Cambridge IGCSE English - Literature 0486 — 2014 May/June Paper 5 · Variant 2

This document consists of 15 printed pages, 1 blank page and 1 insert. DC (ST) 103133 © UCLES 2014 [Turn over Cambridge International Examinations Cambridge International General Certificate of Secondary Education * 0 3 7 2 1 1 2 2 7 5 * LITERATURE (ENGLISH) 0486/52 Paper 5 May/June 2014  45 minutes No Additional Materials are required. READ THESE INSTRUCTIONS FIRST An answer booklet is provided inside this question paper. You should follow the instructions on the front cover of the answer booklet. If you need additional answer paper ask the invigilator for a continuation booklet. Answer one question. All questions in this paper carry equal marks.

2 0486/52/M/J/14 © UCLES 2014 Answer one question on any text. JANE AUSTEN: Northanger Abbey Either 1 Read this extract, and then answer the question that follows it: Catherine’s heart beat quick, but her courage did not fail her. With a cheek flushed by hope, and an eye straining with curiosity, her fingers grasped the handle of a drawer and drew it forth. It was entirely empty. With less alarm and greater eagerness she seized a second, a third, a fourth; each was equally empty. Not one was left unsearched, and in not one was anything found. Well read in the art of concealing a treasure, the possibility of false linings to the drawers did not escape her, and she felt round each with anxious acuteness in vain. The place in the middle alone remained now unexplored; and though she had ‘never from the first had the smallest idea of finding anything in any part of the cabinet, and was not in the least disappointed at her ill success thus far, it would be foolish not to examine it thoroughly while she was about it.’ It was some time however before she could unfasten the door, the same difficulty occurring in the management of this inner lock as of the outer; but at length it did open; and not vain, as hitherto, was her search; her quick eyes directly fell on a roll of paper pushed back into the further part of the cavity, apparently for concealment, and her feelings at that moment were indescribable. Her heart fluttered, her knees trembled, and her cheeks grew pale. She seized, with an unsteady hand, the precious manuscript, for half a glance sufficed to ascertain written characters; and while she acknowledged with awful sensations this striking exemplification of what Henry had foretold, resolved instantly to peruse every line before she attempted to rest. The dimness of the light her candle emitted made her turn to it with alarm; but there was no danger of its sudden extinction, it had yet some hours to burn; and that she might not have any greater difficulty in distinguishing the writing than what its ancient date might occasion, she hastily snuffed it. Alas! it was snuffed and extinguished in one. A lamp could not have expired with more awful effect. Catherine, for a few moments, was motionless with horror. It was done completely; not a remnant of light in the wick could give hope to the rekindling breath. Darkness impenetrable and immoveable filled the room. A violent gust of wind, rising with sudden fury, added fresh horror to the moment. Catherine trembled from head to foot. In the pause which succeeded, a sound like receding footsteps and the closing of a distant door struck on her affrighted ear. Human nature could support no more. A cold sweat stood on her forehead, the manuscript fell from her hand, and groping her way to the bed, she jumped hastily in, and sought some suspension of agony by creeping far underneath the clothes. To close her eyes in sleep that night, she felt must be entirely out of the question. With a curiosity so justly awakened, and feelings in every way so agitated, repose must be absolutely impossible. The storm too abroad so dreadful! – she had not been used to feel alarm from wind, but now every blast seemed fraught with awful intelligence.  [From Chapter 21 ] How does Austen’s writing make this passage so amusing? 5 10 15 20 25 30 35 40

3 0486/52/M/J/14 © UCLES 2014 [Turn over Or 2 Does Austen make you feel that Catherine and Henry Tilney will have a happy marriage? Support your ideas with details from the novel. Or 3 You are General Tilney. John Thorpe has just told you that Catherine is not going to inherit great wealth as he had led you to believe. Write your thoughts.

4 0486/52/M/J/14 © UCLES 2014 CAROL ANN DUFFY: Selected Poems Either 4 Read this poem, and then answer the question that follows it: Originally We came from our own country in a red room strangers ask. Originally? And I hesitate. How does Duffy vividly convey the speaker’s thoughts and feelings in this poem? Or 5 Explore how Duffy movingly conveys the situation of the dolphins in The Dolphins. Or 6 How does Duffy’s writing make the poem Foreign particularly powerful for you? Content removed due to copyright restrictions.

