{
    "2014": {
        "0486_s14_qp_11.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (st) 103129 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 2 2 1 1 5 3 9 4 6 5 *literature (english)  0486/11 paper 1 may/june 2014  2 hours 15 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/11/m/j/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/11/m/j/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3 pages 4\u20135 wiliiam shakespeare: julius caesar        *4, \u20205, 6 pages 6\u20137 wiliiam shakespeare: the tempest        *7, \u20208, 9 pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12 pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015 pages 12\u201313 songs of ourselves : from part 4 *16, \u202017, \u202018 pages 14\u201315 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21 pages 16\u201317 anita desai: fasting, feasting  *22, \u202023, 24 pages 18\u201319 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27 pages 20\u201321 george eliot: silas marner  *28, \u202029, 30 pages 22\u201323 susan hill: i\u2019m the king of the castle  *31, \u202032, 33 pages 24\u201325 from stories of ourselves  *34, \u202035, 36 pages 26\u201327",
            "4": "4 0486/11/m/j/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either *1 read this extract, and then answer the question that follows it: ann: y ou\u2019re not so dumb, joe. content removed due to copyright restrictions.",
            "5": "5 0486/11/m/j/14 \u00a9 ucles 2014 [turn overkeller:  right again.  [from act 2 ]   explore the ways in which miller reveals the thoughts of the characters at this moment in  the play so dramatically. or \u20202 how far do you think miller suggests that kate keller is a bad mother and a bad wife?  support your ideas with details from the writing. or 3 y ou are chris. ann deever is coming to stay.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45william shakespeare:  julius\tcaesar either *4 read this extract, and then answer the question that follows it: cassius:  why, now, blow wind, swell billow, and swim bark!  the storm is up, and all is on the hazard. brutus:  ho, lucilius! hark, a word with you. lucilius:  my lord.  [brutus and lucilius converse apart . cassius:  messala. messala:   what says my general? cassius:   messala,  this is my birth-day; as this very day  was cassius born. give me thy hand messala,  be thou my witness that against my will,  as pompey was, am i compell\u2019d to set  upon one battle all our liberties.  y ou know that i held epicurus strong,  and his opinion; now i change my mind,  and partly credit things that do presage.  coming from sardis, on our former ensign  two mighty eagles fell; and there they perch\u2019d,  gorging and feeding from our soldiers\u2019 hands,  who to philippi here consorted us.  this morning are they fled away and gone,  and in their steads do ravens, crows, and kites,  fly o\u2019er our heads and downward look on us  as we were sickly prey. their shadows seem  a canopy most fatal, under which  our army lies, ready to give up the ghost. messala:  believe not so. cassius:   i but believe it partly;  for i am fresh of spirit and resolv\u2019d  to meet all perils very constantly. brutus:  even so, lucilius. cassius:   now, most noble brutus,  the gods to-day stand friendly, that we may,  lovers in peace, lead on our days to age!  but, since the affairs of men rest still in-certain,  let\u2019s reason with the worst that may befall.  if we do lose this battle, then is this  the very last time we shall speak together.  what are you then determined to do? brutus:  even by the rule of that philosophy  by which i did blame cato for the death  which he did give himself \u2013 i know not how,  but i do find it cowardly and vile,  for fear of what might fall, so to prevent  the time of life \u2013 arming myself with patience  to stay the providence of some high powers  that govern us below. cassius:   then, if we lose this battle,",
            "7": "7 0486/11/m/j/14 \u00a9 ucles 2014 [turn over50 55 60 65 y ou are contented to be led in triumph  thorough the streets of rome? brutus:  no, cassius, no. think not, thou noble roman,  that ever brutus will go bound to rome;  he bears too great a mind. but this same day  must end that work the ides of march begun,  and whether we shall meet again i know not.  therefore our everlasting farewell take:  for ever and for ever farewell, cassius!  if we do meet again, why, we shall smile;  if not, why then this parting was well made. cassius:  for ever and for ever farewell, brutus!  if we do meet again, we\u2019ll smile indeed;  if not, \u2019tis true this parting was well made. brutus:  why then, lead on. o that a man might know  the end of this day\u2019s business ere it come!  but it sufficeth that the day will end,  and then the end is known. come, ho! away!  [exeunt .   [from act 5 scene 1 ]   how does shakespeare create sympathy for cassius at this moment in the play? or \u20205 brutus says \u2018antony is but a limb of caesar\u2019. how does shakespeare make it clear to you  that there is more to antony than brutus thinks? support your ideas with details from the  play. or 6 y ou are portia. y ou have just sent lucius to the capitol to find out what is happening.   write your thoughts.",
            "8": "8 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45william shakespeare: \tthe\ttempes t either *7 read this extract, and then answer the question that follows it: ferdinand:  where should this music be? i\u2019th\u2019 air or th\u2019earth?  it sounds no more; and sure it waits upon  some god o\u2019th\u2019 island. sitting on a bank,  weeping again the king my father\u2019s wreck,  this music crept by me upon the waters,  allaying both their fury and my passion  with its sweet air. thence i have followed it\u2014  or it hath drawn me rather. but \u2019tis gone.  no, it begins again. song ariel:   full fathom five thy father lies.    of his bones are coral made;   those are pearls that were his eyes;    nothing of him that doth fade   but doth suffer a sea-change   into something rich and strange.    sea-nymphs hourly ring his knell: spirits:  [within ] ding dong. ariel:  hark, now i hear them. spirits:  [within ] ding-dong bell. [ etc.] ferdinand:  the ditty does remember my drowned father.  this is no mortal business, nor no sound  that the earth owes.  [music ]   i hear it now above me. prospero:  [to miranda ]  the fring\u00e8d curtains of thine eye advance,  and say what thou seest yon. miranda:   what is\u2019t? a spirit?  lord, how it looks about! believe me, sir,  it carries a brave form. but \u2019tis a spirit. prospero:  no, wench, it eats and sleeps, and hath such senses  as we have, such. this gallant which thou seest  was in the wreck, and but he\u2019s something stained  with grief, that\u2019s beauty\u2019s canker, thou mightst call him  a goodly person. he hath lost his fellows,  and strays about to find \u2019em. miranda:   i might call him  a thing divine, for nothing natural  i ever saw so noble. prospero:  [aside ] it goes on, i see,  as my soul prompts it. [ to ariel ] spirit, fine spirit, i\u2019ll free thee  within two days for this. ferdinand:  [aside ] most sure the goddess  on whom these airs attend. [ to miranda ] vouchsafe my prayer  may know if you remain upon this island,  and that you will some good instruction give",
            "9": "9 0486/11/m/j/14 \u00a9 ucles 2014 [turn over50 55 60 65 70 how i may bear me here. my prime request,  which i do last pronounce, is\u2014o you wonder\u2014  if you be maid or no? miranda:    no wonder, sir; but certainly a maid. ferdinand:    my language? heavens! i am the best of them that speak this speech,   were i but where \u2019tis spoken. prospero:    how? the best? what wert thou, if the king of naples heard thee? ferdinand:  a single thing, as i am now that wonders  to hear thee speak of naples. he does hear me,  and that he does i weep. myself am naples,  who with mine eyes, never since at ebb, beheld  the king my father wrecked. miranda:   alack, for mercy! ferdinand:  y es, faith, and all his lords, the duke of milan  and his brave son being twain. prospero:  [aside ] the duke of milan  and his more braver daughter could control thee,  if now \u2019twere fit to do\u2019t. at the first sight  they have changed eyes.\u2014delicate ariel,  i\u2019ll set thee free for this. [ to ferdinand  ] a word, good sir.  i fear you have done yourself some wrong. a word. [from act 1 scene 2 ]   explore the ways in which shakespeare makes this such a dramatic and moving moment  in the play. or \u20208 do you feel that justice has been done by the end of the play? support your ideas with  details from shakespeare\u2019s writing. or 9 y ou are trinculo. caliban has been persuading you and stephano to kill prospero and  take over the island. y ou hear some mysterious music, and set off to try and find where it  is coming from.   write your thoughts.",
            "10": "10 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40oscar wilde: the\timportance\tof\tbeing\tearnest either *10 read this extract, and then answer the question that follows it: merriman:  the dog-cart is at the door, sir.   [algernon looks appealingly at cecily . cecily:  it can wait, merriman \u2026 for \u2026 five minutes. merriman:  y es, miss.  [exit merriman . algernon:  i hope, cecily, i shall not offend you if i state quite frankly and openly that  you seem to me to be in every way the visible personification of absolute  perfection. cecily:  i think your frankness does you great credit, ernest. if you will allow me, i  will copy your remarks into my diary.   [goes over to table and begins writing in diary. algernon:  do you really keep a diary? i\u2019d give anything to look at it. may i? cecily:  oh, no! [ puts her hand over it .] y ou see, it is simply a very young girl\u2019s  record of her own thoughts and impressions and consequently meant for  publication. when it appears in volume form i hope you will order a copy.  but pray, ernest, don\u2019t stop. i delight in taking down from dictation. i have  reached \u201cabsolute perfection.\u201d y ou can go on. i am quite ready for more. algernon:  [somewhat taken aback .] ahem! ahem! cecily:  oh, don\u2019t cough, ernest. when one is dictating one should speak fluently  and not cough. besides, i don\u2019t know how to spell a cough.   [writes as algernon speaks. algernon:  [speaking very rapidly .] cecily, ever since i first looked upon your wonderful  and incomparable beauty, i have dared to love you wildly, passionately,  devotedly, hopelessly. cecily:  i don\u2019t think that you should tell me that you love me wildly, passionately,  devotedly, hopelessly. hopelessly doesn\u2019t seem to make much sense,  does it? algernon:  cecily!  [enter merriman .] merriman:  the dog-cart is waiting, sir. algernon:  tell it to come round next week, at the same hour. merriman:  [looks at cecily, who makes no sign .] y es, sir.   [merriman retires . cecily:  uncle jack would be very much annoyed if he knew you were staying on  till next week, at the same hour. algernon:  oh, i don\u2019t care about jack. i don\u2019t care for anybody in the whole world but  you. i love you, cecily. y ou will marry me, won\u2019t you? cecily:  y ou silly boy! of course! why, we have been engaged for the last three  months. algernon:  for the last three months? cecily:  y es, it will be exactly three months on thursday. algernon:  but how did we become engaged? cecily:  well, ever since dear uncle jack first confessed to us that he had a  younger brother who was very wicked and bad, you of course have formed ",
            "11": "11 0486/11/m/j/14 \u00a9 ucles 2014 [turn overthe chief topic of conversation between myself and miss prism. and of  course a man who is much talked about is always very attractive. one feels  there must be something in him, after all. i dare say it was foolish of me,  but i fell in love with you, ernest. algernon:  darling! and when was the engagement actually settled? cecily:  on the 14th of february last. worn out by your entire ignorance of my  existence, i determined to end the matter one way or the other, and after a  long struggle with myself i accepted you under this dear old tree here. the  next day i bought this little ring in your name, and this is the little bangle  with the true lover\u2019s knot i promised you always to wear. algernon:  did i give you this? it\u2019s very pretty, isn\u2019t it? cecily:  y es, you\u2019ve wonderfully good taste, ernest. it\u2019s the excuse i\u2019ve always  given for your leading such a bad life. and this is the box in which i keep all  your dear letters.  [kneels at table, opens box, and produces letters tied up with blue ribbon . algernon:  my letters! but, my own sweet cecily, i have never written you any letters. cecily:  y ou need hardly remind me of that, ernest. i remember only too well that i  was forced to write your letters for you. i wrote always three times a week,  and sometimes oftener. algernon:  oh, do let me read them, cecily! cecily:  oh, i couldn\u2019t possibly. they would make you far too conceited. [ replaces  box.] the three you wrote me after i had broken off the engagement are  so beautiful, and so badly spelled, that even now i can hardly read them  without crying a little. algernon:  but was our engagement ever broken off? cecily:  of course it was. on the 22nd of last march. y ou can see the entry if you  like. [ shows diary .] \u201cto-day i broke off my engagement with ernest. i feel it  is better do so. the weather still continues charming.\u201d algernon:  but why on earth did you break it off? what had i done? i had done  nothing at all. cecily, i am very much hurt indeed to hear you broke it off.  particularly when the weather was so charming. cecily:  it would hardly have been a really serious engagement if it hadn\u2019t been  broken off at least once. but i forgave you before the week was out. algernon:  [crossing to her, and kneeling .] what a perfect angel you are, cecily! [from act 2 ]   how does wilde make this proposal of marriage such a hilarious moment in the play? or \u202011 how does wilde make the way jack worthing has to live his life so comically complicated?  support your ideas with details from the writing. or 12 y ou are gwendolen. y ou are being taken home by your mother after she has rejected  jack worthing as a possible son- in-law.   write your thoughts.45 50 55 60 65 70 75",
            "12": "12 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25section b: poetry thomas hardy:  selected\tpoems either *13 read this poem, and then answer the question that follows it: the convergence of the twain (lines on the loss of the \u2018titanic\u2019  ) i     in a solitude of the sea     deep from human vanity, and the pride of life that planned her, stilly couches she. ii     steel chambers, late the pyres     of her salamandrine fires, cold currents thrid, and turn to rhythmic tidal lyres. iii     over the mirrors meant     to glass the opulent the sea-worm crawls \u2013 grotesque, slimed, dumb, indifferent. iv     jewels in joy designed     to ravish the sensuous mind lie lightless, all their sparkles bleared and black and blind. v     dim moon-eyed fishes near     gaze at the gilded gear and query: \u2018what does this vaingloriousness down here?\u2019 \u2026 vi     well: while was fashioning     this creature of cleaving wing, the immanent will that stirs and urges everything vii     prepared a sinister mate     for her \u2013 so gaily great \u2013 a shape of ice, for the time far and dissociate. viii     and as the smart ship grew     in stature, grace, and hue, in shadowy silent distance grew the iceberg too. ix     alien they seemed to be:     no mortal eye could see the intimate welding of their later history,",
            "13": "13 0486/11/m/j/14 \u00a9 ucles 2014 [turn over30x     or sign that they were bent     by paths coincident on being anon twin halves of one august event, xi     till the spinner of the y ears     said \u2018now!\u2019 and each one hears, and consummation comes, and jars two hemispheres.   how does hardy make this poem so powerfully dramatic? or \u202014 explore the ways in which hardy portrays hopeless love in the pine planters . or \u202015 how does hardy make the situations of either  drummer hodge in drummer hodge  or  the people in no buyers: a street scene  so moving  ?",
            "14": "14 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35songs\tof\tourselves:  from part 4 either *16 read this poem, and then answer the question that follows it: the city planners cruising these residential sunday streets in dry august sunlight: what offends us is the sanities: the houses in pedantic rows, the planted sanitary trees, assert levelness of surface like a rebuke to the dent in our car door. no shouting here, or shatter of glass; nothing more abrupt than the rational whine of a power mower cutting a straight swath in the discouraged grass. but though the driveways neatly sidestep hysteria by being even, the roofs all display the same slant of avoidance to the hot sky, certain things: the smell of spilt oil a faint sickness lingering in the garages, a splash of paint on brick surprising as a bruise, a plastic hose poised in a vicious coil; even the too-fixed stare of the wide windows give momentary access to the landscape behind or under the future cracks in the plaster when the houses, capsized, will slide obliquely into the clay seas, gradual as glaciers that right now nobody notices. that is where the city planners with the insane faces of political conspirators are scattered over unsurveyed territories, concealed from each other, each in his own private blizzard; guessing directions, they sketch transitory lines rigid as wooden borders on a wall in the white vanishing air tracing the panic of suburb order in a bland madness of snows. (by margaret atwood )",
            "15": "15 0486/11/m/j/14 \u00a9 ucles 2014 [turn over  explore how atwood makes this poem so disturbing. or \u202017 how does edwin muir vividly convey memories of childhood in horses ? or \u202018 explore the ways in which the poets use words and phrases to create striking effects in  pied beauty  (by gerard manley hopkins) and a birthday  (by christina rossetti).",
            "16": "16 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40section c: prose tsitsi dangarembga:  nervous\tconditions either *19 read this extract, and then answer the question that follows it: y es, i was very irritable on that occasion, the occasion of my uncle\u2019s  return, which should have been for me, as it was for everyone else, a  sublime occasion. it was spoiled for me because i could not help thinking  that had i been allowed, had i been able to welcome babamukuru at  the airport, i would have been there too, with nhamo and my cousins,  rejoicing, re-establishing the relationship that had been cut off when my  cousins went away. not going to the airport, not being able to resume my  relationships with my cousins, these events coalesced formlessly in my  mind to an incipient understanding of the burdens my mother had talked  of. whereas before i had believed with childish confidence that burdens  were only burdens in so far as you chose to bear them, now i began to  see that the disappointing events surrounding babamukuru\u2019s return were  serious consequences of the same general laws that had almost brought  my education to an abrupt, predictable end. it was frightening. i did not  want my life to be predicted by such improper relations. i decided i would  just have to make up my mind not to let it happen. curling my lip at nhamo  and my cousins, i departed, flouncing surlily, pointedly, out of the house  to the kitchen; there, thrusting a log into the hearth so viciously that the  three-legged pot that on normal days contained sadza , but today was full  of meat, splashed half its juices into the embers. a piece of meat fell out too. i picked it out of the ashes and ate it, and  then felt sick because i was still thinking about nhamo and the cousins,  and being cross with nhamo for excluding me from their circle in spite of  the fact that i did not approve of any of them. i considered the situation.  had i approved of my cousins before they went to england? most definitely  i had; i had loved them. when they visited the homestead we had played  long, exciting games. why did i no longer like them? i could not be sure.  did i like anybody? what about babamukuru? had the change to do with  me or had it to do with them? these were complex, dangerous thoughts  that i was stirring up, not the kind that you can ponder safely but the kind  that become autonomous and malignant if you let them. if i continued in  this way, i would soon be itching to beat nhamo up because his smirking  had brought the matter to a head. but i could not have the satisfaction  of indulging my frustration in this way. nhamo and i had stopped beating  each other up a long time ago, at the time that i went back to school, more  because we had developed so differently that we no longer had enough  common ground in which to fight, than out of mutual respect or affection.  besides, i was reluctantly aware that beating up nhamo would not help;  my discontent had to do with more than my brother\u2019s annoying manners.  sensing how unwise it was to think too deeply about these things in case  i manoeuvred myself into a blind alley at the end of which i would have to  confront unconfrontable issues, i busied myself with housework. [from chapter 3 ]",
            "17": "17 0486/11/m/j/14 \u00a9 ucles 2014 [turn over  explore the ways in which dangarembga vividly conveys tambu\u2019s conflicting feelings at  this moment in the novel. or \u202020 how does dangarembga vividly convey similarities between tambu and nyasha?  support your ideas with details from the writing. or 21 y ou are jeremiah. babamukuru has just praised you for mending the thatch over the  kitchen.   write your thoughts.",
            "18": "18 0486/11/m/j/14 \u00a9 ucles 2014anita desai:  fasting, \tfeasting either *22 read this extract, and then answer the question that follows it: then mother agnes came round the corner and down the passage,  walking in long, rustling strides towards her.  content removed due to copyright restrictions.",
            "19": "19 0486/11/m/j/14 \u00a9 ucles 2014 [turn over i always said don\u2019t send them to a convent school. keep them  at home, i said \u2013 but who listened? and now \u2013 !\u2019 [from chapter 3 ]   how does desai make you sympathise with uma at this moment in the novel? or \u202023 explore the ways in which desai makes any two moments in the novel particularly  amusing for you. (do not use the extract printed in question 22 in answering this  question.) or 24 y ou are mrs patton. arun has just left to go back to the dorm.   write your thoughts.content removed due to copyright restrictions.",
            "20": "20 0486/11/m/j/14 \u00a9 ucles 2014kiran desai:  hullabaloo\tin\tthe\tguava\torchard either *25 read this extract, and then answer the question that follows it: at this everyone nodded their heads.  the spy thought late into the night. [from chapter 10 ]content removed due to copyright restrictions.",
            "21": "21 0486/11/m/j/14 \u00a9 ucles 2014 [turn over  in what ways does desai make this moment in the novel both magical and ridiculous?  support your ideas with details from the writing. or \u202026 how do you think desai makes sampath so likeable even though he is so useless and  lazy? support your ideas with details from the writing. or 27 y ou are pinky. y ou have just heard about sampath\u2019s behaviour at the wedding party.   write your thoughts.",
            "22": "22 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45 50george eliot: \tsilas\tmarner either *28 read this extract, and then answer the question that follows it: when marner\u2019s sensibility returned, he continued the action which  had been arrested, and closed his door, unaware of the chasm in his  consciousness, unaware of any intermediate change, except that the light  had grown dim, and that he was chilled and faint. he thought he had been  too long standing at the door and looking out. turning towards the hearth,  where the two logs had fallen apart, and sent forth only a red uncertain  glimmer, he seated himself on his fireside chair, and was stooping to push  his logs together, when, to his blurred vision, it seemed as if there were  gold on the floor in front of the hearth. gold!\u2014his own gold\u2014brought  back to him as mysteriously as it had been taken away! he felt his heart  begin to beat violently, and for a few moments he was unable to stretch  out his hand and grasp the restored treasure. the heap of gold seemed  to glow and get larger beneath his agitated gaze. he leaned forward at  last, and stretched forth his hand; but instead of the hard coin with the  familiar resisting outline, his fingers encountered soft warm curls. in utter  amazement, silas fell on his knees and bent his head low to examine the  marvel: it was a sleeping child\u2014a round, fair thing, with soft yellow rings all  over its head. could this be his little sister come back to him in a dream\u2014 his little sister whom he had carried about in his arms for a year before she  died, when he was a small boy without shoes or stockings? that was the  first thought that darted across silas\u2019s blank wonderment. was it a dream?  he rose to his feet again, pushed his logs together, and, throwing on some  dried leaves and sticks, raised a flame; but the flame did not disperse the  vision\u2014it only lit up more distinctly the little round form of the child and  its shabby clothing. it was very much like his little sister. silas sank into  his chair powerless, under the double presence of an inexplicable surprise  and a hurrying influx of memories. how and when had the child come in  without his knowledge? he had never been beyond the door. but along  with that question, and almost thrusting it away, there was a vision of the  old home and the old streets leading to lantern y ard\u2014and within that  vision another, of the thoughts which had been present with him in those  far-off scenes. the thoughts were strange to him now, like old friendships  impossible to revive; and yet he had a dreamy feeling that this child was  somehow a message come to him from that far-off life: it stirred fibres  that had never been moved in raveloe\u2014old quiverings of tenderness\u2014 old impressions of awe at the presentiment of some power presiding over  his life; for his imagination had not yet extricated itself from the sense of  mystery in the child\u2019s sudden presence, and had formed no conjectures of  ordinary natural means by which the event could have been brought about. but there was a cry on the hearth: the child had awaked, and marner  stooped to lift it on his knee. it clung round his neck, and burst louder and  louder into that mingling of inarticulate cries with \u2018mammy\u2019 by which little  children express the bewilderment of waking. silas pressed it to him, and  almost unconsciously uttered sounds of hushing tenderness, while he  bethought himself that some of his porridge, which had got cool by the  dying fire, would do to feed the child with if it were only warmed up a little. he had plenty to do through the next hour. the porridge, sweetened  with some dry brown sugar from an old store which he had refrained from  using for himself, stopped the cries of the little one, and made her lift her  blue eyes with a wide gaze at silas, as he put the spoon into her mouth.  presently she slipped from his knee and began to toddle about, but with a ",
            "23": "23 0486/11/m/j/14 \u00a9 ucles 2014 [turn over55 60pretty stagger that made silas jump up and follow her lest she should fall  against anything that would hurt her. but she only fell in a sitting posture  on the ground, and began to pull at her boots, looking up at him with a  crying face as if the boots hurt her. he took her on his knee again, but it  was some time before it occurred to silas\u2019s dull bachelor mind that the  wet boots were the grievance, pressing on her warm ankles. he got them  off with difficulty, and baby was at once happily occupied with the primary  mystery of her own toes, inviting silas, with much chuckling, to consider  the mystery too. [from chapter 12 ]   how does eliot make this passage so moving? or \u202029 \u2018i don\u2019t pretend to be a good fellow \u2026 but i\u2019m not a scoundrel.\u2019   how far does eliot make you agree with godfrey\u2019s opinion of himself? support your ideas  with details from the novel. or 30 y ou are dolly. y ou are on your way home after your first visit to silas with aaron and the  lard-cakes.   write your thoughts.",
            "24": "24 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40susan hill: \ti\u2019m\tthe\tking\tof\tthe\tcastle either *31 read this extract, and then answer the question that follows it: kingshaw stood on the gate for a long time, looking up the ploughed  field ahead. but there was nothing happening, nothing to see. it was too  hot, as well. he decided to go inside the church, partly because of that,  and also because he had never seen it, it was something to do. the edges of the grass were clipped very short and neat around  the gravestones, and the hedge was straight. there were gargoyles on  the tower, opening their cold stone mouths at him. kingshaw stuck out  his tongue, craning back his head. he would not be afraid of them in the  daylight. inside the church, it smelled as though no living, breathing person  had ever been there, the air was damp and musty and dead. kingshaw  walked slowly down between the pews. the hymn books were in two piles  on a chair, with some of the spines and backs hanging off. his footsteps  rang on the stone, and then were muffled as he came on to the red carpet  by the altar rail. he thought, this is church, this is god and jesus and the holy ghost.  after a moment, he dared himself to go and stand on the uneven tiles just  inside the chancel. on either side of him, the wood smelled of oldness and  polish. he remembered what he had thought and said about hooper, how  he had wished him to be dead. now, he was afraid of what would happen,  because of that. things came back on you. y ou were never safe. there  were the warts, still on his left hand. he knelt down, abruptly, where he was, and began to say, o god, i  didn\u2019t mean it \u2013 yes, i did, i did mean it, only now i don\u2019t mean it, i want to  take it back and never to have thought and said it, and if i\u2019m sorry, make  nothing happen to me, make it all be forgotten about. i am trying to be  sorry. but he did not think it likely that he could ever be believed, nothing  could change, because he had meant what he thought and said about  hooper, and still meant it. it was only being afraid of this empty church, and  of the white marble warrior lying on his tombstone in the side chapel, that  made him kneel down and tell lies. it was no good. he had wanted hooper  to be dead, because then things would have been better. his punishment  was that hooper was not dead, that everything was the same, and the  thought of that was worse than anything. he acknowledged that he feared  hooper more than he feared anything in the world. please make nothing happen, please make it all right and i will never,  never want anything else again, o god \u2026 his knees were hurting from the hard tiles. he wanted to get out into  the sunlight. \u2018what\u2019s the matter with you?\u2019 kingshaw spun round in alarm, and at once began to struggle to his  feet. \u2018y ou\u2019re not supposed to go inside those railings.\u2019 [from chapter 14 ]",
            "25": "25 0486/11/m/j/14 \u00a9 ucles 2014 [turn over  explore the ways in which hill makes kingshaw\u2019s situation at this moment in the novel  seem so distressing. support your ideas with details from the writing. or \u202032 how do you think warings contributes to the power of the novel? support your ideas with  details from hill\u2019s writing. or 33 y ou are hooper after your first encounter with kingshaw.   write your thoughts.",
            "26": "26 0486/11/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45 50from \tstories\tof\tourselves either *34 read this extract from sandpiper  (by ahdaf soueif ), and then answer the question that  follows it: y es, i am sick \u2013 but not just for home. i am sick for a time, a time that  was and that i can never have again. a lover i had and can never have  again. i watched him vanish \u2013 well, not vanish, slip away, recede. he did  not want to go. he did not go quietly. he asked me to hold him, but he  couldn\u2019t tell me how. a fairy godmother, robbed for an instant of our belief  in her magic, turns into a sad old woman, her wand into a useless stick.  i suppose i should have seen it coming. my foreignness, which had been  so charming, began to irritate him. my inability to remember names, or  follow the minutiae of politics, my struggles with his language, my need to  be protected from the sun, the mosquitoes, the salads, the drinking water.  he was back home, and he needed someone he could be at home with,  at home. it took perhaps a year. his heart was broken in two, mine was  simply broken. i never see my lover now. sometimes, as he romps with lucy on the  beach, or bends over her grazed elbow, or sits across our long table from  me at a dinner-party, i see a man i could yet fall in love with, and i turn  away. i told him too about my first mirage, the one i saw on that long road  to maiduguri. and on the desert road to alexandria the first summer, i saw  it again. \u2018it\u2019s hard to believe it isn\u2019t there when i can see it so clearly,\u2019 i  complained. \u2018y ou only think you see it,\u2019 he said. \u2018isn\u2019t that the same thing?\u2019 i asked. \u2018my brain tells me there\u2019s water  there. isn\u2019t that enough?\u2019 \u2018y es,\u2019 he said, and shrugged. \u2018if all you want to do is sit in the car and  see it. but if you want to go and put your hands in it and drink, then it isn\u2019t  enough, surely?\u2019 he gave me a sidelong glance and smiled. soon, i should hear lucy\u2019s high, clear voice, chattering to her father as  they walk hand in hand up the gravel drive to the back door. behind them  will come the heavy tread of um sabir. i will go out smiling to meet them  and he will deliver a wet, sandy lucy into my care, and ask if i\u2019m ok with a  slightly anxious look. i will take lucy into my bathroom while he goes into  his. later, when the rest of the family have all drifted back and showered  and changed, everyone will sit around the barbecue and eat and drink and  talk politics and crack jokes of hopeless, helpless irony and laugh. i should  take up embroidery and start on those aubusson  tapestries we all, at the  moment, imagine will be necessary for lucy\u2019s trousseau. y esterday when i had dressed her after the shower she examined  herself intently in my mirror and asked for a french plait. i sat behind her  at the dressing-table blow-drying her black hair, brushing it and plaiting  it. when lucy was born um sabir covered all the mirrors. his sister said,  \u2018they say if a baby looks in the mirror she will see her own grave.\u2019 we  laughed but we did not remove the covers; they stayed in place till she was  one. i looked at lucy\u2019s serious face in the mirror. i had seen my grave once,  or thought i had. that was part of my africa story. the plane out of nigeria  circled cairo airport. three times i heard the landing-gear come down,  and three times it was raised again. sitting next to me were two finnish  businessmen. when the announcement came that we were re-routing to ",
            "27": "27 0486/11/m/j/14 \u00a9 ucles 201455 60 65luxor they shook their heads and ordered another drink. at dawn, above  luxor airport, we were told there was trouble with the undercarriage and  that the pilot was going to attempt a crash-landing. i thought, so this is why  they\u2019ve sent us to luxor, to burn up discreetly and not clog cairo airport.  we were asked to fasten our seat belts, take off our shoes and watches,  put the cushions from the backs of our seats on our laps and bend double  over them with our arms around our heads. i slung my handbag with my  passport, tickets and money around my neck and shoulder before i did  these things. my finnish neighbours formally shook each other\u2019s hands.  on the plane there was perfect silence as we dropped out of the sky. and  then a terrible, agonised, protracted screeching of machinery as we hit the  tarmac. and in that moment, not only my head, but all of me, my whole  being, seemed to tilt into a blank, an empty radiance, but lucid. then three  giant thoughts. one was of him \u2013 his name, over and over again. the other  was of the children i would never have. the third was that the pattern was  now complete: this is what my life amounted to.   what striking impressions of the narrator does soueif create for you at this moment in  the story? or \u202035 explore how the writers make the endings of her first ball  (by katherine mansfield) and  at hiruhamara  (by penelope fitzgerald) so effective for you. or 36 y ou are muni in a horse and two goats . y ou are on your way home to tell your wife that  you have sold your goats to the american.   write your thoughts.",
            "28": "28 0486/11/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  all my sons.  \u00a9  1947, arthur miller.  reproduced by permission.  all rights reserved. question 16  \u00a9  margaret atwood;  the city planners , in songs of ourselves ;  cambridge university press;  reprinted by permission of time warner books  group uk. question 19 \u00a9  tsitsi dangarembga;  nervous conditions ;  ayebia publishing;  1988. question 22 \u00a9  anita desai;  fasting, feasting ; reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london w11 1jn. question 25 \u00a9  kiran desai;  hullabaloo in the guava orchard ;  faber & faber ltd;  1998. question 31 \u00a9  susan hill;  i\u2019m the king of the castle ;  penguin books ltd;  1989. question 34  \u00a9  ahdaf soueif;  sandpiper , in stories of ourselves ;  cambridge university press;  2008.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rw) 103130 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 4 3 1 4 0 7 4 9 5 5 *literature (english)  0486/12 paper 1 may/june 2014  2 hours 15 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/12/m/j/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/12/m/j/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3 pages 4\u20135 william shakespeare: julius caesar        *4, \u20205, 6 pages 6\u20137 william shakespeare: the tempest        *7, \u20208, 9 pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12 pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015 pages 12\u201313 songs of ourselves: from part 4  *16, \u202017, \u202018 page  14 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21 pages 16\u201317 anita desai: fasting, feasting  *22, \u202023, 24 pages 18\u201319 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27 pages 20\u201321 george eliot: silas marner  *28, \u202029, 30 pages 22\u201323 susan hill: i\u2019m the king of the castle  *31, \u202032, 33 pages 24\u201325 from stories of ourselves  *34, \u202035, 36 pages 26\u201327",
            "4": "4 0486/12/m/j/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either *1 read this extract, and then answer the question that follows it: chris:  i know all about the world. i know the whole crap story.  content removed due to copyright restrictions.",
            "5": "5 0486/12/m/j/14 \u00a9 ucles 2014 [turn over shhh \u2026 [as she reaches porch  steps she begins sobbing .] curtain  [from act 3 ]   how does miller make this such a powerful ending to the play? or \u20202 the setting of miller\u2019s play is \u2018the back yard of the keller home in the outskirts of an  american town\u2019. what do you think this setting contributes to the power of the drama?  support your ideas with details from the writing. or 3 y ou are kate keller. y ou have just heard that ann deever is coming to visit.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/12/m/j/14 \u00a9 ucles 2014william shakespeare:  julius\tcaesar either *4 read this extract, and then answer the question that follows it: casca:  y ou pull\u2019d me by the cloak. would you speak with me? brutus:  ay, casca; tell us what hath chanc\u2019d to-day,  that caesar looks so sad? casca:  why, you were with him, were you not? brutus:  i should not then ask casca what had chanc\u2019d. casca:  why, there was a crown offer\u2019d him; and being offer\u2019d him, he  put it by with the back of his hand, thus; and then the people  fell a-shouting. brutus:  what was the second noise for? casca:  why, for that too. cassius:  they shouted thrice; what was the last cry for? casca:  why, for that too. brutus:  was the crown offer\u2019d him thrice? casca:  ay, marry, was\u2019t, and he put it by thrice, every time gentler than  other; and at every putting by mine honest neighbours shouted. cassius:  who offer\u2019d him the crown? casca:  why, antony. brutus:  tell us the manner of it, gentle casca. casca:  i can as well be hang\u2019d as tell the manner of it: it was mere  foolery; i did not mark it. i saw mark antony offer him a crown \u2013  yet \u2019twas not a crown neither, \u2019twas one of these coronets  \u2013  and, as i told you, he put it by once; but for all that, to my  thinking, he would fain have had it. then he offered it to him  again; then he put it by again; but to my thinking, he was very  loath to lay his fingers off it. and then he offered it the third  time; he put it the third time by; and still as he refus\u2019d it, the  rabblement hooted, and clapp\u2019d their chopt hands, and threw  up their sweaty night-caps, and uttered such a deal of stinking  breath because caesar refus\u2019d the crown, that it had almost  choked caesar; for he swooned and fell down at it. and for  mine own part i durst not laugh, for fear of opening my lips and  receiving the bad air. cassius:  but soft, i pray you. what, did caesar swoon? casca:  he fell down in the market-place, and foam\u2019d at mouth, and  was speechless. brutus:  \u2019tis very like. he hath the falling sickness. cassius:  no, caesar hath it not; but you, and i,  and honest casca, we have the falling sickness. casca:  i know not what you mean by that, but i am sure caesar fell  down. if the tag-rag people did not clap him and hiss him,  according as he pleas\u2019d and displeas\u2019d them, as they use to do  the players in the theatre, i am no true man. brutus:  what said he when he came unto himself? casca:  marry, before he fell down, when he perceiv\u2019d the common herd  was glad he refus\u2019d the crown, he pluckt me ope his doublet, 5 10 15 20 25 30 35 40 45",
            "7": "7 0486/12/m/j/14 \u00a9 ucles 2014 [turn overand offer\u2019d them his throat to cut. an i had been a man of any  occupation, if i would not have taken him at a word, i would i  might go to hell among the rogues. and so he fell. when he  came to himself again, he said, if he had done or said anything  amiss, he desir\u2019d their worships to think it was his infirmity.  three or four wenches, where i stood, cried \u2018alas, good soul!\u2019  and forgave him with all their hearts. but there\u2019s no heed to be  taken of them; if caesar had stabb\u2019d their mothers, they would  have done no less. brutus:  and after that, he came thus sad away? casca:  ay. cassius:  did cicero say anything? casca:  ay, he spoke greek. cassius:  to what effect? casca:  nay, an i tell you that, i\u2019ll ne\u2019er look you i\u2019 th\u2019 face again. but  those that understood him smil\u2019d at one another, and shook  their heads; but for mine own part, it was greek to me. i could  tell you more news too: marullus and flavius, for pulling scarfs  off caesar\u2019s images, are put to silence. fare you well. there  was more foolery yet, if i could remember it. cassius:  will you sup with me to-night, casca? casca:  no, i am promis\u2019d forth. cassius:  will you dine with me to-morrow? casca:  ay, if i be alive, and your mind hold, and your dinner worth the  eating. cassius:  good; i will expect you. casca:  do so. farewell, both.  [exit.   [from act 1 scene 2 ]   in what ways does shakespeare vividly convey the atmosphere in rome at this moment  in the play? or \u20205 how does shakespeare make calphurnia and portia so significant in the play? support  your ideas with details from the play. or 6 y ou are brutus in your tent the night before the battle at philippi. y ou have seen caesar\u2019s  ghost.   write your thoughts.50 55 60 65 70",
