Cambridge IGCSE English - Literature 0486 — 2010 Oct/Nov Paper 4 · Variant 1

This document consists of 30 printed pages and 2 blank pages. DC (CB) 35644/5 R © UCLES 2010 [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 three questions: one question from Section A, one question from Section B, and one question from Section C. 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. LITERATURE (ENGLISH) 0486/41 Paper 4 October/November 2010 2 hours 15 minutes Additional Materials: Answer Booklet/Paper * 7 0 9 1 1 9 0 8 4 8 * www.XtremePapers.com

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3 0486/41/O/N/10 © UCLES 2010 [Turn over CONTENTS Section A: Drama text question numbers page [s] Alan Ayckbourn: A Small Family Business *1, 2, 3 pages 4–5 Charlotte Keatley: My Mother Said I Never Should *4, 5, 6 pages 6–7 Arthur Miller: The Crucible *7, 8, 9 pages 8–9 William Shakespeare: Much Ado About Nothing *10, 11,12 pages 10–11 William Shakespeare: Richard III *13, 14, 15 pages 12–13 R. C. Sherriff: Journey’s End *16, 17, 18 pages 14–15 Section B: Poetry text question numbers page [s] Songs of Ourselves: from Part 3 *19, 20, 21 page 16 John Keats: Poems *22, 23, 24 page 17 Section C: Prose text question numbers page [s] Jane Austen: Pride and Prejudice *25, 26, 27 pages 18–19 Ian Cross: The God Boy *28, 29, 30 pages 20–21 Anita Desai: Games at Twilight and Other Stories *31, 32, 33 pages 22–23 Thomas Hardy: Far from the Madding Crowd *34, 35, 36 pages 24–25 Bessie Head: When Rain Clouds Gather *37, 38, 39 pages 26–27 Edith Wharton: Ethan Frome *40, 41, 42 pages 28–29 from Stories Of Ourselves *43, 44, 45 pages 30–31

4 0486/41/O/N/10 © UCLES 2010 SECTION A: DRAMA ALAN AYCKBOURN: A Small Family Business Either * 1 Read this extract, and then answer the question that follows it. Jack goes out of the front door, slamming it behind him. Cliff stands a little bemused in the hall, Anita comes out of the far bedroom. She now has her nightdress on. Anita: What’s going on? Cliff: I’m afraid I had to tell him. About Des – Anita: Yes, I thought you might. Where’s he gone? Cliff: You know how Jack can … I think he’s on his way round to Des’s … Anita: You’d better phone Des. Warn him Jack’s coming. Cliff: Right. Anita: And then phone round everyone else. We’ll have to have a meeting. Cliff: Tonight? Anita: As soon as we can. I’ll get dressed. Cliff goes to the sitting room phone and starts to dial. Anita enters the near bedroom and goes to the cupboard to select herself something to wear. Giorgio’s startled face appears as she ruffles through her dresses. Anita (startled): Oh, hallo, lover, I’d forgotten all about you. (selecting a dress) Later. I’ll be back soon. Presto. Presto. Giorgio (kissing her hand, eagerly): Presto! Presto! Anita (more interested in deciding what to wear with the dress): Yes … She absent-mindedly closes the cupboard door on him and moves off to the far bedroom. A telephone bell rings as Cliff is connected and the lights come up on the kitchen. Desmond comes in through the back door. He has been to empty the rubbish-bin. He is in his shirt-sleeves and is wearing his cook’s apron. He answers the kitchen phone. Desmond: Hallo. Desmond Ayres speaking. Cliff: Des? It’s Cliff. I’m just phoning to warn you. He’s on his way. Desmond: What? Who’s on his way? Cliff: Who the hell do you think? Before he can speak further, a massive hammering is heard on the front door, together with Jack’s angry voice. From the dining room, the yapping of a small dog. Jack (from outside the front door): Desmond! Open this door! Desmond! Desmond: What on earth’s that? Cliff (fearing he is disconnected): Hallo … hallo … Harriet’s head appears through the hatchway. Harriet (alarmed): Desmond, there’s someone at the front door. (to the dog behind her) Quietly, Peggy, quietly. 5 10 15 20 25 30 35 40

5 0486/41/O/N/10 © UCLES 2010 [Turn over Desmond (petulantly): Well, you’ll have to let them in, Harriet. Let them in. I’m on the telephone. Harriet: I don’t know who it is. Oh. (Disappears back through the hatch.) Peggy, stop that. Jack continues to hammer on the door, shouting occasionally. The dog continues to yap. Desmond returns to the phone. Desmond: Hallo. Sorry, Cliff, someone was at the door. What were you saying? Harriet comes out of the dining room, gently pushing the dog back with her foot and closing the door. She prepares to open the front door. Cliff: It’s Jack. He knows everything. He knows about you. Desmond: Jack does? Cliff: It’s probably him at your door … Desmond: Oh my God. (dropping the phone) Harriet! Don’t open the – Harriet has opened the hall door. Jack stands in the doorway like an avenging angel. Jack (with a terrible roar): Desmond! Harriet cringes, Desmond steels himself, Cliff listens alarmed and the dog yaps on as: Blackout. What do you think makes this such a dramatic and amusing end to the Act? Support your views with details from Ayckbourn’s writing. Or 2 What aspects of human behaviour do you think Ayckbourn most powerfully ridicules in this play? Support your ideas with details from the play. Or 3 You are Benedict Hough. You are approaching Jack’s house with your information about the corruption in his firm. Write your thoughts. 45 50 55 60

6 0486/41/O/N/10 © UCLES 2010 CHARLOTTE KEATLEY: My Mother Said I Never Should Either * 4 Read this extract, and then answer the question that follows it. Jackie: This is Rosie, Mummy. Margaret: I – came up the stairs. (Pause.) Lift is out of order. (Pause.) Lot of stairs. Jackie: … Please. Margaret (long pause): Three months. Jackie: Say hello. Margaret (goes to the Moses basket. Pause): Pretty. Jackie (goes also): You think so? Margaret: You had curly eyelashes like that. Jackie (pleased): Did I? Margaret: Hello Rosie … (Kisses her.) Jackie: Don’t wake her! Margaret: Of course not! Jackie: I’m sorry, it’s just – Margaret: You think I don’t know? Rosie coos quietly. Margaret (very tenderly): Ssh, there now. Rosie murmurs. Jackie (turns away): I’ve packed her things … here. (Gives Margaret the holdall.) And her bottles are in this carrier. There’s a bit of powdered milk left – Margaret: Oh you really don’t need – Jackie: Well what would I do with it? Awkward pause. Margaret looks through the clothes in the holdall. Margaret : I’ve been to Mothercare. Got some of those new disposable nappies, like you said. Quite different from when you were a baby. (Sees another carrier, goes to pick it up.) What about this bag – what a sweet – won’t she want this dress with the rabbit on? Jackie: Leave those! – Things she’s grown out of. Margaret: Why did you have to try! All by yourself? Didn’t you believe me? Jackie: I wanted to see if our theories worked … (Pause.) But when I came back from hospital everyone had cleared out. You’d think I had VD, not a new baby. Margaret: He should be here with you, your – (Stuck for word.) – Rosie’s father. – You in these flats … Jackie (calm): Mummy, I told you. He visits; and sends money. It was my decision. Margaret: Yes but you had no idea! I told you, I told you! Nothing, for nearly three months, nothing, since the day she was born, then a phone call, out of the blue, the potatoes boiled dry! 5 10 15 20 25 30 35 40

7 0486/41/O/N/10 © UCLES 2010 [Turn over Jackie : You knew I’d phone, one day. (Slight pause.) Margaret: Look at you now, a year ago you had everything, you were so excited about the art school, new friends, doing so well – Jackie (angry): I’ll go back! Yes I will, finish the degree, I won’t fail both things! Only think about her at night, her cheek against mine, soft and furry, like an apricot … Rosie makes a snuffling noise in her sleep. Jackie: … She’ll be happy, won’t she? . . . Margaret: After you phoned … after you asked us … Daddy went upstairs and got your old high chair down from the attic. (Pause.) Like sisters, he said. A new little sister … (Bends down to Rosie.) Aren’t you, precious? Jackie (panics): Mummy – she’s got to know – I can’t come and visit, with her not knowing, I can’t! Margaret: Jackie, darling, we can’t go over this again – you know as well as I do it would be impossible – Jackie: I don’t believe you! Margaret: When she’s grown up, you can tell her; when she’s sixteen. Jackie: It’ll be too late! Silence. How does Keatley vividly portray the differing feelings of Jackie and Margaret here? Or 5 Explore the ways in which Keatley makes dramatic some of the changes in society over the years in which the play is set. Support your ideas with details from the play. Or 6 You are Doris shortly after the death of your husband, Jack. Write your thoughts. 45 50 55 60

8 0486/41/O/N/10 © UCLES 2010 ARTHUR MILLER: The Crucible Either * 7 Read this extract, and then answer the question that follows it. Cheever: I have a warrant for your wife. Proctor (to Hale): You said she were not charged! Hale: I know nothin’ of it. (To Cheever.) When were she charged? Cheever: I am given sixteen warrant tonight, sir, and she is one. Proctor: Who charged her? Cheever: Why, Abigail Williams charge her. Proctor: On what proof, what proof? Cheever (looking about the room): Mr Proctor, I have little time. The court bid me search your house, but I like not to search a house. So will you hand me any poppets that your wife may keep here? Proctor: Poppets? Elizabeth: I never kept no poppets, not since I were a girl. Cheever (embarrassed, glancing toward the mantel where sits Mary Warren’s poppet): I spy a poppet, Goody Proctor. Elizabeth: Oh! (Going for it.) Why, this is Mary’s. Cheever (shyly): Would you please to give it to me? Elizabeth (handing it to him, asks Hale): Has the court discovered a text in poppets now? Cheever (carefully holding the poppet): Do you keep any others in this house? Proctor: No, nor this one either till tonight. What signifies a poppet? Cheever: Why a poppet – (he gingerly turns the poppet over) – a poppet may signify – Now, woman, will you please to come with me? Proctor: She will not! (To Elizabeth.) Fetch Mary here. Cheever (ineptly reaching toward Elizabeth): No, no, I am forbid to leave her from my sight. Proctor (pushing his arm away): You’ll leave her out of sight and out of mind, Mister. Fetch Mary, Elizabeth. (Elizabeth goes upstairs.) Hale: What signifies a poppet, Mr Cheever? Cheever (turning the poppet over in his hands): Why, they say it may signify that she – (He has lifted the poppet’s skirt, and his eyes widen in astonished fear.) Why, this, this – Proctor (reaching for the poppet): What’s there? Cheever: Why – (He draws out a long needle from the poppet.) – it is a needle! Herrick, Herrick, it is a needle! Herrick comes toward him. Proctor (angrily, bewildered): And what signifies a needle! Cheever (his hands shaking): Why, this go hard with her, Proctor, this – I had my doubts, Proctor, I had my doubts, but here’s calamity. (To Hale, showing the needle.) You see it, sir, it is a needle! 5 10 15 20 25 30 35 40