5 0486/52/M/J/14 © UCLES 2014 [Turn over Turn to page 6 for Question 7.

6 0486/52/M/J/14 © UCLES 2014 HELEN DUNMORE: The Siege Either 7 Read this extract, and then answer the question that follows it: ‘I’m off, then,’ says Anna. The roubles, sugar, lard and bread are in a cotton bag tied around her waist. ‘No, I won’t forget.’ Content removed due to copyright restrictions.

7 0486/52/M/J/14 © UCLES 2014 [Turn over  [From Chapter 17 ] How does Dunmore’s writing reveal the desperate struggle for survival at this moment in the novel? Or 8 How does Dunmore memorably contrast the characters and attitudes of Anna and Elizaveta Antonovna in the novel? Or 9 You are Fedya at the end of the novel. Write your thoughts.

8 0486/52/M/J/14 © UCLES 2014 from JO PHILLIPS ed.: Poems Deep & Dangerous Either 10 Read this poem, and then answer the question that follows it: First Love I ne’er was struck before that hour With love so sudden and so sweet. Her face it bloomed like a sweet flower And stole my heart away complete. My face turned pale as deadly pale, My legs refused to walk away, And when she looked ‘what could I ail?’ My life and all seemed turned to clay. And then my blood rushed to my face And took my sight away. The trees and bushes round the place Seemed midnight at noonday. I could not see a single thing, Words from my eyes did start; They spoke as chords do from the string And blood burnt round my heart. Are flowers the winter’s choice? Is love’s bed always snow? She seemed to hear my silent voice And love’s appeal to know. I never saw so sweet a face As that I stood before: My heart has left its dwelling-place And can return no more. (by John Clare) How does Clare powerfully portray first love here? Or 11 How does Banks vividly capture the thoughts and feelings of the mother in The Gift? Or 12 How do the poets appeal to your senses in Laundrette (by Liz Lochhead) and People Etcetera (by Elma Mitchell)? 5 10 15 20

9 0486/52/M/J/14 © UCLES 2014 [Turn over Turn to page 10 for Question 13.

10 0486/52/M/J/14 © UCLES 2014 WILLIAM SHAKESPEARE: A Midsummer Night’s Dream Either 13 Read this extract, and then answer the question that follows it: Hermia: I would my father look’d but with my eyes. Theseus: Rather your eyes must with his judgment look. Hermia: I do entreat your Grace to pardon me. I know not by what power I am made bold, Nor how it may concern my modesty In such a presence here to plead my thoughts; But I beseech your Grace that I may know The worst that may befall me in this case, If I refuse to wed Demetrius. Theseus: Either to die the death, or to abjure For ever the society of men. Therefore, fair Hermia, question your desires, Know of your youth, examine well your blood, Whether, if you yield not to your father’s choice, You can endure the livery of a nun, For aye to be in shady cloister mew’d, To live a barren sister all your life, Chanting faint hymns to the cold fruitless moon. Thrice-blessed they that master so their blood To undergo such maiden pilgrimage; But earthlier happy is the rose distill’d Than that which withering on the virgin thorn Grows, lives, and dies, in single blessedness. Hermia: So will I grow, so live, so die, my lord, Ere I will yield my virgin patent up Unto his lordship, whose unwished yoke My soul consents not to give sovereignty. Theseus: Take time to pause; and by the next new moon – The sealing-day betwixt my love and me For everlasting bond of fellowship – Upon that day either prepare to die For disobedience to your father’s will, Or else to wed Demetrius, as he would, Or on Diana’s altar to protest For aye austerity and single life. Demetrius: Relent, sweet Hermia; and, Lysander, yield Thy crazed title to my certain right. Lysander: You have her father’s love, Demetrius; Let me have Hermia’s; do you marry him. Egeus: Scornful Lysander, true, he hath my love; And what is mine my love shall render him; And she is mine; and all my right of her I do estate unto Demetrius. Lysander: I am, my lord, as well deriv’d as he, As well possess’d; my love is more than his; My fortunes every way as fairly rank’d, If not with vantage, as Demetrius’; And, which is more than all these boasts can be, I am belov’d of beauteous Hermia. 5 10 15 20 25 30 35 40 45