            "8": "8 0486/12/m/j/14 \u00a9 ucles 2014william shakespeare: \tthe\ttempes t either *7 read this extract, and then answer the question that follows it: ferdinand:   o, if a virgin,  and your affection not gone forth, i\u2019ll make you  the queen of naples. prospero:   soft, sir! one word more.  [aside ] they are both in either\u2019s pow\u2019rs; but this swift business  i must uneasy make, lest too light winning  make the prize light. [ to ferdinand ] one word more; i charge thee  that thou attend me; thou dost here usurp  the name thou ow\u2019st not; and hast put thyself  upon this island as a spy, to win it  from me, the lord on\u2019t. ferdinand:   no, as i am a man. miranda:  there\u2019s nothing ill can dwell in such a temple.  if the ill spirit have so fair a house,  good things will strive to dwell with\u2019t. prospero:   follow me.  speak not you for him; he\u2019s a traitor. come,  i\u2019ll manacle thy neck and feet together.  sea-water shalt thou drink; thy food shall be  the fresh-brook mussels, wither\u2019d roots, and husks  wherein the acorn cradled. follow. ferdinand:   no;  i will resist such entertainment till  mine enemy has more power.   [he draws, and is charmed from moving . miranda:   o dear father,  make not too rash a trial of him, for  he\u2019s gentle, and not fearful. prospero:   what, i say,  my foot my tutor? put thy sword up, traitor;  who mak\u2019st a show but dar\u2019st not strike, thy conscience  is so possess\u2019d with guilt. come from thy ward;  for i can here disarm thee with this stick  and make thy weapon drop. miranda:   beseech you, father! prospero:  hence! hang not on my garments. miranda:   sir, have pity;  i\u2019ll be his surety. prospero:   silence! one word more  shall make me chide thee, if not hate thee. what!  an advocate for an impostor! hush!  thou think\u2019st there is no more such shapes as he,  having seen but him and caliban. foolish wench!  to th\u2019 most of men this is a caliban,  and they to him are angels.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/12/m/j/14 \u00a9 ucles 2014 [turn overmiranda:   my affections  are then most humble; i have no ambition  to see a goodlier man. prospero:   come on; obey.  thy nerves are in their infancy again,  and have no vigour in them. ferdinand:   so they are;  my spirits, as in a dream, are all bound up.  my father\u2019s loss, the weakness which i feel,  the wreck of all my friends, nor this man\u2019s threats  to whom i am subdu\u2019d, are but light to me,  might i but through my prison once a day  behold this maid. all corners else o\u2019 th\u2019 earth  let liberty make use of; space enough  have i in such a prison. prospero:  [aside ] it works. [ to ferdinand ] come on. \u2013  thou hast done well, fine ariel! [ to ferdinand  ] follow me.  [to ariel ] hark what thou else shalt do me. miranda:   be of comfort;  my father\u2019s of a better nature, sir,  than he appears by speech; this is unwonted  which now came from him. prospero:  [to ariel ] thou shalt be as free  as mountain winds; but then exactly do  all points of my command. ariel:   to th\u2019 syllable. prospero:  [to ferdinand ] come, follow.  [to miranda ] speak not for him.  [exeunt.  [from act 1 scene 2 ]   explore the ways in which shakespeare makes prospero\u2019s behaviour at this moment in  the play so dramatic. or \u20208 how does shakespeare make sebastian and antonio such memorable villains? support  your ideas with details from the play. or 9 y ou are stephano. caliban has just suggested the plot to overthrow prospero.   write your thoughts.50 55 60 65 70",
            "10": "10 0486/12/m/j/14 \u00a9 ucles 2014oscar wilde: the\timportance\tof\tbeing\tearnest either *10 read this extract, and then answer the question that follows it: jack:  how can you sit there, calmly eating muffins when we are in  this horrible trouble, i can\u2019t make out. y ou seem to me to be  perfectly heartless. algernon:  well, i can\u2019t eat muffins in an agitated manner. the butter  would probably get on my cuffs. one should always eat  muffins quite calmly. it is the only way to eat them. jack:  i say it\u2019s perfectly heartless your eating muffins at all, under  the circumstances. algernon:  when i am in trouble, eating is the only thing that consoles  me. indeed, when i am in really great trouble, as any one who  knows me intimately will tell you, i refuse everything except  food and drink. at the present moment i am eating muffins  because i am unhappy. besides, i am particularly fond of  muffins.  [rising . jack:  [rising .] well, that is no reason why you should eat them all in  that greedy way.  [takes muffins from algernon . algernon:  [offering tea-cake .] i wish you would have tea-cake instead. i  don\u2019t like tea-cake. jack:  good heavens! i suppose a man may eat his own muffins in  his own garden. algernon:  but you have just said it was perfectly heartless to eat muffins. jack:  i said it was perfectly heartless of you, under the  circumstances. that is a very different thing. algernon:  that may be. but the muffins are the same.   [he seizes the muffin-dish from jack . jack:  algy, i wish to goodness you would go. algernon:  y ou can\u2019t possibly ask me to go without having some dinner.  it\u2019s absurd. i never go without my dinner. no one ever does,  except vegetarians and people like that. besides i have just  made arrangements with dr. chasuble to be christened at a  quarter to six under the name of ernest. jack:  my dear fellow, the sooner you give up that nonsense the  better. i made arrangements this morning with dr. chasuble  to be christened myself at 5.30, and i naturally will take the  name of ernest. gwendolen would wish it. we can\u2019t both be  christened ernest. it\u2019s absurd. besides, i have a perfect right  to be christened if i like. there is no evidence at all that i have  ever been christened by anybody. i should think it extremely  probable i never was, and so does dr. chasuble. it is entirely  different in your case. y ou have been christened already. algernon:  y es, but i have not been christened for years. jack:  y es, but you have been christened. that is the important thing. algernon:  quite so. so i know my constitution can stand it. if you are not  quite sure about your ever having been christened, i must say  i think it rather dangerous your venturing on it now. it might  make you very unwell. y ou can hardly have forgotten that 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/12/m/j/14 \u00a9 ucles 2014 [turn oversome one very closely connected with you was very nearly  carried off this week in paris by a severe chill. jack:  y es, but you said yourself that a severe chill was not hereditary. algernon:  it usen\u2019t to be, i know\u2014but i dare say it is now. science is  always making wonderful improvements in things. jack:  [picking up the muffin-dish .] oh, that is nonsense; you are  always talking nonsense. algernon:  jack, you are at the muffins again! i wish you wouldn\u2019t. there  are only two left. [ takes them .] i told you i was particularly  fond of muffins. jack:  but i hate tea-cake. algernon:  why on earth then do you allow tea-cake to be served up for  your guests? what ideas you have of hospitality! jack:  algernon! i have already told you to go. i don\u2019t want you here.  why don\u2019t you go! algernon:  i haven\u2019t quite finished my tea yet! and there is still one muffin  left.   [jack groans, and sinks into a chair. algernon still  continues eating .]  [from act 2 ]   how does wilde make this such an amusing ending to act 2? or \u202011 explore the ways in which wilde makes cecily such an amusing character. support your  ideas with details from the writing. or 12 y ou are miss prism. y ou are returning from the vestry where you have been waiting for  dr. chasuble. y ou are on your way to the room where everyone is assembled.   write your thoughts.50 55 60 65",
            "12": "12 0486/12/m/j/14 \u00a9 ucles 2014section b:  poetry thomas hardy:  selected\tpoems either *13 read this poem, and then answer the question that follows it: the going why did you give no hint that night that quickly after the morrow\u2019s dawn, and calmly, as if indifferent quite, y ou would close your term here, up and be gone where i could not follow with wing of swallow to gain one glimpse of you ever anon! never to bid good-bye, or lip me the softest call, or utter a wish for a word, while i saw morning harden upon the wall, unmoved, unknowing that your great going had place that moment, and altered all. why do you make me leave the house and think for a breath it is you i see at the end of the alley of bending boughs where so often at dusk you used to be; till in darkening dankness the yawning blankness of the perspective sickens me! y ou were she who abode by those red-veined rocks far west, y ou were the swan-necked one who rode along the beetling beeny crest, and, reining nigh me, would muse and eye me, while life unrolled us its very best. why, then, latterly did we not speak, did we not think of those days long dead, and ere your vanishing strive to seek that time\u2019s renewal? we might have said, \u2018in this bright spring weather we\u2019ll visit together those places that once we visited.\u20195 10 15 20 25 30 35",
            "13": "13 0486/12/m/j/14 \u00a9 ucles 2014 [turn overwell, well! all\u2019s past amend, unchangeable. it must go. i seem but a dead man held on end to sink down soon \u2026 o you could not know that such swift fleeing no soul foreseeing \u2013 not even i \u2013 would undo me so!   how does hardy make this such a moving portrayal of despair? or \u202014 explore the ways in which hardy memorably conveys feelings about the passage of time  in in time of \u2018the breaking of nations\u2019 . or \u202015 how does hardy powerfully convey feelings about growing old in either  \u2018i look into my  glass\u2019  or during wind and rain ?40",
            "14": "14 0486/12/m/j/14 \u00a9 ucles 2014songs\tof\tourselves: \tfrom\tpart\t4 either *16 read this poem, and then answer the question that follows it: a birthday my heart is like a singing bird    whose nest is in a watered shoot; my heart is like an apple-tree    whose boughs are bent with thickset fruit; my heart is like a rainbow shell    that paddles in a halcyon sea; my heart is gladder than all these    because my love is come to me. raise me a dais of silk and down;    hang it with vair and purple dyes; carve it in doves and pomegranates,    and peacocks with a hundred eyes; work it in gold and silver grapes,    in leaves and silver fleurs-de-lys; because the birthday of my life    is come, my love is come to me. (by christina rossetti )   how does rossetti vividly convey a sense of happiness here? or \u202017 explore the ways in which judith wright conveys her admiration of the snake in hunting  snake . or \u202018 how do the poets communicate a vivid sense of the past to you in both  horses  (by  edwin muir) and the planners  (by boey kim cheng)?5 10 15",
            "15": "15 0486/12/m/j/14 \u00a9 ucles 2014 [turn overturn over for section c.",
            "16": "16 0486/12/m/j/14 \u00a9 ucles 2014section c:  prose tsitsi dangarembga:  nervous\tconditions either *19 read this extract, and then answer the question that follows it: seeing my father cry, seeing my mother moan and rock in maiguru\u2019s  arms, hearing netsai cry in fear as well as in grief, and rambanai, waking,  whimper and whine, a little of my armour cracked. i was sad for them rather  than anguished over any loss of mine, because my brother had become a   stranger to me. i was not sorry that he had died, but i was sorry for him  because, according to his standards, his life had been thoroughly worth living. \u2018there is nothing to be done,\u2019 my aunt was saying to my mother, \u2018except  to bear the pain until it passes. y ou must endure the pain of his passing as  you endured the pain of his coming.\u2019 \u2018i cannot endure it,\u2019 my mother moaned. \u2018maiguru, hold me. i too am  going to die.\u2019  the body was fetched the next day from the mission and buried in the  family burial ground beside my grandmother and other ancestors. after a  decent length of time had passed, babamukuru again raised the question  of the emancipation of my father\u2019s branch of the family. \u2018it is unfortunate\u2019, he  said, \u2018that there is no male child to take this duty, to take this job of raising  the family from hunger and need, jeremiah.\u2019 \u2018it is as you say,\u2019 my father agreed. \u2018tambudzai\u2019s sharpness with her  books is no use because in the end it will benefit strangers.\u2019 \u2018y ou are correct, jeremiah\u2019, observed my uncle, \u2018but i will not feel that  i have done my duty if i neglect the family for that reason. er \u2013 this girl \u2013  heyo, tambudzai \u2013 must be given the opportunity to do what she can for the  family before she goes into her husband\u2019s home.\u2019 \u2018exactly!\u2019 agreed my father. \u2018she must be given the opportunity.\u2019 my mother was grief stricken when my father told her what he and  babamukuru had decided. \u2018y ou, jeremiah,\u2019 she said, and she called him jeremiah infrequently.  \u2018y ou, jeremiah, are you mad? have you eaten some wild shrub that has  gone to your head? i think so, otherwise how could you stand there and tell  me to send my child to a place of death, the place where my first living child  died! today you are raving! she will not go. unless you want me to die too.  the anxiety will kill me. i will not let her go.\u2019 \u2018but what will she do?\u2019 persuaded my father. \u2018she has finished her  standard three. tell me, is there a standard four at rutivi? kuedza is too  far to walk. where will she do her standard four?\u2019 \u2018don\u2019t try to make a fool out of me,\u2019 my mother retorted. \u2018do you think i  haven\u2019t heard that they are starting the standard four at that school? enrol  her at rutivi, jeremiah, because i am telling you, i will not let her go.\u2019 my father did not pursue the matter, but i went to the mission all the  same. my mother\u2019s anxiety was real. in the week before i left she ate hardly  anything, not for lack of trying, and when she was able to swallow something  it lay heavy in her stomach. by the time i left she was so haggard and gaunt  she could hardly walk to the fields, let alone work in them. \u2018is mother ill?\u2019 whispered netsai, frightened. \u2018is she going to die too?\u2019 netsai was frightened. i, i was triumphant. babamukuru had approved  of my direction. i was vindicated! [from chapter 3 ]5 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/m/j/14 \u00a9 ucles 2014 [turn over  how does dangarembga make this moment so sad and yet so hopeful at the same  time? or \u202020 which of the male characters in the book do you find most admirable? support your  answer with details from dangarembga\u2019s writing. or 21 y ou are tambu\u2019s mother. babamukuru has just driven you back to your home after the  birth of your son dambudzo.   write your thoughts.",
            "18": "18 0486/12/m/j/14 \u00a9 ucles 2014anita desai:  fasting, \tfeasting either *22 read this extract, and then answer the question that follows it: there  followed an embarrassing scene, but it did not have to do with the  shade:  content removed due to copyright restrictions.",
            "19": "19 0486/12/m/j/14 \u00a9 ucles 2014 [turn over\u2018oh, oh,\u2019 he tried to laugh. \u2018oh no, mrs patton, you don\u2019t have to do  that \u2013\u2019 [from chapter 18 ]   what does desai make you feel towards mrs patton at this moment in the novel?  or \u202023 \u2018useless parents.\u2019   do you think this is a fair comment about mamapapa? support your ideas with details  from desai\u2019s writing. or 24 y ou are uma. y ou have just said goodbye to aruna and her children aisha and dinesh  after their visit.   write your thoughts.content removed due to copyright restrictions.",
            "20": "20 0486/12/m/j/14 \u00a9 ucles 2014kiran desai:  hullabaloo\tin\tthe\tguava\torchard either *25 read this extract, and then answer the question that follows it: in desperation, the family called upon dr banerjee from the clinic in   the bazaar,  content removed due to copyright restrictions.",
            "21": "21 0486/12/m/j/14 \u00a9 ucles 2014 [turn over\u2018arrange a marriage for him. then you can rest in peace. y ou will have  no further problems.\u2019 [from chapter 7  ]   how does desai make the \u2018experts\u2019 consulted by the family seem so ridiculous?  or \u202026 explore the ways in which desai makes fun of mr. chawla. support your ideas with  details from the novel. or 27 y ou are sampath. y our father has just attempted \u2013 and failed \u2013 to introduce you to the girl  he wants you to marry.   write your thoughts.",
            "22": "22 0486/12/m/j/14 \u00a9 ucles 2014george eliot: \tsilas\tmarner either *28 read this extract, and then answer the question that follows it: the squire had laid down his knife and fork, and was staring at his son  in amazement, not being sufficiently quick of brain to form a probable guess  as to what could have caused so strange an inversion of the paternal and  filial relations as this proposition of his son to pay him a hundred pounds. \u2018the truth is, sir\u2014i\u2019m very sorry\u2014i was quite to blame,\u2019 said godfrey.  \u2018fowler did pay that hundred pounds. he paid it to me, when i was over  there one day last month. and dunsey bothered me for the money, and i  let him have it, because i hoped i should be able to pay it you before this.\u2019 the squire was purple with anger before his son had done speaking,  and found utterance difficult. \u2018y ou let dunsey have it, sir? and how long  have you been so thick with dunsey that you must collogue  with him to  embezzle my money? are you turning out a scamp? i tell you, i won\u2019t  have it. i\u2019ll turn the whole pack of you out of the house together, and marry  again. i\u2019d have you to remember, sir, my property\u2019s got no entail on it;\u2014 since my grandfather\u2019s time the casses can do as they like with their land.  remember that, sir. let dunsey have the money! why should you let  dunsey have the money? there\u2019s some lie at the bottom of it.\u2019 \u2018there\u2019s no lie, sir,\u2019 said godfrey. \u2018i wouldn\u2019t have spent the money  myself, but dunsey bothered me, and i was a fool and let him have it. but i  meant to pay it, whether he did or not. that\u2019s the whole story. i never meant  to embezzle money, and i\u2019m not the man to do it. y ou never knew me do a  dishonest trick, sir.\u2019 \u2018where\u2019s dunsey, then? what do you stand talking there for? go and  fetch dunsey, as i tell you, and let him give account of what he wanted the  money for, and what he\u2019s done with it. he shall repent it. i\u2019ll turn him out. i  said i would, and i\u2019ll do it. he shan\u2019t brave me. go and fetch him.\u2019 \u2018dunsey isn\u2019t come back, sir.\u2019 \u2018what! did he break his own neck then?\u2019 said the squire, with some  disgust at the idea that, in that case, he could not fulfil his threat. \u2018no, he wasn\u2019t hurt, i believe, for the horse was found dead, and  dunsey must have walked off. i daresay we shall see him again by and by.  i don\u2019t know where he is.\u2019 \u2018and what must you be letting him have my money for? answer me  that,\u2019 said the squire, attacking godfrey again, since dunsey was not within  reach. \u2018well, sir, i don\u2019t know,\u2019 said godfrey, hesitatingly. that was a feeble  evasion, but godfrey was not fond of lying, and not being sufficiently  aware that no sort of duplicity can long flourish without the help of vocal  falsehoods, he was quite unprepared with invented motives. \u2018y ou don\u2019t know? i tell you what it is, sir. y ou\u2019ve been up to some trick,  and you\u2019ve been bribing him not to tell,\u2019 said the squire, with a sudden  acuteness which startled godfrey, who felt his heart beat violently at the  nearness of his father\u2019s guess. the sudden alarm pushed him on to take  the next step\u2014a very slight impulse suffices for that on a downward road. \u2018why, sir,\u2019 he said, trying to speak with careless ease, \u2018it was a little  affair between me and dunsey; it\u2019s no matter to anybody else. it\u2019s hardly  worth while to pry into young men\u2019s fooleries: it wouldn\u2019t have made any  difference to you, sir, if i\u2019d not had the bad luck to lose wildfire. i should  have paid you the money.\u2019 \u2018fooleries! pshaw! it\u2019s time you\u2019d done with fooleries. and i\u2019d have  you know, sir, you must  ha\u2019 done with \u2019em,\u2019 said the squire, frowning and 5 10 15 20 25 30 35 40 45 50",
            "23": "23 0486/12/m/j/14 \u00a9 ucles 2014 [turn overcasting an angry glance at his son. \u2018y our goings-on are not what i shall find  money for any longer. there\u2019s my grandfather had his stables full o\u2019 horses,  and kept a good house too, and in worse times, by what i can make out;  and so might i, if i hadn\u2019t four good-for-nothing fellows to hang on me like  horse-leeches. i\u2019ve been too good a father to you all\u2014that\u2019s what it is. but  i shall pull up, sir.\u2019 [from chapter 9 ]   how does eliot vividly reveal the relationship between squire cass and his sons here? or \u202029 how does eliot make dolly winthrop so memorable for you? support your ideas with  details from the novel. or 30 y ou are nancy cass. y ou are on your way to see silas about adopting eppie.   write your thoughts.55",
            "24": "24 0486/12/m/j/14 \u00a9 ucles 2014susan hill: \ti\u2019m\tthe\tking\tof\tthe\tcastle either *31 read this extract, and then answer the question that follows it: kingshaw leaped up, maddened by hooper\u2019s voice, going on and on.  he stood over him, yelling. \u2018shut up, hooper, shut up . i\u2019ll kick you, i\u2019ll bash  your head in, if you don\u2019t shut up, you needn\u2019t think i won\u2019t.\u2019 hooper cringed back suddenly, caught by surprise. he half got to his  knees, trying to move away. kingshaw straddled him. \u2018are you going to shut up now?\u2019 \u2018y es. i \u2026\u2019 \u2018if you say anything else at all, i\u2019ll kick you. i could hurt you because  you\u2019re ill, i\u2019d win easily. now shut up.\u2019 \u2018y ou won\u2019t, you mustn\u2019t \u2026\u2019 hooper began to cry again, loudly, out of  fear. kingshaw watched him for a second, wanting to beat him. then,  abruptly, he turned and walked away. he was frightened by what he had  done, and of the voice that had come out of himself. he had been ready  to kick and punch hooper, anything to stop him from whining and nagging  and blaming. his own violence astounded him. he wandered off a little way into the clearing, kicking his feet against  the tree roots, stirring up the leaves. not far away, some animal grunted,  and then yelped out a warning. after a bit, he went slowly back and lay down again beside the fire,  staring into its red heart until his eyes smarted. he felt oddly numb, but  himself again, calm. he wouldn\u2019t touch hooper now. the fire sputtered and  glowed. he felt safe with it. that and the water. he wasn\u2019t comfortable,  though, because he\u2019d given hooper all the extra clothes, and twigs and dry  bits of leaf were sticking into him, through his shirt and jeans. he said, \u2018hooper?\u2019 silence. \u2018are you o.k.?\u2019 \u2018shut up.\u2019 kingshaw hesitated. he was ashamed of himself. he remembered  how hooper had screamed out \u2018mummy, mummy\u2019. that had surprised him  more than anything. \u2018i wouldn\u2019t really have hit you.\u2019 he knew he was letting whatever advantage he might have won  leak away again, playing back into hooper\u2019s hands. but he thought that  whatever happened he had something, an inner strength or resolution that  hooper lacked. it would carry him through things. he felt that he no longer  needed to run away, at least as far as hooper was concerned. their roles  had not been reversed, but still, something had changed. kingshaw felt  aware of himself, and of his own resources. aloud, he said, \u2018look, you needn\u2019t worry, hooper, we\u2019ve both got to  stay here till they come for us.\u20195 10 15 20 25 30 35 40",
            "25": "25 0486/12/m/j/14 \u00a9 ucles 2014 [turn overhooper lay absolutely still, beyond him in the darkness. but kingshaw  could feel him, listening.  he tried not to think what would happen if nobody did come for them. [from chapter 8 ]   in what ways do you think hill makes this such a dramatic moment in the novel? or \u202032 how does hill make hooper such a terrifying figure in the novel? support your ideas with  details from the writing. or 33 y ou are fielding on the evening after you have shown hooper the farm.   write your thoughts.45",
            "26": "26 0486/12/m/j/14 \u00a9 ucles 2014from \tstories\tof\tourselves either *34 read this extract from my greatest ambition  (by morris lurie), and then answer the  question that follows it: now let me properly introduce my father, a great scoffer. in those pre- television days, he had absolutely nothing to do in the evening but to walk  past my room and look in and say, \u2018nu? they sent you the money yet?\u2019  fifty times a night, at least. and when the letter came from boy magazine ,  did he change his tune? not one bit. \u2018i don\u2019t see a cheque,\u2019 he said. \u2018of course  there\u2019s no cheque,\u2019 i said. \u2018how can there be? we haven\u2019t  even discussed it yet. maybe i\u2019ll decide not to sell it to them. which i will, if  their price isn\u2019t right.\u2019 \u2018show me again the letter,\u2019 my father said, \u2018ha, listen, listen. \u201cwe are  very interested in your comic and would like you to phone miss gordon to  make an appointment to see the editor.\u201d an appointment? that means they  don\u2019t want it. if they wanted it, believe me, there\u2019d be a cheque.\u2019 it serves no purpose to put down the rest of this pointless conversation,  which included such lines as \u2018how many comics have you sold in your  life?\u2019 and, \u2018who paid for the paper? the ink?\u2019 other than to say that i made  the phone call to miss gordon from a public phone and not from home. i  wasn\u2019t going to have my father listening to every word. my voice, when i was thirteen, and standing on tiptoe and talking into  a public phone, was, i must admit, unnecessarily loud, but miss gordon  didn\u2019t say anything about it. \u2018and what day will be most convenient for you,  mr lurie?\u2019 she asked. \u2018oh, any day at all!\u2019 i shouted. \u2018any day will suit me  fine!\u2019 \u2018a week from thursday then?\u2019 she asked. \u2018perfect!\u2019 i yelled, trying  to get a piece of paper and a pencil out of my trouser pocket to write it  down, and at the same time listening like mad in case miss gordon said  something else. and she did. \u2018ten o\u2019clock?\u2019 \u2018i\u2019ll be there!\u2019 i shouted, and  hung up with a crash. it hadn\u2019t occurred to me to mention to miss gordon that i was thirteen  and at school and would have to take a day off to come and see the editor.  i didn\u2019t think these things were relevant to our business. but my mother did.  a day missed from school could never be caught up, that was her attitude.  my father\u2019s attitude you know. a cheque or not a cheque. was i rich or  was i a fool? (no, that\u2019s wrong. was i a poor fool or a rich fool? y es, that\u2019s  better.) but my problem was something else. what to wear? my school suit was out of the question because i wore it every day  and i was sick of it and it just wasn\u2019t right for a business appointment.  anyway, it had ink stains round the pocket where my fountain pen leaked  (a real fountain, ha ha), and the seat of the trousers shone like a piece of  tin. and my good suit was a year old and too short in the leg. i tried it on  in front of the mirror, just to make sure, and i was right. it was ludicrous. my  father offered to lend me one of his suits. he hadn\u2019t bought a new suit since  1934. there was enough material in the lapels alone to make three suits  and have enough left over for a couple of caps. not only that, but my father  was shorter than me and twice the weight. so i thanked him and said that  i had decided to wear my good suit after all. i would wear dark socks and  the shortness of trousers would hardly be noticed. also, i would wear my  eye-dazzling pure silk corn yellow tie, which, with the proper windsor knot,  would so ruthlessly rivet attention that no one would even look to see if i  was wearing shoes. \u2018a prince,\u2019 my father said.5 10 15 20 25 30 35 40 45 50",
            "27": "27 0486/12/m/j/14 \u00a9 ucles 2014now, as the day of my appointment drew nearer and nearer, a great  question had to be answered, a momentous decision made. for my father  had been right. if all they wanted to do was to buy my comic, they would  have sent a cheque. so there was something else. a full-time career as a  comic-strip artist on the permanent staff of boy magazine ! it had to be that.  but that would mean giving up school and was i prepared to do that? \u2018y es,\u2019 i said with great calmness and great authority to my face in the  bathroom mirror. \u2018y es.\u2019 there were three days to go. then there occurred one of those things that must happen every day  in the world of big business, but when you\u2019re thirteen it knocks you for a  loop. boy magazine  sent me a telegram. it was the first telegram i had ever  received in my life, and about the third that had ever come to our house.  my mother opened it straight away. she told everyone in our street about  it. she phoned uncles, aunts, sisters, brothers, and finally, when i came  home from school, she told me. i was furious. i shouted, \u2018i told you never under any circumstances to  open my mail!\u2019 \u2018but a telegram,\u2019 my mother said. \u2018a telegram is mail,\u2019 i said. \u2018and mail is a personal, private thing. where  is it?\u2019 my mother had folded it four times and put it in her purse and her  purse in her bag and her bag in her wardrobe which she had locked. she  stood by my side and watched me while i read it. \u2018nu?\u2019 she said. \u2018it\u2019s nothing,\u2019 i said. and it wasn\u2019t. miss gordon had suddenly discovered that the editor  was going to be out of town on my appointment day, and would i kindly  phone and make another appointment? i did, standing on tiptoe and shouting as before.   explore the ways in which lurie makes this extract so amusing. or \u202035 what makes the rain horse  (by ted hughes) so shocking? support your ideas with  details from the writing. or 36 y ou are lord emsworth in the custody of the pumpkin . y ou have just finished talking  with mr donaldson of donaldson\u2019s dog-biscuits.   write your thoughts.55 60 65 70 75 80",
            "28": "28 0486/12/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  all my sons.  \u00a9  1947, arthur miller.  reproduced by permission.  all rights reserved. question 19 \u00a9  nervous conditions ;  \u00a9  1988, tsitsi dangarembga;  reproduced by permission of ayebia clarke publishing.  question 22  \u00a9  fasting, feasting ; \u00a9  1999, anita desai;  reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews,  london w11 1jn, from vintage. reprinted by permission of the random house group ltd. question 25 \u00a9  hullabaloo in the guava orchard ;  \u00a9  1998, kiran desai;  faber & faber ltd. question 31 \u00a9  susan hill;  i\u2019m the king of the castle ;  penguin books ltd;  1973. question 34  \u00a9  morris lurie;  my greatest ambition , in stories of ourselves ;  cambridge university press;  2008. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (st) 103136 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 5 9 7 1 7 9 0 9 1 0 *literature (english)  0486/13 paper 1 may/june 2014  2 hours 15 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/13/m/j/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/13/m/j/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3 pages 4\u20135 wiliiam shakespeare: julius caesar        *4, \u20205, 6 pages 6\u20137 wiliiam shakespeare: the tempest        *7, \u20208, 9 pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12 pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected poems  *13, \u202014, \u202015 page 12 songs of ourselves : from part 4 *16, \u202017, \u202018 page 13 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21 pages 14\u201315 anita desai: fasting, feasting  *22, \u202023, 24 pages 16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27 pages 18\u201319 george eliot: silas marner  *28, \u202029, 30 pages 20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33 pages 22\u201323 from stories of ourselves  *34, \u202035, 36 pages 24\u201325",
            "4": "4 0486/13/m/j/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either *1 read this extract, and then answer the question that follows it: jim: where\u2019s your tobacco? content removed due to copyright restrictions.",
            "5": "5 0486/13/m/j/14 \u00a9 ucles 2014 [turn overkeller:  how can you make him a horoscope? that\u2019s for the future, ain\u2019t  it? [from act 1 ]   how do you think miller makes this such an effective beginning to the play? or \u20202 how does miller make ann deever such a moving character in the play? support your  ideas with details from the writing. or 3 y ou are jim bayliss. y ou have arrived with george deever at the kellers\u2019 house. y ou have  left the car and you are walking up the driveway.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/13/m/j/14 \u00a9 ucles 2014william shakespeare: \tjulius\tcaesar either *4 read this extract, and then answer the question that follows it:  enter brutus  in his orchard. brutus : what, lucius, ho!  i cannot by the progress of the stars  give guess how near to day. lucius, i say!  i would it were my fault to sleep so soundly.  when, lucius, when? awake, i say! what, lucius!  enter  lucius . lucius:  call\u2019d you, my lord? brutus:  get me a taper in my study, lucius;  when it is lighted, come and call me here. lucius:  i will, my lord.  [exit. brutus:  it must be by his death; and for my part,  i know no personal cause to spurn at him,  but for the general: he would be crown\u2019d.  how that might change his nature, there\u2019s the question.  it is the bright day that brings forth the adder,  and that craves wary walking. crown him \u2013 that!  and then, i grant, we put a sting in him  that at his will he may do danger with.  th\u2019 abuse of greatness is, when it disjoins  remorse from power; and to speak truth of caesar,  i have not known when his affections sway\u2019d  more than his reason. but \u2019tis a common proof  that lowliness is young ambition\u2019s ladder,  whereto the climber-upward turns his face;  but when he once attains the upmost round,  he then unto the ladder turns his back,  looks in the clouds, scorning the base degrees  by which he did ascend. so caesar may.  then, lest he may, prevent. and since the quarrel  will bear no colour for the thing he is,  fashion it thus \u2013 that what he is, augmented,  would run to these and these extremities;  and therefore think him as a serpent\u2019s egg,  which, hatch\u2019d, would as his kind grow mischievous,  and kill him in the shell.  re-enter lucius . lucius:  the taper burneth in your closet, sir.  searching the window for a flint, i found  this paper, thus seal\u2019d up; and i am sure  it did not lie there when i went to bed.   [giving him a letter. brutus:  get you to bed again, it is not day.  is not to-morrow, boy, the ides of march? lucius:  i know not, sir. brutus:  look in the  calender, and bring me word. lucius:  i will, sir.  [exit.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/13/m/j/14 \u00a9 ucles 2014 [turn overbrutus:  the exhalations, whizzing in the air,  give so much light that i may read by them.   [opens the letter and reads.  \u2018brutus, thou sleep\u2019st. awake, and see thyself.  shall rome, etc. speak, strike, redress!  brutus thou sleep\u2019st; awake.\u2019  such instigations have been often dropp\u2019d  where i have took them up.  \u2018shall rome, etc.\u2019 thus must i piece it out:  shall rome stand under one man\u2019s awe? what, rome?  my ancestors did from the streets of rome  the tarquin drive, when he was call\u2019d a king.  \u2018speak, strike, redress!\u2019 am i entreated  to speak and strike? o rome, i make thee promise,  if the redress will follow, thou receivest  thy full petition at the hand of brutus!  re-enter  lucius . lucius:  sir, march is wasted fifteen days.   [knocking within. brutus:  \u2019tis good. go to the gate; somebody knocks.  [exit lucius.  since cassius first did whet me against caesar,   i have not slept.  between the acting of a dreadful thing  and the first motion all the interim is  like a phantasma or a hideous dream.  the genius and the mortal instruments  are then in council; and the state of man,  like to a little kingdom, suffers then  the nature of an insurrection. [from act 2 scene 1 ]   how does shakespeare dramatically reveal brutus\u2019s state of mind at this moment in the  play? or \u20205 \u2018a peevish schoolboy \u2026 join\u2019d with a masker and a reveller!\u2019   do you think that cassius is right when he says this about octavius and antony? support  your ideas with details from the play. or 6 y ou are cassius. y ou have just left brutus\u2019s house after the meeting with the other  conspirators.   write your thoughts.50 55 60 65 70 75",
            "8": "8 0486/13/m/j/14 \u00a9 ucles 2014william shakespeare: the\ttempest either *7 read this extract, and then answer the question that follows it: prospero:  [aside ] i had forgot that foul conspiracy  of the beast caliban and his confederates  against my life; the minute of their plot  is almost come. [ to the spirits ] well done; avoid; no more! ferdinand:  this is strange: your father\u2019s in some passion  that works him strongly. miranda:   never till this day  saw i him touch\u2019d with anger so distemper\u2019d. prospero:  y ou do look,  my son, in a mov\u2019d sort,  as if you were dismay\u2019d; be cheerful, sir.  our revels now are ended. these our actors,  as i foretold you, were all spirits, and  are melted into air, into  thin air;  and, like the baseless fabric of this vision,  the cloud-capp\u2019d towers,  the gorgeous palaces,  the solemn temples, the great globe itself,  y ea, all which it inherit, shall dissolve,  and, like this insubstantial pageant faded,  leave not a rack behind. we are such stuff  as dreams are made on; and our little life  is rounded with a sleep. sir, i am vex\u2019d;  bear with my weakness; my old brain is troubled;  be not disturb\u2019d with my infirmity.  if you be pleas\u2019d, retire into my cell  and there repose; a turn or two i\u2019ll walk  to still my beating mind. ferdinand, miranda :\t we wish your peace.  [exeunt. prospero:  come, with a thought. i thank thee, ariel; come.  enter ariel . ariel:  thy thoughts i cleave to. what\u2019s thy pleasure? prospero:   spirit,  we must prepare to meet with caliban. ariel:  ay, my commander. when i presented \u2018ceres\u2019,  i thought to have told thee of it; but i fear\u2019d  lest i might anger thee. prospero:  say again, where didst thou leave these varlets? ariel:  i told you, sir they were red-hot with drinking;  so full of valour that they smote the air  for breathing in their faces; beat the ground  for kissing of their feet; yet always bending  towards their project. then i beat my tabor,  at which like unback\u2019d colts they prick\u2019d their ears,  advanc\u2019d their eyelids, lifted up their noses  as they smelt music; so i charm\u2019d their ears,  that calf-like they my lowing follow\u2019d through  tooth\u2019d briers, sharp furzes, pricking goss, and thorns,5 10 15 20 25 30 35 40 45",
            "9": "9 0486/13/m/j/14 \u00a9 ucles 2014 [turn over which ent\u2019red their frail shins. at last i left them  i\u2019 th\u2019 filthy mantled pool beyond your cell,  there dancing up to th\u2019 chins, that the foul lake  o\u2019erstunk their feet. prospero:   this was well done, my bird.  thy shape invisible retain thou still.  the trumpery in my house, go bring it hither  for stale to catch these thieves. ariel:   i go, i go.  [exit. prospero:  a devil, a born devil, on whose nature  nurture can never stick; on whom my pains,  humanely taken, all, all lost, quite lost;  and as with age his body uglier grows,  so his mind cankers. i will plague them all,  even to roaring. [from act 4 scene 1 ]   how does shakespeare make this moment in the play so dramatic and revealing? or \u20208 how moving do you find shakespeare\u2019s portrayal of the relationship between ferdinand  and miranda? support your ideas with details from the play. or 9 y ou are alonso. y ou have just landed on the island following the shipwreck.   write your thoughts.50 55 60",
            "10": "10 0486/13/m/j/14 \u00a9 ucles 2014oscar wilde: the\timportance\tof\tbeing\tearnest either *10 read this extract, and then answer the question that follows it: cecily:  i keep a diary in order to enter the wonderful secrets of my  life. if i didn\u2019t write them down, i should probably forget all  about them. miss prism:  memory, my dear cecily, is the diary that we all carry about  with us. cecily:  y es, but it usually chronicles the things that have never  happened, and couldn\u2019t possibly have happened. i believe  that memory is responsible for nearly all the three-volume  novels that mudie sends us. miss prism:  do not speak slightingly of the three-volume novel, cecily. i  wrote one myself in earlier days. cecily:  did you really, miss prism? how wonderfully clever you  are! i hope it did not end happily? i don\u2019t like novels that  end happily. they depress me so much. miss prism:  the good ended happily, and the bad unhappily. that is  what fiction means. cecily:  i suppose so. but it seems very unfair. and was your novel  ever published? miss prism:  alas! no. the manuscript unfortunately was abandoned.  [cecily  starts. ] i use the word in the sense of lost or mislaid.  to your work, child; these speculations are profitless. cecily:  [smiling. ] but i see dear mr. chasuble coming up through  the garden. miss prism:  [rising and advancing. ] dr. chasuble! this is indeed a  pleasure. enter canon chasuble . chasuble:  and how are we this morning? miss prism, you are, i trust,  well? cecily:  miss prism has just been complaining of a slight headache.  i think it would do her so much good to have a short stroll  with you in the park, dr. chasuble. miss prism:  cecily, i have not mentioned anything about a headache. cecily:  no, dear miss prism, i know that, but i felt instinctively that  you had a headache. indeed i was thinking about that, and  not about my german lesson, when the rector came in. chasuble:  i hope, cecily, you are not inattentive. cecily:  oh, i am afraid i am. chasuble:  that is strange. were i fortunate enough to be miss prism\u2019s  pupil, i would hang upon her lips. [ miss prism glares. ] i  spoke metaphorically.\u2014my metaphor was drawn from  bees. ahem! mr. worthing, i suppose, has not returned  from town yet? miss prism:  we do not expect him till monday afternoon. chasuble:  ah yes, he usually likes to spend his sunday in london. he  is not one of those whose sole aim is enjoyment, as, by all 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/13/m/j/14 \u00a9 ucles 2014 [turn overaccounts, that unfortunate young man his brother seems to  be. but i must not disturb egeria and her pupil any longer. miss prism:  egeria? my name is l\u00e6titia, doctor. chasuble:  [bowing. ] a classical allusion merely, drawn from the pagan  authors. i shall see you both no doubt at evensong? miss prism:  i think, dear doctor, i will have a stroll with you. i find i have  a headache after all, and a walk might do it good. chasuble:  with pleasure, miss prism, with pleasure. we might go as  far as the schools and back. miss prism:  that would be delightful. cecily, you will read your political  economy in my absence. the chapter on the fall of the  rupee you may omit. it is somewhat too sensational. even  these metallic problems have their melodramatic side.   [goes down the garden with dr. chasuble . cecily:  [picks up books and throws them back on table. ] horrid  political economy! horrid geography! horrid, horrid  german! [from act 2 ]   how does wilde amusingly reveal the thoughts of the characters here? or \u202011 explore in detail two moments in the play which wilde makes particularly amusing for  you. (do not use the extract printed in question 10 in answering this question.) or 12 y ou are algernon at the end of the play.   write your thoughts.50 55 60",
