Cambridge IGCSE English - Literature in English (9-1) 0992 — 2024 May/June Paper 3 · Variant 2

Cambridge IGCSE™(9-1) 0992/32 LITERATURE IN ENGLISH May/June 2024 Paper 3 Drama (Open Text) 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. This document has 16 pages. Any blank pages are indicated. [Turn over 06_0992_32_2024_1.1 © UCLES 2024 *9696542942*

30 25 20 15 10 5 LYNN NOTTAGE: Crumbs from the Table of Joy Remember to support your ideas with details from the writing. Either 1(a) Read this passage, and then answer the question that follows it: [To audience]: The lace was the finest in the Woolworth’s sewing section. Expensive. We’d gone by to touch it every day after school for two weeks. Finally, Ermina was the one that stole it, that’s how girls do up North. Ernestine [Lights rise on ERMINA. Her leg shakes.] Mommy would really want you to have the lace. It will make the dress for sure. Ermina: So she tucked it under her sweater for me. Daddy had recently bought Gerte a pink cardigan with a satin rose and said he couldn’t afford it. Ernestine: [ERMINA’s leg shakes violently.] Leg will stop as soon as we get home. Don’t worry. Ermina: Ermina’s leg shook so violently on our bus ride home I thought it was gonna come right off. We soaked it in ice and prayed. That night her leg almost fell off. Ernestine: Please, Lord, forgive us for our sins, it was only this once that we transgressed, but it was for a very important cause. Ermina and Ernestine: [To audience]: But that next day when we looked at the lace in the light of our bedroom it was all worthwhile. Ernestine [ERMINA fades into the darkness.] Lace is a hobby for widows and those convalescing. Frilly clothing makes you look girlish, and that’s how white people like to see Negroes. They don’t want to think of us as adults. So the neckline’s a little crooked, that per-sona-lies it. Lily: [Wounded]: What would you have me do? Ernestine You’re only gonna wear it one day in your life and then it’s over. Why spend so much time sewing the lace around the neckline. It ain’t like you’re getting married. Lily: How would you know? Ernestine:
All right, so maybe I don’t know. Last time I wore white was to my baptism, and ask me whether I still believe in God. Lily: Maybe you need to find that dress. Ernestine: [LILY laughs.] Ernie, I have a suit upon which I pinned many hopes. And now that suit is in the cleaners waiting for me to find the money to retrieve it. You see what I’m saying. You expecting too much from that blanched mess of fabric. What’s it gonna get you? Lily: I’m gonna graduate in it. I’ll be grown. Ernestine: 06_0992_32_2024_1.1 © UCLES 2024 2

45 40 35 Grown. You think ’cause you got a diploma you grown. You’ll be ready to step out that door in your white dress and get a job or a husband. Only time you go out this house is if the milk is sour or to see one of them stupid picture shows. Lily: They ain’t stupid. And I’m no more afraid of walking out that door than you are to get a real job. Ernestine: Really? So where you gonna go, Miss Bette? Who is gonna open their door to you? Look at you. Oh, I forgot, you’ll be a wearing a white dress. With or without the “V”? Lily: You’re the one that said that looking good is half the battle. Ernestine: Did I? Lily: I don’t like the way that bottle got you talking. Why you getting on me, Sister? I worked so hard on this dress. You think that the only important thing is your uptown politics. You may have more spirit and heart than I do. But some of us don’t have ideas that big. Some of us are struggling for little things, like graduating from high school. Ernestine: [from Act 2, Scene 2] How does Nottage encourage you to sympathise with Ernestine at this moment in the play? Or 1(b) To what extent do you think Nottage portrays Godfrey as a weak character? [Turn over 06_0992_32_2024_1.1 © UCLES 2024 3

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: [in turn. Girls 06_0992_32_2024_1.1 © UCLES 2024 4 Content removed due to copyright restrictions.

[They surge slowly forward.] [from Scene 3] How does Soyinka make this moment in the play both amusing and serious? [Turn over 06_0992_32_2024_1.1 © UCLES 2024 5 Content removed due to copyright restrictions.

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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: [softly]: Hello! Blanche 06_0992_32_2024_1.1 © UCLES 2024 8 Content removed due to copyright restrictions.

I can’t stand a naked light-bulb, any more than I can a rude remark or a vulgar action. Blanche: [from Scene 3] In what ways does Williams make this first conversation between Blanche and Mitch so memorable? Or 3(b) How does Williams make the relationship between Stanley and Blanche so powerfully dramatic? [Turn over 06_0992_32_2024_1.1 © UCLES 2024 9 Content removed due to copyright restrictions.

