Cambridge IGCSE English - Literature 0486 — 2019 May/June Paper 3 · Variant 1

Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education 0486/31 LITERATURE (ENGLISH) May/June 2019 Paper 3 Drama (Open Text) 45 minutes Additional Materials: Answer Booklet/Paper 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. This document consists of 11 printed pages and 1 blank page. [Turn over 06_0486_31_2019_1.2 © UCLES 2019 *2875692583*

30 25 20 15 10 5 LORRAINE HANSBERRY: A Raisin in the Sun Remember to support your ideas with details from the writing. Either 1 Read this passage carefully, and then answer the question that follows it: [kindly]: ’Course you going to be a doctor, honey, God willing. Mama [drily]: God hasn’t got a thing to do with it. Beneatha Beneatha – that just wasn’t necessary. Mama: Well – neither is God. I get sick of hearing about God. Beneatha: Beneatha! Mama: I mean it! I’m just tired of hearing about God all the time. What has He got to do with anything? Does He pay tuition? Beneatha: You ’bout to get your fresh little jaw slapped! Mama: That’s just what she needs, all right! Ruth: Why? Why can’t I say what I want to around here, like everybody else? Beneatha: It don’t sound nice for a young girl to say things like that – you wasn’t brought up that way. Me and your father went to trouble to get you and Brother to church every Sunday. Mama: Mama, you don’t understand. It’s all a matter of ideas, and God is just one idea I don’t accept. It’s not important. I am not going out and be immoral or commit crimes because I don’t believe in God. I don’t even think about it. It’s just that I get tired of Him getting credit for all the things the human race achieves through its own stubborn effort. There simply is no blasted God – there is only man and it is he who makes miracles! [MAMA absorbs this speech, studies her daughter and rises slowly and crosses to BENEATHA and slaps her powerfully across the face. After, there is only silence and the daughter drops her eyes from her mother’s face, and MAMA is very tall before her.] Beneatha: Now – you say after me, in my mother’s house there is still God. [There is a long pause and BENEATHA stares at the floor wordlessly. MAMA repeats the phrase with precision and cool emotion.] In my mother’s house there is still God. Mama: In my mother’s house there is still God. [A long pause.] Beneatha: [walking away from BENEATHA, too disturbed for triumphant posture. Stopping and turning back to her daughter]: There are some ideas we ain’t going to have in this house. Not long as I am at the head of this family. Mama Yes, ma’am. [MAMA walks out of the room.] Beneatha: 06_0486_31_2019_1.2 © UCLES 2019 2

65 60 55 50 45 40 35 [almost gently, with profound understanding]: You think you a woman, Bennie – but you still a little girl. What you did was childish – so you got treated like a child. Ruth I see. [Quietly.] I also see that everybody thinks it’s all right for Mama to be a tyrant. But all the tyranny in the world will never put a God in the heavens! Beneatha: [She picks up her books and goes out.] [goes to MAMA’s door]: She said she was sorry. Ruth [coming out, going to her plant]: They frightens me, Ruth. My children. Mama You got good children, Lena. They just a little off sometimes – but they’re good. Ruth: No – there’s something come down between me and them that don’t let us understand each other and I don’t know what it is. One done almost lost his mind thinking ’bout money all the time and the other done commence to talk about things I can’t seem to understand in no form or fashion. What is it that’s changing, Ruth? Mama: [soothingly, older than her years]: Now you taking it all too seriously. You just got strong-willed children and it takes a strong woman like you to keep ’em in hand. Ruth [looking at her plant and sprinkling a little water on it]: They spirited all right, my children. Got to admit they got spirit – Bennie and Walter. Like this little old plant that ain’t never had enough sunshine or nothing – and look at it [She has her back to RUTH, who has to stop ironing and lean against something and put the back of her hand to her forehead.] Mama [trying to keep MAMA from noticing]: You... sure... loves that little old thing, don’t you?... Ruth Well, I always wanted me a garden like I used to see sometimes at the back of the houses down home. This plant is close as I ever got to having one. [She looks out of the window as she replaces the plant.] Lord, ain’t nothing as dreary as the view from this window on a dreary day, is there? Why ain’t you singing this morning, Ruth? Sing that ‘No Ways Tired’. That song always lifts me up so. Mama: [She turns at last to see that RUTH has slipped quietly into a chair, in a state of semi-consciousness.] Ruth! Ruth honey - what’s the matter with you... Ruth! Curtain [from Act 1 Scene 1] How does Hansberry make this a powerfully dramatic moment in the play? Or 2 How does Hansberry movingly portray the difficulties Ruth faces in the play? Do not use the passage in Question 1 when answering this question. [Turn over 06_0486_31_2019_1.2 © UCLES 2019 3

ARTHUR MILLER: A View from the Bridge Remember to support your ideas with details from the writing. Either 3 Read this passage carefully, and then answer the question that follows it: Light rises on the street. 06_0486_31_2019_1.2 © UCLES 2019 4 Content removed due to copyright restrictions.