            "12": "12 0486/13/m/j/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected\tpoems either *13 read this poem, and then answer the question that follows it: on the departure platform we kissed at the barrier; and passing through she left me, and moment by moment got smaller and smaller, until to my view     she was but a spot; a wee white spot of muslin fluff that down the diminishing platform bore through hustling crowds of gentle and rough     to the carriage door. under the lamplight\u2019s fitful glowers, behind dark groups from far and near, whose interests were apart from ours,     she would disappear, then show again, till i ceased to see that flexible form, that nebulous white; and she who was more than my life to me     had vanished quite \u2026 we have penned new plans since that fair fond day, and in season she will appear again \u2013 perhaps in the same soft white array \u2013     but never as then! \u2013 \u2018and why, young man, must eternally fly a joy you\u2019ll repeat, if you love her well?\u2019 \u2013 o friend, nought happens twice thus; why,     i cannot tell!   how does hardy movingly reveal the feelings of the speaker in this poem? or \u202014 how does hardy memorably convey the effect on his mood of the thrush's song in the  darkling thrush ? or \u202015 explore the ways in which hardy makes you strongly sympathise with the speaker in  either  neutral tones or at the word \u2018farewell\u2019 .5 10 15 20",
            "13": "13 0486/13/m/j/14 \u00a9 ucles 2014 [turn oversongs\tof\tourselves:  from part 4 either *16 read this poem, and then answer the question that follows it: the cockroach i watched a giant cockroach start to pace, skirting a ball of dust that rode the floor. at first he seemed quite satisfied to trace a path between the wainscot and the door, but soon he turned to jog in crooked rings, circling the rusty table leg and back, and flipping right over to scratch his wings \u2013 as if the victim of a mild attack of restlessness that worsened over time. after a while, he climbed an open shelf and stopped. he looked uncertain where to go. was this due payment for some vicious crime a former life had led to? i don\u2019t know, except i thought i recognised myself. (by kevin halligan )   explore the ways in which kevin halligan comments on human behaviour in this poem. or \u202017 in what ways does allen curnow memorably convey the speaker\u2019s thoughts and feelings  in continuum ? or \u202018 how does dante gabriel rossetti powerfully communicate feelings of grief in the  woodspurge ?5 10",
            "14": "14 0486/13/m/j/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous\tconditions either *19 read this extract, and then answer the question that follows it: lifting a round spoon-shaped object from the tray, maiguru poured my tea. \u2018what has amused you, sisi tambu?\u2019 she asked, seeing a smile hover  over my mouth. \u2018that little sieve, maiguru. is it really just for sifting tea?\u2019 \u2018the tea-strainer?\u2019 my aunt replied. \u2018haven\u2019t you seen one before? the  tea wouldn\u2019t be drinkable without it. it would be all tea-leaves.\u2019 so this tea-strainer was another necessity i had managed without up  until now. maiguru seemed to think it was absolutely vital to have one. i  would hardly have described it like that. interesting, yes, but vital? and  imagine spending money on a sieve so small it could only be used for  sifting tea! when i went home i would see whether tea really was less  pleasant to drink without the strainer. there was food too, lots of it. lots of biscuits and cakes and jam  sandwiches. maiguru was offering me the food, but it was difficult to decide  what to take because everything looked so appetising. we did not often  have cake at home. in fact, i remembered having cake only at christmas  time or at easter. at those times babamukuru brought a great zambezi  slab home with him and cut it up in front of our eager eyes, all the children  waiting for him to distribute it. this he did one piece each at a time so that  for days on end, long after the confectionery had lost its freshness, we  would be enraptured. we would spend many blissful moments picking off  and nibbling, first the white coconut and then the pink icing and last the  delicious golden cake itself, nibbling so slowly such little pieces at a time  that we could hardly taste them, but could gloat when everyone else had  finished that we still had some left. biscuits were as much of a treat as  cake, especially when they were dainty, dessert biscuits with cream in the  middle or chocolate on top. jam was another delicacy that appeared only  on festive occasions. maiguru must have guessed my thoughts from the expression on my  face and the way i hesitated to help myself. cordially she invited me to eat  as much as i liked of anything i liked, even if that meant everything. not  wanting my aunt to think me greedy, i had to be more restrained than usual  after that, so i chose one small biscuit that did not even have cream in the  middle and bit into it slowly so that i would not be obliged to take anything  else. this made maiguru anxious. my sweet little aunt, who liked to please,  interpreted my diffidence as her own shortcoming. \u2018did you want mazoe, sisi tambu? or fanta? ginger ale maybe? it is all  there. just say what you want.\u2019 i hastened to reassure her by taking a great gulp of tea. being used to  enamel mugs which warned you when the tea was too hot by burning your  lips before you let the liquid reach your mouth, the boiling tea scalded my  tongue. i was in agony. my eyes watered and my nose too. choking and  spluttering, i deposited my cup shakily back in its saucer. \u2018what are you doing to her, mum? she looks about to burst into tears,\u2019  asked nyasha, bouncing into the living-room, all flour and rich baking  smells. \u2018go and clean yourself up, nyasha. say hello to your cousin,\u2019 instructed  maiguru.5 10 15 20 25 30 35 40 45",
            "15": "15 0486/13/m/j/14 \u00a9 ucles 2014 [turn over\u2018hello,\u2019 my cousin said cheerfully, half-way across the room. \u2018nyasha!\u2019 maiguru insisted. \u2018i have said hello, before you came out,\u2019 nyasha called, passing out of  the living-room into the depths of the house. \u2018anyway\u2019, she added pointedly,  \u2018i\u2019m going to clean myself up.\u2019 [from chapter 4 ]   explore the ways in which dangarembga makes this moment so amusing and revealing. or \u202020 how does dangarembga movingly portray babamukuru\u2019s generosity and its varying  effects? support your ideas with details from the novel. or 21 y ou are babamukuru. y ou are driving back to umtali having left nyasha in the clinic.   write your thoughts.50",
            "16": "16 0486/13/m/j/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either *22 read this extract, and then answer the question that follows it: the ceremony wound on at its own ponderous pace.  he nodded and mumbled something like, \u2018in meerut,\u2019 and disappeared. [from chapter 8 ]   how does desai make this seem such a depressing beginning to uma\u2019s married life?content removed due to copyright restrictions.",
            "17": "17 0486/13/m/j/14 \u00a9 ucles 2014 [turn overor \u202023 how does desai vividly convey arun\u2019s loneliness when he is in the usa? support your  ideas with details from the novel. or 24 y ou are melanie patton. arun has just found you covered in dirt and vomit lying on the  ground by the swimming hole.   write your thoughts.",
            "18": "18 0486/13/m/j/14 \u00a9 ucles 2014kiran desai: hullabaloo\tin\tthe\tguava\torchard either *25 read this extract, and then answer the question that follows it: mr chawla ran to sampath\u2019s tree to bring him down. he should really have  been made to descend earlier.   the crowd stood panting in the orchard. [from chapter 25 ]content removed due to copyright restrictions.",
            "19": "19 0486/13/m/j/14 \u00a9 ucles 2014 [turn over  in what ways does desai make this moment so mysterious and amusing? support your  ideas with details from the writing. or \u202026 \u2018dreadful and chaotic\u2019   \u2018colourful and lively\u2019   in your opinion, which of these is the more accurate description of desai\u2019s portrayal of  shahkot? support your ideas with details from desai\u2019s writing. or 27 y ou are hungry hop. y ou are sitting at home, waiting for the milkman to deliver another  note from pinky.   write your thoughts.",
            "20": "20 0486/13/m/j/14 \u00a9 ucles 2014george eliot: silas\tmarner either *28 read this extract, and then answer the question that follows it: so, year after year, silas marner had lived in this solitude, his guineas  rising in the iron pot, and his life narrowing and hardening itself more  and more into a mere pulsation of desire and satisfaction that had no  relation to any other being. his life had reduced itself to the mere functions  of weaving and hoarding, without any contemplation of an end towards  which the functions tended. the same sort of process has perhaps  been undergone by wiser men, when they have been cut off from faith  and love\u2014only, instead of a loom and a heap of guineas, they have had  some erudite research, some ingenious project, or some well-knit theory.  strangely marner\u2019s face and figure shrank and bent themselves into a  constant mechanical relation to the objects of his life, so that he produced  the same sort of impression as a handle or a crooked tube, which has  no meaning standing apart. the prominent eyes that used to look trusting  and dreamy, now looked as if they had been made to see only one kind of  thing that was very small, like tiny grain, for which they hunted everywhere:  and he was so withered and yellow, that, though he was not yet forty, the  children always called him \u2018old master marner.\u2019 y et even in this stage of withering a little incident happened, which  showed that the sap of affection was not all gone. it was one of his daily  tasks to fetch his water from a well a couple of fields off, and for this  purpose, ever since he came to raveloe, he had had a brown earthenware  pot, which he held as his most precious utensil, among the very few  conveniences he had granted himself. it had been his companion for  twelve years, always standing on the same spot, always lending its handle  to him in the early morning, so that its form had an expression for him  of willing helpfulness, and the impress of its handle on his palm gave a  satisfaction mingled with that of having the fresh clear water. one day as  he was returning from the well, he stumbled against the step of the stile,  and his brown pot, falling with force against the stones that overarched the  ditch below him, was broken in three pieces. silas picked up the pieces  and carried them home with grief in his heart. the brown pot could never  be of use to him any more, but he stuck the bits together and propped the  ruin in its old place for a memorial. this is the history of silas marner until the fifteenth year after he came  to raveloe. the livelong day he sat in his loom, his ear filled with its  monotony, his eyes bent close down on the slow growth of sameness in  the brownish web, his muscles moving with such even repetition that their  pause seemed almost as much a constraint as the holding of his breath.  but at night came his revelry: at night he closed his shutters, and made  fast his doors, and drew out his gold. long ago the heap of coins had  become too large for the iron pot to hold them, and he had made for them  two thick leather bags, which wasted no room in their resting-place, but  lent themselves flexibly to every corner. how the guineas shone as they  came pouring out of the dark leather mouths! the silver bore no large  proportion in amount to the gold, because the long pieces of linen which  formed his chief work were always partly paid for in gold, and out of the  silver he supplied his own bodily wants, choosing always the shillings and  sixpences to spend in this way. he loved the guineas best, but he would  not change the silver\u2014the crowns and half-crowns that were his own  earnings, begotten by his labour; he loved them all. he spread them out in  heaps and bathed his hands in them; then he counted them and set them 5 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/13/m/j/14 \u00a9 ucles 2014 [turn overup in regular piles, and felt their rounded outline between his thumb and  fingers, and thought fondly of the guineas that were only half-earned by  the work in his loom, as if they had been unborn children\u2014thought of the  guineas that were coming slowly through the coming years, through all his  life, which spread far away before him, the end quite hidden by countless  days of weaving. no wonder his thoughts were still with his loom and his  money when he made his journeys through the fields and the lanes to  fetch and carry home his work, so that his steps never wandered to the  hedge-banks and the lane-side in search of the once familiar herbs: these  too belonged to the past, from which his life had shrunk away, like a rivulet  that has sunk far down from the grassy fringe of its old breadth into a little  shivering thread, that cuts a groove for itself in the barren sand. [from chapter 2 ]   how does eliot make you feel sorry for silas here? or \u202029 how does eliot make the people of raveloe village come to life for you at two moments  in the novel? support your ideas with details from the writing. (do not use the extract  printed in question 28 in answering this question.) or 30 y ou are godfrey cass. y our brother dunstan\u2019s body has been found in the drained stone- pit.   write your thoughts.55 60",
            "22": "22 0486/13/m/j/14 \u00a9 ucles 2014susan hill: \ti\u2019m\tthe\tking\tof\tthe\tcastle either *31 read this extract, and then answer the question that follows it: sweat was running down his forehead and into his eyes. he looked up.  the crow kept on coming. he ran. but it wasn\u2019t easy to run down this field, either, because of the tractor  ruts. he began to leap wildly from side to side of them, his legs stretched  as wide as they could go, and for a short time, it seemed that he did go  faster. the crow dived again, and, as it rose, kingshaw felt the tip of its  black wing, beating against his face. he gave a sudden, dry sob. then, his  left foot caught in one of the ruts and he keeled over, going down straight  forwards. he lay with his face in the coarse grass, panting and sobbing by turns,  with the sound of his own blood pumping through his ears. he felt the sun  on the back of his neck, and his ankle was wrenched. but he would be  able to get up. he raised his head, and wiped two fingers across his face.  a streak of blood came off, from where a thistle had scratched him. he got  unsteadily to his feet, taking in deep, desperate breaths of the close air. he  could not see the crow. but when he began to walk forwards again, it rose up from the grass a  little way off, and began to circle and swoop. kingshaw broke into a run,  sobbing and wiping the damp mess of tears and sweat off his face with  one hand. there was a blister on his ankle, rubbed raw by the sandal strap.  the crow was still quite high, soaring easily, to keep pace with him. now,  he had scrambled over the third gate, and he was in the field next to the  one that belonged to warings. he could see the back of the house. he  began to run much faster. this time, he fell and lay completely winded. through the runnels of  sweat and the sticky tufts of his own hair, he could see a figure, looking  down at him from one of the top windows of the house. then, there was a single screech, and the terrible beating of wings, and  the crow swooped down and landed in the middle of his back. kingshaw thought that, in the end, it must have been his screaming that  frightened it off, for he dared not move. he lay and closed his eyes and  felt the claws of the bird, digging into his skin, through the thin shirt, and  began to scream in a queer, gasping sort of way. after a moment or two,  the bird rose. he had expected it to begin pecking at him with his beak,  remembering terrible stories about vultures that went for living people\u2019s  eyes. he could not believe in his own escape. he scrambled up, and ran on, and this time, the crow only hovered  above, though not very high up, and still following him, but silently, and no  longer attempting to swoop down. kingshaw felt his legs go weak beneath  him, as he climbed the last fence, and stood in the place from which he  had started out on his walk, by the edge of the copse. he looked back  fearfully. the crow circled a few times, and then dived into the thick foliage  of the beech trees. kingshaw wiped his face with the back of his hand again. he wanted  to go to his mother. he was trembling all over. but he never did go to her,  he made himself cope alone, he would not go because of a stupid bird.  then his eye caught a quick movement. he looked up. hooper stood in the  window of his bedroom. he watched and watched. [from chapter 3 ]5 10 15 20 25 30 35 40 45",
            "23": "23 0486/13/m/j/14 \u00a9 ucles 2014 [turn over  explore the ways in which hill vividly conveys kingshaw\u2019s terror here. or \u202032 to what extent does hill make you feel sympathy for mrs kingshaw? support your ideas  with details from the writing. or 33 y ou are kingshaw as you travel to warings for the first time.   write your thoughts.",
            "24": "24 0486/13/m/j/14 \u00a9 ucles 2014from \tstories\tof\tourselves either *34 read this extract from her first ball (by katherine mansfield), and then answer the  question that follows it: leila put two fingers on laura\u2019s pink velvet cloak, and they were  somehow lifted past the big golden lantern, carried along the passage, and  pushed into the little room marked \u2018ladies\u2019. here the crowd was so great  there was hardly space to take off their things; the noise was deafening.  two benches on either side were stacked high with wraps. two old women  in white aprons ran up and down tossing fresh armfuls. and everybody  was pressing forward trying to get at the little dressing-table and mirror at  the far end. a great quivering jet of gas lighted the ladies\u2019 room. it couldn\u2019t wait; it  was dancing already. when the door opened again and there came a burst  of tuning from the drill hall, it leaped almost to the ceiling. dark girls, fair girls were patting their hair, tying ribbons again, tucking  handkerchiefs down the fronts of their bodies, smoothing marble-white  gloves. and because they were all laughing it seemed to leila that they  were all lovely. \u2018aren\u2019t there any invisible hairpins?\u2019 cried a voice. \u2018how most  extraordinary! i can\u2019t see a single invisible hairpin.\u2019 \u2018powder my back, there\u2019s a darling,\u2019 cried someone else. \u2018but i must have a needle and cotton. i\u2019ve torn simply miles and miles of  the frill,\u2019 wailed a third. then, \u2018pass them along, pass them along!\u2019 the straw basket of  programmes was tossed from arm to arm. darling little pink-and-silver  programmes, with pink pencils and fluffy tassels. leila\u2019s fingers shook as  she took one out of the basket. she wanted to ask someone, \u2018am i meant  to have one too?\u2019 but she had just time to read: \u2018waltz 3. two, two in a  canoe . polka 4. making the feathers fly \u2019, when meg cried, \u2018ready, leila?\u2019  and they pressed their way through the crush in the passage towards the  big double doors of the drill hall. dancing had not begun yet, but the band had stopped tuning, and the  noise was so great it seemed that when it did begin to play it would never  be heard. leila, pressing close to meg, looking over meg\u2019s shoulder, felt  that even the little quivering coloured flags strung across the ceiling were  talking. she quite forgot to be shy; she forgot how in the middle of dressing  she had sat down on the bed with one shoe off and one shoe on and  begged her mother to ring up her cousins and say she couldn\u2019t go after all.  and the rush of longing she had had to be sitting on the veranda of their  forsaken up-country home, listening to the baby owls crying \u2018more pork\u2019  in the moonlight, was changed to a rush of joy so sweet that it was hard  to bear alone. she clutched her fan, and, gazing at the gleaming, golden  floor, the azaleas, the lanterns, the stage at one end with its red carpet  and gilt chairs and the band in a corner, she thought breathlessly, \u2018how  heavenly; how simply heavenly!\u2019 all the girls stood grouped together at one side of the doors, the men  at the other, and the chaperones in dark dresses, smiling rather foolishly,  walked with little careful steps over the polished floor towards the stage. \u2018this is my little country cousin leila. be nice to her. find her partners;  she\u2019s under my wing,\u2019 said meg, going up to one girl after another. strange faces smiled at leila \u2013 sweetly, vaguely. strange voices  answered, \u2018of course, my dear.\u2019 but leila felt the girls didn\u2019t really see her.  they were looking towards the men. why didn\u2019t the men begin? what were 5 10 15 20 25 30 35 40 45 50",
            "25": "25 0486/13/m/j/14 \u00a9 ucles 2014they waiting for? there they stood, smoothing their gloves, patting their  glossy hair and smiling among themselves. then, quite suddenly, as if  they had only just made up their minds that that was what they had to do,  the men came gliding over the parquet. there was a joyful flutter among  the girls. a tall, fair man flew up to meg, seized her programme, scribbled  something; meg passed him on to leila. \u2018may i have the pleasure?\u2019 he  ducked and smiled. there came a dark man wearing an eyeglass, then  cousin laurie with a friend, and laura with a little freckled fellow whose tie  was crooked. then quite an old man \u2013 fat, with a big bald patch on his head  \u2013 took her programme and murmured, \u2018let me see, let me see!\u2019 and he was  a long time comparing his programme, which looked black with names,  with hers. it seemed to give him so much trouble that leila was ashamed.  \u2018oh, please don\u2019t bother,\u2019 she said eagerly. but instead of replying the fat  man wrote something, glanced at her again. \u2018do i remember this bright  little face?\u2019 he said softly. \u2018is it known to me of yore?\u2019 at that moment the  band began playing; the fat man disappeared. he was tossed away on a  great wave of music that came flying over the gleaming floor, breaking the  groups up into couples, scattering them, sending them spinning \u2026   how does mansfield vividly capture the excitement of the ball here? or \u202035 what does graham greene make you feel about t. in the destructors ? support your  ideas with details from the story. or 36 y ou are sam in the son\u2019s veto . y ou  have just watched sophy\u2019s funeral procession go  past your shop.   write your thoughts.55 60 65",
            "26": "26 0486/13/m/j/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/13/m/j/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/13/m/j/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 1  \u00a9 all my sons. \u00a9 1947, arthur miller. reproduced by permission. all rights reserved. question 16  \u00a9 kevin halligan; the cockroach,  in songs of ourselves ; cambridge university press; 2007. question 19  \u00a9 tsitsi dangarembga; nervous conditions ; ayebia publishing; 1988. question 22  \u00a9 anita desai; fasting, feasting ; reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london w11 1jn. question 25  \u00a9 kiran desai; hullabaloo in the guava orchard ; faber & faber ltd; 1998. question 31  \u00a9 susan hill; i\u2019m the king of the castle ; penguin books ltd; 1989. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s14_qp_31.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (jda)) 81692/5 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education *4988566430*literature (english)  0486/31 paper 3 unseen may/june 2014  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/31/m/j/14 \u00a9 ucles 2014answer either  question 1 or question 2. either 1 read carefully the poem opposite in which the poet expresses his views on elite athletes, such as  those who compete in the olympic games.  how does the poet make his thoughts and feelings about the athletes so memorable for  you?  to help you answer this question, you might consider:  \u0081 how the poet contrasts the athletes and ordinary people  \u0081 how he conveys our fascination with the athletes  \u0081 how his thoughts develop in the final stanza.",
            "3": "3 0486/31/m/j/14 \u00a9 ucles 2014 [turn overdignified on grim estates1 at dawn, on college tracks, in rings, in wheelchairs, velodromes2 and pools, while we snore on towards our heart attacks,they will outstrip the bullet and the fax, 3 they will rewrite the body and its rules. athletes who amazed zeus and apollo,4 rivalling their supernatural ease, must make do nowadays with us, who follow,breathless, on a billion tvs.should we believe it\u2019s us they aim to please? the purpose stays essentially the same: to do what\u2019s difficult because they can,to sign in gold an ordinary nameacross the air from georgia to japan, 5 to change the world by mastering a game. the rest of us, left waiting at the start, still celebrate, as those the gods adoretoday stake everybody\u2019s claims for moreby showing life itself becoming art,applauded by a planetary roar \u2014 the gun, the clock, the lens, all testify that those who win take liberties with time:the sprinter\u2019s bow, the vaulter\u2019s farewell climb,the swimmer who escapes her wake, denywhat all the gods insist on, that we die. 1 estates : housing developments 2 velodromes : arenas with tracks for bicycle racing 3 fax : electronic message 4 zeus and apollo : greek gods 5 georgia \u2026 japan : places where the olympic games have been held",
            "4": "4 0486/31/m/j/14 \u00a9 ucles 2014or 2 read carefully the following extract from a short story about a man, julian, meeting a woman  called julia.  how does the writing vividly convey to you the impact of the meeting on julian? to help you answer this question, you might consider:  \u0081 the way the writer describes the setting and julia  \u0081 the way the writer describes the hawk and julian\u2019s reactions to it  \u0081 the ways in which she conveys to you the intensity of julian\u2019s feelings. there wasn\u2019t a part of him that didn\u2019t leap the instant his eyes first alighted on julia. it was as though she had sprung fully formed from his forehead: julia standing  on the crest of the downs with three counties 1 falling away behind her and her long  hair flying. just moments before he had been dreaming her up, this very woman, as he climbed the chalk path, a little breathless from the gin-soaked night before. he\u2019d summoned her from the depths of his hangover. ta-da! wished her into being. she was everything he desired: her stance, her attitude, everything, right down to the muscular brown calves that emerged from her cut-off blue jeans. the wind came in chaotic gusts that bowled him along the grassy ridge. she  was walking backwards into the wind, staring towards the trees, and she didn\u2019t notice him coming until he was close enough to make her jump. \u201chi,\u201d he called out and as she turned with startled brows he saw that her face  was just as he\u2019d dreamed it, neatly featured and out of a tan skin and dark lashes her eyes an astonishing siamese cat blue. \u201cwhoa, it\u2019s blowy,\u201d he said, amazed he could speak. she nodded and gestured:  \u201clook out,\u201d and as she raised her left arm he noticed her leather gauntlet and he followed her eyes skyward to the bird that was falling, turning and turning, like a heart that had leapt free. it fell, this falcon, and he was transfixed, his was the raptor\u2019s 2 gaze; he was hurling himself straight at her from the heavens. the beat of  its wings was the beat of his blood as it landed on her outstretched arm, claiming her, snatching her wrist with its yellow and black feet, jealously shielding the meat that she gave it beneath a mantle of wing and tail feathers. julian realised that he was out of breath. she laughed at his astonishment. \u201cmanners, lucifer,\u201d she said as it tore the  meat from her. \u201che\u2019s a harris hawk,\u201d she said when he asked. the hawk regarded her with psychopathic eyes. \u201cdon\u2019t be so greedy you rude thing,\u201d she scolded, and julian noticed her shirt  billowing, the sheen of her skin. \u201cand if you don\u2019t hurry up i\u2019ll be late for work.\u201d she held a second morsel, pink and stringy, in the gauntlet. a leather tassel hung from her wrist: the way the hawk stripped the meat made  it jerk about and swing. \u201cwhat\u2019s that you\u2019re feeding him?\u201d\u201cdon\u2019t ask,\u201d she wrinkled her nose in a way that made his heart tender.  perhaps he was dreaming? another mischievous gust revealed a leather belt and above it the momentary distraction of a long narrow stomach, smooth as new brown paper. \u201call the way up here to fly him, and it\u2019s perfect this wind, but he hasn\u2019t caught a  thing to eat for himself this morning.\u201d he listened for clues to her exotic looks in her accent but found none. she  pulled a face at the hawk and it took the cue to fly from her, imperious 3 feathers  rustled, reeling away to the trees. \u201coff we go again,\u201d she said and julian watched the swing of her walk as she ",
            "5": "5 0486/31/m/j/14 \u00a9 ucles 2014headed for the copse, the loose folds of white shirt gathering at her waist and the  hawk circling overhead. from her belt hung a pouch from which she\u2019d taken the bits of meat. the bag bounced against her hip, the gauntlet was comically large at the end of her slender arm. the hawk landed in a tree and julian found he was holding his breath, arms  stretched out at his sides, waiting for it to fly to her, his every muscle tensed. but julia marched on, and started to lollop 4 and then to jog. as she reached the corner  it hit him as suddenly as waking to the click of fingers. he panicked, unable to think of a thing to shout. he patted his pockets  impotently. all he had on him was the key to his bike lock and a wrap of tobacco. was there nothing he could pretend she\u2019d lost? he watched her disappear around the edge of the trees, hands helplessly hanging at his sides. he ran to the copse, across mounds of grass that left him stumbling, but there was no sign of her. time seemed to slow until he felt like a sleepwalker wending through the undergrowth, brambles snatching, unable to find his way through the trees. the wind dropped and the branches stilled. he stopped, leaned against a tree trunk; through the leaves he could see only crows circling, their callous 5 shouts echoing around the downs. 1 downs with three counties : open, high land with a wide view of the countryside 2 raptor\u2019s : of a bird of prey 3 imperious : arrogant 4 lollop : to walk or run with a clumsy bouncing movement 5 callous : cruel or insensitive",
            "6": "6 0486/31/m/j/14 \u00a9 ucles 2014blank page",
            "7": "7 0486/31/m/j/14 \u00a9 ucles 2014blank page",
            "8": "8 0486/31/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  sean o\u2019brien;  dignified , from sports pages  in not just a game:  sporting poetry ;  five leaves;  2006. question 2  \u00a9  polly sampson;  the man who fell , from the guardian review book of short stories ;  guardian news & media ltd;  2011.      permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_32.pdf": {
            "1": "this document consists of 5 printed pages and 3 blank pages and 1 insert. dc rcl (km) 81694/4 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education *7763145062*literature (english)  0486/32 paper 3  unseen may/june 2014  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/32/m/j/14 \u00a9 ucles 2014answer either  question 1 or question 2. either 1 read carefully the poem opposite about the building and lighting of a bonfire. (a bonfire is a large  open-air fire built to destroy rubbish and garden waste.)  how does the poet convey to you such vivid impressions of the bonfire? to help you answer this question, you might consider: \u0081 how the poet portrays the difficulties of lighting the bonfire  \u0081 how he describes the changes in the bonfire  \u0081 how he creates such disturbing images of the fire in the final stanza.",
            "3": "3 0486/32/m/j/14 \u00a9 ucles 2014 [turn overthe bonfire day by day, day after day, we fed it with straw, mown grass, shavings, shaken weeds,the huge flat leaves of umbrella plants, old spoilleft by the builders, combustible; yet itcoughed fitfully at the touch of a match,flared briefly, spat flame through a few dry seedslike a chain of fireworks, then slumped back to the soilsmouldering and smoky, leaving us to watch only a heavy grey mantle without fire. this glum construction seemed choked at heart,the coils of newspaper burrowed into its hulkled our small flames into the middle of nowhere,never touching its centre, sodden with rot.ritual petrol 1 sprinklings wouldn\u2019t make it start but swerved and vanished over its squat brown bulk,still heavily sullen, grimly determined not to do away with itself. a whiff of smoke hung over it as over a volcano.until one night, late, when we heard outsidea crackling roar, and saw the far field looklike a gehenna 2 claiming its due dead. the beacon beckoned, fierily aglowwith days of waiting, hiding deep insideits bided time, ravenous to be fed. 1 petrol : gasoline, a type of fuel 2 gehenna : fiery biblical hell",
            "4": "4 0486/32/m/j/14 \u00a9 ucles 2014or 2 read carefully the following extract from a short story about a canadian teenager, miriam, eating  her breakfast and observing passers-by while her parents are still in bed.  what do you find entertaining about the ways in which the writing portrays miriam? to help you answer this question, you might consider:  \u0081 how the writer portrays miriam\u2019s attitude towards her parents  \u0081 how she makes miriam\u2019s reported conversations with them so revealing  \u0081 how she makes miriam\u2019s thoughts and feelings so amusing. miriam sits in her favourite spot, the breakfast nook overlooking the ravine. her dad\u2019s  birdwatching binoculars are nearby in case anything interesting happens, but so far today it\u2019s only the usual. joggers go past; there\u2019s an old man asleep under a bush. dogs scrabble in the leaves. miriam likes to get up before everyone else and have her breakfast early, so  she can think in peace. so she doesn\u2019t have to listen to her parents dumping on her with their version of how she should spend her day. is your math done yet? what  about your french? isn\u2019t that the third movie you\u2019ve been to this week? why can\u2019t marjilane come over here to do her homework, why does it have to be the kaffay nwar 1 at two-fifty for a lousy cappucino? well, if that\u2019s how you want to waste your  allowance2 i suppose it\u2019s your own business. each one of them has a long list of the chores their own parents made them do  when they were her age. not that she believes they ever were her age. they were born exactly the way they are now, dad bald at the top and mom into the hide-your-grey rinses, and both of them with bad feet. at your age i used to dust the whole  house, top to bottom. and i mowed the lawn. but mom, bettina does the dusting and green pastures mows the lawn, so what do you want from me? maybe i could scrub the sidewalk? hey, i know, give me some matches and i can be the little match girl and be really virtuous and freeze to death! that\u2019s enough out of you, young lady, at your age i would have been sent to my  room for talking back in that snippy way. oh cool, snippy! oh, i am devastated! i am boulevers\u00e9e, 3 i am ecras\u00e9e! 4 call  me a geek, call me a turkey, but don\u2019t call me snippy! how about calling me louche? 5  at least it has a certain je ne sais quoi, n\u2019est-ce pas, mon petit crapaud? 6 fred, what\u2019s she saying?serves us right for sending her to that snotty school. an arm and a leg and  what do you get? a kid you can\u2019t understand! these conversations don\u2019t usually take place out loud. miriam can just hear  them going on and on, inside everybody\u2019s head. sometimes she thinks her parents aren\u2019t her real parents at all. sometimes she thinks her mother was impregnated by aliens but can\u2019t remember anything about it because she was unconscious at the time. miriam saw a movie like that once. she\u2019s eating her favourite breakfast, a big piece of the apple pie she made last  night. she likes making pies; it\u2019s kind of a creative process. she taught herself to do it out of her grandmother\u2019s old cookbook, because the only recipe her mother knows is let\u2019s go out for italian . that\u2019s one thing her mother approves of anyway  \u2013 miri am\u2019s pies. or she sort of approves of them. look at the mess in this kitchen,  who\u2019s going to clean it up, and let me tell you in advance that bettina is not the answer . though she doesn\u2019t approve of miriam eating the pies for breakfast. when  i was your age i had to eat a proper breakfast . oatmeal porridge, every day. even in  summer . miriam happens to believe that this is a lie; even in the past, nobody could  be that gross.",
            "5": "5 0486/32/m/j/14 \u00a9 ucles 2014she thinks maybe she\u2019ll get a tattoo, like her friend marjilane. a tattoo, or else a  belly-button ring. she\u2019s saving up. down in the ravine the joggers go past; pathetic, most of them. middle-aged  guys with earbuds7 stuck in their ears, they think they\u2019re so cool. trying to work off  the flab. at least her dad doesn\u2019t do that. make a spectacle of himself in those lime- green spandex bicycle shorts, it\u2019s almost the same as walking around naked, all the bulgy parts showing. she\u2019d die of embarrassment. 1 kaffay nwar : exaggerated french pronunciation of \u2018caf\u00e9 noir\u2019 2 allowance : pocket money 3 boulevers\u00e9e : astounded (french) 4 ecras\u00e9e : crushed (french) 5 louche : disreputable, shifty (french) 6  je ne sais quoi, n\u2019est-ce pas, mon petit crapaud? : indefinable  something, hasn\u2019t it, my little toad? (french) 7  earbuds : in-ear headphones",
            "6": "6 0486/32/m/j/14 \u00a9 ucles 2014blank page",
            "7": "7 0486/32/m/j/14 \u00a9 ucles 2014blank page",
            "8": "8 0486/32/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  anthony thwaite;  the bonfire , from ed. m t p benton;  poetry workshop  ;  hodder & stoughton;  1975.      question 2  \u00a9  margaret attwood;  underbrush man , in guardian review book of short stories ;  guardian news & media ltd;  2011.  permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_33.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc rcl (km) 81697/3 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education *6067447758*literature (english)  0486/33 paper 3  unseen may/june 2014  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/33/m/j/14 \u00a9 ucles 2014answer either  question 1 or question 2. either 1 read carefully the poem opposite. the poet remembers a place by a river and a time which was  special to her.  how does the writing make the scene so vivid for you? to help you answer this question, you might consider:  \u0081 the images of the scene the poet creates  \u0081 how she conveys the impact of the place upon her  \u0081 how her thoughts and feelings develop.",
            "3": "3 0486/33/m/j/14 \u00a9 ucles 2014 [turn overat blake\u2019s lock 1 i had forgotten the river, its sound and its waterfall,the green of it; forgotten the launching of birds, the heron\u2019s   2 plastic watchfulness, its only movement an eye, a feather-flick; forgotten the reachof trees, their branch-dipping offerings and tang of pillow-soft leaves;forgotten the sun\u2019s marbling, its mirror-darts of quiet, secret dreams; forgottenthe scoop of oars, glide and scull 3 of boats; how we closed our eyes,white-blinded by the sky, but could still see; how time rested on a blade edge,unblemished, cloud-light. at blake\u2019s lock i remembered these weir  4-real things, and the rush of them, and you. 1 lock  : gated section of a river 2 heron  : wading bird that hunts fish 3 scull : being rowed with small oars 4 weir : low dam across a river",
            "4": "4 0486/33/m/j/14 \u00a9 ucles 2014or 2 read carefully the following extract from a short story. alfred, a teenager, has been caught stealing  from his employer, sam carr. his mother has just persuaded mr carr not to call the police.  how does the writing make this such a powerful and significant moment for alfred? to help you answer this question, you might consider:  \u0081 how the writer conveys the mother\u2019s feelings  \u0081 how he portrays alfred\u2019s changing response to his mother  \u0081 how the writing conveys the overall impact of the experience on alfred. the mother and son walked along the street together, and the mother was  taking a long, firm stride as she looked ahead with her stern face full of worry. alfred was afraid to speak to her, he was afraid of the silence that was between them, so he only looked ahead too, for the excitement and relief was still pretty strong in him; but in a little while, going along like that in silence made him terribly aware of the strength and the sternness in her; he began to wonder what she was thinking of as she stared ahead so grimly; she seemed to have forgotten that he walked beside her; so when they were passing under the sixth avenue elevated 1 and the rumble of  the train seemed to break the silence, he said in his old, blustering way, \u2018thank god it turned out like that. i certainly won\u2019t get in a jam like that again.\u2019 \u2018be quiet. don\u2019t speak to me. y ou\u2019ve disgraced me again and again,\u2019 she said  bitterly. \u2018that\u2019s the last time. that\u2019s all i\u2019m saying.\u2019\u2018have the decency to be quiet,\u2019 she snapped. they kept on their way, looking  straight ahead. when they were at home and his mother took off her coat, alfred saw that she  was really only half-dressed, and she made him feel afraid again when she said, without even looking at him, \u2018y ou\u2019re a bad lot. god forgive you. it\u2019s one thing after another and always has been. why do you stand there stupidly? go to bed, why don\u2019t you?\u2019 when he was going, she said, \u2018i\u2019m going to make myself a cup of tea. mind, now, not a word about tonight to your father.\u2019 while alfred was undressing in his bedroom, he heard his mother moving  around the kitchen. she filled the kettle and put it on the stove. she moved a chair. and as he listened there was no shame in him, just wonder and a kind of admiration of her strength and repose. he could still see sam carr nodding his head encouragingly to her; he could hear her talking simply and earnestly, and as he sat on his bed he felt a pride in her strength. \u2018she certainly was smooth,\u2019 he thought. \u2018gee, i\u2019d like to tell her she sounded swell.\u2019 and at last he got up and went along to the kitchen, and when he was at the  door he saw his mother pouring herself a cup of tea. he watched and he didn\u2019t move. her face, as she sat there, was a frightened, broken face utterly unlike the face of the woman who had been so assured a little while ago in the drugstore. 2  when she reached out and lifted the kettle to pour hot water in her cup, her hand trembled and the water splashed on the stove. leaning back in the chair, she sighed and lifted the cup to her lips, and her lips were groping loosely as if they would never reach the cup. she swallowed the hot tea eagerly, and then she straightened up in relief, though her hand holding the cup still trembled. she looked very old. it seemed to alfred that this was the way it had been every time he had been  in trouble before, that this trembling had really been in her as she hurried out half-dressed to the drugstore. now he felt all that his mother had been thinking of as they walked along the street together a little while ago. he watched his mother, and he never spoke, but at that moment his youth seemed to be over; he knew all the years ",
            "5": "5 0486/33/m/j/14 \u00a9 ucles 2014of her life by the way her hand trembled as she raised the cup to her lips. it seemed  to him that this was the first time he had ever looked upon his mother. 1  sixth avenue elevated  : a railway line in new y ork which runs above street level 2 drugstore  : a chemist\u2019s and general store",
            "6": "6 0486/33/m/j/14 \u00a9 ucles 2014blank page",
            "7": "7 0486/33/m/j/14 \u00a9 ucles 2014blank page",
