.
C
Answers will be based on a sound knowledge of the text, with apt
selection of detail to support judgements.
[20]
Write about some of the ways in which Link’s character changes
throughout the novel.
Think about:
•
•
•
what happened to Link to make him change;
the people he met who made him change;
anything else you think important.
G/F
Answers will be dependent on simple, general, patchy narrative.
E/D
Answers will be more focused, with some discussion of, and empathy
for, Link at D.
C
Answers will still be dependent on narrative, but knowledge of the text
will be more secure, and the issue of change in Link’s character will be
clearly addressed.
28
[20]
8.
Anita and Me
(a)
(b)
(c)
Read the extract on the opposite page then answer the following
questions:
(i)
What does this extract show you about Meena’s feelings?
[5]
(ii)
Choose parts of this extract that you find effective. Write about
them, explaining why you find them effective.
[5]
G/F
Brief responses, with simple comments on Meena.
E/D
More focus and selection, with some discussion of, and empathy for,
Meena, at D.
C
Clear and detailed discussion of Meena and her feelings as revealed in
the extract.
Anita and Me deals with Meena’s growing up. Write about two or three
incidents that you think were particularly important in helping her to
grow up. Explain why you think they were important.
[20]
G/F
General responses, with scant reference to the text.
E/D
More focus, with some awareness and empathy at D.
C
Sensible discussion, supported by relevant references to the text.
What do you think about Sam Lowbridge?
Think about:
•
•
•
•
his relationship with Anita;
his relationship with Meena;
the way he speaks and behaves at different points in the novel;
anything else you think important.
[20]
G/F
Answers will be simple and general.
E/D
More focus on the bullet points, with some discussion of Sam
Lowbridge at D.
C
Judgements will be supported by apt references to the text.
29
SECTION B
N.B. The two marks for the extract questions are there to help the candidates and answers
should be marked out of 10, rather than 5 + 5. It will therefore be necessary to balance the
relative merits of (i) and (ii), as it is important not to penalise unduly those candidates who
achieve more highly in one section. Some candidates may not split their responses; they
should not be penalised for so doing.
9.
Under Milk Wood
(a)
(b)
(c)
Read the extract on the opposite page then answer the following
questions:
(i)
What thoughts and feelings do you have as you read this extract? [5]
(ii)
Choose parts of this extract that you find effective and write about
them, explaining why you find them effective.
[5]
G/F
Simple, general comments.
E/D
More focused, with awareness/some discussion at D.
C
Discussion supported by aptly selected details from the text.
Which character from Under Milk Wood do you find the most interesting?
Write about your chosen character, explaining why you find them
interesting. Remember to support your answer with reference to the text.
[20]
G/F
Simple, general narrative.
E/D
More focus, with some relevant discussion at D.
C
Answers will be detailed and thoughtful, revealing a sound knowledge
of the text.
Write about some of the dreams featured in Under Milk Wood.
Think about:
•
•
what is revealed about different characters through their dreams;
how dreams add mood and atmosphere to the play.
[20]
G/F
Answers will probably be based on a simple, partial retelling of all, or
parts of, the play.
E/D
Answers will be more focused, with emerging discussion and
awareness at D.
C
Answers will be considered, supported by a sound knowledge of the
text.
30
10.
A View From The Bridge
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Eddie speaks and behaves here?
Give reasons for what you say.
[5]
(ii)
How do you think an audience would respond to this part of the
play? Give reasons for what you say.
[5]
G/F
Answers will be simple and general.
E/D
More focus, with some discussion of characters and relationships at D.
C
Judgements will be well considered and supported by detail from the
text.
Imagine you are Rodolfo. At the end of the play you think back over what
has happened. Write down your thoughts and feelings.
You may wish to think about:
(c)
•
•
•
•
•
your life in Italy;
your relationship with Marco;
your relationship with Catherine;
your relationships with Eddie and Beatrice;
your feelings about what happened.
G/F
Answers will be dependent on a patchy knowledge of the text, with
only a vague sense of Rodolfo.
E/D
More focus, with empathy at D. Better, though probably not complete,
coverage of the bullet points.
C
Answers will be convincing in tone and selection of detail. Sound
knowledge of the text should be evident at this level.
[20]
Who or what do you blame for Eddie’s death?
Think about:
•
•
•
•
Eddie’s behaviour at different points in the play;
Marco and Rodolfo’s behaviour at different points in the play;
the behaviour of other characters;
anything else you think important.
[20]
G/F
Answers will be dependent on simple, general story telling.
E/D
Answers will be more focused, with some discussion at D.
C
Answers will be thoughtful and considered, rooted in a sound
knowledge of the text.
31
11.
An Inspector Calls
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Sheila speaks and behaves here?
Give reasons for what you say.
[5]
(ii )
How do you think an audience would respond to this part of the
play? Give reasons for what you say.
[5]
G/F
Answers will be brief, general, and underdeveloped.
E/D
More focus, with some awareness and discussion at D.
C
Answers will be closely read and thoughtful.
Give advice to the actor playing Mrs. Birling on how she should present
the character to an audience.
Think about:
•
•
•
•
•
the way she speaks and behaves with Mr. Birling;
the way she speaks and behaves with Sheila, Eric, and Gerald;
the way she speaks and behaves with the Inspector;
her response to the news about Eva Smith;
anything else you think important.
[20]
When judging responses to this question, mark according to the matrix, and
consider to what extent the response would be useful to an actor unfamiliar
with the character and play - candidates will approach the question in
different ways.
(c)
G/F
Answers will be underdeveloped, based on simple narrative.
E/D
Answers will still be based on fairly simple narrative, but with more
focus, and some discussion of characters and relationships at D.
C
Answers will be based on a sound knowledge of the text, and represent
a valid reading of Mrs. Birling’s character.
Write about the character of Inspector Goole and his importance to the
play.
Think about:
•
•
•
•
his arrival;
the way he speaks and behaves with different characters;
the impact he has on the Birlings and Gerald Croft;
anything else you think important.
G/F
Simple and general comments.
E/D
More focus, with simple discussion and awareness at D.
C
Detailed, thoughtful responses, well rooted in the text.
32
[20]
12.
The Merchant of Venice
When marking answers on this text, please remember that its characters can be
interpreted in very different ways!
(a)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Bassanio speaks and behaves here?
