Cambridge IGCSE English - Literature in English 0475 — 2025 Feb/March Paper 3 · Variant 2

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ * 1 2 8 4 2 5 5 4 1 3 * LITERATURE IN ENGLISH 0475/32 Paper 3 Drama (Open Text) February/March 2025 45 minutes You must answer on the enclosed answer booklet. You will need: Answer booklet (enclosed) Candidates may take their set texts into the exam room, but these must NOT contain personal annotations, highlighting or underlining. INSTRUCTIONS ● Answer one question. ● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper, ask the invigilator for a continuation booklet. ● You may take your set text into the exam room, but this must not contain personal annotations, highlighting or underlining. INFORMATION ● The total mark for this paper is 25. ● All questions are worth equal marks. DC (EV) 350452 © UCLES 2025

2 0475/32/F/M/25 © UCLES 2025 SHELAGH DELANEY: A Taste of Honey Remember to support your ideas with details from the writing. Either 1 (a) Read this passage, and then answer the question that follows it: GEOF: Do you want a cigarette? Content removed due to copyright restrictions.

3 0475/32/F/M/25 © UCLES 2025 [Turn over [Music to black out.] (from Act 2, Scene 1) How does Delaney movingly portray the relationship between Jo and Geof at this moment in the play? Or 1 (b) Explore how Delaney powerfully depicts the impact of poverty in the play. Content removed due to copyright restrictions.

4 0475/32/F/M/25 © UCLES 2025 WOLE SOYINKA: Death and the King’s Horseman Remember to support your ideas with details from the writing. Either 2 (a) Read this passage, and then answer the question that follows it: IYALOJA: Not we, but the very earth says No. Content removed due to copyright restrictions.

5 0475/32/F/M/25 © UCLES 2025 [Turn over As the girl kneels before IYALOJA, lights fade out on the scene.] (from Scene 1) In what ways does Soyinka make this moment in the play so ominous? Or 2 (b) How far does Soyinka encourage you to sympathise with Sergeant Amusa? Content removed due to copyright restrictions.

6 0475/32/F/M/25 © UCLES 2025 TENNESSEE WILLIAMS: A Streetcar Named Desire Remember to support your ideas with details from the writing. Either 3 (a) Read this passage, and then answer the question that follows it: [More laughter and shouts of parting come from the men. Content removed due to copyright restrictions.

7 0475/32/F/M/25 © UCLES 2025 [Turn over [Her head falls on her arms.] (from Scene 1) How does Williams create such vivid impressions of Stanley and Blanche at this moment in the play? Or 3 (b) To what extent does Williams portray Stella as a loyal sister to Blanche? Content removed due to copyright restrictions.

8 0475/32/F/M/25 © UCLES 2025 WILLIAM SHAKESPEARE: A Midsummer Night’s Dream Remember to support your ideas with details from the writing. Either 4 (a) Read this passage, and then answer the question that follows it: OBERON: Why should Titania cross her Oberon? I do but beg a little changeling boy To be my henchman. TITANIA: Set your heart at rest; The fairy land buys not the child of me. His mother was a vot’ress of my order; And in the spiced Indian air, by night, Full often hath she gossip’d by my side; And, sat with me on Neptune’s yellow sands, Marking th’ embarked traders on the flood; When we have laugh’d to see the sails conceive, And grow big-bellied with the wanton wind; Which she, with pretty and with swimming gait Following – her womb then rich with my young squire – Would imitate, and sail upon the land, To fetch me trifles, and return again, As from a voyage, rich with merchandise. But she, being mortal, of that boy did die; And for her sake do I rear up her boy; And for her sake I will not part with him. OBERON: How long within this wood intend you stay? TITANIA: Perchance till after Theseus’ wedding-day. If you will patiently dance in our round, And see our moonlight revels, go with us; If not, shun me, and I will spare your haunts. OBERON: Give me that boy and I will go with thee. TITANIA: Not for thy fairy kingdom. Fairies, away. We shall chide downright if I longer stay. [Exit TITANIA with her Train.] OBERON: Well, go thy way; thou shalt not from this grove Till I torment thee for this injury. My gentle Puck, come hither. Thou rememb’rest Since once I sat upon a promontory, And heard a mermaid on a dolphin’s back Uttering such dulcet and harmonious breath That the rude sea grew civil at her song, And certain stars shot madly from their spheres To hear the sea-maid’s music. PUCK: I remember. OBERON: That very time I saw, but thou couldst not, Flying between the cold moon and the earth Cupid, all arm’d; a certain aim he took At a fair vestal, throned by the west, And loos’d his love-shaft smartly from his bow, As it should pierce a hundred thousand hearts; But I might see young Cupid’s fiery shaft Quench’d in the chaste beams of the wat’ry moon; 5 10 15 20 25 30 35 40 45

9 0475/32/F/M/25 © UCLES 2025 [Turn over And the imperial vot’ress passed on, In maiden meditation, fancy-free. Yet mark’d I where the bolt of Cupid fell. It fell upon a little western flower, Before milk-white, now purple with love’s wound, And maidens call it Love-in-idleness. Fetch me that flow’r, the herb I showed thee once. (from Act 2, Scene 1) In what ways does Shakespeare strikingly portray Oberon and Titania at this moment in the play? Or 4 (b) How does Shakespeare make the rehearsals and performance of Pyramus and Thisby so amusing? 50

