LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 1
For teaching from 2011
For awards from 2013
LEVEL 1 / LEVEL 2 CERTIFICATE IN
ENGLISH LITERATURE
SPECIMEN ASSESSMENT MATERIALS
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 3
Contents
Page
Question Papers
English Literature - Paper 1
5
English Literature - Paper 2
27
Mark Schemes
English Literature - Paper 1
33
English Literature - Paper 2
47
Assessment Grid
53
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 5
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE
PAPER 1
Specimen Assessment Materials
For teaching from 2011
For examination from 2013
2 HOURS
SECTION A
Question
1.
2.
3.
4.
5.
Pages
Jane Eyre
Brick Lane
Tess of the D'Urbervilles
Brighton Rock
Brave New World
6-7
8-9
10-11
12-13
14-15
SECTION B
6.
7.
8.
9.
10.
Hamlet
The Browning Version
The Crucible
A Raisin in the Sun
The Lost Prince
16-17
18-19
20-21
22-23
24-25
ADDITIONAL MATERIAL
Twelve page answer booklet.
INSTRUCTIONS TO CANDIDATES
Answer both Section A and Section B.
Answer one question in Section A and one question in Section B.
INFORMATION FOR CANDIDATES
The number of marks is given in brackets at the end of each question or part-question.
You are reminded that assessment will take into account the quality of written
communication used in your answers.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 6
SECTION A
1.
Jane Eyre
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Charlotte Bronte creates mood
and atmosphere here.
[10]
Either;
(b)
Choose one or two female characters and discuss how Bronte presents
women.
[20]
Or,
(c)
Rochester describes himself to Jane as "a poor blind man ... a crippled man
... whom you will have to wait on". How is Rochester presented in the novel?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 7
But it was not fated that I should sleep that night. A dream had scarcely approached my ear,
when it fled affrighted, scared by a marrow-freezing incident enough.
This was a demoniac laugh—low, suppressed, and deep—uttered, as it seemed, at the very
keyhole of my chamber door. The head of my bed was near the door, and I thought at first
the goblin-laughter stood at my bedside—or rather crouched by my pillow: but I rose, looked
round, and could see nothing; while, as I still gazed, the unnatural sound was reiterated: and
I knew it came from behind the panels. My first impulse was to rise and fasten the bolt; my
next again to cry out, "Who is there?"
Something gurgled and moaned. Ere long, steps retreated up the gallery towards the thirdstorey staircase: a door had lately been made to shut in that staircase; I heard it open and
close and all was still.
'Was that Grace Poole? and is she possessed with a devil?' thought I. Impossible now to
remain longer by myself; I must go to Mrs Fairfax. I hurried on my frock and a shawl; I
withdrew the bolt and opened the door with a trembling hand. There was a candle burning
just outside, and on the matting in the gallery. I was surprised at this circumstance: but still
more was I amazed to perceive the air quite dim, as if filled with smoke: and, while looking to
the right hand and left, to find whence these blue wreaths issued, I became further aware of
a strong smell of burning.
Something creaked: it was a door ajar; and that door was Mr Rochester's, and the smoke
rushed in a cloud from thence. I thought no more of Mrs Fairfax; I thought no more of Grace
Poole, or the laugh: in an instant, I was within the chamber. Tongues of flame darted round
the bed: the curtains were on fire. In the midst of blaze and vapour, Mr Rochester lay
stretched motionless, in deep sleep.
'Wake ! wake', I cried. I shook him, but he only murmured and turned: the smoke had
stupefied him. Not a moment could be lost: the very sheets were kindling. I rushed to his
basin and ewer; fortunately, one was wide and the other deep, and both were filled with
water. I heaved them up, deluged the bed and its occupant, flew back to my own room,
brought my own water-jug, baptized the couch afresh, and, by God's aid, succeeded in
extinguishing the flames which were devouring it.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 8
2.
Brick Lane
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Monica Ali creates mood and
atmosphere here.
[10]
Either,
(b)
How does the presentation of Chanu create sympathy for him and his
situation?
[20]
Or,
(c)
How does Monica Ali present the Bangladeshi community of East London?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 9
Nazneen walked. She walked to the end of Brick Lane and turned right. Four blocks
down she crossed the road (she waited next to a woman and stepped out with her,
like a calf with its mother) and took a side street. She turned down the first right, and
then went left. From there she took every second right and every second left until
she realized she was leaving herself a trail. Then she turned off at random, began to
run, limped for a while to save her ankle, and thought she had come in a circle. The
buildings seemed familiar. She sensed rather than saw, because she had taken care
not to notice. But now she slowed down and looked around her. She looked up at a
building as she passed. It was constructed almost entirely of glass, with a few thin
rivets of steel holding it together. The entrance was like a glass fan, rotating slowly,
sucking people in, wafting others out. Inside, on a raised dais, a woman behind a
glass desk crossed and uncrossed her thin legs. She wedged a telephone receiver
between her ear and shoulder and chewed on a finger-nail. Nazneen craned her
head back and saw that the glass above became dark as a night pond. The building
was without end. Above, somewhere, it crushed the clouds. The next building and
the one opposite were white stone palaces. There were steps up to the entrances
and colonnades across the front. Men in dark suits trotted briskly up and down the
steps, in pairs or in threes. They barked to each other and nodded sombrely.
Sometimes one clapped a hand on his companion's shoulder and Nazneen saw that
this was not for reassurance, but for emphasis. Every person who brushed past her
on the pavement, every back she saw, was on a private, urgent mission to execute a
precise and demanding plan: to get a promotion today, to be exactly on time for an
appointment, to buy a newspaper with the right coins so that the exchange was swift
and seamless, to walk without wasting a second and to reach the roadside just as the
lights turned red. Nazneen, hobbling and halting, began to be aware of herself.
Without a coat, without a suit, without a white face, without a destination. A
leafshake of fear — or was it excitement? — passed through her legs.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 10
3.
Tess of the D'Urbervilles
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
Look closely at how Tess speaks and behaves here. What does it reveal
about her character at this point in the novel?
[10]
Either,
(b)
How does Hardy present men in Victorian society in the novel?
[20]
'Tess is a victim of circumstances.' How is Tess presented as a victim?
[20]
Or,
(c)
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 11
But Tess, really tired by this time, flung herself upon an oblong slab that lay close at hand,
and was sheltered from the wind by a pillar. Owing to the action of the sun during the
preceding day the stone was warm and dry, in comforting contrast to the rough and chill
grass around, which had damped her skirts and shoes.
'I don't want to go any further, Angel,' she said stretching out her hand for his. 'Can't we bide
here?'
'I fear not. This spot is visible for miles by day, although it does not seem so now.'
'One of my mother's people was a shepherd hereabouts, now I think of it. And you used to
say at Talbothays that I was a heathen. So now I am at home.'
He knelt down beside her outstretched form, and put his lips upon hers.
'Sleepy are you, dear? I think you are lying on an altar.'
'I like very much to be here,' she murmured. 'It is so solemn and lonely—after my great
happiness—with nothing but the sky above my face. It seems as if there were no folk in the
world but we two; and I wish there were not—except 'Liza-Lu.'
Clare thought she might as well rest here till it should get a little lighter, and he flung his
overcoat upon her, and sat down by her side.
'Angel, if anything happens to me, will you watch over 'Liza-Lu for my sake?' she asked
when they had listened a long time to the wind among the pillars.
'I will.'
'She is so good and simple and pure. O, Angel—I wish you would marry her if you lose me,
as you will do shortly. O, if you would!'
'If I lose you I lose all! And she is my sister-in-law.'
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 12
4.
Brighton Rock
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Graham Greene creates mood
and atmosphere here.
[10]
Either,
(b)
How does Graham Greene present the relationship between Pinkie and Rose
in the novel?
[20]
Or,
(c)
How is the character of Ida presented in the novel?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 13
Hale knew, before he had been in Brighton three hours, that they meant to murder him. With
his inky fingers and his bitten nails, his manner cynical and nervous, anybody could tell he
didn't belong—belong to the early summer sun, the cool Whitsun wind off the sea, the
holiday crowd. They came in by train from Victoria every five minutes, rocked down Queen's
Road standing on the tops of the little local trams, stepped off in bewildered multitudes into
fresh and glittering air: the new silver paint sparkled on the piers, the cream houses ran
away into the west like a pale Victorian water-colour; a race in miniature motors, a band
playing, flower gardens in bloom below the front, an aeroplane advertising something for the
health in pale vanishing clouds across the sky.
It had seemed quite easy to Hale to be lost in Brighton. Fifty thousand people besides
himself were down for the day, and for quite a while he gave himself up to the good day,
drinking gins and tonics wherever his programme allowed. For he had to stick closely to a
programme: from ten till eleven Queen's Road and Castle Square, from eleven till twelve the
Aquarium and Palace Pier, twelve till one the front between the Old Ship and West Pier,
back for lunch between one and two in any restaurant he chose round the Castle Square,
and after that he had to make his way all down the parade to the West Pier and then to the
station by the Hove streets. These were the limits of his absurd and widely advertised
sentry-go.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 14
5.
Brave New World
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Aldous Huxley creates mood
and atmosphere here.
[10]
Either,
(b)
"The inhabitants of the brave new world are happy consumers." How are the
characters presented as "happy consumers" in the novel?
[20]
Or,
(c)
How does the presentation of John the Savage create sympathy for him and
his situation in the novel?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 15
Bent over their instruments, three hundred Fertilizers were plunged, as the Director of
Hatcheries and Conditioning entered the room, in the scarcely breathing silence, the
absentminded, soliloquizing hum or whistle, of absorbed concentration. A troop of newly
arrived students, very young, pink and callow, followed nervously, rather abjectly, at the
Director's heels. Each of them carried a note-book, in which, whenever the great man
spoke, he desperately scribbled. Straight from the horse's mouth. It was a rare privilege.
