Cambridge IGCSE English - Literature 0486 — 2009 May/June Paper 4 · Variant 1

This document consists of 31 printed pages and 5 blank pages. SP (SC) T76866/3 © UCLES 2009 [Turn over UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education READ THESE INSTRUCTIONS FIRST If you have been given an Answer Booklet, follow the instructions on the front cover of the Booklet. Write your Centre number, candidate number and name on all the work you hand in. Write in dark blue or black pen. Do not use staples, paper clips, highlighters, glue or correction fluid. Answer four questions. Answer at least one question from each section. Each of your answers must be on a different text. Answer at least one passage-based question (marked *) and at least one essay/empathic question. At the end of the examination, fasten all your work securely together. All questions in this paper carry equal marks. * 7 7 9 5 5 5 6 2 6 9 * LITERATURE (ENGLISH) 0486/04 Paper 4 May/June 2009 2 hours 40 minutes Additional Materials: Answer Booklet/Paper www.XtremePapers.com

3 0486/04/M/J/09 © UCLES 2009 [Turn over CONTENTS Section A: Drama text question numbers page[s] Alan Ayckbourn: A Small Family Business *1, 2, 3 pages 4–5 Lorraine Hansberry: A Raisin in the Sun *4, 5, 6 pages 6–7 Charlotte Keatley: My Mother Said I Never Should *7, 8, 9 pages 8–9 Arthur Miller: The Crucible *10, 11, 12 pages 10–11 William Shakespeare: As You Like It *13, 14, 15 pages 12–13 William Shakespeare: Richard III *16, 17, 18 pages 14–15 Section B: Poetry text question numbers page[s] Songs of Ourselves: from Part 3 *19, 20, 21 pages 16–17 John Keats: Poems *22, 23, 24 page 18 Section C: Prose text question numbers page[s] Chinua Achebe: Things Fall Apart *25, 26, 27 pages 20–21 Jane Austen: Pride and Prejudice *28, 29, 30 pages 22–23 Ian Cross: The God Boy *31, 32, 33 pages 24–25 Anita Desai: Games at Twilight and Other Stories *34, 35, 36 pages 26–27 William Golding: Lord of the Flies *37, 38, 39 page 28 Thomas Hardy: Far from the Madding Crowd *40, 41, 42 page 29 Harper Lee: To Kill a Mockingbird *43, 44, 45 pages 30–31 Barrie Wade, ed.: Into the Wind: Contemporary Stories in English *46, 47, 48 pages 32–33

4 0486/04/M/J/09 © UCLES 2009 SECTION A: DRAMA ALAN AYCKBOURN: A Small Family Business Either *1 Read the following extract, and then answer the question that follows it. Jack: Come on, everyone, Ken’s arrived. Poppy: [waving Tina out of the dining room] Come on, Tina. Quickly. Tina scurries across the hall and into the near sitting room where she joins Cliff, Anita, Lotario, Harriet, Desmond, Roy and Jack. Poppy hovers in the hall, waiting. Anita: [as someone touches her ] Oooh! All: Sssh! Anita: Here we go again … The doorbell rings. Poppy opens the door immediately. Ken and Yvonne enter. Ken is much the same, perhaps a little vaguer. Yvonne is like a Christmas tree. She sparkles with expensive jewellery, everywhere. Poppy: Hallo, there. Come in, come in. Ken: Hallo, my flower. Hallo, my dearest. Poppy: Let me take your coats. Yvonne: [winking] Are we the first? Poppy: I think you are, yes. Ken: Happy birthday, my dear. And very many more. Yvonne: No, it’s your birthday, Ken. It’s yours. [to Poppy ] He keeps forgetting. He kept wishing the taxi driver many happy returns. Ken: Mine? Is it my birthday, then? Poppy: Yes, it’s yours. Not mine. Ken: I know that, girl. Seventy-five. Seventy-five today. Right? Poppy: That’s right. Now you come on through. Ken: This is very nice. Who lives here, then? Poppy leads them across the hall. As Ken enters the near sitting room, the lights are switched on. A great cry from everyone. All: [singing ] Happy birthday to you, Happy birthday to you, etc. At the end, applause. People cluster round Ken with good wishes. He seems quite overwhelmed. Poppy draws Jack to one side. Poppy: Jack! Have you seen what that woman’s wearing? Have you seen what Yvonne’s wearing? Jack: What’s that? Poppy: That’s all Grace’s jewellery. Those are my mother’s diamonds she’s got on. Jack: Perhaps Ken lent them to her. Poppy: [with some venom ] Nonsense. Jack, she’s stolen them. If they belong to anyone, they’re mine. That woman has stolen them and she thinks we daren’t do anything about it. Little thieving bitch … Jack: It’s all right, love. If she has stolen them, then she’ll answer for it. I’m having no more of that, ever again. From now on this family’s going to be subject to a few hard and fast 5 10 15 20 25 30 35 40 45

5 0486/04/M/J/09 © UCLES 2009 [Turn over rules. And anyone who breaks them is going to have the family to answer to. I’ll get Anita to have a word with her later. Now come on, stop worrying and enjoy the party … Poppy: [lovingly ] You’re a good man, Jack. You’re such a good man. She kisses him lightly. They both return to the throng. Ken: [above the chatter ] Ladies and … Ladies … Cliff: Speech! Speech! Anita: Ssshh! Quiet! A silence. Ken and Yvonne have both been given drinks. Ken: Ladies and Gentlemen … I just want to say … now, I’m not saying very much. Because it’s not my place to. It’s not my day. All I want to say is … Jack. He looks towards Desmond. Desmond: [pointing, gently ] That’s Jack, Dad … Ken: Yes, it’s Jack I’m talking to, not you, you fool. [turning to Jack ] Jack. Thank you, for everything. And you know what I mean by everything. And, happy birthday, son. He raises his glass. Everyone, rather startled, toasts Jack. Jack: Well. This is an unexpected anniversary pleasure. [Reflects.] I’ve made my speech for this year. It still stands. I’d simply like to propose this toast. Here’s to you, Ken. Here’s to us. Here’s to the family. And finally, here’s to the business. We’ve had our share of troubles and we’ve seen them off. And together, I can promise you this, we will continue to see them all off – whoever they are and wherever they come from. Ladies and Gentlemen, I give you – the family business! All: The family business! As they drink, the lights fade on the party guests – leaving, for a few seconds or so, the image of Samantha, huddled and alone. Then, as we lose her too: Blackout, Curtain. Explore the ways in which Ayckbourn makes these last few moments of the play so ironic. Or 2 How do you think Ayckbourn makes Benedict Hough such a menacing figure in the play? Support your ideas with details from the play. Or 3 You are Samantha at the opening of the play. You have just watched your father’s return home and have just listened to his speech. Write your thoughts. 50 55 60 65 70 75 80

6 0486/04/M/J/09 © UCLES 2009 LORRAINE HANSBERRY: A Raisin in the Sun Either *4 Read the following extract, and then answer the question that follows it. Lindner: [looking around at all of them] I take it then that you have decided to occupy. Beneatha: That’s what the man said. Lindner: [to Mama in her reverie] Then I would like to appeal to you, Mrs Younger. You are older and wiser and understand things better I am sure … Mama: [rising ] I am afraid you don’t understand. My son said we was going to move and there ain’t nothing left for me to say. [Shaking her head with double meaning ] You know how these young folks is nowadays, mister. Can’t do a thing with ’em. Good-bye. Lindner: [folding up his materials] Well – if you are that final about it … There is nothing left for me to say. [He finishes. He is almost ignored by the family, who are concentrating on Walter Lee. At the door Lindner halts and looks around.] I sure hope you people know what you’re doing. [He shakes his head and goes.] Ruth: [looking around and coming to life] Well, for God’s sake – if the moving men are here – LET’S GET THE HELL OUT OF HERE! Mama: [into action ] Ain’t it the truth! Look at all this here mess. Ruth put Travis’s good jacket on him … Walter Lee, fix your tie and tuck your shirt in, you look just like somebody’s hoodlum. Lord have mercy, where is my plant? [She flies to get it amid the general bustling of the family, who are deliberately trying to ignore the nobility of the past moment.] You all start on down … Travis child, don’t go empty-handed … Ruth, where did I put that box with my skillets in it? I want to be in charge of it myself … I’m going to make us the biggest dinner we ever ate tonight … Beneatha, what’s the matter with them stockings? Pull them things up, girl … The family starts to file out as two moving men appear and begin to carry out the heavier pieces of furniture, bumping into the family as they move about. Beneatha: Mama, Asagai – asked me to marry him today and go to Africa – Mama: [in the middle of her getting-ready activity ] He did? You ain’t old enough to marry nobody. [Sees the moving men lifting one of her chairs precariously.] Darling, that ain’t no bale of cotton, please handle it so we can sit in it again. I had that chair twenty-five years … The movers sigh with exasperation and go on with their work. Beneatha: [girlishly and unreasonably trying to pursue the conversation] To go to Africa, Mama – be a doctor in Africa … Mama: [distracted ] Yes, baby – Walter: Africa! What he want you to go to Africa for? Beneatha: To practise there … Walter: Girl, if you don’t get all them silly ideas out your head! You better marry yourself a man with some loot … 5 10 15 20 25 30 35 40 45 50

7 0486/04/M/J/09 © UCLES 2009 [Turn over Beneatha: [angrily, precisely as in the first scene of the play ] What have you got to do with who I marry? Walter: Plenty. Now I think George Murchison – He and Beneatha go out yelling at each other vigorously; Beneatha is heard saying that she would not marry George Murchison if he were Adam and she were Eve, etc. The anger is loud and real till their voices diminish. Ruth stands at the door and turns to Mama and smiles knowingly. Mama: [fixing her hat at last ] Yeah – they something all right, my children … Ruth: Yeah – they’re something. Let’s go, Lena. Mama: [stalling, starting to look around the house] Yes – I’m coming. Ruth – Ruth: Yes? Mama: [quietly, woman to woman] He finally come into his manhood today, didn’t he? Kind of like a rainbow after the rain … Ruth: [biting her lip lest her own pride explode in front of Mama] Yes, Lena. Walter’s voice calls for them raucously. Mama: [waving Ruth out vaguely ] All right, honey – go on down. I be down directly. Ruth hesitates, then goes. Mama stands at last alone in the living-room, her plant on the table before her as the lights start to come down. She looks around at all the walls and ceilings and suddenly, despite herself, while the children call below, a great heaving thing rises in her and she puts her fist to her mouth, takes a final desperate look, pulls her coat about her, pats her hat and goes out. The lights dim down. The door opens and she comes back in, grabs her plant, and goes out for the last time. Curtain. How does Hansberry make this such a satisfying ending to the play? Or 5 Explore the ways in which Hansberry vividly conveys the tensions between characters in any two moments in the play. (Do not use the passage printed for Question 4 in answering this question.) Or 6 You are Travis. Your grandmother has just opened the envelope containing the cheque and you have gone out to play in the yard. Write your thoughts. 55 60 65 70 75 80 85

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9 0486/04/M/J/09 © UCLES 2009 [Turn over Or 8 In what ways does Keatley strikingly convey the influence of Jack Bradley and Ken Metcalfe even though they are not seen in the play? Support your ideas with details from the play. Or 9 You are Rosie after having discovered who your natural mother is. Write your thoughts.