11 0486/52/M/J/14 © UCLES 2014 [Turn over Why should not I then prosecute my right? Demetrius, I’ll avouch it to his head, Made love to Nedar’s daughter, Helena, And won her soul; and she, sweet lady, dotes, Devoutly dotes, dotes in idolatry, Upon this spotted and inconstant man. Theseus: I must confess that I have heard so much, And with Demetrius thought to have spoke thereof; But, being over-full of self-affairs, My mind did lose it. But, Demetrius, come; And come, Egeus; you shall go with me; I have some private schooling for you both. For you, fair Hermia, look you arm yourself To fit your fancies to your father’s will, Or else the law of Athens yields you up – Which by no means we may extenuate – To death, or to a vow of single life. Come, my Hippolyta; what cheer, my love? Demetrius, and Egeus, go along; I must employ you in some business Against our nuptial, and confer with you Of something nearly that concerns yourselves. Egeus: With duty and desire we follow you.  [From Act 1 Scene 1 ] How does Shakespeare make this such a dramatic and significant moment in the play? Or 14 How does Shakespeare amusingly convey Titania’s love for Bottom? Or 15 You are Demetrius. You are on the way to the temple to be married. Write your thoughts. 50 55 60 65 70

12 0486/52/M/J/14 © UCLES 2014 ROBERT LOUIS STEVENSON: The Strange Case of Dr Jekyll and Mr Hyde Either 16 Read this extract, and then answer the question that follows it: It was late in the afternoon, when Mr Utterson found his way to Dr Jekyll’s door, where he was at once admitted by Poole, and carried down by the kitchen offices and across a yard which had once been a garden, to the building which was indifferently known as the laboratory or the dissecting rooms. The doctor had bought the house from the heirs of a celebrated surgeon; and his own tastes being rather chemical than anatomical, had changed the destination of the block at the bottom of the garden. It was the first time that the lawyer had been received in that part of his friend’s quarters; and he eyed the dingy windowless structure with curiosity, and gazed round with a distasteful sense of strangeness as he crossed the theatre, once crowded with eager students now lying gaunt and silent, the tables laden with chemical apparatus, the floor strewn with crates and littered with packing straw, and the light falling dimly through the foggy cupola. At the further end, a flight of stairs mounted to a door covered with red baize; and through this Mr Utterson was at last received into the doctor’s cabinet. It was a large room, fitted round with glass presses, furnished, among other things, with a cheval-glass and a business table, and looking out upon the court by three dusty windows barred with iron. The fire burned in the grate; a lamp was set lighted on the chimney shelf, for even in the houses the fog began to lie thickly; and there, close up to the warmth, sat Dr Jekyll, looking deadly sick. He did not rise to meet his visitor, but held out a cold hand and bade him welcome in a changed voice. ‘And now,’ said Mr Utterson, as soon as Poole had left them, ‘you have heard the news?’ The doctor shuddered. ‘They were crying it in the square,’ he said. ‘I heard them in my dining room.’ ‘One word,’ said the lawyer. ‘Carew was my client, but so are you, and I want to know what I am doing. You have not been mad enough to hide this fellow?’ ‘Utterson, I swear to God,’ cried the doctor, ‘I swear to God I will never set eyes on him again. I bind my honour to you that I am done with him in this world. It is all at an end. And indeed he does not want my help; you do not know him as I do; he is safe, he is quite safe; mark my words, he will never more be heard of.’ The lawyer listened gloomily; he did not like his friend’s feverish manner. ‘You seem pretty sure of him,’ said he; ‘and for your sake, I hope you may be right. If it came to a trial, your name might appear.’ ‘I am quite sure of him,’ replied Jekyll; ‘I have grounds for certainty that I cannot share with anyone. But there is one thing on which you may advise me. I have — I have received a letter; and I am at a loss whether I should show it to the police. I should like to leave it in your hands, Utterson; you would judge wisely I am sure; I have so great a trust in you.’ ‘You fear, I suppose, that it might lead to his detection?’ asked the lawyer. ‘No,’ said the other. ‘I cannot say that I care what becomes of Hyde; I am quite done with him. I was thinking of my own character, which this hateful business has rather exposed.’ Utterson ruminated awhile; he was surprised at his friend’s selfishness, and yet relieved by it. ‘Well,’ said he, at last, ‘let me see the letter.’ 5 10 15 20 25 30 35 40 45 50