The DHC for Central London always made a point of personally conducting his new students
round the various departments.
'Just to give you a general idea,' he would explain to them. For of course some sort of
general idea they must have, if they were to do their work intelligently – though as little of
one, if they were to be good and happy members of society, as possible. For particulars, as
everyone knows, make for virtue and happiness; generalities are intellectually necessary
evils. Not philosophers, but fret-sawyers and stamp collectors compose the backbone of
society.
'Tomorrow,' he would add, smiling at them with a slightly menacing geniality, 'you'll be
settling down to serious work. You won't have time for generalities. Meanwhile ...'
Meanwhile, it was a privilege. Straight from the horse's mouth into the note-book. The boys
scribbled like mad.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 16
SECTION B
6.
Hamlet
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Shakespeare creates mood
and atmosphere here.
[10]
Either,
(b)
How does the presentation of Claudius create sympathy for him and his
situation in the play?
[20]
Or,
(c)
How are relationships between parents and children presented in the play?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 17
Enter Francisco and Barnardo, two sentinels
BARNARDO
FRANCISCO
BARNARDO
FRANCISCO
BARNARDO
FRANSICO
BARNARDO
FRANSICO
Who's there?
Nay, answer me. Stand and unfold yourself.
Long live the King!
Barnardo?
He.
You come most carefully upon your hour.
'Tis now struck twelve. Get thee to bed, Francisco.
For this relief much thanks. 'Tis bitter cold,
And I am sick at heart.
BARNARDO
Have you had quiet guard?
FRANSICO
Not a mouse stirring.
BARNARDO
Well, good night.
If you do meet Horatio and Marcellus,
The rivals of my watch, bid them make haste.
Enter Horatio and Marcellus
FRANCISCO
I think I hear them. Stand ho! Who is there?
HORATIO
Friends to this ground.
MARCELLUS
And liegemen to the Dane.
FRANCISCO
Give you good night.
MARCELLUS
O, farewell, honest soldier.
Who hath relieved you?
FRANCISCO
Barnardo hath my place.
Give you good night.
MARCELLUS
Holla, Barnardo!
BARNARDO
Say What, is Horatio there?
HORATIO
A piece of him.
BARNARDO
Welcome, Horatio. Welcome, good Marcellus.
MARCELLUS
What, has this thing appeared again tonight?
BARNARDO
I have seen nothing.
MARCELLUS
Horatio says 'tis but our fantasy,
And will not let belief take hold of him
Touching this dreaded sight twice seen of us.
Therefore I have entreated him along
With us to watch the minutes of this night,
That, if again this apparition come,
He may approve our eyes and speak to it.
HORATIO
Tush, tush, 'twill not appear.
BARNARDO
Sit down awhile,
And let us once again assail your ears,
That are so fortified against our story;
What we have two nights seen.
HORATIO
Well, sit we down,
And let us hear Barnardo speak of this.
BARNARDO
Last night of all,
When yond same star that's westward from the pole
Had made his course t'illume that part of heaven
Where it now burns, Marcellus and myself,
The bell then beating one Enter the Ghost
MARCELLUS
BARNARDO
Peace, break three off. Look where it comes again.
In the same figure like the King that's dead.
Exit
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 18
7.
The Browning Version
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
Look closely at how the characters speak and behave here. How does it
create mood and atmosphere?
[10]
Either,
(b)
How does Rattigan present the relationship between Andrew Crocker-Harris
and Frank Hunter in the play?
[20]
Or,
(c)
How is life in a public school presented in the play?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 19
MILLIE
FRANK
MILLIE
FRANK
MILLIE
ANDREW
FRANK
ANDREW
MILLIE
FRANK
ANDREW
MILLIE
ANDREW
MILLIE
ANDREW
MILLIE
ANDREW
MILLIE
FRANK
MILLIE
FRANK
MILLIE
FRANK
MILLIE
FRANK
MILLIE
FRANK
MILLIE
Hullo, Frank. I'm glad you're in time. (She picks up the medicine bottle and the glass
from the table and puts them aside. To FRANK.) Lend me a cigarette. I've been
gasping for one for an hour.
FRANK once more extends his case and MILLIE takes a cigarette which he lights.
Your husband has just had a very nice present.
Oh? Who from?
Taplow.
(smiling) Oh, Taplow. Let's see. (She takes the book from ANDREW)
He bought it with his own pocket-money, Millie, and wrote a very charming inscription
inside.
God looks kindly upon a gracious master.
No – not gracious – gentle, I think– tδν kpatoûvta μaλθαкώς – yes I think gentle is the
better translation. I would rather have had this present than almost anything I can
think of.
Pause. MILLIE laughs suddenly..
The artful little beast –
(Urgently) Millie –
Artful? Why artful?
MILLIE looks at FRANK who is staring meaningly at her.
Why artful, Millie?
MILLIE laughs again, quite lightly, and turns from FRANK to ANDREW.
My dear, because I came into this room this afternoon to find him giving an imitation
of you to Frank here. Obviously he was scared still I was going to tell you, and you'd
ditch his remove or something. I don't blame him for trying a few bobs' worth of
appeasement.
She hands the book back to ANDREW who stands quite still looking down at it.
(Nodding, at length) I see. (He puts the book gently on the table and walks to the
door.)
Where are you going, dear? Dinner's nearly ready.
Only to my room for a moment. I won't be long.
He takes the medicine bottle and a glass.
You've just had a dose of that, dear. I shouldn't have another, if I were you.
I am allowed two at a time.
Well, see it is two and no more, won't you?
ANDREW meets her eye for a moment, at the door, then goes out quietly.
MILLIE turns to FRANK with an expression half defiant and half ashamed.
(With a note of real repulsion in his voice.) Millie! My God! How could you?
Well, why not? Why should he be allowed his comforting little illusions? I am not.
If you don't, I will.
I shouldn't if I were you. It'll only make things worse. He won't believe you.
(Moving.) We'll see about that.
Go ahead. See what happens. He knows I don't lie to him. He knows what I told
him was the truth, and he won't like your sympathy. He'll think you're making fun of
him, like Taplow.
FRANK hesitates at the door then comes slowly back into the room. MILLIE watches
him, a little frightened.
(At length.) We're finished, Millie – you and I.
(laughing) Frank, really! Don't be hysterical.
I'm not, I mean it.
(Lightly) Oh, yes, you mean it. Of course you mean it. Now just sit down, dear, and
relax and forget all about artful little boys and their five-bob presents, and talk to me.
She touches his arm. He moves away from her brusquely.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 20
8.
The Crucible
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
Look closely at how Elizabeth and John Proctor speak and behave here.
What does it reveal about their relationship at this point in the play?
[10]
Either,
(b)
How is John Proctor presented in the play?
[20]
With reference to two or three characters, write about how religion is
presented in the play.
[20]
Or,
(c)
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 21
The common room of Proctor's house, eight days later.
At the right is a door opening on the fields outside. A fireplace is at the left, and behind it a stairway
leading upstairs. It is the low, dark and rather long living-room of the time. As the curtain rises, the room
is empty. From above ELIZABETH is heard softly singing to the children. Presently the door opens and
JOHN PROCTOR enters, carrying his gun. He glances about the room as he comes toward the
fireplace, then halts for an instant as he hears her singing. He continues on to the fireplace, leans the
gun against the wall as he swings a pot out of the fire and smells it. Then he lifts out the ladle and
tastes. He is not quite pleased. He reaches to a cupboard, takes a pinch of salt, and drops it into the
pot. As he is tasting again, her footsteps are heard on the stair. He swings the pot into the fireplace and
goes to a basin and washes his hands and face. ELIZABETH enters.
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
PROCTOR
ELIZABETH
What keeps you so late? It's almost dark.
I were planting far out to the forest edge.
Oh, you're done then.
Aye, the farm is seeded. The boys asleep?
They will be soon. [And she goes to the fireplace, proceeds to ladle up stew in a dish.]
Pray now for a fair summer.
Aye.
Are you well today?
I am [She brings the plate to the table, and indicating the food] It is a rabbit.
[going to the table]: Oh, is it! In Jonathan's trap?
No, she walked into the house this afternoon; I found her sittin' in the corner like she
came to visit.
Oh, that's a good sign walkin' in.
Pray God. It hurt my heart to strip her, poor rabbit. [She sits and watches him taste
it.]
It's well seasoned.
[blushing with pleasure] I took great care. She's tender?
Aye. [He eats. She watches him.] I think we'll see green fields soon. It's warm as
blood beneath the clods.
That's well. [Proctor eats, then looks up.]
If the crop is good I'll buy George Jacob's heifer. How would that please you?
Aye, it would.
[with a grin]: I mean to please you, Elizabeth.
[it is hard to say]: I know it, John.
[He gets up, goes to her, kisses her. She receives it. With a certain disappointment,
he returns to the table.]
[as gently as he can]: Cider?
[with a sense of reprimanding herself for having forgot] Aye! [She gets up and goes
and pours a glass for him. He now arches his back.]
This farm's a continent when you go foot by foot droppin' seeds in it.
[coming with the cider]: It must be.
[drinks a long draught, then, putting the glass down]: You ought to bring some
flowers in the house.
Oh, I forgot! I will tomorrow.
It's winter in here yet. On Sunday let you come with me, and we'll walk the farm
together; I never see such a load of flowers on the earth. [With good feeling he goes
and looks up at the sky through the open doorway.] Lilacs have a purple smell. Lilac
is the smell of nightfall, I think. Massachusetts is a beauty in the spring!
Aye, it is.
[There is a pause. She is watching him from the table as he stands there absorbing
the night. It is as though she would speak but cannot. Instead, now, she takes up his
plate and glass and fork and goes with them to the basin. Her back is turned to him.
He turns to her and watches her. A sense of their separation rises.]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 22
9.