You hear me? Alone. [from Act 2] In what ways does Miller make this such a disturbing moment in the play? Or 4 Which character does Miller’s writing persuade you is most responsible for Eddie’s death? Do not use the passage in Question 3 when answering this question. [Turn over 06_0486_31_2019_1.2 © UCLES 2019 5 Content removed due to copyright restrictions.

30 25 20 15 10 5 TERENCE RATTIGAN: The Winslow Boy Remember to support your ideas with details from the writing. Either 5 Read this passage carefully, and then answer the question that follows it: I want to ask you a question, but before I do, I must impress on you the urgent necessity for an absolutely truthful answer. Arthur: Naturally. Dickie: Naturally means by nature, and I’m afraid I have not yet noticed that it has invariably been your nature to answer my questions truthfully. Arthur: Oh. Well, I will this one Father. I promise. Dickie: Very well. [He stares at him for a moment.] What do you suppose one of your bookmaker friends would lay in the way of odds against you getting a degree? Arthur: [There is a pause.] Oh. Well, let’s think. Say–about evens. Dickie: Hm. I rather doubt if at that price your friend would find many takers. Arthur: Well–perhaps seven to four against. Dickie: I see. And what about the odds against your eventually becoming a civil servant? Arthur: Well–a bit steeper I suppose. Dickie: Exactly. Quite a bit steeper. Arthur: [There is a pause.] You don’t want to have a bet, do you? Dickie: No, Dickie. I’m not a gambler. And that’s exactly the trouble. Unhappily, I’m no longer in a position to gamble two hundred pounds a year on what you yourself admit is an outside chance. Arthur: Not an outside chance, Father. A good chance. Dickie: Not good enough, Dickie, I’m afraid–with things as they are at the moment. Definitely not good enough. I fear my mind is finally made up. [There is a long pause.] Arthur: You want me to leave Oxford–is that it? Dickie: I’m afraid so, Dickie. Arthur: Oh. Straight away? Dickie: No. You can finish your second year. Arthur: And what then? Dickie: 06_0486_31_2019_1.2 © UCLES 2019 6

50 45 40 35 I can get you a job in the bank. Arthur: [quietly]: Oh, Lord! Dickie [after a pause: rather apologetically]: It’ll be quite a good job, you know. Luckily, my influence in the bank still counts for something. Arthur Father–if I promised you–I mean, really promised you–that from now on I’ll work like a black–– [ARTHUR shakes his head slowly.] It’s the case, I suppose? Dickie: It’s costing me a lot of money. Arthur: I know. It must be. Still, couldn’t you–I mean, isn’t there any way–– [ARTHUR again shakes his head.] Oh, Lord! Dickie: I’m afraid this is rather a shock for you. I’m sorry. Arthur: What? No. No, it isn’t really. I’ve been rather expecting it as a matter of fact–especially since I hear you are hoping to brief Sir Robert Morton. Still, I can’t say but what it isn’t a bit of a slap in the face–– [The front door bell rings.] Dickie: There is a journalist coming to see me. Do you mind if we talk about this some other time? Arthur: No. Of course not, Father. [He begins forlornly to gather his books.] Dickie: [from Act 1 Scene 2] What vivid impressions does Rattigan give you of the relationship between Arthur and Dickie at this moment in the play? Or 6 How does Rattigan’s portrayal of Violet, the parlourmaid, contribute to your enjoyment of the play? [Turn over 06_0486_31_2019_1.2 © UCLES 2019 7

30 25 20 15 10 5 WILLIAM SHAKESPEARE: Macbeth Remember to support your ideas with details from the writing. Either 7 Read this passage carefully, and then answer the question that follows it: A great perturbation in nature, to receive at once the benefit of sleep and do the effects of watching! In this slumb’ry agitation, besides her walking and other actual performances, what, at any time, have you heard her say? Doctor: That, sir, which I will not report after her. Gentlewoman: You may to me; and ’tis most meet you should. Doctor: Neither to you nor any one, having no witness to confirm my speech. [Enter LADY MACBETH, with a taper.] Lo you, here she comes! This is her very guise; and, upon my life, fast asleep. Observe her; stand close. Gentlewoman: How came she by that light? Doctor: Why, it stood by her. She has light by her continually; ’tis her command. Gentlewoman: You see her eyes are open. Doctor: Ay, but their sense is shut. Gentlewoman: What is it she does now? Look how she rubs her hands. Doctor: It is an accustomed action with her, to seem thus washing her hands; I have known her continue in this a quarter of an hour. Gentlewoman: Yet here’s a spot. Lady Macbeth: Hark, she speaks. I will set down what comes from her, to satisfy my remembrance the more strongly. Doctor: Out, damned spot! out, I say! One, two; why then ’tis time to do’t. Hell is murky. Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our pow’r to account? Yet who would have thought the old man to have had so much blood in him? Lady Macbeth: Do you mark that? Doctor: The Thane of Fife had a wife; where is she now? What, will these hands ne’er be clean? No more o’ that, my lord, no more o’ that; you mar all with this starting. Lady Macbeth: Go to, go to; you have known what you should not. Doctor: She has spoke what she should not, I am sure of that. Heaven knows what she has known. Gentlewoman: Here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! Lady Macbeth: 06_0486_31_2019_1.2 © UCLES 2019 8