Give reasons for what you say.
[5]
(ii)
What do you think of the way Portia speaks and behaves here?
Give reasons for what you say.
[5]
G/F
Simple, general, discussion of characters (not necessarily equally
distributed).
Emerging discussion of characters, with more focus. Again, perhaps
more on one than the other.
Clear and sensible discussion, supported with apt reference to the text though still, perhaps, not equal amounts on each.
E/D
C
(b)
Give advice to the character playing Antonio on how he should present
the character to an audience.
Think about:
•
•
•
•
his friendship with Bassanio;
his relationship with Shylock;
the trial scene;
the end of the play.
[20]
As with all such questions, mark according to the matrix, using as a guide to
what extent the candidate shows knowledge and understanding of the
character - i.e. what would be useful to an actor. Candidates will address it in
different ways , so you need to be receptive to different approaches.
G/F
E/D
C
(c)
Answers will be general and underdeveloped.
Answers will still be dependent on relatively simple narrative, but with
some discussion of Antonio and his relationships at D.
Answers will be based on a sound knowledge of the play, and provide
a valid reading of Antonio’s character.
The Merchant of Venice has been described as a story about love and hate.
Write about some of the ways in which either love or hate is shown in the
play.
Think about:
•
•
characters who love or hate;
parts of the play where love or hate is shown.
G/F
Answers will be simple and general.
E/D
Answers will be more focused, with some discussion/awareness at D.
C
Answers will be detailed and engaged.
[20]
N.B. Do not penalise those candidates who try to write on both love and hate;
judge according to the matrix.
33
13.
Romeo and Juliet
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Juliet speaks and behaves here? [5]
(ii)
How do you think an audience would respond to this part of the
play? Give reasons for what you say.
[5]
G/F
Simple, general comments.
E/D
More focus, with some discussion/empathy at D.
C
Judgements will be supported by apt detail.
Give advice to the actor playing Romeo on how he should present the
character to an audience.
Think about:
•
•
•
•
•
his behaviour at the beginning of the play;
his relationship with Juliet;
his relationship with Friar Lawrence;
the fight with Tybalt;
the end of the play.
[20]
As with all such questions, mark according to the matrix, using as a guide to
what extent the candidate shows knowledge and understanding of the
character - i.e. what would be useful to an actor. Candidates will address it in
different ways , so you need to be receptive to different approaches.
(c)
G/F
Answers will be underdeveloped and based on simple, patchy
narrative.
E/D
Answers will still be based on fairly simple narrative, but will have
more focus, and some discussion of Romeo and his relationships at D.
C
Answers will be based on a sound knowledge of the text, and will
present a valid interpretation of Romeo’s character.
There are several occasions in Romeo and Juliet when there is fighting or
arguing between characters. Choose two of these occasions and write
about them. In each case, explain how the fight or argument is important
to the play as a whole.
[20]
Should candidates disregard the rubric re two occasions and write about
either one or more than two, do not penalise, but judge according to the
matrix.
G/F
Answers will be general, with little, if any, reference to the text.
E/D
More focus and selection, with some discussion and awareness,
particularly at D.
C
Detailed and thoughtful answers, revealing a sound knowledge of the
text.
34
14.
Othello
(a)
(b)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Othello speaks and behaves here?
Give reasons for what you say.
[5]
(ii)
How do you think an audience would respond to this part of the
play? Give reasons for what you say.
[5]
G/F
Simple, general comments on characters.
E/D
More focus, with some discussion/empathy ( maybe for Desdemona! )
at D.
C
Answers will be closely read and thoughtful.
Imagine you are Cassio. At the end of the play you think back over its
events. Write down your thoughts and feelings.
You may wish to think about:
(c)
•
•
•
•
•
your job as Othello’s lieutenant;
losing your job as Othello’s lieutenant;
how you tried to get your job back;
your relationship with Bianca;
the events at the end of the play.
G/F
Answers will be based on simple, probably incomplete, narrative, with
only a vague, if any sense of Cassio.
E/D
Answers will be more focused, with some reference to some of the
bullet points, and empathy at D.
C
Answers will be quite convincing in tone and supported by apt
references to the text.
[20]
Write about Othello’s relationship with Desdemona and explain how
it changed.
Think about:
•
•
•
•
•
how Othello and Desdemona met and married;
the differences between Othello and Desdemona;
what happened in Cyprus;
the influence of Iago;
anything else you think important.
G/F
Answers will be based on a simple, partial, retelling of all, or parts of,
the play.
E/D
Answers will be dependent on fairly simple narrative, with emerging
discussion/empathy at D.
C
Answers will be considered, rooted in a solid knowledge of the text,
with the bullet points probably addressed with some success.
35
[20]
15.
Hobson’s Choice
(a)
(b)
(c)
Read the extract on the opposite page then answer the following
questions:
(i)
What do you think of the way Maggie speaks and behaves here?
Give reasons for what you say.
[5]
(ii)
What do you think of the way Ada speaks and behaves here? Give
reasons for what you say.
[5]
G/F
Simple, general comments - not necessarily equal for each character.
E/D
More focus and selection, with some discussion/empathy at D - not
necessarily as much on one as on the other.
C
Judgements supported by apt detail selected from the text - may write
more on one character than on the other.
For which character in Hobson’s Choice do you have the most sympathy?
Give reasons for what you say.
[20]
G/F
Answers will be brief and general.
E/D
Answers will be more focused, with some discussion/empathy at D.
C
Answers will be detailed and engaged,
Write about how the relationship between Willie and Maggie develops,
from when Maggie first notices him, to the end of the play.
[20]
G/F
Answers will be dependent on simple, patchy narrative.
E/D
Answers will be more focused, with some discussion at D.
C
Answers will be rooted in a sound knowledge of the text, and reveal
some understanding of Maggie and Willie.
36
16.
Blood Brothers
(a)
Read the extract on the opposite page then answer the following
questions:
(i)
(b)
What are your thoughts and feelings about Linda here? Give
reasons for what you say.
[5]
(ii)
What are your thoughts and feelings about Mickey here? Give
reasons for what you say.
[5]
G/F
Simple, general comments, not necessarily equally on both characters.
E/D
More focus and discussion, not necessarily equally on both characters.
C
Focused discussion on both characters, supported by apt reference to
the text. There still may be more on one than on the other, however.
