Cambridge IGCSE English - Literature in English (9-1) 0992 — 2024 May/June Paper 4 · Variant 2

Cambridge IGCSE™(9-1) 0992/42 LITERATURE IN ENGLISH May/June 2024 Paper 4 Unseen 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. This document has 8 pages. Any blank pages are indicated. [Turn over 06_0992_42_2024_1.2 © UCLES 2024 *3005402079*

You are advised to spend about 20 minutes reading the question paper and planning your answer. Answer either Question 1 or Question 2. Either Read carefully the poem below. The poet thinks back to the night when he and his partner first kissed. 1 How does the poet memorably describe this moment? To help you answer this question, you might consider: • how he describes the scene that night • how the writing conveys his and his partner’s feelings • how he uses the idea of chance in the poem. Just By Chance This is the place we have been coming to since, this is the hour, and yet just by chance that the stars were out that first night, and their light, just by chance, glittering on the Shannon’s1 lurching surface, a near-full moon suspended over the centre of Thomond Bridge just by chance of where we were stood on the quay. And just by chance it was the most brittle silence with which we had no words to shatter did I think to remove my coat and place it over your shoulders, brushed your neck with my fingers just by chance of how they shook. Then, surely, it was just by chance of the way of the tide that a pair of swans came floating out from the bridge’s far side towards us, and so I learned that swans mate for life just by chance you’d read it somewhere once, but couldn’t remember where. As though just by chance you said that did it occur to me then I may never have a better opportunity to kiss you than there and then, that average Wednesday Limerick2 was the most romantic place ever and just by chance. 06_0992_42_2024_1.2 © UCLES 2024 2

And so gently turning you round to face me, just by chance of the arbitrary direction of a convenient wind your russet3 hair all blown back and so, just by chance, the whole of your beautiful face staring back at me, we kissed our first kiss in that unlikeliest of ways sometimes things happen so perfectly and yet just by chance. 1the Shannon: a river 2Limerick: a town 3russet: reddish-brown [Turn over 06_0992_42_2024_1.2 © UCLES 2024 3

Or Read carefully the following extract from a novel set in sixteenth-century England. The country has been hit by an epidemic of bubonic plague, a fatal illness. Buboes are swellings which are a sign 2 of bubonic plague. Hamnet, an eleven-year-old boy, is worried about his twin sister, Judith, who has suddenly fallen ill. No one else is at home so he has left to look for help. He arrives at the house of the local physician or doctor. How does the writer memorably convey the urgency of the situation for Hamnet? To help you answer this question, you might consider: • how she conveys Hamnet’s emotions when he arrives at the physician’s house • how she portrays the woman and her responses to Hamnet • how the writing conveys Hamnet’s thoughts and feelings as he goes home. Hamnet arrives at the house of the physician – he has asked directions from the woman with the baby – and he bangs on the door. He registers, momentarily, the shape of his fingers, his nails, and looking at them brings Judith’s to mind; he bangs harder. He thuds, he thunders, he shouts. The door is swung open and the narrow, vexed1 face of a woman appears around it. ‘Whatever are you doing?’ she cries, shaking a cloth at him, as if to waft him away, like an insect. ‘That’s a racket2 loud enough to wake the dead. Be off with you.’ She goes to shut the door but Hamnet leaps forward. ‘No,’ he says. ‘Please. I’m sorry, madam. I need the physician. We need him. My sister – she is unwell. Can he come to us? Can he come now?’ The woman holds the door firm in her reddened hand but looks at Hamnet with care, with attention, as if reading the seriousness of the problem in his features. ‘He’s not here,’ she says eventually. ‘He’s with a patient.’ Hamnet has to swallow, hard. ‘When will he be back, if you please?’ The pressure on the door is lessening. He steps one foot into the house, leaving the other behind him. ‘I couldn’t say.’ She looks him up and down, at the encroaching foot in her hallway. ‘What ails your sister?’ ‘I don’t know.’ He tries to think back to Judith,the way she looked as she lay on the blankets, her eyes closed, her skin flushed and yet pale. ‘She has a fever. She has taken to her bed.’ The woman frowns. ‘A fever? Has she buboes?’ ‘Buboes?’ ‘Lumps. Under the skin. On her neck, under her arms.’ Hamnet stares at her, at the small pleat of skin between her brows, at the rim of her cap, how it has rubbed a raw patch beside her ear, at the wiry coils of hair escaping at the back. He thinks of the word ‘buboes’, its vaguely vegetal overtones, how its bulging sound mimics the thing it describes. A cold fear rinses down through his chest, encasing his heart in an instant, crackling frost. 06_0992_42_2024_1.2 © UCLES 2024 4

The woman’s frown deepens. She places her hand in the centre of Hamnet’s chest and propels him back, out of her house. ‘Go,’ she says, her face pinched. ‘Go home. Now. Leave.’ She goes to close the door but then, through the narrowest crack, says, not unkindly, ‘I will ask the physician to call. I know who you are. You’re the glover’s boy, aren’t you? The grandson. From Henley Street. I will ask him to come by your house, when he returns. Go now. Don’t stop on the way back.’ As an afterthought, she adds, ‘God speed to you.’ He runs back. The world seems more glaring, the people louder, the streets longer, the colour of the sky an invasive, glancing blue. The horse still stands at its cart; the dog is now curled up on a doorstep. Buboes, he thinks again. He has heard the word before. He knows what it means, what it denotes. Surely not, he is thinking, as he turns into his street. It cannot be. It cannot. That – he will not name it, he will not allow the word to form, even inside his head – hasn’t been known in this town for years. Someone will be home, he knows, by the time he gets to the front door. By the time he opens it. By the time he crosses the threshold. By the time he calls out, to someone, anyone. There will be an answer. Someone will be there. 1vexed: annoyed 2racket: loud noise 06_0992_42_2024_1.2 © UCLES 2024 5

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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_42_2024_1.2 © UCLES 2024 8

This document consists of 5 printed pages. © Cambridge University Press & Assessment 2024 [Turn over Cambridge IGCSE™ (9–1) LITERATURE IN ENGLISH (9–1) 0992/42 Paper 4 Unseen 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.

0992/42 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.

0992/42 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 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).

0992/42 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 Page 4 of 5 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 at encouraging 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.

0992/42 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED May/June 2024 © Cambridge University Press & Assessment 2024 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 achieves their 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 achieves their 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 achieves her/his 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 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.