10 0486/04/M/J/09 © UCLES 2009 ARTHUR MILLER: The Crucible Either *10 Read the following extract, and then answer the question that follows it. Giles: Say nothin’ more, John. [Pointing at Danforth.] He’s only playin’ you! He means to hang us all! Mary Warren bursts into sobs. Danforth: This is a court of law, Mister. I’ll have no effrontery here! Proctor: Forgive him, sir, for his old age. Peace, Giles, we’ll prove it all now. [He lifts up Mary’s chin.] You cannot weep, Mary. Remember the angel, what he say to the boy. Hold to it, now; there is your rock. (Mary quiets. He takes out a paper, and turns to Danforth.] This is Mary Warren’s deposition. I – I would ask you remember, sir, while you read it, that until two weeks ago she were no different than the other children are today. [He is speaking reasonably, restraining all his fears, his anger, his anxiety.] You saw her scream, she howled, she swore familiar spirits choked her; she even testified that Satan, in the form of women now in jail, tried to win her soul away, and then when she refused – Danforth: We know all this. Proctor: Aye, sir. She swears now that she never saw Satan; nor any spirit, vague or clear, that Satan may have sent to hurt her. And she declares her friends are lying now. Proctor starts to hand Danforth the deposition, and Hale comes up to Danforth in a trembling state. Hale: Excellency, a moment. I think this goes to the heart of the matter. Danforth: [with deep misgivings] It surely does. Hale: I cannot say he is an honest man; I know him little. But in all justice, sir, a claim so weighty cannot be argued by a farmer. In God’s name, sir, stop here; send him home and let him come again with a lawyer – Danforth: [patiently ] Now look you, Mr Hale – Hale: Excellency, I have signed seventy-two death warrants; I am a minister of the Lord, and I dare not take a life without there be a proof so immaculate no slightest qualm of conscience may doubt it. Danforth: Mr Hale, you surely do not doubt my justice. Hale: I have this morning signed away the soul of Rebecca Nurse, Your Honour. I’ll not conceal it, my hand shakes yet as with a wound! I pray you, sir, this argument let lawyers present to you. Danforth: Mr Hale, believe me; for a man of such terrible learning you are most bewildered – I hope you will forgive me. I have been thirty-two year at the bar, sir, and I should be confounded were I called upon to defend these people. Let you consider, now – [To Proctor and the others.] and I bid you all do likewise. In an ordinary crime, how does one defend the accused? One calls up witnesses to prove his innocence. But witchcraft is ipso facto, on its face and by its nature, an invisible crime, is it not? Therefore, who may possibly be witness to it? The witch and the victim. None other. Now we cannot hope the witch will accuse herself; granted? Therefore, we must rely upon her victims – and they do testify, the children certainly 5 10 15 20 25 30 35 40 45 50

11 0486/04/M/J/09 © UCLES 2009 [Turn over do testify. As for the witches, none will deny that we are most eager for all their confessions. Therefore, what is left for a lawyer to bring out? I think I have made my point. Have I not? Hale: But this child claims the girls are not truthful, and if they are not – Danforth: That is precisely what I am about to consider, sir. What more may you ask of me? Unless you doubt my probity? Hale: [defeated ] I surely do not, sir. Let you consider it, then. Danforth: And let you put your heart to rest. Her deposition, Mr. Proctor. Proctor hands it to him. Hathorne rises, goes beside Danforth, and starts reading. Parris comes to his other side. Danforth looks at John Proctor, then proceeds to read. Hale gets up, finds position near the judge, reads too. Proctor glances at Giles. Francis prays silently, hands pressed together. Cheever waits placidly, the sublime official, dutiful. Mary Warren sobs once. John Proctor touches her head reassuringly. Presently Danforth lifts his eyes, stands up, takes out a kerchief and blows his nose. The others stand aside as he moves in thought toward the window. To what extent do you think Miller suggests in this extract that justice and common sense may now return to Salem? Or 11 In your opinion, how does Miller make John Proctor such a vividly dramatic character? Support your ideas with details from the play. Or 12 You are Hale at the end of the play. Write your thoughts. 55 60 65 70

12 0486/04/M/J/09 © UCLES 2009 WILLIAM SHAKESPEARE: As You Like It Either *13 Read the following extract, and then answer the question that follows it. Celia: O my poor Rosalind! Whither wilt thou go? Wilt thou change fathers? I will give thee mine. I charge thee be not thou more griev’d than I am. Rosalind: I have more cause. Celia: Thou hast not, cousin. Prithee be cheerful. Know’st thou not the Duke Hath banish’d me, his daughter? Rosalind: That he hath not. Celia: No, hath not? Rosalind lacks, then, the love Which teacheth thee that thou and I am one. Shall we be sund’red? Shall we part, sweet girl? No; let my father seek another heir. Therefore devise with me how we may fly, Whither to go, and what to bear with us; And do not seek to take your charge upon you, To bear your griefs yourself, and leave me out; For, by this heaven, now at our sorrows pale, Say what thou canst, I’ll go along with thee. Rosalind: Why, whither shall we go? Celia: To seek my uncle in the Forest of Arden. Rosalind: Alas, what danger will it be to us, Maids as we are, to travel forth so far! Beauty provoketh thieves sooner than gold. Celia: I’ll put myself in poor and mean attire, And with a kind of umber smirch my face, The like do you; so shall we pass along, And never stir assailants. Rosalind: Were it not better, Because that I am more than common tall, That I did suit me all points like a man? A gallant curtle-axe upon my thigh, A boar spear in my hand; and – in my heart Lie there what hidden woman’s fear there will – We’ll have a swashing and a martial outside, As many other mannish cowards have That do outface it with their semblances. Celia: What shall I call thee when thou art a man? Rosalind: I’ll have no worse a name than Jove’s own page, And therefore look you call me Ganymede. But what will you be call’d? Celia: Something that hath a reference to my state: No longer Celia, but Aliena. Rosalind: But, cousin, what if we assay’d to steal The clownish fool out of your father’s court? Would he not be a comfort to our travel? Celia: He’ll go along o’er the wide world with me; Leave me alone to woo him. Let’s away, And get our jewels and our wealth together; Devise the fittest time and safest way To hide us from pursuit that will be made After my flight. Now go we in content To liberty, and not to banishment. [Exeunt. 5 10 15 20 25 30 35 40 45 50

13 0486/04/M/J/09 © UCLES 2009 [Turn over How does Shakespeare make this such a dramatic moment in the play? Or 14 How far do you find As You Like It a happy and optimistic play? Support your answer by close reference to the play. Or 15 You are Celia. You have just met Oliver and heard his story about Orlando and the lioness. Write your thoughts.

14 0486/04/M/J/09 © UCLES 2009 WILLIAM SHAKESPEARE: Richard III Either *16 Read the following extract, and then answer the question that follows it. Catesby: Many good morrows to my noble lord! Hastings: Good morrow, Catesby; you are early stirring. What news, what news, in this our tott’ring state? Catesby: It is a reeling world indeed, my lord; And I believe will never stand upright Till Richard wear the garland of the realm. Hastings: How, wear the garland! Dost thou mean the crown? Catesby: Ay, my good lord. Hastings: I’ll have this crown of mine cut from my shoulders Before I’ll see the crown so foul misplac’d. But canst thou guess that he doth aim at it? Catesby: Ay, on my life; and hopes to find you forward Upon his party for the gain thereof; And thereupon he sends you this good news, That this same very day your enemies, The kindred of the Queen, must die at Pomfret. Hastings: Indeed, I am no mourner for that news, Because they have been still my adversaries, But that I’ll give my voice on Richard’s side To bar my master’s heirs in true descent, God knows I will not do it to the death. Catesby: God keep your lordship in that gracious mind! Hastings: But I shall laugh at this a twelve month hence, That they which brought me in my master’s hate, I live to look upon their tragedy. Well, Catesby, ere a fortnight make me older, I’ll send some packing that yet think not on’t. Catesby: ’Tis a vile thing to die, my gracious lord, When men are unprepar’d and look not for it. Hastings: O monstrous, monstrous! And so falls it out With Rivers, Vaughan, Grey; and so ’twill do With some men else that think themselves as safe As thou and I, who, as thou knowest, are dear To princely Richard and to Buckingham. Catesby: The Princes both make high account of you – [Aside] For they account his head upon the bridge. Hastings: I know they do, and I have well deserv’d it. Enter Lord Stanley. Come on, come on; where is your boar-spear, man? Fear you the boar, and go so unprovided? Stanley: My lord, good morrow; good morrow, Catesby. You may jest on, but, by the holy rood, I do not like these several councils, I. Hastings: My lord, I hold my life as dear as yours, And never in my days, I do protest, Was it so precious to me as ’tis now. Think you, but that I know our state secure, I would be so triumphant as I am? Stanley: The lords at Pomfret, when they rode from London, Were jocund and suppos’d their states were sure, And they indeed had no cause to mistrust; But yet you see how soon the day o’ercast. 5 10 15 20 25 30 35 40 45 50