A Raisin in the Sun
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Lorraine Hansberry creates
mood and atmosphere.
[10]
Either,
(b)
How does the presentation of Beneatha create sympathy for her and her
situation?
[20]
Or,
(c)
How is the theme of dreams presented in the play?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 23
Time: An hour later.
At curtain, there is a sullen light of gloom in the living-room, grey light not unlike that which began
the first scene of Act One. At left we can see WALTER within his room, alone with himself. He is
stretched out on the bed, his shirt out and open, his arms under his head. He does not smoke, he
does not cry out, he merely lies there, looking up at the ceiling, much as if he were alone in the
world.
In the living-room BENEATHA sits at the table, still surrounded by the now almost ominous packing
crates. She sits looking off. We feel that there is a mood struck perhaps an hour before, and it
lingers now, full of the empty sound of profound disappointment. We see on a line from her
brother's bedroom the sameness of their attitudes. Presently the bell rings and BENEATHA rises
without ambition or interest in answering. It is ASAGAI, smiling broadly, striding into the room with
energy and happy expectation and conversation.
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
ASAGAI
BENEATHA
I came over ... I had some free time. I thought I might help with the packing.
Ah, I like the look of packing crates! A household in preparation for a journey! It
depresses some people ... but for me ... it is another feeling. Something full of
the flow of life, do you understand? Movement, progress ... It makes me think of
Africa.
Africa!
What kind of a mood is this? Have I told you how deeply you move me?
He gave away the money, Asagai ...
Who gave away what money?
The insurance money. My brother gave it away.
Gave it away?
He made an investment! With a man even Travis wouldn't have trusted.
And it's gone?
Gone!
I'm very sorry ... And you, now?
Me? ... Me? ... Me I'm nothing ... Me. When I was very small ... we used to take
our sleds out in the wintertime and the only hills we had were the ice-covered
stone steps of some houses down the street. And we used to fill them in with
snow and make them smooth and slide down them all day ... and it was very
dangerous you know ... far too steep ... and sure enough one day a kid named
Rufus came down too fast and hit the sidewalk ... and we saw his face just split
open right there in front of us ... And I remember standing there looking at his
bloody open face thinking that was the end of Rufus. But the ambulance came
and they took him to the hospital and they fixed the broken bones and they
sewed it all up ... and the next time I saw Rufus he just had a little line down the
middle of his face ... I never got over that ...
WALTER sits up, listening on the bed. Throughout this scene it is important that
we feel his reaction at all times, that he visibly responds to the words of his
sister and ASAGAI.
What?
That that was what one person could do for another, fix him up – sew up the
problem, make him all right again. That was the most marvellous thing in the
world ... I wanted to do that. I always thought it was the one concrete thing in
the world that a human being could do. Fix up the sick, you know – and make
them whole again. This was truly being God.
You wanted to be God?
No – I wanted to cure. It used to be so important to me I wanted to cure. It
used to matter. I used to care. I mean about people and how their bodies hurt
...
And you've stopped caring?
Yes - I think so.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 24
10.
The Lost Prince
Answer part (a) and either part (b) or part (c).
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b) or part (c).
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Stephen Poliakoff creates
mood and atmosphere.
[10]
Either,
(b)
How is Prince George presented in the play?
[20]
Or,
(c)
How does Stephen Poliakoff present the relationship between Prince John
and his parents in the play?
[20]
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 25
INT. BUCKINGHAM PALACE. THE BALLROOM.
NIGHT.
We cut to a wide shot of the banquet. The light is low, the table decoration is plain, the guest
list much smaller than the great banquet before the outbreak of war, the guests are still very
cold, and look immensely pale. The atmosphere is sepulchral, hardly anyone is talking, just the
sound of the heavy rain. There is a sadness and fragility in the adult faces. On their plates we
see small pieces of a very brown fish. STAMFORDHAM is sitting near the middle of the table
watching everybody with beady eyes. YOUNG GEORGE is standing in the doorway among the
flunkeys. He whispers to one of them.
YOUNG GEORGE
I don't see a special table plan any more ... just all the bishops
together ... the generals together ...
GEORGE, the King, is eating his fish very fast at one end of the table,
hardly looking up at anybody. MARY is trying to convey a greater
sense of occasion and calm at the other end of the table.
GEORGE
Two courses ... we only serve two courses any more ... and no
alcohol as you can see ... And the fish is an attempt at my favourite
dish Bombay Duck, but we can't get the right ingredients any more,
so they've tried to make it with kippers ... (He prods at the fish.) And
it's pretty disgusting I think you'll agree ...
There is a small nervous laugh around the table. LADY
WARRENDER, a talkative woman of about forty, tries to cheer the
King up.
LADY WARRENDER
I think it's refreshing to have such small portions – so appropriate! I
went to the Maitlands last week and they were still serving six
courses, carrying on quite simply as if nothing had happened ... well,
that's not completely true, when the war started it was eight courses –
so in three years they've gone down to six ... (She laughs.) ... a
sacrifice of a sort!
We cut to a high shot, YOUNG GEORGE staring through the screen
from the gallery like he did with JOHNNIE before the war. Then there
was such an air of confidence, now when he stares down he sees
shivering nervous adults and this virtual silence as his father
continues to look at nobody.
For an instant YOUNG GEORGE imagines JOHNNIE with him
watching it all.
We cut down to the level of the table as LADY WARRENDER tries
again, this time to the Queen
You know, Your Majesty, I heard the most stupid thing I have ever
heard in my life last week ...
MARY
The most stupid thing ever ... that is some claim ... what was it and
where did you hear it ...?
LADY WARRENDER
(momentarily flustered): Well, I forget exactly where it was ... maybe
it was at the Maitlands again or maybe it wasn't – but I heard such a
foolish comment ... that there are rumours going around (She waves
her hand airily.) amongst the people and so forth ... that the royal
family must be pro-German because you have a German name ...!!
We see immediate alarm in MARY's eyes. GEORGE has half heard
the remark.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 27
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE
PAPER 2
Specimen Assessment Materials
For teaching from 2011
For examination from 2013
2 HOURS
SECTION A
Question
1.
Pages
Poems from Other Centuries
28
SECTION B
2.
Poetry
28
SECTION C
3.
4.
Prose
Drama
29
30-31
ADDITIONAL MATERIAL
Twelve page answer booklet.
Booklet of poems on specified theme.
INSTRUCTIONS TO CANDIDATES
Answer Section A, Section B and Section C.
Answer the question in Section A, the question in Section B, and one question in Section C.
INFORMATION FOR CANDIDATES
The number of marks is given in brackets at the end of each question or part-question.
You are reminded that assessment will take into account the quality of written
communication used in your answers.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 28
SECTION A
1.
Poems from Other Centuries
Experiences of Nature
Choose two poems from the booklet which create the atmosphere of a particular
time of year. Write about how the poet(s) create(s) this atmosphere, the links
between the poems, and the effect each poem has on you.
[20]
SECTION B
2.
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 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 Richest Poor Man in the Valley
On the outside
he seemed older than he was.
His face was like a weather map
full of bad weather
while inside
his heart was fat with sun.
With his two dogs
he cleared a thin silver path
across the Black Mountain.
And when winter
kicked in
they brought his sheep
down from the top
like sulky clouds.
Harry didn't care for things
that other people prize
like money, houses, bank accounts
and lies.
He was living in a caravan
until the day he died.
But at his funeral
his friends' tears
fell like a thousand
diamonds.
LINDSAY MACRAE
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 29
SECTION C
Answer either Question 3 or Question 4.
3.
The extract below is the opening to a novel set in London in the winter of 2007. With
close reference to the extract, show how the writer creates mood and atmosphere.
[10]
Five o'clock and freezing. Piledrivers and jackhammers were blasting into the
wasteland by the side of West Cross Route in Shepherd's Bush. With a bare ten
months to the scheduled opening of Europe's largest urban shopping centre, the
sand-covered site was showing only skeletal girders and joists under red cranes,
though a peppermint façade had already been tacked on to the eastward side. This
was not a retail park with trees and benches, but a compression of trade in a city
centre, in which migrant labour was paid by foreign capital to squeeze out layers of
profit from any Londoner with credit. At their new 'Emirates' Stadium, meanwhile,
named for an Arab airline, Arsenal of North London were kicking off under floodlights
against Chelsea from the West, while the goalkeepers – one Czech, one Spanish –
jumped up and down and beat their ribs to keep warm. At nearby Upton Park, the
supporters were leaving the ground after a home defeat; and only a few streets away
from the Boleyn Ground, with its East End mixture of sentimentality and grievance, a
solitary woman paid her respects to a grandfather – came from Lithuania some
eighty years ago – as she stood by his grave in the overflowing cemetery of the East
Ham Synagogue. Up the road in Victoria Park, the last of the dog-walkers dragged
their mongrels back to flats in Hackney and Bow, grey high-rises marked with
satellite dishes, like ears cupped to the outside worlds in the hope of gossip or
escape; while in a minicab that nosed along Dalston Road on its way back to base,
the dashboard thermometer touched minus two degrees.
In his small rooms in Chelsea, Gabriel Northwood, a barrister in his middle thirties,
was reading the Koran, and shivering. He practised civil law, when he practised
anything at all; this meant that he was not involved in 'getting criminals off', but in
representing people in a dispute whose outcome would bring financial compensation
to the claimants if they won. For a long time, and for reasons he didn't start to
understand, Gabriel had received no instructions from solicitors – the branch of the
legal profession he depended on for work. Then a case had landed in his lap. It was
to do with a man who had thrown himself under a Tube train, and concerned the
extent to which the transport provider might be deemed responsible for failing to
provide adequate safety precautions. Almost immediately, a second brief had
followed: from a local education authority being sued by the parents of a Muslim girl
in Leicester for not allowing her to wear traditional dress to school. With little other
preparatory work to do, Gabriel thought he might as well try to understand the faith
whose demands he was about to encounter; and any educated person these days,
he told himself, really ought to have read the Koran.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 30
4.