9 0486/41/O/N/10 © UCLES 2010 [Turn over Hale: Why? What meanin’ has it? Cheever (wide-eyed, trembling): The girl, the Williams girl, Abigail Williams, sir. She sat to dinner in Reverend Parris’s house tonight, and without word nor warnin’ she falls to the floor. Like a struck beast, he says, and screamed a scream that a bull would weep to hear. And he goes to save her, and, stuck two inches in the flesh of her belly, he draw a needle out. And demandin’ of her how she come to be so stabbed, she – (to Proctor now) – testify it were your wife’s familiar spirit pushed it in. Proctor: Why, she done it herself! (To Hale.) I hope you’re not takin’ this for proof, Mister! Hale, struck by the proof, is silent. Cheever: ’Tis hard proof! (To Hale.) I find here a poppet Goody Proctor keeps. I have found it, sir. And in the belly of the poppet a needle’s stuck. I tell you true. Proctor, I never warranted to see such proof of Hell, and I bid you obstruct me not, for I – Enter Elizabeth with Mary Warren. How do you think Miller makes this moment in the play both shocking and absurd? Support your ideas with details from the extract. Or 8 Do you think Miller makes it possible to sympathise with Hale? Support your ideas with details from the play. Or 9 You are John Proctor. You are taking Mary Warren to the Salem Courtroom. Write your thoughts. 45 50 55 60

10 0486/41/O/N/10 WILLIAM SHAKESPEARE: Much Ado About Nothing Either * 10 Read this extract, and then answer the question that follows it. Leonato: Come, Friar Francis, be brief; only to the plain form of marriage, and you shall recount their particular duties afterwards. Friar: You come hither, my lord, to marry this lady? Claudio: No. Leonato: To be married to her, friar! You come to marry her. Friar: Lady, you come hither to be married to this count? Hero: I do. Friar: If either of you know any inward impediment why you should not be conjoined, I charge you, on your souls, to utter it. Claudio: Know you any, Hero? Hero: None, my lord. Friar: Know you any, Count? Leonato: I dare make his answer, None. Claudio: O, what men dare do! What men may do! What men daily do, not knowing what they do! Benedick: How now! Interjections? Why, then, some be of laughing, as, ah, ha, he! Claudio: Stand thee by, friar. Father, by your leave: Will you with free and unconstrained soul Give me this maid, your daughter? Leonato: As freely, son, as God did give her me. Claudio: And what have I to give you back whose worth May counterpoise this rich and precious gift? Don Pedro: Nothing, unless you render her again. Claudio: Sweet Prince, you learn me noble thankfulness. There, Leonato, take her back again; Give not this rotten orange to your friend; She’s but the sign and semblance of her honour. Behold how like a maid she blushes here. O, what authority and show of truth Can cunning sin cover itself withal! Comes not that blood as modest evidence To witness simple virtue? Would you not swear, All you that see her, that she were a maid By these exterior shows? But she is none: She knows the heat of a luxurious bed; Her blush is guiltiness, not modesty. Leonato: What do you mean, my lord? Claudio: Not to be married, Not to knit my soul to an approved wanton. Leonato: Dear, my lord, if you, in your own proof, Have vanquish’d the resistance of her youth, And made defeat of her virginity – 5 10 15 20 25 30 35 40 © UCLES 20010

11 0486/41/O/N/10 Claudio: I know what you would say. If I have known her, You will say she did embrace me as a husband, And so extenuate the ’forehand sin. No, Leonato, I never tempted her with word too large But, as a brother to his sister, show’d Bashful sincerity and comely love. Hero: And seem’d I ever otherwise to you? Claudio: Out on thee! Seeming! I will write against it. You seem to me as Dian in her orb, As chaste as is the bud ere it be blown; But you are more intemperate in your blood Than Venus, or those pamp’red animals That rage in savage sensuality. Hero: Is my lord well, that he doth speak so wide? Leonato: Sweet Prince, why speak not you? Don Pedro: What should I speak? I stand dishonour’d that have gone about To link my dear friend to a common stale. Leonato: Are these things spoken, or do I but dream? Don John: Sir, they are spoken, and these things are true. Benedick: This looks not like a nuptial. How does Shakespeare make this such a dramatic moment in the play? Or 11 How does Shakespeare make the relationship between Beatrice and Hero so memorable a part of the play? Support your answer with details from the play. Or 12 You are Don Pedro. You have just discovered that your half-brother, Don John, is responsible for Hero’s disgrace. Write your thoughts. 45 50 55 60 65 © UCLES 2010 [Turn over

12 0486/41/O/N/10 © UCLES 2010 WILLIAM SHAKESPEARE: Richard III Either * 13 Read this extract, and then answer the question that follows it. Gloucester: I cannot blame her; by God’s holy Mother, She hath had too much wrong; and I repent My part thereof that I have done to her. Queen Elizabeth: I never did her any to my knowledge. Gloucester: Yet you have all the vantage of her wrong. I was too hot to do somebody good That is too cold in thinking of it now. Marry, as for Clarence, he is well repaid; He is frank’d up to fatting for his pains; God pardon them that are the cause thereof! Rivers: A virtuous and a Christian-like conclusion, To pray for them that have done scathe to us! Gloucester: So do I ever – [Aside] being well advis’d; For had I curs’d now, I had curs’d myself. Enter Catesby. Catesby: Madam, his Majesty doth call for you, And for your Grace, and you, my gracious lords. Queen Elizabeth: Catesby, I come. Lords, will you go with me? Rivers: We wait upon your Grace. [Exeunt all but Gloucester. Gloucester: I do the wrong, and first begin to brawl. The secret mischiefs that I set abroach I lay unto the grievous charge of others. Clarence, who I indeed have cast in darkness, I do beweep to many simple gulls; Namely, to Derby, Hastings, Buckingham; And tell them ’tis the Queen and her allies That stir the King against the Duke my brother. Now they believe it, and withal whet me To be reveng’d on Rivers, Dorset, Grey; But then I sigh and, with a piece of Scripture, Tell them that God bids us do good for evil. And thus I clothe my naked villainy With odd old ends stol’n forth of holy writ, And seem a saint when most I play the devil. Enter two Murderers. But, soft, here come my executioners. How now, my hardy stout resolved mates! Are you now going to dispatch this thing? 1 Murderer: We are, my lord, and come to have the warrant, That we may be admitted where he is. Gloucester: Well thought upon; I have it here about me. [Gives the warrant.] When you have done, repair to Crosby Place. But, sirs, be sudden in the execution, Withal obdurate, do not hear him plead; For Clarence is well-spoken, and perhaps May move your hearts to pity, if you mark him. 5 10 15 20 25 30 35 40 45

13 0486/41/O/N/10 © UCLES 2010 [Turn over 1 Murderer: Tut, tut, my lord, we will not stand to prate; Talkers are no good doers. Be assur’d We go to use our hands and not our tongues. Gloucester: Your eyes drop millstones when fools’ eyes fall tears. I like you, lads; about your business straight; Go go, dispatch. 1 Murderer: We will, my noble lord. How do you think Shakespeare makes Richard such an entertaining and dramatic figure here? Support your ideas with details from the extract. Or 14 How do you think Shakespeare makes Richard’s climb to the throne so dramatically compelling? Support your ideas with details from the play. Or 15 You are Lord Hastings. You are on your way with Buckingham to the Tower for the meeting of the Council. Write your thoughts. 50 55

14 0486/41/O/N/10 © UCLES 2010 R.C. SHERRIFF: Journey’s End Either * 16 Read this extract, and then answer the question that follows it. Trotter: You keen on gardening? Osborne: Yes. A bit. I made a rockery when I was home on leave. I used to cycle out to the woods and get primroses and things like that, and try and get ’em to grow in my garden. Trotter: I don’t suppose they would! Osborne: They would if you pressed a bit of moss round them – Trotter: – to make ’em feel at ’ome, eh? (He laughs.) Osborne: They’ll be coming out again soon if they’ve got this sun at home. Trotter: I reckon they will. I remember one morning last spring – we was coming out of the salient. Just when it was getting light in the morning – it was at the time when the Boche was sending over a lot of that gas that smells like pear- drops, you know? Osborne: I know. Phosgene. Trotter: That’s it. We were scared to hell of it. All of a sudden we smelt that funny sweet smell, and a fellow shouted ‘Gas!’ – and we put on our masks; and then I spotted what it was. Osborne: What was it? Trotter: Why, a blinkin’ may-tree! All out in bloom, growing beside the path! We did feel a lot of silly poops – putting on gas masks because of a damn may-tree! (He stretches himself and tries to button his tunic.) Lord! I must get my fat down. (He gets up.) Well, I better go and relieve Stanhope. He’ll curse like hell if I don’t. I bet he’s got a red-hot liver this morning. Osborne: I relieve you at eleven. Trotter: That’s right. I don’t like this time of day in the line. The old Boche ’as just ’ad ’is breakfast, and sends over a few whizz-bangs and rifle grenades to show ’e ain’t forgotten us. Still, I’d rather ’ave a bang or two than this damn quiet. (He puts on his helmet and gas mask satchel and goes up the steps.) Cheero! Osborne: Cheero! Raleigh: Cheero! Osborne (to Raleigh): I expect Stanhope’ll let you go on duty alone now. Raleigh: Will he? About what time? Osborne: Well, after me, I expect. From about two till four. Raleigh: I see. (There is a pause. Then Osborne looks at Raleigh and laughs.) Osborne: What do you think about it all? Raleigh: Oh, all right, thanks. (He laughs.) I feel I’ve been here ages. 5 10 15 20 25 30 35 40