What do you think about Mrs. Lyons?
Think about:
•
•
•
•
•
the deal with Mrs. Johnstone;
her relationship with her husband;
her relationship with Edward;
the end of the play;
anything else you think important.
G/F
Simple, general responses, with sketchy knowledge of the text.
E/D
More heed taken of bullet points, with some discussion (perhaps
empathy!) at D.
C
Detailed and considered responses, revealing secure knowledge of the
text.
(c)
Write about the importance of social class in Blood Brothers.
[20]
Think about:
•
•
•
•
the differences between Mrs. Johnstone and Mrs. Lyons;
the different upbringings Mickey and Edward had;
the differences between Mickey and Edward as adults;
the impact of social class on the events of the play.
G/F
Answers will probably be based on a simple, partial, retelling of the
play.
E/D
Answers will be dependent on simple narrative, with discussion and
awareness emerging at D.
C
Answers will be considered, rooted in a solid knowledge of the text,
and the bullet points addressed with some success.
37
[20]
SECTION C
17.
Write about the poem and its effect on you.
You may wish to include some or all of these points:
•
•
•
•
•
the poem’s content - what it is about;
the ideas the poet may have wanted us to think about;
the mood or atmosphere of the poem;
how it is written - words or phrases you find interesting, the way the poem is
structured or organised, and so on;
your response to the poem.
[10]
The grade criteria will also apply to this section. In the light of responses to the poem,
further guidance will be given on the points that candidates are likely to make.
Additionally, by the end of the conference you will have a wide range of exemplar
material which will provide the main touchstone for the marking of the unseen poem.
G
Simple, inaccurate and incomplete paraphrase, or copying out, probably very
brief.
F
Simple, general comments.
E
Simple selection, with simple comments, and a more focused personal
response.
D
Awareness of mood and atmosphere, with an emerging awareness of subtext.
Empathy in personal response. There may be general comments on some
stylistic features.
C
At this level, candidates will work at the detail of the poem, discussing its
content, creation of mood and atmosphere and subtext. Discussion of some of
the imagery and/or structure, and/or significance of the poem’s ending will be
indicators of grade C. If more than one of these is addressed with some
success, think of 9 or 10.
38
Specification B - Higher Tier
Mark/Grade Scale - HIGHER TIER
For the Higher Tier we aim to establish the following relationship between marks and
grades.
(N.B. This tier will lead to awards from grades A* - D; the scale allows for
performances which fall below this on occasion.)
GRADE
BAND
SECTIONS A & B
Part (a)
(/10)
SECTIONS A & B
Parts (b) and (c)
and SECTION C
(/20)
GRADE
PAPER
(/80)
U-F
0-1
0-4
U-F
0 - 19
E
20-29
D
30-39
C
40-49
B
50-59
A
60-69
A*
70-80
E/D
C/B
A/A*
2-4
5-7
8-10
5-9
10-14
15-20
Within each of the two-grade bands for part (b) and (c) questions there are effectively
two marks for each grade and one mark which falls between: e.g. C = 10-11; C/B = 12;
B = 13/14. You are asked to decide on a "band" first, and then "fine-tune" within this.
It is important to remember that a candidate's overall grade will be the result of several
aggregated marks: unless positive achievement is rewarded where it is shown, as
indicated in the mark scheme, our overall expectations in terms of grade boundaries
will prove to be unrealistic. The overall mark must be received to check that it places
the candidate in the appropriate grade.
GRADE CRITERIA
The following descriptions have been provided to indicate the way in which progression
within the three criteria is likely to occur. Each successive description assumes
demonstration of achievements in lower grades.
You are asked to place work initially within a grade or grade band and then to fine-tune using
the marks within the band. It is recognised that work will not always fit neatly into one of the
descriptions. There will always be an element of "trade-off" : it will be particularly important
to give credit to grade A* qualities where they occur.
39
U
G
F
E
D
C
B
A
A*
Knowledge and Interpretation
of Text
Narrative with frequent
misreadings.
Narrative with some misreading.
Exploring Language,
Structure and Forms
Not to be expected in
this range.
Not to be expected in
this mark range.
Conveying Response
Brief and often
irrelevant.
Simple expression of
opinion with little
textual support.
Some understanding of main
May make generalised Response conveyed in
features, including characters and comments about
appropriate ways.
themes. Generalised reference to stylistic effects.
Simple opinion about
relevant aspects.
text, character,
situation. Empathy
simply expressed.
Narration with varying degrees of Recognition of, and
Addresses task and
clarity and economy. Selection of simple commenting on, uses text to support
relevant material.
particular features of
views.
style.
More detailed reference to textBeginning to see how
Opinions related to
quoting, 'echoing' or paraphrasing different aspects of
question and conveyed
as necessary. Awareness of sub- style combine to create with some clarity.
text. Some discussion of
effects; e.g. changes in
characters/relationships. Still
mood and atmosphere.
reliant on narrative mode.
Detailed reference to text. Some Some understanding of Points aptly supported
probing of sub-text. Extended
how meanings and
by reference to text.
discussion of
ideas are conveyed
Clear and structured
characters/relationships.
through language,
response. Able to
Awareness of some of the cultural structure and form.
sustain character's
and social contexts of texts.
view/voice with some
consistency.
Increasingly assured selection and Appreciation of a
Focused and sustained
incorporation of relevant material. variety of ways in
response.
Understanding of sub-text.
which effects are
achieved.
Assured selection of key areas of Exploration and
Ideas conveyed
text. Able to speculate/offer
evaluation of the ways coherently. Opinions
tentative judgements in exploring meaning, ideas and
confidently expressed
text, taking into account
feelings are conveyed
and insights clearly
alternative approaches.
through language,
articulated.
Evaluation of characters/
structure and form.
relationships/situations/attitudes/
motives. Able to identify and
comment on social, historical and
cultural contexts.
Awareness of literary tradition
shown.
Text consistently handled with
Assured analysis of
Cogent and sustained
confidence. Overview and ability stylistic features.
development of literary
to move from specific to general.
arguments.
40
SECTION A
PROSE ANTHOLOGY (30 marks)
1.
(a)
Read the extract on the opposite page and then answer the following
question:
How does Elizabeth McCracken present the relationship between Hattie
and Mose?
Make sure that you refer to words and phrases used.
