Cambridge IGCSE English - Literature 0486 — 2015 May/June Paper 2 · Variant 1

Cambridge International Examinations Cambridge International General Certificate of Secondary Education 0486/21 LITERATURE (ENGLISH) May/June 2015 Paper 2 Drama 1 hour 30 minutes Additional Materials: Answer Booklet/Paper 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 two questions. You must answer one passage-based question (marked *) and one essay question (marked †). Your questions must be on two different plays. All questions in this paper carry equal marks. The syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 1/Level 2 Certificate. This document consists of 13 printed pages and 3 blank pages. [Turn ver 06_0486_21_2015_1.13 © UCLES 2015 *3560420035*

06_0486_21_2015_1.13 © UCLES 2015 2 ARTHUR MILLER: All My Sons Remember to support your ideas with details from the text. Either * 1 Read this passage, and then answer the question that follows it: Sue: Is my husband – ? Content removed due to copyright restrictions

06_0486_21_2015_1.13 © UCLES 2015 [Turn over 3 He meets a man and makes a statue out of him. Explore the ways in which Miller makes this such a dramatic and revealing moment in the play. Or † 2 How does Miller make Kate’s self-deception such a memorable feature of the play?

35 30 25 20 15 10 5 J. B. PRIESTLEY: An Inspector Calls Remember to support your ideas with details from the text. Either * 3 Read this passage, and then answer the question that follows it: How could I know what would happen afterwards? If she’d been some miserable plain little creature, I don’t suppose I’d have done it. But she was very pretty and looked as if she could take care of herself. I couldn’t be sorry for her. Sheila: In fact, in a kind of way, you might be said to have been jealous of her. Inspector: Yes, I suppose so. Sheila: And so you used the power you had, as a daughter of a good customer and also of a man well-known in the town, to punish the girl just because she made you feel like that? Inspector: Yes, but it didn’t seem to be anything very terrible at the time. Don’t you understand? And if I could help her now, I would – Sheila: [harshly] Yes, but you can’t. It’s too late. She’s dead. Inspector: My God, it’s a bit thick, when you come to think of it – Eric: [stormily] Oh shut up, Eric. I know, I know. It’s the only time I’ve ever done anything like that, and I’ll never, never do it again to anybody. I’ve noticed them giving me a Sheila: sort of look sometimes at Milwards – I noticed it even this afternoon – and I suppose some of them remember. I feel now I can never go there again. Oh – why had this to happen? [sternly] That’s what I asked myself tonight when I was looking at that dead girl. And then I said to myself: ‘Well, we’ll try to understand why it had to happen?’ And that’s Inspector: why I’m here, and why I’m not going until I know all that happened. Eva Smith lost her job with Birling and Company because the strike failed and they were determined not to have another one. At last she found another job – under what name I don’t know – in a big shop, and had to leave there because you were annoyed with yourself and passed the annoyance on to her. Now she had to try something else. So first she changed her name to Daisy Renton – [startled] What? Gerald: [steadily] I said she changed her name to Daisy Renton. Inspector: [pulling himself together] D’you mind if I give myself a drink, Sheila? Gerald: SHEILA merely nods, still staring at him, and he goes across to the tantalus on the sideboard for a whisky. Where is your father, Miss Birling? Inspector: He went into the drawing-room, to tell my mother what was happening here. Eric, take the Inspector along to the drawing-room. Sheila: As ERIC moves, the INSPECTOR looks from SHEILA to GERALD, then goes out with ERIC. Well, Gerald? [trying to smile] Well what, Sheila? Gerald: How did you come to know this girl – Eva Smith? Sheila: 06_0486_21_2015_1.13 © UCLES 2015 4