The extract which follows is a dialogue between a married couple who run a pub.
Look closely at how the characters speak and behave in this extract. What does it
reveal about their relationship?
[10]
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLORD
LANDLADY
LANDLORD
LANDLORD
I can't stand it no more! The blame hurts and burns too much.
I never blamed you.
Liar.
I did not blame you, all right?
Who did you blame then, yourself?
No.
Who do you blame then, him?
Don't say things like that!
What, leave him out of this, like he never existed, is that what you're
saying?
Stop. Stop with your filth!
What? ... You're mad.
(back to work) Leave the dead.
God you're worse than me.
(working on) I'm worse than no one, just leave it, eh?
Look we've got to get this out for our own sanity.
You worry about that, I'm all right.
It's rotted us.
Well, what's the point of bothering then?
You cold gone bastard.
Aye.
She grabs up a glass to him. He turns to her, lifts his chin.
Go on break it and shove it in where it's soft. Go on. (Waits). You
want to, and I don't mind.
She drops glass.
What have we come to?
She turns away.
He stays in that position, chin up.
Pause.
She turns back. She looks at him standing there like that.
Still in that position, like a statue, he speaks. Eyes closed.
I loved it when we all loved. When we all were loving. Him and ...
When we were ... Me and you bickered like we do now, all very
funny, all on the surface, but love was underneath then. Now it's
hate. Hate for sure.
Silence
(Opens eyes) I see him every day. My son. (pause) I remember
when he could ... Pulling at the crates like his Dad. He thought he
could do it, didn't he?
I see him here like as ...
In his pyjamas.
At night his hair was always ... (Touches his own head) Peeping in
the pub. You'd shout, but I'd always let him in, and lift him up and on
the counter.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 31
Oh God, how do you die when you're seven years old.
Covers his eyes.
Pause
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
LANDLADY
LANDLORD
When it happened I had to turn away. I thought later I could turn
back, but I couldn't. Nothing healed, it just went harder and harder
and harder.
And you blamed.
No.
Liar!
No
A blaming man. A stupid blaming man.
No.
Yes!
You were driving!
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 33
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE
Specimen assessment materials
First teaching September 2011
First examination Summer 2013
PAPER 1
MARKING GUIDELINES
GENERAL
1.
Expression
Where problems with presentation seriously impede communication, assessment can
be problematic. In such cases you should refer the candidate, after discussion with
your team leader, to me for a second opinion: write Refer to C.E. boldly at the top of the
script. Confused or vague expression is often a result of faulty understanding or
appreciation of a point a candidate is trying to make. Avoid the temptation of saying to
yourself, 'I think I know what s/he means', and awarding credit. Signal this in the margin
by a remark like 'getting somewhere' or 'not quite there'.
2.
Remarks
An ongoing series of remarks in the margin throughout the script is vital. These
remarks will be mainly your identifications of skills as they appear. Remember that your
mark at the end of the exercise must tally with the skills which you have identified. New
examiners have been provided with marked scripts to illustrate this procedure.
There must always be a comment at the end of each section. This should not simply
echo the mark but indicate the salient features of the candidate's performance
established by the C.E. for this examination.
3.
Marking positively
Please approach the marking of scripts with an open mind and mark positively. All the
questions provide opportunities for candidates to make informed, independent
responses, and such opportunities need to be upheld in your marking. You must
evaluate what is offered by the candidate, using the criteria, but without looking for what
might have been presented or for what you might have written in the candidate's place.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 34
4.
5.
Assessment Objectives
AO1
Respond to texts critically and imaginatively; select and evaluate relevant
textual detail to illustrate and support interpretations.
AO2
Explain how language, structure and form contribute to writers' presentation
of ideas, themes and settings.
AO3
Explain links between texts, evaluating writers' different ways of expressing
meaning and achieving effects.
AO4
Relate texts to their social, cultural and historical contexts; explain how texts
have been influential and significant to self and other readers in different
contexts and at different times.
Assessment objective coverage in Paper 1
Assessment
objective
Section A
(a)
Section A
(b) and (c)
Section B
(a)
Section B
(b) and (c)
AO1
9
9
9
9
AO2
9
9
9
9
AO3
AO4
9
9
In determining the appropriate mark band and fine-tuning to a specific mark for
responses to (a), you should give equal weighting to AO1 and AO2.
In determining the appropriate mark band and fine-tuning to a specific mark for
responses to (b) and (c), you should give equal weighting to AO1 and AO2, and
slightly higher weighting to AO4.
6.
'Best-fit' marking
The work for each question should be marked according to the marking criteria using
a 'best-fit' approach. For each of the assessment objectives and quality of written
communication descriptors, select one of the band descriptors that most closely
describes the quality of the work being marked.
•
•
•
where the candidate's work convincingly meets the statement, the highest mark
should be awarded;
where the candidate's work adequately meets the statement, the most
appropriate mark in the middle-range should be awarded;
where the candidate's work just meets the statement, the lowest mark should be
awarded.
Examiners should use the full range of marks available to them and award full marks
in any band for work which fully meets that descriptor. The marks on either side of
the middle mark(s) for 'adequately met' should be used where the standard is lower
or higher than 'adequate' but not the highest or lowest mark in the band.
Marking should be positive, rewarding achievement rather than penalising failure or
omissions.
The award of marks must be directly related to the marking criteria.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 35
BAND CRITERIA
The following descriptions have been provided to indicate the way in which progression within the
criteria is likely to occur. Each successive description assumes demonstration of achievements in
lower bands. You are asked to place work initially within a 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.
Question (a) 10 marks
(a)
0
1-3
Critical response to texts (AO1)
Language, structure and form (AO2)
Nothing written, or what is written is totally irrelevant to the text or not worthy of credit
Candidates rely on a narrative approach
with some misreadings: make a personal
response to the text.
Candidates may make generalised
comments about stylistic effects.
Errors in grammar, punctuation and spelling and lack of structure are likely to impede
communication on occasions. There will be little evidence of specialist vocabulary.
4-5
Candidates display some understanding
of main features: make generalised
reference to relevant aspects of the text,
echoing and paraphrasing; begin to
select relevant detail.
Candidates are able to recognise and make
simple comments on particular features of
style and structure.
Expression will be reasonably clear and the answer will have a basic structure.
Grammar, punctuation and spelling will contain errors but these will not be intrusive;
use of specialist vocabulary will be limited and/or not always appropriate.
6-7
Candidates make more detailed
reference to text; discuss thoroughly,
and increasingly thoughtfully, characters
and relationships; probe the sub-text
with increasing confidence; select and
evaluate relevant textual details;
understand and demonstrate how writers
use ideas, themes and settings to affect
the reader; convey ideas clearly and
appropriately.
Candidates see how different aspects of
style and structure combine to create
effects; show increasingly clear
appreciation of how meanings and ideas
are conveyed through language, structure
and form.
Expression will be mainly clear and fluent and the answer will be quite well structured.
There will be some errors in spelling or punctuation; specialist vocabulary will be used
mainly appropriately.
8-10
Candidates make increasingly assured
selection and incorporation of relevant
detail; are able to speculate/offer
tentative judgements; are able to
evaluate characters/relationships and
attitudes/motives; at the highest level,
consistently handle texts with
confidence, have an overview and ability
to move from the specific to the general;
convey ideas persuasively and cogently
with apt textual support.
Candidates show appreciation of how
writers use language to achieve specific
effects; make assured exploration and
evaluation of the ways meaning, ideas and
feeling are conveyed through language,
structure and form; at the highest level,
make assured analysis of stylistic features.
Expression will be clear and fluent and the answer will be well structured. There will be
few errors in grammar, punctuation and spelling; specialist vocabulary will be used
appropriately.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 36
Questions (b) and (c) 20 marks
(b)
(c)
0
1-7
Critical response to texts
(AO1)
Language, structure and
form (AO2)
Social, cultural and historical
contexts (AO4)
Nothing written, or what is written is totally irrelevant to the text or not worthy of credit
Candidates rely on a narrative
approach with some
misreadings: make a personal
response to the text.
Candidates may make
generalised comments about
stylistic effects.
Candidates make simple comments
on textual background.
Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication
on occasions. There will be little evidence of specialist vocabulary.
8-11
Candidates display some
understanding of main
features: make generalised
reference to relevant aspects
of the text, echoing and
paraphrasing; begin to select
relevant detail.
Candidates are able to
recognise and make simple
comments on particular
features of style and structure.
Candidates show a limited
awareness of social, cultural and
historical contexts; begin to be
aware how social, cultural and
historical context is relevant to
understanding the text(s).
Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation
and spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited
and/or not always appropriate.
12-15
Candidates make more
detailed reference to text;
discuss thoroughly, and
increasingly thoughtfully,
characters and relationships;
probe the sub-text with
increasing confidence; select
and evaluate relevant textual
details; understand and
demonstrate how writers use
ideas, themes and settings to
affect the reader; convey
ideas clearly and
appropriately.
Candidates see how different
aspects of style and structure
combine to create effects;
show increasingly clear
appreciation of how meanings
and ideas are conveyed
through language, structure
and form.
Candidates are able to set texts in
contexts more securely; begin to
see how texts have been influential;
have a clear grasp of social, cultural
and historical context; begin to be
able to relate texts to own and
other's experience.
Expression will be mainly clear and fluent and the answer will be quite well structured. There will be
some errors in spelling or punctuation; specialist vocabulary will be used mainly appropriately.
16-20
Candidates make increasingly
assured selection and
incorporation of relevant
detail; are able to
speculate/offer tentative
judgements; are able to
evaluate
characters/relationships and
attitudes/motives; at the
highest level, consistently
handle texts with confidence,
have an overview and ability
to move from the specific to
the general; convey ideas
persuasively and cogently
with apt textual support.