[10]
E
Answers will be dependent on narrative and may well be limited in
scope.
D
There will be some awareness of the relationship, perhaps with some
textual support.
C
Answers will be more secure in their knowledge of the text and
selecting apt details to support judgements about the relationship.
B
Answers will be thorough and thoughtful.
A/A* Answers will be assured and contain insight, as well as, perhaps, some
originality.
41
(b)
Some of these stories are about characters who feel angry.
Look at "The Rain Horse" and one other story. Choose one character
from each story. Show how each author presents the character's anger
and its consequences.
Remember to refer to words and phrases in each story to support your
answer.
[20]
E
Answers will be dependent on narrative of both texts and will be
limited in scope.
Beginning to identify simple points of comparison.
D
There will be some discussion of anger but answers will still rely on
narrative.
There will be some comparison and some simple evaluation of the
characters' anger.
C
Answers will be more secure in their knowledge of the texts and
selecting apt details to support judgements about anger.
Connections and comparisons will be explored.
B
Answers will be thorough and thoughtful examinations of anger with
closer textual reference.
Some connections and comparisons explored in a sustained manner.
A/A* Answers will be assured and contain insight, as well as, perhaps some
originality .
A
Some confident exploration of comparisons, perhaps even
considering stylistic differences, with apt selection and
evaluation of details.
A*
Subtle points of comparison explored/probed.
42
(c)
Good short stories end well. Look at the final 20 lines of two different
stories. Compare how each writer ends the story, explaining which
ending you prefer and why.
Remember to refer to words and phrases in each story to support your
answer.
[20]
E
Answers will be dependent on narrative of both endings and will be
limited in scope.
Beginning to identify simple points of comparison.
D
There will be some discussion of how the writers end their stories but
answers will still rely on narrative.
There will be some comparison and some simple evaluation of the
comparisons.
C
Answers will be more secure in their knowledge of the endings and
selecting apt details to support judgements.
Connections and comparisons will be explored.
B
Answers will be thorough and thoughtful.
Some connections and comparisons explored in a sustained manner.
A/A* Answers will be assured and contain insight, as well as, perhaps some
originality.
A
Some confident exploration of comparisons with apt selection
of details.
A*
Subtle points of comparison explored/probed.
43
SECTION B
POETRY ANTHOLOGY (30 marks)
2.
(a)
Read the poem on the opposite page and then answer the following
question:
How does Carol Ann Duffy present the experience of school in this poem?
Make sure that you refer to words and phrases used.
[10]
E/D
There will be some selection but answers will be dependent on
paraphrase.
D
Answers may still depend on paraphrase, but with some awareness of
sub-text or some stylistic features.
C
Candidates will select and highlight detail in order to probe the text.
There will be some appreciation of some stylistic features.
B
Candidates will discuss the poem with some insight. Some stylistic
features will be addressed.
A/A* Answers here will be typified by overview, and appreciation of a range
of features and their contribution to the overall meaning.
44
(b)
Compare and contrast "What If This Road" and "The Old Road" by
Sheenagh Pugh.
Write about:
•
•
•
•
the ideas in each poem;
how the poet presents these ideas;
interesting words and phrases from each poem;
which poem you find more effective and why.
E/D
Answers will use paraphrase but there may be some discussion of
subtexts or stylistic features.
C
D
Begin to discuss points of comparison.
E
Begin to identify points of comparison.
[20]
Candidates will select and highlight in order to probe the texts. There
will be some appreciation of stylistic features.
Connections and comparisons will be explored.
B
Candidates will discuss the poems with some confidence. Some
stylistic features will be addressed with insight.
Some sustained connections and comparisons explored.
A/A* Answers here will be typified by overview, and an appreciation of a
range of features and their contribution to overall meaning.
A
Confident exploration of comparisons with apt selection of
details for comparison.
A*
Subtle points of comparison explored/probed.
45
(c)
Poets often let the people in their poems speak to the reader.
Look at "Stealing" by Carol Ann Duffy and then choose one poem from
the anthology where a character speaks to the reader.
How is the speaker in each poem presented?
In your answer write about:
•
•
•
•
what you learn about each speaker;
how you feel about the speaker in each poem;
interesting words and phrases from each poem;
anything else you think important.
E/D
Answers will use paraphrase but there may be some discussion of
subtexts or stylistic features.
C
E
Begin to identify points of comparison.
D
Begin to discuss points of comparison.
[20]
Candidates will select and highlight in order to probe the texts. There
will be some appreciation of stylistic features.
Connections and comparisons will be explored.
B
Candidates will discuss the poems with some confidence. Some
stylistic features will be addressed with insight.
Some sustained connections and comparisons explored.
A/A* Answers here will be typified by overview, and an appreciation of a
range of features and their contribution to overall meaning.
A
Confident exploration of comparisons with apt selection of
details for comparison.
A*
Subtle points of comparison explored/probed.
46
SECTION C (20 marks)
3.
Under Milk Wood
(a)
Under Milk Wood tells of one day in the life of Llareggub. How does
Dylan Thomas create the atmosphere of a day passing in his play?
Think about:
•
•
•
•
•
what happens at different times of the day;
the characters featured at different times of the day;
the roles of Captain Cat and 1st and 2nd Voice (Voice in some
editions);
the way the play is written;
anything else you think important.
[20]
E/D
Answers will re-tell parts of the play, with some discussion of relevant
features at D.
C
Answers will be supported by apt detail. At this level more of the
bullet points will be addressed with some success.
B
Answers will be thorough and thoughtful.
A/A* Answers will be confident, astute, and appreciative of structure and
style.
(b)
How are dreams important in Under Milk Wood?
[20]
As this is a very open question, be receptive to a range of ideas, and judge
according to the matrix.
E/D
Answers will be based on narrative, with some discussion at D.
C
Answers will be more focused, with solid knowledge of the text used
to support judgements.
B
Answers will be thoughtful and sustained.
A/A* Answers will be carefully considered and evaluative, with, perhaps,
originality at A*.
47
4.
A View From The Bridge
(a)
Imagine you are Rodolfo. At the end of the play you think back over
what has happened. Write down your thoughts and feelings. Remember
how Rodolfo would speak when you write your answer.
[20]
E/D
Answers will be narrative driven, with an awareness of Rodolfo's
possible views of characters and events at D.