15 0486/41/O/N/10 © UCLES 2010 [Turn over Osborne (filling his pipe): I expect you do. The time passes, though. Raleigh: Are we here for six days? Osborne: Yes. Seems a long time, doesn’t it? Raleigh (laughing shortly): It does rather. I can’t imagine – the end of six days here – Osborne: Anyhow, we’ve done twelve hours already. It’s fine when you are relieved and go down the line to billets, and have a good hot bath, and sit and read under trees. Raleigh: Good Lord, I feel I haven’t seen a tree for ages – not a real tree, with leaves and branches – and yet I’ve only been here twelve hours. Osborne: How did you feel – in the front line? Raleigh: Oh, all right. It seemed so frightfully quiet and uncanny – everybody creeping about and talking in low voices. I suppose you’ve got to talk quietly when you’re so near the German front line – only about seventy yards, isn’t it? Osborne: Yes. About the breadth of a Rugger field. Raleigh: It’s funny to think of it like that. Osborne: I always measure distances like that out here. Keeps them in proportion. Explore how Sherriff vividly conveys in this very ordinary conversation the pressures under which the three men are living. Or 17 What do you think makes Osborne such a dramatic character in the play? Support your ideas with details from the play. Or 18 You are Raleigh. You are on your way to the front line to join Stanhope’s Company. Write your thoughts. 45 50 55 60

16 0486/41/O/N/10 © UCLES 2010 SECTION B: POETRY SONGS OF OURSELVES: from Part 3 Either * 19 Read this poem, and then answer the question that follows it. Sonnet 29 Pity me not because the light of day At close of day no longer walks the sky; Pity me not for beauties passed away From field to thicket as the year goes by; Pity me not the waning of the moon, 5 Nor that the ebbing tide goes out to sea, Nor that a man’s desire is hushed so soon, And you no longer look with love on me. This have I known always: Love is no more Than the wide blossom which the wind assails, 10 Than the great tide that treads the shifting shore, Strewing fresh wreckage gathered in the gales: Pity me that the heart is slow to learn When the swift mind beholds at every turn. (by Edna St Vincent Millay) What do you think makes this sonnet so sad? Support your ideas with details from the poet’s words. Or 20 In either Marrysong (by Dennis Scott) or First Love (by John Clare) explore how the poet’s words vividly portray being in love. Or 21 Sounds of words can contribute powerfully to a poem’s effect and meaning. Explore some examples of this from at least two poems that you have studied from this section of Songs of Ourselves.

17 0486/41/O/N/10 © UCLES 2010 [Turn over JOHN KEATS: Poems Either * 22 Read these last six stanzas from La Belle Dame Sans Merci, and then answer the question that follows them. She found me roots of relish sweet And honey wild and manna dew, And sure in language strange she said I love thee true – She took me to her elfin grot 5 And there she wept and sigh’d full sore, And there I shut her wild wild eyes With kisses four. And there she lulled me asleep And there I dream’d Ah Woe betide! 10 The latest dream I ever dreamt On the cold hill side. I saw pale kings and Princes too, Pale warriors, death pale were they all; They cried ‘La belle dame sans merci 15 Thee hath in thrall.’ I saw their starv’d lips in the gloam With horrid warning gaped wide, And I awoke and found me here On the cold hill’s side. 20 And this is why I sojourn here Alone and palely loitering; Though the sedge is wither’d from the Lake And no birds sing. Explore the ways in which Keats emphasises the knight’s feelings of hopelessness here. Or 23 What do you find memorable about the ways in which Keats portrays the figures on the Grecian Urn? Support your ideas with details from Ode on a Grecian Urn. Or 24 Explore how Keats vividly conveys his thoughts and feelings in Ode on Indolence. Refer closely to the poem to support your ideas.

18 0486/41/O/N/10 © UCLES 2010 SECTION C: PROSE JANE AUSTEN: Pride and Prejudice Either * 25 Read this extract, and then answer the question that follows it. It was generally evident whenever they met, that he did admire her; and to her it was equally evident that Jane was yielding to the preference which she had begun to entertain for him from the first, and was in a way to be very much in love; but she considered with pleasure that it was not likely to be discovered by the world in general, since Jane united with great strength of feeling, a composure of temper and a uniform cheerfulness of manner, which would guard her from the suspicions of the impertinent. She mentioned this to her friend Miss Lucas. ‘It may perhaps be pleasant,’ replied Charlotte, ‘to be able to impose on the public in such a case; but it is sometimes a disadvantage to be so very guarded. If a woman conceals her affection with the same skill from the object of it, she may lose the opportunity of fixing him; and it will then be but poor consolation to believe the world equally in the dark. There is so much of gratitude or vanity in almost every attachment, that it is not safe to leave any to itself. We can all begin freely – a slight preference is natural enough; but there are very few of us who have heart enough to be really in love without encouragement. In nine cases out of ten, a woman had better shew more affection than she feels. Bingley likes your sister undoubtedly; but he may never do more than like her, if she does not help him on.’ ‘But she does help him on, as much as her nature will allow. If I can perceive her regard for him, he must be a simpleton indeed not to discover it too.’ ‘Remember, Eliza, that he does not know Jane’s disposition as you do.’ ‘But if a woman is partial to a man, and does not endeavour to conceal it, he must find it out.’ ‘Perhaps he must, if he sees enough of her. But though Bingley and Jane meet tolerably often, it is never for many hours together; and as they always see each other in large mixed parties, it is impossible that every moment should be employed in conversing together. Jane should therefore make the most of every half hour in which she can command his attention. When she is secure of him, there will be leisure for falling in love as much as she chuses.’ ‘Your plan is a good one,’ replied Elizabeth, ‘where nothing is in question but the desire of being well married; and if I were determined to get a rich husband, or any husband, I dare say I should adopt it. But these are not Jane’s feelings; she is not acting by design. As yet, she cannot even be certain of the degree of her own regard, nor of its reasonableness. She has known him only a fortnight. She danced four dances with him at Meryton; she saw him one morning at his own house, and has since dined in company with him four times. This is not quite enough to make her understand his character.’ ‘Not as you represent it. Had she merely dined with him, she might only have discovered whether he had a good appetite; but you must remember that four evenings have been also spent together – and four evenings may do a great deal.’ ‘Yes; these four evenings have enabled them to ascertain that they both like Vingt-un better than Commerce; but with respect to any other 5 10 15 20 25 30 35 40 45 50

19 0486/41/O/N/10 © UCLES 2010 [Turn over leading characteristic, I do not imagine that much has been unfolded.’ ‘Well,’ said Charlotte, ‘I wish Jane success with all my heart; and if she were married to him tomorrow, I should think she had as good a chance of happiness, as if she were to be studying his character for a twelve-month. Happiness in marriage is entirely a matter of chance.’ How does Austen in this conversation reveal Elizabeth’s and Charlotte’s very different personalities? Or 26 Explore some of the ways in which Austen memorably ridicules prejudice about social class. Support your ideas with details from the writing. Or 27 You are Wickham. You have just heard that Elizabeth is to marry Darcy. Write your thoughts. 55

20 0486/41/O/N/10 © UCLES 2010 IAN CROSS: The God Boy Either * 28 Read this extract, and then answer the question that follows it. She came back down the stairs puffing, and we set off to Raggleton. ‘Have you ever been in a circus?’ I asked. ‘No,’ she said in that high voice. ‘You ought to think of it,’ I said. ‘You have the build, and think of all the wonderful people in a circus and travelling around from town to town. And the lions and the tigers and the elephants.’ ‘Have you ever had a whipping?’ she said, squeaking so much that, honestly, she was like a queer kind of whistle blowing. ‘No,’ I said. ‘I’ve had the strap a few times, though.’ ‘You only get whippings when you say nasty things to people,’ she whistled. ‘So be careful what you say.’ It wasn’t very hot, yet she was starting to sweat as she walked, and the hand with which she held her suitcase looked as though it was swelling. ‘Do you carry towels around in your case because you sweat easy?’ I asked. ‘I carry lots of things in this case, little brat,’ she said. ‘And when I meet nasty little boys I’m glad I do. I’m glad.’ ‘You don’t have to worry about me being a nasty little boy,’ I said. ‘I’m pretty good. You are not too old for a circus are you?’ She didn’t say a word, and the way she was puffing I guessed she was running out of wind. ‘I suppose you would be hard on your clothes,’ I said. ‘Mum always says I’m hard on my clothes, and I suppose you would be, too. Even harder. All that weight pushing out all the time. And your shoes, too. I bet you are hard on your shoes, like I am.’ Still she didn’t talk, so I breezed away, and asked her how she managed swimming – I was interested in whether she could float, for instance. When we reached the intersection, she stopped, and really, she looked hot and bothered. There were great patches of sweat down each side of her dress, the rip in the side of which looked bigger than ever, her big fat face was red, and she had black hairs on her cheeks and under her nose, and I could see little wet drops clinging to them. ‘You’re a very nasty little boy,’ she squeaked. She took another big breath and said, ‘Go away, will you? Go away. You go back to school and play, you little brute. You naughty nasty little brute.’ ‘What about my sixpence?’ I said, and you know, I felt like crying because I knew she wasn’t going to come across. ‘Nothing for nasty little boys,’ she said, and turned her huge big back on me and heaved off. I messed around there for a while, quite down in the mouth, as I had been all set to have a good time with the woman. Then I thought of the bad impression I had made on her, and what she might tell my mother even though I hadn’t put a foot wrong, really, so I ran back home. When I raced in the back door my mother called from upstairs, ‘Who’s that?’ You would think I was a burglar, she sounded that frightened. ‘It’s me, Jimmy,’ I called. ‘Don’t you come upstairs, don’t you come upstairs,’ she shouted, as though I was worse than a burglar. ‘You go back to school. You go back to school or play. Don’t you come upstairs.’ Then a door banged, and the house was so quiet I could hear my breathing. 5 10 15 20 25 30 35 40 45 50

21 0486/41/O/N/10 © UCLES 2010 [Turn over How do you think Cross makes Jimmy’s response to the adult world both amusing and sad in this episode? Or 29 Do you think Cross makes it possible to sympathise with Mr Sullivan in any way or is he simply vile and hateful? Support your ideas with details from the writing. Or 30 You are Mrs Sullivan on the morning after you have murdered your husband. You have just said goodbye to Jimmy and you are walking into town. Write your thoughts.