65 60 55 50 45 40 I didn’t. Gerald: Daisy Renton then – it’s the same thing. Sheila: Why should I have known her? Gerald: Oh don’t be stupid. We haven’t much time. You gave yourself away as soon as he mentioned her other name. Sheila: All right, I knew her. Let’s leave it at that. Gerald: We can’t leave it at that. Sheila: [approaching her] Now listen, darling – Gerald: No, that’s no use. You not only knew her but you knew her very well. Otherwise, you wouldn’t look so guilty about it. When did you first get to know her? Sheila: He does not reply. Was it after she left Milwards? When she changed her name, as he said, and began to lead a different sort of life? Were you seeing her last spring and summer, during that time when you hardly came near me and said you were so busy? Were you? He does not reply but looks at her. Yes, of course you were. I’m sorry, Sheila. But it was all over and done with, last summer. I hadn’t set eyes on the girl for at least six months. I don’t come into this suicide business. Gerald: I thought I didn’t, half an hour ago. Sheila: You don’t. Neither of us does. So – for God’s sake – don’t say anything to the Inspector. Gerald: About you and this girl? Sheila: Yes. We can keep it from him. Gerald: [laughs rather hysterically] Why – you fool – he knows. Of course he knows. And I hate to think how much he knows that we don’t know yet. You’ll see, you’ll see. Sheila: She looks at him almost in triumph. He looks crushed. The door slowly opens and the INSPECTOR appears, looking steadily and searchingly at them. Well? Inspector: END OF ACT ONE [from Act 1] How does Priestley make this such a powerful ending to Act 1? Or † 4 Mrs Birling says that Eric is ‘only a boy’. To what extent does Priestley make you agree with her? [Turn ver 06_0486_21_2015_1.13 © UCLES 2015 5

40 35 30 25 20 15 10 5 WILLIAM SHAKESPEARE: The Merchant of Venice Remember to support your ideas with details from the text. Either * 5 Read this passage, and then answer the question that follows it: Make room, and let him stand before our face. Shylock, the world thinks, and I think so too, That thou but leadest this fashion of thy malice To the last hour of act; and then, ’tis thought, Thou’lt show thy mercy and remorse, more strange Than is thy strange apparent cruelty; And where thou now exacts the penalty, Which is a pound of this poor merchant’s flesh, Thou wilt not only loose the forfeiture, But, touch’d with human gentleness and love, Forgive a moiety of the principal, Glancing an eye of pity on his losses, That have of late so huddled on his back – Enow to press a royal merchant down, And pluck commiseration of his state From brassy bosoms and rough hearts of flint, From stubborn Turks and Tartars, never train’d To offices of tender courtesy. We all expect a gentle answer, Jew. Duke: I have possess’d your Grace of what I purpose, And by our holy Sabbath have I sworn To have the due and forfeit of my bond. If you deny it, let the danger light Upon your charter and your city’s freedom. You’ll ask me why I rather choose to have A weight of carrion flesh than to receive Three thousand ducats. I’ll not answer that, But say it is my humour – is it answer’d? What if my house be troubled with a rat, And I be pleas’d to give ten thousand ducats To have it ban’d? What, are you answer’d yet? Some men there are love not a gaping pig; Some that are mad if they behold a cat; And others, when the bagpipe sings i’ th’ nose, Cannot contain their urine; for affection, Mistress of passion, sways it to the mood Of what it likes or loathes. Now, for your answer: As there is no firm reason to be rend’red Why he cannot abide a gaping pig; Why he, a harmless necessary cat; Why he, a woollen bagpipe, but of force Must yield to such inevitable shame As to offend, himself being offended; Shylock: 06_0486_21_2015_1.13 © UCLES 2015 6

50 45 So can I give no reason, nor I will not, More than a lodg’d hate and a certain loathing I bear Antonio, that I follow thus A losing suit against him. Are you answered? This is no answer, thou unfeeling man, To excuse the current of thy cruelty. Bassanio: I am not bound to please thee with my answers. Shylock: Do all men kill the things they do not love? Bassanio: Hates any man the thing he would not kill? Shylock: Every offence is not a hate at first. Bassanio: What, wouldst thou have a serpent sting thee twice? Shylock: [from Act 4 Scene 1] Does Shakespeare make it possible for you to have any sympathy for Shylock at this moment in the play? Or † 6 Explore the ways in which Shakespeare makes you admire Portia. [Turn ver 06_0486_21_2015_1.13 © UCLES 2015 7

