Cambridge IGCSE English - Literature in English 0475 — 2025 May/June Paper 2 · Variant 1

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ * 0 3 9 2 5 4 4 6 2 9 * LITERATURE IN ENGLISH 0475/21 Paper 2 Drama May/June 2025 1 hour 30 minutes You must answer on the enclosed answer booklet. You will need: Answer booklet (enclosed) INSTRUCTIONS ● Answer two questions. ● Your answers must be on two different set texts. ● You must answer one (a) passage-based question and one (b) essay 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. INFORMATION ● The total mark for this paper is 50. ● All questions are worth equal marks. DC (DE) 341342/2 © UCLES 2025

2 0475/21/M/J/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: JO: I don’t know much about love. Content removed due to copyright restrictions.

3 0475/21/M/J/25 © UCLES 2025 [Turn over GEOF: We’re bloody marvellous! (from Act 2, Scene 1) How does Delaney strikingly portray Geof at this moment in the play? Or 1 (b) To what extent does Delaney portray Helen as uncaring towards Jo? Content removed due to copyright restrictions.

4 0475/21/M/J/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: [A swelling, agitated hum of women’s voices rises immediately in the background. Content removed due to copyright restrictions.

5 0475/21/M/J/25 © UCLES 2025 [Turn over When the time comes for him, the same ocean will bring him back. (from Scene 3) How does Soyinka make this moment in the play both amusing and serious? Or 2 (b) How far does Soyinka encourage you to feel sorry for Elesin? Content removed due to copyright restrictions.

6 0475/21/M/J/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: STELLA: Stanley was born just five minutes after Christmas. Content removed due to copyright restrictions.

7 0475/21/M/J/25 © UCLES 2025 [Turn over BLANCHE: Honey, there was – a good deal of talk in Laurel. (from Scene 5) Explore the ways in which Williams makes this such a tense moment in the play. Or 3 (b) In what ways does Williams portray Blanche as a victim? Content removed due to copyright restrictions.

8 0475/21/M/J/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: This falls out better than I could devise. But hast thou yet latch’d the Athenian’s eyes With the love-juice, as I did bid thee do? PUCK: I took him sleeping – that is finish’d too – And the Athenian woman by his side; That, when he wak’d, of force she must be ey’d. [Enter DEMETRIUS and HERMIA.] OBERON: Stand close; this is the same Athenian. PUCK: This is the woman, but not this the man. DEMETRIUS: O, why rebuke you him that loves you so? Lay breath so bitter on your bitter foe. HERMIA: Now I but chide, but I should use thee worse, For thou, I fear, hast given me cause to curse. If thou hast slain Lysander in his sleep, Being o’er shoes in blood, plunge in the deep, And kill me too. The sun was not so true unto the day As he to me. Would he have stolen away From sleeping Hermia? I’ll believe as soon This whole earth may be bor’d, and that the moon May through the centre creep and so displease Her brother’s noontide with th’ Antipodes. It cannot be but thou hast murd’red him; So should a murderer look – so dead, so grim. DEMETRIUS: So should the murdered look; and so should I, Pierc’d through the heart with your stern cruelty; Yet you, the murderer, look as bright, as clear, As yonder Venus in her glimmering sphere. HERMIA: What’s this to my Lysander? Where is he? Ah, good Demetrius, wilt thou give him me? DEMETRIUS: I had rather give his carcass to my hounds. HERMIA: Out, dog! out, cur! Thou driv’st me past the bounds Of maiden’s patience. Has thou slain him, then? Henceforth be never numb’red among men! O, once tell true; tell true, even for my sake! Durst thou have look’d upon him being awake, And hast thou kill’d him sleeping? O brave touch! Could not a worm, an adder, do so much? An adder did it; for with doubler tongue Than thine, thou serpent, never adder stung. DEMETRIUS: You spend your passion on a mispris’d mood: I am not guilty of Lysander’s blood; Nor is he dead, for aught that I can tell. (from Act 3, Scene 2) 5 10 15 20 25 30 35 40

9 0475/21/M/J/25 © UCLES 2025 [Turn over How does Shakespeare make this such a dramatic moment in the play? Or 4 (b) In what ways does Shakespeare persuade you to sympathise with Titania?