55 50 45 40 35 What a sigh is there! The heart is sorely charg’d. Doctor: I would not have such a heart in my bosom for the dignity of the whole body. Gentlewoman: Well, well, well. Doctor: Pray God it be, sir. Gentlewoman: This disease is beyond my practice. Yet I have known those which have walk’d in their sleep who have died holily in their beds. Doctor: Wash your hands, put on your nightgown, look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave. Lady Macbeth: Even so? Doctor: To bed, to bed; there’s knocking at the gate. Come, come, come, come, give me your hand. What’s done cannot be undone. To bed, to bed, to bed. [Exit. Lady Macbeth: Will she go now to bed? Doctor: Directly. Gentlewoman: Foul whisp’rings are abroad. Unnatural deeds Do breed unnatural troubles; infected minds To their deaf pillows will discharge their secrets. More needs she the divine than the physician. God, God forgive us all. Look after her; Remove from her the means of all annoyance, And still keep eyes upon her. So, good night. My mind she has mated, and amaz’d my sight. I think, but dare not speak. Doctor: [from Act 5 Scene 1] In what ways does Shakespeare make this moment in the play so disturbing? Or 8 In what ways does Shakespeare make the murder of King Duncan such a shocking part of the play? Do not use the passage in Question 7 when answering this question. [Turn over 06_0486_31_2019_1.2 © UCLES 2019 9

25 20 15 10 5 WILLIAM SHAKESPEARE: Romeo and Juliet Remember to support your ideas with details from the writing. Either 9 Read this passage carefully, and then answer the question that follows it: Good morrow, cousin. Benvolio: Is the day so young? Romeo: But new struck nine. Benvolio: Ay me! sad hours seem long. Was that my father that went hence so fast? Romeo: It was. What sadness lengthens Romeo’s hours? Benvolio: Not having that which having makes them short. Romeo: In love? Benvolio: Out – Romeo: Of love? Benvolio: Out of her favour where I am in love. Romeo: Alas that love, so gentle in his view, Should be so tyrannous and rough in proof! Benvolio: Alas that love, whose view is muffled still, Should without eyes see pathways to his will! Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do with hate, but more with love. Why then, O brawling love! O loving hate! O anything, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? Romeo: No, coz, I rather weep. Benvolio: Good heart, at what? Romeo: At thy good heart’s oppression. Benvolio: 06_0486_31_2019_1.2 © UCLES 2019 10

60 55 50 45 40 35 30 Why, such is love’s transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate, to have it prest With more of thine. This love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke rais’d with the fume of sighs; Being purg’d, a fire sparkling in lovers’ eyes; Being vex’d, a sea nourish’d with loving tears. What is it else? A madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz. Romeo: Soft! I will go along; An if you leave me so, you do me wrong. Benvolio: Tut, I have lost myself; I am not here: This is not Romeo, he’s some other where. Romeo: Tell me in sadness who is that you love. Benvolio: What, shall I groan and tell thee? Romeo: Groan! Why, no; But sadly tell me who. Benvolio: Bid a sick man in sadness make his will. Ah, word ill urg’d to one that is so ill! In sadness, cousin, I do love a woman. Romeo: I aim’d so near when I suppos’d you lov’d. Benvolio: A right good markman! And she’s fair I love. Romeo: A right fair mark, fair coz, is soonest hit. Benvolio: Well, in that hit you miss: she’ll not be hit With Cupid’s arrow. She hath Dian’s wit, And in strong proof of chastity well arm’d, From Love’s weak childish bow she lives unharm’d. She will not stay the siege of loving terms, Nor bide th’ encounter of assailing eyes, Nor ope her lap to saint-seducing gold. O, she is rich in beauty; only poor That, when she dies, with beauty dies her store. Romeo: [fromAct 1 Scene 1] How does Shakespeare make this such a vivid introduction to Romeo? Or 10 Explore two moments in which Shakespeare makes the relationship between Romeo and Juliet particularly moving. 06_0486_31_2019_1.2 © UCLES 2019 11