            "8": "8 0486/33/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  claire dyer;  at blake\u2019s lock , from reading poetry, an anthology ;  two rivers press;  2011. question 2   \u00a9  ed. angela macmillan;  morley callaghan;  all the y ears of her life , from a little aloud  ;  published by chatto & windus.  reprinted by permission  of the random house group ltd;  2010.      permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_41.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (st) 103137 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 6 2 7 9 5 6 2 9 2 3 *literature (english)  0486/41 paper 4 may/june 2014  2 hours 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/41/m/j/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/41/m/j/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3 pages 4\u20135 wiliiam shakespeare: julius caesar        *4, \u20205, 6 pages 6\u20137 wiliiam shakespeare: the tempest        *7, \u20208, 9 pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12 pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015 pages 12\u201313 songs of ourselves : from part 4 *16, \u202017, \u202018 pages 14\u201315 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21 pages 16\u201317 anita desai: fasting, feasting  *22, \u202023, 24 pages 18\u201319 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27 pages 20\u201321 george eliot: silas marner  *28, \u202029, 30 pages 22\u201323 susan hill: i\u2019m the king of the castle  *31, \u202032, 33 pages 24\u201325 from stories of ourselves  *34, \u202035, 36 pages 26\u201327",
            "4": "4 0486/41/m/j/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either *1 read this extract, and then answer the question that follows it: ann: y ou\u2019re not so dumb, joe. content removed due to copyright restrictions.",
            "5": "5 0486/41/m/j/14 \u00a9 ucles 2014 [turn overkeller:  right again.  [from act 2 ]   explore the ways in which miller reveals the thoughts of the characters at this moment in  the play so dramatically. or \u20202 how far do you think miller suggests that kate keller is a bad mother and a bad wife?  support your ideas with details from the writing. or 3 y ou are chris. ann deever is coming to stay.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45william shakespeare:  julius\tcaesar either *4 read this extract, and then answer the question that follows it: cassius:  why, now, blow wind, swell billow, and swim bark!  the storm is up, and all is on the hazard. brutus:  ho, lucilius! hark, a word with you. lucilius:  my lord.  [brutus and lucilius converse apart . cassius:  messala. messala:   what says my general? cassius:   messala,  this is my birth-day; as this very day  was cassius born. give me thy hand messala,  be thou my witness that against my will,  as pompey was, am i compell\u2019d to set  upon one battle all our liberties.  y ou know that i held epicurus strong,  and his opinion; now i change my mind,  and partly credit things that do presage.  coming from sardis, on our former ensign  two mighty eagles fell; and there they perch\u2019d,  gorging and feeding from our soldiers\u2019 hands,  who to philippi here consorted us.  this morning are they fled away and gone,  and in their steads do ravens, crows, and kites,  fly o\u2019er our heads and downward look on us  as we were sickly prey. their shadows seem  a canopy most fatal, under which  our army lies, ready to give up the ghost. messala:  believe not so. cassius:   i but believe it partly;  for i am fresh of spirit and resolv\u2019d  to meet all perils very constantly. brutus:  even so, lucilius. cassius:   now, most noble brutus,  the gods to-day stand friendly, that we may,  lovers in peace, lead on our days to age!  but, since the affairs of men rest still in-certain,  let\u2019s reason with the worst that may befall.  if we do lose this battle, then is this  the very last time we shall speak together.  what are you then determined to do? brutus:  even by the rule of that philosophy  by which i did blame cato for the death  which he did give himself \u2013 i know not how,  but i do find it cowardly and vile,  for fear of what might fall, so to prevent  the time of life \u2013 arming myself with patience  to stay the providence of some high powers  that govern us below. cassius:   then, if we lose this battle,",
            "7": "7 0486/41/m/j/14 \u00a9 ucles 2014 [turn over50 55 60 65 y ou are contented to be led in triumph  thorough the streets of rome? brutus:  no, cassius, no. think not, thou noble roman,  that ever brutus will go bound to rome;  he bears too great a mind. but this same day  must end that work the ides of march begun,  and whether we shall meet again i know not.  therefore our everlasting farewell take:  for ever and for ever farewell, cassius!  if we do meet again, why, we shall smile;  if not, why then this parting was well made. cassius:  for ever and for ever farewell, brutus!  if we do meet again, we\u2019ll smile indeed;  if not, \u2019tis true this parting was well made. brutus:  why then, lead on. o that a man might know  the end of this day\u2019s business ere it come!  but it sufficeth that the day will end,  and then the end is known. come, ho! away!  [exeunt .   [from act 5 scene 1 ]   how does shakespeare create sympathy for cassius at this moment in the play? or \u20205 brutus says \u2018antony is but a limb of caesar\u2019. how does shakespeare make it clear to you  that there is more to antony than brutus thinks? support your ideas with details from the  play. or 6 y ou are portia. y ou have just sent lucius to the capitol to find out what is happening.   write your thoughts.",
            "8": "8 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45william shakespeare: \tthe\ttempes t either *7 read this extract, and then answer the question that follows it: ferdinand:  where should this music be? i\u2019th\u2019 air or th\u2019earth?  it sounds no more; and sure it waits upon  some god o\u2019th\u2019 island. sitting on a bank,  weeping again the king my father\u2019s wreck,  this music crept by me upon the waters,  allaying both their fury and my passion  with its sweet air. thence i have followed it\u2014  or it hath drawn me rather. but \u2019tis gone.  no, it begins again. song ariel:   full fathom five thy father lies.    of his bones are coral made;   those are pearls that were his eyes;    nothing of him that doth fade   but doth suffer a sea-change   into something rich and strange.    sea-nymphs hourly ring his knell: spirits:  [within ] ding dong. ariel:  hark, now i hear them. spirits:  [within ] ding-dong bell. [ etc.] ferdinand:  the ditty does remember my drowned father.  this is no mortal business, nor no sound  that the earth owes.  [music ]   i hear it now above me. prospero:  [to miranda ]  the fring\u00e8d curtains of thine eye advance,  and say what thou seest yon. miranda:   what is\u2019t? a spirit?  lord, how it looks about! believe me, sir,  it carries a brave form. but \u2019tis a spirit. prospero:  no, wench, it eats and sleeps, and hath such senses  as we have, such. this gallant which thou seest  was in the wreck, and but he\u2019s something stained  with grief, that\u2019s beauty\u2019s canker, thou mightst call him  a goodly person. he hath lost his fellows,  and strays about to find \u2019em. miranda:   i might call him  a thing divine, for nothing natural  i ever saw so noble. prospero:  [aside ] it goes on, i see,  as my soul prompts it. [ to ariel ] spirit, fine spirit, i\u2019ll free thee  within two days for this. ferdinand:  [aside ] most sure the goddess  on whom these airs attend. [ to miranda ] vouchsafe my prayer  may know if you remain upon this island,  and that you will some good instruction give",
            "9": "9 0486/41/m/j/14 \u00a9 ucles 2014 [turn over50 55 60 65 70 how i may bear me here. my prime request,  which i do last pronounce, is\u2014o you wonder\u2014  if you be maid or no? miranda:    no wonder, sir; but certainly a maid. ferdinand:    my language? heavens! i am the best of them that speak this speech,   were i but where \u2019tis spoken. prospero:    how? the best? what wert thou, if the king of naples heard thee? ferdinand:  a single thing, as i am now that wonders  to hear thee speak of naples. he does hear me,  and that he does i weep. myself am naples,  who with mine eyes, never since at ebb, beheld  the king my father wrecked. miranda:   alack, for mercy! ferdinand:  y es, faith, and all his lords, the duke of milan  and his brave son being twain. prospero:  [aside ] the duke of milan  and his more braver daughter could control thee,  if now \u2019twere fit to do\u2019t. at the first sight  they have changed eyes.\u2014delicate ariel,  i\u2019ll set thee free for this. [ to ferdinand  ] a word, good sir.  i fear you have done yourself some wrong. a word. [from act 1 scene 2 ]   explore the ways in which shakespeare makes this such a dramatic and moving moment  in the play. or \u20208 do you feel that justice has been done by the end of the play? support your ideas with  details from shakespeare\u2019s writing. or 9 y ou are trinculo. caliban has been persuading you and stephano to kill prospero and  take over the island. y ou hear some mysterious music, and set off to try and find where it  is coming from.   write your thoughts.",
            "10": "10 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40oscar wilde: the\timportance\tof\tbeing\tearnest either *10 read this extract, and then answer the question that follows it: merriman:  the dog-cart is at the door, sir.   [algernon looks appealingly at cecily . cecily:  it can wait, merriman \u2026 for \u2026 five minutes. merriman:  y es, miss.  [exit merriman . algernon:  i hope, cecily, i shall not offend you if i state quite frankly and openly that  you seem to me to be in every way the visible personification of absolute  perfection. cecily:  i think your frankness does you great credit, ernest. if you will allow me, i  will copy your remarks into my diary.   [goes over to table and begins writing in diary. algernon:  do you really keep a diary? i\u2019d give anything to look at it. may i? cecily:  oh, no! [ puts her hand over it .] y ou see, it is simply a very young girl\u2019s  record of her own thoughts and impressions and consequently meant for  publication. when it appears in volume form i hope you will order a copy.  but pray, ernest, don\u2019t stop. i delight in taking down from dictation. i have  reached \u201cabsolute perfection.\u201d y ou can go on. i am quite ready for more. algernon:  [somewhat taken aback .] ahem! ahem! cecily:  oh, don\u2019t cough, ernest. when one is dictating one should speak fluently  and not cough. besides, i don\u2019t know how to spell a cough.   [writes as algernon speaks. algernon:  [speaking very rapidly .] cecily, ever since i first looked upon your wonderful  and incomparable beauty, i have dared to love you wildly, passionately,  devotedly, hopelessly. cecily:  i don\u2019t think that you should tell me that you love me wildly, passionately,  devotedly, hopelessly. hopelessly doesn\u2019t seem to make much sense,  does it? algernon:  cecily!  [enter merriman .] merriman:  the dog-cart is waiting, sir. algernon:  tell it to come round next week, at the same hour. merriman:  [looks at cecily, who makes no sign .] y es, sir.   [merriman retires . cecily:  uncle jack would be very much annoyed if he knew you were staying on  till next week, at the same hour. algernon:  oh, i don\u2019t care about jack. i don\u2019t care for anybody in the whole world but  you. i love you, cecily. y ou will marry me, won\u2019t you? cecily:  y ou silly boy! of course! why, we have been engaged for the last three  months. algernon:  for the last three months? cecily:  y es, it will be exactly three months on thursday. algernon:  but how did we become engaged? cecily:  well, ever since dear uncle jack first confessed to us that he had a  younger brother who was very wicked and bad, you of course have formed ",
            "11": "11 0486/41/m/j/14 \u00a9 ucles 2014 [turn overthe chief topic of conversation between myself and miss prism. and of  course a man who is much talked about is always very attractive. one feels  there must be something in him, after all. i dare say it was foolish of me,  but i fell in love with you, ernest. algernon:  darling! and when was the engagement actually settled? cecily:  on the 14th of february last. worn out by your entire ignorance of my  existence, i determined to end the matter one way or the other, and after a  long struggle with myself i accepted you under this dear old tree here. the  next day i bought this little ring in your name, and this is the little bangle  with the true lover\u2019s knot i promised you always to wear. algernon:  did i give you this? it\u2019s very pretty, isn\u2019t it? cecily:  y es, you\u2019ve wonderfully good taste, ernest. it\u2019s the excuse i\u2019ve always  given for your leading such a bad life. and this is the box in which i keep all  your dear letters.  [kneels at table, opens box, and produces letters tied up with blue ribbon . algernon:  my letters! but, my own sweet cecily, i have never written you any letters. cecily:  y ou need hardly remind me of that, ernest. i remember only too well that i  was forced to write your letters for you. i wrote always three times a week,  and sometimes oftener. algernon:  oh, do let me read them, cecily! cecily:  oh, i couldn\u2019t possibly. they would make you far too conceited. [ replaces  box.] the three you wrote me after i had broken off the engagement are  so beautiful, and so badly spelled, that even now i can hardly read them  without crying a little. algernon:  but was our engagement ever broken off? cecily:  of course it was. on the 22nd of last march. y ou can see the entry if you  like. [ shows diary .] \u201cto-day i broke off my engagement with ernest. i feel it  is better do so. the weather still continues charming.\u201d algernon:  but why on earth did you break it off? what had i done? i had done  nothing at all. cecily, i am very much hurt indeed to hear you broke it off.  particularly when the weather was so charming. cecily:  it would hardly have been a really serious engagement if it hadn\u2019t been  broken off at least once. but i forgave you before the week was out. algernon:  [crossing to her, and kneeling .] what a perfect angel you are, cecily! [from act 2 ]   how does wilde make this proposal of marriage such a hilarious moment in the play? or \u202011 how does wilde make the way jack worthing has to live his life so comically complicated?  support your ideas with details from the writing. or 12 y ou are gwendolen. y ou are being taken home by your mother after she has rejected  jack worthing as a possible son- in-law.   write your thoughts.45 50 55 60 65 70 75",
            "12": "12 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25section b: poetry thomas hardy:  selected\tpoems either *13 read this poem, and then answer the question that follows it: the convergence of the twain (lines on the loss of the \u2018titanic\u2019  ) i     in a solitude of the sea     deep from human vanity, and the pride of life that planned her, stilly couches she. ii     steel chambers, late the pyres     of her salamandrine fires, cold currents thrid, and turn to rhythmic tidal lyres. iii     over the mirrors meant     to glass the opulent the sea-worm crawls \u2013 grotesque, slimed, dumb, indifferent. iv     jewels in joy designed     to ravish the sensuous mind lie lightless, all their sparkles bleared and black and blind. v     dim moon-eyed fishes near     gaze at the gilded gear and query: \u2018what does this vaingloriousness down here?\u2019 \u2026 vi     well: while was fashioning     this creature of cleaving wing, the immanent will that stirs and urges everything vii     prepared a sinister mate     for her \u2013 so gaily great \u2013 a shape of ice, for the time far and dissociate. viii     and as the smart ship grew     in stature, grace, and hue, in shadowy silent distance grew the iceberg too. ix     alien they seemed to be:     no mortal eye could see the intimate welding of their later history,",
            "13": "13 0486/41/m/j/14 \u00a9 ucles 2014 [turn over30x     or sign that they were bent     by paths coincident on being anon twin halves of one august event, xi     till the spinner of the y ears     said \u2018now!\u2019 and each one hears, and consummation comes, and jars two hemispheres.   how does hardy make this poem so powerfully dramatic? or \u202014 explore the ways in which hardy portrays hopeless love in the pine planters . or \u202015 how does hardy make the situations of either  drummer hodge in drummer hodge  or  the people in no buyers: a street scene  so moving  ?",
            "14": "14 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35songs\tof\tourselves:  from part 4 either *16 read this poem, and then answer the question that follows it: the city planners cruising these residential sunday streets in dry august sunlight: what offends us is the sanities: the houses in pedantic rows, the planted sanitary trees, assert levelness of surface like a rebuke to the dent in our car door. no shouting here, or shatter of glass; nothing more abrupt than the rational whine of a power mower cutting a straight swath in the discouraged grass. but though the driveways neatly sidestep hysteria by being even, the roofs all display the same slant of avoidance to the hot sky, certain things: the smell of spilt oil a faint sickness lingering in the garages, a splash of paint on brick surprising as a bruise, a plastic hose poised in a vicious coil; even the too-fixed stare of the wide windows give momentary access to the landscape behind or under the future cracks in the plaster when the houses, capsized, will slide obliquely into the clay seas, gradual as glaciers that right now nobody notices. that is where the city planners with the insane faces of political conspirators are scattered over unsurveyed territories, concealed from each other, each in his own private blizzard; guessing directions, they sketch transitory lines rigid as wooden borders on a wall in the white vanishing air tracing the panic of suburb order in a bland madness of snows. (by margaret atwood )",
            "15": "15 0486/41/m/j/14 \u00a9 ucles 2014 [turn over  explore how atwood makes this poem so disturbing. or \u202017 how does edwin muir vividly convey memories of childhood in horses ? or \u202018 explore the ways in which the poets use words and phrases to create striking effects in  pied beauty  (by gerard manley hopkins) and a birthday  (by christina rossetti).",
            "16": "16 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40section c: prose tsitsi dangarembga:  nervous\tconditions either *19 read this extract, and then answer the question that follows it: y es, i was very irritable on that occasion, the occasion of my uncle\u2019s  return, which should have been for me, as it was for everyone else, a  sublime occasion. it was spoiled for me because i could not help thinking  that had i been allowed, had i been able to welcome babamukuru at  the airport, i would have been there too, with nhamo and my cousins,  rejoicing, re-establishing the relationship that had been cut off when my  cousins went away. not going to the airport, not being able to resume my  relationships with my cousins, these events coalesced formlessly in my  mind to an incipient understanding of the burdens my mother had talked  of. whereas before i had believed with childish confidence that burdens  were only burdens in so far as you chose to bear them, now i began to  see that the disappointing events surrounding babamukuru\u2019s return were  serious consequences of the same general laws that had almost brought  my education to an abrupt, predictable end. it was frightening. i did not  want my life to be predicted by such improper relations. i decided i would  just have to make up my mind not to let it happen. curling my lip at nhamo  and my cousins, i departed, flouncing surlily, pointedly, out of the house  to the kitchen; there, thrusting a log into the hearth so viciously that the  three-legged pot that on normal days contained sadza , but today was full  of meat, splashed half its juices into the embers. a piece of meat fell out too. i picked it out of the ashes and ate it, and  then felt sick because i was still thinking about nhamo and the cousins,  and being cross with nhamo for excluding me from their circle in spite of  the fact that i did not approve of any of them. i considered the situation.  had i approved of my cousins before they went to england? most definitely  i had; i had loved them. when they visited the homestead we had played  long, exciting games. why did i no longer like them? i could not be sure.  did i like anybody? what about babamukuru? had the change to do with  me or had it to do with them? these were complex, dangerous thoughts  that i was stirring up, not the kind that you can ponder safely but the kind  that become autonomous and malignant if you let them. if i continued in  this way, i would soon be itching to beat nhamo up because his smirking  had brought the matter to a head. but i could not have the satisfaction  of indulging my frustration in this way. nhamo and i had stopped beating  each other up a long time ago, at the time that i went back to school, more  because we had developed so differently that we no longer had enough  common ground in which to fight, than out of mutual respect or affection.  besides, i was reluctantly aware that beating up nhamo would not help;  my discontent had to do with more than my brother\u2019s annoying manners.  sensing how unwise it was to think too deeply about these things in case  i manoeuvred myself into a blind alley at the end of which i would have to  confront unconfrontable issues, i busied myself with housework. [from chapter 3 ]",
            "17": "17 0486/41/m/j/14 \u00a9 ucles 2014 [turn over  explore the ways in which dangarembga vividly conveys tambu\u2019s conflicting feelings at  this moment in the novel. or \u202020 how does dangarembga vividly convey similarities between tambu and nyasha?  support your ideas with details from the writing. or 21 y ou are jeremiah. babamukuru has just praised you for mending the thatch over the  kitchen.   write your thoughts.",
            "18": "18 0486/41/m/j/14 \u00a9 ucles 2014anita desai:  fasting, \tfeasting either *22 read this extract, and then answer the question that follows it: then mother agnes came round the corner and down the passage,  walking in long, rustling strides towards her.  content removed due to copyright restrictions.",
            "19": "19 0486/41/m/j/14 \u00a9 ucles 2014 [turn overi always said don\u2019t send them to a convent school. keep them  at home, i said \u2013 but who listened? and now \u2013 !\u2019 [from chapter 3 ]   how does desai make you sympathise with uma at this moment in the novel? or \u202023 explore the ways in which desai makes any two moments in the novel particularly  amusing for you. (do not use the extract printed in question 22 in answering this  question.) or 24 y ou are mrs patton. arun has just left to go back to the dorm.   write your thoughts.content removed due to copyright restrictions.",
            "20": "20 0486/41/m/j/14 \u00a9 ucles 2014kiran desai:  hullabaloo\tin\tthe\tguava\torchard either *25 read this extract, and then answer the question that follows it: at this everyone nodded their heads.  the spy thought late into the night. [from chapter 10 ]content removed due to copyright restrictions.",
            "21": "21 0486/41/m/j/14 \u00a9 ucles 2014 [turn over  in what ways does desai make this moment in the novel both magical and ridiculous?  support your ideas with details from the writing. or \u202026 how do you think desai makes sampath so likeable even though he is so useless and  lazy? support your ideas with details from the writing. or 27 y ou are pinky. y ou have just heard about sampath\u2019s behaviour at the wedding party.   write your thoughts.",
            "22": "22 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45 50george eliot: \tsilas\tmarner either *28 read this extract, and then answer the question that follows it: when marner\u2019s sensibility returned, he continued the action which  had been arrested, and closed his door, unaware of the chasm in his  consciousness, unaware of any intermediate change, except that the light  had grown dim, and that he was chilled and faint. he thought he had been  too long standing at the door and looking out. turning towards the hearth,  where the two logs had fallen apart, and sent forth only a red uncertain  glimmer, he seated himself on his fireside chair, and was stooping to push  his logs together, when, to his blurred vision, it seemed as if there were  gold on the floor in front of the hearth. gold!\u2014his own gold\u2014brought  back to him as mysteriously as it had been taken away! he felt his heart  begin to beat violently, and for a few moments he was unable to stretch  out his hand and grasp the restored treasure. the heap of gold seemed  to glow and get larger beneath his agitated gaze. he leaned forward at  last, and stretched forth his hand; but instead of the hard coin with the  familiar resisting outline, his fingers encountered soft warm curls. in utter  amazement, silas fell on his knees and bent his head low to examine the  marvel: it was a sleeping child\u2014a round, fair thing, with soft yellow rings all  over its head. could this be his little sister come back to him in a dream\u2014 his little sister whom he had carried about in his arms for a year before she  died, when he was a small boy without shoes or stockings? that was the  first thought that darted across silas\u2019s blank wonderment. was it a dream?  he rose to his feet again, pushed his logs together, and, throwing on some  dried leaves and sticks, raised a flame; but the flame did not disperse the  vision\u2014it only lit up more distinctly the little round form of the child and  its shabby clothing. it was very much like his little sister. silas sank into  his chair powerless, under the double presence of an inexplicable surprise  and a hurrying influx of memories. how and when had the child come in  without his knowledge? he had never been beyond the door. but along  with that question, and almost thrusting it away, there was a vision of the  old home and the old streets leading to lantern y ard\u2014and within that  vision another, of the thoughts which had been present with him in those  far-off scenes. the thoughts were strange to him now, like old friendships  impossible to revive; and yet he had a dreamy feeling that this child was  somehow a message come to him from that far-off life: it stirred fibres  that had never been moved in raveloe\u2014old quiverings of tenderness\u2014 old impressions of awe at the presentiment of some power presiding over  his life; for his imagination had not yet extricated itself from the sense of  mystery in the child\u2019s sudden presence, and had formed no conjectures of  ordinary natural means by which the event could have been brought about. but there was a cry on the hearth: the child had awaked, and marner  stooped to lift it on his knee. it clung round his neck, and burst louder and  louder into that mingling of inarticulate cries with \u2018mammy\u2019 by which little  children express the bewilderment of waking. silas pressed it to him, and  almost unconsciously uttered sounds of hushing tenderness, while he  bethought himself that some of his porridge, which had got cool by the  dying fire, would do to feed the child with if it were only warmed up a little. he had plenty to do through the next hour. the porridge, sweetened  with some dry brown sugar from an old store which he had refrained from  using for himself, stopped the cries of the little one, and made her lift her  blue eyes with a wide gaze at silas, as he put the spoon into her mouth.  presently she slipped from his knee and began to toddle about, but with a ",
            "23": "23 0486/41/m/j/14 \u00a9 ucles 2014 [turn over55 60pretty stagger that made silas jump up and follow her lest she should fall  against anything that would hurt her. but she only fell in a sitting posture  on the ground, and began to pull at her boots, looking up at him with a  crying face as if the boots hurt her. he took her on his knee again, but it  was some time before it occurred to silas\u2019s dull bachelor mind that the  wet boots were the grievance, pressing on her warm ankles. he got them  off with difficulty, and baby was at once happily occupied with the primary  mystery of her own toes, inviting silas, with much chuckling, to consider  the mystery too. [from chapter 12 ]   how does eliot make this passage so moving? or \u202029 \u2018i don\u2019t pretend to be a good fellow \u2026 but i\u2019m not a scoundrel.\u2019   how far does eliot make you agree with godfrey\u2019s opinion of himself? support your ideas  with details from the novel. or 30 y ou are dolly. y ou are on your way home after your first visit to silas with aaron and the  lard-cakes.   write your thoughts.",
            "24": "24 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40susan hill: \ti\u2019m\tthe\tking\tof\tthe\tcastle either *31 read this extract, and then answer the question that follows it: kingshaw stood on the gate for a long time, looking up the ploughed  field ahead. but there was nothing happening, nothing to see. it was too  hot, as well. he decided to go inside the church, partly because of that,  and also because he had never seen it, it was something to do. the edges of the grass were clipped very short and neat around  the gravestones, and the hedge was straight. there were gargoyles on  the tower, opening their cold stone mouths at him. kingshaw stuck out  his tongue, craning back his head. he would not be afraid of them in the  daylight. inside the church, it smelled as though no living, breathing person  had ever been there, the air was damp and musty and dead. kingshaw  walked slowly down between the pews. the hymn books were in two piles  on a chair, with some of the spines and backs hanging off. his footsteps  rang on the stone, and then were muffled as he came on to the red carpet  by the altar rail. he thought, this is church, this is god and jesus and the holy ghost.  after a moment, he dared himself to go and stand on the uneven tiles just  inside the chancel. on either side of him, the wood smelled of oldness and  polish. he remembered what he had thought and said about hooper, how  he had wished him to be dead. now, he was afraid of what would happen,  because of that. things came back on you. y ou were never safe. there  were the warts, still on his left hand. he knelt down, abruptly, where he was, and began to say, o god, i  didn\u2019t mean it \u2013 yes, i did, i did mean it, only now i don\u2019t mean it, i want to  take it back and never to have thought and said it, and if i\u2019m sorry, make  nothing happen to me, make it all be forgotten about. i am trying to be  sorry. but he did not think it likely that he could ever be believed, nothing  could change, because he had meant what he thought and said about  hooper, and still meant it. it was only being afraid of this empty church, and  of the white marble warrior lying on his tombstone in the side chapel, that  made him kneel down and tell lies. it was no good. he had wanted hooper  to be dead, because then things would have been better. his punishment  was that hooper was not dead, that everything was the same, and the  thought of that was worse than anything. he acknowledged that he feared  hooper more than he feared anything in the world. please make nothing happen, please make it all right and i will never,  never want anything else again, o god \u2026 his knees were hurting from the hard tiles. he wanted to get out into  the sunlight. \u2018what\u2019s the matter with you?\u2019 kingshaw spun round in alarm, and at once began to struggle to his  feet. \u2018y ou\u2019re not supposed to go inside those railings.\u2019 [from chapter 14 ]",
            "25": "25 0486/41/m/j/14 \u00a9 ucles 2014 [turn over  explore the ways in which hill makes kingshaw\u2019s situation at this moment in the novel  seem so distressing. support your ideas with details from the writing. or \u202032 how do you think warings contributes to the power of the novel? support your ideas with  details from hill\u2019s writing. or 33 y ou are hooper after your first encounter with kingshaw.   write your thoughts.",
            "26": "26 0486/41/m/j/14 \u00a9 ucles 20145 10 15 20 25 30 35 40 45 50from \tstories\tof\tourselves either *34 read this extract from sandpiper  (by ahdaf soueif ), and then answer the question that  follows it: y es, i am sick \u2013 but not just for home. i am sick for a time, a time that  was and that i can never have again. a lover i had and can never have  again. i watched him vanish \u2013 well, not vanish, slip away, recede. he did  not want to go. he did not go quietly. he asked me to hold him, but he  couldn\u2019t tell me how. a fairy godmother, robbed for an instant of our belief  in her magic, turns into a sad old woman, her wand into a useless stick.  i suppose i should have seen it coming. my foreignness, which had been  so charming, began to irritate him. my inability to remember names, or  follow the minutiae of politics, my struggles with his language, my need to  be protected from the sun, the mosquitoes, the salads, the drinking water.  he was back home, and he needed someone he could be at home with,  at home. it took perhaps a year. his heart was broken in two, mine was  simply broken. i never see my lover now. sometimes, as he romps with lucy on the  beach, or bends over her grazed elbow, or sits across our long table from  me at a dinner-party, i see a man i could yet fall in love with, and i turn  away. i told him too about my first mirage, the one i saw on that long road  to maiduguri. and on the desert road to alexandria the first summer, i saw  it again. \u2018it\u2019s hard to believe it isn\u2019t there when i can see it so clearly,\u2019 i  complained. \u2018y ou only think you see it,\u2019 he said. \u2018isn\u2019t that the same thing?\u2019 i asked. \u2018my brain tells me there\u2019s water  there. isn\u2019t that enough?\u2019 \u2018y es,\u2019 he said, and shrugged. \u2018if all you want to do is sit in the car and  see it. but if you want to go and put your hands in it and drink, then it isn\u2019t  enough, surely?\u2019 he gave me a sidelong glance and smiled. soon, i should hear lucy\u2019s high, clear voice, chattering to her father as  they walk hand in hand up the gravel drive to the back door. behind them  will come the heavy tread of um sabir. i will go out smiling to meet them  and he will deliver a wet, sandy lucy into my care, and ask if i\u2019m ok with a  slightly anxious look. i will take lucy into my bathroom while he goes into  his. later, when the rest of the family have all drifted back and showered  and changed, everyone will sit around the barbecue and eat and drink and  talk politics and crack jokes of hopeless, helpless irony and laugh. i should  take up embroidery and start on those aubusson  tapestries we all, at the  moment, imagine will be necessary for lucy\u2019s trousseau. y esterday when i had dressed her after the shower she examined  herself intently in my mirror and asked for a french plait. i sat behind her  at the dressing-table blow-drying her black hair, brushing it and plaiting  it. when lucy was born um sabir covered all the mirrors. his sister said,  \u2018they say if a baby looks in the mirror she will see her own grave.\u2019 we  laughed but we did not remove the covers; they stayed in place till she was  one. i looked at lucy\u2019s serious face in the mirror. i had seen my grave once,  or thought i had. that was part of my africa story. the plane out of nigeria  circled cairo airport. three times i heard the landing-gear come down,  and three times it was raised again. sitting next to me were two finnish  businessmen. when the announcement came that we were re-routing to ",
            "27": "27 0486/41/m/j/14 \u00a9 ucles 201455 60 65luxor they shook their heads and ordered another drink. at dawn, above  luxor airport, we were told there was trouble with the undercarriage and  that the pilot was going to attempt a crash-landing. i thought, so this is why  they\u2019ve sent us to luxor, to burn up discreetly and not clog cairo airport.  we were asked to fasten our seat belts, take off our shoes and watches,  put the cushions from the backs of our seats on our laps and bend double  over them with our arms around our heads. i slung my handbag with my  passport, tickets and money around my neck and shoulder before i did  these things. my finnish neighbours formally shook each other\u2019s hands.  on the plane there was perfect silence as we dropped out of the sky. and  then a terrible, agonised, protracted screeching of machinery as we hit the  tarmac. and in that moment, not only my head, but all of me, my whole  being, seemed to tilt into a blank, an empty radiance, but lucid. then three  giant thoughts. one was of him \u2013 his name, over and over again. the other  was of the children i would never have. the third was that the pattern was  now complete: this is what my life amounted to.   what striking impressions of the narrator does soueif create for you at this moment in  the story? or \u202035 explore how the writers make the endings of her first ball  (by katherine mansfield) and  at hiruhamara  (by penelope fitzgerald) so effective for you. or 36 y ou are muni in a horse and two goats . y ou are on your way home to tell your wife that  you have sold your goats to the american.   write your thoughts.",
            "28": "28 0486/41/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  all my sons.  \u00a9  1947, arthur miller.  reproduced by permission.  all rights reserved. question 16  \u00a9  margaret atwood;  the city planners , in songs of ourselves ;  cambridge university press;  reprinted by permission of time warner books  group uk. question 19 \u00a9  tsitsi dangarembga;  nervous conditions ;  ayebia publishing;  1988. question 22 \u00a9  anita desai;  fasting, feasting ; reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london w11 1jn. question 25 \u00a9  kiran desai;  hullabaloo in the guava orchard ;  faber & faber ltd;  1998. question 31 \u00a9  susan hill;  i\u2019m the king of the castle ;  penguin books ltd;  1989. question 34  \u00a9  ahdaf soueif;  sandpiper , in stories of ourselves ;  cambridge university press;  2008.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_42.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (ac) 103139 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 7 8 1 7 1 9 6 4 3 6 *literature (english) 0486/42 paper 4 may/june 2014  2 hours 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/42/m/j/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/42/m/j/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons       *1, \u20202, 3 pages 4\u20135 william shakespeare: julius caesar       *4, \u20205, 6 pages 6\u20137 william shakespeare: the tempest       *7, \u20208, 9 pages 8\u20139 oscar wilde: the importance of being earnest *10, \u202011, 12 pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected poems *13, \u202014, \u202015 pages 12\u201313 songs of ourselves: from part 4 *16, \u202017, \u202018 page  14 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions *19, \u202020, 21 pages 16\u201317 anita desai: fasting, feasting *22, \u202023, 24 pages 18\u201319 kiran desai: hullabaloo in the guava orchard *25, \u202026, 27 pages 20\u201321 george eliot: silas marner *28, \u202029, 30 pages 22\u201323 susan hill: i\u2019m the king of the castle *31, \u202032, 33 pages 24\u201325 from stories of ourselves *34, \u202035, 36 pages 26\u201327",
            "4": "4 0486/42/m/j/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either *1 read this extract, and then answer the question that follows it: chris:  i know all about the world. i know the whole crap story.  content removed due to copyright restrictions.",
            "5": "5 0486/42/m/j/14 \u00a9 ucles 2014 [turn overshhh \u2026 [as she reaches porch  steps she begins sobbing.] curtain  [from act 3 ]   how does miller make this such a powerful ending to the play? or \u20202 the setting of miller\u2019s play is \u2018the back yard of the keller home in the outskirts of an  american town\u2019. what do you think this setting contributes to the power of the drama? support your ideas with details from the writing. or 3 y ou are kate keller. y ou have just heard that ann deever is coming to visit.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/42/m/j/14 \u00a9 ucles 2014william shakespeare: julius\tcaesar either *4 read this extract, and then answer the question that follows it: casca:  y ou pull\u2019d me by the cloak. would you speak with me? brutus:  ay, casca; tell us what hath chanc\u2019d to-day,  that caesar looks so sad? casca:  why, you were with him, were you not? brutus:  i should not then ask casca what had chanc\u2019d. casca:  why, there was a crown offer\u2019d him; and being offer\u2019d him, he  put it by with the back of his hand, thus; and then the people  fell a-shouting. brutus:  what was the second noise for? casca:  why, for that too. cassius:  they shouted thrice; what was the last cry for? casca:  why, for that too. brutus:  was the crown offer\u2019d him thrice? casca:  ay, marry, was\u2019t, and he put it by thrice, every time gentler than other; and at every putting by mine honest neighbours shouted. cassius:  who offer\u2019d him the crown? casca:  why, antony. brutus:  tell us the manner of it, gentle casca. casca:  i can as well be hang\u2019d as tell the manner of it: it was mere foolery; i did not mark it. i saw mark antony offer him a crown \u2013 yet \u2019twas not a crown neither, \u2019twas one of these coronets  \u2013  and, as i told you, he put it by once; but for all that, to my  thinking, he would fain have had it. then he offered it to him  again; then he put it by again; but to my thinking, he was very loath to lay his fingers off it. and then he offered it the third time; he put it the third time by; and still as he refus\u2019d it, the rabblement hooted, and clapp\u2019d their chopt hands, and threw  up their sweaty night-caps, and uttered such a deal of stinking  breath because caesar refus\u2019d the crown, that it had almost choked caesar; for he swooned and fell down at it. and for mine own part i durst not laugh, for fear of opening my lips and  receiving the bad air. cassius:  but soft, i pray you. what, did caesar swoon? casca:  he fell down in the market-place, and foam\u2019d at mouth, and  was speechless. brutus:  \u2019tis very like. he hath the falling sickness. cassius:  no, caesar hath it not; but you, and i,  and honest casca, we have the falling sickness. casca:  i know not what you mean by that, but i am sure caesar fell down. if the tag-rag people did not clap him and hiss him, according as he pleas\u2019d and displeas\u2019d them, as they use to do  the players in the theatre, i am no true man. brutus:  what said he when he came unto himself? casca:  marry, before he fell down, when he perceiv\u2019d the common herd  was glad he refus\u2019d the crown, he pluckt me ope his doublet, 5 10 15 20 2530 35 40 45",
            "7": "7 0486/42/m/j/14 \u00a9 ucles 2014 [turn overand offer\u2019d them his throat to cut. an i had been a man of any  occupation, if i would not have taken him at a word, i would i might go to hell among the rogues. and so he fell. when he came to himself again, he said, if he had done or said anything amiss, he desir\u2019d their worships to think it was his infirmity.  three or four wenches, where i stood, cried \u2018alas, good soul!\u2019  and forgave him with all their hearts. but there\u2019s no heed to be taken of them; if caesar had stabb\u2019d their mothers, they would have done no less. brutus:  and after that, he came thus sad away? casca:  ay. cassius:  did cicero say anything? casca:  ay, he spoke greek. cassius:  to what effect? casca:  nay, an i tell you that, i\u2019ll ne\u2019er look you i\u2019 th\u2019 face again. but those that understood him smil\u2019d at one another, and shook  their heads; but for mine own part, it was greek to me. i could  tell you more news too: marullus and flavius, for pulling scarfs off caesar\u2019s images, are put to silence. fare you well. there was more foolery yet, if i could remember it. cassius:  will you sup with me to-night, casca? casca:  no, i am promis\u2019d forth. cassius:  will you dine with me to-morrow? casca:  ay, if i be alive, and your mind hold, and your dinner worth the eating. cassius:  good; i will expect you. casca:  d o so. farewell, both.  [exit.   [from act 1 scene 2 ]   in what ways does shakespeare vividly convey the atmosphere in rome at this moment in the play? or \u20205 how does shakespeare make calphurnia and portia so significant in the play? support  your ideas with details from the play. or 6 y ou are brutus in your tent the night before the battle at philippi. y ou have seen caesar\u2019s ghost.   write your thoughts.50 55 60 65 70",
