Cambridge IGCSE English - Literature in English 0475 — 2025 May/June Paper 3 · Variant 3

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™ DC (EV) 345244 © UCLES 2025 * 2 4 7 6 4 1 8 4 5 9 * LITERATURE IN ENGLISH 0475/33 Paper 3 Drama (Open Text) May/June 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.

2 0475/33/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: There’s a gas stove in here. Content removed due to copyright restrictions.

3 0475/33/M/J/25 © UCLES 2025 [Turn over I didn’t think he’d miss half a dozen. (from Act 1, Scene 1) How does Delaney make this an entertaining and revealing moment in the play? Or 1 (b) In the play, how does Delaney vividly present problems that women experience? Do not use the passage printed in Question 1(a) in answering this question. Content removed due to copyright restrictions.

4 0475/33/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: The verandah of the District Officer’s bungalow. Content removed due to copyright restrictions.

5 0475/33/M/J/25 © UCLES 2025 [Turn over I order you to report your business at once or face disciplinary action. (from Scene 2) In what ways does Soyinka make this a striking introduction to Simon and Jane Pilkings? Or 2 (b) How does Soyinka powerfully portray the relationship between Elesin and Olunde? Content removed due to copyright restrictions.

6 0475/33/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: Stan, we’ve – lost Belle Reve! Content removed due to copyright restrictions.

7 0475/33/M/J/25 © UCLES 2025 [Turn over And I don’t like to be swindled. (from Scene 2) Explore how Williams strikingly contrasts Stella and Stanley at this moment in the play. Or 3 (b) How does Williams make the relationship between Blanche and her husband (Allan) so powerfully dramatic? Content removed due to copyright restrictions.

8 0475/33/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: DEMETRIUS: Do I entice you? Do I speak you fair? Or, rather, do I not in plainest truth Tell you I do not nor I cannot love you? HELENA: And even for that do I love you the more. I am your spaniel; and, Demetrius, The more you beat me, I will fawn on you. Use me but as your spaniel, spurn me, strike me, Neglect me, lose me; only give me leave, Unworthy as I am, to follow you. What worser place can I beg in your love, And yet a place of high respect with me, Than to be used as you use your dog? DEMETRIUS: Tempt not too much the hatred of my spirit; For I am sick when I do look on thee. HELENA: And I am sick when I look not on you. DEMETRIUS: You do impeach your modesty too much To leave the city and commit yourself Into the hands of one that loves you not; To trust the opportunity of night, And the ill counsel of a desert place, With the rich worth of your virginity. HELENA: Your virtue is my privilege for that: It is not night when I do see your face, Therefore I think I am not in the night; Nor doth this wood lack worlds of company, For you, in my respect, are all the world. Then how can it be said I am alone When all the world is here to look on me? DEMETRIUS: I’ll run from thee and hide me in the brakes, And leave thee to the mercy of wild beasts. HELENA: The wildest hath not such a heart as you. Run when you will, the story shall be chang’d: Apollo flies, and Daphne holds the chase; The dove pursues the griffin; the mild hind Makes speed to catch the tiger – bootless speed, When cowardice pursues and valour flies. DEMETRIUS: I will not stay thy questions; let me go: Or, if thou follow me, do not believe But I shall do thee mischief in the wood. HELENA: Ay, in the temple, in the town, the field, You do me mischief. Fie, Demetrius! Your wrongs do set a scandal on my sex. We cannot fight for love as men may do; We should be woo’d, and were not made to woo. [Exit Demetrius.] (from Act 2, Scene 2) 5 10 15 20 25 30 35 40 45

9 0475/33/M/J/25 © UCLES 2025 [Turn over In what ways does Shakespeare make this such a disturbing moment in the play? Or 4 (b) How far does Shakespeare persuade you to admire Theseus?

10 0475/33/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: [Alexandria. Cleopatra’s palace. Enter DEMETRIUS and PHILO.] PHILO: Nay, but this dotage of our general’s O’erflows the measure. Those his goodly eyes, That o’er the files and musters of the war Have glow’d like plated Mars, now bend, now turn, The office and devotion of their view Upon a tawny front. His captain’s heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper, And is become the bellows and the fan To cool a gypsy’s lust. [Flourish. Enter ANTONY, CLEOPATRA, her Ladies, the Train, with Eunuchs fanning her.] Look where they come! Take but good note, and you shall see in him The triple pillar of the world transform’d Into a strumpet’s fool. Behold and see. CLEOPATRA: If it be love indeed, tell me how much. ANTONY: There’s beggary in the love that can be reckon’d. CLEOPATRA: I’ll set a bourn how far to be belov’d. ANTONY: Then must thou needs find out new heaven, new earth. [Enter a Messenger.] MESSENGER: News, my good lord, from Rome. ANTONY: Grates me the sum. CLEOPATRA: Nay, hear them, Antony. Fulvia perchance is angry; or who knows If the scarce-bearded Caesar have not sent His pow’rful mandate to you: ‘Do this, or this; Take in that kingdom and enfranchise that; Perform’t, or else we damn thee’. ANTONY: How, my love? CLEOPATRA: Perchance? Nay, and most like, You must not stay here longer; your dismission Is come from Caesar; therefore hear it, Antony. Where’s Fulvia’s process? Caesar’s, I would say? Both? Call in the messengers. As I am Egypt’s queen, Thou blushest, Antony, and that blood of thine Is Caesar’s homager. Else so thy cheek pays shame When shrill-tongu’d Fulvia scolds. The messengers! ANTONY: Let Rome in Tiber melt, and the wide arch Of the rang’d empire fall! Here is my space. Kingdoms are clay; our dungy earth alike Feeds beast as man. The nobleness of life Is to do thus [embracing], when such a mutual pair 5 10 15 20 25 30 35 40 45

11 0475/33/M/J/25 © UCLES 2025 And such a twain can do’t, in which I bind, On pain of punishment, the world to weet We stand up peerless. CLEOPATRA: Excellent falsehood! Why did he marry Fulvia, and not love her? I’ll seem the fool I am not. Antony Will be himself. (from Act 1, Scene 1) How does Shakespeare convey striking first impressions of Antony and Cleopatra in this opening scene of the play? Or 5 (b) In what ways does Shakespeare vividly portray Egypt in the play? Do not use the passage printed in Question 5(a) in answering this question. 50

12 0475/33/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 0475/33 Paper 3 Drama (Open Text) May/June 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 May/June 2025 series for most Cambridge IGCSE, Cambridge International A and AS Level components, and some Cambridge O Level components.

0475/33 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.

0475/33 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).

0475/33 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

0475/33 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.

0475/33 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.