22 0486/41/O/N/10 © UCLES 2010 ANITA DESAI: Games at Twilight and Other Stories Either * 31 Read this extract from A Devoted Son, and then answer the question that follows it. He developed so many complaints and fell ill so frequently and with such mysterious diseases that even his son could no longer make out when it was something of significance and when it was merely a peevish whim. He sat huddled on his string bed most of the day and developed an exasperating habit of stretching out suddenly and lying absolutely still, allowing the whole family to fly around him in a flap, wailing and weeping, and then suddenly sitting up, stiff and gaunt, and spitting out a big gob of betel juice as if to mock their behaviour. He did this once too often: there had been a big party in the house, a birthday party for the youngest son, and the celebrations had to be suddenly hushed, covered up and hustled out of the way when the daughter-in-law discovered, or thought she discovered, that the old man, stretched out from end to end of his string bed, had lost his pulse; the party broke up, dissolved, even turned into a band of mourners, when the old man sat up and the distraught daughter-in-law received a gob of red spittle right on the hem of her new organza sari. After that no one much cared if he sat up cross-legged on his bed, hawking and spitting, or lay down flat and turned grey as a corpse. Except, of course, for that pearl amongst pearls, his son Rakesh. It was Rakesh who brought him his morning tea, not in one of the china cups from which the rest of the family drank, but in the old man’s favourite brass tumbler, and sat at the edge of his bed, comfortable and relaxed with the string of his pyjamas dangling out from under his fine lawn night-shirt, and discussed or, rather, read out the morning news to his father. It made no difference to him that his father made no response apart from spitting. It was Rakesh, too, who, on returning from the clinic in the evening, persuaded the old man to come out of his room, as bare and desolate as a cell, and take the evening air out in the garden, beautifully arranging the pillows and bolsters on the divan in the corner of the open veranda. On summer nights he saw to it that the servants carried out the old man’s bed onto the lawn and himself helped his father down the steps and onto the bed, soothing him and settling him down for a night under the stars. All this was very gratifying for the old man. What was not so gratifying was that he even undertook to supervise his father’s diet. One day when the father was really sick, having ordered his daughter-in-law to make him a dish of soojie halwa and eaten it with a saucerful of cream, Rakesh marched into the room, not with his usual respectful step but with the confident and rather contemptuous stride of the famous doctor, and declared, ‘No more halwa for you, Papa. We must be sensible, at your age. If you must have something sweet, Veena will cook you a little kheer, that’s light, just a little rice and milk. But nothing fried, nothing rich. We can’t have this happening again.’ The old man who had been lying stretched out on his bed, weak and feeble after a day’s illness, gave a start at the very sound, the tone of these words. He opened his eyes – rather, they fell open with shock – and he stared at his son with disbelief that darkened quickly to reproach. A son who actually refused his father the food he craved? No, it was unheard of, it was incredible. But Rakesh had turned his back to him and was cleaning up the litter of bottles and packets on the medicine shelf and did not notice while Veena slipped silently out of the room with a little smirk that only the old man saw, and hated. 5 10 15 20 25 30 35 40 45 50

23 0486/41/O/N/10 © UCLES 2010 [Turn over To what extent does Desai make you sympathise with the old man here? Support your views with details from the writing. Or 32 What for you are the features of life in India which Desai brings most vividly and memorably to life in these short stories? Support your views with details from Desai’s writing in at least two stories. Or 33 You are Sheila in Surface Textures. You are on your way home to your parents. Write your thoughts.

24 0486/41/O/N/10 © UCLES 2010 THOMAS HARDY: Far from the Madding Crowd Either * 34 Read this extract, and then answer the question that follows it. ‘O no!’ the girl replied. She seemed to prefer a less tragic probability; to have saved a man from death involved talk that should harmonize with the dignity of such a deed – and she shunned it. ‘I believe you saved my life, Miss – I don’t know your name. I know your aunt’s, but not yours.’ ‘I would just as soon not tell it – rather not. There is no reason either why I should, as you probably will never have much to do with me.’ ‘Still I should like to know.’ ‘You can inquire at my aunt’s – she will tell you.’ ‘My name is Gabriel Oak.’ ‘And mine isn’t. You seem fond of yours in speaking it so decisively, Gabriel Oak.’ ‘You see, it is the only one I shall ever have, and I must make the most of it.’ ‘I always think mine sounds odd and disagreeable.’ ‘I should think you might soon get a new one.’ ‘Mercy! – how many opinions you keep about you concerning other people, Gabriel Oak.’ ‘Well, Miss – excuse the words – I thought you would like them. But I can’t match you, I know, in mapping out my mind upon my tongue. I never was very clever in my inside. But I thank you. Come, give me your hand!’ She hesitated, somewhat disconcerted at Oak’s old-fashioned earnest conclusion to a dialogue lightly carried on. ‘Very well,’ she said, and gave him her hand, compressing her lips to a demure impassivity. He held it but an instant, and in his fear of being too demonstrative, swerved to the opposite extreme, touching her fingers with the lightness of a small-hearted person. ‘I am sorry,’ he said the instant after. ‘What for?’ ‘Letting your hand go so quick.’ ‘You may have it again if you like; there it is.’ She gave him her hand again. Oak held it longer this time – indeed, curiously long. ‘How soft it is – being winter time, too – not chapped or rough, or anything!’ he said. ‘There – that’s long enough,’ said she, though without pulling it away. ‘But I suppose you are thinking you would like to kiss it? You may if you want to.’ ‘I wasn’t thinking of any such thing,’ said Gabriel simply; ‘but I will –’ ‘That you won’t!’ She snatched back her hand. Gabriel felt himself guilty of another want of tact. ‘Now find out my name,’ she said teasingly; and withdrew. How does Hardy vividly convey the developing attraction between Gabriel and Bathsheba here? 5 10 15 20 25 30 35 40

25 0486/41/O/N/10 © UCLES 2010 [Turn over Or 35 Attractive and exciting Selfish and cruel Which of these two descriptions is nearer to your view of Sergeant Troy? Support your ideas with details from the novel. Or 36 You are Boldwood on receiving the Valentine card from Bathsheba. Write your thoughts.

26 0486/41/O/N/10 © UCLES 2010 BESSIE HEAD: When Rain Clouds Gather Either * 37 Read this extract, and then answer the question that follows it. Makhaya sat down opposite her and pulled the Tswana version of the Bible towards him as she poured the tea. He scarcely glanced at the words. ‘Are you religious, Mama?’ he asked lightly. Mma-Millipede looked at him with an alert glance. ‘If you mean, am I good, I can right away say no, no, no,’ she said. ‘Goodness is impossible to achieve. I am searching for a faith, without which I cannot live.’ Makhaya kept quiet because he did not immediately grasp the meaning of this. ‘What is faith, Mama?’ he asked curiously. ‘It is an understanding of life,’ she said gently. He looked at her for a moment and then placed one long black arm on the table and pulled up the sweater sleeve which was the same pitch black colouring as the skin on his arm. ‘Do you mean this too?’ he asked, quietly. ‘Do you know who I am? I am Makhaya, the Black Dog, and as such I am tossed about by life. Life is only torture and torment to me and not something I care to understand.’ He might have said it was much more than torture and torment, that it was an abysmal betrayal, a howling inferno where every gesture of love and respect was repaid with the vicious, snapping jaws of the inmates of this inferno until you were forced to build a thick wall of silence between yourself and the snapping jaws. But he would throttle himself to death behind this wall because love was really a warm outflowing stream which could not be dammed up. The familiar pained expression crept over his face as he looked at the old woman. And the old woman knew this. ‘What is a Black Dog?’ she asked abruptly. Makhaya laughed his bitter, sarcastic laugh. ‘He is a sensation,’ he said. ‘He awakens only thrills in the rest of mankind. He is a child they scold in a shrill voice because they think he will never grow up. They don’t want him to, either, because they’ve grown too used to his circus and his antics, and they liked the way he sat on the chair and shivered in fear while they lashed out with the whip. If Black Dog becomes human they won’t have anyone to entertain them any more. Yet all the while they shrieked with laughter over his head, he slowly became a mad dog. Instead of becoming human, he has only become a mad dog, and this makes them laugh louder then ever.’ Mma-Millipede looked down. The quietly spoken words carried in them a violent torrent of hatred, and she was swept out of her depth, uncertain if there was anything in her own life with which to counter this hatred. The pitch black arm still lay across the table, like a question mark, and she was pitch black too, but she had lived all her life inside this black skin with a quiet and unruffled dignity. ‘You are not a Black Dog, my own sweetheart,’ she said in despair. ‘I have never seen such a handsome man as you in my life before. You must not be fooled by those who think they are laughing. I don’t know these people but my search for a faith has taught me that life is a fire in which each burns until it is time to close the shop.’ She looked up at Makhaya and he stared back at her aloofly. With that aloof stare he was trying to force something out of the old woman as he began to feel the real hard depth at the centre of her life. Mma- 5 10 15 20 25 30 35 40 45 50

27 0486/41/O/N/10 © UCLES 2010 [Turn over Millipede wavered. She had wanted to chat with him about little things; how he liked his work and whether he wanted a woman. But now all her feelers had to concentrate themselves on this frightening depth of hatred he had revealed in himself. He smiled suddenly, quite clearly observing the uncertainty on her face. How does Head make this conversation between Makhaya and Mma-Millipede such a powerful and significant moment in the novel? Or 38 What vivid impressions of women’s lives in Golema Mmidi does Head create for you in the novel? Support your answer by close reference. Or 39 You are George Appleby-Smith. You have just been informed of the suicide of Chief Matenge. Write your thoughts. 55

