Cambridge IGCSE English - Literature in English (9-1) 0992 — 2025 Oct/Nov Paper 2 · Variant 2

This document has 12 pages. Any blank pages are indicated. [Turn over Cambridge IGCSE™(9–1) * 6 9 8 4 4 2 7 7 3 9 * DC (DE) 352461 © UCLES 2025 LITERATURE IN ENGLISH 0992/22 Paper 2 Drama October/November 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.

2 0992/22/O/N/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: HELEN: Well! Content removed due to copyright restrictions.

3 0992/22/O/N/25 © UCLES 2025 [Turn over Well, don’t look at it then. (from Act 1, Scene 1) How does Delaney make this such a striking introduction to Helen and Jo? Or 1(b) Explore the ways in which Delaney encourages you to sympathise with Jo. Do not use the passage printed in Question 1(a) in answering this question. Content removed due to copyright restrictions.

4 0992/22/O/N/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: RESIDENT: Is it really as bad as it says? Content removed due to copyright restrictions.

5 0992/22/O/N/25 © UCLES 2025 [Turn over A bit of colour always appeals to the natives, yes, I remember putting that in my report. (from Scene 4) In what ways does Soyinka create memorable impressions of the Resident at this moment in the play? Or 2(b) What do you find particularly fascinating about the way Soyinka portrays Iyaloja? Content removed due to copyright restrictions.

6 0992/22/O/N/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: MITCH: Don’t you get along with Stanley? Content removed due to copyright restrictions.

7 0992/22/O/N/25 © UCLES 2025 [Turn over I loved someone, too, and the person I loved I lost. (from Scene 6) How does Williams vividly convey the developing relationship between Mitch and Blanche at this moment in the play? Or 3(b) Explore the ways in which Williams powerfully portrays Stanley’s feelings for Stella. Content removed due to copyright restrictions.

8 0992/22/O/N/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: THESEUS: Demetrius is a worthy gentleman. HERMIA: So is Lysander. THESEUS: In himself he is; But, in this kind, wanting your father’s voice, The other must be held the worthier. HERMIA: I would my father look’d but with my eyes. THESEUS: Rather your eyes must with his judgment look. HERMIA: I do entreat your Grace to pardon me. I know not by what power I am made bold, Nor how it may concern my modesty In such a presence here to plead my thoughts; But I beseech your Grace that I may know The worst that may befall me in this case, If I refuse to wed Demetrius. THESEUS: Either to die the death, or to abjure For ever the society of men. Therefore, fair Hermia, question your desires, Know of your youth, examine well your blood, Whether, if you yield not to your father’s choice, You can endure the livery of a nun, For aye to be in shady cloister mew’d, To live a barren sister all your life, Chanting faint hymns to the cold fruitless moon. Thrice-blessed they that master so their blood To undergo such maiden pilgrimage; But earthlier happy is the rose distill’d Than that which withering on the virgin thorn Grows, lives, and dies, in single blessedness. HERMIA: So will I grow, so live, so die, my lord, Ere I will yield my virgin patent up Unto his lordship, whose unwished yoke My soul consents not to give sovereignty. THESEUS: Take time to pause; and by the next new moon – The sealing-day betwixt my love and me For everlasting bond of fellowship – Upon that day either prepare to die For disobedience to your father’s will, Or else to wed Demetrius, as he would, Or on Diana’s altar to protest For aye austerity and single life. DEMETRIUS: Relent, sweet Hermia; and, Lysander, yield Thy crazed title to my certain right. LYSANDER: You have her father’s love, Demetrius; Let me have Hermia’s; do you marry him. 5 10 15 20 25 30 35 40

9 0992/22/O/N/25 © UCLES 2025 [Turn over EGEUS: Scornful Lysander, true, he hath my love; And what is mine my love shall render him; And she is mine; and all my right of her I do estate unto Demetrius. LYSANDER: I am, my lord, as well deriv’d as he, As well possess’d; my love is more than his; My fortunes every way as fairly rank’d, If not with vantage, as Demetrius’; And, which is more than all these boasts can be, I am belov’d of beauteous Hermia. Why should not I then prosecute my right? (from Act 1, Scene 1) In what ways does Shakespeare make this such a powerfully dramatic moment in the play? Or 4(b) Explore how Shakespeare makes Bottom’s encounter with Titania so funny. 45 50 55

10 0992/22/O/N/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: CLEOPATRA: Where is he? CHARMIAN: I did not see him since. CLEOPATRA: See where he is, who’s with him, what he does. I did not send you. If you find him sad, Say I am dancing; if in mirth, report That I am sudden sick. Quick, and return. [Exit ALEXAS. CHARMIAN: Madam, methinks, if you did love him dearly, You do not hold the method to enforce The like from him. CLEOPATRA: What should I do I do not? CHARMIAN: In each thing give him way; cross him in nothing. CLEOPATRA: Thou teachest like a fool – the way to lose him. CHARMIAN: Tempt him not so too far; I wish, forbear; In time we hate that which we often fear. [Enter ANTONY.] But here comes Antony. CLEOPATRA: I am sick and sullen. ANTONY: I am sorry to give breathing to my purpose – CLEOPATRA: Help me away, dear Charmian; I shall fall. It cannot be thus long; the sides of nature Will not sustain it. ANTONY: Now, my dearest queen – CLEOPATRA: Pray you, stand farther from me. ANTONY: What’s the matter? CLEOPATRA: I know by that same eye there’s some good news. What says the married woman? You may go. Would she had never given you leave to come! Let her not say ’tis I that keep you here – I have no power upon you; hers you are. ANTONY: The gods best know – CLEOPATRA: O, never was there queen So mightily betray’d! Yet at the first I saw the treasons planted. ANTONY: Cleopatra – CLEOPATRA: Why should I think you can be mine and true, Though you in swearing shake the throned gods, Who have been false to Fulvia? Riotous madness, To be entangled with those mouth-made vows, Which break themselves in swearing! ANTONY: Most sweet queen – 5 10 15 20 25 30 35 40

11 0992/22/O/N/25 © UCLES 2025 CLEOPATRA: Nay, pray you seek no colour for your going, But bid farewell, and go. When you sued staying, Then was the time for words. No going then! Eternity was in our lips and eyes, Bliss in our brows’ bent, none our parts so poor But was a race of heaven. They are so still, Or thou, the greatest soldier of the world, Art turn’d the greatest liar. ANTONY: How now, lady! CLEOPATRA: I would I had thy inches. Thou shouldst know There were a heart in Egypt. ANTONY: Hear me, Queen: The strong necessity of time commands Our services awhile; but my full heart Remains in use with you. Our Italy Shines o’er with civil swords: Sextus Pompeius Makes his approaches to the port of Rome; (from Act 1, Scene 3) How does Shakespeare dramatically portray the relationship between Cleopatra and Antony at this moment in the play? Or 5(b) How does Shakespeare strikingly convey Enobarbus’s changing feelings towards Antony? 45 50 55

12 0992/22/O/N/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™ (9–1) LITERATURE IN ENGLISH 0992/22 Paper 2 Drama October/November 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 October/November 2025 series for most Cambridge IGCSE, Cambridge International A and AS Level components, and some Cambridge O Level components.

0992/22 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED October/November 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.

0992/22 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED October/November 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 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).

0992/22 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED October/November 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 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

0992/22 Cambridge IGCSE (9–1) – Mark Scheme PUBLISHED October/November 2025 © Cambridge University Press & Assessment 2025 Page 5 of 5 LEVEL DESCRIPTOR TABLE 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.