15 0486/04/M/J/09 © UCLES 2009 [Turn over This sudden stab of rancour I misdoubt; Pray God, I say, I prove a needless coward. What, shall we toward the Tower? The day is spent. Hastings: Come, come, have with you. Wot you what, my lord? To-day the lords you talk’d of are beheaded. Stanley: They, for their truth, might better wear their heads Than some that have accus’d them wear their hats. But come, my lord, let’s away. Explore how the ironies in this extract make it so dramatically powerful. Or 17 What do you think makes Richard such a memorable villain? Support your ideas with details from the play. Or 18 You are Buckingham just after Richard has refused your request for an earldom. Write your thoughts. 55 60

16 0486/04/M/J/09 © UCLES 2009 SECTION B: POETRY SONGS OF OURSELVES: from Part 3 Either *19 Read the following poem, and then answer the question that follows it. Caged Bird A free bird leaps on the back of the wind and floats downstream till the current ends and dips his wing in the orange sun’s rays and dares to claim the sky. But a bird that stalks down his narrow cage can seldom see through his bars of rage his wings are clipped and his feet are tied so he opens his throat to sing. The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on the distant hill for the caged bird sings of freedom. The free bird thinks of another breeze and the trade winds soft through the sighing trees and the fat worms waiting on a dawn-bright lawn and he names the sky his own. But a caged bird stands on the grave of dreams his shadow shouts on a nightmare scream his wings are clipped and his feet are tied so he opens his throat to sing. The caged bird sings with a fearful trill of things unknown but longed for still and his tune is heard on the distant hill for the caged bird sings of freedom. (by Maya Angelou) How do the words of this poem express suffering and oppression so powerfully? 5 10 15 20 25 30 35

17 0486/04/M/J/09 © UCLES 2009 [Turn over Or 20 What do you find moving about the ways in which the poets in Muliebrity (by Sujata Bhatt) and She dwelt among the untrodden ways (by William Wordsworth) portray the two women? Or 21 Explore moments in two of the following poems in which the poets manage to surprise the reader with the unexpected. Support your ideas with details from the poems. Plenty (by Isobel Dixon) Storyteller (by Liz Lochhead) Mid-Term Break (by Seamus Heaney)

18 0486/04/M/J/09 © UCLES 2009 JOHN KEATS: Poems Either *22 Read the following extract from Ode to Psyche, and then answer the question that follows it. O latest born and loveliest vision far Of all Olympus’ faded hierarchy! Fairer than Phœbe’s sapphire-region’d star, or Vesper, amorous glow-worm of the sky; Fairer than these, though temple thou hast none, Nor altar heap’d with flowers; Nor virgin-choir to make delicious moan Upon the midnight hours; No voice, no lute, no pipe, no incense sweet From chain-swung censer teeming; No shrine, no grove, no oracle, no heat Of pale-mouth’d prophet dreaming. O brightest! though too late for antique vows, Too, too late for the fond believing lyre, When holy were the haunted forest boughs, Holy the air, the water, and the fire; Yet even in these days so far retir’d From happy pieties, thy lucent fans, Fluttering among the faint Olympians, I see, and sing, by my own eyes inspired. So let me be thy choir, and make a moan Upon the midnight hours; Thy voice, thy lute, thy pipe, thy incense sweet From swinged censer teeming; Thy shrine, thy grove, thy oracle, thy heat Of pale-mouth’d prophet dreaming. Explore how in this extract Keats shows how Psyche makes a memorable impression on him. Or 23 Explore the ways in which Keats makes Autumn attractive for you in his poem To Autumn. Support your ideas with details from the poem. Or 24 In what ways does Keats make vivid for you the feelings of the knight in La belle dame sans merci ? Refer closely to the poem in your answer. 5 10 15 20 25

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20 0486/04/M/J/09 © UCLES 2009 SECTION C: PROSE CHINUA ACHEBE: Things Fall Apart Either *25 Read the following extract, and then answer the question that follows it. Mr Brown’s successor was the Reverend James Smith, and he was a different kind of man. He condemned openly Mr Brown’s policy of compromise and accommodation. He saw things as black and white. And black was evil. He saw the world as a battlefield in which the children of light were locked in mortal conflict with the sons of darkness. He spoke in his sermons about sheep and goats and about wheat and tares. He believed in slaying the prophets of Baal. Mr Smith was greatly distressed by the ignorance which many of his flock showed even in such things as the Trinity and the Sacraments. It only showed that they were seeds sown on a rocky soil. Mr Brown had thought of nothing but numbers. He should have known that the kingdom of God did not depend on large crowds. Our Lord Himself stressed the importance of fewness. Narrow is the way and few the number. To fill the Lord’s holy temple with an idolatrous crowd clamouring for signs was a folly of everlasting consequence. Our Lord used the whip only once in His life – to drive the crowd away from His church. Within a few weeks of his arrival in Umuofia Mr Smith suspended a young woman from the church for pouring new wine into old bottles. This woman had allowed her heathen husband to mutilate her dead child. The child had been declared an ogbanje, plaguing its mother by dying and entering her womb to be born again. Four times this child had run its evil round. And so it was mutilated to discourage it from returning. Mr Smith was filled with wrath when he heard of this. He disbelieved the story which even some of the most faithful confirmed, the story of really evil children who were not deterred by mutilation, but came back with all the scars. He replied that such stories were spread in the world by the Devil to lead men astray. Those who believed such stories were unworthy of the Lord’s table. There was a saying in Umuofia that as a man danced so the drums were beaten for him. Mr Smith danced a furious step and so the drums went mad. The over-zealous converts who had smarted under Mr Brown’s restraining hand now flourished in full favour. One of them was Enoch, the son of the snake-priest who was believed to have killed and eaten the sacred python. Enoch’s devotion to the new faith had seemed so much greater than Mr Brown’s that the villagers called him The Outsider who wept louder than the bereaved. Enoch was short and slight of build, and always seemed in great haste. His feet were short and broad, and when he stood or walked his heels came together and his feet opened outwards as if they had quarrelled and meant to go in different directions. Such was the excessive energy bottled up in Enoch’s small body that it was always erupting in quarrels and fights. On Sundays he always imagined that the sermon was preached for the benefit of his enemies. And if he happened to sit near one of them he would occasionally turn to give him a meaningful look, as if to say, ‘I told you so’. It was Enoch who touched off the great conflict between church and clan in Umuofia which had been gathering since Mr Brown left. 5 10 15 20 25 30 35 40 45 50

21 0486/04/M/J/09 © UCLES 2009 [Turn over What does Achebe’s writing here make you feel about the Reverend Smith, his beliefs and their likely result? Support your ideas with details from the extract. Or 26 Choose one episode where Achebe causes you to feel sympathy with Okonkwo and one where he makes you dislike him. Justify your choice by referring in detail to the way Achebe presents the character in each episode. Or 27 You are Obierika after Okonkwo has killed the court messenger. You are waiting for the inevitable arrival of the District Commissioner and soldiers. Write your thoughts.

22 0486/04/M/J/09 © UCLES 2009 JANE AUSTEN: Pride and Prejudice Either *28 Read the following passage, and then answer the question that follows it. When dinner was over, she returned directly to Jane, and Miss Bingley began abusing her as soon as she was out of the room. Her manners were pronounced to be very bad indeed, a mixture of pride and impertinence; and she had no conversation, no stile, no taste, no beauty. Mrs Hurst thought the same, and added, ‘She has nothing, in short, to recommend her, but being an excellent walker. I shall never forget her appearance this morning. She really looked almost wild.’ ‘She did indeed, Louisa. I could hardly keep my countenance. Very nonsensical to come at all! Why must she be scampering about the country, because her sister has a cold? Her hair so untidy, so blowsy!’ ‘Yes, and her petticoat; I hope you saw her petticoat, six inches deep in mud, I am absolutely certain; and the gown which had been let down to hide it, not doing its office.’ ‘Your picture may be very exact, Louisa,’ said Bingley; ‘but this was all lost upon me. I thought Miss Elizabeth Bennet looked remarkably well, when she came into the room this morning. Her dirty petticoat quite escaped my notice.’ ‘You observed it, Mr Darcy, I am sure,’ said Miss Bingley; ‘and I am inclined to think that you would not wish to see your sister make such an exhibition.’ ‘Certainly not.’ ‘To walk three miles, or four miles, or five miles, or whatever it is, above her ancles in dirt, and alone, quite alone! what could she mean by it? It seems to me to shew an abominable sort of conceited independence, a most country town indifference to decorum.’ ‘It shews an affection for her sister that is very pleasing,’ said Bingley. ‘I am afraid, Mr Darcy,’ observed Miss Bingley, in a half whisper, ‘that this adventure has rather affected your admiration of her fine eyes.’ ‘Not at all,’ he replied; ‘they were brightened by the exercise.’ – A short pause followed this speech, and Mrs Hurst began again. ‘I have an excessive regard for Jane Bennet, she is really a very sweet girl, and I wish with all my heart she were well settled. But with such a father and mother, and such low connections, I am afraid there is no chance of it.’ ‘I think I have heard you say, that their uncle is an attorney in Meryton.’ ‘Yes; and they have another, who lives somewhere near Cheapside.’ ‘That is capital,’ added her sister, and they both laughed heartily. ‘If they had uncles enough to fill all Cheapside,’ cried Bingley, ‘it would not make them one jot less agreeable.’ ‘But it must very materially lessen their chance of marrying men of any consideration in the world,’ replied Darcy. To this speech Bingley made no answer; but his sisters gave it their hearty assent, and indulged their mirth for some time at the expense of their dear friend’s vulgar relations. With a renewal of tenderness, however, they repaired to her room on leaving the dining-parlour, and sat with her till summoned to coffee. 5 10 15 20 25 30 35 40 45 50

23 0486/04/M/J/09 © UCLES 2009 [Turn over Explore the ways in which Austen presents Bingley’s sisters in this extract. Or 29 Do you think that Austen makes it possible to feel sympathy for Mrs Bennet? Support your ideas with details from the novel. Or 30 You are Elizabeth Bennet on the morning of your wedding day to Mr Darcy. Write your thoughts.