28 0486/41/O/N/10 © UCLES 2010 EDITH WHARTON: Ethan Frome Either * 40 Read this extract, and then answer the question that follows it. As he reached the door he met Zeena coming back into the room, her lips twitching with anger, a flush of excitement on her sallow face. The shawl had slipped from her shoulders and was dragging at her down-trodden heels, and in her hands she carried the fragments of the red glass pickle-dish. ‘I’d like to know who done this,’ she said, looking sternly from Ethan to Mattie. There was no answer, and she continued in a trembling voice: ‘I went to get those powders I’d put away in father’s old spectacle-case, top of the china-closet, where I keep the things I set store by, so’s folks shan’t meddle with them –’ Her voice broke, and two small tears hung on her lashless lids and ran slowly down her cheeks. ‘It takes the step-ladder to get at the top shelf, and I put Aunt Philura Maple’s pickle-dish up there o’ purpose when we was married, and it’s never been down since, ’cept for the spring cleaning, and then I always lifted it with my own hands, so’s ’t shouldn’t get broke.’ She laid the fragments reverently on the table. ‘I want to know who done this,’ she quavered. At the challenge Ethan turned back into the room and faced her. ‘I can tell you, then. The cat done it.’ ‘The cat ?’ ‘That’s what I said.’ She looked at him hard, and then turned her eyes to Mattie, who was carrying the dish-pan to the table. ‘I’d like to know how the cat got into my china-closet,’ she said. ‘Chasin’ mice, I guess,’ Ethan rejoined. ‘There was a mouse round the kitchen all last evening.’ Zeena continued to look from one to the other; then she emitted her small strange laugh. ‘I knew the cat was a smart cat,’ she said in a high voice, ‘but I didn’t know he was smart enough to pick up the pieces of my pickle-dish and lay ’em edge to edge on the very shelf he knocked ’em off of.’ Mattie suddenly drew her arms out of the steaming water. ‘It wasn’t Ethan’s fault, Zeena! The cat did break the dish; but I got it down from the china-closet, and I’m the one to blame for its getting broken.’ Zeena stood beside the ruin of her treasure, stiffening into a stony image of resentment, ‘You got down my pickle-dish – what for?’ A bright flush flew to Mattie’s cheeks. ‘I wanted to make the supper- table pretty,’ she said. ‘You wanted to make the supper-table pretty; and you waited till my back was turned, and took the thing I set most store by of anything I’ve got, and wouldn’t never use it, not even when the minister come to dinner, or Aunt Martha Pierce come over from Bettsbridge –’ Zeena paused with a gasp, as if terrified by her own evocation of the sacrilege. ‘You’re a bad girl, Mattie Silver, and I always known it. It’s the way your father begun, and I was warned of it when I took you, and I tried to keep my things where you couldn’t get at ’em – and now you’ve took from me the one I cared for most of all –’ She broke off in a short spasm of sobs that passed and left her more than ever like a shape of stone. ‘If I’d ’a’ listened to folks, you’d ’a’ gone before now, and this wouldn’t ’a’ happened,’ she said; and gathering up the bits of broken glass she went out of the room as if she carried a dead body … 5 10 15 20 25 30 35 40 45 50

29 0486/41/O/N/10 © UCLES 2010 [Turn over What does Wharton make you feel about Zeena here? Support your views with details from the writing. Or 41 How does Wharton make Ethan Frome such a compelling character? Support your ideas with details from the writing. Or 42 You are Mattie. You are walking home from the dance after you have escaped Denis Eady’s attentions and before Ethan catches up with you. Write your thoughts.

30 0486/41/O/N/10 © UCLES 2010 from STORIES OF OURSELVES Either * 43 Read this extract from The Signalman, and then answer the question that follows it. ‘I have made up my mind, sir,’ he began, bending forward as soon as we were seated, and speaking in a tone but a little above a whisper, ‘that you shall not have to ask me twice what troubles me. I took you for someone else yesterday evening. That troubles me.’ ‘That mistake?’ ‘No. That someone else.’ ‘Who is it?’ ‘I don’t know.’ ‘Like me?’ ‘I don’t know. I never saw the face. The left arm is across the face, and the right arm is waved – violently waved. This way.’ I followed his action with my eyes, and it was the action of an arm gesticulating, with the utmost passion and vehemence, ‘For God’s sake, clear the way!’ ‘One moonlight night,’ said the man, ‘I was sitting here, when I heard a voice cry, “Halloa! Below there!” I started up, looked from that door, and saw this someone else standing by the red light near the tunnel, waving as I just now showed you. The voice seemed hoarse with shouting, and it cried, “Look out! Look out!” And then again, “Halloa! Below there! Look out!” I caught up my lamp, turned it on red, and ran towards the figure, calling, “What’s wrong? What has happened? Where?” It stood just outside the blackness of the tunnel. I advanced so close upon it that I wondered at its keeping the sleeve across its eyes. I ran right up at it, and had my hand stretched out to pull the sleeve away when it was gone.’ ‘Into the tunnel?’ said I. ‘No. I ran on into the tunnel, five hundred yards. I stopped, and held my lamp above my head, and saw the figures of the measured distance, and saw the wet stains stealing down the walls and trickling through the arch. I ran out again faster than I had run in (for I had a mortal abhorrence of the place upon me), and I looked all round the red light with my own red light, and I went up the iron ladder to the gallery atop of it, and I came down again, and ran back here. I telegraphed both ways. “An alarm has been given. Is anything wrong?” The answer came back, both ways, “All well.” ’ Resisting the slow touch of a frozen finger tracing out my spine, I showed him how that this figure must be a deception of his sense of sight; and how that figures, originating in disease of the delicate nerves that minister to the functions of the eye, were known to have often troubled patients, some of whom had become conscious of the nature of their affliction, and had even proved it by experiments upon themselves. ‘As to an imaginary cry,’ said I, ‘do but listen for a moment to the wind in this unnatural valley while we speak so low, and to the wild harp it makes of the telegraph wires.’ That was all very well, he returned, after we had sat listening for a while, and he ought to know something of the wind and the wires – he who so often passed long winter nights there, alone and watching. But he would beg to remark that he had not finished. I asked his pardon, and he slowly added these words, touching my arm: ‘Within six hours after the Appearance, the memorable accident on this line happened, and within ten hours the dead and wounded were 5 10 15 20 25 30 35 40 45 50

31 0486/41/O/N/10 © UCLES 2010 brought along through the tunnel over the spot where the figure had stood.’ A disagreeable shudder crept over me, but I did my best against it. It was not to be denied, I rejoined, that this was a remarkable coincidence, calculated deeply to impress his mind. But it was unquestionable that remarkable coincidences did continually occur, and they must be taken into account in dealing with such a subject. Though to be sure I must admit, I added (for I thought I saw that he was going to bring the objection to bear upon me), men of common sense did not allow much for coincidences in making the ordinary calculations of life. He again begged to remark that he had not finished. I again begged his pardon for being betrayed into interruptions. ‘This,’ he said, again laying his hand upon my arm, and glancing over his shoulder with hollow eyes, ‘was just a year ago. Six or seven months passed, and I had recovered from the surprise and shock, when one morning, as the day was breaking, I, standing at the door, looked towards the red light, and saw the spectre again.’ He stopped, with a fixed look at me. ‘Did it cry out?’ ‘No. It was silent.’ ‘Did it wave its arm?’ ‘No. It leaned against the shaft of the light with both hands before the face. Like this.’ Once more I followed his actions with my eyes. It was an action of mourning. I have seen such an attitude on stone figures on tombs. How does Dickens build up a sense of mystery in this extract? Or 44 How do you think the writers make the endings of two of the following stories so effective? How It Happened (by Arthur Conan Doyle) Meteor (by John Wyndham) On Her Knees (by Tim Winton) Or 45 You are Mala in The Third and Final Continent (by Jhumpa Lahiri). You have just arrived in Boston and your husband has taken you to your new home. Write your thoughts. 55 60 65 70 75

32 0486/41/O/N/10 © UCLES 2010 BLANK PAGE Copyright Acknowledgements: Question 1 © Alan Ayckbourn; A Small Family Business; Casarotto Ramsey & Associates Ltd. Question 4 © Charlotte Keatley; My Mother Said I Never Should; Methuen. Question 7 © The Wylie Agency; Arthur Miller; The Crucible. Question 16 © R C Sherriff; Journey’s End; Penguin. Question 28 © Ian Cross; The God Boy; Penguin New Zealand. Question 31 © Anita Desai; Games at Twilight; Vintage. Question 37 © Bessie Head; When Rain Clouds Gather; Heinemann, Windmill Series. 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.

UNIVERSITY OF CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the October/November 2010 question paper for the guidance of teachers 0486 LITERATURE (ENGLISH) 0486/41 Paper 4 (Closed Books), maximum raw mark 75 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 October/November 2010 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 – October/November 2010 0486 41 © UCLES 2010 All questions on this paper are marked out of 25. The assessment objectives for the paper are: AO1 show detailed knowledge of the content of literary texts AO2 understand the meanings of literary texts and their context, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes AO3 recognise and appreciate ways in which writers use language, structure, and form to create and shape meanings and effects AO4 communicate a sensitive and informed personal response The General Descriptors cover marks from 0 to 25, and apply to the marking of each question. They guide examiners to an understanding of the qualities normally expected of, or typical of, work in a band. They are a means of general guidance, and must not be interpreted as hurdle statements. For the purposes of standardisation of marking, they are to be used in conjunction with photostats of candidates’ work produced in the examination and discussed during the examiners’ coordination meeting, as well as the question-specific notes. The notes for each question are related to the assessment objectives above. Because of the nature of the subject, they are for general guidance; they are not designed as prescriptions of required content and must not be treated as such.