35 30 25 20 15 10 5 WILLIAM SHAKESPEARE: AMidsummerNightsDream Remember to support your ideas with details from the text. Either * 7 Read this passage, and then answer the question that follows it: Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT and STARVELING. Is all our company here? Quince: You were best to call them generally, man by man, according to the scrip. Bottom: Here is the scroll of every man’s name which is thought fit, through all Athens, to play in our interlude before the Duke and the Duchess on his wedding-day at night. Quince: First, good Peter Quince, say what the play treats on; then read the names of the actors; and so grow to a point. Bottom: Marry, our play is ‘The most Lamentable Comedy and most Cruel Death of Pyramus and Thisby’. Quince: A very good piece of work, I assure you, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves. Bottom: Answer, as I call you. Nick Bottom, the weaver. Quince: Ready. Name what part I am for, and proceed. Bottom: You, Nick Bottom, are set down for Pyramus. Quince: What is Pyramus? A lover, or a tyrant? Bottom: A lover, that kills himself most gallant for love. Quince: That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes; I will move storms; I will condole in some measure. To the rest – yet my Bottom: chief humour is for a tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split. ‘The raging rocks And shivering shocks Shall break the locks Of prison gates; And Phibbus’ car Shall shine from far, And make and mar The foolish Fates.’ This was lofty. Now name the rest of the players. This is Ercles’ vein, a tyrant’s vein: a lover is more condoling. Francis Flute, the bellows-mender. Quince: Here, Peter Quince. Flute: Flute, you must take Thisby on you. Quince: What is Thisby? A wand’ring knight? Flute: It is the lady that Pyramus must love. Quince: Nay, faith, let not me play a woman; I have a beard coming. Flute: That’s all one; you shall play it in a mask, and you may speak as small as you will. Quince: 06_0486_21_2015_1.13 © UCLES 2015 8

55 50 45 40 An I may hide my face, let me play Thisby too. I’ll speak in a monstrous little voice: ‘Thisne, Thisne!’ [Then speaking small] ‘Ah Pyramus, my lover dear! Thy Thisby dear, and lady dear!’ Bottom: No, no, you must play Pyramus; and, Flute, you Thisby. Quince: Well; proceed. Bottom: Robin Starveling, the tailor. Quince: Here, Peter Quince. Starveling: Robin Starveling, you must play Thisby’s mother. Tom Snout, the tinker. Quince: Here, Peter Quince. Snout: You, Pyramus’ father; myself, Thisby’s father; Snug, the joiner, you, the lion’s part. And, I hope, here is a play fitted. Quince: Have you the lion’s part written? Pray you, if it be, give it me, for I am slow of study. Snug: You may do it extempore, for it is nothing but roaring. Quince: Let me play the lion too. I will roar that I will do any man’s heart good to hear me; I will roar that I will make the Duke say ‘Let him roar again, let him roar again’. Bottom: An you should do it too terribly, you would fright the Duchess and the ladies, that they would shriek; and that were enough to hang us all. Quince: That would hang us, every mother’s son. All: [from Act 1 Scene 2 How does Shakespeare make this such an entertaining introduction to Bottom and the mechanicals? Or † 8 Puck says ‘what fools these mortals be’. To what extent does Shakespeare make you share Pucks view of human characters in the play? [Turn ver 06_0486_21_2015_1.13 © UCLES 2015 9

