Cambridge IGCSE English - Literature 0486 — 2016 May/June Paper 3 · Variant 2

Cambridge International Examinations Cambridge International General Certificate of Secondary Education 0486/32 LITERATURE (ENGLISH) May/June 2016 Paper 3 Drama (Open Text) 45 minutes Texts studied should be taken into the examination. 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. 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 11 printed pages and 1 blank page. [Turn over 06_0486_32_2016_1.6 © UCLES 2016 *7173313888*

ARTHUR MILLER: All My Sons Remember to support your ideas with details from the writing. Either 1 Read this passage, and then answer the question that follows it: [ANNentersfromhouse.Theysaynothing,waitingforhertospeak.] 06_0486_32_2016_1.6 © UCLES 2016 2 &RQWHQWUHPRYHG GXHWRFRS\ULJKW UHVWULFWLRQV

Itoldyouahundredtimes,whywouldn’tyoubelieveme! [from Act 3] How does Miller make this such a powerful moment in the play? Or 2 In what ways does Miller make you sympathise with Chris Keller during the play? [Turn over 06_0486_32_2016_1.6 © UCLES 2016 3 &RQWHQWUHPRYHG GXHWRFRS\ULJKW UHVWULFWLRQV

J. B. PRIESTLEY: An Inspector Calls Remember to support your ideas with details from the writing. Either 3 Read this passage, and then answer the question that follows it: [burstingout]:What’stheuseoftalkingaboutbehavingsensibly? Eric: 06_0486_32_2016_1.6 © UCLES 2016 4 &RQWHQWUHPRYHG GXHWRFRS\ULJKW UHVWULFWLRQV

But how do you know it’s the same girl? Gerald: [from Act 3] How does Priestley vividly convey the characters’ responses here, following the Inspector’s departure? Or 4 Explore two moments in the play where Priestley vividly creates suspense for the audience. [Turn over 06_0486_32_2016_1.6 © UCLES 2016 5 &RQWHQWUHPRYHG GXHWRFRS\ULJKW UHVWULFWLRQV

35 30 25 20 15 10 5 WILLIAM SHAKESPEARE: The Merchant of Venice Remember to support your ideas with details from the writing. Either 5 Read this passage, and then answer the question that follows it: Enter SALERIO and SOLANIO Why, man, I saw Bassanio under sail; With him is Gratiano gone along; And in their ship I am sure Lorenzo is not. Salerio: The villain Jew with outcries rais’d the Duke, Who went with him to search Bassanio’s ship. Solanio: He came too late, the ship was under sail; But there the Duke was given to understand That in a gondola were seen together Lorenzo and his amorous Jessica; Besides, Antonio certified the Duke They were not with Bassanio in his ship. Salerio: I never heard a passion so confus’d, So strange, outrageous, and so variable, As the dog Jew did utter in the streets. ‘My daughter! O my ducats! O my daughter! Fled with a Christian! O my Christian ducats! Justice! the law! My ducats and my daughter! A sealed bag, two sealed bags of ducats, Of double ducats, stol’n from me by my daughter! And jewels – two stones, two rich and precious stones, Stol’n by my daughter! Justice! Find the girl; She hath the stones upon her and the ducats.’ Solanio: Why all the boys in Venice follow him, Crying, his stones, his daughter, and his ducats. Salerio: Let good Antonio look he keep his day, Or he shall pay for this. Solanio: Marry, well rememb’red; I reason’d with a Frenchman yesterday, Who told me, in the narrow seas that part The French and English, there miscarried A vessel of our country richly fraught. I thought upon Antonio when he told me, And wish’d in silence that it were not his. Salerio: You were best to tell Antonio what you hear; Yet do not suddenly, for it may grieve him. Solanio: 06_0486_32_2016_1.6 © UCLES 2016 6

55 50 45 40 A kinder gentleman treads not the earth. I saw Bassanio and Antonio part. Bassanio told him he would make some speed Of his return. He answered ‘Do not so; Slubber not business for my sake, Bassanio, But stay the very riping of the time; And for the Jew’s bond which he hath of me, Let it not enter in your mind of love; Be merry, and employ your chiefest thoughts To courtship, and such fair ostents of love As shall conveniently become you there’. And even there, his eye being big with tears, Turning his face, he put his hand behind him, And with affection wondrous sensible He wrung Bassanio’s hand; and so they parted. Salerio: I think he only loves the world for him. I pray thee, let us go and find him out, And quicken his embraced heaviness With some delight or other. Solanio: Do we so. Salerio: [from Act 2 Scene 8] How does Shakespeare make this such a dramatic moment in the play? Or 6 In what striking ways does Shakespeare make revenge so significant in the play? [Turn over 06_0486_32_2016_1.6 © UCLES 2016 7