Page 3 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 BAND DESCRIPTORS TABLE 0/0–1 No answer / Insufficient to meet the criteria for Band 8. Band 8 2 3 4 Limited attempt to respond • shows some limited understanding of simple/literal meaning Band 7 5 6 7 Some evidence of simple personal response • makes a few straightforward comments • shows a few signs of understanding the surface meaning of the text • makes a little reference to the text Band 6 8 9 10 Attempts to communicate a basic personal response • makes some relevant comments • shows a basic understanding of surface meaning of the text • makes a little supporting reference to the text Band 5 11 12 13 Begins to develop a personal response • shows some understanding of meaning • makes a little reference to the language of the text (beginning to assume a voice in an empathic task) • uses some supporting textual detail Band 4 14 15 16 Makes a reasonably developed personal response • shows understanding of the text and some of its deeper implications • makes some response to the way the writer uses language (using suitable features of expression in an empathic task) • shows some thoroughness in the use of supporting evidence from the text Band 3 17 18 19 Makes a well-developed and detailed personal response • shows a clear understanding of the text and some of its deeper implications • makes a developed response to the way the writer achieves her/his effects (sustaining an appropriate voice in an empathic task) • supports with careful and relevant reference to the text Band 2 20 21 22 Sustains a perceptive and convincing personal response • shows a clear critical understanding of the text • responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task) • integrates much well-selected reference to the text Band 1 23 24 25 Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality and flair. They show complete and sustained engagement with both text and task.

Page 4 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 SECTION A: DRAMA ALAN AYCKBOURN: A Small Family Business 1 (The end of Act 1) Ayckbourn, like any great writer of farce, is a master at setting off a vehicle pell-mell down the hill. Jack’s impending arrival at Desmond’s, Anita’s coolness under fire, her shutting the cupboard door on her lover, the time it takes for the penny to drop at Desmond’s all create delightful tension. Harriet’s and the dog’s interventions are in addition the stuff of hilarity and at the end of the Act the audience is left in mid air wondering what is going to happen once Jack gets in the house. For reasonable reward, expect some of the above to be responded to and for there to be some attempt to respond to the dramatist at work. The more relish there is in the answer, the more awareness there is of dramatic devices, the higher the reward. Refer to the band descriptors in arriving at your mark. 2 This is a very open question, the list is wide. Perhaps, if one had to choose, much would centre around human beings’ capacities for self delusion and hypocrisy. In the play corruption is, or becomes, for most a perfectly reasonable way of life which can usually be excused to the point where excuse is no longer seen to be necessary. However, candidates may quite legitimately centre on other aspects of the characters’ actions. Differentiate according to how well they explore the ways in which Ayckbourn ridicules human failing. Do not over reward answers which simply describe. Refer to the band descriptors in arriving at your mark. 3 There cannot be much doubt what would be at the centre of this man’s mind at this moment. He has discovered some juicy material about this firm and would already be turning over in his mind how this can be used to his financial advantage far in excess of what might have been his fee. He is on to a winner. Either he is kept on to fully expose the culprits or there is a rich opportunity for blackmail. Since these are his thoughts, he will certainly be much less circumspect than in the way he puts things in public and he may even realise that in his dealings with Jack he will have to present what is certainly blackmail as a perfectly reasonable business proposition. Whatever, expect something of the above material in any reasonable assumption and, for higher reward, Hough’s snakelike deviousness and greed to come through the voice. Refer to the band descriptors in arriving at your mark.

Page 5 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 CHARLOTTE KEATLEY: My Mother Said I Never Should 4 (Act 1 Scene 6) There is some awkwardness here as Jackie has brought her illegitimate child to her mother for her to bring up. Keatley brings out the strains between mother and daughter in the pauses and the tentative dialogue between the two. There is some resentment on Margaret’s part as she is an experienced mother and seeks to make this clear to Jackie: ‘Do you think I don’t know?’ There has clearly been some disagreement between them about the arrangements: ‘Margaret: Why did you have to try! All by yourself? Didn’t you believe me?’ ‘Jackie: You knew I’d phone one day (slight pause)’. There is tension in their attitude to the child’s father. Margaret thinks he ought to be with them. Jackie doesn’t want him. Then there is the question of Jackie’s continued education and her future career. Keatley brings out these differing attitudes through the interplay between the two. Perhaps the more insightful candidates will see part of this as the generation gap – Margaret the very traditional mother and Jackie much more independent and career-minded. Should the child know who her birth mother is? Again this is a sign of dispute between them. Candidates who see these differences between them and who explore the dialogue so as to pinpoint the divergent attitudes should score well: the degree to which they do this should determine the level of their reward. Refer to the band descriptors in arriving at your mark. 5 The play covers a period of some eighty years and thus takes the audience through a time of great change in society. As she presents the developments of each of her four female characters, Keatley charts the changes in careers, in relationships and in everyday living. She is particularly concerned with the relationships between mothers and their daughters as we see very differing attitudes – from Doris to Margaret, Margaret to Jackie and Jackie to Rosie. In careers we note that Jack, Doris’s husband, is the one to decide that she will give up her teaching career after they are married. Jackie will continue on her career path whilst her mother raises her child on her behalf. This is a wide-ranging task and we should seek to differentiate according to the thoroughness with which candidates explore the ways in which Keatley has revealed these changes through the characters she has created. Refer to the band descriptors in arriving at your mark. 6 There is a variety of possibilities here. We should be willing to consider all that are offered. Most are likely to have Doris looking back over her long marriage to Jack. There will be reminiscences and no doubt some sentimental moments. Perhaps she will think of Margaret and the way she was brought up. Doris will certainly wonder why Jack made Jackie the sole beneficiary of his will. Will she be hurt? Will she find reasons to justify his choice? Will she be understanding and perhaps accept that Jackie is the future and is a single parent? All are worthy of consideration but reserve high reward to those who echo incidents in the play and imply credible reasons in their portrayal of Doris for their choices. The authenticity of voice will be crucial in assessing the candidates’ work. Refer to the band descriptors in arriving at your mark.

Page 6 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 ARTHUR MILLER: The Crucible 7 (Act 2) The character of Cheever is at the centre of this extract and it is around him that candidates should be able to frame a response to the task. It is his pathetic superstition which is so ridiculous yet he is in position to exert power, a minor official and a faintly ludicrous figure in the community whose simpleton idiocies suddenly have room to flower. The climax of the passage sees even an intelligent man such as Hale convinced, so mad has this world become. A reasonable answer to the question will be expected to grasp something of Cheever’s role and to be able to respond to some detail in the extract, bringing out the way the ridiculous suddenly becomes acutely threatening of life, as exemplified by the fear expressed by the sane. The best answers should manage to respond to the ways in which Miller develops the tension throughout the extract. Refer to the band descriptors in arriving at your mark. 8 This is a deliberately challenging task and we should not over reward answers which respond blandly with a character sketch, copying from Miller’s ‘helpful’ four page description of him and only occasionally paying attention to the ramifications of the question. Expect judgement to be at the centre of the response and direct involvement with the dialogue and action of the play. After that, it is an open question since Miller clearly leaves much scope for argument about this complex man. Whether one is impressed at one end of the spectrum by his growing doubt, his frequent attempts at decency and his remorse at the end of the play or, at the other end, whether one remembers the role his early eagerness to search out witchcraft played in Salem and his cowardly failure to take a stand when his certainties become heavily compromised, all of this must be left open to the candidate to decide. Differentiate according to the range of detail and the engagement with the drama shown in the answer. Refer to the band descriptors in arriving at your mark. 9 Proctor’s mood would be one of seething anger, perhaps mixed with some fear as to the future. The former would predominate. He has extracted the truth from Mary Warren and he is no doubt half dragging her along with him. He believes that he now has absolute proof of Abigail’s deception and her designs on Elizabeth and that this will reveal the whole witchcraft issue to be the sham that it is. However, he will also be aware of the risk which he is taking on a personal level and the damage there will be to his name. Perhaps he might even have doubt as to whether he is not already too late to bring a halt to the hysteria. Something of this content should be enough to gain reasonable reward with some echoes of Proctor’s downright and passionate voice, the more of which emerges, the higher the reward. Refer to the band descriptors in arriving at your mark.

Page 7 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 WILLIAM SHAKESPEARE: Much Ado About Nothing 10 (Act 4 Scene 1) The scene begins with a sense of expectation – this is after all a wedding and almost all the characters in the play are present. Candidates are not required to move outside the extract, but good answers will no doubt be informed by knowledge of the plot that Don John has been hatching. The first surprise comes with Claudio’s ‘No’ to the conventional question. The other characters appear to ignore this response or merely not to take it in. Hero replies in the usual way, so we wait to see what will happen next. Claudio’s tone is deceptively innocent in the next set of questions, but we know he is working up to something, which comes in line 29 with his reference to Hero as a ‘rotten orange’. He goes on to expatiate in no uncertain terms on her lasciviousness and corruption. The audience, knowing the truth, will be feeling the tension acutely. Hero’s bewilderment, Don Pedro’s rejection of her and Don John’s hypocrisy all add to the power of the moment as does Benedick’s savagely ironic final comment. We should expect good answers to look at the way in which the extract is constructed and the way in which language is used, for example the contrast between vocabulary suggesting virtue and that of corruption and sensuality, and the way in which rhetorical devices are used. Refer to the band descriptors in arriving at your mark. 11 More is required here than character studies. Candidates are required to consider the roles of both characters and their part in the action of the play. They are very different in nature and yet there is a very strong bond between them. Hero may seem to be somewhat one-dimensional but she probably only appears so because of the strength that Beatrice displays. The latter clearly values and admires Hero’s virtue and selflessness and is also protective of her. After Claudio’s rejection Beatrice is the most vengeful of any of the characters on Hero’s behalf. Hero too has a sense of humour, can match Beatrice’s banter and is responsible for the tricks that make Benedick and Beatrice reveal their feelings for each other. The two relationships: Hero/Claudio and Beatrice/Benedick compare and contrast with each other as do the two women, and give the play symmetry. Candidates may explore the notion that Shakespeare is showing the strength of women in relation to the men of the play, but whatever the response, good answers will create a strong and well supported argument. Refer to the band descriptors in arriving at your mark. 12 Don Pedro is perhaps not the most striking of characters in the play, but he carries a great deal of responsibility for the action. He will surely be mortified by his brother’s mischief making (or if he isn’t he should be) and may be speculating on why he has become like this. His relationship with Leonato has been soured almost beyond recovery; his protégé, Claudio, has behaved extremely badly, though now appears to be showing remorse. Don Pedro may well be relieved that everything seems to have turned out all right, though no thanks are due to him. Candidates may have thoughts about what to do with Don John now. The suggestion is that Don Pedro just wants him out of sight and out of mind. As ever, good answers will be characterised by a reasonably convincing and dignified voice. Refer to the band descriptors in arriving at your mark.

