Cambridge IGCSE English - Literature in English 0475 — 2021 Oct/Nov Paper 4 · Variant 3

This document has 8 pages. Any blank pages are indicated. DC (RW) 201728/2 © UCLES 2021 [Turn over * 6 9 3 1 2 5 7 5 7 3 * Cambridge IGCSE™ LITERATURE IN ENGLISH 0475/43 Paper 4 Unseen October/November 2021 1 hour 15 minutes You must answer on the enclosed answer booklet. You will need: Answer booklet (enclosed) INSTRUCTIONS ● Answer one question: either Question 1 or Question 2. ● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper, ask the invigilator for a continuation booklet. INFORMATION ● The total mark for this paper is 25. ● All questions are worth equal marks.

2 0475/43/O/N/21 © UCLES 2021 You are advised to spend about 20 minutes reading the question paper and planning your answer. Answer either Question 1 or Question 2. EITHER 1 Read carefully the following poem. It describes an owl, a nocturnal bird of prey. How does the poet strikingly present his admiration of the owl? To help you answer this question, you might consider: • how the poet conveys the sounds the owl makes • the different ways in which he presents the appearance of the owl • how he presents the owl as a hunter.

3 0475/43/O/N/21 © UCLES 2021 [Turn over Owl is my favourite. Who flies like a nothing through the night, who‑whoing1. Is a feather duster in leafy corners ring‑a‑rosy‑ing2 boles of mice. Twice you hear him call. Who is he looking for? You hear him hoovering over the floor of the wood. O would you be gold rings in the driving skull if you could? Hooded and vulnerable by the winter suns owl looks. Is the grain of bark in the dark. Round beaks are at work in the pellety nest, resting. Owl is an eye in the barn. For a hole in the trunk owl’s blood is to blame. Black talons in the petrified fur! Cold walnut hands on the case of the brain! In the reign of the chicken owl comes like a god. Is a goad in the rain to the pink eyes, dripping. For a meal in the day flew, killed, on the moor. Six mouths are the seed of his arc in the season. Torn meat from the sky. Owl lives by the claws of his brain. On the branch in the sever of the hand’s twigs owl is a backward look. Flown wind in the skin. Fine rain in the bones. Owl breaks like the day. Am an owl, am an owl. 1 who‑whoing: the sound an owl makes 2 ring‑a‑rosy‑ing: playing children’s games with 5 10 15 20 25 30 35

4 0475/43/O/N/21 © UCLES 2021 OR 2 Read carefully the following extract from a novel set in the past. Jahan, an architect’s apprentice, is watching the opening of a mosque that he helped to build. He has promised Captain Gareth, a sea captain, that he will steal valuables for him. Mihrimah is a girl Jahan is in love with. How does the writer vividly present Jahan’s changing feelings as the passage develops? To help you answer this question, you might consider: • Jahan’s response to the crowd at the opening of the mosque • Jahan’s thoughts about the gems he has stolen • how the writer shows that Jahan’s feelings have changed after he has entered the mosque.

5 0475/43/O/N/21 © UCLES 2021 Jahan wormed his way through the crowd, determined to make the most of this day. Encircling him on all sides were the wealthiest men in the empire. Gems shone on their fingers, pouches bulged from under their elegant robes. To his left he saw a figure of ample proportions, a kadi1 from Rumelia, talking fervently with another officer. A deep crimson rosary dangled from the man’s hand, his prayers made of rubies. As they poured towards the entrance, Jahan propelled himself against the man, wearing a contrite look as if being helplessly shoved in the commotion. ‘Effendi 2, I beg your pardon.’ The kadi glowered, looking over Jahan’s shoulder. He was swirled with the others through the door, unaware that the young man had snatched his rosary3. To avoid encountering him again, Jahan moved in the opposite direction, allowing people to pass him by. He waited to one side for a while. Thus it was some time before he entered the Suleimaniye Mosque. By then most of the guests had left the mosque itself and were touring the complex. Feeling the gems under his fingers, Jahan walked into the mosque. His buoyant mood changed to dismay when he remembered Captain Gareth. The man was away on another voyage that would take at least a couple of months. Jahan had to keep his booty somewhere safe and give it to him upon his return. Even so, he wondered if he could sell the rosary and buy a gift for Mihrimah. Perhaps a haircomb made of mother‑of‑pearl and tortoiseshell. Secretly, he had been working on her sketches, over and over again, unsatisfied with the results. He had never expected it to be so hard to put on paper an image that was already etched indelibly in his mind. With these thoughts he stepped over the threshold and stopped. Inside, a strange rainbow spilled from the windows. Crimson, cobalt‑blue, vermilion4. He remembered, suddenly, how as a boy he would lie under birch trees and stare up, as though in search of heaven. Should the sky fall down the trees would hold it up, he would reassure himself. He had done this many times but once had an odd experience. On that day the sky was lurid5, the clouds so close he could reach out and tickle one. As he looked up, the green of the leaves had melted into the blue beyond. The feeling was so remarkable it had almost choked him up. It had lasted no longer than the blink of an eye, but he still remembered, after all these years, the taste of that elation. Now, as he stood admiring the dome they had built on four giant piers, seeing it for the thousandth time but almost seeing it anew, he felt the same thing. The dome had blended with the firmament6 above. He fell on his knees, without a care as to who might be watching him. He lay down on the carpet, eyes closed, arms and legs open wide, once again that boy under the birch trees. Alone in the mosque, only a dot in this vast expanse, Jahan could think only of the world as an enormous building site. While the master and the apprentices had been raising this mosque, the universe had been constructing their fate. Never before had he thought of God as an architect. Christians, Jews, Muslims, Zoroastrians and people of myriad faiths and creeds lived under the same invisible dome. For the eye that could see, architecture was everywhere. Hence, with a stolen rosary in his hand and an inexplicable gratitude in his heart, full of conflicts and confusions, under the majestic dome of the Suleimaniye Mosque, Jahan stood, a most intelligent animal‑tamer and a most perplexed apprentice. Time, too, stopped with him. It seemed to him that in that instant he had, unknowingly, come a step closer to the centre of the universe. 1 kadi: judge 2 effendi: (Turkish) sir 3 rosary: prayer beads 4 vermilion: vivid orange‑red 5 lurid: bright coloured 6 firmament: sky or heaven 5 10 15 20 25 30 35 40 45