40 35 30 25 20 15 10 5 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: O me! you juggler! you cankerblossom! You thief of love! What! Have you come by night, And stol’n my love’s heart from him? Hermia: Fine, i’ faith! Have you no modesty, no maiden shame, No touch of bashfulness? What! Will you tear Impatient answers from my gentle tongue? Fie, fie! you counterfeit, you puppet you! Helena: ‘Puppet!’ why so? Ay, that way goes the game. Now I perceive that she hath made compare Between our statures; she hath urg’d her height; And with her personage, her tall personage, Her height, forsooth, she hath prevail’d with him. And are you grown so high in his esteem Because I am so dwarfish and so low? How low am I, thou painted maypole? Speak. How low am I? I am not yet so low But that my nails can reach unto thine eyes. Hermia: I pray you, though you mock me, gentlemen, Let her not hurt me. I was never curst; I have no gift at all in shrewishness; I am a right maid for my cowardice; Let her not strike me. You perhaps may think, Because she is something lower than myself, That I can match her. Helena: ‘Lower’ hark, again. Hermia: Good Hermia, do not be so bitter with me. I evermore did love you, Hermia, Did ever keep your counsels, never wrong’d you; Save that, in love unto Demetrius, I told him of your stealth unto this wood. He followed you; for love I followed him; But he hath chid me hence, and threat’ned me To strike me, spurn me, nay, to kill me too; And now, so you will let me quiet go, To Athens will I bear my folly back, And follow you no further. Let me go. You see how simple and how fond I am. Helena: Why, get you gone! Who is’t that hinders you? Hermia: A foolish heart that I leave here behind. Helena: 06_0992_32_2024_1.1 © UCLES 2024 10

50 45 What! with Lysander? Hermia: With Demetrius. Helena: Be not afraid; she shall not harm thee, Helena. Lysander: No, sir, she shall not, though you take her part. Demetrius: O, when she is angry, she is keen and shrewd; She was a vixen when she went to school; And, though she be but little, she is fierce. Helena: ‘Little’ again! Nothing but ‘low’ and ‘little’! Why will you suffer her to flout me thus? Let me come to her. Hermia: Get you gone, you dwarf; You minimus, of hind’ring knot-grass made; You bead, you acorn. Lysander: [from Act 3, Scene 2] How does Shakespeare make this such an entertaining moment in the play? Or 4(b) To what extent does Shakespeare make Oberon a likeable character? [Turn over 06_0992_32_2024_1.1 © UCLES 2024 11

30 25 20 15 10 5 WILLIAM SHAKESPEARE: Othello Remember to support your ideas with details from the writing. Either 5(a) Read this passage, and then answer the question that follows it: My reputation, Iago, my reputation! Cassio: As I am an honest man, I had thought you had receiv’d some bodily wound; there is more sense in that than in reputation. Reputation is an idle and most false imposition; oft got without merit, and lost without deserving. You have lost no reputation at all, unless you repute yourself such a loser. What, man! there are more ways to recover the General again; you are but now cast in his mood, a punishment more in policy than in malice; even so as one would beat his offenceless dog to affright an imperious lion. Sue to him again, and he’s yours. Iago: I will rather sue to be despis’d than to deceive so good a commander with so slight, so drunken, and so indiscreet an officer. Drunk! And speak parrot! And squabble, swagger, swear! And discourse fustian with one’s own shadow! O thou invisible spirit of wine, if thou hast no name to be known by, let us call thee devil! Cassio: What was he that you follow’d with your sword? What had he done to you? Iago: I know not. Cassio: Is’t possible? Iago: I remember a mass of things, but nothing distinctly; a quarrel, but nothing wherefore. O God, that men should put an enemy in their mouths to steal away their brains! That we should with joy, pleasance, revel and applause, transform ourselves into beasts! Cassio: Why, but you are now well enough. How come you thus recovered? Iago: It hath pleas’d the devil drunkenness to give place to the devil wrath. One unperfectness shows me another, to make me frankly despise myself. Cassio: Come, you are too severe a moraller. As the time, the place, and the condition of this country stands, I could heartily wish this had not so befall’n; but since it is as it is, mend it for your own good. Iago: I will ask him for my place again: he shall tell me I am a drunkard. Had I as many mouths as Hydra, such an answer would stop them all. To be now a sensible man, by and by a fool, and presently a beast! O strange! Every inordinate cup is unblest, and the ingredience is a devil. Cassio: Come, come, good wine is a good familiar creature if it be well us’d; exclaim no more against it. And, good Lieutenant, I think you think I love you. Iago: I have well approv’d it, sir. I drunk! Cassio: 06_0992_32_2024_1.1 © UCLES 2024 12

45 40 35 You or any man living may be drunk at a time, man. I’ll tell you what you shall do. Our General’s wife is now the General – I may say so in this respect, for that he hath devoted and given up himself to the contemplation, mark, and denotement, of her parts and graces – confess yourself freely to her; importune her help to put you in your place again: she is of so free, so kind, so apt, so blessed a disposition, she holds it a vice in her goodness not to do more than she is requested. This broken joint between you and her husband entreat her to splinter; and, my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before. Iago: You advise me well. Cassio: I protest, in the sincerity of love and honest kindness. Iago: I think it freely; and betimes in the morning I will beseech the virtuous Desdemona to undertake for me. Cassio: [from Act 2, Scene 3] How does Shakespeare make this such a dramatic and significant moment in the play? Or 5(b) How far does Shakespeare encourage you to sympathise with Brabantio? 06_0992_32_2024_1.1 © UCLES 2024 13

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BLANK PAGE 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. 06_0992_32_2024_1.1 © UCLES 2024 16

This document consists of 5 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ (9–1) LITERATURE IN ENGLISH (9–1) 0992/32 Paper 3 Drama (Open Text) May/June 2024 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 2024 series for most Cambridge IGCSE, Cambridge International A and AS Level and Cambridge Pre-U components, and some Cambridge O Level components.

0992/32 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 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.

0992/32 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 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).

0992/32 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 4 of 5 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.

0992/32 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 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 Level 1.