            "8": "8 0486/42/m/j/14 \u00a9 ucles 2014william shakespeare:\t the\ttempest either *7 read this extract, and then answer the question that follows it: ferdinand:   o, if a virgin,  and your affection not gone forth, i\u2019ll make you  the queen of naples. prospero:   soft, sir! one word more.  [aside] they are both in either\u2019s pow\u2019rs; but this swift business  i must uneasy make, lest too light winning  make the prize light. [to ferdinand ] one word more; i charge thee  that thou attend me; thou dost here usurp  the name thou ow\u2019st not; and hast put thyself  upon this island as a spy, to win it  from me, the lord on\u2019t. ferdinand:   no, as i am a man. miranda:  there\u2019s nothing ill can dwell in such a temple.  if the ill spirit have so fair a house,  good things will strive to dwell with\u2019t. prospero:   follow me.  speak not you for him; he\u2019s a traitor. come,  i\u2019ll manacle thy neck and feet together.  sea-water shalt thou drink; thy food shall be  the fresh-brook mussels, wither\u2019d roots, and husks  wherein the acorn cradled. follow. ferdinand:   no;  i will resist such entertainment till  mine enemy has more power.   [he draws, and is charmed from moving. miranda:   o dear father,  make not too rash a trial of him, for  he\u2019s gentle, and not fearful. prospero:   what, i say,  my foot my tutor? put thy sword up, traitor;  who mak\u2019st a show but dar\u2019st not strike, thy conscience  is so possess\u2019d with guilt. come from thy ward;  for i can here disarm thee with this stick  and make thy weapon drop. miranda:   beseech you, father! prospero:  hence! hang not on my garments. miranda:   sir, have pity;  i\u2019ll be his surety. prospero:   silence! one word more  shall make me chide thee, if not hate thee. what!  an advocate for an impostor! hush!  thou think\u2019st there is no more such shapes as he,  having seen but him and caliban. foolish wench!  to th\u2019 most of men this is a caliban,  and they to him are angels.5 10 15 2025 30 35 40 45",
            "9": "9 0486/42/m/j/14 \u00a9 ucles 2014 [turn overmiranda:   my affections  are then most humble; i have no ambition  to see a goodlier man. prospero:   come on; obey.  thy nerves are in their infancy again,  and have no vigour in them. ferdinand:   so they are;  my spirits, as in a dream, are all bound up.  my father\u2019s loss, the weakness which i feel,  the wreck of all my friends, nor this man\u2019s threats  to whom i am subdu\u2019d, are but light to me,  might i but through my prison once a day  behold this maid. all corners else o\u2019 th\u2019 earth  let liberty make use of; space enough  have i in such a prison. prospero:  [aside] it works. [to ferdinand ] come on. \u2013  thou hast done well, fine ariel! [to ferdinand ] follow me.  [to ariel ] hark what thou else shalt do me. miranda:   be of comfort;  my father\u2019s of a better nature, sir,  than he appears by speech; this is unwonted  which now came from him. prospero:  [to ariel ] thou shalt be as free  as mountain winds; but then exactly do  all points of my command. ariel:   to th\u2019 syllable. prospero:  [to ferdinand ] come, follow.  [to miranda] speak not for him.  [exeunt.  [from act 1 scene 2 ]   explore the ways in which shakespeare makes prospero\u2019s behaviour at this moment in  the play so dramatic. or \u20208 how does shakespeare make sebastian and antonio such memorable villains? support your ideas with details from the play. or 9 y ou are stephano. caliban has just suggested the plot to overthrow prospero.   write your thoughts.50 55 60 65 70",
            "10": "10 0486/42/m/j/14 \u00a9 ucles 2014oscar wilde: the\timportance\tof\tbeing\tearnest either *10 read this extract, and then answer the question that follows it: jack:  how can you sit there, calmly eating muffins when we are in  this horrible trouble, i can\u2019t make out. y ou seem to me to be perfectly heartless. algernon:  well, i can\u2019t eat muffins in an agitated manner. the butter would probably get on my cuffs. one should always eat  muffins quite calmly. it is the only way to eat them. jack:  i say it\u2019s perfectly heartless your eating muffins at all, under  the circumstances. algernon:  when i am in trouble, eating is the only thing that consoles  me. indeed, when i am in really great trouble, as any one who  knows me intimately will tell you, i refuse everything except food and drink. at the present moment i am eating muffins because i am unhappy. besides, i am particularly fond of muffins.  [rising. jack:  [rising.] well, that is no reason why you should eat them all in that greedy way.  [takes muffins from algernon. algernon:  [offering tea-cake.] i wish you would have tea-cake instead. i  don\u2019t like tea-cake. jack:  good heavens! i suppose a man may eat his own muffins in  his own garden. algernon:  but you have just said it was perfectly heartless to eat muffins. jack:  i said it was perfectly heartless of you, under the circumstances. that is a very different thing. algernon:  that may be. but the muffins are the same.   [he seizes the muffin-dish from jack. jack:  algy, i wish to goodness you would go. algernon:  y ou can\u2019t possibly ask me to go without having some dinner. it\u2019s absurd. i never go without my dinner. no one ever does, except vegetarians and people like that. besides i have just made arrangements with dr. chasuble to be christened at a quarter to six under the name of ernest. jack:  my dear fellow, the sooner you give up that nonsense the better. i made arrangements this morning with dr. chasuble  to be christened myself at 5.30, and i naturally will take the  name of ernest. gwendolen would wish it. we can\u2019t both be christened ernest. it\u2019s absurd. besides, i have a perfect right to be christened if i like. there is no evidence at all that i have ever been christened by anybody. i should think it extremely  probable i never was, and so does dr. chasuble. it is entirely  different in your case. y ou have been christened already. algernon:  y es, but i have not been christened for years. jack:  y es, but you have been christened. that is the important thing. algernon:  quite so. so i know my constitution can stand it. if you are not quite sure about your ever having been christened, i must say  i think it rather dangerous your venturing on it now. it might  make you very unwell. y ou can hardly have forgotten that 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/42/m/j/14 \u00a9 ucles 2014 [turn oversome one very closely connected with you was very nearly  carried off this week in paris by a severe chill. jack:  y es, but you said yourself that a severe chill was not hereditary. algernon:  it usen\u2019t to be, i know\u2014but i dare say it is now. science is always making wonderful improvements in things. jack:  [picking up the muffin-dish.] oh, that is nonsense; you are always talking nonsense. algernon:  jack, you are at the muffins again! i wish you wouldn\u2019t. there are only two left. [takes them.] i told you i was particularly fond of muffins. jack:  but i hate tea-cake. algernon:  why on earth then do you allow tea-cake to be served up for your guests? what ideas you have of hospitality! jack:  algernon! i have already told you to go. i don\u2019t want you here. why don\u2019t you go! algernon:  i haven\u2019t quite finished my tea yet! and there is still one muffin left.   [jack groans, and sinks into a chair. algernon still  continues eating.]  [from act 2 ]   how does wilde make this such an amusing ending to act 2? or \u202011 explore the ways in which wilde makes cecily such an amusing character. support your ideas with details from the writing. or 12 y ou are miss prism. y ou are returning from the vestry where you have been waiting for dr. chasuble. y ou are on your way to the room where everyone is assembled.   write your thoughts.50 55 60 65",
            "12": "12 0486/42/m/j/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected\tpoems either *13 read this poem, and then answer the question that follows it: the going why did you give no hint that night that quickly after the morrow\u2019s dawn, and calmly, as if indifferent quite, y ou would close your term here, up and be gone where i could not followwith wing of swallow to gain one glimpse of you ever anon! never to bid good-bye,or lip me the softest call, or utter a wish for a word, while i saw morning harden upon the wall, unmoved, unknowing that your great going had place that moment, and altered all. why do you make me leave the house and think for a breath it is you i see at the end of the alley of bending boughs where so often at dusk you used to be; till in darkening dankness the yawning blankness of the perspective sickens me! y ou were she who abode by those red-veined rocks far west, y ou were the swan-necked one who rodealong the beetling beeny crest, and, reining nigh me, would muse and eye me, while life unrolled us its very best. why, then, latterly did we not speak, did we not think of those days long dead, and ere your vanishing strive to seekthat time\u2019s renewal? we might have said, \u2018in this bright spring weatherwe\u2019ll visit together those places that once we visited.\u20195 10 15 20 2530 35",
            "13": "13 0486/42/m/j/14 \u00a9 ucles 2014 [turn overwell, well! all\u2019s past amend, unchangeable. it must go. i seem but a dead man held on end to sink down soon \u2026 o you could not know that such swift fleeingno soul foreseeing \u2013 not even i \u2013 would undo me so!   how does hardy make this such a moving portrayal of despair? or \u202014 explore the ways in which hardy memorably conveys feelings about the passage of time  in in time of \u2018the breaking of nations\u2019. or \u202015 how does hardy powerfully convey feelings about growing old in either \u2018i look into my  glass\u2019 or during wind and rain ?40",
            "14": "14 0486/42/m/j/14 \u00a9 ucles 2014songs\tof\tourselves: \tfrom\tpart\t4 either *16 read this poem, and then answer the question that follows it: a birthday my heart is like a singing bird    whose nest is in a watered shoot; my heart is like an apple-tree   whose boughs are bent with thickset fruit; my heart is like a rainbow shell   that paddles in a halcyon sea; my heart is gladder than all these    because my love is come to me. raise me a dais of silk and down;    hang it with vair and purple dyes; carve it in doves and pomegranates,   and peacocks with a hundred eyes; work it in gold and silver grapes,   in leaves and silver fleurs-de-lys; because the birthday of my life   is come, my love is come to me. (by christina rossetti )   how does rossetti vividly convey a sense of happiness here? or \u202017 explore the ways in which judith wright conveys her admiration of the snake in hunting  snake. or \u202018 how do the poets communicate a vivid sense of the past to you in both horses (by  edwin muir) and the planners (by boey kim cheng)?5 10 15",
            "15": "15 0486/42/m/j/14 \u00a9 ucles 2014 [turn overturn over for section c.",
            "16": "16 0486/42/m/j/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous\tconditions either *19 read this extract, and then answer the question that follows it: seeing my father cry, seeing my mother moan and rock in maiguru\u2019s  arms, hearing netsai cry in fear as well as in grief, and rambanai, waking,  whimper and whine, a little of my armour cracked. i was sad for them rather than anguished over any loss of mine, because my brother had become a   stranger to me. i was not sorry that he had died, but i was sorry for him because, according to his standards, his life had been thoroughly worth living. \u2018there is nothing to be done,\u2019 my aunt was saying to my mother, \u2018except  to bear the pain until it passes. y ou must endure the pain of his passing as you endured the pain of his coming.\u2019 \u2018i cannot endure it,\u2019 my mother moaned. \u2018maiguru, hold me. i too am  going to die.\u2019  the body was fetched the next day from the mission and buried in the  family burial ground beside my grandmother and other ancestors. after a  decent length of time had passed, babamukuru again raised the question  of the emancipation of my father\u2019s branch of the family. \u2018it is unfortunate\u2019, he said, \u2018that there is no male child to take this duty, to take this job of raising the family from hunger and need, jeremiah.\u2019 \u2018it is as you say,\u2019 my father agreed. \u2018tambudzai\u2019s sharpness with her  books is no use because in the end it will benefit strangers.\u2019 \u2018y ou are correct, jeremiah\u2019, observed my uncle, \u2018but i will not feel that  i have done my duty if i neglect the family for that reason. er \u2013 this girl \u2013 heyo, tambudzai \u2013 must be given the opportunity to do what she can for the family before she goes into her husband\u2019s home.\u2019 \u2018exactly!\u2019 agreed my father. \u2018she must be given the opportunity.\u2019 my mother was grief stricken when my father told her what he and  babamukuru had decided. \u2018y ou, jeremiah,\u2019 she said, and she called him jeremiah infrequently.  \u2018y ou, jeremiah, are you mad? have you eaten some wild shrub that has  gone to your head? i think so, otherwise how could you stand there and tell me to send my child to a place of death, the place where my first living child  died! today you are raving! she will not go. unless you want me to die too.  the anxiety will kill me. i will not let her go.\u2019 \u2018but what will she do?\u2019 persuaded my father. \u2018she has finished her  standard three. tell me, is there a standard four at rutivi? kuedza is too  far to walk. where will she do her standard four?\u2019 \u2018don\u2019t try to make a fool out of me,\u2019 my mother retorted. \u2018do you think i  haven\u2019t heard that they are starting the standard four at that school? enrol  her at rutivi, jeremiah, because i am telling you, i will not let her go.\u2019 my father did not pursue the matter, but i went to the mission all the  same. my mother\u2019s anxiety was real. in the week before i left she ate hardly anything, not for lack of trying, and when she was able to swallow something it lay heavy in her stomach. by the time i left she was so haggard and gaunt she could hardly walk to the fields, let alone work in them. \u2018is mother ill?\u2019 whispered netsai, frightened. \u2018is she going to die too?\u2019netsai was frightened. i, i was triumphant. babamukuru had approved  of my direction. i was vindicated! [from chapter 3 ]5 10 15202530354045",
            "17": "17 0486/42/m/j/14 \u00a9 ucles 2014 [turn over  how does dangarembga make this moment so sad and yet so hopeful at the same  time? or \u202020 which of the male characters in the book do you find most admirable? support your  answer with details from dangarembga\u2019s writing. or 21 y ou are tambu\u2019s mother. babamukuru has just driven you back to your home after the  birth of your son dambudzo.   write your thoughts.",
            "18": "18 0486/42/m/j/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either *22 read this extract, and then answer the question that follows it: there followed an embarrassing scene, but it did not have to do with the  shade: content removed due to copyright restrictions.",
            "19": "19 0486/42/m/j/14 \u00a9 ucles 2014 [turn over\u2018oh, oh,\u2019 he tried to laugh. \u2018oh no, mrs patton, you don\u2019t have to do  that \u2013\u2019 [from chapter 18 ]   what does desai make you feel towards mrs patton at this moment in the novel?  or \u202023 \u2018useless parents.\u2019   do you think this is a fair comment about mamapapa? support your ideas with details  from desai\u2019s writing. or 24 y ou are uma. y ou have just said goodbye to aruna and her children aisha and dinesh after their visit.   write your thoughts.content removed due to copyright restrictions.",
            "20": "20 0486/42/m/j/14 \u00a9 ucles 2014kiran desai: hullabaloo\tin\tthe\tguava\torchard either *25 read this extract, and then answer the question that follows it: in desperation, the family called upon dr banerjee from the clinic in   the bazaar, content removed due to copyright restrictions.",
            "21": "21 0486/42/m/j/14 \u00a9 ucles 2014 [turn over\u2018arrange a marriage for him. then you can rest in peace. y ou will have  no further problems.\u2019 [from chapter 7  ]   how does desai make the \u2018experts\u2019 consulted by the family seem so ridiculous?  or \u202026 explore the ways in which desai makes fun of mr. chawla. support your ideas with  details from the novel. or 27 y ou are sampath. y our father has just attempted \u2013 and failed \u2013 to introduce you to the girl he wants you to marry.   write your thoughts.",
            "22": "22 0486/42/m/j/14 \u00a9 ucles 2014george eliot:\tsilas\tmarner either *28 read this extract, and then answer the question that follows it: the squire had laid down his knife and fork, and was staring at his son  in amazement, not being sufficiently quick of brain to form a probable guess  as to what could have caused so strange an inversion of the paternal and filial relations as this proposition of his son to pay him a hundred pounds. \u2018the truth is, sir\u2014i\u2019m very sorry\u2014i was quite to blame,\u2019 said godfrey.  \u2018fowler did pay that hundred pounds. he paid it to me, when i was over there one day last month. and dunsey bothered me for the money, and i let him have it, because i hoped i should be able to pay it you before this.\u2019 the squire was purple with anger before his son had done speaking,  and found utterance difficult. \u2018y ou let dunsey have it, sir? and how long have you been so thick with dunsey that you must collogue with him to  embezzle my money? are you turning out a scamp? i tell you, i won\u2019t have it. i\u2019ll turn the whole pack of you out of the house together, and marry again. i\u2019d have you to remember, sir, my property\u2019s got no entail on it;\u2014since my grandfather\u2019s time the casses can do as they like with their land.  remember that, sir. let dunsey have the money! why should you let  dunsey have the money? there\u2019s some lie at the bottom of it.\u2019 \u2018there\u2019s no lie, sir,\u2019 said godfrey. \u2018i wouldn\u2019t have spent the money  myself, but dunsey bothered me, and i was a fool and let him have it. but i  meant to pay it, whether he did or not. that\u2019s the whole story. i never meant  to embezzle money, and i\u2019m not the man to do it. y ou never knew me do a dishonest trick, sir.\u2019 \u2018where\u2019s dunsey, then? what do you stand talking there for? go and  fetch dunsey, as i tell you, and let him give account of what he wanted the  money for, and what he\u2019s done with it. he shall repent it. i\u2019ll turn him out. i  said i would, and i\u2019ll do it. he shan\u2019t brave me. go and fetch him.\u2019 \u2018dunsey isn\u2019t come back, sir.\u2019\u2018what! did he break his own neck then?\u2019 said the squire, with some  disgust at the idea that, in that case, he could not fulfil his threat. \u2018no, he wasn\u2019t hurt, i believe, for the horse was found dead, and  dunsey must have walked off. i daresay we shall see him again by and by. i don\u2019t know where he is.\u2019 \u2018and what must you be letting him have my money for? answer me  that,\u2019 said the squire, attacking godfrey again, since dunsey was not within reach. \u2018well, sir, i don\u2019t know,\u2019 said godfrey, hesitatingly. that was a feeble  evasion, but godfrey was not fond of lying, and not being sufficiently  aware that no sort of duplicity can long flourish without the help of vocal  falsehoods, he was quite unprepared with invented motives. \u2018y ou don\u2019t know? i tell you what it is, sir. y ou\u2019ve been up to some trick,  and you\u2019ve been bribing him not to tell,\u2019 said the squire, with a sudden acuteness which startled godfrey, who felt his heart beat violently at the  nearness of his father\u2019s guess. the sudden alarm pushed him on to take  the next step\u2014a very slight impulse suffices for that on a downward road. \u2018why, sir,\u2019 he said, trying to speak with careless ease, \u2018it was a little  affair between me and dunsey; it\u2019s no matter to anybody else. it\u2019s hardly worth while to pry into young men\u2019s fooleries: it wouldn\u2019t have made any difference to you, sir, if i\u2019d not had the bad luck to lose wildfire. i should  have paid you the money.\u2019 \u2018fooleries! pshaw! it\u2019s time you\u2019d done with fooleries. and i\u2019d have  you know, sir, you must ha\u2019 done with \u2019em,\u2019 said the squire, frowning and 5 10 15 20 253035404550",
            "23": "23 0486/42/m/j/14 \u00a9 ucles 2014 [turn overcasting an angry glance at his son. \u2018y our goings-on are not what i shall find  money for any longer. there\u2019s my grandfather had his stables full o\u2019 horses, and kept a good house too, and in worse times, by what i can make out; and so might i, if i hadn\u2019t four good-for-nothing fellows to hang on me like horse-leeches. i\u2019ve been too good a father to you all\u2014that\u2019s what it is. but  i shall pull up, sir.\u2019 [from chapter 9 ]   how does eliot vividly reveal the relationship between squire cass and his sons here? or \u202029 how does eliot make dolly winthrop so memorable for you? support your ideas with  details from the novel. or 30 y ou are nancy cass. y ou are on your way to see silas about adopting eppie.   write your thoughts.55",
            "24": "24 0486/42/m/j/14 \u00a9 ucles 2014susan hill:\ti\u2019m\tthe\tking\tof\tthe\tcastle either *31 read this extract, and then answer the question that follows it: kingshaw leaped up, maddened by hooper\u2019s voice, going on and on.  he stood over him, yelling. \u2018shut up, hooper, shut up. i\u2019ll kick you, i\u2019ll bash  your head in, if you don\u2019t shut up, you needn\u2019t think i won\u2019t.\u2019 hooper cringed back suddenly, caught by surprise. he half got to his  knees, trying to move away. kingshaw straddled him. \u2018are you going to shut up now?\u2019 \u2018y es. i \u2026\u2019\u2018if you say anything else at all, i\u2019ll kick you. i could hurt you because  you\u2019re ill, i\u2019d win easily. now shut up.\u2019 \u2018y ou won\u2019t, you mustn\u2019t \u2026\u2019 hooper began to cry again, loudly, out of  fear. kingshaw watched him for a second, wanting to beat him. then,  abruptly, he turned and walked away. he was frightened by what he had done, and of the voice that had come out of himself. he had been ready to kick and punch hooper, anything to stop him from whining and nagging  and blaming. his own violence astounded him. he wandered off a little way into the clearing, kicking his feet against  the tree roots, stirring up the leaves. not far away, some animal grunted,  and then yelped out a warning. after a bit, he went slowly back and lay down again beside the fire,  staring into its red heart until his eyes smarted. he felt oddly numb, but himself again, calm. he wouldn\u2019t touch hooper now. the fire sputtered and glowed. he felt safe with it. that and the water. he wasn\u2019t comfortable, though, because he\u2019d given hooper all the extra clothes, and twigs and dry  bits of leaf were sticking into him, through his shirt and jeans. he said, \u2018hooper?\u2019 silence.\u2018are you o.k.?\u2019\u2018shut up.\u2019kingshaw hesitated. he was ashamed of himself. he remembered  how hooper had screamed out \u2018mummy, mummy\u2019. that had surprised him more than anything. \u2018i wouldn\u2019t really have hit you.\u2019he knew he was letting whatever advantage he might have won  leak away again, playing back into hooper\u2019s hands. but he thought that whatever happened he had something, an inner strength or resolution that hooper lacked. it would carry him through things. he felt that he no longer  needed to run away, at least as far as hooper was concerned. their roles  had not been reversed, but still, something had changed. kingshaw felt aware of himself, and of his own resources. aloud, he said, \u2018look, you needn\u2019t worry, hooper, we\u2019ve both got to  stay here till they come for us.\u20195 10 15 20 25303540",
            "25": "25 0486/42/m/j/14 \u00a9 ucles 2014 [turn overhooper lay absolutely still, beyond him in the darkness. but kingshaw  could feel him, listening.  he tried not to think what would happen if nobody did come for them. [from chapter 8 ]   in what ways do you think hill makes this such a dramatic moment in the novel? or \u202032 how does hill make hooper such a terrifying figure in the novel? support your ideas with  details from the writing. or 33 y ou are fielding on the evening after you have shown hooper the farm.   write your thoughts.45",
            "26": "26 0486/42/m/j/14 \u00a9 ucles 2014from\tstories\tof\tourselves either *34 read this extract from my greatest ambition (by morris lurie), and then answer the  question that follows it: now let me properly introduce my father, a great scoffer. in those pre- television days, he had absolutely nothing to do in the evening but to walk  past my room and look in and say, \u2018nu? they sent you the money yet?\u2019  fifty times a night, at least. and when the letter came from boy magazine,  did he change his tune? not one bit. \u2018i don\u2019t see a cheque,\u2019 he said. \u2018of course there\u2019s no cheque,\u2019 i said. \u2018how can there be? we haven\u2019t  even discussed it yet. maybe i\u2019ll decide not to sell it to them. which i will, if  their price isn\u2019t right.\u2019 \u2018show me again the letter,\u2019 my father said, \u2018ha, listen, listen. \u201cwe are  very interested in your comic and would like you to phone miss gordon to  make an appointment to see the editor.\u201d an appointment? that means they don\u2019t want it. if they wanted it, believe me, there\u2019d be a cheque.\u2019 it serves no purpose to put down the rest of this pointless conversation,  which included such lines as \u2018how many comics have you sold in your  life?\u2019 and, \u2018who paid for the paper? the ink?\u2019 other than to say that i made the phone call to miss gordon from a public phone and not from home. i wasn\u2019t going to have my father listening to every word. my voice, when i was thirteen, and standing on tiptoe and talking into  a public phone, was, i must admit, unnecessarily loud, but miss gordon didn\u2019t say anything about it. \u2018and what day will be most convenient for you, mr lurie?\u2019 she asked. \u2018oh, any day at all!\u2019 i shouted. \u2018any day will suit me fine!\u2019 \u2018a week from thursday then?\u2019 she asked. \u2018perfect!\u2019 i yelled, trying  to get a piece of paper and a pencil out of my trouser pocket to write it  down, and at the same time listening like mad in case miss gordon said something else. and she did. \u2018ten o\u2019clock?\u2019 \u2018i\u2019ll be there!\u2019 i shouted, and hung up with a crash. it hadn\u2019t occurred to me to mention to miss gordon that i was thirteen  and at school and would have to take a day off to come and see the editor.  i didn\u2019t think these things were relevant to our business. but my mother did.  a day missed from school could never be caught up, that was her attitude. my father\u2019s attitude you know. a cheque or not a cheque. was i rich or was i a fool? (no, that\u2019s wrong. was i a poor fool or a rich fool? y es, that\u2019s better.) but my problem was something else. what to wear? my school suit was out of the question because i wore it every day  and i was sick of it and it just wasn\u2019t right for a business appointment.  anyway, it had ink stains round the pocket where my fountain pen leaked  (a real fountain, ha ha), and the seat of the trousers shone like a piece of tin. and my good suit was a year old and too short in the leg. i tried it on in front of the mirror, just to make sure, and i was right. it was ludicrous. my father offered to lend me one of his suits. he hadn\u2019t bought a new suit since  1934. there was enough material in the lapels alone to make three suits  and have enough left over for a couple of caps. not only that, but my father was shorter than me and twice the weight. so i thanked him and said that i had decided to wear my good suit after all. i would wear dark socks and the shortness of trousers would hardly be noticed. also, i would wear my eye-dazzling pure silk corn yellow tie, which, with the proper windsor knot,  would so ruthlessly rivet attention that no one would even look to see if i  was wearing shoes. \u2018a prince,\u2019 my father said.5 10 15 20253035404550",
            "27": "27 0486/42/m/j/14 \u00a9 ucles 2014now, as the day of my appointment drew nearer and nearer, a great  question had to be answered, a momentous decision made. for my father  had been right. if all they wanted to do was to buy my comic, they would  have sent a cheque. so there was something else. a full-time career as a  comic-strip artist on the permanent staff of boy magazine! it had to be that.  but that would mean giving up school and was i prepared to do that? \u2018y es,\u2019 i said with great calmness and great authority to my face in the  bathroom mirror. \u2018y es.\u2019 there were three days to go. then there occurred one of those things that must happen every day  in the world of big business, but when you\u2019re thirteen it knocks you for a  loop. boy magazine sent me a telegram. it was the first telegram i had ever  received in my life, and about the third that had ever come to our house. my mother opened it straight away. she told everyone in our street about  it. she phoned uncles, aunts, sisters, brothers, and finally, when i came  home from school, she told me. i was furious. i shouted, \u2018i told you never under any circumstances to  open my mail!\u2019 \u2018but a telegram,\u2019 my mother said.\u2018a telegram is mail,\u2019 i said. \u2018and mail is a personal, private thing. where  is it?\u2019 my mother had folded it four times and put it in her purse and her  purse in her bag and her bag in her wardrobe which she had locked. she stood by my side and watched me while i read it. \u2018nu?\u2019 she said.\u2018it\u2019s nothing,\u2019 i said.and it wasn\u2019t. miss gordon had suddenly discovered that the editor  was going to be out of town on my appointment day, and would i kindly phone and make another appointment? i did, standing on tiptoe and shouting as before.   explore the ways in which lurie makes this extract so amusing. or \u202035 what makes the rain horse (by ted hughes) so shocking? support your ideas with  details from the writing. or 36 y ou are lord emsworth in the custody of the pumpkin. y ou have just finished talking  with mr donaldson of donaldson\u2019s dog-biscuits.   write your thoughts.55 6065 70 7580",
            "28": "28 0486/42/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 1 \u00a9  all my sons.  \u00a9  1947, arthur miller.  reproduced by permission.  all rights reserved. question 19 \u00a9  nervous conditions;  \u00a9  1988, tsitsi dangarembga;  reproduced by permission of ayebia clarke publishing.  question 22  \u00a9  fasting, feasting; \u00a9  1999, anita desai;  reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews,  london w11 1jn, from vintage. reprinted by permission of the random house group ltd. question 25 \u00a9  hullabaloo in the guava orchard;  \u00a9  1998, kiran desai;  faber & faber ltd. question 31 \u00a9  susan hill;  i\u2019m the king of the castle;  penguin books ltd;  1973. question 34  \u00a9  morris lurie;  my greatest ambition, in stories of ourselves;  cambridge university press;  2008. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_43.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (st) 103131 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 2 3 4 2 4 8 7 1 4 7 *literature (english)  0486/43 paper 4 may/june 2014  2 hours 15 minutes no additional materials required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/43/m/j/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/43/m/j/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3 pages 4\u20135 wiliiam shakespeare: julius caesar        *4, \u20205, 6 pages 6\u20137 wiliiam shakespeare: the tempest        *7, \u20208, 9 pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12 pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected poems  *13, \u202014, \u202015 page 12 songs of ourselves : from part 4 *16, \u202017, \u202018 page 13 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21 pages 14\u201315 anita desai: fasting, feasting  *22, \u202023, 24 pages 16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27 pages 18\u201319 george eliot: silas marner  *28, \u202029, 30 pages 20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33 pages 22\u201323 from stories of ourselves  *34, \u202035, 36 pages 24\u201325",
            "4": "4 0486/43/m/j/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either *1 read this extract, and then answer the question that follows it: jim: where\u2019s your tobacco? content removed due to copyright restrictions.",
            "5": "5 0486/43/m/j/14 \u00a9 ucles 2014 [turn overkeller:  how can you make him a horoscope? that\u2019s for the future, ain\u2019t  it? [from act 1 ]   how do you think miller makes this such an effective beginning to the play? or \u20202 how does miller make ann deever such a moving character in the play? support your  ideas with details from the writing. or 3 y ou are jim bayliss. y ou have arrived with george deever at the kellers\u2019 house. y ou have  left the car and you are walking up the driveway.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/43/m/j/14 \u00a9 ucles 2014william shakespeare: \tjulius\tcaesar either *4 read this extract, and then answer the question that follows it:  enter brutus  in his orchard. brutus : what, lucius, ho!  i cannot by the progress of the stars  give guess how near to day. lucius, i say!  i would it were my fault to sleep so soundly.  when, lucius, when? awake, i say! what, lucius!  enter  lucius . lucius:  call\u2019d you, my lord? brutus:  get me a taper in my study, lucius;  when it is lighted, come and call me here. lucius:  i will, my lord.  [exit. brutus:  it must be by his death; and for my part,  i know no personal cause to spurn at him,  but for the general: he would be crown\u2019d.  how that might change his nature, there\u2019s the question.  it is the bright day that brings forth the adder,  and that craves wary walking. crown him \u2013 that!  and then, i grant, we put a sting in him  that at his will he may do danger with.  th\u2019 abuse of greatness is, when it disjoins  remorse from power; and to speak truth of caesar,  i have not known when his affections sway\u2019d  more than his reason. but \u2019tis a common proof  that lowliness is young ambition\u2019s ladder,  whereto the climber-upward turns his face;  but when he once attains the upmost round,  he then unto the ladder turns his back,  looks in the clouds, scorning the base degrees  by which he did ascend. so caesar may.  then, lest he may, prevent. and since the quarrel  will bear no colour for the thing he is,  fashion it thus \u2013 that what he is, augmented,  would run to these and these extremities;  and therefore think him as a serpent\u2019s egg,  which, hatch\u2019d, would as his kind grow mischievous,  and kill him in the shell.  re-enter lucius . lucius:  the taper burneth in your closet, sir.  searching the window for a flint, i found  this paper, thus seal\u2019d up; and i am sure  it did not lie there when i went to bed.   [giving him a letter. brutus:  get you to bed again, it is not day.  is not to-morrow, boy, the ides of march? lucius:  i know not, sir. brutus:  look in the  calender, and bring me word. lucius:  i will, sir.  [exit.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/43/m/j/14 \u00a9 ucles 2014 [turn overbrutus:  the exhalations, whizzing in the air,  give so much light that i may read by them.   [opens the letter and reads.  \u2018brutus, thou sleep\u2019st. awake, and see thyself.  shall rome, etc. speak, strike, redress!  brutus thou sleep\u2019st; awake.\u2019  such instigations have been often dropp\u2019d  where i have took them up.  \u2018shall rome, etc.\u2019 thus must i piece it out:  shall rome stand under one man\u2019s awe? what, rome?  my ancestors did from the streets of rome  the tarquin drive, when he was call\u2019d a king.  \u2018speak, strike, redress!\u2019 am i entreated  to speak and strike? o rome, i make thee promise,  if the redress will follow, thou receivest  thy full petition at the hand of brutus!  re-enter  lucius . lucius:  sir, march is wasted fifteen days.   [knocking within. brutus:  \u2019tis good. go to the gate; somebody knocks.  [exit lucius.  since cassius first did whet me against caesar,   i have not slept.  between the acting of a dreadful thing  and the first motion all the interim is  like a phantasma or a hideous dream.  the genius and the mortal instruments  are then in council; and the state of man,  like to a little kingdom, suffers then  the nature of an insurrection. [from act 2 scene 1 ]   how does shakespeare dramatically reveal brutus\u2019s state of mind at this moment in the  play? or \u20205 \u2018a peevish schoolboy \u2026 join\u2019d with a masker and a reveller!\u2019   do you think that cassius is right when he says this about octavius and antony? support  your ideas with details from the play. or 6 y ou are cassius. y ou have just left brutus\u2019s house after the meeting with the other  conspirators.   write your thoughts.50 55 60 65 70 75",
            "8": "8 0486/43/m/j/14 \u00a9 ucles 2014william shakespeare: the\ttempest either *7 read this extract, and then answer the question that follows it: prospero:  [aside ] i had forgot that foul conspiracy  of the beast caliban and his confederates  against my life; the minute of their plot  is almost come. [ to the spirits ] well done; avoid; no more! ferdinand:  this is strange: your father\u2019s in some passion  that works him strongly. miranda:   never till this day  saw i him touch\u2019d with anger so distemper\u2019d. prospero:  y ou do look,  my son, in a mov\u2019d sort,  as if you were dismay\u2019d; be cheerful, sir.  our revels now are ended. these our actors,  as i foretold you, were all spirits, and  are melted into air, into  thin air;  and, like the baseless fabric of this vision,  the cloud-capp\u2019d towers,  the gorgeous palaces,  the solemn temples, the great globe itself,  y ea, all which it inherit, shall dissolve,  and, like this insubstantial pageant faded,  leave not a rack behind. we are such stuff  as dreams are made on; and our little life  is rounded with a sleep. sir, i am vex\u2019d;  bear with my weakness; my old brain is troubled;  be not disturb\u2019d with my infirmity.  if you be pleas\u2019d, retire into my cell  and there repose; a turn or two i\u2019ll walk  to still my beating mind. ferdinand, miranda :\t we wish your peace.  [exeunt. prospero:  come, with a thought. i thank thee, ariel; come.  enter ariel . ariel:  thy thoughts i cleave to. what\u2019s thy pleasure? prospero:   spirit,  we must prepare to meet with caliban. ariel:  ay, my commander. when i presented \u2018ceres\u2019,  i thought to have told thee of it; but i fear\u2019d  lest i might anger thee. prospero:  say again, where didst thou leave these varlets? ariel:  i told you, sir they were red-hot with drinking;  so full of valour that they smote the air  for breathing in their faces; beat the ground  for kissing of their feet; yet always bending  towards their project. then i beat my tabor,  at which like unback\u2019d colts they prick\u2019d their ears,  advanc\u2019d their eyelids, lifted up their noses  as they smelt music; so i charm\u2019d their ears,  that calf-like they my lowing follow\u2019d through  tooth\u2019d briers, sharp furzes, pricking goss, and thorns,5 10 15 20 25 30 35 40 45",
            "9": "9 0486/43/m/j/14 \u00a9 ucles 2014 [turn over which ent\u2019red their frail shins. at last i left them  i\u2019 th\u2019 filthy mantled pool beyond your cell,  there dancing up to th\u2019 chins, that the foul lake  o\u2019erstunk their feet. prospero:   this was well done, my bird.  thy shape invisible retain thou still.  the trumpery in my house, go bring it hither  for stale to catch these thieves. ariel:   i go, i go.  [exit. prospero:  a devil, a born devil, on whose nature  nurture can never stick; on whom my pains,  humanely taken, all, all lost, quite lost;  and as with age his body uglier grows,  so his mind cankers. i will plague them all,  even to roaring. [from act 4 scene 1 ]   how does shakespeare make this moment in the play so dramatic and revealing? or \u20208 how moving do you find shakespeare\u2019s portrayal of the relationship between ferdinand  and miranda? support your ideas with details from the play. or 9 y ou are alonso. y ou have just landed on the island following the shipwreck.   write your thoughts.50 55 60",
            "10": "10 0486/43/m/j/14 \u00a9 ucles 2014oscar wilde: the\timportance\tof\tbeing\tearnest either *10 read this extract, and then answer the question that follows it: cecily:  i keep a diary in order to enter the wonderful secrets of my  life. if i didn\u2019t write them down, i should probably forget all  about them. miss prism:  memory, my dear cecily, is the diary that we all carry about  with us. cecily:  y es, but it usually chronicles the things that have never  happened, and couldn\u2019t possibly have happened. i believe  that memory is responsible for nearly all the three-volume  novels that mudie sends us. miss prism:  do not speak slightingly of the three-volume novel, cecily. i  wrote one myself in earlier days. cecily:  did you really, miss prism? how wonderfully clever you  are! i hope it did not end happily? i don\u2019t like novels that  end happily. they depress me so much. miss prism:  the good ended happily, and the bad unhappily. that is  what fiction means. cecily:  i suppose so. but it seems very unfair. and was your novel  ever published? miss prism:  alas! no. the manuscript unfortunately was abandoned.  [cecily  starts. ] i use the word in the sense of lost or mislaid.  to your work, child; these speculations are profitless. cecily:  [smiling. ] but i see dear mr. chasuble coming up through  the garden. miss prism:  [rising and advancing. ] dr. chasuble! this is indeed a  pleasure. enter canon chasuble . chasuble:  and how are we this morning? miss prism, you are, i trust,  well? cecily:  miss prism has just been complaining of a slight headache.  i think it would do her so much good to have a short stroll  with you in the park, dr. chasuble. miss prism:  cecily, i have not mentioned anything about a headache. cecily:  no, dear miss prism, i know that, but i felt instinctively that  you had a headache. indeed i was thinking about that, and  not about my german lesson, when the rector came in. chasuble:  i hope, cecily, you are not inattentive. cecily:  oh, i am afraid i am. chasuble:  that is strange. were i fortunate enough to be miss prism\u2019s  pupil, i would hang upon her lips. [ miss prism glares. ] i  spoke metaphorically.\u2014my metaphor was drawn from  bees. ahem! mr. worthing, i suppose, has not returned  from town yet? miss prism:  we do not expect him till monday afternoon. chasuble:  ah yes, he usually likes to spend his sunday in london. he  is not one of those whose sole aim is enjoyment, as, by all 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/43/m/j/14 \u00a9 ucles 2014 [turn overaccounts, that unfortunate young man his brother seems to  be. but i must not disturb egeria and her pupil any longer. miss prism:  egeria? my name is l\u00e6titia, doctor. chasuble:  [bowing. ] a classical allusion merely, drawn from the pagan  authors. i shall see you both no doubt at evensong? miss prism:  i think, dear doctor, i will have a stroll with you. i find i have  a headache after all, and a walk might do it good. chasuble:  with pleasure, miss prism, with pleasure. we might go as  far as the schools and back. miss prism:  that would be delightful. cecily, you will read your political  economy in my absence. the chapter on the fall of the  rupee you may omit. it is somewhat too sensational. even  these metallic problems have their melodramatic side.   [goes down the garden with dr. chasuble . cecily:  [picks up books and throws them back on table. ] horrid  political economy! horrid geography! horrid, horrid  german! [from act 2 ]   how does wilde amusingly reveal the thoughts of the characters here? or \u202011 explore in detail two moments in the play which wilde makes particularly amusing for  you. do not use the passage above in answering this question. or 12 y ou are algernon at the end of the play.   write your thoughts.50 55 60",
            "12": "12 0486/43/m/j/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected\tpoems either *13 read this poem, and then answer the question that follows it: on the departure platform we kissed at the barrier; and passing through she left me, and moment by moment got smaller and smaller, until to my view     she was but a spot; a wee white spot of muslin fluff that down the diminishing platform bore through hustling crowds of gentle and rough     to the carriage door. under the lamplight\u2019s fitful glowers, behind dark groups from far and near, whose interests were apart from ours,     she would disappear, then show again, till i ceased to see that flexible form, that nebulous white; and she who was more than my life to me     had vanished quite \u2026 we have penned new plans since that fair fond day, and in season she will appear again \u2013 perhaps in the same soft white array \u2013     but never as then! \u2013 \u2018and why, young man, must eternally fly a joy you\u2019ll repeat, if you love her well?\u2019 \u2013 o friend, nought happens twice thus; why,     i cannot tell!   how does hardy movingly reveal the feelings of the speaker in this poem? or \u202014 how does hardy memorably convey the effect on his mood of the thrush's song in the  darkling thrush ? or \u202015 explore the ways in which hardy makes you strongly sympathise with the speaker in  either  neutral tones or at the word \u2018farewell\u2019 .5 10 15 20",