C
Answers will reveal some understanding of Rodolfo's possible views
of characters and events, and will be confident in use of text.
B
Answers will be sustained, revealing an understanding of characters
and relationships, through Rodolfo's viewpoint.
A/A* Answers will be convincing in terms of chosen detail, standpoint, and
voice.
(b)
To what extent can Eddie be blamed for his own death?
[20]
E/D
Answers will be narrative driven, with some discussion of Eddie at D.
C
Although still based on narrative, answers will be more focused, and
supported by apt detail.
B
Answers will be sustained and reveal some understanding of the causes
of Eddie's death.
A/A* Answers will be cogent, evaluative and well considered, with "to what
extent" clearly addressed at A*.
48
5.
An Inspector Calls
(a)
Give advice to the actor playing Mrs. Birling on how she should present
the character to an audience.
[20]
Candidates will approach this type of task in different ways. Judge according
to the knowledge and understanding shown, the bottom line being to what
extent the answer would be useful to an actor in that role.
E/D
Answers will be dependent on fairly simple narrative, with an
awareness of a valid approach to the character of Mrs. Birling at D.
C
Candidates will use a sound knowledge of the text to support their
interpretation of Mrs. Birling.
B
Interpretation of Mrs. Birling's character will be rooted in a detailed
discussion of characters and relationships, supported by apt detail.
A/A* Interpretation of the character of Mrs. Birling will be assured and
evaluative, and, at A*, may be original.
(b)
How is the character of Inspector Goole important to the play as a whole?
[20]
As with all open questions, there is no 'right answer". Judge according to the
matrix, and to knowledge and understanding shown.
E/D
Answers will tend to be general, probably dependent on simple
narrative, but with some awareness and emerging discussion at D.
C
Answers will probably be narrative driven, but with apt focus on key
areas of the text.
B
Answers will be thoughtful and thorough, with some clear discussion
of the Inspector's importance.
A/A* Answers will be evaluative, assured, and, perhaps, at the top, original,
with the Inspector's importance addressed with some success.
49
6.
The Merchant of Venice
Please bear in mind that the characters in this play can be interpreted very
differently, and allow for this in your judgements of candidates' responses.
(a)
Give advice to an actor playing Antonio on how he should present the
character to an audience.
[20]
Candidates will approach this type of task in a variety of equally valid ways.
Judge according to the knowledge and understanding shown; the bottom line
being to what extent the answer would be useful to an actor in that role.
E/D
Answers will be dependent on fairly simple narrative, with an
awareness of a valid approach to the character of Antonio.
C
Candidates will use a sound knowledge of the text to support their
interpretation of Antonio.
B
Interpretation of Antonio's character will be rooted in a detailed
discussion of characters and relationships, supported by apt detail.
A/A* Interpretation of Antonio's character will be assured and evaluative,
and, at the top, perhaps original.
(b)
The Merchant of Venice has been described as "a story of love and hate".
Choose one of these emotions and show how it is presented in the play.
[20]
E/D
Answers will be dependent on narrative, with some discussion of the
chosen emotion at D.
C
Answers will still be narrative driven, but will be more focused, with a
secure use of text.
B
Answers will be thorough and thoughtful.
A/A* Answers will be assured and cogent, and will address the issue of
presentation with confidence, particularly at A*, where there may also
be originality.
50
7.
Romeo and Juliet
(a)
Give advice to an actor playing Romeo on how he should present the
character to an audience.
[20]
Candidates will approach this type of task in different ways. Judge according
to the knowledge and understanding shown, the bottom line being to what
extent the answer would be useful to an actor in that role.
E/D
Answers will be dependent on fairly simple narrative, with an
awareness of a valid approach to the character of Romeo.
C
Candidates will use a sound knowledge of the text to support their
interpretation of Romeo.
B
Interpretation of Romeo's character will be rooted in a detailed
discussion of his character and relationships with others, supported by
apt detail.
A/A* Interpretation of the character of Romeo will be assured and
evaluative, and, at the top, perhaps original.
(b)
How does Shakespeare present the theme of conflict in Romeo and Juliet?
[20]
E/D
Answers will be dependent on fairly simple narrative, with some
discussion of relevant parts of the play at D.
C
Answers will still be narrative driven, but will be more focused, with a
secure use of text.
B
Answers will be thorough and thoughtful.
A/A* Answers will be typified by a clear overview, with astute discussion of
the theme. At A*, there may be originality in the response.
51
8.
Othello
(a)
Imagine you are Cassio. At the end of the play you think back over its
events. Write down your thoughts and feelings. Remember how Cassio
would speak when you write your answer.
[20]
E/D
Answers will be at the level of simple narrative, with an awareness of
Cassio at D.
C
Answers will reveal a sound knowledge of the text, with an
understanding of Cassio.
B
Answers will be sustained and detailed, with a clear grasp of Cassio
and his relationships with others.
A/A* Answers will be convincing in terms of selection of detail, standpoint,
and voice.
(b)
Why do you think Othello's relationship with Desdemona broke down?
[20]
As with all open questions, there is no 'right answer" here, so judge according
to the matrix, and please be receptive to a range of possible responses.
E/D
Answers will be reliant on (perhaps rather patchy!) narrative, with
some discussion of relevant issues emerging at D.
C
Discussion will be more focused, and knowledge of the text more
secure.
B
Answers will be thorough and thoughtful, supported by solid
knowledge of the text.
A/A* Answers will be carefully considered and evaluative, with, perhaps,
originality at A*.
52
9.
Hobson's Choice
(a)
For which character in Hobson's Choice do you have the most sympathy?
Show how Harold Brighouse creates sympathy for your chosen character.
[20]
Candidates may write exclusively on their chosen character, or consider
others, before arriving at a final conclusion. Be flexible in judging what is
offered.
E/D
Answers will be narrative driven, with personal responses to
character(s), and empathy emerging at D.
C
Answers will reveal a secure knowledge of the play to support
discussion of the character(s).
B
Answers will be detailed and thoughtful, with a sound case developed
for the chosen character.
A/A* Answers will be cogent, well argued, with confident and apposite use
of supporting detail.
(b)
Show how Harold Brighouse presents the development of the relationship
between Willie and Maggie.
[20]
E/D
Answers will be narrative driven, with some discussion of characters
and relationships at D.