40 35 30 25 20 15 10 5 WILLIAM SHAKESPEARE: The Tempest Remember to support your ideas with details from the text. Either * 9 Read this passage, and then answer the question that follows it: If by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to th’ welkin’s cheek, Dashes the fire out. O, I have suffered With those that I saw suffer! A brave vessel, Who had no doubt some noble creature in her, Dash’d all to pieces! O, the cry did knock Against my very heart! Poor souls, they perish’d. Had I been any god of power, I would Have sunk the sea within the earth or ere It should the good ship so have swallow’d and The fraughting souls within her. Miranda: Be collected; No more amazement; tell your piteous heart There’s no harm done. Prospero: O, woe the day! Miranda: No harm. I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter, who Art ignorant of what thou art, nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father. Prospero: More to know Did never meddle with my thoughts. Miranda: Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. So, Lays down his mantle Lie there my art. Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch’d The very virtue of compassion in thee, I have with such provision in mine art So safely ordered that there is no soul – No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard’st cry, which thou saw’st sink. Sit down, For thou must now know farther. Prospero: You have often Begun to tell me what I am; but stopp’d, And left me to a bootless inquisition, Concluding ‘Stay; not yet’. Miranda: 06_0486_21_2015_1.13 © UCLES 2015 10

75 70 65 60 55 50 45 The hour’s now come; The very minute bids thee ope thine ear. Obey, and be attentive. Canst thou remember A time before we came unto this cell? I do not think thou canst; for then thou wast not Out three years old. Prospero: Certainly, sir, I can. Miranda: By what? By any other house, or person? Of any thing the image, tell me, that Hath kept with thy remembrance? Prospero: ’Tis far off, And rather like a dream than an assurance That my remembrance warrants. Had I not Four, or five, women once, that tended me? Miranda: Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else In the dark backward and abysm of time? If thou rememb’rest aught, ere thou cam’st here, How thou cam’st here thou mayst. Prospero: But that I do not. Miranda: Twelve year since, Miranda, twelve year since, Thy father was the Duke of Milan, and A prince of power. Prospero: Sir, are not you my father? Miranda: Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan, and his only heir And princess no worse issued. Prospero: O, the heavens! What foul play had we that we came from thence? Or blessed was’t we did? Miranda: Both, both, my girl. By foul play, as thou say’st, were we heav’d thence; But blessedly holp hither. Prospero: O, my heart bleeds To think o’ th’ teen that I have turn’d you to, Which is from my remembrance. Miranda: [from Act 1 Scene 2] How does Shakespeare make this such a striking introduction to Prospero and Miranda? Or † 10 To what extent do you think Shakespeare suggests that Antonio gets what he deserves at the end of the play? [Turn ver 06_0486_21_2015_1.13 © UCLES 2015 11

35 30 25 20 15 10 5 OSCAR WILDE: The Importance of Being Earnest Remember to support your ideas with details from the text. Either * 11 Read this passage, and then answer the question that follows it: Cecily Cardew? [Moving to her and shaking hands.] What a very sweet name! Something tells me that we are going to be great friends. I like you already more than I can say. My first impressions of people are never wrong. Gwendolen: How nice of you to like me so much after we have known each other such a comparatively short time. Pray sit down. Cecily: [still standing up]: I may call you Cecily, may I not? Gwendolen With pleasure! Cecily: And you will always call me Gwendolen, won’t you? Gwendolen: If you wish. Cecily: Then that is all quite settled, is it not? Gwendolen: I hope so. [A pause. They both sit down together.] Cecily: Perhaps this might be a favourable opportunity for my mentioning who I am. My father is Lord Bracknell. You have never heard of papa, I suppose? Gwendolen: I don’t think so. Cecily: Outside the family circle, papa, I am glad to say, is entirely unknown. I think that is quite as it should be. The home seems to me to be the proper sphere for the man. Gwendolen: And certainly once a man begins to neglect his domestic duties he becomes painfully effeminate, does he not? And I don’t like that. It makes men so very attractive. Cecily, mamma, whose views on education are remarkably strict, has brought me up to be extremely short-sighted; it is part of her system; so do you mind my looking at you through my glasses? Oh! Not at all, Gwendolen. I am very fond of being looked at. Cecily: [after examining CECILY carefully through a lorgnette]:You are here on a short visit, I suppose. Gwendolen Oh no! I live here. Cecily: [severely]: Really? Your mother, no doubt, or some female relative of advanced years, resides here also? Gwendolen Oh no! I have no mother, nor, in fact, any relations. Cecily: Indeed? Gwendolen: My dear guardian, with the assistance of Miss Prism, has the arduous task of looking after me. Cecily: Your guardian? Gwendolen: Yes, I am Mr Worthing’s ward. Cecily: Oh! It is strange he never mentioned to me that he had a ward. How secretive of him! He grows more interesting hourly. I am not sure, however, that the news inspires Gwendolen: me with feelings of unmixed delight. [Rising and going to her.] I am very fond of you, Cecily; I have liked you ever since I met you! But I am bound to state that now 06_0486_21_2015_1.13 © UCLES 2015 12

