Cambridge IGCSE English - Literature 0486 — 2016 May/June Paper 4 · Variant 2

This document consists of 5 printed pages, 3 blank pages and 1 insert. DC (RCL (JDA)) 115909/2 © UCLES 2016 [Turn over Cambridge International Examinations Cambridge International General Certificate of Secondary Education * 4 8 8 2 4 9 4 6 9 5 * LITERATURE (ENGLISH) 0486/42 Paper 4 Unseen May/June 2016 1 hour 15 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 either Question 1 or Question 2. You are advised to spend about 20 minutes reading the question paper and planning your answer. Both 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.

2 0486/42/M/J/16 © UCLES 2016 Answer either Question 1 or Question 2 EITHER 1 Read carefully the poem opposite in which the poet visits her father’s grave with her daughter. How does the poet’s writing movingly portray this event? To help you answer this question, you might consider: • the way the poet describes her daughter’s preparations • her descriptions of what her daughter does at the graveside • how she shows their different responses to the visit.

3 0486/42/M/J/16 © UCLES 2016 [Turn over The Flowers After lunch my daughter picked handfuls of the wild flowers she knew her grandfather liked best and piled them in the basket of her bicycle, beside an empty jam-jar and a trowel; then, swaying like a candle-bearer, she rode off to the church and, like a little dog, I followed her. She cleared the grave of nettles and wild parsley,1 and dug a shallow hole to put the jam-jar in. She arranged the flowers to look their best and scraped the moss from the stone, so you could see whose grave she had been caring for. It didn’t take her long – no longer than making his bed in the morning when he had got too old to help her. Not knowing how to leave him, how to say good-bye, I hesitated by the rounded grave. Come on, my daughter said, It’s finished now. And so we got our bicycles and rode home down the lane, moving apart and coming together again, in and out of the ruts. 1 nettles and wild parsley : weeds

4 0486/42/M/J/16 © UCLES 2016 OR 2 Read carefully the extract opposite which is the beginning of a novel set in the past. Peter Claire, a young Englishman who plays the lute (a stringed instrument like a guitar), has just arrived in Denmark. He has been summoned to play for the King in his palace. How does the writing vividly convey Peter’s thoughts and feelings to you? To help you answer this question, you might consider: • how the writer portrays Peter’s growing anxiety • her descriptions of what Peter sees in the darkness • what is unusual and disturbing about the scene which develops in the palace.

5 0486/42/M/J/16 © UCLES 2016 A lamp is lit. Until this moment, when the flame of the lamp flares blue, then settles to steady yellow inside its ornate globe, the young man had been impressed by the profound darkness into which, upon his late-night arrival at the palace of Rosenborg, he had suddenly stepped. Tired from his long sea journey, his eyes stinging, his walk unsteady, he had been questioning the nature of this darkness. For it seemed to him not merely an external phenomenon, having to do with an actual absence of light, but rather as though it emanated from within him, as if he had finally crossed the threshold of his own absence of hope. Now, he is relieved to see the walls of a panelled room take shape around him. A voice says: ‘This is the Vinterstue. The Winter Room.’ The lamp is lifted up. Held high, it burns more brightly, as though sustained by purer air, and the young man sees a shadow cast onto the wall. It is a long, slanting shadow and so he knows it is his own. It appears to have a deformity, a hump, occurring along its spine from below the shoulder-blades to just above the waist. But this is the shadow’s trickery. The young man is Peter Claire, the lutenist, and the curvature on his back is his lute. He is standing near a pair of lions, made of silver. Their eyes seem to watch him in the flickering gloom. Beyond them he can see a table and some tall chairs. But Peter Claire is separate from everything, cannot lean on any object, cannot rest. And now, the lamp moves and he must follow. ‘It may be’, says a tall gentleman, who hurries on, carrying the light, ‘that His Majesty, King Christian, will command you to play for him tonight. He is not well and his physicians1 have prescribed music. Therefore, members of the royal orchestra must be ready to perform at all times, day and night. I thought it best to advise you of this straight away.’ Peter Claire’s feelings of dismay increase. He begins to curse himself, to berate2 his own ambition for bringing him here to Denmark, for taking him so far from the places and people he had loved. He is at the end of his journey and yet he feels lost. Within this arrival some terrifying departure lies concealed. And suddenly, with peculiar speed, the lamp moves and everything in the room seems to rearrange itself. Peter Claire sees his shadow on the wall become elongated, stretching upwards for a few seconds towards the ceiling before being swallowed by the darkness, with no trace of it remaining. Then the end of a corridor is reached and the gentleman stops before a door. He knocks and waits, putting a finger to his lips and leaning close against the door to listen for the command from within. It comes at last, a voice deep and slow, and Peter Claire finds himself, in the next minute, standing before King Christian, who is sitting in a chair in his night-shirt. Before him, on a small table, is a pair of scales and by these a clutch of silver coins. 1 physicians : doctors 2 berate: scold angrily

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8 0486/42/M/J/16 © UCLES 2016 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.

® 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) 0486/42 Paper 4 Unseen 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 42 © Cambridge International Examinations 2016 The Assessment Objectives for this 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.

Page 3 Mark Scheme Syllabus Paper Cambridge IGCSE – May/June 2016 0486 42 © 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 it 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.