            "13": "13 0486/43/m/j/14 \u00a9 ucles 2014 [turn oversongs\tof\tourselves:  from part 4 either *16 read this poem, and then answer the question that follows it: the cockroach i watched a giant cockroach start to pace, skirting a ball of dust that rode the floor. at first he seemed quite satisfied to trace a path between the wainscot and the door, but soon he turned to jog in crooked rings, circling the rusty table leg and back, and flipping right over to scratch his wings \u2013 as if the victim of a mild attack of restlessness that worsened over time. after a while, he climbed an open shelf and stopped. he looked uncertain where to go. was this due payment for some vicious crime a former life had led to? i don\u2019t know, except i thought i recognised myself. (by kevin halligan )   explore the ways in which kevin halligan comments on human behaviour in this poem. or \u202017 in what ways does allen curnow memorably convey the speaker\u2019s thoughts and feelings  in continuum ? or \u202018 how does dante gabriel rossetti powerfully communicate feelings of grief in the  woodspurge ?5 10",
            "14": "14 0486/43/m/j/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous\tconditions either *19 read this extract, and then answer the question that follows it: lifting a round spoon-shaped object from the tray, maiguru poured my tea. \u2018what has amused you, sisi tambu?\u2019 she asked, seeing a smile hover  over my mouth. \u2018that little sieve, maiguru. is it really just for sifting tea?\u2019 \u2018the tea-strainer?\u2019 my aunt replied. \u2018haven\u2019t you seen one before? the  tea wouldn\u2019t be drinkable without it. it would be all tea-leaves.\u2019 so this tea-strainer was another necessity i had managed without up  until now. maiguru seemed to think it was absolutely vital to have one. i  would hardly have described it like that. interesting, yes, but vital? and  imagine spending money on a sieve so small it could only be used for  sifting tea! when i went home i would see whether tea really was less  pleasant to drink without the strainer. there was food too, lots of it. lots of biscuits and cakes and jam  sandwiches. maiguru was offering me the food, but it was difficult to decide  what to take because everything looked so appetising. we did not often  have cake at home. in fact, i remembered having cake only at christmas  time or at easter. at those times babamukuru brought a great zambezi  slab home with him and cut it up in front of our eager eyes, all the children  waiting for him to distribute it. this he did one piece each at a time so that  for days on end, long after the confectionery had lost its freshness, we  would be enraptured. we would spend many blissful moments picking off  and nibbling, first the white coconut and then the pink icing and last the  delicious golden cake itself, nibbling so slowly such little pieces at a time  that we could hardly taste them, but could gloat when everyone else had  finished that we still had some left. biscuits were as much of a treat as  cake, especially when they were dainty, dessert biscuits with cream in the  middle or chocolate on top. jam was another delicacy that appeared only  on festive occasions. maiguru must have guessed my thoughts from the expression on my  face and the way i hesitated to help myself. cordially she invited me to eat  as much as i liked of anything i liked, even if that meant everything. not  wanting my aunt to think me greedy, i had to be more restrained than usual  after that, so i chose one small biscuit that did not even have cream in the  middle and bit into it slowly so that i would not be obliged to take anything  else. this made maiguru anxious. my sweet little aunt, who liked to please,  interpreted my diffidence as her own shortcoming. \u2018did you want mazoe, sisi tambu? or fanta? ginger ale maybe? it is all  there. just say what you want.\u2019 i hastened to reassure her by taking a great gulp of tea. being used to  enamel mugs which warned you when the tea was too hot by burning your  lips before you let the liquid reach your mouth, the boiling tea scalded my  tongue. i was in agony. my eyes watered and my nose too. choking and  spluttering, i deposited my cup shakily back in its saucer. \u2018what are you doing to her, mum? she looks about to burst into tears,\u2019  asked nyasha, bouncing into the living-room, all flour and rich baking  smells. \u2018go and clean yourself up, nyasha. say hello to your cousin,\u2019 instructed  maiguru.5 10 15 20 25 30 35 40 45",
            "15": "15 0486/43/m/j/14 \u00a9 ucles 2014 [turn over\u2018hello,\u2019 my cousin said cheerfully, half-way across the room. \u2018nyasha!\u2019 maiguru insisted. \u2018i have said hello, before you came out,\u2019 nyasha called, passing out of  the living-room into the depths of the house. \u2018anyway\u2019, she added pointedly,  \u2018i\u2019m going to clean myself up.\u2019 [from chapter 4 ]   explore the ways in which dangarembga makes this moment so amusing and revealing. or \u202020 how does dangarembga movingly portray babamukuru\u2019s generosity and its varying  effects? support your ideas with details from the novel. or 21 y ou are babamukuru. y ou are driving back to umtali having left nyasha in the clinic.   write your thoughts.50",
            "16": "16 0486/43/m/j/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either *22 read this extract, and then answer the question that follows it: the ceremony wound on at its own ponderous pace.  he nodded and mumbled something like, \u2018in meerut,\u2019 and disappeared. [from chapter 8 ]   how does desai make this seem such a depressing beginning to uma\u2019s married life?content removed due to copyright restrictions.",
            "17": "17 0486/43/m/j/14 \u00a9 ucles 2014 [turn overor \u202023 how does desai vividly convey arun\u2019s loneliness when he is in the usa? support your  ideas with details from the novel. or 24 y ou are melanie patton. arun has just found you covered in dirt and vomit lying on the  ground by the swimming hole.   write your thoughts.",
            "18": "18 0486/43/m/j/14 \u00a9 ucles 2014kiran desai: hullabaloo\tin\tthe\tguava\torchard either *25 read this extract, and then answer the question that follows it: mr chawla ran to sampath\u2019s tree to bring him down. he should really have  been made to descend earlier.  the crowd stood panting in the orchard. [from chapter 25 ]content removed due to copyright restrictions.",
            "19": "19 0486/43/m/j/14 \u00a9 ucles 2014 [turn over  in what ways does desai make this moment so mysterious and amusing? support your  ideas with details from the writing. or \u202026 \u2018dreadful and chaotic\u2019   \u2018colourful and lively\u2019   in your opinion, which of these is the more accurate description of desai\u2019s portrayal of  shahkot? support your ideas with details from desai\u2019s writing. or 27 y ou are hungry hop. y ou are sitting at home, waiting for the milkman to deliver another  note from pinky.   write your thoughts.",
            "20": "20 0486/43/m/j/14 \u00a9 ucles 2014george eliot: silas\tmarner either *28 read this extract, and then answer the question that follows it: so, year after year, silas marner had lived in this solitude, his guineas  rising in the iron pot, and his life narrowing and hardening itself more  and more into a mere pulsation of desire and satisfaction that had no  relation to any other being. his life had reduced itself to the mere functions  of weaving and hoarding, without any contemplation of an end towards  which the functions tended. the same sort of process has perhaps  been undergone by wiser men, when they have been cut off from faith  and love\u2014only, instead of a loom and a heap of guineas, they have had  some erudite research, some ingenious project, or some well-knit theory.  strangely marner\u2019s face and figure shrank and bent themselves into a  constant mechanical relation to the objects of his life, so that he produced  the same sort of impression as a handle or a crooked tube, which has  no meaning standing apart. the prominent eyes that used to look trusting  and dreamy, now looked as if they had been made to see only one kind of  thing that was very small, like tiny grain, for which they hunted everywhere:  and he was so withered and yellow, that, though he was not yet forty, the  children always called him \u2018old master marner.\u2019 y et even in this stage of withering a little incident happened, which  showed that the sap of affection was not all gone. it was one of his daily  tasks to fetch his water from a well a couple of fields off, and for this  purpose, ever since he came to raveloe, he had had a brown earthenware  pot, which he held as his most precious utensil, among the very few  conveniences he had granted himself. it had been his companion for  twelve years, always standing on the same spot, always lending its handle  to him in the early morning, so that its form had an expression for him  of willing helpfulness, and the impress of its handle on his palm gave a  satisfaction mingled with that of having the fresh clear water. one day as  he was returning from the well, he stumbled against the step of the stile,  and his brown pot, falling with force against the stones that overarched the  ditch below him, was broken in three pieces. silas picked up the pieces  and carried them home with grief in his heart. the brown pot could never  be of use to him any more, but he stuck the bits together and propped the  ruin in its old place for a memorial. this is the history of silas marner until the fifteenth year after he came  to raveloe. the livelong day he sat in his loom, his ear filled with its  monotony, his eyes bent close down on the slow growth of sameness in  the brownish web, his muscles moving with such even repetition that their  pause seemed almost as much a constraint as the holding of his breath.  but at night came his revelry: at night he closed his shutters, and made  fast his doors, and drew out his gold. long ago the heap of coins had  become too large for the iron pot to hold them, and he had made for them  two thick leather bags, which wasted no room in their resting-place, but  lent themselves flexibly to every corner. how the guineas shone as they  came pouring out of the dark leather mouths! the silver bore no large  proportion in amount to the gold, because the long pieces of linen which  formed his chief work were always partly paid for in gold, and out of the  silver he supplied his own bodily wants, choosing always the shillings and  sixpences to spend in this way. he loved the guineas best, but he would  not change the silver\u2014the crowns and half-crowns that were his own  earnings, begotten by his labour; he loved them all. he spread them out in  heaps and bathed his hands in them; then he counted them and set them 5 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/43/m/j/14 \u00a9 ucles 2014 [turn overup in regular piles, and felt their rounded outline between his thumb and  fingers, and thought fondly of the guineas that were only half-earned by  the work in his loom, as if they had been unborn children\u2014thought of the  guineas that were coming slowly through the coming years, through all his  life, which spread far away before him, the end quite hidden by countless  days of weaving. no wonder his thoughts were still with his loom and his  money when he made his journeys through the fields and the lanes to  fetch and carry home his work, so that his steps never wandered to the  hedge-banks and the lane-side in search of the once familiar herbs: these  too belonged to the past, from which his life had shrunk away, like a rivulet  that has sunk far down from the grassy fringe of its old breadth into a little  shivering thread, that cuts a groove for itself in the barren sand. [from chapter 2 ]   how does eliot make you feel sorry for silas here? or \u202029 how does eliot make the people of raveloe village come to life for you at two moments  in the novel? support your ideas with details from the writing. (do not use the extract  printed in question 28 in answering this question.) or 30 y ou are godfrey cass. y our brother dunstan\u2019s body has been found in the drained stone- pit.   write your thoughts.55 60",
            "22": "22 0486/43/m/j/14 \u00a9 ucles 2014susan hill: \ti\u2019m\tthe\tking\tof\tthe\tcastle either *31 read this extract, and then answer the question that follows it: sweat was running down his forehead and into his eyes. he looked up.  the crow kept on coming. he ran. but it wasn\u2019t easy to run down this field, either, because of the tractor  ruts. he began to leap wildly from side to side of them, his legs stretched  as wide as they could go, and for a short time, it seemed that he did go  faster. the crow dived again, and, as it rose, kingshaw felt the tip of its  black wing, beating against his face. he gave a sudden, dry sob. then, his  left foot caught in one of the ruts and he keeled over, going down straight  forwards. he lay with his face in the coarse grass, panting and sobbing by turns,  with the sound of his own blood pumping through his ears. he felt the sun  on the back of his neck, and his ankle was wrenched. but he would be  able to get up. he raised his head, and wiped two fingers across his face.  a streak of blood came off, from where a thistle had scratched him. he got  unsteadily to his feet, taking in deep, desperate breaths of the close air. he  could not see the crow. but when he began to walk forwards again, it rose up from the grass a  little way off, and began to circle and swoop. kingshaw broke into a run,  sobbing and wiping the damp mess of tears and sweat off his face with  one hand. there was a blister on his ankle, rubbed raw by the sandal strap.  the crow was still quite high, soaring easily, to keep pace with him. now,  he had scrambled over the third gate, and he was in the field next to the  one that belonged to warings. he could see the back of the house. he  began to run much faster. this time, he fell and lay completely winded. through the runnels of  sweat and the sticky tufts of his own hair, he could see a figure, looking  down at him from one of the top windows of the house. then, there was a single screech, and the terrible beating of wings, and  the crow swooped down and landed in the middle of his back. kingshaw thought that, in the end, it must have been his screaming that  frightened it off, for he dared not move. he lay and closed his eyes and  felt the claws of the bird, digging into his skin, through the thin shirt, and  began to scream in a queer, gasping sort of way. after a moment or two,  the bird rose. he had expected it to begin pecking at him with his beak,  remembering terrible stories about vultures that went for living people\u2019s  eyes. he could not believe in his own escape. he scrambled up, and ran on, and this time, the crow only hovered  above, though not very high up, and still following him, but silently, and no  longer attempting to swoop down. kingshaw felt his legs go weak beneath  him, as he climbed the last fence, and stood in the place from which he  had started out on his walk, by the edge of the copse. he looked back  fearfully. the crow circled a few times, and then dived into the thick foliage  of the beech trees. kingshaw wiped his face with the back of his hand again. he wanted  to go to his mother. he was trembling all over. but he never did go to her,  he made himself cope alone, he would not go because of a stupid bird.  then his eye caught a quick movement. he looked up. hooper stood in the  window of his bedroom. he watched and watched. [from chapter 3 ]5 10 15 20 25 30 35 40 45",
            "23": "23 0486/43/m/j/14 \u00a9 ucles 2014 [turn over  explore the ways in which hill vividly conveys kingshaw\u2019s terror here. or \u202032 to what extent does hill make you feel sympathy for mrs kingshaw? support your ideas  with details from the writing. or 33 y ou are kingshaw as you travel to warings for the first time.   write your thoughts.",
            "24": "24 0486/43/m/j/14 \u00a9 ucles 2014from \tstories\tof\tourselves either *34 read this extract from her first ball (by katherine mansfield), and then answer the  question that follows it: leila put two fingers on laura\u2019s pink velvet cloak, and they were  somehow lifted past the big golden lantern, carried along the passage, and  pushed into the little room marked \u2018ladies\u2019. here the crowd was so great  there was hardly space to take off their things; the noise was deafening.  two benches on either side were stacked high with wraps. two old women  in white aprons ran up and down tossing fresh armfuls. and everybody  was pressing forward trying to get at the little dressing-table and mirror at  the far end. a great quivering jet of gas lighted the ladies\u2019 room. it couldn\u2019t wait; it  was dancing already. when the door opened again and there came a burst  of tuning from the drill hall, it leaped almost to the ceiling. dark girls, fair girls were patting their hair, tying ribbons again, tucking  handkerchiefs down the fronts of their bodies, smoothing marble-white  gloves. and because they were all laughing it seemed to leila that they  were all lovely. \u2018aren\u2019t there any invisible hairpins?\u2019 cried a voice. \u2018how most  extraordinary! i can\u2019t see a single invisible hairpin.\u2019 \u2018powder my back, there\u2019s a darling,\u2019 cried someone else. \u2018but i must have a needle and cotton. i\u2019ve torn simply miles and miles of  the frill,\u2019 wailed a third. then, \u2018pass them along, pass them along!\u2019 the straw basket of  programmes was tossed from arm to arm. darling little pink-and-silver  programmes, with pink pencils and fluffy tassels. leila\u2019s fingers shook as  she took one out of the basket. she wanted to ask someone, \u2018am i meant  to have one too?\u2019 but she had just time to read: \u2018waltz 3. two, two in a  canoe . polka 4. making the feathers fly \u2019, when meg cried, \u2018ready, leila?\u2019  and they pressed their way through the crush in the passage towards the  big double doors of the drill hall. dancing had not begun yet, but the band had stopped tuning, and the  noise was so great it seemed that when it did begin to play it would never  be heard. leila, pressing close to meg, looking over meg\u2019s shoulder, felt  that even the little quivering coloured flags strung across the ceiling were  talking. she quite forgot to be shy; she forgot how in the middle of dressing  she had sat down on the bed with one shoe off and one shoe on and  begged her mother to ring up her cousins and say she couldn\u2019t go after all.  and the rush of longing she had had to be sitting on the veranda of their  forsaken up-country home, listening to the baby owls crying \u2018more pork\u2019  in the moonlight, was changed to a rush of joy so sweet that it was hard  to bear alone. she clutched her fan, and, gazing at the gleaming, golden  floor, the azaleas, the lanterns, the stage at one end with its red carpet  and gilt chairs and the band in a corner, she thought breathlessly, \u2018how  heavenly; how simply heavenly!\u2019 all the girls stood grouped together at one side of the doors, the men  at the other, and the chaperones in dark dresses, smiling rather foolishly,  walked with little careful steps over the polished floor towards the stage. \u2018this is my little country cousin leila. be nice to her. find her partners;  she\u2019s under my wing,\u2019 said meg, going up to one girl after another. strange faces smiled at leila \u2013 sweetly, vaguely. strange voices  answered, \u2018of course, my dear.\u2019 but leila felt the girls didn\u2019t really see her.  they were looking towards the men. why didn\u2019t the men begin? what were 5 10 15 20 25 30 35 40 45 50",
            "25": "25 0486/43/m/j/14 \u00a9 ucles 2014they waiting for? there they stood, smoothing their gloves, patting their  glossy hair and smiling among themselves. then, quite suddenly, as if  they had only just made up their minds that that was what they had to do,  the men came gliding over the parquet. there was a joyful flutter among  the girls. a tall, fair man flew up to meg, seized her programme, scribbled  something; meg passed him on to leila. \u2018may i have the pleasure?\u2019 he  ducked and smiled. there came a dark man wearing an eyeglass, then  cousin laurie with a friend, and laura with a little freckled fellow whose tie  was crooked. then quite an old man \u2013 fat, with a big bald patch on his head  \u2013 took her programme and murmured, \u2018let me see, let me see!\u2019 and he was  a long time comparing his programme, which looked black with names,  with hers. it seemed to give him so much trouble that leila was ashamed.  \u2018oh, please don\u2019t bother,\u2019 she said eagerly. but instead of replying the fat  man wrote something, glanced at her again. \u2018do i remember this bright  little face?\u2019 he said softly. \u2018is it known to me of yore?\u2019 at that moment the  band began playing; the fat man disappeared. he was tossed away on a  great wave of music that came flying over the gleaming floor, breaking the  groups up into couples, scattering them, sending them spinning \u2026   how does mansfield vividly capture the excitement of the ball here? or \u202035 what does graham greene make you feel about t. in the destructors ? support your  ideas with details from the story. or 36 y ou are sam in the son\u2019s veto . y ou  have just watched sophy\u2019s funeral procession go  past your shop.   write your thoughts.55 60 65",
            "26": "26 0486/43/m/j/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/43/m/j/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/43/m/j/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 1  \u00a9 all my sons. \u00a9 1947, arthur miller. reproduced by permission. all rights reserved. question 16  \u00a9 kevin halligan; the cockroach,  in songs of ourselves ; cambridge university press; 2007. question 19  \u00a9 tsitsi dangarembga; nervous conditions ; ayebia publishing; 1988. question 22  \u00a9 anita desai; fasting, feasting ; reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london w11 1jn. question 25  \u00a9 kiran desai; hullabaloo in the guava orchard ; faber & faber ltd; 1998. question 31  \u00a9 susan hill; i\u2019m the king of the castle ; penguin books ltd; 1989. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s14_qp_51.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 103132 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 9 4 0 9 3 1 6 1 7 4 *literature (english)  0486/51 paper 5 may/june 2014  45 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/51/m/j/14 \u00a9 ucles 2014answer one question on any text. jane austen: northanger abbey either 1 read this extract, and then answer the question that follows it: they met by appointment; and as isabella had arrived nearly five  minutes before her friend, her first address naturally was \u2013 \u2018my dearest  creature, what can have made you so late? i have been waiting for you at  least this age!\u2019 \u2018have you, indeed! \u2013 i am very sorry for it; but really i thought i  was in very good time. it is but just one. i hope you have not been here   long?\u2019 \u2018oh! these ten ages at least. i am sure i have been here this half hour.  but now, let us go and sit down at the other end of the room, and enjoy  ourselves. i have an hundred things to say to you. in the first place, i was  so afraid it would rain this morning, just as i wanted to set off; it looked  very showery, and that would have thrown me into agonies! do you know,  i saw the prettiest hat you can imagine, in a shop window in milsom street  just now \u2013 very like yours, only with coquelicot ribbons instead of green; i  quite longed for it. but, my dearest catherine, what have you been doing  with yourself all this morning? \u2013 have you gone on with udolpho?\u2019 \u2018y es, i have been reading it ever since i woke; and i am got to the  black veil.\u2019 \u2018are you, indeed? how delightful! oh! i would not tell you what is  behind the black veil for the world! are not you wild to know?\u2019 \u2018oh! yes, quite; what can it be? \u2013 but do not tell me \u2013 i would not  be told upon any account. i know it must be a skeleton, i am sure it is  laurentina\u2019s skeleton. oh! i am delighted with the book! i should like to  spend my whole life in reading it. i assure you, if it had not been to meet  you, i would not have come away from it for all the world.\u2019 \u2018dear creature! how much i am obliged to you; and when you have  finished udolpho, we will read the italian together; and i have made out a  list of ten or twelve more of the same kind for you.\u2019 \u2018have you, indeed! how glad i am! \u2013 what are they all?\u2019 \u2018i will read you their names directly; here they are, in my pocket-book.  castle of wolfenbach, clermont, mysterious warnings, necromancer  of the black forest, midnight bell, orphan of the rhine, and horrid  mysteries. those will last us some time.\u2019 \u2018y es, pretty well; but are they all horrid, are you sure they are all  horrid?\u2019 \u2018y es, quite sure; for a particular friend of mine, a miss andrews, a  sweet girl, one of the sweetest creatures in the world, has read every one  of them. i wish you knew miss andrews, you would be delighted with her.  she is netting herself the sweetest cloak you can conceive. i think her as  beautiful as an angel, and i am so vexed with the men for not admiring  her! \u2013 i scold them all amazingly about it.\u2019 \u2018scold them! do you scold them for not admiring her?\u2019 \u2018y es, that i do. there is nothing i would not do for those who are  really my friends. i have no notion of loving people by halves, it is not my  nature. my attachments are always excessively strong. i told capt. hunt  at one of our assemblies this winter, that if he was to tease me all night, i  would not dance with him, unless he would allow miss andrews to be as  beautiful as an angel. the men think us incapable of real friendship you  know, and i am determined to show them the difference. now, if i were to 5 10 15 20 25 30 35 40 45",
            "3": "3 0486/51/m/j/14 \u00a9 ucles 2014 [turn overhear anybody speak slightingly of you, i should fire up in a moment: \u2013 but  that is not at all likely, for you are just the kind of girl to be a great favourite  with the men.\u2019 \u2018oh! dear,\u2019 cried catherine, colouring, \u2018how can you say so?\u2019 \u2018i know you very well; you have so much animation, which is  exactly what miss andrews wants, for i must confess there is something  amazingly insipid about her.\u2019  [from chapter 6 ]   how does austen\u2019s writing make this moment so entertaining? or 2 explore two moments in the novel where austen makes one character\u2019s misunderstanding  of another amusing for you. or 3 y ou are henry tilney. y ou have just found out that your father has sent catherine away  from northanger abbey.   write your thoughts.50 55",
            "4": "4 0486/51/m/j/14 \u00a9 ucles 2014carol ann duffy: selected poems either 4 read this poem, and then answer the question that follows it: miles away i want you and you are not here. i pause into memory. the stars are filming us for no one.   how does duffy\u2019s writing create a vivid impression of missing a loved one in this poem? or 5 how does duffy create very different impressions of teachers in head of english  and  the good teachers ? or 6 in what ways does duffy reveal the more unpleasant side of human nature in stealing ?content removed due to copyright restrictions.",
            "5": "5 0486/51/m/j/14 \u00a9 ucles 2014 [turn overhelen dunmore: the siege either 7 read this extract, and then answer the question that follows it: anna has always loved the first snowfall of winter. she knows as soon as  dawn comes that it\u2019ll be today.  the russian winter defeated napoleon, people say to one  another. perhaps it will defeat hitler, too.  [from chapter 17 ]   how does dunmore\u2019s writing vividly convey anna\u2019s feelings about the first snowfall here? or 8 to what extent does dunmore make you sympathise with mikhail? support your ideas  with details from the novel. or 9 y ou are andrei after your first meeting with anna.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/51/m/j/14 \u00a9 ucles 2014from jo phillips ed.: poems deep & dangerous either 10 read this poem, and then answer the question that follows it: laundrette we sit nebulous in steam. it calms the air and makes the windows stream rippling the hinterland\u2019s big houses to a blur of bedsits \u2013 not a patch on what they were before. we stuff the tub, jam money in the slot, sit back on rickle chairs not reading. the paperbacks in our pockets curl. our eyes are riveted. our own colours whirl. we pour in smithereens of soap. the machine sobs through its cycle. the rhythm throbs and changes. suds drool and slobber in the churn. our duds don\u2019t know which way to turn. the dark shoves one man in, lugging a bundle like a wandering jew. linen washed in public here. we let out of the bag who we are. this young wife has a fine stack of sheets, each pair a present. she admires their clean cut air of colourschemes and being chosen. are the dyes fast? this christening lather will be the first test. this woman is deadpan before the rinse and sluice of the family in a bagwash. let them stew in their juice to a final fankle, twisted, wrung out into rope, hard to unravel. she sees a kaleidoscope for her to narrow her eyes and blow smoke at, his overalls and pants ballooning, tangling with her smalls and the teeshirts skinned from her wriggling son. she has a weather eye for what might shrink or run. this dour man does for himself. before him, half lost, his small possessions swim. cast off, random they nose and nudge the porthole glass like flotsam. (by liz lochhead )   in what striking ways does lochhead bring to life the laundrette and the people in it?5 10 15 20 25 30",
            "7": "7 0486/51/m/j/14 \u00a9 ucles 2014 [turn overor 11 explore the ways in which rossetti memorably conveys feelings of regret in sonnet: i  wish i could remember that first day . or 12 how do the poets make vivid use of imagery in either  football after school (by patricia  mccarthy) or shall i compare thee .  . .? (by william shakespeare)?",
            "8": "8 0486/51/m/j/14 \u00a9 ucles 2014william shakespeare: a midsummer night\u2019s dream either 13 read this extract, and then answer the question that follows it: helena:  o, teach me how you look, and with what art  y ou sway the motion of demetrius\u2019 heart! hermia:  i frown upon him, yet he loves me still. helena:  o that your frowns would teach my smiles such skill! hermia:  i give him curses, yet he gives me love. helena:  o that my prayers could such affection move! hermia:  the more i hate, the more he follows me. helena:  the more i love, the more he hateth me. hermia:  his folly, helena, is no fault of mine. helena:  none, but your beauty; would that fault were mine! hermia:  take comfort: he no more shall see my face;  lysander and myself will fly this place.  before the time i did lysander see,  seem\u2019d athens as a paradise to me.  o, then, what graces in my love do dwell,  that he hath turn\u2019d a heaven unto a hell! lysander:  helen, to you our minds we will unfold:  to-morrow night, when phoebe doth behold  her silver visage in the wat\u2019ry glass,  decking with liquid pearl the bladed grass,  a time that lovers\u2019 flights doth still conceal,  through athens\u2019 gates have we devis\u2019d to steal. hermia:  and in the wood where often you and i  upon faint primrose beds were wont to lie,  emptying our bosoms of their counsel sweet,  there my lysander and myself shall meet;  and thence from athens turn away our eyes,  to seek new friends and stranger companies.  farewell, sweet playfellow; pray thou for us,  and good luck grant thee thy demetrius!  keep word, lysander; we must starve our sight  from lovers\u2019 food till morrow deep midnight. lysander:  i will, my hermia. [exit hermia.  helena adieu;  as you on him, demetrius dote on you! [exit lysander. helena:  how happy some o\u2019er other some can be!  through athens i am thought as fair as she.  but what of that? demetrius thinks not so;  he will not know what all but he do know.  and as he errs, doting on hermia\u2019s eyes,  so i, admiring of his qualities.  things base and vile, holding no quantity,  love can transpose to form and dignity.  love looks not with the eyes, but with the mind;  and therefore is wing\u2019d cupid painted blind.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/51/m/j/14 \u00a9 ucles 2014 [turn over nor hath love\u2019s mind of any judgment taste;  wings and no eyes figure unheedy haste;  and therefore is love said to be a child,  because in choice he is so oft beguil\u2019d.  as waggish boys in game themselves forswear,  so the boy love is perjur\u2019d everywhere;  for ere demetrius look\u2019d on hermia\u2019s eyne,  he hail\u2019d down oaths that he was only mine;  and when this hail some heat from hermia felt,  so he dissolv\u2019d, and show\u2019rs of oaths did melt.  i will go tell him of fair hermia\u2019s flight;  then to the wood will he to-morrow night  pursue her; and for this intelligence  if i have thanks, it is a dear expense.  but herein mean i to enrich my pain,  to have his sight thither and back again. [exit.  [from act 1 scene 1 ]   in what ways does shakespeare dramatically convey the thoughts and feelings of the  characters at this moment in the play? or 14 how does shakespeare strikingly portray oberon\u2019s feelings towards titania? support  your ideas with details from the play. or 15 y ou are bottom. y our play \u2018pyramus and thisbe\u2019 has just finished.   write your thoughts.50 55 60",
            "10": "10 0486/51/m/j/14 \u00a9 ucles 2014robert louis stevenson: the strange case of dr jekyll and mr hyde either 16 read this extract, and then answer the question that follows it: \u2018well, it was this way,\u2019 returned mr enfield: \u2018i was coming home from  some place at the end of the world, about three o\u2019clock of a black winter  morning, and my way lay through a part of town where there was literally  nothing to be seen but lamps. street after street, and all the folks asleep\u2014 street after street, all lighted up as if for a procession and all as empty  as a church\u2014till at last i got into that state of mind when a man listens  and listens and begins to long for the sight of a policeman. all at once, i  saw two figures: one a little man who was stumping along eastward at a  good walk, and the other a girl of maybe eight or ten who was running as  hard as she was able down a cross street. well, sir, the two ran into one  another naturally enough at the corner; and then came the horrible part  of the thing; for the man trampled calmly over the child\u2019s body and left her  screaming on the ground. it sounds nothing to hear, but it was hellish to  see. it wasn\u2019t like a man; it was like some damned juggernaut. i gave a  view halloa, took to my heels, collared my gentleman, and brought him  back to where there was already quite a group about the screaming child.  he was perfectly cool and made no resistance, but gave me one look,  so ugly that it brought out the sweat on me like running. the people who  had turned out were the girl\u2019s own family; and pretty soon, the doctor,  for whom she had been sent, put in his appearance. well, the child was  not much the worse, more frightened, according to the sawbones; and  there you might have supposed would be an end to it. but there was one  curious circumstance. i had taken a loathing to my gentleman at first  sight. so had the child\u2019s family, which was only natural. but the doctor\u2019s  case was what struck me. he was the usual cut and dry apothecary, of no  particular age and colour, with a strong edinburgh accent, and about as  emotional as a bagpipe. well, sir, he was like the rest of us; every time he  looked at my prisoner, i saw that sawbones turn sick and white with the  desire to kill him. i knew what was in his mind, just as he knew what was  in mine; and killing being out of the question, we did the next best. we told  the man we could and would make such a scandal out of this, as should  make his name stink from one end of london to the other. if he had any  friends or any credit, we undertook that he should lose them. and all the  time, as we were pitching it in red hot, we were keeping the women off  him as best we could, for they were as wild as harpies. i never saw a  circle of such hateful faces; and there was the man in the middle, with a  kind of black, sneering coolness\u2014frightened too, i could see that\u2014but  carrying it off, sir, really like satan. \u2018if you choose to make capital out of  this accident,\u2019 said he, \u2018i am naturally helpless. no gentleman but wishes  to avoid a scene,\u2019 says he. \u2018name your figure.\u2019 well, we screwed him up  to a hundred pounds for the child\u2019s family; he would have clearly liked to  stick out; but there was something about the lot of us that meant mischief,  and at last he struck. the next thing was to get the money; and where do  you think he carried us but to that place with the door?\u2014whipped out a  key, went in, and presently came back with the matter of ten pounds in  gold and a cheque for the balance on coutts\u2019s, drawn payable to bearer  and signed with a name that i can\u2019t mention, though it\u2019s one of the points  of my story, but it was a name at least very well known and often printed.  the figure was stiff; but the signature was good for more than that, if it  was only genuine. i took the liberty of pointing out to my gentleman that  the whole business looked apocryphal, and that a man does not, in real  life, walk into a cellar door at four in the morning and come out of it with 5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/51/m/j/14 \u00a9 ucles 2014 [turn overanother man\u2019s cheque for close upon a hundred pounds. but he was quite  easy and sneering. \u2018set your mind at rest,\u2019 says he, \u2018i will stay with you till  the banks open and cash the cheque myself.\u2019 so we all set off, the doctor,  and the child\u2019s father, and our friend and myself, and passed the rest of  the night in my chambers; and next day, when we had breakfasted, went  in a body to the bank. i gave in the cheque myself, and said i had every  reason to believe it was a forgery. not a bit of it. the cheque was genuine.\u2019  [from chapter 1 , \u2018story of the door\u2019  ]   how does stevenson\u2019s writing make this such a striking moment in the novel? or 17 in what ways does stevenson make dr lanyon\u2019s relationship with dr jekyll such a  memorable part of the novel? or 18 y ou are mr utterson. y ou have just dined with dr jekyll. he has made you promise to help  mr hyde in the event of his death.   write your thoughts.55",
            "12": "12 0486/51/m/j/14 \u00a9 ucles 2014tennessee williams: cat on a hot tin roof either  19 read this extract, and then answer the question that follows it: big mama:  this is the biggest birthday big daddy\u2019s ever had, a  hundred presents and bushels of telegrams from \u2013 content removed due to copyright restrictions.",
            "13": "13 0486/51/m/j/14 \u00a9 ucles 2014brick:  that\u2019s what they told me, too.  [from act 2 ]   in what ways does williams vividly convey the tension at this moment in the play? or 20 how far do you think williams makes it possible to like maggie? support your ideas with  details from the play. or 21 y ou are big daddy, just before your birthday party begins.   write your thoughts.content removed due to copyright restrictions.",
            "14": "14 0486/51/m/j/14 \u00a9 ucles 2014blank page",
            "15": "15 0486/51/m/j/14 \u00a9 ucles 2014blank page",
            "16": "16 0486/51/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 4 \u00a9  carol ann duffy;  miles away , in selected poems ;  penguin books ltd;  1994. question 7 \u00a9  helen dunmore;  the siege ;  penguin books ltd;  2002. question 10 \u00a9  liz lochhead;  laundrette , in poems deep and dangerous ;  cambridge university press;  1995. question 19   \u00a9  cat on a hot tin roof   by tennessee williams.  copyright \u00a9  1954, 1955, by the university of the south, renewed 1982, 1983 the university of  the south.  reprinted by permission of new directions publishing corp and georges borchardt, inc. for the estate of tennessee williams.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s14_qp_52.pdf": {
            "1": "this document consists of 15 printed pages, 1 blank page and  1 insert. dc (st) 103133 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 0 3 7 2 1 1 2 2 7 5 *literature (english)  0486/52 paper 5 may/june 2014  45 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/52/m/j/14 \u00a9 ucles 2014answer one question on any text. jane austen: northanger abbey either 1 read this extract, and then answer the question that follows it: catherine\u2019s heart beat quick, but her courage did not fail her. with  a cheek flushed by hope, and an eye straining with curiosity, her fingers  grasped the handle of a drawer and drew it forth. it was entirely empty.  with less alarm and greater eagerness she seized a second, a third, a  fourth; each was equally empty. not one was left unsearched, and in not  one was anything found. well read in the art of concealing a treasure,  the possibility of false linings to the drawers did not escape her, and she  felt round each with anxious acuteness in vain. the place in the middle  alone remained now unexplored; and though she had \u2018never from the first  had the smallest idea of finding anything in any part of the cabinet, and  was not in the least disappointed at her ill success thus far, it would be  foolish not to examine it thoroughly while she was about it.\u2019 it was some  time however before she could unfasten the door, the same difficulty  occurring in the management of this inner lock as of the outer; but at  length it did open; and not vain, as hitherto, was her search; her quick  eyes directly fell on a roll of paper pushed back into the further part of the  cavity, apparently for concealment, and her feelings at that moment were  indescribable. her heart fluttered, her knees trembled, and her cheeks  grew pale. she seized, with an unsteady hand, the precious manuscript,  for half a glance sufficed to ascertain written characters; and while she  acknowledged with awful sensations this striking exemplification of what  henry had foretold, resolved instantly to peruse every line before she  attempted to rest. the dimness of the light her candle emitted made her turn to it  with alarm; but there was no danger of its sudden extinction, it had yet  some hours to burn; and that she might not have any greater difficulty  in distinguishing the writing than what its ancient date might occasion,  she hastily snuffed it. alas! it was snuffed and extinguished in one.  a lamp could not have expired with more awful effect. catherine, for a  few moments, was motionless with horror. it was done completely; not  a remnant of light in the wick could give hope to the rekindling breath.  darkness impenetrable and immoveable filled the room. a violent gust  of wind, rising with sudden fury, added fresh horror to the moment.  catherine trembled from head to foot. in the pause which succeeded,   a sound like receding footsteps and the closing of a distant door struck  on her affrighted ear. human nature could support no more. a cold sweat  stood on her forehead, the manuscript fell from her hand, and groping her  way to the bed, she jumped hastily in, and sought some suspension of  agony by creeping far underneath the clothes. to close her eyes in sleep  that night, she felt must be entirely out of the question. with a curiosity so  justly awakened, and feelings in every way so agitated, repose must be  absolutely impossible. the storm too abroad so dreadful! \u2013 she had not  been used to feel alarm from wind, but now every blast seemed fraught  with awful intelligence.  [from chapter 21 ] how does austen\u2019s writing make this passage so amusing?5 10 15 20 25 30 35 40",
            "3": "3 0486/52/m/j/14 \u00a9 ucles 2014 [turn overor 2 does austen make you feel that catherine and henry tilney will have a happy marriage?  support your ideas with details from the novel. or 3 y ou are general tilney. john thorpe has just told you that catherine is not going to  inherit great wealth as he had led you to believe.   write your thoughts.",