10 0475/21/M/J/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: [A hill near Alexandria. Enter ANTONY and SCARUS.] ANTONY: Yet they are not join’d. Where yond pine does stand I shall discover all. I’ll bring thee word Straight how ’tis like to go. [Exit.] SCARUS: Swallows have built In Cleopatra’s sails their nests. The augurers Say they know not, they cannot tell; look grimly, And dare not speak their knowledge. Antony Is valiant and dejected; and by starts His fretted fortunes give him hope and fear Of what he has and has not. [Alarum afar off, as at a sea-fight. Re-enter ANTONY.] ANTONY: All is lost! This foul Egyptian hath betrayed me. My fleet hath yielded to the foe, and yonder They cast their caps up and carouse together Like friends long lost. Triple-turn’d whore! ’tis thou Hast sold me to this novice; and my heart Makes only wars on thee. Bid them all fly; For when I am reveng’d upon my charm, I have done all. Bid them all fly; begone. [Exit SCARUS.] O sun, thy uprise shall I see no more! Fortune and Antony part here; even here Do we shake hands. All come to this? The hearts That spaniel’d me at heels, to whom I gave Their wishes, do discandy, melt their sweets On blossoming Caesar; and this pine is bark’d That overtopp’d them all. Betray’d I am. O this false soul of Egypt! this grave charm – Whose eye beck’d forth my wars and call’d them home, Whose bosom was my crownet, my chief end – Like a right gipsy hath at fast and loose Beguil’d me to the very heart of loss. What, Eros, Eros! [Enter CLEOPATRA.] Ah, thou spell! Avaunt! CLEOPATRA: Why is my lord enrag’d against his love? ANTONY: Vanish, or I shall give thee thy deserving And blemish Caesar’s triumph. Let him take thee And hoist thee up to the shouting plebeians; Follow his chariot, like the greatest spot Of all thy sex; most monster-like, be shown 5 10 15 20 25 30 35 40 45

11 0475/21/M/J/25 © UCLES 2025 For poor’st diminutives, for doits, and let Patient Octavia plough thy visage up With her prepared nails. [Exit CLEOPATRA.] (from Act 4, Scene 12) How does Shakespeare strikingly convey Antony’s anger at this moment in the play? Or 5 (b) To what extent does Shakespeare portray Octavius Caesar as an admirable character? 50

12 0475/21/M/J/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 6 printed pages. © Cambridge University Press & Assessment 2025 [Turn over Cambridge IGCSE™ LITERATURE IN ENGLISH 0475/21 Paper 2 Drama May/June 2025 MARK SCHEME Maximum Mark: 50 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 2025 series for most Cambridge IGCSE, Cambridge International A and AS Level components, and some Cambridge O Level components.

0475/21 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 2 of 6 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.

0475/21 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 3 of 6 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 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).

0475/21 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 4 of 6 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 Correct point Omission, undeveloped Incorrect point Good use of language Used with another annotation to show which part of an extended response relates to the annotation used e.g. , Used with another annotation to show which part of an extended response relates to the annotation used e.g. , Knowledge Narrative No use of text Point Relating to question Repetition Checked by examiner Covered adequately Understanding Verbal construction

0475/21 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 5 of 6 All questions are marked out of 25. 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 meanings 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 Level 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 level. They are a means of general guidance. For the purposes of standardisation of marking, they are to be used in conjunction with examples of candidates’ work and discussed during the examiners’ coordination meeting.

0475/21 Cambridge IGCSE – Mark Scheme PUBLISHED May/June 2025 © Cambridge University Press & Assessment 2025 Page 6 of 6 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 Level 1.