Candidates show appreciation
of how writers use language
to achieve specific effects;
make assured exploration and
evaluation of the ways
meaning, ideas and feeling
are conveyed through
language, structure and form;
at the highest level, make
assured analysis of stylistic
features.
Candidates show a clear
understanding of social, cultural and
historical contexts; are able to relate
texts to own and others' experience;
are able to identify and comment on
importance of social, cultural and
historical contexts; awareness of
literary tradition shown; at the
highest level, show a clear
understanding of social, cultural and
historical contexts; able to relate
details of text to literary background
and explain how texts have been /
are influential at different times.
Expression will be clear and fluent and the answer will be well structured. There will be few errors in
grammar, punctuation and spelling; specialist vocabulary will be used appropriately.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 37
MARK SCHEME - PAPER 1
SECTION A
1.
Jane Eyre
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Charlotte Bronte creates mood
and atmosphere here.
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects, such as suspense.
Understanding of main events. Generalised references and comments about stylistic effects.
Selection of relevant detail, such as the laughter, fire and the mystery. Awareness of mood and
atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about tension and suspense in the extract. Explanation of how Bronte uses different
aspects of style and structure to create effects. For 7, candidates will explore the detail of the
extract, showing an understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Bronte
uses language and structure to achieve specific effects and convey mood and atmosphere. For
9-10, assured analysis of stylistic features e.g. gothic tension.
Choose one or two female characters and discuss how Bronte presents
women.
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of selected characters; a personal response to what
happens to women in the novel. Makes simple comments on female characters.
Recognising and understanding of main characterising features of selected women in the novel.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding the character(s). Answers will be focused on events, with an awareness and
understanding of their impact on the women’s lives for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of selected
female characters e.g. Jane’s education. Explanation of how different aspects of the novel portray
different representations of women, e.g. in Victorian society. Candidates have a clear grasp of
how social, cultural and historical contexts influence understanding of characters and their
relationship with their society.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Bronte uses language and structure to portray women. For 18-20, assured analysis of
characterisation. Candidates show a clear understanding of social, cultural and historical contexts
and comment on the importance of these contexts.
Rochester describes himself to Jane as "a poor blind man ... a crippled man
... whom you will have to wait on". How is Rochester presented in the novel ?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Rochester’s character; a personal response to what
happens to Rochester in the novel. Makes simple comments on events in Rochester’s life.
Recognising and understanding of main characterising features of Rochester. Awareness of
social, cultural and historical contexts and how these contexts are relevant to understanding the
character of Rochester. Answers will be focused on events, with an awareness and
understanding of their impact Rochester for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of
Rochester’s character e.g. his past. Explanation of how different aspects of Rochester’s character
are portrayed e.g. his attitudes to Bertha/Jane. Candidates have a clear grasp of how social,
cultural and historical contexts influence understanding of Rochester’s character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Bronte uses language and structure to portray Rochester. For 18-20, assured analysis of
characterisation. Candidates show a clear understanding of social, cultural and historical contexts
and comment on the importance of these contexts in evaluating Rochester’s character.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 38
2.
Brick Lane
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Monica Ali creates mood and
atmosphere here.
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects.
Understanding of main events. Generalised references and comments about stylistic effects.
Selection of relevant detail, such as the buildings and people. Awareness of mood and
atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about Nazneen’s sense of wonder. Explanation of how Ali uses different aspects of style
and structure to create effects. For 7, candidates will explore the detail of the extract, showing
an understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Ali
uses language and structure to achieve specific effects and convey mood and atmosphere. For
9-10, assured analysis of stylistic features e.g. Nazneen’s delight in the unfamiliar.
How does the presentation of Chanu create sympathy for him and his
situation?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Chanu’s character; a personal response to what
happens to Chanu in the novel. Makes simple comments on Chanu.
Recognising and understanding of main characterising features of Chanu’s character, such as his
relationship with his wife. Awareness of social, cultural and historical contexts and how these
contexts are relevant to understanding the character(s). Answers will be focused on events, with
an awareness and understanding of their impact on Chanu for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Chanu’s
character, such as his aspirations in Britain. Explanation of how different aspects of the novel
portray different aspects of his character, such as his attitude to his daughter/Dr Azad.
Candidates have a clear grasp of how social, cultural and historical contexts influence
understanding of Chanu’s character, such as his cultural heritage.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Ali uses language and structure to portray Chanu. For 18-20, assured analysis of
characterisation. Candidates show a clear understanding of social, cultural and historical contexts
and comment on the importance of these contexts.
How does Monica Ali present the Bangladeshi community of East London?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of the presentation of the Bangladeshi community; a
personal response to what happens to members of the Bangladeshi community in the novel.
Makes simple comments on events in the community.
Recognising and understanding of main characterising features of the Bangladeshi community.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding the Bangladeshi community. Answers will be focused on events, with an
awareness and understanding of their impact on the Bangladeshi community for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of the
Bangladeshi community, such as the roles of men and women. Explanation of how different
members of the community are portrayed e.g. Mrs Islam/Karim. Candidates have a clear grasp of
how social, cultural and historical contexts influence understanding of the Bangladeshi
community.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Ali uses language and structure to portray the Bangladeshi community. For 18-20,
assured analysis of the experience of the Bangladeshi community. Candidates show a clear
understanding of social, cultural and historical contexts and comment on the importance of these
contexts in evaluating the Bangladeshi community.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 39
3.
Tess of the D'Urbervilles
(a)
Read the extract on the opposite page. Then answer the following question:
Look closely at how Tess speaks and behaves here. What does it reveal
about her character at this point in the novel?
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects.
Understanding of main events. Generalised references and comments about stylistic effects.
Selection of relevant detail, such as Tess’s concern for her sister. Awareness of Tess’s speech
and behaviour and what it reveals about her character for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about Tess’s lack of fear of death. Explanation of how Hardy uses different aspects of style
and structure to create effects. For 7, candidates will explore the detail of the extract, showing
an understanding of Tess’s speech and behaviour and what it reveals about her character.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Hardy
uses language and structure to achieve specific effects. For 9-10, assured analysis of stylistic
features e.g. Tess’s melancholy.
How does Hardy present men in Victorian society in the novel?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of male characters; a personal response to what
happens to men in the novel. Makes simple comments on Victorian society.
Recognising and understanding of main characterising features of selected men in the novel.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding the character(s). Answers will be focused on events, with an awareness and
understanding of their impact on the men’s lives for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of selected
male characters e.g. Alec D’Urberville’s exploitation of Tess. Explanation of how different male
characters in the novel portray different representations of men in Victorian society, such as
Angel Clare/Alec D’Urberville. Candidates have a clear grasp of how social, cultural and historical
contexts influence understanding of characters and their relationship with their society.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Hardy uses language and structure to portray men in Victorian society. For 18-20, assured
analysis of characterisation. Candidates show a clear understanding of social, cultural and
historical contexts and comment on the importance of these contexts.
'Tess is a victim of circumstances.' How is Tess presented as a victim?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Tess’s character; a personal response to what
happens to Tess in the novel. Makes simple comments on events in Tess’s life.
Recognising and understanding of main characterising features of Tess. Awareness of social,
cultural and historical contexts and how these contexts are relevant to understanding the
character of Tess. Answers will be focused on events, with an awareness and understanding of
their impact on Tess for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Tess’s
character. Explanation of how different aspects of Tess’s character are portrayed e.g. her attitude
to Alec D’Urberville/Angel Clare. Candidates have a clear grasp of how social, cultural and
historical contexts influence understanding of Tess’s character e.g. her humble origins.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Hardy uses language and structure to portray Tess. For 18-20, assured analysis of
characterisation. Candidates show a clear understanding of social, cultural and historical contexts
and comment on the importance of these contexts in evaluating Tess’s character.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 40
4.
Brighton Rock
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Graham Greene creates mood
and atmosphere here.
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects, such as suspense.
Understanding of main events. Generalised references and comments about stylistic effects.
Selection of relevant detail, such as the holiday crowd. Awareness of mood and atmosphere for
5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about Hale’s bitten nails or drinking. Explanation of how Greene uses different aspects of
style and structure to create effects. For 7, candidates will explore the detail of the extract,
showing an understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how
Greene uses language and structure to achieve specific effects and convey mood and
atmosphere. For 9-10, assured analysis of stylistic features e.g. tension.
How does Graham Greene present the relationship between Pinkie and Rose
in the novel?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of the relationship between Pinkie and Rose; a
personal response to what happens to Pinkie and Rose in the novel. Makes simple comments on
the society of the time.
Recognising and understanding of main characterising features of the relationship between
Pinkie and Rose. Awareness of social, cultural and historical contexts and how these contexts are
relevant to understanding the relationship. Answers will be focused on events, with an awareness
and understanding of their impact on the relationship between Pinkie and Rose for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of the
relationship between Pinkie and Rose, such as their different attitudes to love. Candidates have
a clear grasp of how social, cultural and historical contexts influence understanding of characters
and their relationship with their society, such as Pinkie’s leadership of the gang.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Greene uses language and structure to portray the relationship between Pinkie and Rose
and the society they live in. For 18-20, assured analysis of characterisation. Candidates show a
clear understanding of social, cultural and historical contexts and comment on the importance of
these contexts.
How is the character of Ida presented in the novel?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Ida’s character; a personal response to what
happens to Ida in the novel. Makes simple comments on events in Ida’s life.