            "4": "4 0486/52/m/j/14 \u00a9 ucles 2014carol ann duffy:  selected poems either 4 read this poem, and then answer the question that follows it: originally we came from our own country in a red room strangers ask. originally? and i hesitate.   how does duffy vividly convey the speaker\u2019s thoughts and feelings in this poem? or 5 explore how duffy movingly conveys the situation of the dolphins in the dolphins . or 6 how does duffy\u2019s writing make the poem foreign particularly powerful for you?content removed due to copyright restrictions.",
            "5": "5 0486/52/m/j/14 \u00a9 ucles 2014 [turn overturn to page 6 for question 7.",
            "6": "6 0486/52/m/j/14 \u00a9 ucles 2014helen dunmore:  the siege either  7 read this extract, and then answer the question that follows it: \u2018i\u2019m off, then,\u2019 says anna. the roubles, sugar, lard and bread are in a  cotton bag tied around her waist.  \u2018no, i won\u2019t forget.\u2019content removed due to copyright restrictions.",
            "7": "7 0486/52/m/j/14 \u00a9 ucles 2014 [turn over [from chapter 17 ]   how does dunmore\u2019s writing reveal the desperate struggle for survival at this moment in  the novel? or 8 how does dunmore memorably contrast the characters and attitudes of anna and  elizaveta antonovna in the novel? or 9 y ou are fedya at the end of the novel.   write your thoughts.",
            "8": "8 0486/52/m/j/14 \u00a9 ucles 2014from jo phillips ed.:  poems deep & dangerous either  10 read this poem, and then answer the question that follows it: first love i ne\u2019er was struck before that hour  with love so sudden and so sweet. her face it bloomed like a sweet flower  and stole my heart away complete. my face turned pale as deadly pale,  my legs refused to walk away, and when she looked \u2018what could i ail?\u2019  my life and all seemed turned to clay. and then my blood rushed to my face  and took my sight away. the trees and bushes round the place  seemed midnight at noonday. i could not see a single thing,  words from my eyes did start; they spoke as chords do from the string  and blood burnt round my heart. are flowers the winter\u2019s choice?  is love\u2019s bed always snow? she seemed to hear my silent voice  and love\u2019s appeal to know. i never saw so sweet a face  as that i stood before: my heart has left its dwelling-place  and can return no more. (by john clare )   how does clare powerfully portray first love here? or 11 how does banks vividly capture the thoughts and feelings of the mother in the gift ? or 12 how do the poets appeal to your senses in laundrette (by liz lochhead) and people  etcetera  (by elma mitchell)?5 10 15 20",
            "9": "9 0486/52/m/j/14 \u00a9 ucles 2014 [turn overturn to page 10 for question 13.",
            "10": "10 0486/52/m/j/14 \u00a9 ucles 2014william shakespeare:  a midsummer night\u2019s dream either 13 read this extract, and then answer the question that follows it: hermia:  i would my father look\u2019d 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\u2019s choice,   y ou can endure the livery of a nun,   for aye to be in shady cloister mew\u2019d,   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\u2019d   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 \u2013   the sealing-day betwixt my love and me   for everlasting bond of fellowship \u2013   upon that day either prepare to die   for disobedience to your father\u2019s will,   or else to wed demetrius, as he would,   or on diana\u2019s altar to protest   for aye austerity and single life. demetrius:  relent, sweet hermia; and, lysander, yield   thy crazed title to my certain right. lysander:  y ou have her father\u2019s love, demetrius;   let me have hermia\u2019s; do you marry him. 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\u2019d as he,   as well possess\u2019d; my love is more than his;   my fortunes every way as fairly rank\u2019d,   if not with vantage, as demetrius\u2019;   and, which is more than all these boasts can be,   i am belov\u2019d of beauteous hermia.5 10 15 20 25 30 35 40 45",
            "11": "11 0486/52/m/j/14 \u00a9 ucles 2014 [turn over  why should not i then prosecute my right?   demetrius, i\u2019ll avouch it to his head,   made love to nedar\u2019s daughter, helena,   and won her soul; and she, sweet lady, dotes,   devoutly dotes, dotes in idolatry,   upon this spotted and inconstant man. theseus:  i must confess that i have heard so much,   and with demetrius thought to have spoke thereof;   but, being over-full of self-affairs,   my mind did lose it. but, demetrius, come;   and come, egeus; you shall go with me;   i have some private schooling for you both.   for you, fair hermia, look you arm yourself   to fit your fancies to your father\u2019s will,   or else the law of athens yields you up \u2013   which by no means we may extenuate \u2013   to death, or to a vow of single life.   come, my hippolyta; what cheer, my love?   demetrius, and egeus, go along;   i must employ you in some business   against our nuptial, and confer with you   of something nearly that concerns yourselves. egeus:  with duty and desire we follow you.  [from act 1 scene 1 ]   how does shakespeare make this such a dramatic and significant moment in the play? or 14 how does shakespeare amusingly convey titania\u2019s love for bottom? or 15 y ou are demetrius. y ou are on the way to the temple to be married.   write your thoughts.50 55 60 65 70",
            "12": "12 0486/52/m/j/14 \u00a9 ucles 2014robert louis stevenson:  the strange case of dr jekyll and mr hyde either 16 read this extract, and then answer the question that follows it: it was late in the afternoon, when mr utterson found his way to dr jekyll\u2019s  door, where he was at once admitted by poole, and carried down by the  kitchen offices and across a yard which had once been a garden, to the  building which was indifferently known as the laboratory or the dissecting  rooms. the doctor had bought the house from the heirs of a celebrated  surgeon; and his own tastes being rather chemical than anatomical, had  changed the destination of the block at the bottom of the garden. it was  the first time that the lawyer had been received in that part of his friend\u2019s  quarters; and he eyed the dingy windowless structure with curiosity, and  gazed round with a distasteful sense of strangeness as he crossed the  theatre, once crowded with eager students now lying gaunt and silent,  the tables laden with chemical apparatus, the floor strewn with crates and  littered with packing straw, and the light falling dimly through the foggy  cupola. at the further end, a flight of stairs mounted to a door covered  with red baize; and through this mr utterson was at last received into  the doctor\u2019s cabinet. it was a large room, fitted round with glass presses,  furnished, among other things, with a cheval-glass and a business table,  and looking out upon the court by three dusty windows barred with iron.  the fire burned in the grate; a lamp was set lighted on the chimney shelf,  for even in the houses the fog began to lie thickly; and there, close up  to the warmth, sat dr jekyll, looking deadly sick. he did not rise to meet  his visitor, but held out a cold hand and bade him welcome in a changed  voice. \u2018and now,\u2019 said mr utterson, as soon as poole had left them, \u2018you  have heard the news?\u2019 the doctor shuddered. \u2018they were crying it in the square,\u2019 he said.   \u2018i heard them in my dining room.\u2019 \u2018one word,\u2019 said the lawyer. \u2018carew was my client, but so are you,  and i want to know what i am doing. y ou have not been mad enough to  hide this fellow?\u2019 \u2018utterson, i swear to god,\u2019 cried the doctor, \u2018i swear to god i will never  set eyes on him again. i bind my honour to you that i am done with him in  this world. it is all at an end. and indeed he does not want my help; you  do not know him as i do; he is safe, he is quite safe; mark my words, he  will never more be heard of.\u2019 the lawyer listened gloomily; he did not like his friend\u2019s feverish  manner. \u2018y ou seem pretty sure of him,\u2019 said he; \u2018and for your sake, i hope  you may be right. if it came to a trial, your name might appear.\u2019 \u2018i am quite sure of him,\u2019 replied jekyll; \u2018i have grounds for certainty  that i cannot share with anyone. but there is one thing on which you   may advise me. i have \u2014 i have received a letter; and i am at a loss  whether i should show it to the police. i should like to leave it in your  hands, utterson; you would judge wisely i am sure; i have so great a trust  in you.\u2019 \u2018y ou fear, i suppose, that it might lead to his detection?\u2019 asked the  lawyer. \u2018no,\u2019 said the other. \u2018i cannot say that i care what becomes of hyde;  i am quite done with him. i was thinking of my own character, which this  hateful business has rather exposed.\u2019 utterson ruminated awhile; he was surprised at his friend\u2019s  selfishness, and yet relieved by it. \u2018well,\u2019 said he, at last, \u2018let me see the  letter.\u20195 10 15 20 25 30 35 40 45 50",
            "13": "13 0486/52/m/j/14 \u00a9 ucles 2014 [turn overthe letter was written in an odd, upright hand and signed \u2018edward  hyde\u2019: and it signified, briefly enough, that the writer\u2019s benefactor, dr  jekyll, whom he had long so unworthily repaid for a thousand generosities,  need labour under no alarm for his safety as he had means of escape  on which he placed a sure dependence. the lawyer liked this letter well  enough; it put a better colour on the intimacy than he had looked for; and  he blamed himself for some of his past suspicions.  [from chapter 5, \u2018incident of the letter\u2019   ]   in what ways do you think stevenson makes this passage so significant to the story as a  whole? or 17 explore two moments in the novel where stevenson\u2019s writing creates a striking  atmosphere of horror for you. support your ideas with details from stevenson\u2019s writing. or 18 y ou are dr lanyon. y ou have just witnessed mr hyde turning into dr jekyll. y ou are now  alone.   write your thoughts.55",
            "14": "14 0486/52/m/j/14 \u00a9 ucles 2014tennessee williams:  cat on a hot tin roof either 19 read this extract, and then answer the question that follows it: brick: \t what makes you think that big daddy has a lech for you,  maggie? content removed due to copyright restrictions.",
            "15": "15 0486/52/m/j/14 \u00a9 ucles 2014amused?  shocked? contemptuous? \u2013 part of those and part  of something  else. ]  [from act 1 ]   explore the ways in which williams makes maggie such a dramatically powerful character  at this moment in the play. or 20 in what ways do you think williams makes the relationship between mae and gooper  such a memorable part of the play? or 21 y ou are big mama. it is just after the conversation in which big daddy has told you that  he is back in charge.   write your thoughts.content removed due to copyright restrictions.",
            "16": "16 0486/52/m/j/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 4 \u00a9  carol ann duffy;  originally , in selected poems ;  penguin books ltd;  1994.  question 7 \u00a9  helen dunmore;  the siege ;  penguin books ltd;  2002.  reproduced by permission of a p watt at united agents on behalf of helen dunmore. question 19   \u00a9  cat on a hot tin roof   by tennessee williams.  copyright \u00a9  1954, 1955, by the university of the south, renewed 1982, 1983 the university  of the south.  reprinted by permission of new directions publishing corp and georges borchardt, inc. for the estate of tennessee williams.   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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s14_qp_53.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 103134 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education * 7 0 7 5 1 6 6 2 4 7 *literature (english)  0486/53 paper 5 may/june 2014  45 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/53/m/j/14 \u00a9 ucles 2014answer one question on any text. jane austen: northanger abbey either 1 read this extract, and then answer the question that follows it: they met by appointment; and as isabella had arrived nearly five  minutes before her friend, her first address naturally was \u2013 \u2018my dearest  creature, what can have made you so late? i have been waiting for you at  least this age!\u2019 \u2018have you, indeed! \u2013 i am very sorry for it; but really i thought i  was in very good time. it is but just one. i hope you have not been here   long?\u2019 \u2018oh! these ten ages at least. i am sure i have been here this half hour.  but now, let us go and sit down at the other end of the room, and enjoy  ourselves. i have an hundred things to say to you. in the first place, i was  so afraid it would rain this morning, just as i wanted to set off; it looked  very showery, and that would have thrown me into agonies! do you know,  i saw the prettiest hat you can imagine, in a shop window in milsom street  just now \u2013 very like yours, only with coquelicot ribbons instead of green; i  quite longed for it. but, my dearest catherine, what have you been doing  with yourself all this morning? \u2013 have you gone on with udolpho?\u2019 \u2018y es, i have been reading it ever since i woke; and i am got to the  black veil.\u2019 \u2018are you, indeed? how delightful! oh! i would not tell you what is  behind the black veil for the world! are not you wild to know?\u2019 \u2018oh! yes, quite; what can it be? \u2013 but do not tell me \u2013 i would not  be told upon any account. i know it must be a skeleton, i am sure it is  laurentina\u2019s skeleton. oh! i am delighted with the book! i should like to  spend my whole life in reading it. i assure you, if it had not been to meet  you, i would not have come away from it for all the world.\u2019 \u2018dear creature! how much i am obliged to you; and when you have  finished udolpho, we will read the italian together; and i have made out a  list of ten or twelve more of the same kind for you.\u2019 \u2018have you, indeed! how glad i am! \u2013 what are they all?\u2019 \u2018i will read you their names directly; here they are, in my pocket-book.  castle of wolfenbach, clermont, mysterious warnings, necromancer  of the black forest, midnight bell, orphan of the rhine, and horrid  mysteries. those will last us some time.\u2019 \u2018y es, pretty well; but are they all horrid, are you sure they are all  horrid?\u2019 \u2018y es, quite sure; for a particular friend of mine, a miss andrews, a  sweet girl, one of the sweetest creatures in the world, has read every one  of them. i wish you knew miss andrews, you would be delighted with her.  she is netting herself the sweetest cloak you can conceive. i think her as  beautiful as an angel, and i am so vexed with the men for not admiring  her! \u2013 i scold them all amazingly about it.\u2019 \u2018scold them! do you scold them for not admiring her?\u2019 \u2018y es, that i do. there is nothing i would not do for those who are  really my friends. i have no notion of loving people by halves, it is not my  nature. my attachments are always excessively strong. i told capt. hunt  at one of our assemblies this winter, that if he was to tease me all night, i  would not dance with him, unless he would allow miss andrews to be as  beautiful as an angel. the men think us incapable of real friendship you  know, and i am determined to show them the difference. now, if i were to 5 10 15 20 25 30 35 40 45",
            "3": "3 0486/53/m/j/14 \u00a9 ucles 2014 [turn overhear anybody speak slightingly of you, i should fire up in a moment: \u2013 but  that is not at all likely, for you are just the kind of girl to be a great favourite  with the men.\u2019 \u2018oh! dear,\u2019 cried catherine, colouring, \u2018how can you say so?\u2019 \u2018i know you very well; you have so much animation, which is  exactly what miss andrews wants, for i must confess there is something  amazingly insipid about her.\u2019  [from chapter 6 ]   how does austen\u2019s writing make this moment so entertaining? or 2 explore two moments in the novel where austen makes one character\u2019s misunderstanding  of another amusing for you. or 3 y ou are henry tilney. y ou have just found out that your father has sent catherine away  from northanger abbey.   write your thoughts.50 55",
            "4": "4 0486/53/m/j/14 \u00a9 ucles 2014carol ann duffy: selected poems either 4 read this poem, and then answer the question that follows it: miles away i want you and you are not here. i pause into memory. the stars are filming us for no one.   how does duffy\u2019s writing create a vivid impression of missing a loved one in this poem? or 5 how does duffy create very different impressions of teachers in head of english  and  the good teachers ? or 6 in what ways does duffy reveal the more unpleasant side of human nature in stealing ?content removed due to copyright restrictions.",
            "5": "5 0486/53/m/j/14 \u00a9 ucles 2014 [turn overhelen dunmore: the siege either 7 read this extract, and then answer the question that follows it: anna has always loved the first snowfall of winter. she knows as soon as  dawn comes that it\u2019ll be today.   the russian winter defeated napoleon, people say to one  another. perhaps it will defeat hitler, too.  [from chapter 17 ]   how does dunmore\u2019s writing vividly convey anna\u2019s feelings about the first snowfall here? or 8 to what extent does dunmore make you sympathise with mikhail? support your ideas  with details from the novel. or 9 y ou are andrei after your first meeting with anna.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/53/m/j/14 \u00a9 ucles 2014from jo phillips ed.: poems deep & dangerous either 10 read this poem, and then answer the question that follows it: laundrette we sit nebulous in steam. it calms the air and makes the windows stream rippling the hinterland\u2019s big houses to a blur of bedsits \u2013 not a patch on what they were before. we stuff the tub, jam money in the slot, sit back on rickle chairs not reading. the paperbacks in our pockets curl. our eyes are riveted. our own colours whirl. we pour in smithereens of soap. the machine sobs through its cycle. the rhythm throbs and changes. suds drool and slobber in the churn. our duds don\u2019t know which way to turn. the dark shoves one man in, lugging a bundle like a wandering jew. linen washed in public here. we let out of the bag who we are. this young wife has a fine stack of sheets, each pair a present. she admires their clean cut air of colourschemes and being chosen. are the dyes fast? this christening lather will be the first test. this woman is deadpan before the rinse and sluice of the family in a bagwash. let them stew in their juice to a final fankle, twisted, wrung out into rope, hard to unravel. she sees a kaleidoscope for her to narrow her eyes and blow smoke at, his overalls and pants ballooning, tangling with her smalls and the teeshirts skinned from her wriggling son. she has a weather eye for what might shrink or run. this dour man does for himself. before him, half lost, his small possessions swim. cast off, random they nose and nudge the porthole glass like flotsam. (by liz lochhead )   in what striking ways does lochhead bring to life the laundrette and the people in it?5 10 15 20 25 30",
            "7": "7 0486/53/m/j/14 \u00a9 ucles 2014 [turn overor 11 explore the ways in which rossetti memorably conveys feelings of regret in sonnet: i  wish i could remember that first day . or 12 how do the poets make vivid use of imagery in either  football after school (by patricia  mccarthy) or shall i compare thee .  . .? (by william shakespeare)?",
            "8": "8 0486/53/m/j/14 \u00a9 ucles 2014william shakespeare: a midsummer night\u2019s dream either 13 read this extract, and then answer the question that follows it: helena:  o, teach me how you look, and with what art  y ou sway the motion of demetrius\u2019 heart! hermia:  i frown upon him, yet he loves me still. helena:  o that your frowns would teach my smiles such skill! hermia:  i give him curses, yet he gives me love. helena:  o that my prayers could such affection move! hermia:  the more i hate, the more he follows me. helena:  the more i love, the more he hateth me. hermia:  his folly, helena, is no fault of mine. helena:  none, but your beauty; would that fault were mine! hermia:  take comfort: he no more shall see my face;  lysander and myself will fly this place.  before the time i did lysander see,  seem\u2019d athens as a paradise to me.  o, then, what graces in my love do dwell,  that he hath turn\u2019d a heaven unto a hell! lysander:  helen, to you our minds we will unfold:  to-morrow night, when phoebe doth behold  her silver visage in the wat\u2019ry glass,  decking with liquid pearl the bladed grass,  a time that lovers\u2019 flights doth still conceal,  through athens\u2019 gates have we devis\u2019d to steal. hermia:  and in the wood where often you and i  upon faint primrose beds were wont to lie,  emptying our bosoms of their counsel sweet,  there my lysander and myself shall meet;  and thence from athens turn away our eyes,  to seek new friends and stranger companies.  farewell, sweet playfellow; pray thou for us,  and good luck grant thee thy demetrius!  keep word, lysander; we must starve our sight  from lovers\u2019 food till morrow deep midnight. lysander:  i will, my hermia. [exit hermia.  helena adieu;  as you on him, demetrius dote on you! [exit lysander. helena:  how happy some o\u2019er other some can be!  through athens i am thought as fair as she.  but what of that? demetrius thinks not so;  he will not know what all but he do know.  and as he errs, doting on hermia\u2019s eyes,  so i, admiring of his qualities.  things base and vile, holding no quantity,  love can transpose to form and dignity.  love looks not with the eyes, but with the mind;  and therefore is wing\u2019d cupid painted blind.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/53/m/j/14 \u00a9 ucles 2014 [turn over nor hath love\u2019s mind of any judgment taste;  wings and no eyes figure unheedy haste;  and therefore is love said to be a child,  because in choice he is so oft beguil\u2019d.  as waggish boys in game themselves forswear,  so the boy love is perjur\u2019d everywhere;  for ere demetrius look\u2019d on hermia\u2019s eyne,  he hail\u2019d down oaths that he was only mine;  and when this hail some heat from hermia felt,  so he dissolv\u2019d, and show\u2019rs of oaths did melt.  i will go tell him of fair hermia\u2019s flight;  then to the wood will he to-morrow night  pursue her; and for this intelligence  if i have thanks, it is a dear expense.  but herein mean i to enrich my pain,  to have his sight thither and back again. [exit.  [from act 1 scene 1 ]   in what ways does shakespeare dramatically convey the thoughts and feelings of the  characters at this moment in the play? or 14 how does shakespeare strikingly portray oberon\u2019s feelings towards titania? support  your ideas with details from the play. or 15 y ou are bottom. y our play \u2018pyramus and thisbe\u2019 has just finished.   write your thoughts.50 55 60",
            "10": "10 0486/53/m/j/14 \u00a9 ucles 2014robert louis stevenson: the strange case of dr jekyll and mr hyde either 16 read this extract, and then answer the question that follows it: \u2018well, it was this way,\u2019 returned mr enfield: \u2018i was coming home from  some place at the end of the world, about three o\u2019clock of a black winter  morning, and my way lay through a part of town where there was literally  nothing to be seen but lamps. street after street, and all the folks asleep\u2014 street after street, all lighted up as if for a procession and all as empty  as a church\u2014till at last i got into that state of mind when a man listens  and listens and begins to long for the sight of a policeman. all at once, i  saw two figures: one a little man who was stumping along eastward at a  good walk, and the other a girl of maybe eight or ten who was running as  hard as she was able down a cross street. well, sir, the two ran into one  another naturally enough at the corner; and then came the horrible part  of the thing; for the man trampled calmly over the child\u2019s body and left her  screaming on the ground. it sounds nothing to hear, but it was hellish to  see. it wasn\u2019t like a man; it was like some damned juggernaut. i gave a  view halloa, took to my heels, collared my gentleman, and brought him  back to where there was already quite a group about the screaming child.  he was perfectly cool and made no resistance, but gave me one look,  so ugly that it brought out the sweat on me like running. the people who  had turned out were the girl\u2019s own family; and pretty soon, the doctor,  for whom she had been sent, put in his appearance. well, the child was  not much the worse, more frightened, according to the sawbones; and  there you might have supposed would be an end to it. but there was one  curious circumstance. i had taken a loathing to my gentleman at first  sight. so had the child\u2019s family, which was only natural. but the doctor\u2019s  case was what struck me. he was the usual cut and dry apothecary, of no  particular age and colour, with a strong edinburgh accent, and about as  emotional as a bagpipe. well, sir, he was like the rest of us; every time he  looked at my prisoner, i saw that sawbones turn sick and white with the  desire to kill him. i knew what was in his mind, just as he knew what was  in mine; and killing being out of the question, we did the next best. we told  the man we could and would make such a scandal out of this, as should  make his name stink from one end of london to the other. if he had any  friends or any credit, we undertook that he should lose them. and all the  time, as we were pitching it in red hot, we were keeping the women off  him as best we could, for they were as wild as harpies. i never saw a  circle of such hateful faces; and there was the man in the middle, with a  kind of black, sneering coolness\u2014frightened too, i could see that\u2014but  carrying it off, sir, really like satan. \u2018if you choose to make capital out of  this accident,\u2019 said he, \u2018i am naturally helpless. no gentleman but wishes  to avoid a scene,\u2019 says he. \u2018name your figure.\u2019 well, we screwed him up  to a hundred pounds for the child\u2019s family; he would have clearly liked to  stick out; but there was something about the lot of us that meant mischief,  and at last he struck. the next thing was to get the money; and where do  you think he carried us but to that place with the door?\u2014whipped out a  key, went in, and presently came back with the matter of ten pounds in  gold and a cheque for the balance on coutts\u2019s, drawn payable to bearer  and signed with a name that i can\u2019t mention, though it\u2019s one of the points  of my story, but it was a name at least very well known and often printed.  the figure was stiff; but the signature was good for more than that, if it  was only genuine. i took the liberty of pointing out to my gentleman that  the whole business looked apocryphal, and that a man does not, in real  life, walk into a cellar door at four in the morning and come out of it with 5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/53/m/j/14 \u00a9 ucles 2014 [turn overanother man\u2019s cheque for close upon a hundred pounds. but he was quite  easy and sneering. \u2018set your mind at rest,\u2019 says he, \u2018i will stay with you till  the banks open and cash the cheque myself.\u2019 so we all set off, the doctor,  and the child\u2019s father, and our friend and myself, and passed the rest of  the night in my chambers; and next day, when we had breakfasted, went  in a body to the bank. i gave in the cheque myself, and said i had every  reason to believe it was a forgery. not a bit of it. the cheque was genuine.\u2019  [from chapter 1 , \u2018story of the door\u2019  ]   how does stevenson\u2019s writing make this such a striking moment in the novel? or 17 in what ways does stevenson make dr lanyon\u2019s relationship with dr jekyll such a  memorable part of the novel? or 18 y ou are mr utterson. y ou have just dined with dr jekyll. he has made you promise to help  mr hyde in the event of his death.   write your thoughts.55",
            "12": "12 0486/53/m/j/14 \u00a9 ucles 2014tennessee williams: cat on a hot tin roof either  19 read this extract, and then answer the question that follows it: big mama:  this is the biggest birthday big daddy\u2019s ever had, a  hundred presents and bushels of telegrams from \u2013 content removed due to copyright restrictions.",
            "13": "13 0486/53/m/j/14 \u00a9 ucles 2014brick:  that\u2019s what they told me, too.  [from act 2 ]   in what ways does williams vividly convey the tension at this moment in the play? or 20 how far do you think williams makes it possible to like maggie? support your ideas with  details from the play. or 21 y ou are big daddy, just before your birthday party begins.   write your thoughts.content removed due to copyright restrictions.",
            "14": "14 0486/53/m/j/14 \u00a9 ucles 2014blank page",
            "15": "15 0486/53/m/j/14 \u00a9 ucles 2014blank page",
            "16": "16 0486/53/m/j/14 \u00a9 ucles 2014copyright acknowledgements: question 4 \u00a9  carol ann duffy;  miles away , in selected poems ;  penguin books ltd;  1994. question 7 \u00a9  helen dunmore;  the siege ;  penguin books ltd;  2002. question 10 \u00a9  liz lochhead;  laundrette , in poems deep and dangerous ;  cambridge university press;  1995. question 19   \u00a9  cat on a hot tin roof   by tennessee williams.  copyright \u00a9  1954, 1955, by the university of the south, renewed 1982, 1983 the university of  the south.  reprinted by permission of new directions publishing corp and georges borchardt, inc. for the estate of tennessee williams.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (st) 108654 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 6 4 9 8 8 6 7 5 3 8 *literature (english)  0486/11 paper 1  october/november 2014  2 hours 15 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/11/o/n/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/11/o/n/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3  pages 4\u20135 wiliiam shakespeare: julius caesar        *4, \u20205, 6  pages 6\u20137 wiliiam shakespeare: the tempest        *7, \u20208, 9  pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12  pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected poems  *13, \u202014, \u202015  page 12 songs of ourselves : from part 4  *16, \u202017, \u202018  page 13 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21  pages 14\u201315 anita desai: fasting, feasting  *22, \u202023, 24  pages 16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27  pages 18\u201319 george eliot: silas marner  *28, \u202029, 30  pages 20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33  pages 22\u201323 from stories of ourselves  *34, \u202035, 36  pages 24\u201325",
            "4": "4 0486/11/o/n/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either  *1 read this extract, and then answer the question that follows it: chris:  [calling after him ] drink your tea, casanova. [ he turns  to ann .] isn\u2019t he a great guy? content removed due to copyright restrictions.",
            "5": "5 0486/11/o/n/14 \u00a9 ucles 2014 [turn overchris:  [speaks quietly, factually at first ] it\u2019s all mixed up with so  many other things. \u2026  [from act 1 ]    in what ways do you think miller makes this such a moving moment in the play? or \u20202 does miller make you despise or sympathise with joe keller? support your ideas with  details from the writing.  or  3 y ou are george deever. y ou have just finished talking to your father in the prison.     write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/11/o/n/14 \u00a9 ucles 2014william shakespeare: julius \tcaesar either  *4 read this extract, and then answer the question that follows it: antony:  these many, then, shall die; their names are prick\u2019d. octavius:  y our brother too must die. consent you, lepidus? lepidus:  i do consent. octavius:    prick him down, antony. lepidus:  upon condition publius shall not live,  who is your sister\u2019s son, mark antony. antony:  he shall not live; look, with a spot i damn him.  but, lepidus, go you to caesar\u2019s house;   fetch the will hither, and we shall determine   how to cut off some charge in legacies. lepidus:  what, shall i find you here? octavius:  or here or at the capitol.  [exit lepidus. antony:  this is a slight unmeritable man, meet to be sent on errands. is it fit,   the threefold world divided, he should stand   one of the three to share it? octavius:    so you thought him, and took his voice who should be prick\u2019d to die   in our black sentence and proscription. antony:  octavius, i have seen more days than you; and though we lay these honours on this man,   to ease ourselves of divers sland\u2019rous loads,   he shall but bear them as the ass bears gold,   the groan and sweat under the business,   either led or driven as we point the way;   and having brought our treasure where we will,   then take we down his load, and turn him off,   like to the empty ass, to shake his ears   and graze in commons. octavius:    y ou may do your will; but he\u2019s a tried and valiant soldier. antony:  so is my horse, octavius, and for that i do appoint him store of provender.   it is a creature that i teach to fight,   to wind, to stop, to run directly on,   his corporal motion govern\u2019d by my spirit.   and, in some taste, is lepidus but so:   he must be taught, and train\u2019d, and bid go forth;   a barren-spirited fellow; one that feeds   on abjects, orts, and imitations,   which, out of use and stal\u2019d by other men,   begin his fashion. do not talk of him   but as a property. and now, octavius,   listen great things: brutus and cassius   are levying powers; we must straight make head;    5 10 15 20 25 30 35 40 45",
            "7": "7 0486/11/o/n/14 \u00a9 ucles 2014 [turn overtherefore let our alliance be combin\u2019d,   our best friends made, our means stretch\u2019d;   and let us presently go sit in council   how covert matters may be best disclos\u2019d,   and open perils surest answered. octavius:  let us do so; for we are at the stake, and bay\u2019d about with many enemies;   and some that smile have in their hearts, i fear,   millions of mischiefs.  [from  act 4 scene 1 ]   how does shakespeare make this such a dramatic moment in the play? or \u20205 \u2018the noblest man that ever lived .\u2019   \u2018a man of such a feeble temper .\u2019   how far does shakespeare make you believe both  these views of caesar? support your  ideas with details from the play. or  6 y ou are lucius. y ou are on your way to the capitol to report on brutus and caesar for  portia.   write your thoughts.50 55",
            "8": "8 0486/11/o/n/14 \u00a9 ucles 2014william shakespeare: the\ttempest either  *7 read this extract, and then answer the question that follows it: re-enter ariel, driving in caliban, stephano, and trinculo, in their  stolen apparel. stephano:  every man shift for all the rest, and let no man take care  for himself; for all is but fortune. coragio, bully-monster,  coragio! trinculo:  if these be true spies which i wear in my head, here\u2019s a  goodly sight. caliban:  o setebos, these be brave spirits indeed! how fine my master is! i am afraid   he will chastise me. sebastian:  ha, ha! what things are these, my lord antonio?   will money buy \u2019em? antonio:    very like; one of them is a plain fish, and no doubt marketable. prospero:  mark but the badges of these men, my lords, then say if they be true. this mis-shapen knave \u2013   his mother was a witch, and one so strong   that could control the moon, make flows and ebbs,   and deal in her command without her power.   these three have robb\u2019d me; and this demi-devil \u2013   for he\u2019s a bastard one \u2013 had plotted with them   to take my life. two of these fellows you   must know and own; this thing of darkness i   acknowledge mine. caliban:    i shall be pinch\u2019d to death. alonso:  is not this stephano, my drunken butler? sebastian:  he is drunk now; where had he wine? alonso:  and trinculo is reeling ripe; where should they find this grand liquor that hath gilded \u2019em?   how cam\u2019st thou in this pickle? trinculo:  i have been in such a pickle since i saw you last that,  i fear me, will never out of my bones. i shall not fear  flyblowing. sebastian:  why, how now, stephano! stephano:  o, touch me not; i am not stephano, but a cramp. prospero:  y ou\u2019d be king \u2018o the isle, sirrah? stephano:  i should have been a sore one, then. alonso:  [pointing to caliban ] this is as strange a thing as e\u2019er i  look\u2019d on. prospero:  he is as disproportion\u2019d in his manners as in his shape. go, sirrah, to my cell;   take with you your companions; as you look   to have my pardon, trim it handsomely.5 10 15 20 25 30 35 40",
            "9": "9 0486/11/o/n/14 \u00a9 ucles 2014 [turn overcaliban:  ay, that i will; and i\u2019ll be wise hereafter, and seek for grace. what a thrice-double ass   was i to take this drunkard for a god,   and worship this dull fool! prospero:    go to; away! alonso:  hence, and bestow your luggage where you found it. sebastian:  or stole it, rather.  [exeunt caliban, stephano, and trinculo. prospero:  sir, i invite your highness and your train to my poor cell, where you shall take your rest   for this one night; which, part of it, i\u2019ll waste   with such discourse as, i not doubt, shall make it   go quick away \u2013 the story of my life,   and the particular accidents gone by   since i came to this isle. and in the morn   i\u2019ll bring you to your ship, and so to naples,   where i have hope to see the nuptial   of these our dear-belov\u2019d solemnized,   and thence retire me to my milan, where   every third thought shall be my grave. alonso:     i long to hear the story of your life, which must   take the ear strangely. prospero:    i\u2019ll deliver all; and promise you calm seas, auspicious gales,   and sail so expeditious that shall catch   y our royal fleet far off. [ aside to ariel ] my ariel, chick, that is thy charge. then to the elements   be free, and fare thou well! \u2013 please you, draw near.  [from act 5 scene 1 ]   how does shakespeare make this such a satisfying conclusion to the play? or \u20208 does shakespeare make you think that caliban is more of a victim than a villain? support  your ideas with details from the play. or  9 y ou are gonzalo just after ariel\u2019s appearance as the harpy. antonio and sebastian have  just left.      write your thoughts.45 50 55 60 65 70",
            "10": "10 0486/11/o/n/14 \u00a9 ucles 2014oscar wilde: the\timportance \tof\tbeing \tearnest either  *10 read this extract, and then answer the question that follows it: lady bracknell:  [sitting down .] y ou can take a seat, mr. worthing.   [looks in her pocket for note-book and pencil. ] jack:  thank you, lady bracknell, i prefer standing. lady bracknell:  [pencil and note-book in hand .] i feel bound to tell you  that you are not down on my list of eligible young men,  although i have the same list as the dear duchess of  bolton has. we work together, in fact. however, i am  quite ready to enter your name, should your answers  be what a really affectionate mother requires. do you  smoke? jack:  well, yes, i must admit i smoke. lady bracknell:  i am glad to hear it. a man should always have an  occupation of some kind. there are far too many idle  men in london as it is. how old are you? jack:  twenty-nine. lady bracknell:  a very good age to be married at. i have always been  of opinion that a man who desires to get married  should know either everything or nothing. which do  you know? jack:  [after some hesitation .] i know nothing, lady bracknell. lady bracknell:  i am pleased to hear it. i do not approve of anything  that tampers with natural ignorance. ignorance is like  a delicate exotic fruit; touch it and the bloom is gone.  the whole theory of modern education is radically  unsound. fortunately in england, at any rate, education  produces no effect whatsoever. if it did, it would prove  a serious danger to the upper classes, and probably  lead to acts of violence in grosvenor square. what is  your income? jack:  between seven and eight thousand a year. lady bracknell:  [makes a note in her book. ] in land, or in investments? jack:  in investments, chiefly. lady bracknell:  that is satisfactory. what between the duties expected  of one during one\u2019s lifetime, and the duties exacted  from one after one\u2019s death, land has ceased to be  either a profit or a pleasure. it gives one position, and  prevents one from keeping it up. that\u2019s all that can be  said about land. jack:  i have a country house with some land, of course,  attached to it, about fifteen hundred acres, i believe;  but i don\u2019t depend on that for my real income. in fact,  as far as i can make out, the poachers are the only  people who make anything out of it.5 10 15 20 25 30 35 40",
            "11": "11 0486/11/o/n/14 \u00a9 ucles 2014 [turn overlady bracknell:  a country house! how many bedrooms? well, that  point can be cleared up afterwards. y ou have a town  house, i hope? a girl with a simple, unspoiled nature,  like gwendolen, could hardly be expected to reside in  the country. jack:  well, i own a house in belgrave square, but it is let by  the year to lady bloxham. of course, i can get it back  whenever i like, at six months\u2019 notice. lady bracknell:  lady bloxham? i don\u2019t know her. jack:  oh, she goes about very little. she is a lady  considerably advanced in years. lady bracknell:  ah, nowadays that is no guarantee of respectability of  character. what number in belgrave square? jack:  149. lady bracknell:  [shaking her head. ] the unfashionable side. i thought  there was something. however, that could easily be  altered. jack:  do you mean the fashion, or the side? lady bracknell:  [sternly. ] both, if necessary, i presume. what are your  politics? jack:  well, i am afraid i really have none. i am a liberal  unionist. lady bracknell:  oh, they count as tories. they dine with us. or come  in the evening, at any rate. now to minor matters. are  your parents living? jack:  i have lost both my parents. lady bracknell:  to lose one parent, mr. worthing, may be regarded as  a misfortune; to lose both looks like carelessness. who  was your father? he was evidently a man of some  wealth. was he born in what the radical papers call  the purple of commerce, or did he rise from the ranks  of the aristocracy? jack:  i am afraid i really don\u2019t know.  [from act 1 ]   how does wilde at this moment in the play ridicule the ways in which the upper class   arranges the marriages of its daughters?   support your ideas with details from the writing. or \u202011 explore two moments in the play in which wilde makes the audience laugh at the absurd  ways in which people can behave. support your ideas with details from the writing. (do  not use the extract in question 10 in answering this question.) or 12 y ou are jack worthing. y ou have left the room after you have heard miss prism\u2019s story of  the handbag.    write your thoughts.45 50 55 60 65 70 75",
            "12": "12 0486/11/o/n/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected \tpoems either  *13 read this poem, and then answer the question that follows it: drummer hodge i  they throw in drummer hodge, to rest   uncoffined \u2013 just as found:  his landmark is a kopje-crest   that breaks the veldt around;  and foreign constellations west   each night above his mound. ii  y oung hodge the drummer never knew \u2013   fresh from his wessex home \u2013  the meaning of the broad karoo,   the bush, the dusty loam,  and why uprose to nightly view   strange stars amid the gloam. iii  y et portion of that unknown plain   will hodge for ever be;  his homely northern breast and brain   grow to some southern tree,  and strange-eyed constellations reign   his stars eternally.   how does hardy make this poem so powerful?  or \u202014 explore the ways in which hardy strikingly creates feelings of loneliness in the voice . or \u202015 explore the ways in which hardy creates vivid images in either  the darkling thrush  or  during wind and rain .5 10 15",