Page 8 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 WILLIAM SHAKESPEARE: Richard III 13 (Act 1 Scene 3) The way in which the scene moves from the silky smoothness of Richard’s public morality to the good humoured and witty way in which he reveals to the audience his villainy and in the way he jokingly pushes the murderers on their way to dispose of his brother is unfailingly entertaining, as well as being dramatically shocking in what it reveals about him. A grasp of what is being revealed in this scene coupled with occasional engagement with the detail of the language should be enough for reasonable reward. Anything higher will require a detailed grasp of how Shakespeare delivers Richard’s merry and contemptuous voice. Refer to the band descriptors in arriving at your mark. 14 This task requires more than the powers of narrative and we should be wary of over marking answers which simply describe Richard’s ascent to the throne, no matter how efficient is the description. For reasonable reward we should look for some response to the outrageousness of the central character and his stratagems, the cool clarity of his opportunistic mind and the risks which like a gambler he seems to delight in taking. This is compounded by the witlessness and corruption of most of those around him, so that actually Shakespeare ensures that we are mostly on the side of this villain in the early part of the play. The more the candidate is capable of engaging with aspects of Shakespeare’s dramatic craft, the higher should be the reward. Refer to the band descriptors in arriving at your mark. 15 Put simply, Hastings is an unwary fool, full of his own importance and vengeful in his own right. He is, of course, quite unaware that he is being escorted to his own execution. He is in a cheery and joking mood. His enemies have been disposed of and he is looking forward eagerly to Richard’s coronation, imagining that in the new regime he is and will be a major player, able to dispense largesse. The content of an answer which reveals this optimism and self satisfaction should receive reasonable reward. For something better, perhaps the candidate will be able to capture something of the mordant irony implicit in the situation by really playing up Hastings’ bonhomie. Refer to the band descriptors in arriving at your mark.

Page 9 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 R. C. SHERRIFF: Journey’s End 16 (Act 2 Scene 1) This task should not present too many problems for candidates. It is fairly obvious that the jokes, the memories of normality, the attempt to relate horrific and dangerous things to the ordinary, all has the effect of revealing what thoughts are continually lurking at the back of the mind. As Osborne remarks, ‘Keeps them in proportion.’ One might expect for reasonable reward a grasp of the general tenor of the dialogue with some exploration of the dialogue. Perhaps better candidates will range widely through the dialogue and engage with the rather studied understatement so frequently found in the play and which conveys paradoxically such profound feelings. Refer to the band descriptors in arriving at your mark. 17 There should be no shortage of answers on this which point accurately to the features of the character, such things as the qualities which make him seem as a father figure to all around him, including of course his commanding officer. His middle-aged outward calm, his consistent tact and kindness, his gentle humour, his quiet heroism in the face of almost certain death will no doubt feature in many answers and such perceptions should, of course, be rewarded at least adequately. However, the task asks for something more of a precise engagement with dramatic effect and we should be looking for that before we reward highly. It might be argued that often such virtuousness of itself rarely makes for compelling drama and what ultimately makes him so poignant a figure is Sherriff’s portrayal of him as a man who like all the rest is struggling to find stratagems to survive. Refer to the band descriptors in arriving at your mark. 18 Trepidation and eagerness are likely to be the predominant features of Raleigh’s thoughts at this point. The former is obvious. Even though naïve, he clearly does have some idea of the trial of his character which is facing him. With it would come no doubt terror at the prospect of failing to come up to the mark in the best public school tradition. In a way, this is made worse by the fact that he will be under the eye of his hero, Stanhope. However, surely this will not be all. He has fiddled his posting after all. This is his chance to be a man and what better than to assume adulthood in the presence of his idolised future brother-in-law. Competitive spirit has been drilled into him and in a way he must relish the prospect of doing his bit. For a reasonable answer we might expect a candidate to grasp something of this duality of thought, with something of Raleigh’s youthful terminology. We should expect plenty of the latter before giving high reward. Refer to the band descriptors in arriving at your mark.

Page 10 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 SECTION B: 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. Refer to the band descriptors in arriving at your mark.

Page 11 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 SECTION C: PROSE JANE AUSTEN: Pride and Prejudice 25 (Chapter 6) Charlotte’s pragmatic and somewhat cynical ideas Jane Austen suggests are clearly the product of a woman desperate to marry whilst we see why Elizabeth is Mr Bennet’s favourite daughter. To the point of recklessness she will only marry someone she loves and admires at whatever cost the refusal of the second rate might incur. Here lies the crux of Jane Austen’s pondering the nature of marriage. Of course, it is embedded in a relaxed almost bantering conversation between friends but anyone who has studied the novel should be able to see just how ironic and relevant this conversation will be with regard to the future events directly effecting these two. Both of the women are destined to be faced by the kind of choices which they here discuss as a result of Jane’s situation and both will act according to the views here expressed. A grasp of the context is essential for adequate reward but for higher reward look for a response to the ways in which the two different characters are created in the language of the extract. Refer to the band descriptors in arriving at your mark. 26 This is an open question with a wide range of choice. The De Bourghs, Mr Collins and the Bingley sisters may well feature strongly but then class status seems to be of crucial concern to many of the characters in the book. Jane Austen, as evidenced by the Gardiners, for instance, sees human worth in quite another way than proceeding simply from the vagaries of birth and she reserves her most acid wit for those who think that such things are important in the valuation of character. Here also lies what is likely to be the main route to differentiation. Give reasonable reward to any answer which shows itself as having through the choices made a firm grasp as to who is being ridiculed. However, look for evidence of a detailed insight into the memorable ways in which Jane Austen wields her pen before according high marks. Refer to the band descriptors in arriving at your mark. 27 The man is a parasite without moral fibre. All his misfortune is in his opinion the result of other people’s malignity towards him and no-one comes into that category more than Darcy, the man who has deprived him of his ‘birthright’, has forced him to marry the witless and, to him at least, increasingly boring Lydia and has ensured that he is now banished to the cold North East on a military salary. This marriage can only compound his feelings of being ill done by. However, as the novel suggests, he is still willing to hold his hand out for money and will think that Lydia’s sister will be a good conduit to effect that. A reasonable assumption should cover something of this ground. Better answers hopefully may capture his sarcastic/witty turn of phrase and the sense of malaise and boredom which so easily takes hold of him. Refer to the band descriptors in arriving at your mark.

Page 12 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 IAN CROSS: The God Boy 28 (Chapter 4) The abortionist is one of the most memorable cameos in the novel. No detail is spared in the nauseous physical description of her. Thus the reader can understand why Jimmy is so fixated by her immense size so that he loses what little grasp he has of social manners and makes any number of hilarious remarks. However, of course, all this is against the background of the terrible event that has just taken place in his home about which he has no understanding. Therefore, in a way the reader delights in the way this squeaking and sleazy woman is exposed. The awfulness of her trade is rammed home at the end of the extract by his mother’s anguished shouting to Jimmy not to come upstairs. Expect for reasonable reward some evident understanding of these issues, with some response to the detail of the writing. For higher reward the ability to probe in some detail how the writing makes this extract so funny and yet also so heart-rending should be evident. Refer to the band descriptors in arriving at your mark. 29 One suspects that most candidates will opt for the second option. His conduct in front of the child is despicable and he is clearly one of those self-pitying men who blame everyone and especially those nearest to him for the failure of his life. His wife is described by him as a woman who has dragged him down and later as a she-devil. Perhaps worst of all he uses Jimmy as weapon to get at her and it is possibly because of this that she finally cracks. It is clear that it is only Jimmy who has kept her at home. Possibly some will see in his past life genuine misfortune. If he is to be believed, before the slump he was a successful man. Since that time he has clearly collapsed into drinking and recrimination. Perhaps, Mrs Sullivan at the time of life we see her has become a hardened woman but who would not when married to this ghastly man? For reasonable reward look for a developed argument with detailed support. For higher marks expect an argument which ranges widely and conveys some sense of the author at work, influencing the reader’s judgement of the character. Refer to the band descriptors in arriving at your mark. 30 This should give good opportunity for candidates with a sense of the tragic. She is on her way to confess to a murder. She is a woman who has effectively ended her own life and she seems tired and almost deadened by everything that has happened to her. Her words to her son clearly convey her quiet desperation for him not to blame her and to forgive her for effectively abandoning him but she is unlikely to think these thoughts with a melodramatic turn of phrase. It is quite possible that she is relieved that she has finally escaped from her hellish marriage and Jimmy and Molly will perhaps be the only area of regret that she has for having done the deed. Some idea of her state of mind should be enough to warrant reasonable reward but we should hopefully read assumptions in which the candidate has really identified with her at this dreadful moment. It something of this which we should look for before giving high reward. Refer to the band descriptors in arriving at your mark.

Page 13 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 ANITA DESAI: Games at Twilight and Other Stories 31 It should be fairly straightforward for candidates to see to what extent the old man is attempting to remain the centre of attention by play acting and therefore is perhaps not much deserving of sympathy. The writing makes clear the extent to which there is animosity and a power struggle between the father and the daughter-in-law which for a time the old man thinks that he has won, such is the care and attention given him by Rakesh. However, the last two paragraphs show which way the wind is blowing. They show just how much the father is going to be in thrall to the younger generation, just how much the daughter-in-law in particular is going to enjoy it and just how much the dutiful and loving son is changing into the commanding professional. Some, of course, might not be inclined to feel much sympathy even at this stage and think that the old man deserves everything he gets. Reasonable reward will go to those who develop sensible ideas and support them. Better candidates perhaps will show themselves by seeing the range of possibilities here and respond to the frequent wry humour of the writing. Refer to the band descriptors in arriving at your mark. 32 This is, of course, a very open question. It may range over such opposites established in the stories as the vibrancy and the squalor of India, the strength of family ties and the love and support to be found there contrasted with the sometime stranglehold the family exerts on the individual. However, there is much else which may take the candidate’s interest. What will differentiate will be the candidate’s ability to convey the vivacity with which Desai conveys this variety. Even for reasonable reward we should expect engagement with the writing rather than simple description. The more such involvement is in evidence, the higher the reward. Refer to the band descriptors in arriving at your mark. 33 Sheila will hardly be able to comprehend what has happened to her marriage and who can blame her? (Is her English forename meant to signify her inability to understand, one wonders?) She has watched her civil servant husband utterly change character since the incident of the melon, lose his job and reduce his family to the edge of starvation. The next to go will be the flat and Sheila can stand no more. She is crawling back to her family in shame. There have been moments of anger in the past but she is almost past that point and bitter despair is likely to be the predominant feeling as she realises that even her final plea to his pride has fallen on deaf ears. He is in another world to hers. As usual give reasonable reward to those who manage to inhabit credible territory, reserving higher reward to those who manage to get inside this woman’s desperation. Refer to the band descriptors in arriving at your mark.