Recognising and understanding of main characterising features of Ida. Awareness of social,
cultural and historical contexts and how these contexts are relevant to understanding the
character of Ida. Answers will be focused on events, such as the murder of Hale, with an
awareness and understanding of their impact on Ida for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of Ida’s
character. Explanation of how different aspects of Ida’s character are portrayed e.g. her concern
for Rose/pursuit of Pinkie. Candidates have a clear grasp of how social, cultural and historical
contexts influence understanding of Ida’s character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Greene uses language and structure to portray Ida. For 18-20, assured analysis of
characterisation. Candidates show a clear understanding of social, cultural and historical contexts
and comment on the importance of these contexts in evaluating Ida’s character.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 41
5.
Brave New World
(a)
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Aldous Huxley creates mood
and atmosphere here.
[10]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects.
Understanding of main events. Generalised references and comments about stylistic effects.
Selection of relevant detail, such as the students’ avid attention. Awareness of mood and
atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about the Director’s views. Explanation of how Huxley uses different aspects of style and
structure to create effects. For 7, candidates will explore the detail of the extract, showing an
understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how
Huxley uses language and structure to achieve specific effects and convey mood and
atmosphere. For 9-10, assured analysis of stylistic features.
"The inhabitants of the brave new world are happy consumers." How are the
characters presented as “happy consumers” in the novel?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of characters; a personal response to what happens to
the characters in the novel. Makes simple comments on the brave new world society.
Recognising and understanding of main characterising features of the ‘happy consumers’
portrayed in the novel. Awareness of social, cultural and historical contexts and how these
contexts are relevant to understanding the character(s). Answers will be focused on events, with
an awareness and understanding of their impact on the characters as ‘happy consumers’ for 1011.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of the way
the characters are portrayed as ‘happy consumers’, such as how drugs and sex are used to
create happiness. Explanation of how different aspects of the novel portray different ways in
which the ‘happy consumers’ are portrayed such as Bernard Marx/the Director. Candidates have
a clear grasp of how social, cultural and historical contexts influence understanding of characters
and their relationship with their society.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Huxley uses language and structure to portray characters as ‘happy consumers’. For 1820, assured analysis of characterisation. Candidates show a clear understanding of social,
cultural and historical contexts and comment on the importance of these contexts.
How does the presentation of John the Savage create sympathy for him and
his situation in the novel?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of John the Savage’s character; a personal response
to what happens to John the Savage in the novel. Makes simple comments on events in John the
Savage’s life.
Recognising and understanding of main characterising features of John the Savage. Awareness
of social, cultural and historical contexts and how these contexts are relevant to understanding
the character of John the Savage. Answers will be focused on events, with an awareness and
understanding of their impact on John the Savage for 10-11.
Detailed references to the novel with thorough, and for 14-15, thoughtful, discussion of John the
Savage’s character e.g. his past. Explanation of how different aspects of John the Savage’s
character are portrayed e.g. his relationship with his father/mother. Candidates have a clear
grasp of how social, cultural and historical contexts influence understanding of John the Savage’s
character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Huxley uses language and structure to portray John the Savage. For 18-20, assured
analysis of characterisation. Candidates show a clear understanding of social, cultural and
historical contexts and comment on the importance of these contexts in evaluating John the
Savage’s character.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 42
6.
Hamlet
(a)
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Shakespeare creates mood
and atmosphere for an audience here.
[10]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects, such as nervousness.
Understanding of main events. Generalised references and comments about stylistic effects,
such as the nervous atmosphere. Selection of relevant detail, such as the expectation of the
ghost’s appearance. Awareness of mood and atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about tension and suspense in the extract. Explanation of how Shakespeare uses different
aspects of style and structure to create effects. For 7, candidates will explore the detail of the
extract, showing an understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how
Shakespeare uses language and structure to achieve specific effects and convey mood and
atmosphere. For 9-10, assured analysis of stylistic features e.g. use of questioning.
How does the presentation of Claudius create sympathy for him and his
situation in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Claudius’ character; a personal response to what
happens to Claudius in the play. Makes simple comments on Claudius’ situation .
Recognising and understanding of main characterising features of Claudius in the play.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding of Claudius’ situation. Answers will be focused on events, with an awareness and
understanding of Claudius for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Claudius’
character e.g. his relationship with Hamlet. Explanation of how different aspects of Claudius’
character are portrayed e.g. his relationship with Gertrude. Candidates have a clear grasp of how
social, cultural and historical contexts influence understanding of Claudius’ character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Shakespeare uses language and structure to Claudius and his situation. For 18-20,
assured analysis of characterisation. Candidates show a clear understanding of social, cultural
and historical contexts and comment on the importance of these contexts in evaluating Claudius’
character.
How are relationships between parents and their children presented in the
play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of parent/child relationships; a personal response to
what happens parents and their children in the play. Makes simple comments on the
relationships.
Recognising and understanding of main features of parent/child relationships. Awareness of
social, cultural and historical contexts and how these contexts are relevant to understanding
parent/child relationships. Answers will be focused on events, with an awareness and
understanding of their impact on these relationships for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of parent/child
relationships e.g. Hamlet’s troubled relationship with Gertrude. Explanation of how different
aspects of parent/child relationships are portrayed e.g. Polonius’ attitude to Laertes and Ophelia.
Candidates have a clear grasp of how social, cultural and historical contexts influence
understanding of these relationships.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Shakespeare uses language and structure to portray parent/child relationships. For 18-20,
assured analysis of the relationships. Candidates show a clear understanding of social, cultural
and historical contexts and comment on the importance of these contexts in evaluating the
relationships presented.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 43
7.
The Browning Version
(a)
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Read the extract on the opposite page. Then answer the following question:
Look closely at how the characters speak and behave here. How does it
create mood and atmosphere?
[10]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects, such as Millie’s cruelty.
Understanding of main events. Generalised references and comments about stylistic effects,
such as the tense atmosphere. Selection of relevant detail, such as the secrecy between Millie
and Frank. Awareness of mood and atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about tension in the extract. Explanation of how Rattigan uses different aspects of style and
structure to create effects. For 7, candidates will explore the detail of the extract, showing an
understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how
Rattigan uses language and structure to achieve specific effects and convey mood and
atmosphere. For 9-10, assured analysis of stylistic features e.g. use of stage directions for Millie
and Frank.
How does Rattigan present the relationship between Andrew Crocker-Harris
and Frank Hunter in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of the relationship between Andrew Crocker-Harris and
Frank Hunter; a personal response to what happens to Andrew Crocker-Harris and Frank Hunter
in the play. Makes simple comments on the relationship.
Recognising and understanding of main characterising features of the relationship between
Andrew Crocker-Harris and Frank Hunter in the play, such as Hunter’s affair with Crocker-Harris'
wife. Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding of the relationship. Answers will be focused on events, with an awareness and
understanding of the relationship for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of the
relationship between Andrew Crocker-Harris and Frank Hunter. Explanation of how different
aspects of the relationship are portrayed e.g. their different attitudes to teaching/love. Candidates
have a clear grasp of how social, cultural and historical contexts influence understanding of the
relationship between Andrew Crocker-Harris and Frank Hunter.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Rattigan uses language and structure to portray the relationship between Andrew
Crocker-Harris and Frank Hunter. For 18-20, assured analysis of characterisation. Candidates
show a clear understanding of social, cultural and historical contexts and comment on the
importance of these contexts in evaluating the relationship between Andrew Crocker-Harris and
Frank Hunter.
How is life in a public school presented in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of life in public schools; a personal response to what
happens in the school in the play. Makes simple comments on life in a public school.
Recognising and understanding of main features of school life. Awareness of social, cultural and
historical contexts and how these contexts are relevant to understanding life in a public school.
Answers will be focused on events, with an awareness and understanding of their impact on life
in a public school for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of life in a
public school, such as teacher/pupil relationships. Explanation of how different aspects of school
life are portrayed e.g. Crocker-Harris’ sense of betrayal by the school/the Head’s attitude.
Candidates have a clear grasp of how social, cultural and historical contexts influence
understanding of life in a public school.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Rattigan uses language and structure to present life in a public school. For 18-20,
assured analysis of way school life is portrayed. Candidates show a clear understanding of social,
cultural and historical contexts and comment on the importance of these contexts in evaluating
life in a public school.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 44
8.
The Crucible
(a)
Read the extract on the opposite page. Then answer the following question:
Look closely at how Elizabeth and John Proctor speak and behave here.
What does it reveal about their relationship at this point in the play?
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects, such as John’s contentment.
Understanding of main events. Generalised references and comments about stylistic effects,
such as the restrained atmosphere. Selection of relevant detail, such as Elizabeth’s
attentiveness. Awareness of mood and atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about the underlying tension. Explanation of how Miller uses different aspects of style and
structure to create effects. For 7, candidates will explore the detail of the extract, showing an
understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how Miller
uses language and structure to achieve specific effects and convey mood and atmosphere. For
9-10, assured analysis of stylistic features e.g. use of stage directions.
How is John Proctor presented in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of John Proctor’s character; a personal response to
what happens to John Proctor in the play. Makes simple comments on John Proctor’s attitude to
his society.
Recognising and understanding of main characterising features of John Proctor in the play.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding of John Proctor’s character. Answers will be focused on events, with an
awareness and understanding of John Proctor’s character for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of John
Proctor’s character, such as his relationship with his wife. Explanation of how different aspects of
John Proctor’s character are portrayed e.g. his relationship with Abigail. Candidates have a clear
grasp of how social, cultural and historical contexts influence understanding of John Proctor’s
character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Miller uses language and structure to portray John Proctor’s character. For 18-20, assured
analysis of characterisation. Candidates show a clear understanding of social, cultural and
historical contexts and comment on the importance of these contexts in evaluating John Proctor’s
character, such as his attitude to religious hypocrisy.
With reference to two or three characters, write about how religion is
presented in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of how religion affects selected characters; a personal
response to religion and characters in the play. Makes simple comments on religion and its effect
on selected characters.