24 0486/04/M/J/09 © UCLES 2009 IAN CROSS: The God Boy Either *31 Read the following extract, and then answer the question that follows it. Well, he simply squealed as he jumped on his bike. ‘I’ll show you, Sullivan,’ he shouted. ‘I’ll mow you down. I’ll run you down and kill you.’ I took off with a couple of yards start on him, as I saw that he was going to try to crash his bike into mine. I had to stand up on the pedals and pump my legs like a madman to keep ahead of him. Legs was a tough customer when he was worked up, and he wouldn’t have cared if he had smashed both our bikes to smithereens. Over my shoulder I saw his knees absolutely jumping up and down behind his handle bars so fast they were only a bony blur, and he was leaning between them glaring at me. I really understood how he felt, his pride having taken a knock. Anyway, he chased me all the way to school, and rather than stop at the gates I kept right on going, steering around a bunch of kids, and on to the playground. Legs followed. The grass slowed us down, yet our speed was still cracking as we reached the end of the playground and I cut off to the left behind the school building and back down the other side. We must have circled the school two or three times, and though I was some distance ahead of him now, I was beginning to worry whether Legs would ever give up chasing me. Then, passing the front of the school again I heard a loud voice I recognised, and there, on the front steps, was Sister Angela, with a wild face. I jammed on my brakes. Legs came around from the side of the building going like fury. He saw Sister standing there and, a funny thing, he never did take his eyes off her. She looked at him and he looked right back as though he had suddenly gone off into a trance or something. He didn’t finish his turn around the corner. He kept on going on, not even slowing down, till he and the bike disappeared into the hedge. The last I saw of him he was still goggling at Sister. Then came a tearing and wrenching, and the hedge shook for a couple of hundred yards along the roadside, as though it had been hit by a truck, and then there was complete silence. Legs had simply disappeared, that’s all. Except for a few broken twigs and one or two leaves drifting around in the air, you couldn’t even see where he had been. He didn’t make a sound. I knew he must be just lying there in the middle of the hedge with his bike wondering how the blazes he was going to explain it all away. ‘Are you all right?’ Sister Angela called out. ‘Oh, yes, Sister,’ said Legs from out of the hedge. ‘Quite all right, thank you.’ Then she turned to me and said, ‘Jimmy Sullivan, you help him out of there, tidy up the hedge after you, and the both of you will stay in after school for half an hour.’ So that was that. I hauled Legs out of the hedge and then we both pulled his bike out. He had a few harmless scratches on his face that didn’t bleed much, and a cut on his knee that wasn’t much, either. The bike had a buckled front mudguard which we straightened out in no time. All the steam was out of Legs, of course. He recalled that his mother often said that there were some days when you wish you had never got out of bed, and he supposed it was a day like that for him. 5 10 15 20 25 30 35 40 45 50

25 0486/04/M/J/09 © UCLES 2009 [Turn over You know, in all the rush and excitement, it wasn’t until he said those words that I thought of my day. ‘Shut your silly mouth,’ I crabbed at him. ‘If you weren’t so darn loony we wouldn’t have to stay in after school.’ I mean, what the heck had he to complain about when the worst thing that happened to him in a day was to fall off his bike? I was back again to the way I felt when I saw that old wharfie riding down the street. I gave old Legs a proper telling off, and if he hadn’t been so messed around by his previous experiences I daresay we would have ended up by having a fight. How does Cross make this such an amusing episode without ever quite allowing you to forget Jimmy’s sad life? Or 32 What do you think makes Mrs Sullivan such a tragic character? Support your ideas by close reference to Cross’s writing. Or 33 You are Mr Sullivan on the morning when you are going to give Jimmy his new bike. Write your thoughts. 55 60

26 0486/04/M/J/09 © UCLES 2009 ANITA DESAI: Games at Twilight and Other Stories Either *34 Read the following extract, and then answer the question that follows it. Then Bhola leaned towards me. He was the quietest of them, although he wore a shirt of purple and white flowers and had dyed his moustache ginger. I knew he had been to jail twice already for housebreaking and theft. Yet he dared to lean close to me, almost touching me, and to say ‘Bhai, go back to the sitar. You even know how to play the sarod and the vina. You could be a great Ustad yourself, with some practice. We are telling you this for your own good. When you become famous and go to America, you will thank us for this advice. Why do you spend your life sitting at the back of the stage and playing that idiot tanpura while someone else takes all the fame and all the money from you?’ It was as if they had decided to assault me. I felt as if they were climbing on top of me, choking me, grabbing me by my hair and dragging me down. Their words were blows, the idea they were throwing at me an assault. I felt beaten, destroyed, and with my last bit of strength shook them off, threw them off and, pushing aside the table and cups and plates, ran out of the tea-shop. I think they followed me because I could hear voices calling me as I went running down the street, pushing against people and only just escaping from under the rickshaws, tongas and buses. It was afternoon, there were crowds on the street, dust and smoke blotted out the natural light of day. I saw everything as vile, as debased, as something amoral and ugly, and pushed it aside, pushed through as I ran. And all the time I thought, Are they right? Could I have played the sitar myself? Or the sarod, or the vina? And become an Ustad myself? This had never before occurred to me. My father had taught me to play all these instruments and disciplined me severely, but he had never praised me or suggested I could become a front-rank musician. I had learnt to play these instruments as the son of a carpenter would naturally have learnt to make beds and tables and shelves, or the son of a shopkeeper learnt to weigh grain and sell and make money. But I had practised on these instruments and played the ragas he taught me to play without thinking of it as an art or of myself as artist. Perhaps I was a stupid, backward boy. My father always said so. Now these boys who had heard me play in the dark hall of our house in the music lane, told me I could have been an Ustad myself, sat in the centre of the stage, played for great audiences and been applauded for my performance. Were they right? Was this true? Had I wasted my life? As I ran and pushed, half-crying, I thought these things for the first time in my life, and they were frightening thoughts – large, heavy, dark ones that threatened to crush and destroy me. I found myself pushed up against an iron railing. Holding onto its bars, looking through tears at the beds of flowering cannas and rows of imperial palms of a dusty city park, I hung against those railings, sobbing, till I heard someone address me – possibly a policeman, or a beggar, or perhaps just a kindly passer-by. ‘In trouble?’ he asked me. ‘Got into trouble, boy?’ I did not want to speak to anyone and shook him off without looking at him and found the gate and went into the park, trying to control myself and order my thoughts. I found a path between some tall bushes, and walked up and down here, alone, trying to think. Having cried, I felt calmer now. I had a bad headache but I was calmer. I talked to myself. 5 10 15 20 25 30 35 40 45 50

27 0486/04/M/J/09 © UCLES 2009 [Turn over How does Desai vividly convey how dreadful this moment is in the life of the accompanist? Or 35 Explore how Desai vividly portrays a child’s disappointment in either Games at Twilight or Pineapple Cake. Support your ideas with details from your chosen story. Or 36 You are Rakesh after your father has refused your medicine at the end of A Devoted Son. Write your thoughts.

28 0486/04/M/J/09 © UCLES 2009 WILLIAM GOLDING: Lord of the Flies Either *37 Read the following extract, and then answer the question that follows it. The fire was dead. They saw that straight away; saw what they had really known down on the beach when the smoke of home had beckoned. The fire was right out, smokeless and dead; the watchers were gone. A pile of unused fuel lay ready. Ralph turned to the sea. The horizon stretched, impersonal once more, barren of all but the faintest trace of smoke. Ralph ran stumbling along the rocks, saved himself on the edge of the pink cliff, and screamed at the ship. ‘Come back! Come back!’ He ran backwards and forwards along the cliff, his face always to the sea, and his voice rose insanely. ‘Come back! Come back!’ Simon and Maurice arrived. Ralph looked at them with unwinking eyes. Simon turned away, smearing the water from his cheeks. Ralph reached inside himself for the worst word he knew. ‘They let the bloody fire out.’ He looked down the unfriendly side of the mountain. Piggy arrived, out of breath and whimpering like a littlun. Ralph clenched his fist and went very red. The intentness of his gaze, the bitterness of his voice pointed for him. ‘There they are.’ A procession had appeared, far down among the pink screes that lay near the water’s edge. Some of the boys wore black caps but otherwise they were almost naked. They lifted sticks in the air together, whenever they came to an easy patch. They were chanting, something to do with the bundle that the errant twins carried so carefully. Ralph picked out Jack easily, even at that distance, tall, red-haired, and inevitably leading the procession. Simon looked now, from Ralph to Jack, as he had looked from Ralph to the horizon, and what he saw seemed to make him afraid. Ralph said nothing more, but waited while the procession came nearer. The chant was audible but at that distance still wordless. Behind Jack walked the twins, carrying a great stake on their shoulders. The gutted carcass of a pig swung from the stake, swinging heavily as the twins toiled over the uneven ground. The pig’s head hung down with gaping neck and seemed to search for something on the ground. At last the words of the chant floated up to them, across the bowl of blackened wood and ashes. ‘Kill the pig. Cut her throat. Spill her blood.’ Explore the ways in which Golding’s writing makes this a particularly powerful moment in the novel. Or 38 Which character do you find the more frightening, Jack or Roger? Support your view by close reference to Golding’s writing. Or 39 You are Simon on your way up the mountain just after the meeting when Ralph claims that he and Jack have seen the beast. Write your thoughts. 5 10 15 20 25 30 35

29 0486/04/M/J/09 © UCLES 2009 THOMAS HARDY: Far from the Madding Crowd Either *40 Read the following extract, and then answer the question that follows it. Troy was full of activity, but his activities were less of a locomotive than a vegetative nature; and, never being based upon any original choice of foundation or direction, they were exercised on whatever object chance might place in their way. Hence, whilst he sometimes reached the brilliant in speech because that was spontaneous, he fell below the commonplace in action, from inability to guide incipient effort. He had a quick comprehension and considerable force of character; but, being without the power to combine them, the comprehension became engaged with trivialities whilst waiting for the will to direct it, and the force wasted itself in useless grooves through unheeding the comprehension. He was a fairly well-educated man for one of middle class, exceptionally well educated for a common soldier. He spoke fluently and unceasingly. He could in this way be one thing and seem another; for instance, he could speak of love and think of dinner; call on the husband to look at the wife; be eager to pay and intend to owe. The wondrous power of flattery in passados at woman is a perception so universal as to be remarked upon by many people almost as automatically as they repeat a proverb, or say that they are Christians and the like, without thinking much of the enormous corollaries which spring from the proposition. Still less is it acted upon for the good of the complemental being alluded to. With the majority such an opinion is shelved with all those trite aphorisms which require some catastrophe to bring their tremendous meanings thoroughly home. When expressed with some amount of reflectiveness it seems co-ordinate with a belief that this flattery must be reasonable to be effective. It is to the credit of men that few attempt to settle the question by experiment, and it is for their happiness, perhaps, that accident has never settled it for them. Nevertheless, that a male dissembler who by deluging her with untenable fictions charms the female wisely, may acquire powers reaching to the extremity of perdition, is a truth taught to many by unsought and wringing occurrences. And some profess to have attained to the same knowledge by experiment as aforesaid, and jauntily continue their indulgence in such experiments with terrible effect. Sergeant Troy was one. He had been known to observe casually that in dealing with womankind the only alternative to flattery was cursing and swearing. There was no third method. ‘Treat them fairly, and you are a lost man,’ he would say. What kind of picture of Sergeant Troy does Hardy create for you here? Or 41 Explore one incident in this novel which you find vividly dramatic. Refer in detail to Hardy’s writing in your answer. Or 42 You are Farmer Boldwood just after you have again proposed marriage to Bathsheba on the assumption that Troy is dead. Write your thoughts. 5 10 15 20 25 30 35 40 [Turn over