Page 14 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 THOMAS HARDY: Far from the Madding Crowd 34 (Chapter 3) There is considerable playfulness and humour in the passage as the evident male/female attraction is developed: the reticence over names, the hand-holding and snatching away, the verbal jousting. There is a progression throughout the extract which, hopefully, will figure in the competent answers. Each is gradually getting to know more about the other. There are hints of dramatic irony in the passage which the more percipient will surely recognise: ‘…as you probably will never have much to do with me… ’ ‘I should think that you might soon get a new one…’ A detailed exploration of the passage and an acknowledgement of the light-hearted and suggestive nature of the dialogue will merit creditable reward. Refer to the band descriptors in arriving at your mark. 35 There will not be a great deal of sympathy for Troy though some more insightful candidates will see that this swash-buckling, adventure-seeker is out of place in rural Wessex and therefore note that he was unsuited to settling down far away from more lively pursuits – and hence show some sympathy towards him. There will be those who will think that his concern for Fanny after he has met her on the way to the work-house shows some concern and kindness. His final return to Weatherbury may also be seen as perhaps evidence of a final repentance, though it is likely that the more perspicacious will regard it simply as self-seeking. His great acting ability and his penchant for dissimulation will surely figure in the best answers. We should see some lively and well-argued responses, for Troy, whilst being an attractive, witty and romantic character is surely most interested in his own self-satisfaction and comfort. We should differentiate according to how well-supported and credible are the claims made in candidates’ answers. In such a task as this, detailed knowledge of the text and a deep appreciation of Hardy’s writing will be a sine qua non for high reward. Refer to the band descriptors in arriving at your mark. 36 Boldwood is a dour character but one who can act on impulse and perform some unexpected acts. We should therefore expect candidates to show some emotion and bewilderment as they assume his voice and character. He is likely to be flattered and indeed devise plans for what he sees as his opportunity for marriage. He may also think of a business arrangement. He will surely be surprised – but delighted on receiving the card. He is not the type to think it a joke. Here there will be an opportunity for candidates to show their knowledge of his personality and their creativity in devising their response. Refer to the band descriptors in arriving at your mark.

Page 15 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 BESSIE HEAD: When Rain Clouds Gather 37 (Chapter 9) The passage is self-contained and there is plenty of material in it for candidates to write in detail on the content and language without referring beyond it, but they may wish to show how it changes and builds on our perceptions of Makhaya and to a lesser extent of Mma- Millipede. Makhaya is a mysterious figure throughout the book; we know little of his background, he first appears as a fugitive, and he remains a little distant from the life of the village but here he really opens up and reveals his unhappiness and depression. The symbol of the black dog is used very powerfully to express his sense of alienation and hatred and Mma-Millipede is ‘out of her depth’ though her calmness and compassion and her religious certainty are very moving and clearly have a positive effect on him. Head contrasts the violence and anger of his speech with the gentleness of hers and the feeling seems to be that her view will prevail. This conversation is significant in the effect that it has on Makhaya and on his eventual acceptance of Paulina. Refer to the band descriptors in arriving at your mark. 38 The most obvious points to make will probably be that the women are portrayed as strong and self-sufficient characters and there are few signs of male domination. The most striking of these are Paulina and Mma-Millipede, who are presented as independent and intelligent women. The latter is famous for her religious views and is very well respected by the chiefs. There is a very amusing incident at the beginning of Chapter 7 when the women of the village have a meeting to try to get the measure of Paulina and her relationship with Makhaya and Head seems to be implying that they are generally not well satisfied with their men who are seen as weak and unreliable. The women seem to determine the moral values of the society. Women also clearly have an important role in the economy of the village; they are responsible not only for cooking and cleaning etc but also for agriculture. At the beginning of the novel Gilbert outlines the part that women have played in agriculture (they have traditionally been the growers of crops, while men have tended the cattle) but training in modern agricultural developments have been open only to men. This is why Gilbert’s efforts to educate them and the projected tobacco shed are so important, and the women are keen to embrace new developments. There is a lot of material and it is well spread throughout the novel so do not expect answers to be exhaustive; success will come through strength of personal response, and apt selection of material. Refer to the band descriptors in arriving at your mark. 39 Candidates should do more than merely narrate the sequence of events leading up to the suicide but should consider the white man’s view point here. George Appleby-Smith has a forthright and colloquial way of speaking and will express his somewhat cynical view of the country and of Matenge in no uncertain terms. He will no doubt mention the finding of the dead child – directly attributable to Matenge – which has moved him so deeply. He may also mention his relationship with Matenge’s brother, Chief Sekoto. As always, the quality of the answer will depend on the voice created. Refer to the band descriptors in arriving at your mark.

Page 16 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 EDITH WHARTON: Ethan Frome 40 (Chapter 7) Here Zeena’s hard and unlovely personality is revealed. Up to this point she has been seen mainly as a dispiriting figure but here her bitter malice is obvious for all to see. Things could not have worked out better for her as far as Mattie is concerned. She is quite simply confirmed as a bad girl for in effect laying a pretty table for Ethan. One is also reminded of the Aunt in ‘The Lumber Room’ in her keeping of precious and lovely things unused and unseen. This is clearly a symbol of the impoverishment of her soul. Something of this and the reward should be at least adequate. Probing of the detail of the writing will bring something better. However, there is perhaps something else in the passage which, if noted, certainly should be highly rewarded. Zeena, for whatever reason, is genuinely hurt by what has happened. It is akin to sacrilege, as if a private part of her life has been invaded. It could be argued that Wharton almost makes us feel sorry for her. Refer to the band descriptors in arriving at your mark. 41 The key here is the word compelling. We should not give even reasonable reward to any answer which simply gives a character sketch and ignores the author at work. It is, for instance, the way mystery surrounds so much of this man’s life for so much of the novel which makes him so memorable a figure. It is what makes the glimpses of what might have been right from the time at Worcester so sad and the later moments of rage and passion so startling when set against the habitual taciturnity of the man. If ever a man’s existence might have warranted suicide it is his and yet it is part of his heroic stature that the author discovers him battling on twenty five years after the final ruination of all hope, having failed, perhaps deliberately, in his suicide pact. For high reward expect some evidence of personal engagement and involvement with Wharton’s extraordinary creation. Refer to the band descriptors in arriving at your mark. 42 Mattie has had a good time at the dance and has had the diversion of being pursued by Eady. Any young girl is going to like that kind of attention and it should show for a moment. However, she does elude him, she is not going to be reined in, and clearly there is a serious side to her which recognises this boy for what he is. And this is where Ethan might come in. She will no doubt be wondering why he has not picked her up as usual. As she says later, she will probably think that Zeena has had one of her turns. However, she will be disappointed, no doubt of that. The question is how far will she admit her attraction to Ethan. We must leave that open to the candidate, though it is unlikely that she will use the word ‘love’ since all she will see is the impossibility of it all. Something of the above thoughts will be enough for reasonable reward. Better assumptions hopefully will catch the range of tone from the flippantly gay to the deeply sweet and serious which characterise this girl’s voice. Refer to the band descriptors in arriving at your mark.

Page 17 Mark Scheme: Teachers’ version Syllabus Paper IGCSE – October/November 2010 0486 41 © UCLES 2010 Stories of Ourselves 43 A close reading of the passage is required here and detailed focus on the language. Atmosphere is created through the setting: the entrance to the tunnel, the darkness, the wind in the wires, the dampness, the generally alien environment, the only colour being that of the red light with its suggestion of blood. The signalman speaks in a whisper and his narrative is urgent and dramatic. The narrator’s responses also create tension: ‘the slow touch of a frozen finger tracing out my spine’, ‘a disagreeable shudder crept over me’, though he tries to remain rational. Reference outside the passage is not specifically required, but answers may well be enhanced by some contextualisation or reference to the outcome of the story. Refer to the band descriptors in arriving at your mark. 44 This is another way of getting at the twists in the stories and so more than straight narrative is required. Candidates will be required to consider how expectations are built up and then confounded. How It Happened is a very factual and detailed first-person account of a car accident. It is only when the narrator returns to consciousness after the crash that certain anomalies become evident and then the final twist. Meteor is divided between a narrative about the Tofts family and Onns’ journal; it has two perspectives. As the story proceeds the aliens make a better and better impression as they come in peace and friendship. Unfortunately they are doomed to failure and candidates may find the final section, which gives them a physical description, surprising as it indicates that man is unreceptive to such overtures. On Her Knees is perhaps more mundane, but the ending is slightly ambiguous. Mother has won the moral battle against the unfair accusation of theft and has kept her dignity and good name but is conscious that she is still in the power of the people who pay her. To her son, however, she appears almost angelic (‘It seemed that the light of day was pouring out through her limbs’). Refer to the band descriptors in arriving at your mark. 45 Mala will be apprehensive. Her marriage is an arranged one (because she was getting rather old) and she has lived with her husband for only five nights. By his own admission he has been distant and unsympathetic towards her. After his departure, she has lived with his brother and sister-in-law for six weeks. She has sent a sad little letter saying how lonely she is and asking whether it will be cold in Boston. A good deal of her thoughts may well be speculative, therefore, and there is not a great deal on which to base a ‘voice’, but from the descriptions of her behaviour throughout the story it sounds as if she is a patient and adaptable person and it should be possible to incorporate appropriate detail. We know that the relationship eventually becomes a good one even though she is not completely aware of what her husband has experienced on his arrival in the USA. Refer to the band descriptors in arriving at your mark.