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8 0475/43/O/N/21 © UCLES 2021 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 Assessment International Education Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download at www.cambridgeinternational.org after the live examination series. Cambridge Assessment International Education is part of the Cambridge Assessment Group. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which itself is a department of the University of Cambridge. BLANK PAGE

This document consists of 5 printed pages. © UCLES 2021 [Turn over Cambridge IGCSE™ LITERATURE IN ENGLISH 0475/43 Paper 4 Unseen October/November 2021 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 October/November 2021 series for most Cambridge IGCSE™, Cambridge International A and AS Level components and some Cambridge O Level components.

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 2 of 5 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 • 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.

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 3 of 5 English & Media subject specific general marking principles (To be read in conjunction with the Generic Marking Principles (and requiring further guidance on how to place marks within levels)) Components using level descriptors: • We use level descriptors as a guide to broaden understanding of the qualities normally expected of, or typical of, work in a level. • Level descriptors are a means of general guidance, and should not be interpreted as hurdle statements. • Where indicative content notes are supplied for a question, these are not a prescription of required content, and must not be treated as such. Alternative correct points and unexpected answers in candidates’ scripts must be given marks that fairly reflect the knowledge and skills demonstrated. • While we may have legitimate expectations as to the ground most answers may cover, we must at all times be prepared to meet candidates on their chosen ground, provided it is relevant ground (e.g. clearly related to and derived from a relevant passage/text and meeting the mark scheme requirements for the question). Components using point-based marking: Point marking is often used to reward knowledge, understanding and application of skills. We give credit where the candidate’s answer shows relevant knowledge, understanding and application of skills in answering the question. We do not give credit where the answer shows confusion. From this it follows that we: a DO credit answers which are worded differently from the mark scheme if they clearly convey the same meaning (unless the mark scheme requires a specific term). b DO credit alternative answers/examples which are not written in the mark scheme if they are correct. c DO credit answers where candidates give more than one correct answer in one prompt/numbered/scaffolded space where extended writing is required rather than list-type answers. For example, questions that require n reasons (e.g. State two reasons…). d DO NOT credit answers simply for using a ‘key term’ unless that is all that is required. (Check for evidence it is understood and not used incorrectly). e DO NOT credit answers which are obviously self-contradicting or trying to cover all possibilities. f DO NOT give further credit for what is effectively repetition of a correct point already credited unless the language itself is being tested. This applies equally to ‘mirror statements’ (i.e. polluted/not polluted). g DO NOT require spellings to be correct, unless this is part of the test. However, spellings of syllabus terms must allow for clear and unambiguous separation from other syllabus terms with which they may be confused (e.g. Corrasion/Corrosion).

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 4 of 5 Introduction For general administrative guidance, see Notes for Examiners Handbook. 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 contexts, 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. The supplementary notes for each question are related to the assessment objectives above. Because of the nature of the subject, they are for general guidance; they are not designed as prescriptions of required content and must not be treated as such. The syllabus aims to encourage candidates to make some personal response to their reading. Whilst there are legitimate expectations of the content of most answers, examiners may see responses that include ideas not covered in the supplementary guidance. For these cases, examiners should credit valid responses fairly and not penalise candidates for including valid points outside the mark scheme.

0475/43 Cambridge IGCSE – Mark Scheme PUBLISHED October/November 2021 © UCLES 2021 Page 5 of 5 BAND DESCRIPTOR TABLE Band 8 25 24 23 • 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 uses language to achieve effects (AO3) • sustains personal and evaluative engagement with task and text (AO4) Band 7 22 21 20 • 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 uses language to achieve effects (AO3) • sustains a perceptive, convincing and relevant personal response (AO4) Band 6 19 18 17 • 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 uses language to achieve effects (AO3) • makes a well-developed, detailed and relevant personal response (AO4) Band 5 16 15 14 • 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 13 12 11 • 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 10 9 8 • demonstrates knowledge by making a little supporting reference to the text (AO1) • makes some relevant comments (AO2) • shows a basic understanding of the surface meaning of the text and language (AO3) • attempts to communicate a basic personal response (AO4) Band 2 7 6 5 • 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 4 3 2 1 • 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.