C
Answers will still be narrative driven, but use of knowledge of the text
will be more selective, and discussion of the relationship between
Willie and Maggie more focused.
B
Discussion of the relationship will be detailed and thoughtful.
A/A* Answers will be astute and evaluative, and at A*, may be original.
53
10.
Blood Brothers
(a)
What do you think of Mrs. Lyons and the way she is presented to an
audience?
[20]
E/D
Answers will be narrative driven, and may well be limited in scope.
Empathy and/or some discussion will emerge at D.
C
Answers will be more selective and focused, rooted in sound
knowledge of the text.
B
Discussion of Mrs. Lyons will be thoughtful and thorough, supported
by apt detail.
A/A* Discussion of Mrs. Lyons will be cogent, evaluative, and, at the top,
may be original.
(b)
How does Willy Russell present the theme of social class in Blood
Brothers?
[20]
E/D
Answers will be dependent on narrative, with some relevant discussion
of social class, albeit underdeveloped, at D.
C
Answers will still be narrative driven, but will be more focused, with a
secure use of text.
B
Answers will be thorough and thoughtful.
A/A* Answers will be cogent and well argued, with confident use of the text.
54
Specification B - Foundation Tier
Mark/Grade Scale - FOUNDATION TIER
For the Foundation Tier we aim to establish the following relationship between marks
and grades.
N.B. This tier will lead to awards for grades C-G; this scale allows for
performances which exceed this on occasion.
GRADE
BAND
SECTIONS A & B
Part (a)
(/10)
SECTIONS A & B
Parts (b) and (c)
and SECTION C
(/20)
GRADE
PAPER
(/80)
U
0–1
0-4
U
0 - 19
G
20 - 29
F
30 - 39
E
40 - 49
D
50 - 59
C
60 - 80
G/F
E/D
C/B
2–4
5–7
8-10
5-9
10 - 14
15-20
(B)
Within each of the two-grade bands for part (b) and (c) questions there are
effectively two marks for each grade and one mark which falls between: e.g. E =
10-11; E/D = 12; D = 13-14. You are asked to decide on a "band" first, and then
"fine-tune" within this.
It is important to remember that a candidate's overall grade will be the result of
several aggregated marks: unless positive achievement is rewarded where it is
shown, as indicated in the mark scheme, our overall expectations in terms of
grade boundaries will prove to be unrealistic. The overall mark must be
received to check that it places the candidate in the appropriate grade.
GRADE CRITERIA
The following descriptions have been provided to indicate the way in which progression
within the three criteria is likely to occur. Each successive description assumes
demonstration of achievements in lower grades.
You are asked to place work initially within a grade or grade band and then to fine-tune using
the marks within the band. It is recognised that work will not always fit neatly into one of the
descriptions. There will always be an element of "trade-off": it will be particularly important
to remember that, while grade B cannot be awarded overall on this tier, potential B qualities
must be recognised in individual questions.
55
U
G
F
E
D
C
B
A
A*
Knowledge and Interpretation
of Text
Narrative with frequent
misreadings.
Narrative with some
misreading.
Some understanding of main
features, including characters
and themes. Generalised
reference to relevant aspects.
Narration with varying degrees
of clarity and economy.
Selection of relevant material.
More detailed reference to textquoting, 'echoing' or
paraphrasing as necessary.
Awareness of sub-text. Some
discussion of characters/
relationships. Still reliant on
narrative mode.
Detailed reference to text.
Some probing of sub-text.
Extended discussion of
characters/relationships.
Awareness of some of the
cultural and social contexts of
texts.
Increasingly assured selection
and incorporation of relevant
material. Understanding of subtext.
Assured selection of key areas of
text. Able to speculate/offer
tentative judgements in exploring
text, taking into account
alternative approaches.
Evaluation of characters/
relationships/situations/attitudes/
motives. Able to identify and
comment on social, historical and
cultural contexts. Awareness of
literary tradition shown.
Text consistently handled with
confidence. Overview and
ability to move from specific to
general.
Exploring Language,
Structure and Forms
Not to be expected in this
range.
Not to be expected in this
mark range.
Conveying Response
Some understanding of
how meanings and ideas
are conveyed through
language, structure and
form.
Points aptly supported
by reference to text.
Clear and structured
response. Able to
sustain character's
view/voice with some
consistency.
Focused and sustained
response.
Brief and often
irrelevant.
Simple expression of
opinion with little
textual support.
May make generalised
Response conveyed in
comments about stylistic appropriate ways.
effects.
Simple opinion about
text, character,
situation. Empathy
simply expressed.
Recognition of, and
Addresses task and
simple commenting on,
uses text to support
particular features of style. views.
Beginning to see how
Opinions related to
different aspects of style question and conveyed
combine to create
with some clarity.
effects; e.g. changes in
mood and atmosphere.
Appreciation of a variety
of ways in which effects
are achieved.
Exploration and
evaluation of the ways
meaning, ideas and
feelings are conveyed
through language,
structure and form.
Ideas conveyed
coherently. Opinions
confidently expressed
and insights clearly
articulated.
Assured analysis of
stylistic features.
Cogent and sustained
development of literary
arguments.
56
SECTION A
PROSE ANTHOLOGY (30 marks)
1.
(a)
Read the extract on the opposite page and then answer the following
question:
What impressions do you get of the relationship between Hattie and Mose
in this extract?
In your answer write about:
•
•
•
what Hattie says;
what Mose thinks about Hattie's words;
the way Mose behaves.
Make sure that you refer to words and phrases used.
[10]
G
Answers will be short, simple, and limited in scope.
F
Answers may be more developed, but still limited in scope.
E
Answers will be narrative but closer focus on the extract.
D
Answers will be dependent on narrative but with some discussion of
the relationship between Hattie and Mose.
C
Apt selection and discussion from the extract to examine the
relationship.
57
(b)
Some of these stories are about characters who feel angry.
Look at "The Rain Horse" and one other story. Choose one character
from each story and write about them.
In your answer write about:
•
•
•
why each character is angry;
the way each angry character behaves;
what happens because of their anger.
Remember to refer to words and phrases in each story to support your
answer.
[20]
G/F
E
General responses, with little reference, if any, to the texts.
G
Simple unfocussed expression of preferences.
F
Selection of obvious features of similarity and differences.
