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

Cambridge International Examinations Cambridge International General Certificate of Secondary Education 0486/33 May/June 2016 45 minutes LITERATURE (ENGLISH) Paper 3 Drama (Open Text) 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_33_2016_1.3 © UCLES 2016 *2774136312*

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: [angering]:Werushedintoit. Mother 06_0486_33_2016_1.3 © UCLES 2016 2 &RQWHQWUHPRYHG GXHWRFRS\ULJKW UHVWULFWLRQV

Inmyworstmoments,Ithinkofherwaiting,andIknowagainthatI’mright. [from Act 1] How does Miller strikingly convey the thoughts and feelings of the characters in this scene? Or 2 In what ways does Miller make self-deception so significant in the play? [Turn over 06_0486_33_2016_1.3 © UCLES 2016 3

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: Inspector: Whoistoblamethen? 06_0486_33_2016_1.3 © UCLES 2016 4 &RQWHQWUHPRYHG GXHWRFRS\ULJKW UHVWULFWLRQV

[INSPECTOR holds up a hand. We hear the front door. They wait, looking towards door. ERIC enters, looking extremely pale and distressed. He meets their inquiring stares. Curtain falls quickly.] END OF ACT TWO [from Act 2] How does Priestley make this such a striking ending to Act 2? Or 4 How does Priestley memorably depict the relationship between Gerald and Sheila? [Turn over 06_0486_33_2016_1.3 © 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: Signior Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances; Still have I borne it with a patient shrug, For suff'rance is the badge of all our tribe; You call me misbeliever, cut-throat dog, And spit upon my Jewish gaberdine, And all for use of that which is mine own. Well then, it now appears you need my help; Go to, then; you come to me, and you say ‘Shylock, we would have moneys’. You say so – You that did void your rheum upon my beard And foot me as you spurn a stranger cur Over your threshold; moneys is your suit. What should I say to you? Should I not say ‘Hath a dog money? Is it possible A cur can lend three thousand ducats?’ Or Shall I bend low and, in a bondman’s key, With bated breath, and whisp’ring humbleness, Say this: ‘Fair sir, you spit on me on Wednesday last, You spurn'd me such a day; another time You call’d me dog; and for these courtesies I’ll lend you thus much moneys’? Shylock: I am as like to call thee so again, To spit on thee again, to spurn thee too. If thou wilt lend this money, lend it not As to thy friends – for when did friendship take A breed for barren metal of his friend? – But lend it rather to thine enemy, Who if he break thou mayst with better face Exact the penalty. Antonio: Why, look you, how you storm! I would be friends with you, and have your love, Forget the shames that you have stain’d me with, Supply your present wants, and take no doit Of usance for my moneys, and you’ll not hear me. This is kind I offer. Shylock: This were kindness. Bassanio: 06_0486_33_2016_1.3 © UCLES 2016 6

45 40 This kindness will I show. Go with me to a notary, seal me there Your single bond, and, in a merry sport, If you repay me not on such a day, In such a place, such sum or sums as are Express’d in the condition, let the forfeit Be nominated for an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me. Shylock: [from Act 1 Scene 3] What does Shakespeare’s writing make you feel about Shylock at this moment in the play? Or 6 To what extent does Shakespeare persuade you that Portia and Bassanio will have a happy marriage? [Turn over 06_0486_33_2016_1.3 © UCLES 2016 7

40 35 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 the KING OF FRANCE, the DAUPHIN, DUKE OF BRITAINE, the CONSTABLE OF FRANCE, and Others. 'Tis certain he hath pass’d the river Somme. King of France: And if he be not fought withal, my lord, Let us not live in France; let us quit all, And give our vineyards to a barbarous people. Constable: O Dieu vivant! Shall a few sprays of us, The emptying of our fathers’ luxury, Our scions, put in wild and savage stock, Spirt up so suddenly into the clouds, And overlook their grafters? Dauphin: Normans, but bastard Normans, Norman bastards! Mort Dieu, ma vie! if they march along Unfought withal, but I will sell my dukedom To buy a slobb’ry and a dirty farm In that nook-shotten isle of Albion. Britaine: Dieu de batailles! where have they this mettle? Is not their climate foggy, raw, and dull; On whom, as in despite, the sun looks pale, Killing their fruit with frowns? Can sodden water, A drench for sur-rein'd jades, their barley-broth, Decoct their cold blood to such valiant heat? And shall our quick blood, spirited with wine, Seem frosty? O, for honour of our land, Let us not hang like roping icicles Upon our houses’ thatch, whiles a more frosty people Sweat drops of gallant youth in our rich fields – Poor we call them in their native lords! Constable: By faith and honour, Our madams mock at us, and plainly say Our mettle is bred out, and they will give Their bodies to the lust of English youth To new-store France with bastard warriors. Dauphin: They bid us to the English dancing-schools And teach lavoltas high and swift corantos, Saying our grace is only in our heels And that we are most lofty runaways. Britaine: Where is Montjoy the herald? Speed him hence; Let him greet England with our sharp defiance. Up, Princes, and, with spirit of honour edged More sharper than your swords, hie to the field... [from Act 3 Scene 5] King of France: 06_0486_33_2016_1.3 © UCLES 2016 8