30 0486/04/M/J/09 © UCLES 2009 5 10 15 20 25 30 35 40 45 50 Some content has been removed due to copyright restrictions

31 0486/04/M/J/09 © UCLES 2009 Or 44 In what ways do you think Scout develops and matures in the course of this novel? Support your ideas with details from Lee’s writing. Or 45 You are Reverend Sykes just after the trial, thinking about what has taken place in the courtroom. Write your thoughts.

32 0486/04/M/J/09 BARRIE WADE, ed.: Into the Wind: Contemporary Stories in English Either *46 Read the following extract, and then answer the question that follows it. Like an executioner approaching his victim, the policeman came strolling slowly towards us. He was a big meaty man with a belly, and his blue breeches were skintight around his enormous thighs. His goggles were pulled up on to the helmet, showing a smouldering red face with wide cheeks. We sat there like guilty schoolboys, waiting for him to arrive. ‘Watch out for this man,’ my passenger whispered. ‘ ’Ee looks mean as the devil.’ The policeman came round to my open window and placed one meaty hand on the sill. ‘What’s the hurry?’ he said. ‘No hurry, officer,’ I answered. ‘Perhaps there’s a woman in the back having a baby and you’re rushing her to hospital? Is that it?’ ‘No, officer.’ ‘Or perhaps your house is on fire and you’re dashing home to rescue the family from upstairs?’ His voice was dangerously soft and mocking. ‘My house isn’t on fire, officer.’ ‘In that case,’ he said, ‘you’ve got yourself into a nasty mess, haven’t you? Do you know what the speed limit is in this country?’ ‘Seventy,’ I said. ‘And do you mind telling me exactly what speed you were doing just now?’ I shrugged and didn’t say anything. When he spoke next, he raised his voice so loud that I jumped. ‘One hundred and twenty miles per hour!’ he barked. ‘That’s fifty miles an hour over the limit!’ He turned his head and spat out a big gob of spit. It landed on the wing of my car and started sliding down over my beautiful blue paint. Then he turned back again and stared hard at my passenger. ‘And who are you?’ he asked sharply. ‘He’s a hitch-hiker,’ I said. ‘I’m giving him a lift.’ ‘I didn’t ask you,’ he said, ‘I asked him.’ ‘’Ave I done something wrong?’ my passenger asked. His voice was as soft and oily as haircream. ‘That’s more than likely,’ the policeman answered. ‘Anyway, you’re a witness. I’ll deal with you in a minute. Driving licence,’ he snapped, holding out his hand. I gave him my driving licence. He unbuttoned the left-hand breast-pocket of his tunic and brought out the dreaded book of tickets. Carefully, he copied the name and address from my licence. Then he gave it back to me. He strolled round to the front of the car and read the number from the numberplate and wrote that down as well. He filled in the date, the time and the details of my offence. Then he tore out the top copy of the ticket. But before handing it to me, he checked that all the information had come through clearly on his own carbon copy. Finally, he replaced the book in his tunic pocket and fastened the button. ‘Now you,’ he said to my passenger, and he walked around to the other side of the car. From the other breast-pocket he produced a small black notebook. ‘Name?’ he snapped. ‘Michael Fish,’ my passenger said. 5 10 15 20 25 30 35 40 45 50 © UCLES 2009

33 0486/04/M/J/09 ‘Address?’ ‘Fourteen, Windsor Lane, Luton.’ ‘Show me something to prove this is your real name and address,’ the policeman said. My passenger fished in his pockets and came out with a driving licence of his own. The policeman checked the name and address and handed it back to him. ‘What’s your job?’ he asked sharply. ‘I’m an ’od carrier.’ ‘A what ?’ ‘I’m an ’od carrier.’ ‘Spell it.’ ‘H-O-D C-A-…’ ‘That’ll do. And what’s a hod carrier, may I ask?’ ‘An ’od carrier, officer, is a person ’oo carries the cement up the ladder to the bricklayer. And the ’od is what ’ee carries it in. It’s got a long ’andle, and on the top you’ve got two bits of wood set at an angle …’ ‘All right, all right. Who’s your employer?’ ‘Don’t ’ave one. I’m unemployed.’ The policeman wrote all this down in the black notebook. Then he returned the book to its pocket and did up the button. ‘When I get back to the station I’m going to do a little checking up on you,’ he said to my passenger. ‘Me? What’ve I done wrong?’ the rat-faced man asked. ‘I don’t like your face, that’s all,’ the policeman said. ‘And we just might have a picture of it somewhere in our files.’ He strolled round the car and returned to my window. ‘I suppose you know you’re in serious trouble,’ he said to me. ‘Yes, officer.’ ‘You won’t be driving this fancy car of yours again for a very long time, not after we’ve finished with you. You won’t be driving any car again come to that for several years. And a good thing, too. I hope they lock you up for a spell into the bargain.’ ‘You mean prison?’ I asked, alarmed. ‘Absolutely,’ he said, smacking his lips. ‘In the clink. Behind the bars. Along with all the other criminals who break the law. And a hefty fine into the bargain. Nobody will be more pleased about that than me. I’ll see you in court, both of you. You’ll be getting a summons to appear.’ He turned away and walked over to his motorcycle. He flipped the prop stand back into position with his foot and swung his leg over the saddle. Then he kicked the starter and roared off up the road out of sight. Explore Dahl’s portrayal of the policeman in this extract. Or 47 Explore how the writers create a vivid setting for two short stories from the collection. Or 48 You are the mostly silent victim in The Lemon Orchard. Write your thoughts as the story progresses. 55 60 65 70 75 80 85 90 © UCLES 2009

36 0486/04/M/J/09 Copyright Acknowledgements: Question 1 © Alan Ayckbourn; A Small Family Business ; Casarotto Ramsay & Associates Ltd. Question 4 © Lorraine Hansberry; A Raisin in the Sun ; Methuen Publishing Ltd; 2001. Question 7 Question 10 © The Wylie Agency; Arthur Miller ; The Crucible. Question 19 © Maya Angelou; Caged Bird. Question 25 © Chinua Achebe; Things Fall Apart ; Harcourt Education. Question 31 © Ian Cross; The God Boy ; Penguin Books; 2004. Question 34 © Anita Desai; Games at Twilight ; Vintage; 1998. Question 37 © William Golding; Lord of the Flies ; Faber. Question 43 Question 46 © Roald Dahl; ed. Barrie Wade; The Hitchhiker; Anthology Into the Wind: Contemporary Stories in English ; Nelson; 1988. Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the publisher will be pleased to make amends at the earliest possible opportunity. University of Cambridge International Examinations is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of University of Cambridge Local Examinations Syndicate (UCLES), which is itself a department of the University of Cambridge. BLANK PAGE

UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the May/June 2009 question paper for the guidance of teachers 0486 LITERATURE (ENGLISH) 0486/04 Paper 4 (Closed Books), maximum raw mark 80 This mark scheme is published as an aid to teachers and candidates, to indicate the requirements of the examination. It shows the basis on which Examiners were instructed to award marks. It does not indicate the details of the discussions that took place at an Examiners’ meeting before marking began, which would have considered the acceptability of alternative answers. Mark schemes must be read in conjunction with the question papers and the report on the examination. • CIE will not enter into discussions or correspondence in connection with these mark schemes. CIE is publishing the mark schemes for the May/June 2009 question papers for most IGCSE, GCE Advanced Level and Advanced Subsidiary Level syllabuses and some Ordinary Level syllabuses. www.XtremePapers.com

Page 2 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 General Descriptors The general descriptors aim at guiding examiners to an understanding of the qualities normally expected of, or ‘typical’ of work in the band. Photostats taken from work produced in the examination will be the principal means by which we shall standardise the marking. Band 8 0–1 The answer does not meet the criteria for a mark in Band 7. Band 7 2–3 Candidates will – show a little awareness of… make some comment about… Band 6 4–5 Candidates will – make a few straightforward points about… show a few signs of understanding… make a little reference to aspects of the text… make simple personal response to… Band 5 6–8 Candidates will – make some relevant comment about… show some understanding of… with a little support from the text/reference to language. Band 4 9–11 Candidates will – begin to develop a response… show understanding of … with some detail from the text/reference to language. Band 3 12–14 Candidates will – make a reasonably sustained/extended response… show understanding of… show some thoroughness in use of text for support. make some response to the way language works. Band 2 15–17 Candidates will – make a convincing response… show clear, sustained understanding of… make careful and relevant reference to the text. respond with some thoroughness/detail to the way language works. Band 1 18–20 Candidates will – sustain a perceptive, convincing response… demonstrate clear critical/analytical understanding. show some originality of thought. make much well-selected reference to the text. respond sensitively and in detail to the way language works. The very best will achieve all the above, with flair, imagination and sophistication in addition.