Recognising and understanding of main effects of religion on selected characters. Awareness of
social, cultural and historical contexts and how these contexts are relevant to understanding the
way religion affects selected characters. Answers will be focused on events, with an awareness
and understanding of religion and its effects on selected characters for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of how
religion affected selected characters, such as Abigail’s exploitation of religion for her own ends.
Explanation of how different aspects of religion and its effects on selected characters are
portrayed such as Reverend Hale/John Proctor. Candidates have a clear grasp of how social,
cultural and historical contexts influence understanding of how religion affects selected
characters.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Miller uses language and structure to portray the effect of religion on selected characters.
For 18-20, assured analysis of the effect of religion on selected characters. Candidates show a
clear understanding of social, cultural and historical contexts and comment on the importance of
these contexts in evaluating the effect of religion on selected characters.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 45
9.
A Raisin in the Sun
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Lorraine Hansberry creates
mood and atmosphere for an audience here.
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects.
Understanding of main events. Generalised references and comments about stylistic effects,
such as the disappointed atmosphere. Selection of relevant detail, such as Beneatha’s anecdote.
Awareness of mood and atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about tension in the extract. Explanation of how Hansberry uses different aspects of style
and structure to create effects. For 7, candidates will explore the detail of the extract, showing an
understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how
Hansberry uses language and structure to achieve specific effects and convey mood and
atmosphere. For 9-10, assured analysis of stylistic features e.g. use of stage directions about
Walter.
How does the presentation of Beneatha create sympathy for her and her
situation?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Beneatha’s character; a personal response to what
happens to Beneatha in the play. Makes simple comments on Beneatha.
Recognising and understanding of main characterising features of Beneatha in the play.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding how sympathy is created for Beneatha. Answers will be focused on events, with an
awareness and understanding of Beneatha as a sympathetic character for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Beneatha’s
character, such as her relationship with her son. Explanation of how different aspects of
Beneatha’s character are portrayed and create sympathy for her e.g. her search for identity in her
African heritage/her relationship with George Murchison. Candidates have a clear grasp of how
social, cultural and historical contexts influence understanding of Beneatha’s character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Hansberry uses language and structure to create sympathy for Beneatha. For 18-20,
assured analysis of characterisation. Candidates show a clear understanding of social, cultural
and historical contexts and comment on the importance of these contexts in evaluating
Beneatha’s character.
How is the theme of dreams presented in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of dreams in the play; a personal response to the dreams
shown in the play. Makes simple comments on dreams.
Recognising and understanding of the main dreams shown in the play. Awareness of social,
cultural and historical contexts and how these contexts are relevant to understanding characters’
dreams. Answers will be focused on events, with an awareness and understanding of what they
show about dreams for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of dreams in the
play, such as Walter Lee’s hopes for a future in business. Explanation of how different aspects of
dreams are portrayed, such as Beneatha’s rejection of George Murchison/Walter’s failure in
business. Candidates have a clear grasp of how social, cultural and historical contexts influence
understanding of dreams.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Hansberry uses language and structure to portray dreams. For 18-20, assured analysis of
the theme of dreams. Candidates show a clear understanding of social, cultural and historical
contexts and comment on the importance of these contexts in evaluating how dreams are
presented.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 46
10.
The Lost Prince
(a)
Read the extract on the opposite page. Then answer the following question:
With close reference to the extract, show how Stephen Poliakoff creates
mood and atmosphere for the viewer here.
[10]
0 marks
1-3
marks
4-5
marks
6-7
marks
8-10
marks
(b)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
(c)
0 marks
1-7
marks
8-11
marks
12-15
marks
16-20
marks
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading; a personal response to what is happening in the
extract. Limited comments about stylistic effects.
Understanding of main events. Generalised references and comments about stylistic effects,
such as the sad atmosphere. Selection of relevant detail, such as the two courses and the
improvised menu. Awareness of mood and atmosphere for 5.
Detailed references to the extract with thorough, and for 7, thoughtful, discussion of language,
e.g. about tension in the extract. Explanation of how Poliakoff uses different aspects of style
and structure to create effects. For 7, candidates will explore the detail of the extract, showing
an understanding of mood and atmosphere.
Assured selection of relevant detail. Offers speculative interpretations. Evaluation of how
Poliakoff uses language and structure to achieve specific effects and convey mood and
atmosphere. For 9-10, assured analysis of stylistic features e.g. George’s memories.
How is Prince George presented in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of Prince George’s character; a personal response to
what happens to Prince George in the play. Makes simple comments on Prince George.
Recognising and understanding of main characterising features of Prince George in the play.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding of Prince George. Answers will be focused on events, with an awareness and
understanding of Prince George for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Prince
George, such as his relationship with Prince John. Explanation of how different aspects of Prince
George’s character are portrayed e.g. his relationships with his parents. Candidates have a clear
grasp of how social, cultural and historical contexts influence understanding of Prince George’s
character.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Poliakoff uses language and structure to portray Prince George. For 18-20, assured
analysis of characterisation. Candidates show a clear understanding of social, cultural and
historical contexts and comment on the importance of these contexts in evaluating Prince
George’s character.
How does Stephen Poliakoff present the relationships between Prince John
and his parents in the play?
[20]
Nothing written, or nothing worthy of credit.
Narrative approach with some misreading of the relationships between Prince John and his
parents; a personal response to what happens to Prince John and his parents in the play. Makes
simple comments on the relationships.
Recognising and understanding of main features of Prince John’s relationships with his parents.
Awareness of social, cultural and historical contexts and how these contexts are relevant to
understanding Prince John’s relationship with his parents, such as his illness. Answers will be
focused on events, with an awareness and understanding of their impact on these relationships
for 10-11.
Detailed references to the play with thorough, and for 14-15, thoughtful, discussion of Prince
John’s relationships with his parents. Explanation of how different aspects of Prince John’s
relationships with his parents are portrayed, e.g. his father/mother. Candidates have a clear
grasp of how social, cultural and historical contexts influence understanding of these
relationships.
Assured selection of detail. Offers speculative interpretations. Assured exploration and evaluation
of how Poliakoff uses language and structure to portray Prince John’s relationships with his
parents. For 18-20, assured analysis of the relationships. Candidates show a clear understanding
of social, cultural and historical contexts and comment on the importance of these contexts in
evaluating the relationships presented.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 47
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE
Specimen assessment materials
First teaching September 2011
First examination Summer 2013
PAPER 2
MARKING GUIDELINES
GENERAL
1.
Expression
Where problems with presentation seriously impede communication, assessment can
be problematic. In such cases the candidate should, after discussion with your team
leader, be referred to me for a second opinion: write Refer to C.E. boldly at the top of
the script. Confused or vague expression is often a result of faulty understanding or
appreciation of a point a candidate is trying to make. Avoid the temptation of saying to
yourself, 'I think I know what s/he means', and awarding credit. Signal this in the margin
by a remark like 'getting somewhere' or 'not quite there'.
2.
Remarks
An ongoing series of remarks in the margin throughout the script is vital. These
remarks will be mainly your identifications of skills as they appear. Remember that your
mark at the end of the exercise must tally with the skills which you have identified. New
examiners have been provided with marked scripts to illustrate this procedure.
There must always be a comment at the end of each question. This should not simply
echo the mark but indicate the salient features of the candidate's performance
established by the C.E. for this examination.
3.
Marking positively
Please approach the marking of scripts with an open mind and mark positively. All the
questions provide opportunities for candidates to make informed, independent
responses, and such opportunities need to be upheld in your marking. You must
evaluate what is offered by the candidate, using the criteria, but without looking for what
might have been presented or for what you might have written in the candidate's place.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 48
4.
5.
Assessment Objectives
AO1
Respond to texts critically and imaginatively; select and evaluate relevant
textual detail to illustrate and support interpretations.
AO2
Explain how language, structure and form contribute to writers' presentation
of ideas, themes and settings.
AO3
Explain links between texts, evaluating writers' different ways of expressing
meaning and achieving effects.
AO4
Relate texts to their social, cultural and historical contexts; explain how texts
have been influential and significant to self and other readers in different
contexts and at different times.
Assessment objective coverage in Paper 2
Assessment
objective
Section A
Section B
Section C
AO1
9
9
9
AO2
9
9
9
AO3
9
AO4
9
In determining the appropriate mark band and fine-tuning to a specific mark for
responses to (a), you should give equal weighting to AO1 and AO2.
In determining the appropriate mark band and fine-tuning to a specific mark for
responses to (b) and (c), you should give equal weighting to AO1 and AO2, and
slightly higher weighting to AO4.
6.
'Best-fit' marking
The work for each question should be marked according to the marking criteria using
a 'best-fit' approach. For each of the assessment objectives and quality of written
communication descriptors, select one of the band descriptors that most closely
describes the quality of the work being marked.
•
•
•
where the candidate's work convincingly meets the statement, the highest mark
should be awarded;
where the candidate's work adequately meets the statement, the most
appropriate mark in the middle-range should be awarded;
where the candidate's work just meets the statement, the lowest mark should be
awarded.
Examiners should use the full range of marks available to them and award full marks
in any band for work which fully meets that descriptor. The marks on either side of
the middle mark(s) for 'adequately met' should be used where the standard is lower
or higher than 'adequate' but not the highest or lowest mark in the band.
Marking should be positive, rewarding achievement rather than penalising failure or
omissions.
The award of marks must be directly related to the marking criteria.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 49
BAND CRITERIA
The following descriptions have been provided to indicate the way in which progression within the criteria is likely to
occur. Each successive description assumes demonstration of achievements in lower bands. You are asked to
place work initially within a 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.
A
0
1-7
Critical response to texts
(AO1)
Language, structure
and form (AO2)
Making links (AO3)
Social, cultural and historical
contexts (AO4)
Nothing written, or what is written is totally irrelevant to the text or not worthy of credit
Candidates rely on a
narrative approach with
some misreadings: make a
personal response to the
text.