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IGCSE™ is a registered trademark. This document consists of 4 printed pages. © UCLES 2019 [Turn over Cambridge Assessment International Education Cambridge International General Certificate of Secondary Education LITERATURE (ENGLISH) 0486/31 Paper 3 Drama (Open Text) 31 May/June 2019 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 International will not enter into discussions about these mark schemes. Cambridge International is publishing the mark schemes for the May/June 2019 series for most Cambridge IGCSE™, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

0486/31 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 2 of 4 Generic Marking Principles These general marking principles must be applied by all examiners when marking candidate answers. They should be applied alongside the specific content of the mark scheme or generic level descriptors for a question. Each question paper and mark scheme will also comply with these marking principles. GENERIC MARKING PRINCIPLE 1: Marks must be awarded in line with: • the specific content of the mark scheme or the generic level descriptors for the question • the specific skills defined in the mark scheme or in the generic level descriptors for the question • the standard of response required by a candidate as exemplified by the standardisation scripts. GENERIC MARKING PRINCIPLE 2: Marks awarded are always whole marks (not half marks, or other fractions). GENERIC MARKING PRINCIPLE 3: Marks must be awarded positively: • marks are awarded for correct/valid answers, as defined in the mark scheme. However, credit is given for valid answers which go beyond the scope of the syllabus and mark scheme, referring to your Team Leader as appropriate • marks are awarded when candidates clearly demonstrate what they know and can do • marks are not deducted for errors • marks are not deducted for omissions • answers should only be judged on the quality of spelling, punctuation and grammar when these features are specifically assessed by the question as indicated by the mark scheme. The meaning, however, should be unambiguous. GENERIC MARKING PRINCIPLE 4: Rules must be applied consistently e.g. in situations where candidates have not followed instructions or in the application of generic level descriptors. GENERIC MARKING PRINCIPLE 5: Marks should be awarded using the full range of marks defined in the mark scheme for the question (however; the use of the full mark range may be limited according to the quality of the candidate responses seen). GENERIC MARKING PRINCIPLE 6: Marks awarded are based solely on the requirements as defined in the mark scheme. Marks should not be awarded with grade thresholds or grade descriptors in mind.

0486/31 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 3 of 4 All questions are marked out of 25. 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 to literary texts. 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.

0486/31 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2019 © UCLES 2019 Page 4 of 4 Band 8 23–25 • demonstrates knowledge by incorporating well-selected reference to the text skilfully and with flair (AO1) • sustains a critical understanding of the text showing individuality and insight (AO2) • responds sensitively and in considerable detail to the way the writer achieves her/his effects (AO3) • sustains personal and evaluative engagement with task and text (AO4) Band 7 20–22 • demonstrates knowledge by integrating much well-selected reference to the text (AO1) • shows a clear critical understanding of the text (AO2) • responds sensitively and in detail to the way the writer achieves her/his effects (AO3) • sustains a perceptive, convincing and relevant personal response (AO4) Band 6 17–19 • demonstrates knowledge by supporting with careful and relevant reference to the text (AO1) • shows a clear understanding of the text and some of its deeper implications (AO2) • makes a developed response to the way the writer achieves her/his effects (AO3) • makes a well-developed, detailed and relevant personal response (AO4) Band 5 14–16 • demonstrates knowledge by showing some thoroughness in the use of supporting evidence from the text (AO1) • shows understanding of the text and some of its deeper implications (AO2) • makes some response to the way the writer uses language (AO3) • makes a reasonably developed relevant personal response (AO4) Band 4 11–13 • demonstrates knowledge by using some supporting textual detail (AO1) • shows some understanding of meaning (AO2) • makes a little reference to the language of the text (AO3) • begins to develop a relevant personal response (AO4) Band 3 8–10 • demonstrates knowledge by making a little supporting reference to the text (AO1) • makes some relevant comments (AO2) • shows a basic understanding of surface meaning of the text and language (AO3) • attempts to communicate a basic personal response (AO4) Band 2 5–7 • demonstrates knowledge by making a little reference to the text (AO1) • makes a few straightforward comments (AO2) • shows a few signs of understanding the surface meaning of the text and language (AO3) • some evidence of simple personal response (AO4) Band 1 1–4 • demonstrates knowledge by limited textual reference (AO1) • shows some limited understanding of simple/literal meaning (AO2) • a little awareness of surface meaning of text and language (AO3) • limited attempt to respond (AO4) Band 0 0 No answer / Insufficient to meet the criteria for Band 1.