Answers will be dependent on narrative of both texts.
Beginning to identify simple points of comparison.
D
There will be some discussion of anger but answers will still be reliant
on narrative.
Some comparison and simple evaluation of anger.
C
Detailed and thoughtful answers, revealing a sound knowledge of the
texts and the part played by anger.
Connections and comparisons of angry characters explored.
58
(c)
Good short stories end well. Look at the ending of "The New Boy" (from
line 155). Then look at the last 20 lines of one other story. Compare the
two endings.
In your answer write about:
•
•
•
what happens at the end of each story;
your feelings about characters at the end of each story;
which ending you prefer and why.
Remember to refer to words and phrases in each story to support your
answer.
[20]
G/F
E
General responses, with little reference, if any, to the texts.
G
Simple unfocussed expression of preferences.
F
Selection of obvious features of similarity and differences.
Some discussion of the endings and what happens in them.
Beginning to develop simple points of comparison.
D
More focus on the endings, feelings about characters, reasons for
preferences, although reliant on narrative.
Some comparison and simple evaluation of the endings and what
happens in them.
C
Detailed and thoughtful answers, revealing a sound knowledge of the
endings and starting to think about their purposes.
Connections and comparisons of the endings, the effect on character
and the impact of the endings.
59
SECTION B
POETRY ANTHOLOGY (30 marks)
2.
(a)
Read the poem on the opposite page then answer the following question:
What does Carol Ann Duffy say about school in this poem?
In your answer write about:
•
•
•
•
what the children do in school;
what the children feel about the future;
the ending of the poem;
words and phrases you find interesting.
G
Simple inaccurate paraphrase, or copying out.
F
Simple general comments.
E
Some selection, with simple comments with some awareness of ideas/
techniques.
D
Awareness of tone and an emerging awareness of the subtext. Some
general comment on some stylistic features.
C
Detailed and thoughtful answers, revealing a sound knowledge of the
text.
60
[10]
(b)
Compare and contrast "What If This Road" and "The Old Road" by
Sheenagh Pugh.
In your answer write about:
•
•
•
•
what each poem is about;
the way each poem is written;
interesting words and phrases from each poem;
which poem you prefer and why.
G
Simple inaccurate paraphrase, or copying out.
[20]
Simple, unfocussed expression of preferences.
F
Simple general comments.
Selection of obvious features of similarity and difference.
E
Some selection, with simple
choosing/remembering the poems.
comments
about
reasons
for
Beginning to develop simple points of comparison.
D
Awareness of tone and an emerging awareness of subtext. Some
general comment on stylistic features.
Some comparison and evaluation of the poems and reasons for
choosing them.
C
At this level, the candidates will work at details of the poems, content,
mood and atmosphere, or discussing subtextual messages. Discussion
of these details, with apt references, will be indicators of C grade,
Connections and comparisons of the poems explored.
61
(c)
Poets often let the people in their poems speak to the reader.
Look at "Stealing" by Carol Ann Duffy and then choose one other poem
from the anthology where a character speaks to the reader.
What do you think about the speaker in each poem?
In your answer write about:
•
•
•
•
what you find out about each speaker;
your feelings are about each speaker;
words and phrases you find interesting.
anything else you find important.
G
Simple inaccurate paraphrase or copying out.
[20]
Simple, unfocussed expression of preferences.
F
Simple, general comments.
Selection of obvious features of similarity and difference.
E
Some selection, with simple comments about the speakers.
Beginning to develop simple points of comparison.
D
Awareness of tone and an emerging awareness of subtext. Some
general comment on stylistic features.
Some comparison and awareness of the speakers or their presentation.
C
At this level, the candidates will work at details of the poems, content,
mood and atmosphere, or discussing subtextual messages. Discussion
of these details, with apt references, will be indicators of C grade.
Connections and comparisons of the speakers and the effects of their
presentation.
62
SECTION C (20 marks)
3.
Under Milk Wood
(a)
(b)
Which character from Under Milk Wood do you find the most interesting?
Write about your chosen character, explaining why you find them
interesting. Remember to support your answer with reference to the text.
[20]
G/F
Simple, general narrative.
E/D
More focus, with some relevant discussion at D.
C
Answers will be detailed and thoughtful, revealing a sound knowledge
of the text.
Write about some of the dreams featured in Under Milk Wood.
Think about:
•
•
what is revealed about different characters through their dreams;
how dreams add mood and atmosphere to the play.
[20]
G/F
Answers will probably be based on a simple, partial retelling of all, or
parts of, the play.
E/D
Answers will be more focused, with emerging discussion and
awareness at D.
C
Answers will be considered, supported by a sound knowledge of the
text.
63
4.
A View From The Bridge
(a)
Imagine you are Rodolfo. At the end of the play you think back over what
has happened. Write down your thoughts and feelings.
You may wish to think about:
(b)
•
•
•
•
•
your life in Italy;
your relationship with Marco;
your relationship with Catherine;
your relationships with Eddie and Beatrice;
your feelings about what happened.
G/F
Answers will be dependent on a patchy knowledge of the text, with
only a vague sense of Rodolfo.
E/D
More focus, with empathy at D. Better, though probably not complete,
coverage of the bullet points.
C
Answers will be convincing in tone and selection of detail. Sound
knowledge of the text should be evident at this level.
[20]
Who or what do you blame for Eddie's death?
Think about:
•
•
•
•
Eddie's behaviour at different points in the play;
Marco and Rodolfo's behaviour at different points in the play;
the behaviour of other characters;
anything else you think important.
[20]
G/F
Answers will be dependent on simple, general story telling.
E/D
Answers will be more focused, with some discussion at D.
C
Answers will be thoughtful and considered, rooted in a sound
knowledge of the text.
64
5.
An Inspector Calls
(a)
Give advice to the actor playing Mrs. Birling on how she should present
the character to an audience.
Think about:
•
•
•
•
•
the way she speaks and behaves with Mr. Birling;
the way she speaks and behaves with Sheila, Eric, and Gerald;
the way she speaks and behaves with the Inspector;
her response to the news about Eva Smith;
anything else you think important.
[20]
When judging responses to this question, mark according to the matrix, and
consider to what extent the response would be useful to an actor unfamiliar
with the character and play - candidates will approach the question in
different ways.
(b)
G/F
Answers will be underdeveloped, based on simple narrative.