Page 3 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 B Band descriptors for Empathic Questions (imaginative/creative tasks) There are three key elements to be looked for in responses to these questions: • sound knowledge of what happens in the text • an understanding/interpretation of this • the use of an authentic voice or voices Band 8 0–1 The answer does not meet the criteria for Band 7. Band 7 2–3 Candidates will show a little knowledge of what the character does. Band 6 4–5 Candidates will show some knowledge of what the character does and express some view about the reasons for action. Band 5 6–8 Candidates will show some understanding of character through the aspects of the text referred to. There will be a little mentioning of feelings and ideas. Band 4 9–11 Candidates will show a basic understanding of what the character does and thinks. These ideas will show a little evidence of being expressed in an appropriate way. Band 3 12–14 Candidates will have a sound working knowledge on which to base their writing, which will have features of expression which are suitable and appropriate to the character or occasion. Band 2 15–17 Candidates will have a good knowledge and understanding and be able to use this to produce writing expressed in a way which is largely fitting and authentic. The character will be clearly recognisable through the voice assumed. Band 1 18–20 Candidates will use a full and assured understanding of the text to write in a manner which expresses the thoughts, feelings and attitudes of the character with assurance and insight. The voice assumed will be entirely appropriate for the character In this Syllabus we aim at encouraging the students to make some personal response to their reading. That means that, whilst we may have legitimate expectations as to the ground most answers may occupy, we must at all times be prepared to meet them on their chosen ground. It is to be hoped that candidates will see on occasion other possibilities. Hence we must at all times tease out what the candidate is trying to say to us. We must recognise that it is possible for a candidate whose technical command of English is limited, but whose language still manages to communicate understanding, to receive high marks. Nor should we reward fluency and display of literary terms if we feel that there is little evidence of such understanding. Remember that we are looking for response to literature, not demonstration of language skills. Reference to the photostat script discussed during coordination will be crucial to maintaining the standard throughout the marking process. The notes that follow on each question are for general guidance only – they are not rigid prescriptions of ‘required content’.

Page 4 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 DRAMA A Small Family Business 1 It is to be hoped that the parallels with the opening party should be clear to the great majority of candidates. Of course, whereas in the opening party the audience was innocent of the realities of the business and hence the ironic implications of the substance of Jack’s speech, now they are not. They have seen just how corruptible Jack is and will hence view the sentiments expressed in an entirely different light. Notable among these sentiments which carry with them scathing ironic power is Poppy’s fulsome tribute to her husband. Adequate reward should go to those who grasp the basic authorial point of the change of perspective and are able to support it with some detail. Higher reward should be reserved for those who clearly are able to relish in detail the many ironic comparisons made in the dialogue and, for instance, even in the stage spectacle such things as the final picture of a miserable Samantha whose ‘crimes’ have been minor compared with those of her supposed mentors and superiors. Remember to refer to the grade descriptors to arrive at your mark. 2 There may be a number of things which candidates find particularly loathsome. That he is a blackmailer and willing to extort money without shame should be obvious to most and we shall of course reward those who make appropriately moral condemnation with some support from the detail of the play. However, the task does demand more than a basic character sketch. It requires an involvement with the particular characteristics by which Ayckbourn makes him so sinister and memorable. Perhaps the better candidates will recognise that it is the matter-of-fact manner in which he expresses himself and goes about his business which is startling, the way in which every piece of information has a price tag to it. Before we give high reward we should see evidence that there has been engagement with such things as the polite, calm way in which he expresses his subversion of any morality. Most notable, perhaps, is the wonderful moment when he adopts hurt outrage at the amount of money Jack initially offers him. Remember to refer to the grade descriptors to arrive at your mark. 3 Samantha is from the outset something of a rebel and a sceptical observer of adult behaviour. However, even she presumably could not have imagined that she and the assembled gathering were going to be party to this. It is just possible that some candidates might actually have her delighted to discover that her parents still have enough life in them to indulge in such fantasies. However, the much more likely response is acute embarrassment, an embarrassment which is likely to be accentuated by the speeches which follow. She is clearly sceptical of pious sentiment and her reading of a book through the proceedings underlines this. She may also, of course, have at the back of her mind her own problems of petty crime. Adequate reward will go to those who convey some grasp of her adolescent personality but higher reward will be reserved for those who capture her often sour, gloomy and ironic voice. Remember to refer to the grade descriptors to arrive at your mark.

Page 5 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 A Raisin in the Sun 4 The primary reason why candidates are likely to find the ending satisfying is that the family have made the courageous decision to pursue their dream and move into their new house despite the discouragement that Lindner has previously given them. It is clear that they will not have an easy ride as the new community is clearly racist but they have decided not to be intimidated. It will surely be satisfying to see Lindner, such an unpleasant little man, fail despite a last desperate attempt to talk them out of it. Furthermore the nobility of Mama shines through; she does not lose her equanimity but responds to him pleasantly and calmly. Walter has ‘finally come into his manhood’, started to make an emotional investment in the family and shoulder his responsibilities. His relationship with Ruth seems to be back on course. There is even potentially a marriage in the air – the ultimate happy ending. Good answers will look closely at the extract but will be informed by knowledge of all that the family has suffered in the course of the play. They will begin to explore the language of the extract in some detail. Remember to refer to the grade descriptors to arrive at your mark. 5 This is a very open question in terms of the selection of material and there are plenty of incidents from which to choose. Those featuring Walter are perhaps the most powerful, but Beneatha also has some colourful moments. We should look for strong focus on the tensions, supported by appropriate and detailed reference – not mere narratives. Remember to refer to the grade descriptors to arrive at your mark. 6 Though Travis is just a child and perhaps has less dialogue than most of the other characters, he is an observer of many of the crucial scenes in the play, and will be sensitive to the problems and conflicts even if he does not fully understand them. He will be in no doubt as to the importance of the insurance money and he may be expected to speculate on its impact on his mother and father, even on himself. We should not be too demanding in our expectations of what might constitute a child’s voice; on the other hand, very babyish voices will be inappropriate – there is every suggestion that Travis is quite mature for his years. Remember to refer to the grade descriptors to arrive at your mark.

Page 6 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 My Mother Said I Never Should 7 This perhaps is the typical mother/child somewhat playful contretemps as mother is trying to get the daughter to be serious about her music practice and the child using her ingenuity to distract the mother. But, eventually the firm approach taken by mother prevails. There are some nice touches in the interplay between the two and one can’t help feeling that although this may happen in 1940, there is less chance of it happening in the late twentieth century or perhaps the approach would be to make more use of persuasion and cajolement. Candidates who see the cleverness of the writing in the way the two are portrayed should score well. We should reserve the highest reward for those who probe the writing so as to place the incident in its times and explore the innuendo therein. Remember to refer to the grade descriptors to arrive at your mark. 8 Jack Bradley and Ken Metcalfe are referred to throughout the play and clearly have an influence in the bringing up of their children and, in Ken’s case, his grandchild and the decision to raise her as his own. Jack behaves as appropriate to his times in his courtship of Doris. He asks Doris’s mother first before proposing; he says his prayers. Jack’s death is moving and brings out Doris’s emotion. His most significant influence is his writing of his will: everything is left to his granddaughter, Jackie. This results in Doris having to move and Jackie becoming wealthy. There are repercussions for Rosie and her mother. Ken is of the next generation. He and Margaret set up house in London. He goes along with the plan to bring up Rosie as his own child and there are consequences for all concerned. He and Margaret separate but he tends her on her deathbed. Both men figure strongly in the development of the drama. Candidates who show a detailed knowledge of appropriate references and show the men’s influence on the women in the play will deserve high reward. Remember to refer to the grade descriptors to arrive at your mark. 9 Rosie is a feisty character who is not shy at showing her feelings. She is forthright and does not hold back in her opinions. She can be prone to outbursts and can also act in a measured almost conspiratorial way - as she does in gradually leading up to the discovery of her birth certificate and hence the truth of her birth and parenthood. In so doing she engineers the most dramatic moment for Jackie and her subsequent frenzied reaction. Ironically, although wanting to take up residence with Jackie when she believes she is her older sister, on learning the truth of her origins, she decides to move in with Doris. As always with empathic questions the voice is all-important. Rosie’s is a very distinctive personality and those who capture her as outlined above will deserve high reward. Remember to refer to the grade descriptors to arrive at your mark.

Page 7 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 The Crucible 10 On the face of it Danforth seems a thoughtful, calm and just man. He is very sensitive to any accusation that he is not proceeding with great attention to justice. Therefore, one might expect that Mary Warren’s deposition would be critical to the defence. Certainly Proctor thinks so. However, can the audience get Giles’ warning out of its mind, particularly in regard to the central speech in this extract, Danforth’s exposition of the nature of a trial for witchcraft? Also, Hale’s passionate depiction of his growing sense of guilt underlines what is at stake for these men if the whole thing is shown to be a fraud. One may expect perhaps that adequate candidates will set out something of the basic situation and its alternatives but higher reward should only go to those who capture how Miller puts the audience on a dramatic knife edge. Remember to refer to the grade descriptors to arrive at your mark. 11 There is surely no need to set out here the features of Proctor’s character which make him such a complex personality. There will be plenty of opportunity for candidates to rehearse ‘learned’ points from the numerous study aids available on this text. However we should reserve an adequate mark for those who make some attempt to do what the task asks for: engage with the drama of the character and the ways in which Miller makes at certain points in the play such a memorable presence. The more this becomes central to the answer, the higher the reward. Remember to refer to the grade descriptors to arrive at your mark. 12 Hale is a devastated, broken man. He now knows that he has had innocent people hung and what started as a crusade against Satan has revealed itself as in effect doing the Devil’s work. There is plenty of material from which a candidate may weave the passionate terror of a man’s voice who can hardly bear to face his own guilt. Even adequate reward should only go to those who do manage to make something dramatic out of this. The more detail there is pertinent to the particularities of Hale’s journey to perdition, the higher the reward. Remember to refer to the grade descriptors to arrive at your mark.