30 25 20 15 10 5 WILLIAM SHAKESPEARE: Henry V Remember to support your ideas with details from the writing. Either 7 Read this passage, and then answer the question that follows it: Enter PISTOL, HOSTESS, NYM, BARDOLPH, and BOY. Prithee, honey-sweet husband, let me bring thee to Staines. Hostess: No; for my manly heart doth earn. Bardolph, be blithe; Nym, rouse thy vaunting veins; Boy, bristle thy courage up. For Falstaff he is dead, And we must earn therefore. Pistol: Would I were with him, wheresome’er he is, either in heaven or in hell! Bardolph: Nay, sure, he’s not in hell: he’s in Arthur’s bosom, if ever man went to Arthur’s bosom. ’A made a finer end, and went away an it had been any christom child; ’a parted ev’n Hostess: just between twelve and one, ev’n at the turning o’ th tide; for after I saw him fumble with the sheets, and play with flowers, and smile upon his fingers’ end, I knew there was but one way; for his nose was as sharp as a pen, and ’a babbl’d of green fields. ‘How now, Sir John!’ quoth I ‘What, man, be o’good cheer.’ So ‘a cried out ’God, God, God!’ three or four times. Now I, to comfort him, bid him ’a should not think of God; I hop’d there was no need to trouble himself with any such thoughts yet. So ’a bade me lay more clothes on his feet; I put my hand into the bed and felt them, and they were as cold as any stone; then I felt to his knees, and so upward and upward, and all was as cold as any stone. They say he cried out of sack. Nym: Ay, that’a did. Hostess: And of women. Bardolph: Nay, that ’a did not. Hostess: Yes, that ’a did, and said they were devils incarnate. Boy: ’A could never abide carnation; ’twas a colour he never lik’d. Hostess: ’A said once the devil would have him about women. Boy: ’A did in some sort, indeed, handle women; but then he was rheumatic, and talk’d of the Whore of Babylon. Hostess: Do you not remember ’a saw a flea stick upon Bardolph’s nose, and ’a said it was a black soul burning in hell? Boy: Well, the fuel is gone that maintain’d that fire: that’s all the riches I got in his service. Bardolph: Shall we shog? The King will be gone from Southampton. Nym: 06_0486_32_2016_1.6 © UCLES 2016 8

45 40 35 Come, let’s away. My love, give me thy lips. Look to my chattels and my moveables; Let senses rule. The word is ‘Pitch and Pay’. Trust none; For oaths are straws, men’s faiths are wafer-cakes, And Holdfast is the only dog, my duck. Therefore, Caveto be thy counsellor. Go, clear thy crystals. Yoke-fellows in arms, Let us to France, like horse-leeches, my boys, To suck, to suck, the very blood to suck. Pistol: And that’s but unwholesome food, they say. Boy: Touch her soft mouth and march. Pistol: Farewell, hostess. [Kissing her.] Bardolph: I cannot kiss, that is the humour of it; but, adieu. Nym: Let housewifery appear; keep close, I thee command. Pistol: Farewell; adieu. Hostess: [from Act 2 Scene 3] How does Shakespeare make this moment in the play both moving and amusing? Or 8 What do you find particularly memorable about Shakespeare’s portrayal of the French in the play? [Turn over 06_0486_32_2016_1.6 © UCLES 2016 9