13 0486/52/M/J/14 © UCLES 2014 [Turn over The letter was written in an odd, upright hand and signed ‘Edward Hyde’: and it signified, briefly enough, that the writer’s benefactor, Dr Jekyll, whom he had long so unworthily repaid for a thousand generosities, need labour under no alarm for his safety as he had means of escape on which he placed a sure dependence. The lawyer liked this letter well enough; it put a better colour on the intimacy than he had looked for; and he blamed himself for some of his past suspicions.  [From Chapter 5, ‘Incident of the Letter’ ] In what ways do you think Stevenson makes this passage so significant to the story as a whole? Or 17 Explore two moments in the novel where Stevenson’s writing creates a striking atmosphere of horror for you. Support your ideas with details from Stevenson’s writing. Or 18 You are Dr Lanyon. You have just witnessed Mr Hyde turning into Dr Jekyll. You are now alone. Write your thoughts. 55

14 0486/52/M/J/14 © UCLES 2014 TENNESSEE WILLIAMS: Cat on a Hot Tin Roof Either 19 Read this extract, and then answer the question that follows it: Brick: What makes you think that Big Daddy has a lech for you, Maggie? Content removed due to copyright restrictions.

15 0486/52/M/J/14 © UCLES 2014 Amused? shocked? contemptuous? – part of those and part of something else.]  [From Act 1 ] Explore the ways in which Williams makes Maggie such a dramatically powerful character at this moment in the play. Or 20 In what ways do you think Williams makes the relationship between Mae and Gooper such a memorable part of the play? Or 21 You are Big Mama. It is just after the conversation in which Big Daddy has told you that he is back in charge. Write your thoughts. Content removed due to copyright restrictions.

16 0486/52/M/J/14 © UCLES 2014 BLANK PAGE Copyright Acknowledgements: Question 4 © Carol Ann Duffy; Originally, in Selected Poems; Penguin Books Ltd; 1994. Question 7 © Helen Dunmore; The Siege; Penguin Books Ltd; 2002. Reproduced by permission of A P Watt at United Agents on behalf of Helen Dunmore. Question 19 © Cat on a Hot Tin Roof by Tennessee Williams. Copyright © 1954, 1955, by The University of the South, renewed 1982, 1983 The University of the South. Reprinted by permission of New Directions Publishing Corp and Georges Borchardt, Inc. for the Estate of Tennessee Williams. 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. 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.

CAMBRIDGE INTERNATIONAL EXAMINATIONS International General Certificate of Secondary Education MARK SCHEME for the May/June 2014 series 0486 LITERATURE (ENGLISH) 0486/52 Paper 5 (Set Texts: Closed Books B), maximum raw mark 25 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 should be read in conjunction with the question paper and the Principal Examiner Report for Teachers. Cambridge will not enter into discussions about these mark schemes. Cambridge is publishing the mark schemes for the May/June 2014 series for most IGCSE, GCE Advanced Level and Advanced Subsidiary Level components and some Ordinary Level components.

Page 2 Mark Scheme Syllabus Paper IGCSE – May/June 2014 0486 52 © Cambridge International Examinations 2014 Questions on Paper 5 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 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.

Page 3 Mark Scheme Syllabus Paper IGCSE – May/June 2014 0486 52 © Cambridge International Examinations 2014 BAND DESCRIPTORS TABLE Band 1 25 24 23 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. Band 2 22 21 20 Sustains a perceptive, convincing and relevant 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 3 19 18 17 Makes a well-developed, detailed and relevant 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 4 16 15 14 Makes a reasonably developed relevant 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 5 13 12 11 Begins to develop a relevant 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 6 10 9 8 Attempts to communicate a basic personal response to the task • makes some relevant comments • shows a basic understanding of surface meaning of the text (of character in an empathic task) makes a little supporting reference to the text Band 7 7 6 5 Some evidence of simple personal response • makes a few straightforward comments • shows a few signs of understanding the surface meaning of the text (of character in an empathic task) • makes a little reference to the text Band 8 4 3 2 Limited attempt to respond • shows some limited understanding of simple/literal meaning Below Band 8 0/0–1 No answer/Insufficient to meet the criteria for Band 8.