10 0475/32/F/M/25 © UCLES 2025 WILLIAM SHAKESPEARE: Antony and Cleopatra Remember to support your ideas with details from the writing. Either 5 (a) Read this passage, and then answer the question that follows it: EROS: What would my lord? ANTONY: Since Cleopatra died, I have liv’d in such dishonour that the gods Detest my baseness. I, that with my sword Quarter’d the world, and o’er green Neptune’s back With ships made cities, condemn myself to lack The courage of a woman; less noble mind Than she which by her death our Caesar tells ‘I am conqueror of myself’. Thou art sworn, Eros, That, when the exigent should come – which now Is come indeed – when I should see behind me Th’ inevitable prosecution of Disgrace and horror, that, on my command, Thou then wouldst kill me. Do’t; the time is come. Thou strik’st not me; ’tis Caesar thou defeat’st. Put colour in thy cheek. EROS: The gods withold me! Shall I do that which all the Parthian darts, Though enemy, lost aim and could not? ANTONY: Eros, Wouldst thou be window’d in great Rome and see Thy master thus with pleach’d arms, bending down His corrigible neck, his face subdu’d To penetrative shame, whilst the wheel’d seat Of fortunate Caesar, drawn before him, branded His baseness that ensued? EROS: I would not see’t. ANTONY: Come, then; for with a wound I must be cur’d. Draw that thy honest sword, which thou hast worn Most useful for thy country. EROS: O, sir, pardon me! ANTONY: When I did make thee free, swor’st thou not then To do this when I bade thee? Do it at once, Or thy precedent services are all But accidents unpurpos’d. Draw, and come. EROS: Turn from me then that noble countenance, Wherein the worship of the whole world lies. ANTONY: Lo thee! [Turning from him.] EROS: My sword is drawn. ANTONY: Then let it do at once The thing why thou hast drawn it. EROS: My dear master, My captain and my emperor, let me say, Before I strike this bloody stroke, farewell. ANTONY: ’Tis said, man; and farewell. EROS: Farewell, great chief. Shall I strike now? 5 10 15 20 25 30 35 40 45

11 0475/32/F/M/25 © UCLES 2025 ANTONY: Now, Eros. EROS: Why, there then! Thus do I escape the sorrow Of Antony’s death. [Kills himself.] ANTONY: Thrice nobler than myself! Thou teachest me, O valiant Eros, what I should, and thou couldst not. My queen and Eros Have, by their brave instruction, got upon me A nobleness in record. But I will be A bridegroom in my death, and run into’t As to a lover’s bed. Come, then; and, Eros, Thy master dies thy scholar. To do thus [Falling on his sword.] I learn’d of thee. How? not dead? not dead? – The guard, ho! O, dispatch me! [Enter DERCETAS and a Guard.] 1 GUARD: What’s the noise? ANTONY: I have done my work ill, friends. O, make an end Of what I have begun. 2 GUARD: The star is fall’n. 1 GUARD: And time is at his period. ALL: Alas, and woe! ANTONY: Let him that loves me, strike me dead. (from Act 4, Scene 14) In what ways does Shakespeare make this such a tragic moment in the play? Or 5 (b) How does Shakespeare’s portrayal of Pompey contribute to the dramatic impact of the play? 50 55 60 65

12 0475/32/F/M/25 © UCLES 2025 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 Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge Local Examinations Syndicate (UCLES), which is a department of the University of Cambridge. BLANK PAGE

This document consists of 5 printed pages. © Cambridge University Press & Assessment 2025 [Turn over Cambridge IGCSE™ LITERATURE IN ENGLISH 0475/32 Paper 3 Drama (Open Text) February/March 2025 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 February/March 2025 series for most Cambridge IGCSE, Cambridge International A and AS Level components, and some Cambridge O Level components.

0475/32 Cambridge IGCSE – Mark Scheme PUBLISHED February/March 2025 © Cambridge University Press & Assessment 2025 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 descriptions 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.

0475/32 Cambridge IGCSE – Mark Scheme PUBLISHED February/March 2025 © Cambridge University Press & Assessment 2025 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 broad 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 occupy, 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 wrongly.) 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).

0475/32 Cambridge IGCSE – Mark Scheme PUBLISHED February/March 2025 © Cambridge University Press & Assessment 2025 Page 4 of 5 Annotations guidance for centres Examiners use a system of annotations as a shorthand for communicating their marking decisions to one another. Examiners are trained during the standardisation process on how and when to use annotations. The purpose of annotations is to inform the standardisation and monitoring processes and guide the supervising examiners when they are checking the work of examiners within their team. The meaning of annotations and how they are used is specific to each component and is understood by all examiners who mark the component. We publish annotations in our mark schemes to help centres understand the annotations they may see on copies of scripts. Note that there may not be a direct correlation between the number of annotations on a script and the mark awarded. Similarly, the use of an annotation may not be an indication of the quality of the response. The annotations listed below were available to examiners marking this component in this series. Annotations Annotation Meaning Valid comment Focus on question Knowledge Understanding Comment on language, structure, form or dramatic impact Informed personal response Textual support Point requiring development or support Narrative No use of text Repetition Point unclear Ideas not fully clear. [Sometimes with another annotation sucn as NAR, NUT or REP] Checked by examiner

0475/32 Cambridge IGCSE – Mark Scheme PUBLISHED February/March 2025 © Cambridge University Press & Assessment 2025 Page 5 of 5 Level 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 achieves her/his effects (AO3) • sustains personal and evaluative engagement with task and text (AO4) Level 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 achieves her/his effects (AO3) • sustains a perceptive, convincing and relevant personal response (AO4) Level 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 achieves her/his effects (AO3) • makes a well-developed, detailed and relevant personal response (AO4) Level 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) Level 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) Level 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 surface meaning of the text and language (AO3) • attempts to communicate a basic personal response (AO4) Level 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) Level 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) Level 0 0 No answer / Insufficient to meet the criteria for Band 1.