35 30 25 20 15 10 5 J. LAWRENCE & R.E. LEE: Inherit The Wind Remember to support your ideas with details from the writing. Either 9 Read this passage, and then answer the question that follows it: [In a shrill, screeching voice.]: Buy a Bible! Your guidebook to eternal life! [E.K. HORNBECK wanders on, carrying a suitcase. He is a newspaperman in his middle Elijah thirties, who sneers politely at everything, including himself. His clothes – those of a sophisticated city-dweller – contrast sharply with the attire of the townspeople. He uses his “boater” straw-hat throughout as kind of an impertinent prop. Still unnoticed by most of the townspeople, HORNBECK looks around with wonderful contempt.] [To HORNBECK.]: Want a fan? Compliments of Maley’s Funeral Home – thirty-five cents! Mrs McLain I’d die first. Hornbeck: [Unctuously, to HORNBECK.]: You’re a stranger, aren’t you, mister? Want a nice clean place to stay? Mrs Krebs I had a nice clean place to stay, madame. And I left it to come here. Hornbeck: [Undaunted.]: You’re gonna need a room. Mrs Krebs I have a reservation at the Mansion House. Hornbeck: Oh? [She sniffs.] That’s all right, I suppose, for them as likes having a privy practically in the bedroom. [She turns away from him. He tips his straw hat to her.] Mrs Krebs: The unplumbed and plumbing-less depths. Ahhh, Hillsboro, Heavenly Hillsboro, the buckle on the Bible belt. [The HOT DOG MAN and ELIJAH converge on HORNBECK from opposite sides.] Hornbeck: Hot dog? Hot Dog Man: Buy a Bible? Elijah: [Up ends his suitcase and sits on it.]: Now that poses a pretty problem. Which is hungrier – my stomach or my soul? [Buys hot dog.] My stomach. [HOT DOG MAN accepts money from HORNBECK and moves off.] Hornbeck [Miffed.]: What are you? An evolutionist? An infidel? A sinner? Elijah [Munching on hot dog.]: The worst kind. I write for a newspaper. [HORNBECK offers his hand.] I’m E.K. Hornbeck, Baltimore Herald. I don’t believe I caught your name. Hornbeck [Impressively, not taking his hand.]: They call me . . . Elijah. Elijah [Pleased.]: Elijah. Yes. Why, I had no idea you were still around. I’ve read some of your stuff. Hornbeck [Haughtily.]: I neither read nor write. Elijah Oh. Excuse me. I must be thinking of another Elijah. [An organ grinder enters, with a live monkey on a string. HORNBECK spies the monkey gleefully; he greets Hornbeck: the monk with arms outstretched.] Grandpa! [Crosses to the monkey, bends down and shakes the monkey’s hand.] Welcome to Hillsboro, sir! Have you come to testify for the defense? Or for the prosecution? [The monkey, oddly enough, 06_0486_32_2016_1.6 © UCLES 2016 10

60 55 50 45 40 doesn’t answer.] No comment? That’s fairly safe. But I warn you, sir. You can’t compete with all these monkeyshines. [MELINDA hands the monkey a penny.] Look! He took my penny! Melinda: How could you ask for better proof than that? There’s the father of the human race! Hornbeck: [Running on breathlessly.]: Train’s coming! I seen the smoke ’way up the track! Timmy All the members of the Bible League, get ready. Let us show Mr. Brady the spirit with which we welcome him to Hillsboro! [The crowd lets out a mighty cheer. MRS. BLAIR blows a note on her pitch-pipe and sings the first line of “Marching to Zion.”] Brown: [Singing.]: “We’re marching to Zion” Mrs Blair [Taking up the song.]: — Beautiful, beautiful Zion. [MRS. BLAIR waves the crowd to follow her. The crowd marches off singing.] We’re marching upwards to Zion, The beautiful city of God. [HORNBECK turns to watch the last of the crowd disappear. Even the organ grinder leaves his monkey tied to the hurdy-gurdy and joins the departing crowd.] All Amen! [To the monkey.] Shield your eyes, monk, you are about to meet the mightiest of your descendants. A man who wears a cathedral for a cloak and a Hornbeck: church spire for a hat. Whose tread has the thunder of the legions of the lion hearted. [from Act 1 Scene 1] How do the writers make this such a striking introduction to Hornbeck? Or 10 Explore how the writers vividly portray the ways in which Rachel changes during the play. 06_0486_32_2016_1.6 © UCLES 2016 11

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_32_2016_1.6 © UCLES 2016 12

® IGCSE is the registered trademark of Cambridge International Examinations. This syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 1/Level 2 Certificate. This document consists of 3 printed pages. © UCLES 2016 [Turn over Cambridge International Examinations Cambridge International General Certificate of Secondary Education LITERATURE (ENGLISH) 0486/32 Paper 3 Drama (Open Text) May/June 2016 MARK SCHEME Maximum Mark: 25 Published 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 2016 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 2016 0486 32 © Cambridge International Examinations 2016 Assessment Objectives All questions are marked out of 25. 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

Page 3 Mark Scheme Syllabus Paper Cambridge IGCSE – May/June 2016 0486 32 © Cambridge International Examinations 2016 BAND DESCRIPTORS TABLE Band 1 25 24 23 Sustains personal engagement with task and text • sustains a critical understanding of the text showing individuality and insight • responds sensitively and in detail to the way the writer achieves effects • incorporates well-selected reference to the text skilfully and with flair 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.