In what ways does Shakespeare make this a strikingly dramatic moment in the play? Or 8 What do you think Shakespeare's portrayal of Pistol contributes to the play? [Turn over 06_0486_33_2016_1.3 © 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: [As he crosses to MEEKER over the above.]: I don’t think I have a correct copy of the indictment. [RACHEL moves to CATES.] Drummond Lemme see. [DRUMMOND hands MEEKER indictment.] Oh, you have the old one. Meeker: Well, let me have a new one. Drummond: Here. [He gives DRUMMOND a new indictment. Suddenly, RACHEL darts to DRUMMOND at JUDGE’S bench. CATES opens his mouth to stop her, but she speaks rapidly, with pent-up tension.] Meeker: Mr. Drummond. You’ve got to call the whole thing off. It’s not too late. Bert knows he did wrong. He didn’t mean to. And he’s sorry. Now why can’t he just stand up Rachel: and say to everybody: ‘I did wrong. I broke the law. I admit it. I won’t do it again.’ Then they’d stop all this fuss, and – everything would be like it was. [DRUMMOND looks at RACHEL, not unkindly.] Who are you? Drummond: [Backing down to BRADY’S table.]: I’m – a friend of Bert’s. Rachel How about it, boy? Getting cold feet? Drummond: I never thought it would be like this. Like Barnum and Bailey coming to town. Cates: [Easily.]: We can call it off. You want to quit? Drummond Yes! Rachel: People look at me as if I was a murderer. Worse than a murderer! That fella from Minnesota who killed his wife – remember, Rache? – half the town turned out to Cates: watch ’em put him on the train. They just stared at him as if he was a curiosity – not like they hated him! Not like he’d done anything really wrong! Just different! There’s nothing very original about murdering your wife. Drummond: People I thought were my friends look at me now as if I had horns growing out of my head. Cates: You murder a wife, it isn’t nearly as bad as murdering an old wives’ tale. Kill one of their fairy-tale notions, and they call down the wrath of God, Brady, and the state legislature. Drummond: You make a joke out of everything. You seem to think it’s all so funny! Rachel: Lady, when you lose your power to laugh, you lose your power to think straight. Drummond: Mr Drummond, I can’t laugh. I’m scared. Cates: Good. You’d be a damned fool if you weren’t. Drummond: [Bitterly.]: You’re supposed to be helping Bert, and every time you swear you make it worse for him. [She moves to BERT. He comforts her.] Rachel [Honestly.]: I’m sorry if I offend you. But I don’t swear just for the hell of it. You see, I figure that language is a poor enough means of communication as it is. So we Drummond 06_0486_33_2016_1.3 © UCLES 2016 10

55 50 45 40 ought to use all the words we’ve got. Besides, there are damned few words that everybody understands. You don’t care anything about Bert! You just want a chance to make speeches against the Bible! Rachel: I care a great deal about Bert. I care a great deal about what Bert thinks. Drummond: Well, I care about what the people in this town think of him. Rachel: [Quietly.]: Can you buy back his respectability by making him a coward? [He spades his hands in his hip pockets.] I understand what Bert’s going through. It’s the loneliest Drummond feeling in the world – to find yourself standing up when everybody else is sitting down. To have everybody look at you and say, ‘What’s the matter with him?’ I know. I know what it feels like. Walking down an empty street, listening to the sound of your own footsteps. Shutters closed, blinds drawn, doors locked against you. And you aren’t sure whether you’re walking towards something – or just walking away. . . [He takes a deep breath, then turns abruptly.] Cates, I’ll change your plea and we’ll call off the whole business – on one condition. If you honestly believe that you committed a criminal act against the citizens of this state and the minds of their children. If you honestly believe that you’re wrong and the law’s right. Then the hell with it. I’ll pack my grip and go back to Chicago, where it’s a cool hundred in the shade. [from Act 1 Scene 2] Explore how the writers make this moment in the play so tense. Or 10 How do the writers make the trial of Bert Cates both serious and entertaining? 06_0486_33_2016_1.3 © 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_33_2016_1.3 © 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) 0486/33 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 33 © Cambridge International Examinations 2016 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 33 © 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.