Page 8 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 As You Like It 13 Though the focus is firmly on the extract, it will be necessary for candidates to show an awareness of what has just happened to Rosalind. The unexplained cruelty of her uncle will make her predicament very pitiable, and Celia’s devotion is presented very poignantly. Note that it is Celia who first comes up with the idea of disguise; Rosalind is clearly in a state of shock; and this is a turning point in that the second part of the play and its relocation in the forest begins at this point. The theme of disguise, which is to become so central to the play is also introduced. Good answers may also see the way in which Shakespeare structures the plot and makes Rosalind’s predicament compare and contrast with that of Orlando. The best answers will respond strongly to the power of the language here. Remember to refer to the grade descriptors to arrive at your mark. 14 Candidates may well begin by defining what they mean by ‘happy and optimistic’. It is a very open question but we might expect better answers to see some dark sides to the play. We sometimes see candidates engage in discussions of Shakespearian comedy and that may well occur here and should be credited in so far as it is relevant. Success will depend on a well constructed argument and apt supporting detail. Remember to refer to the grade descriptors to arrive at your mark. 15 Celia will no doubt be very disturbed by what she is told (suspension of disbelief is fairly crucial here) but obviously has no difficulty in accepting that Oliver has completely changed character and is falling head over heels for him. She is not an insipid character so we should expect some fairly robust sentiments from her and she will no doubt be reflecting on the relationship between Orlando and Rosalind. A convincing voice and character are prerequisites here. Remember to refer to the grade descriptors to arrive at your mark.

Page 9 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 Richard III 16 Most candidates should have at least some idea how Shakespeare milks the possibilities of dramatic irony for all its worth here. A knowledge of the context is necessary, the fact that Catesby has been sent by his master to find out whether Hastings is willing to go along with the ascent of Richard to the throne. In some ways, so complacent is Hastings of his own power and harmony with Richard that one might find oneself almost chortling at Catesby’s heavily loaded commentary on his words. Furthermore, Hastings is quite sanguine about seeing his own enemies removed. Again an adequate answer will show some grasp of the subtext in this scene but we shall probably find ourselves differentiating according to the involvement of the candidate with wicked humour which is so much a characteristic of the play as a whole. Remember to refer to the grade descriptors to arrive at your mark. 17 The key here is engagement with the drama of Shakespeare’s creation. He may be a villain but he towers over everyone else in the play, including the Tudor ‘saviour’. Will candidates be able to recognise that he is actually hugely likeable or will morality cloud what is dramatically true? We must be flexible here but we should not give higher than adequate reward to anything which fails to respond to the man’s humorous energy particularly as he rises inexorably to the top of the heap and we shall expect at this level much attention to the vigour of Shakespeare’s writing. Remember to refer to the grade descriptors to arrive at your mark. 18 The last four lines of the scene give his state of mind and no doubt will be expanded. Buckingham has travelled so far with Richard, has done his bidding so often, has assumed himself to be closest in counsel only to find himself discarded because he finds it difficult to go the last step of removing the princes. He is furious, but perhaps the most insightful will see that he is also afraid. You are either with Richard or against him and if you are the latter, well… Buckingham is an unpleasant, devious and grasping man and perhaps the best answers will be able to suggest this. Remember to refer to the grade descriptors to arrive at your mark.

Page 10 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 POETRY 19–24 Poetry is literary language at its most intense. A poem in a short space creates a multiplicity of resonances and hence possible meanings. We must expect that candidates will offer a very wide variety of responses and interpretations and as examiners must at all times keep a totally open mind when assessing work on a poem. In the exercise of our judgment, we shall, of course, read work which shows manifestly little or no understanding of a poem and we will mark that accordingly. However, it should also be a regular experience to find answers which offer valid perspectives new to the examiner and which, just as manifestly, deserve to be given high reward. We will differentiate first of all according to how directly the candidates answer the question. Where questions prescribe the poems from which the candidates should choose this is to ensure that the candidate is writing on a poem appropriate to the question. It is also designed to send a strong signal to candidates that they are taking a large risk going into the examination with only one or two poems which they are determined to fit to a question. The problem can be that some will choose a question because the poem they wish to write about appears in the list rather than because they can answer the question. We must be very careful not to give much reward for answers which manifestly are not addressing the question, even if they show a convincing grasp of the poem. Do not over-reward such run throughs and do not forget that all the tasks demand that the candidate engage with the poem through a specific route; they are never simple invitations to write about a poem. We should think very hard before putting such work in Band 3. Beyond focus on the question, we will also assess according to how well candidates convince us that they have engaged with the pleasure and excitement of good poetry. This means in effect that we do NOT give high reward to any explanation of "meaning" which shows little response to the words and how they create meaning. In all of the questions there is an explicit requirement to make a response to the words and it will be difficult for any work which fails to engage in this way to progress beyond Band 3. In addition, examiners should be careful not to over-reward comment which is able to isolate vivid features of a poem’s language but which is unable to probe the reasons for their vividness. For instance, the noting of rhyme, sound and movement, the listing of significant words and figures of speech is only a very small first step to insightful personal response. Work given high reward should show the ability of the candidate to analyse how such features of a poem’s language achieve their effect. Remember to refer to the grade descriptors to arrive at your mark.

Page 11 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 PROSE Things Fall Apart 25 The way Achebe allows the man to speak for himself with such conviction and certainty has the result of course of revealing just how intransigent and small minded is the Reverend Smith. Perhaps the most telling moment in the extract is his glorying in the exclusion of those (always in the majority of course) who do not follow the straight and narrow as defined by his version of God. The result of this is only too clear in the way in which Enoch is to become in the new regime an influential figure whereas before he was largely ignored. Achebe’s view of this is made clear by the delightfully scornful description which he gives of this figure. The task asks for engagement with the writing and we should not over reward work which simply sets out to explain and paraphrase. We shall expect for high reward a response to the writer’s scorn for this kind of unforgiving religion. Remember to refer to the grade descriptors to arrive at your mark. 26 The success of answers to this task will firstly depend upon the candidate choosing suitable instances. After that we shall differentiate according to how well the candidate engages with the writing as required in the task. Simple description which does not show why the words of the episode have made the candidates make their choice should not receive much reward. Remember to refer to the grade descriptors to arrive at your mark. 27 Obierika is the most thoughtful of Okonkwo’s friends. He was the one who pondered the justice of tribal law and practice which exiled Okonkwo. He is quite unlike him in many ways, though he clearly admires him. In a way he mourns the loss of the old ways but he suspects it is inevitable. This perhaps makes him admire his friend’s defiance even more, even though he will know that it is the end for him. When faced by the District Commissioner later he is choked with anger at how the white man and his cronies have destroyed ‘one of the greatest of men in Umuofia’. Any answer which shows understanding of how Obierika feels the tragedy which is unfolding will deserve adequate reward. For something better, we should hope that the assumption of his character will communicate something of the complexity of his feelings. Remember to refer to the grade descriptors to arrive at your mark.

Page 12 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 Pride and Prejudice 28 Right from the opening paragraph Austen’s particular brand of acid dismissal is on show, her dislike of people who profess loudly and mean not a word of what they say. A key word in this first paragraph is excessively. The more extreme the emotion declared, the less real it is in Austen, as the let down in what follows reveals only too well. And one can go on in this extract and find a heap of material which candidates could use. One might expect most at least to be able to detect just how detestable the Bingley sisters are but for good marks we should expect precision in exploring how the detail of the writing delivers their odiousness. Remember to refer to the grade descriptors to arrive at your mark. 29 This comes in at what may be an unexpected angle for some candidates. We might expect from these candidates surprise that anyone should find Mrs Bennet anything other than a supremely silly woman. There is enough evidence in truth and probably the character sketches from ‘study aids’ may reinforce that viewpoint. However, at least there are reasons for her stupid and hysterical behaviour for all her basic lack of any common sense and steadiness. She has a husband who has long since ceased to take any notice of her and who seems quite unconcerned about the rather dire future which faces the Bennets if their daughters do not marry well. It may show her lack of any sense of value that she should think Mr Collins a suitable husband for Elizabeth but you can understand why she sees it as a heaven sent opportunity for restoring the family fortunes. Also, Austen does not really paint her in a malevolent manner. One has only to compare her to Lady Catherine to see the difference. It should be perfectly possible for high reward to reject any of these possibilities but it may well be that the really strong candidates will quite often show themselves by taking the less derisive route. Remember to refer to the grade descriptors to arrive at your mark. 30 Here we should beware of excessively romantic gushing. Elizabeth is a young woman of feeling certainly, who will know that Darcy has been revealed as the man of her dreams but it is likely that she may ponder on how both of them through blindness nearly failed to see how perfectly suited they were to one another. Humility may well play a part in her thoughts. Also clear sightedness about the way they are going to have to adapt to one another may well feature. However, perhaps the best will catch the life and humour of Elizabeth Bennet in her steady delight at the prospect of her soon to be walking down the aisle with her slightly severe and proper husband and embarking on a life at Pemberley. Remember to refer to the grade descriptors to arrive at your mark.

Page 13 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 The God Boy 31 It is hoped that most candidates will be able to some extent to respond to the verve of the writing here. It is Keystone Cops on paper, particularly such moments at the climax as when Legs is fixated on Sister Angela to the exclusion of everything else, including his safety. For even adequate reward, we should expect evidence that the candidate has made some response to the energy of the passage and has supported the response with some detail. We should not give much reward to that which remains simply a descriptive paraphrase. The more a candidate explores in detail the way Cross’s writing creates the laughter, the higher the reward. One suspects, though, that it is the last part of the task which will define those with most insight. The end of chapter brings us back with a jolt to the reality of Jimmy’s unhappy life and how this episode is a boyish and high spirited interlude in an otherwise miserable existence. Remember to refer to the grade descriptors to arrive at your mark. 32 Of course, we largely see the mother through Jimmy’s not always fully comprehending eyes but fairly soon into the novel we begin to piece together her dreadful existence at the hands of her husband. There are overheard conversations which we sometimes understand more than does Jimmy. There are moments which are unforgettably representative of the way she has been ground down by her existence and her failed attempt to deliver a loving environment, such as the picture of her on her knees during the bike incident and her last conversation in the book with her son. However, one suspects that differentiation will come from the degree to which the candidate can range widely over the detail of the novel rather than simply dwell on one or two big moments. Certainly we should expect even for an adequate mark that the candidate be able to communicate some response to the powerful way in which Cross delivers the dreadful prison which is her life. Remember to refer to the grade descriptors to arrive at your mark. 33 The father is a whining, self-pitying, violent, penniless drunkard and philanderer who blames all his pathetic failures on his wife who apparently does not ‘understand’ him. He knows the family cannot afford the bike but no doubt that will be glossed as simply evidence of his wife’s mean spirit. The bike episode is in effect an attempt to draw Jimmy away from his mother and to initiate male bonding. Nearly everything he says to the boy underlines this, how grateful the boy should be to have such an understanding and generous dad. An adequate assumption should obviously be able to communicate something of this content but for higher reward we should look for the sense of vindictive triumph as he contemplates the effect that it will have on his son when he finds the bike at the gate and perhaps the fear that he has of what his wife will say when she finds out, a fear which is all too justified as it happens. Remember to refer to the grade descriptors to arrive at your mark.