Candidates may
make generalised
comments about
stylistic effects.
Candidates begin to
make simple links
when required; give
simple unfocused
expression of
preference.
Candidates make simple
comments on textual
background.
Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication on
occasions. There will be little evidence of specialist vocabulary.
8-11
Candidates display some
understanding of main
features: make generalised
reference to relevant
aspects of the text, echoing
and paraphrasing; begin to
select relevant detail.
Candidates are able
to recognise and
make simple
comments on
particular features of
style and structure.
Candidates make
straightforward links
and connections
between texts;
select some obvious
features of similarity
and difference.
Candidates show a limited
awareness of social/cultural and
historical contexts; begin to be
aware how social/cultural and
historical context is relevant to
understanding the text(s).
Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation and
spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited and/or not
always appropriate.
12-15
Candidates make more
detailed reference to text;
discuss thoroughly, and
increasingly thoughtfully,
characters and relationships;
probe the sub-text with
increasing confidence; select
and evaluate relevant textual
details; understand and
demonstrate how writers use
ideas, themes and settings
to affect the reader; convey
ideas clearly and
appropriately.
Candidates see how
different aspects of
style and structure
combine to create
effects; show
increasingly clear
appreciation of how
meanings and ideas
are conveyed
through language,
structure and form.
Candidates
compare and make
some evaluation of
subject, theme,
character and the
impact of texts;
begin to explore
links of theme and
style; are able to
explain the
relevance and
impact of
connections and
comparisons
between texts.
Candidates are able to set texts
in contexts more securely; begin
to see how texts have been
influential; have a clear grasp of
social/cultural and historical
context; begin to be able to
relate texts to own and other's
experience.
Expression will be mainly clear and fluent and the answer will be quite well structured. There will be some errors
in spelling or punctuation; specialist vocabulary will be used mainly appropriately.
16-20
Candidates make
increasingly assured
selection and incorporation
of relevant detail; are able to
speculate/offer tentative
judgements; are able to
evaluate
characters/relationships and
attitudes/motives; at the
highest level, consistently
handle texts with confidence,
have an overview and ability
to move from the specific to
the general; convey ideas
persuasively and cogently
with apt textual support.
Candidates show
appreciation of how
writers use language
to achieve specific
effects; make
assured exploration
and evaluation of the
ways meaning, ideas
and feeling are
conveyed through
language, structure
and form; at the
highest level, make
assured analysis of
stylistic features.
Candidates make a
sustained
discussion of links
between texts;
make apt selection
of details for cross
reference; at the
highest level, make
subtle points of
comparison and
probe links
confidently.
Candidates show a clear
understanding of social/cultural
and historical contexts; are able
to relate texts to own and others'
experience; are able to identify
and comment on importance of
social/cultural and historical
contexts; awareness of literary
tradition shown; at the highest
level, show a clear
understanding of social/cultural
and historical contexts; able to
relate details of text to literary
background and explain how
texts have been / are influential
at different times.
Expression will be clear and fluent and the answer will be well structured. There will be few errors in grammar,
punctuation and spelling; specialist vocabulary will be used appropriately.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 50
BAND CRITERIA
The following descriptions have been provided to indicate the way in which progression within the criteria is likely to
occur. Each successive description assumes demonstration of achievements in lower bands. You are asked to
place work initially within a 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.
B
C
0
1-3
Critical response to texts (AO1)
Language, structure and form (AO2)
Nothing written, or what is written is totally irrelevant to the text or not worthy of credit
Candidates rely on a narrative approach with some
misreadings: make a personal response to the text.
Candidates may make generalised comments about
stylistic effects.
Errors in grammar, punctuation and spelling and lack of structure are likely to impede communication on
occasions. There will be little evidence of specialist vocabulary.
4-5
Candidates display some understanding of main
features: make generalised reference to relevant
aspects of the text, echoing and paraphrasing; begin to
select relevant detail.
Candidates are able to recognise and make simple
comments on particular features of style and structure.
Expression will be reasonably clear and the answer will have a basic structure. Grammar, punctuation and
spelling will contain errors but these will not be intrusive; use of specialist vocabulary will be limited and/or not
always appropriate.
6-7
Candidates make more detailed reference to text;
discuss thoroughly, and increasingly thoughtfully,
characters and relationships; probe the sub-text with
increasing confidence; select and evaluate relevant
textual details; understand and demonstrate how
writers use ideas, themes and settings to affect the
reader; convey ideas clearly and appropriately.
Candidates see how different aspects of style and
structure combine to create effects; show increasingly
clear appreciation of how meanings and ideas are
conveyed through language, structure and form.
Expression will be mainly clear and fluent and the answer will be quite well structured. There will be some errors
in spelling or punctuation; specialist vocabulary will be used mainly appropriately.
8-10
Candidates make increasingly assured selection and
incorporation of relevant detail; are able to
speculate/offer tentative judgements; are able to
evaluate characters/relationships and
attitudes/motives; at the highest level, consistently
handle texts with confidence, have an overview and
ability to move from the specific to the general; convey
ideas persuasively and cogently with apt textual
support.
Candidates show appreciation of how writers use
language to achieve specific effects; make assured
exploration and evaluation of the ways meaning, ideas
and feeling are conveyed through language, structure
and form; at the highest level, make assured analysis
of stylistic features.
Expression will be clear and fluent and the answer will be well structured. There will be few errors in grammar,
punctuation and spelling; specialist vocabulary will be used appropriately.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 51
SECTION A
1.
Poems from Other Centuries
Experiences of Nature
Choose two poems from the booklet which create the atmosphere of a particular time of
year. Write about how the poet(s) create(s) this atmosphere, the links between the poems,
and the effect each poem has on you.
0 marks
Nothing written, or nothing worthy of credit.
1-7 marks
Simple comments on and links between the poems, possibly with some
misreadings. General comments on language and style.
8-11 marks
Understanding of main features, echoing and paraphrasing relevant
aspects. Candidates recognise and comment on main features of style
and structure, and make straightforward links between the poems.
Awareness of the mood, atmosphere, and themes of the poems.
12-15 marks
Detailed references to the poems with thorough, and for 14-15, thoughtful,
discussion of language. Explanation of how different aspects of style and
structure create effects. Exploration of links in theme and style, probing the
sub-text.
16-20 marks
Assured selection of detail, offers speculative interpretations. Evaluation of
how the poets’ use of language, structure and form achieve specific
effects. For 18-20, assured analysis of stylistic features. Confident analysis
of links and points of comparison between the poems.
SECTION B
2.
Poetry
0 marks
Nothing written, or nothing worthy of credit.
1-3 marks
Simple comments on the poem, possibly with some misreadings. General
comments on language and style.
4-5 marks
Understanding of main features, echoing and paraphrasing relevant
aspects. Candidates recognise and comment on main features of style
and structure in the poem. Awareness of the mood, atmosphere, and
themes of the poem.
6-7 marks
Detailed references to the poem with thorough, and for 7, thoughtful,
discussion of language. Explanation of how different aspects of style and
structure create effects. Exploration of theme and style, probing the subtext.
8-10 marks
Assured selection of detail, offers speculative interpretations. Evaluation of
how the poet’s use of language, structure and form achieve specific
effects. For 9-10, assured analysis of stylistic features. Confident analysis
the poet’s technique.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 52
SECTION C
3.
Prose
0 marks
Nothing written, or nothing worthy of credit.
1-3 marks
Simple comments on the extract, possibly with some misreadings. General
comments on language, mood and atmosphere.
4-5 marks
Understanding of main features, echoing and paraphrasing relevant
aspects. Candidates recognise and comment on main features of style
and characterisation in the extract. Awareness of the mood and
atmosphere in the extract.
6-7 marks
Detailed references to the extract with thorough, and for 7, thoughtful,
discussion of language. Explanation of how different aspects of style and
characterisation create effects. Exploration of mood and atmosphere,
probing the sub-text.
8-10 marks
Assured selection of detail, offers speculative interpretations. Evaluation of
how the writer’s use of language achieves specific effects. For 9-10,
assured analysis of stylistic features that create mood and atmosphere.
Confident analysis the writer’s technique.
4. Drama
0 marks
Nothing written, or nothing worthy of credit.
1-3 marks
Simple comments on the extract, possibly with some misreadings. General
comments on the characters and their relationship.
4-5 marks
Understanding of main features, echoing and paraphrasing relevant
aspects. Candidates recognise and comment on main features of style
and characterisation in the extract. Awareness of the nature of the
relationship.
6-7 marks
Detailed references to the extract with thorough, and for 7, thoughtful,
discussion of language. Explanation of how different aspects of style and
characterisation create effects. Exploration of the relationship, probing the
sub-text.
8-10 marks
Assured selection of detail, offers speculative interpretations. Evaluation of
how the writer’s use of language and characterisation achieves specific
effects. For 9-10, assured analysis of the relationship. Confident analysis
the writer’s technique.
LEVEL 1 / LEVEL 2 CERTIFICATE IN ENGLISH LITERATURE Specimen Assessment Materials 53
ASSESSMENT GRID
Level 1 / Level 2 Certificate in English Literature
Assessment Objectives
Raw Marks (Actual)
AO1
AO2
AO3
AO4
Section A (a)
5
5
Section A (b) (c)
6
6
Section B (a)
5
5
Section B (b) (c)
6
6
Total Marks
22
22
AO1
AO2
A03
AO4
Section A
3
3
11
3
Section B
5
Section C
Total Marks
Total
Mark
QWC
Paper 1
10
9
20
9
10
9
8
20
9
16
60
8
Paper 2
20
9
5
10
9
5
5
10
9
13
13
WJEC Level 1 / Level 2 Certificate in English Literature SAMs - 2011 JF
06 04 11
11
3
40