60 55 50 45 40 that I know that you are Mr Worthing’s ward, I cannot help expressing a wish you were – well, just a little older than you seem to be – and not quite so very alluring in appearance. In fact, if I may speak candidly – Pray do! I think that whenever one has anything unpleasant to say, one should always be quite candid. Cecily: Well, to speak with perfect candour, Cecily, I wish that you were fully forty-two, and more than usually plain for your age. Ernest has a strong upright nature. He is the Gwendolen: very soul of truth and honour. Disloyalty would be as impossible to him as deception. But even men of the noblest possible moral character are extremely susceptible to the influence of the physical charms of others. Modern, no less than Ancient History, supplies us with many most painful examples of what I refer to. If it were not so, indeed, History would be quite unreadable. I beg your pardon, Gwendolen, did you say Ernest? Cecily: Yes. Gwendolen: Oh, but it is not Mr Ernest Worthing who is my guardian. It is his brother – his elder brother. Cecily: [sitting down again]: Ernest never mentioned to me that he had a brother. Gwendolen I am very sorry to say they have not been on good terms for a long time. Cecily: Ah! That accounts for it. And now that I think of it I have never heard any man mention his brother. The subject seems distasteful to most men. Cecily, you have Gwendolen: lifted a load from my mind. I was growing almost anxious. It would have been terrible if any cloud had come across a friendship like ours, would it not? Of course you are quite, quite sure that it is not Mr Ernest Worthing who is your guardian? Quite sure. [A pause.] In fact, I am going to be his. Cecily: [from Act 2] How does Wilde make this such an entertaining moment in the play? Or † 12 In what ways do you think Wilde is making criticisms of society through the comedy of the play? 06_0486_21_2015_1.13 © UCLES 2015 13

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BLANK PAGE 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. To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge International Examinations Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cie.org.uk after the live examination series. 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. 06_0486_21_2015_1.13 © UCLES 2015 16

® IGCSE is the registered trademark of Cambridge International Examinations. CAMBRIDGE INTERNATIONAL EXAMINATIONS Cambridge International General Certificate of Secondary Education MARK SCHEME for the May/June 2015 series 0486 LITERATURE (ENGLISH) 0486/21 Paper 2 (Drama 21), maximum raw mark 50 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 2015 series for most Cambridge IGCSE®, Cambridge International A and AS Level components and some Cambridge O Level components.

Page 2 Mark Scheme Syllabus Paper Cambridge IGCSE – May/June 2015 0468 21 © Cambridge International Examinations 2015 Assessment Objectives The Assessment Objectives are evenly weighted across each question. The assessment objectives for the paper are: AO1 show detailed knowledge of the content of literary texts, supported by reference to the text 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 Band 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 the Practice and Standardisation scripts discussed during the coordination meeting and with Team Leaders, as well as the question-specific notes.

Page 3 Mark Scheme Syllabus Paper Cambridge IGCSE – May/June 2015 0468 21 © Cambridge International Examinations 2015 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 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 • 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 • 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 • 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 • 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 • 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 • 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.