E/D
Answers will still be based on fairly simple narrative, but with more
focus, and some discussion of characters and relationships at D.
C
Answers will be based on a sound knowledge of the text, and represent
a valid reading of Mrs. Birling's character.
Write about the character of Inspector Goole and his importance to the
play.
Think about:
•
•
•
•
his arrival;
the way he speaks and behaves with different characters;
the impact he has on the Birlings and Gerald Croft;
anything else you think important.
G/F
Simple and general comments.
E/D
More focus, with simple discussion and awareness at D.
C
Detailed, thoughtful responses, well rooted in the text.
65
[20]
6.
The Merchant of Venice
When marking answers on this text, please remember that its characters can be
interpreted in very different ways!
(a)
Give advice to the character playing Antonio on how he should present
the character to an audience.
Think about:
•
•
•
•
his friendship with Bassanio;
his relationship with Shylock;
the trial scene;
the end of the play.
[ 20 ]
As with all such questions, mark according to the matrix, using as a guide to
what extent the candidate shows knowledge and understanding of the
character - i.e. what would be useful to an actor. Candidates will address it in
different ways , so you need to be receptive to different approaches.
(b)
G/F
Answers will be general and underdeveloped.
E/D
Answers will still be dependent on relatively simple narrative, but with
some discussion of Antonio and his relationships at D.
C
Answers will be based on a sound knowledge of the play, and provide
a valid reading of Antonio's character.
The Merchant of Venice has been described as a story about love and hate.
Write about some of the ways in which either love or hate is shown in the
play.
Think about:
•
•
characters who love or hate;
parts of the play where love or hate is shown.
G/F
Answers will be simple and general.
E/D
Answers will be more focused, with some discussion/awareness at D.
C
Answers will be detailed and engaged.
[20]
N.B. Do not penalise those candidates who try to write on both love and hate;
judge according to the matrix.
66
7.
Romeo and Juliet
(a)
Give advice to the actor playing Romeo on how he should present the
character to an audience.
Think about:
•
•
•
•
•
his behaviour at the beginning of the play;
his relationship with Juliet;
his relationship with Friar Lawrence;
the fight with Tybalt;
the end of the play.
[20]
As with all such questions, mark according to the matrix, using as a guide to
what extent the candidate shows knowledge and understanding of the
character - i.e. what would be useful to an actor. Candidates will address it in
different ways , so you need to be receptive to different approaches.
(b)
G/F
Answers will be underdeveloped and based on simple, patchy
narrative.
E/D
Answers will still be based on fairly simple narrative, but will have
more focus, and some discussion of Romeo and his relationships at D.
C
Answers will be based on a sound knowledge of the text, and will
present a valid interpretation of Romeo's character.
There are several occasions in Romeo and Juliet when there is fighting or
arguing between characters. Choose two of these occasions and write
about them. In each case, explain how the fight or argument is important
to the play as a whole.
[20]
Should candidates disregard the rubric re two occasions and write about
either one or more than two, do not penalise, but judge according to the
matrix.
G/F
Answers will be general, with little, if any, reference to the text.
E/D
More focus and selection, with some discussion and awareness,
particularly at D.
C
Detailed and thoughtful answers, revealing a sound knowledge of the
text.
67
8.
Othello
(a)
Imagine you are Cassio. At the end of the play you think back over its
events. Write down your thoughts and feelings.
You may wish to think about:
(b)
•
•
•
•
•
your job as Othello's lieutenant;
losing your job as Othello's lieutenant;
how you tried to get your job back;
your relationship with Bianca;
the events at the end of the play.
G/F
Answers will be based on simple, probably incomplete, narrative, with
only a vague, if any sense of Cassio.
E/D
Answers will be more focused, with some reference to some of the
bullet points, and empathy at D.
C
Answers will be quite convincing in tone and supported by apt
references to the text.
[20]
Write about Othello's relationship with Desdemona and explain how it
changed.
Think about:
•
•
•
•
•
how Othello and Desdemona met and married;
the differences between Othello and Desdemona;
what happened in Cyprus;
the influence of Iago;
anything else you think important.
G/F
Answers will be based on a simple, partial, retelling of all, or parts of,
the play.
E/D
Answers will be dependent on fairly simple narrative, with emerging
discussion/empathy at D.
C
Answers will be considered, rooted in a solid knowledge of the text,
with the bullet points probably addressed with some success.
68
[20]
9.
Hobson's Choice
(a)
(b)
For which character in Hobson's Choice do you have the most sympathy?
Give reasons for what you say.
[20]
G/F
Answers will be brief and general.
E/D
Answers will be more focused, with some discussion/empathy at D.
C
Answers will be detailed and engaged,
Write about how the relationship between Willie and Maggie develops,
from when Maggie first notices him, to the end of the play.
[20]
G/F
Answers will be dependent on simple, patchy narrative.
E/D
Answers will be more focused, with some discussion at D.
C
Answers will be rooted in a sound knowledge of the text, and reveal
some understanding of Maggie and Willie.
69
10.
Blood Brothers
(a)
What do you think about Mrs. Lyons?
Think about:
(b)
•
•
•
•
•
the deal with Mrs. Johnstone;
her relationship with her husband;
her relationship with Edward;
the end of the play;
anything else you think important.
G/F
Simple, general responses, with sketchy knowledge of the text.
E/D
More heed taken of bullet points, with some discussion (perhaps
empathy!) at D.
C
Detailed and considered responses, revealing secure knowledge of the
text.
[20]
Write about the importance of social class in Blood Brothers.
Think about:
•
•
•
•
the differences between Mrs. Johnstone and Mrs. Lyons;
the different upbringings Mickey and Edward had;
the differences between Mickey and Edward as adults;
the impact of social class on the events of the play.
G/F
Answers will probably be based on a simple, partial, retelling of the
play.
E/D
Answers will be dependent on simple narrative, with discussion and
awareness emerging at D.
C
Answers will be considered, rooted in a solid knowledge of the text,
and the bullet points addressed with some success.
GCSE English Literature MS (June 2007)JD
70
[20]
71
Welsh Joint Education Committee
245 Western Avenue
Cardiff. CF5 2YX
Tel. No. 029 2026 5000
Fax. 029 2057 5994
E-mail: [email protected]
website: www.wjec.co.uk/exams.html