Page 14 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 Games at Twilight and Other Stories 34 This is, of course, the moment which Desai has been preparing the reader for throughout the story. There are a number of hints that the Ustad has found the accompanist’s devotion satisfyingly convenient without a moment’s concern for his potential talent. Bhaiyya’s erstwhile friends are really only voicing what the reader has already thought. It is notable that Bhola is ‘the quietest of them’ which gives extra credence to what he says. We shall expect for even an adequate mark some detailed response to the graphic description of a man who suddenly is faced with the prospect that for his entire life he has wasted his talent. It is at this point that we have an insight into his relationship with his father and perhaps his complete lack of understanding of what his father was trying to do, that is nurture his son’s talent. Perhaps some of the thoughtful will consider whether or not he has wasted his talent. What does one make of Bhaiyya’s answer to the question posed at the end of the story? Is he in denial or is he perhaps someone who has found true happiness? Remember to refer to the grade descriptors to arrive at your mark. 35 As usual in this kind of task we should beware of giving too much reward to answers which simply gloss the chosen story. The key word here is vividly and we should expect the candidate to have responded with some immediacy to the way Desai conveys so memorably the intensity of childish disappointment, the number of ways in which one’s peers and adults can be cruel, unthinking or uncaring. Both short stories should provide plenty to show that. Probably most will find some material which is relevant and we shall find ourselves differentiating principally according to the range of detail in an answer. Remember to refer to the grade descriptors to arrive at your mark. 36 It is unlikely that this self-satisfied prig will have any real idea of what he has done to his father. We should be cautious about assumptions which make him passionate and irate. It is a colossal surprise that his precious tonic should have finished up on his trousers but he is not likely to be angry, just amazed that this should be his father’s response to such knowledgeable kindness. He will not realise that he has reduced his father to the level of a child to be humoured. He has become so used to power and to praise that he will not be able to conceive that he could be wrong in any of his solutions to problems, medical or otherwise. Nor should any assumption make him more understanding as a result of this incident. He will still know what is best for his beloved Papa. Adequate reward should go to those who understand his attitude, higher reward to those who capture his self-righteous and smug tones. Remember to refer to the grade descriptors to arrive at your mark.

Page 15 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 Lord of the Flies 37 Purely from the point of view of situation, the incident is powerful because the chance of escape has been dashed. The fire has gone out and the ship that appeared on the horizon has not seen them. On another level, the incident shows the boys’ basic lack of unity of purpose and discipline. The fire watchers have been easily seduced away hunting with Jack. Ralph’s reactions are central to the power of the moment as we identify very closely with him. His initial hysteria is replaced by implacability; from ‘his voice rose insanely’ he moves to looking with ‘unwinking eyes’ and ‘reaches inside himself for the worst word he knew.’ The reappearance of Jack and his followers, totally oblivious to what has happened, creates a real cliff-hanger – we wonder what Ralph will do. Even Simon is afraid. The chant seems both irrelevant and ghoulish at this particular moment. We should look for close focus on the extract but also an awareness of the significance of this moment in the breakdown of society on the island. Remember to refer to the grade descriptors to arrive at your mark. 38 The question can be tackled in two ways, either by taking one of the two characters and exploring the frightening aspects of his character in detail or by comparing the two. We should allow either approach but the emphasis is clearly on personal response not merely on unpointed character sketch. Roger is perhaps the more obviously frightening in that he is sadistic and very much an unknown quality. There is a mysteriousness about him and no explanation of the reasons for his violent behaviour. Jack is more of an open book, but his lack of conscience and his lust for power could be equally frightening. He is quite comfortable with killing Piggy and hunting down Ralph at the end of the novel and has very much aligned himself with Roger. Remember to refer to the grade descriptors to arrive at your mark. 39 Simon throughout has a desire to get to the bottom of things and to see what meanings are. Though he is portrayed as delicate and sensitive, he is courageous and determined and he genuinely seems to want what is best for the boys. He is a good friend to Ralph in an unobtrusive way. Success will come from an appropriate voice and a convincing grasp of character. Simon throughout has a desire to get to the bottom of things and to see what meanings are. Though he is portrayed as delicate and sensitive, he is courageous and determined and he genuinely seems to want what is best for the boys. Remember to refer to the grade descriptors to arrive at your mark.

Page 16 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 Far from the Madding Crowd 40 This is quite a damning indictment of Troy and yet it captures his capriciousness, his many verbal skills, his witticisms and his ability to flatter the ladies to the extent that they are captivated by him. He is the classic romantic villain - swashbuckling, charming, cruel and self-serving and self-indulgent. There is much in the extract for candidates to explore: a thorough and comprehensive analysis of Hardy's writing will bring at least adequate reward; those who bring out all the implied contradictions in Troy and his many undoubted gifts tempered by his concentration on self should score well. The highest reward should be reserved for those who see the nuances in Hardy's words and the subtle implications behind them. As always, engagement with the writing is the first requirement for reasonable credit. Remember to refer to the grade descriptors to arrive at your mark. 41 There are several moments that might be chosen by candidates: the opening of Fanny's coffin, the shooting of Boldwood, the loss of Gabriel's sheep, Fanny's struggle to reach the workhouse and her reliance on the dog, Troy's wooing of Bathsheba, the confusion over the two churches. No doubt some candidates will produce others. The important requirement for at least reasonable reward is the engagement with the word 'dramatic' in the context of the writing. Mere re-telling of the events in the chosen episode should receive only modest recognition. The very best will convey their appreciation of Hardy's presentation of suspense and emotional appeal in his writing and the way in which they capture the reader's imagination and focus. Remember to refer to the grade descriptors to arrive at your mark. 42 Boldwood would surely revisit his tortuous conversation with Bathsheba when, with reluctance, she agrees to answer his proposal within six months. He may well return to the fateful Valentine and no doubt Troy will figure in his musings. He will perhaps look forward to the hoped-for final fulfilment of his dream of capturing Bathsheba. As always with this type of question, voice is all-important. At this point in the novel, Boldwood is somewhat unhinged, and the highest reward must surely be reserved for those whose responses contain indications of this aspect of Boldwood's state of mind. Remember to refer to the grade descriptors to arrive at your mark.

Page 17 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 To Kill a Mockingbird 43 The fact that Lee allows Miss Stephanie to describe Bob Ewell's behaviour towards Atticus gives it more credence. As Lee writes, 'wild horses could not bring her to repeat' the names Ewell called Atticus. We can only imagine! Miss Stephanie's comment that Atticus 'could be right dry sometimes' emphasises the casual and unperturbed attitude that Atticus took. Atticus further shows his magnanimity in finding reasons for Ewell's response - he had destroyed his credibility in the trial and Ewell knew it. There is little surprise that he became so intemperate and foul- mouthed. Atticus is touched by the children's concerns and uses humour and self-effacement to remove their anxieties. Candidates who see the subtlety in Lee's writing will deserve appropriate reward. The highest reward should be reserved for those who probe the writing and Lee's use of others to highlight her presentation of Atticus and the line he takes. Remember to refer to the grade descriptors to arrive at your mark. 44 Scout is influenced by others in her development during the course of the novel. She learns from Calpurnia, from Aunt Alexandra, from Atticus, from her experience with Dill and with Boo Radley. She is much less aggressive and impetuous by the end of the novel. She has learned to accept that other people may think and act differently from her. Candidates should bring forward various moments in the book to support their views - the missionary tea-party, the unmasking of Boo, the visit to Calpurnia’s church and her meeting with Reverend Sykes, the trial. No doubt there will be other examples. Those who engage with Lee’s writing and bring credibility to their ideas should achieve much. Mere catalogues of incidents without exploration and evaluation should receive only modest reward. Remember to refer to the grade descriptors to arrive at your mark. 45 Reverend Sykes will surely dwell on the grave injustice that has occurred in the courtroom when, despite all the evidence to the contrary, a guilty verdict has been returned. However, he does have a healthy respect for Atticus witnessed by the fact that the black onlookers stand in tribute to him. Reverend Sykes also asks Jean-Louise to ‘stand up - your father’s passin.’ He will also comment on the fate of Tom Robinson’s family and how they will survive. He may have thoughts about Mr Gilmer and his handling of the case and the witnesses. There may well be other details from the trial and the position of black people. Whatever we are presented with we should be ready to recognise the authenticity of voice. Reverend Sykes is not a belligerent man. He is kindly and gentle and ready to give credit where it is due. Remember to refer to the grade descriptors to arrive at your mark.

Page 18 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – May/June 2009 0486 04 © UCLES 2009 Into the Wind: Contemporary Stories in English 46 The candidate is expected to engage with the detail of the writing, first of all to pick out that which makes the policeman such a hateful authority figure and then to analyse why the word, the phrase, the clause produces this effect. Most should be able to satisfy the first element but for high reward we should expect that the candidates show us by widely ranging through the extract that they have grasped why Dahl’s writing makes the man in every detail right down to his very physique such a slob. Remember to refer to the grade descriptors to arrive at your mark. 47 Since this is from one angle an invitation to choose virtually any story in the collection which attracts the candidate, we should be fairly rigorous in making sure that the central aspect of the task is met. This is to show how the writers go about their task of gripping the reader’s attention and imagination by creating a vivid setting. Any answer which does not at least try to respond to this should not receive much reward. The more detailed the involvement with the way the setting of the story is crucial to the story, the higher the reward should be. Remember to refer to the grade descriptors to arrive at your mark. 48 There is an invitation to dog the footsteps of the short story here and we should accept this structure as long as the man’s character emerges. He is a determined man, contemptuous of his tormenters so that he speaks only once and then when he is afraid that he will be shot. Even then he signals resistance and the resolution to put up with his whipping or whatever other torture they might devise. He will not be humiliated. Something of this substance will be enough for adequate reward but for more hopefully his scorn and hatred will be conveyed in the voice the candidate gives him. Remember to refer to the grade descriptors to arrive at your mark.