            "13": "13 0486/11/o/n/14 \u00a9 ucles 2014 [turn oversongs \tof\tourselves: \tfrom part 4 either  *16 read this poem, and then answer the question that follows it: where i come from  people are made of places. they carry with them  hints of jungles or mountains, a tropic grace  or the cool eyes of sea-gazers. atmosphere of cities  how different drops from them, like the smell of smog  or the almost-not-smell of tulips in the spring,  nature tidily plotted in little squares  with a fountain in the centre; museum smell,  art also tidily plotted with a guidebook;  or the smell of work, glue factories maybe,  chromium-plated offices; smell of subways  crowded at rush hours.       where i come from, people  carry woods in their minds, acres of pine woods;  blueberry patches in the burned-out bush;  wooden farmhouses, old, in need of paint,  with yards where hens and chickens circle about,  clucking aimlessly; battered schoolhouses  behind which violets grow. spring and winter  are the mind\u2019s chief seasons: ice and the breaking of ice.  a door in the mind blows open, and there blows  a frosty wind from fields of snow.  (by elizabeth brewster)   explore how brewster vividly conveys the atmospheres of different places in this poem. or \u202017 explore the effect of humour in either  continuum  (by allen curnow) or the cockroach  (by kevin halligan). or \u202018 how do the poet\u2019s words capture the beauty of the natural world in either  pied beauty  (by gerard manley hopkins) or summer farm  (by norman maccaig)?5 10 15 20",
            "14": "14 0486/11/o/n/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous \tconditions either  *19 read this extract, and then answer the question that follows it: nyasha remained stern for some time after maiguru left us. the creases  of concentration furrowed her brow ever more deeply. there was nothing  for me to do \u2013 my bed had been made, my clothes were neatly packed in  my suitcase. i sat on my bed and waited, not daring to speak to nyasha,  whose detachment, when she was not disarming you with the full force  of her precocious charm, was very intimidating. fortunately, it was not in  her nature to remain detached for long. she could not resist eyeing me  quickly and cautiously when she thought i wasn\u2019t looking, and i was able to  catch her at it because of course i was doing the same. our eyes met and  nyasha burst out laughing. \u2018we shall have to speak to each other sooner or later,\u2019 she laughed. \u2018and  anyway, it\u2019s not you i\u2019m cross with.\u2019 she was, it seemed, well-disposed towards me. there followed the usual  pleasantries about how the situation was at home and my eager questions  about school at the mission. what time did lessons start in the morning?  what time did they end? were those buildings i had seen through the  living-room window the classrooms? the siren, that was the bell, wasn\u2019t it?  and what about the teachers, were they harsh or kind? \u2018i\u2019m glad,\u2019 said nyasha when we began to talk seriously, \u2018that we have  to share this room. it means we\u2019ll be friends. but you curled your lip at us  when we came back from england, so i didn\u2019t know what was going to  happen when you came. i just said to myself, i\u2019ll try to be nice, i\u2019ll try to be  friendly and we\u2019ll see what happens.\u2019 \u2018but i did not sneer at you,\u2019 i protested, speaking in shona. our  conversation was laboured and clumsy because when nyasha spoke  seriously her thoughts came in english, whereas with me, the little english  i had disappeared when i dropped my vigilance to speak of things that  mattered. \u2018y ou know what happened? i was so disappointed when you  wouldn\u2019t speak to me, you and chido. not a word! y ou didn\u2019t even greet  me. just nhamo \u2013 he was your favourite.\u2019 \u2018actually,\u2019 confessed nyasha with unusual diffidence, so that if i had not  heard her speak before i would have said she was shy, \u2018actually we were  frightened that day. and confused. y ou know, it\u2019s easy to forget things when  you\u2019re that young. we had forgotten what home was like. i mean really  forgotten \u2013 what it looked like, what it smelt like, all the things to do and  say and not to do and say. it was all strange and new. not like anything we  were used to. it was a real shock!\u2019 looking back, i see that that is how our friendship began. in fact it  was more than friendship that developed between nyasha and myself.  the conversation that followed was a long, involved conversation, full of  guileless openings up and intricate lettings out and lettings in. it was the  sort of conversation that young girls have with their best friends, that lovers  have under the influence of the novelty and uniqueness of their love, the  kind of conversation that cousins have when they realise that they like  each other in spite of not wanting to. y ou could say that my relationship  with nyasha was my first love-affair, the first time that i grew to be fond of  someone of whom i did not wholeheartedly approve.  [from chapter 5 ]5 10 15 20 25 30 35 40 45",
            "15": "15 0486/11/o/n/14 \u00a9 ucles 2014 [turn over  how does dangarembga make this such a moving and revealing moment in the novel? or \u202020 how far does dangarembga make your feelings about tambu\u2019s mother change as you  read the novel? support your ideas with details from the writing. or 21 y ou are chido. babamukuru and nyasha have just fought after the dance.   write your thoughts.  ",
            "16": "16 0486/11/o/n/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either  *22 read this extract, and then answer the question that follows it: it was during the sad aftermath of anamika\u2019s marriage that all the  relatives received letters from papa to say,  content removed due to copyright restrictions.",
            "17": "17 0486/11/o/n/14 \u00a9 ucles 2014 [turn overshe could not help worrying how she would pull it  off after the tea party was over.  [from chapter 7  ]   what does desai make you feel for mama at this point in the novel? support your answer  with details from the writing. or  \u202023 \u2018desai creates a rich variety of characters .\u2019     explore the ways in which she makes any two characters come to life for you. (do not  use the extract printed in question 22 in your answer.) or 24 y ou are mrs patton. y ou have just received a letter from your sister mrs o\u2019henry telling  you of the arrival of arun in the usa.    write your thoughts.content removed due to copyright restrictions.",
            "18": "18 0486/11/o/n/14 \u00a9 ucles 2014kiran desai: hullabaloo \tin\tthe\tguava \torchard either  *25 read this extract, and then answer the question that follows it: sampath lifted the ruddy globe of fruit to get a better view of its long- snouted face when,  sampath, working at the back desk in the shahkot post office, however,  did not consider himself to be so terribly lucky.  [from chapter 3  ]content removed due to copyright restrictions.",
            "19": "19 0486/11/o/n/14 \u00a9 ucles 2014 [turn over  how does desai make fun of both mr chawla and \u2018government service\u2019 at this moment  in the novel? support your ideas with details from the writing.  or \u202026 in what ways does desai make kulfi a mysterious and fascinating character as the novel  progresses? support your ideas with details from the writing.  or 27 y ou are the district collector on your first night in shahkot. y ou are in your room.    write your thoughts. ",
            "20": "20 0486/11/o/n/14 \u00a9 ucles 2014george eliot: silas \tmarner either  *28 read this extract, and then answer the question that follows it:  godfrey felt an irritation inevitable to almost all of us when we encounter  an unexpected obstacle. he had been full of his own penitence and  resolution to retrieve his error as far as the time was left to him; he  was possessed with all-important feelings, that were to lead to a pre- determined course of action which he had fixed on as the right, and he  was not prepared to enter with lively appreciation into other people\u2019s  feelings counteracting his virtuous resolves. the agitation with which he  spoke again was not quite unmixed with anger. \u2018but i have a claim on you, eppie  \u2014the strongest of all claims. it is my  duty, marner, to own eppie as my child, and provide for her. she is my own  child\u2014her mother was my wife. i have a natural claim on her that must  stand before every other.\u2019 eppie had given a violent start, and turned quite pale. silas, on the  contrary, who had been relieved, by eppie\u2019s answer, from the dread  lest his mind should be in opposition to hers, felt the spirit of resistance  in him set free, not without a touch of parental fierceness. \u2018then, sir,\u2019 he  answered, with an accent of bitterness that had been silent in him since  the memorable day when his youthful hope had perished\u2014\u2018then, sir, why  didn\u2019t you say so sixteen years ago, and claim her before i\u2019d come to love  her, i\u2019stead o\u2019 coming to take her from me now, when you might as well  take the heart out o\u2019 my body? god gave her to me because you turned  your back upon her, and he looks upon her as mine: you\u2019ve no right to her!  when a man turns a blessing from his door, it falls to them as take it in.\u2019 \u2018i know that, marner. i was wrong. i\u2019ve repented of my conduct in that  matter,\u2019 said godfrey, who could not help feeling the edge of silas\u2019s words. \u2018i\u2019m glad to hear it, sir,\u2019 said marner, with gathering excitement; \u2018but  repentance doesn\u2019t alter what\u2019s been going on for sixteen year. y our  coming now and saying \u201ci\u2019m her father\u201d doesn\u2019t alter the feelings inside us.  it\u2019s me she\u2019s been calling her father ever since she could say the word.\u2019 \u2018but i think you might look at the thing more reasonably, marner,\u2019 said  godfrey, unexpectedly awed by the weaver\u2019s direct truth-speaking. \u2018it isn\u2019t  as if she was to be taken quite away from you, so that you\u2019d never see her  again. she\u2019ll be very near you, and come to see you very often. she\u2019ll feel  just the same towards you.\u2019 \u2018just the same?\u2019 said marner, more bitterly than ever. \u2018how\u2019ll she feel  just the same for me as she does now, when we eat o\u2019 the same bit, and  drink o\u2019 the same cup, and think o\u2019 the same things from one day\u2019s end to  another? just the same? that\u2019s idle talk. y ou\u2019d cut us i\u2019 two.\u2019 godfrey, unqualified by experience to discern the pregnancy of marner\u2019s  simple words, felt rather angry again. it seemed to him that the weaver was  very selfish (a judgment readily passed by those who have never tested  their own power of sacrifice) to oppose what was undoubtedly for eppie\u2019s  welfare; and he felt himself called upon, for her sake, to assert his authority. \u2018i should have thought, marner,\u2019 he said, severely\u2014\u2018i should have  thought your affection for eppie would have made you rejoice in what was  for her good, even if it did call upon you to give up something. y ou ought  to remember that your own life is uncertain, and that she\u2019s at an age now  when her lot may soon be fixed in a way very different from what it would  be in her father\u2019s home: she may marry some low working man, and then,  whatever i might do for her, i couldn\u2019t make her well-off. y ou\u2019re putting 5 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/11/o/n/14 \u00a9 ucles 2014 [turn overyourself in the way of her welfare; and though i\u2019m sorry to hurt you after  what you\u2019ve done, and what i\u2019ve left undone, i feel now it\u2019s my duty to insist  on taking care of my own daughter. i want to do my duty.\u2019  [from chapter 19  ]   does eliot make you sympathise with godfrey here \u2013 or despise him? or \u202029 how does eliot vividly convey the effect of the lantern y ard experience on silas\u2019s life?  support your ideas with details from the novel. or 30 y ou are dolly. y ou are about to see your son aaron marry eppie.   write your thoughts.",
            "22": "22 0486/11/o/n/14 \u00a9 ucles 2014susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle either  *31 read this extract, and then answer the question that follows it: kingshaw\u2019s eyes pricked, he thought of each bird, as it saw the others  going before it down the line towards the knife. he wanted to open the  cages and take each one out, hold it between his hands, he wanted them  all to fly away. fielding saw his face. he stopped, by a pile of logs. \u2018look,  they don\u2019t know anything about it,\u2019 he said, \u2018it\u2019s very quick. it\u2019s not cruel .\u2019 \u2018no.\u2019 \u2018do you want to see my hamster?\u2019 kingshaw nodded, numb before this battery of experience, bewildered  by so many sights and smells and terrible truths, but still willing to be led  by fielding, to be shown everything at once. later, he would be by himself,  he would think about all of it. they went through a wash-house, and into a kitchen. \u2018this is kingshaw. he lives at warings, you know. can he stay to dinner?\u2019 \u2018if he likes.\u2019 fielding went to the window-ledge and lifted up a blue-painted cage. \u2018oh, look, he\u2019s messed all that new bed stuff up again.\u2019 the woman was quite tall and wore trousers. she said, \u2018he has his bed  the way he wants, not the way you want.\u2019 \u2018i know. but it\u2019s annoying. look, kingshaw.\u2019 kingshaw was still watching fielding\u2019s mother. her hair was very  straight. she smiled at him, and then looked away again, peeling potatoes.  he thought, that is how you ought to be. \u2018don\u2019t you want to see it?\u2019 he was still standing just inside the doorway, unsure of things. now, he  went slowly into the room. fielding had put the cage on the table and taken  off the wire front. \u2018y ou can hold him.\u2019 kingshaw felt the small bones through the hamster\u2019s soft, pale body, and  thin claws pressing into his hand. he didn\u2019t know whether he liked it or not. \u2018are you going  to stay to dinner?\u2019 \u2018i \u2013 i don\u2019t know. i\u2019d have to ask mrs boland.\u2019 \u2018oh, i know her. where\u2019s your mother?\u2019 \u2018at the hospital with hooper. he\u2019s hurt, he fell off a wall.\u2019 fielding did not seem interested. \u2018y ou can just go and ask her now, then,  you can take my bike if you want, it\u2019ll be quickest.\u2019 kingshaw stroked his finger along the plushy back of the hamster. its  eyes were like jet beads. he thought, this is my place, mine, it will never  have anything to do with hooper. fielding is my friend, mine. this is all  right. beyond the window, there was a long garden, with fruit trees at the  bottom. the colours and shapes of everything were very sharp and clear  and bright, in the sun. \u2018my bike\u2019s in the shed, i\u2019ll show you.\u2019 fielding took the hamster and dumped it back inside the blue cage. \u2018come on.\u2019  [from chapter 14  ]  5 10 15 20 25 30 35 40",
            "23": "23 0486/11/o/n/14 \u00a9 ucles 2014 [turn over  how do you think hill makes this moment in the novel so moving?  or \u202032 in what ways does hill make you feel that kingshaw\u2019s death is inevitable? support your  ideas with details from the writing.  or 33 y ou are mr hooper on the night of your son\u2019s accident. y ou have returned from the  hospital.    write your thoughts.",
            "24": "24 0486/11/o/n/14 \u00a9 ucles 2014from stories \tof\tourselves either  *34 read this extract from the son\u2019s veto  (by thomas hardy), and then answer the question  that follows it: the vicar just left a widower was at this time a man about forty years of  age, of good family, and childless. he had led a secluded existence in this  college living, partly because there were no resident landowners; and his  loss now intensified his habit of withdrawal from outward observation. he  was seen still less than heretofore, kept himself still less in time with the  rhythm and racket of the movements called progress in the world without.  for many months after his wife\u2019s decease the economy of his household  remained as before; the cook, the housemaid, the parlour-maid, and  the man out-of-doors performed their duties or left them undone, just as  nature prompted them \u2013 the vicar knew not which. it was then represented  to him that his servants seemed to have nothing to do in his small family  of one. he was struck with the truth of this representation, and decided to  cut down his establishment. but he was forestalled by sophy, the parlour- maid, who said one evening that she wished to leave him. \u2018and why?\u2019 said the parson. \u2018sam hobson has asked me to marry him, sir.\u2019 \u2018well \u2013 do you want to marry?\u2019 \u2018not much. but it would be a home for me. and we have heard that one  of us will have to leave.\u2019 a day or two after she said: \u2018i don\u2019t want to leave just yet, sir, if you don\u2019t  wish it. sam and i have quarrelled.\u2019 he looked up at her. he had hardly ever observed her before, though  he had been frequently conscious of her soft presence in the room. what  a kitten-like, flexuous, tender creature she was! she was the only one of  the servants with whom he came into immediate and continuous relation.  what should he do if sophy were gone? sophy did not go, but one of the others did, and things went on quietly  again. when mr twycott, the vicar, was ill, sophy brought up his meals to him,  and she had no sooner left the room one day than he heard a noise on the  stairs. she had slipped down with the tray, and so twisted her foot that she  could not stand. the village surgeon was called in; the vicar got better, but  sophy was incapacitated for a long time; and she was informed that she  must never again walk much or engage in any occupation which required  her to stand long on her feet. as soon as she was comparatively well she  spoke to him alone. since she was forbidden to walk and bustle about,  and, indeed, could not do so, it became her duty to leave. she could very  well work at something sitting down, and she had an aunt a seamstress. the parson had been very greatly moved by what she had suffered on  his account, and he exclaimed, \u2018no, sophy; lame or not lame, i cannot let  you go. y ou must never leave me again!\u2019 he came close to her, and, though she could never exactly tell how it  happened, she became conscious of his lips upon her cheek. he then  asked her to marry him. sophy did not exactly love him, but she had a  respect for him which almost amounted to veneration. even if she had  wished to get away from him she hardly dared refuse a personage so  reverend and august in her eyes, and she assented forthwith to be his wife. thus it happened that one fine morning, when the doors of the church  were naturally open for ventilation, and the singing birds fluttered in  and alighted on the tie-beams of the roof, there was a marriage-service 5 10 15 20 25 30 35 40 45 50",
            "25": "25 0486/11/o/n/14 \u00a9 ucles 2014at the communion-rails, which hardly a soul knew of. the parson and  a neighbouring curate had entered at one door, and sophy at another,  followed by two necessary persons, whereupon in a short time there  emerged a newly-made husband and wife. mr twycott knew perfectly well that he had committed social suicide  by this step, despite sophy\u2019s spotless character, and he had taken his  measures accordingly. an exchange of livings had been arranged with an  acquaintance who was incumbent of a church in the south of london, and  as soon as possible the couple removed thither, abandoning their pretty  country home, with trees and shrubs and glebe, for a narrow, dusty house  in a long, straight street, and their fine peal of bells for the wretchedest  one-tongued clangour that ever tortured mortal ears. it was all on her  account. they were, however, away from every one who had known her  former position; and also under less observation from without than they  would have had to put up with in any country parish. sophy the woman was as charming a partner as a man could possess,  though sophy the lady had her deficiencies. she showed a natural aptitude  for little domestic refinements, so far as related to things and manners; but  in what is called culture she was less intuitive. she had now been married  more than fourteen years, and her husband had taken much trouble with  her education; but she still held confused ideas on the use of \u2018was\u2019 and  \u2018were\u2019, which did not beget a respect for her among the few acquaintances  she made. her great grief in this relation was that her only child, on whose  education no expense had been and would be spared, was now old  enough to perceive these deficiencies in his mother, and not only to see  them but to feel irritated at their existence.   how does hardy make you feel sympathetic towards sophy here? or  \u202035 how does the writer make the narrator so memorable in either  my greatest ambition  (by  morris lurie) or sandpiper  (by ahdaf soueif)? support your ideas with details from the  story you have chosen. or  36 y ou are mcallister in the custody of the pumpkin . lord emsworth has just offered to  double your salary and begged you to come back to blandings castle.     write your thoughts. 55 60 65 70 75",
            "26": "26 0486/11/o/n/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/11/o/n/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/11/o/n/14 \u00a9 ucles 2014copyright acknowledgements: question 1  \u00a9 all my sons. \u00a9 1947, arthur miller. reproduced by permission of the wylie agency. all rights reserved. question 16   \u00a9 elizabeth brewster; where i come from , in songs of ourselves ; reprinted by permission of oberon press, ottawa, canada. question 19   nervous conditions . \u00a9 1988, tsitsi dangarembga. reproduced by permission of ayebia clarke publishing. question 22   fasting, feasting . \u00a9 1999, anita desai. reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london  w11 1jn, from vintage. reprinted by permission of the random house group ltd. question 25  \u00a9 hullabaloo in the guava orchard ; \u00a9 1998, kiran desai; faber & faber ltd. question 31  \u00a9 susan hill; i\u2019m the king of the castle ; penguin books ltd; 2010. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (leg) 108729 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 6 1 1 7 7 7 4 1 4 8 *literature (english)  0486/12 paper 1  october/november 2014  2 hours 15 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/12/o/n/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/12/o/n/14 \u00a9 ucles 2014 [turn overcontents section a:  drama text\t question \t numbers\t page[s] arthur miller: all my sons  *1, \u20202, 3  pages      4\u20135 william shakespeare: julius caesar  *4, \u20205, 6  pages  6\u20137 william shakespeare: the tempest  *7, \u20208, 9  pages  8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12  pages  10\u201311 section b:  poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015  page  12 songs of ourselves : from part 4  *16, \u202017, \u202018  page  13 section c:  prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21  pages  14\u201315 anita desai: fasting, feasting  *22, \u202023, 24  pages  16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27  pages  18\u201319 george eliot: silas marner  *28, \u202029, 30  pages  20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33  pages  22\u201323 from stories of ourselves  *34, \u202035, 36  pages  24\u201325",
            "4": "4 0486/12/o/n/14 \u00a9 ucles 2014section a:  drama arthur miller:  all\tmy\tsons either  *1  read this extract, and then answer the question that follows it:  mother:  and you? y ou [ shakes her head negatively  ] go out much? [ slight  pause .] content removed due to copyright restrictions.",
            "5": "5 0486/12/o/n/14 \u00a9 ucles 2014 [turn overcontent removed due to copyright restrictions. mother:  i have to have some tea. [from act 1 ]      how does miller make this moment in the play so full of tension? support your ideas with  details from the writing. or  \u20202 what do you think miller\u2019s portrayal of jim bayliss contributes to the power of the play?  support your ideas with details from the writing. or  3 y ou are joe keller. chris has left after you have admitted your guilt. y ou are in your room.    write your thoughts.",
            "6": "6 0486/12/o/n/14 \u00a9 ucles 2014william shakespeare: \tjulius \tcaesar either  *4 read this extract, and then answer the question that follows it: caesar:  mark antony shall say i am not well; and for thy humour i will stay at home.  enter decius .  here\u2019s decius brutus, he shall tell them so. decius:  caesar, all hail! good morrow, worthy caesar. i come to fetch you to the senate house. caesar:  and you are come in very happy time, to bear my greeting to the senators   and tell them that i will not come to-day.   cannot, is false; and that i dare not, falser;   i will not come to-day. tell them so, decius. calphurnia:  say he is sick. caesar:   shall caesar send a lie? have i in conquest stretch\u2019d mine arm so far,   to be afeard to tell greybeards the truth?   decius, go tell them, caesar will not come. decius:  most mighty caesar, let me know some cause, lest i be laugh\u2019d at when i tell them so. caesar:  the cause is in my will: i will not come. that is enough to satisfy the senate.   but for your private satisfaction,   because i love you, i will let you know:   calphurnia here, my wife, stays me at home.   she dreamt to-night she saw my statue,   which, like a fountain with an hundred spouts,   did run pure blood; and many lusty romans   came smiling and did bathe their hands in it.   and these does she apply for warnings and portents   and evils imminent, and on her knee   hath begg\u2019d that i will stay at home to-day. decius:  this dream is all amiss interpreted; it was a vision fair and fortunate.   y our statue spouting blood in many pipes,   in which so many smiling romans bath\u2019d,   signifies that from you great rome shall suck   reviving blood, and that great men shall press   for tinctures, stains, relics, and cognizance.   this by calphurnia\u2019s dream is signified. caesar:  and this way have you well expounded it. decius:  i have, when you have heard what i can say \u2013 and know it now: the senate have concluded   to give this day a crown to mighty caesar.   if you shall send them word you will not come,   their minds may change. besides, it were a mock   apt to be render\u2019d, for some one to say   \u2018break up the senate till another time,   when caesar\u2019s wife shall meet with better dreams\u2019.  5 10 15 20 25 30 35 40 45",
            "7": "7 0486/12/o/n/14 \u00a9 ucles 2014 [turn over if caesar hide himself, shall they not whisper \u2018lo, caesar is afraid\u2019?   pardon me, caesar; for my dear dear love   to your proceeding bids me tell you this,   and reason to my love is liable. caesar:  how foolish do your fears seem now, calphurnia! i am ashamed i did yield to them.   give me my robe, for i will go. enter brutus, ligarius, metellus, casca,   trebonius, cinna, and publius.  and look where publius is come to fetch me. publius:  good morrow, caesar. caesar:   welcome, publius. what, brutus, are you stirr\u2019d so early too?   good morrow, casca. caius ligarius,   caesar was ne\u2019er so much your enemy   as that same ague which hath made you lean.   what is\u2019t o\u2019clock? brutus:   caesar, \u2019tis strucken eight. caesar:  i thank you for your pains and courtesy. enter antony .  see! antony, that revels long o\u2019 nights, is notwithstanding up. good morrow, antony. antony:  so to most noble caesar. caesar:   bid them prepare within. i am to blame to be thus waited for.   now, cinna. now, metellus. what, trebonius!   i have an hour\u2019s talk in store for you.   remember that you call on me to-day;   be near me, that i may remember you. trebonius:  caesar, i will. [ aside  ] and so near will i be, that your best friends shall wish i had been further. caesar:  good friends, go in and taste some wine with me; and we, like friends, will straightway go together. brutus  [aside  ]: that every like is not the same, o caesar, the heart of brutus earns to think upon! [exeunt. [from act 2 scene 2  ]   how does shakespeare make this moment in the play so revealing of the character of  caesar? or  \u20205  to what extent does shakespeare change your view of brutus during the play? support  your ideas with details from the text. or  6 y ou are octavius. y ou have just left the meeting with antony and lepidus.    write your thoughts.50 55 60 65 70 75 80",
            "8": "8 0486/12/o/n/14 \u00a9 ucles 2014william shakespeare: the\ttempest either  *7 read this extract, and then answer the question that follows it: stephano:  moon-calf, speak once in thy life, if thou beest a good  moon-calf. caliban:  how does thy honour? let me lick thy shoe. i\u2019ll not serve him; he is not valiant. trinculo:  thou liest, most ignorant monster: i am in case to justle a  constable. why, thou debosh\u2019d fish, thou, was there ever  man a coward that hath drunk so much sack as i to-day?  wilt thou tell a monstrous lie, being but half a fish and half a  monster? caliban:  lo, how he mocks me! wilt thou let him, my lord? trinculo:  \u2018lord\u2019 quoth he! that a monster should be such a natural! caliban:  lo, lo again! bite him to death, i prithee. stephano:  trinculo, keep a good tongue in your head; if you prove a  mutineer \u2013 the next tree! the poor monster\u2019s my subject,  and he shall not suffer indignity. caliban:  i thank my noble lord. wilt thou be pleas\u2019d to hearken once  again to the suit i made to thee? stephano:  marry will i; kneel and repeat it; i will stand, and so shall  trinculo. enter ariel, invisible. caliban:  as i told thee before, i am subject to a tyrant, a sorcerer,  that by his cunning hath cheated me of the island. ariel:  thou liest. caliban:  thou liest, thou jesting monkey, thou; i would my valiant  master would destroy thee. i do not lie. stephano:  trinculo, if you trouble him any more in\u2019s tale, by this hand,  i will supplant some of your teeth. trinculo:  why, i said nothing. stephano:  mum, then, and no more. proceed. caliban:  i say, by sorcery he got this isle; from me he got it. if thy greatness will   revenge it on him \u2013 for i know thou dar\u2019st,   but this thing dare not \u2013 stephano:  that\u2019s most certain. caliban:  thou shalt be lord of it, and i\u2019ll serve thee. stephano:  how now shall this be compass\u2019d? canst thou bring me to the party? caliban:  y ea, yea my lord; i\u2019ll yield him thee asleep, where thou mayst knock a nail into his head. ariel:  thou liest; thou canst not. caliban:  what a pied ninny\u2019s this! thou scurvy patch! i do beseech thy greatness, give him blows,   and take his bottle from him. when that\u2019s gone   he shall drink nought but brine; for i\u2019ll not show him  5 10 15 20 25 30 35 40",
            "9": "9 0486/12/o/n/14 \u00a9 ucles 2014 [turn overwhere the quick freshes are. stephano:  trinculo, run into no further danger; interrupt the monster  one word further and, by this hand, i\u2019ll turn my mercy out o\u2019  doors, and make a stock-fish of thee. trinculo:  why, what did i? i did nothing. i\u2019ll go farther off. stephano:  didst thou not say he lied? ariel:  thou liest. stephano:  do i so? take thou that. [ beats him  ] as you like this, give me the lie another time. trinculo:  i did not give the lie. out o\u2019 your wits and hearing too? a  pox o\u2019 your bottle! this can sack and drinking do. a murrain  on your monster, and the devil take your fingers! caliban:  ha, ha, ha! stephano:  now, forward with your tale. \u2013 prithee stand further off.  caliban:  beat him enough; after a little time, i\u2019ll beat him too. [from act 3 scene 2  ]      explore the ways in which shakespeare makes this such an entertaining moment in the  play. or  \u20208 to what extent does shakespeare make you admire prospero? support your ideas with  details from the play. or 9 y ou are sebastian at the end of the play.    write your thoughts.45 50 55 60",
            "10": "10 0486/12/o/n/14 \u00a9 ucles 2014oscar wilde: the\timportance \tof\tbeing \tearnest either  *10 read this extract, and then answer the question that follows it: cecily:  may i offer you some tea, miss fairfax? gwendolen:  [with elaborate politeness .] thank you. [ aside .] detestable  girl! but i require tea! cecily:  [sweetly .] sugar? gwendolen  [superciliously .] no, thank you. sugar is not fashionable  any more.  [cecily  looks angrily at her, takes up the tongs and puts  four lumps of sugar into the cup. cecily:  [severely .] cake or bread and butter? gwendolen:  [in a bored manner. ] bread and butter, please. cake is  rarely seen at the best houses nowadays. cecily:  [cuts a very large slice of cake and puts it on the tray .]  hand that to miss fairfax.  [merriman  does so, and goes out with footman.  gwendolen  drinks the tea and makes a grimace. puts  down cup at once, reaches out her hand to the bread and  butter, looks at it, and finds it is cake. rises in indignation. gwendolen:  y ou have filled my tea with lumps of sugar, and though i  asked most distinctly for bread and butter, you have given  me cake. i am known for the gentleness of my disposition,  and the extraordinary sweetness of my nature, but i warn  you, miss cardew, you may go too far. cecily:  [rising ] to save my poor, innocent, trusting boy from the  machinations of any other girl there are no lengths to which  i would not go. gwendolen:  from the moment i saw you i distrusted you. i felt that  you were false and deceitful. i am never deceived in such  matters. my first impressions of people are invariably right. cecily:  it seems to me, miss fairfax, that i am trespassing on your  valuable time. no doubt you have many other calls of a  similar character to make in the neighbourhood. [enter jack. gwendolen:  [catching sight of him .] ernest! my own ernest!  jack:  gwendolen! darling!  [offers to kiss her. gwendolen:  [drawing back .] a moment! may i ask if you are engaged to  be married to this young lady? [points to cecily. jack:  [laughing .] to dear little cecily! of course not! what could  have put such an idea into your pretty little head? gwendolen:  thank you. y ou may!  [offers her cheek . cecily:  [very  sweetly .] i knew there must be some  misunderstanding, miss fairfax. the gentleman whose arm  is at present round your waist is my guardian, mr. john  worthing.5 10 15 20 25 30 35 40",
            "11": "11 0486/12/o/n/14 \u00a9 ucles 2014 [turn overgwendolen:  i beg your pardon? cecily:  this is uncle jack. gwendolen:  [receding. ] jack! oh! enter algernon cecily:  here is ernest. algernon:  [goes straight over to  cecily  without noticing any one else .]  my own love!  [offers to kiss her .] cecily:  [drawing back .] a moment, ernest! may i ask you\u2014are you  engaged to be married to this young lady? algernon:  [looking round .] to what young lady? good heavens!  gwendolen! cecily:  y es! to good heavens, gwendolen, i mean to gwendolen. algernon:  [laughing .] of course not! what could have put such an  idea into your pretty little head? cecily:  thank you. [ presenting her cheek to be kissed .] y ou may.  [algernon  kisses her. gwendolen:  i felt there was some slight error, miss cardew. the  gentleman who is now embracing you is my cousin, mr.  algernon moncrieff. cecily:  [breaking away from  algernon .] algernon moncrieff! oh!   [the two girls move towards each other and put their arms  round each other\u2019s waists as if for protection. cecily:  are you called algernon? algernon:  i cannot deny it. cecily:  oh! gwendolen:  is your name really john? jack:  [standing rather proudly. ] i could deny it if i liked. i could  deny anything if i liked. but my name certainly is john. it  has been john for years. cecily:  [to gwendolen ] a gross deception has been practised on  both of us. gwendolen:  my poor wounded cecily! cecily:  my sweet wronged gwendolen! gwendolen:  [slowly and seriously .] y ou will call me sister, will you not?  [they embrace. jack  and algernon  groan and walk up and  down .] [from act 2  ]   explore the ways in which wilde makes the various misunderstandings and their effects  so hilarious at this moment in the play.  or \u202011 how do you think wilde makes dr. chasuble such an amusing character in the play?  support your views with details from wilde\u2019s writing.  or 12 y ou are lady bracknell. y ou are just about to arrive with gwendolen to have tea with  algernon.    write your thoughts. 45 50 55 60 65 70 75 80",
            "12": "12 0486/12/o/n/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected \tpoems either  *13  read this poem, and then answer the question that follows it: nobody comes  tree-leaves labour up and down,   and through them the fainting light   succumbs to the crawl of night.  outside in the road the telegraph wire   to the town from the darkening land intones to travellers like a spectral lyre   swept by a spectral hand.  a car comes up, with lamps full-glare,   that flash upon a tree:   it has nothing to do with me,  and whangs along in a world of its own,   leaving a blacker air; and mute by the gate i stand again alone,   and nobody pulls up there.   how does hardy make the feelings of the speaker so vivid in this poem? or  \u202014 how does hardy make in time of \u2018the breaking of nations\u2019 so memorable for you? or  \u202015 explore the ways in which hardy writes vividly about the past in either  on the departure  platform or the going.5 10",
            "13": "13 0486/12/o/n/14 \u00a9 ucles 2014 [turn oversongs of ourselves: from \tpart\t4 either  *16 read this poem, and then answer the question that follows it: a different history great pan is not dead; he simply emigrated  to india. here, the gods roam freely, disguised as snakes or monkeys; every tree is sacred and it is a sin to be rude to a book. it is a sin to shove a book aside   with your foot, a sin to slam books down  hard on a table, a sin to toss one carelessly  across a room. y ou must learn how to turn the pages gently without disturbing sarasvati, without offending the tree from whose wood the paper was made.  which language  has not been the oppressor\u2019s tongue?  which language  truly meant to murder someone?  and how does it happen  that after the torture,  after the soul has been cropped  with a long scythe swooping out  of the conqueror\u2019s face \u2013  the unborn grandchildren  grow to love that strange language. (by sujata bhatt  )   explore the ways in which bhatt vividly conveys her feelings about different cultures in  this poem. or  \u202017 how does ted hughes powerfully convey his feelings about nature to you in pike? or  \u202018 explore one poem in this selection in which the poet communicates strong reactions to  aspects of city life.5 10 15 20 25",
            "14": "14 0486/12/o/n/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous \tconditions either  *19 read this extract, and then answer the question that follows it: i like to think nyasha really believed that the confrontation had taken  a conciliatory turn. she smiled that the number of her male acquaintances  was the one thing that should put her father at ease. \u2018y ou know me,\u2019 she told him, but of course she was mistaken. \u2018y ou\u2019ve  taught me how i should behave. i don\u2019t worry about what people think so  there\u2019s no need for you to.\u2019 she did not know her father either, because  anyone who did would have retreated at that stage. \u2018don\u2019t push me too far,\u2019 babamukuru pleaded. mustering up his  courage, chido tried to help. \u2018they were only talking for a few minutes,  dad,\u2019 he said, and was ordered to be silent. \u2018y ou, chido, keep quiet,\u2019 babamukuru snapped. \u2018y ou let your sister  behave like a whore without saying anything. keep quiet.\u2019 \u2018babawa chido,\u2019 began maiguru, but was silenced immediately. nyasha grew uncharacteristically calm at times like this. \u2018now why,\u2019  she enquired of no particular person, \u2018should i worry about what people  say when my own father calls me a whore?\u2019 she looked at him with murder  in her eyes. \u2018nyasha, be quiet,\u2019 chido advised. \u2018chido, i have told you to keep out of this,\u2019 reminded babamukuru,  gathering himself within himself so that his whole weight was behind the  blow he dealt nyasha\u2019s face. \u2018never,\u2019 he hissed, \u2018never,\u2019 he repeated, striking  her other cheek with the back of his hand, \u2018speak to me like that.\u2019 nyasha fell on to the bed, her minuscule skirt riding up her bottom.  babamukuru stood over her, distending his nostrils to take in enough air. \u2018today i am going to teach you a lesson,\u2019 he told her. \u2018how can you go  about disgracing me? me! like that! no, you cannot do it. i am respected  at this mission. i cannot have a daughter who behaves like a whore.\u2019 nyasha was capable of pointing out that by his own definition that  was exactly what he had, but she did not. \u2018don\u2019t hit me, daddy,\u2019 she said  backing away from him. \u2018i wasn\u2019t doing anything wrong. don\u2019t hit me.\u2019 \u2018yuwi, yuwi, yuwi!\u2019 maiguru moaned. \u2018babawa chido, do you want to  kill me with your anger? she is only a child, babawa chido, a child.\u2019 \u2018y ou must learn to be obedient,\u2019 babamukuru told nyasha and struck  her again. \u2018i told you not to hit me,\u2019 said nyasha, punching him in the eye. babamukuru bellowed and snorted that if nyasha was going to behave  like a man, then by his mother who was at rest in her grave he would  fight her like one. they went down on to the floor, babamukuru alternately  punching nyasha\u2019s head and banging it against the floor, screaming or  trying to scream but only squeaking, because his throat had seized up with  fury, that he would kill her with his bare hands; nyasha, screaming and  wriggling and doing what damage she could. maiguru and chido could not  stay out of it any longer. they had to hold him. [from chapter 6  ]   explore the ways in which dangarembga makes this moment in the novel so shocking  and surprising.5 10 15 20 25 30 35 40",
            "15": "15 0486/12/o/n/14 \u00a9 ucles 2014 [turn overor  \u202020 to what extent does dangarembga present tambu\u2019s father, jeremiah, as a weak man?  support your ideas with details from the novel. or 21 y ou are babamukuru. maiguru has just left your home following the quarrel over tambu\u2019s  punishment.   write your thoughts.",
            "16": "16 0486/12/o/n/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either  *22 read this extract, and then answer the question that follows it: she fumbles her way back to the veranda and the swing and sits with  mamapapa, staring into the dark.  content removed due to copyright restrictions.",
            "17": "17 0486/12/o/n/14 \u00a9 ucles 2014 [turn overwhat anamika\u2019s family said was that it was fate, god had willed it and  it was anamika\u2019s destiny. what uma said was nothing. [from chapter 13  ]   how does desai make this such a disturbing moment in the novel? or  \u202023 \u2018a life full of disappointment\u2019.    do you think this is a fair description of uma\u2019s life? support your answer with details from  desai\u2019s writing. or  24 y ou are arun. y ou are on your way back to the dorm at the end of the novel.    write your thoughts.",
            "18": "18 0486/12/o/n/14 \u00a9 ucles 2014kiran desai: hullabaloo \tin\tthe\tguava \torchard either  *25 read this extract, and then answer the question that follows it: at precisely this time in the army cantonment area, the lights were  blazing from the barracks  content removed due to copyright restrictions. \u2018damn!\u2019 the brigadier smashed his fist down upon his palm. \u2018damn,  damn, damn.\u2019 it was a bad omen. [from chapter 24  ]   how does desai surprise you with her portrayal of the brigadier here? support your  ideas with details from the writing. ",
            "19": "19 0486/12/o/n/14 \u00a9 ucles 2014 [turn overor \u202026 explore in detail two moments in the novel where for you desai most effectively makes  self-important people seem ridiculous. (do not use the extract printed in question 25 in  answering this question.) or 27  y ou are sampath. y ou have just been thrown out of mr. d.p .s.\u2019s house after your striptease.    write your thoughts.  ",
            "20": "20 0486/12/o/n/14 \u00a9 ucles 2014george eliot: silas \tmarner either  *28 read this extract, and then answer the question that follows it:  the door opened, and a thick-set, heavy-looking young man entered,  with the flushed face and the gratuitously elated bearing which mark the  first stage of intoxication. it was dunsey, and at the sight of him godfrey\u2019s  face parted with some of the gloom to take on the more active expression  of hatred. the handsome brown spaniel that lay on the hearth retreated  under the chair in the chimney-corner. \u2018well, master godfrey, what do you want with me?\u2019 said dunsey, in a  mocking tone. \u2018y ou\u2019re my elders and betters, you know; i was obliged to  come when you sent for me.\u2019 \u2018why, this is what i want\u2014and just shake yourself sober and listen,  will you?\u2019 said godfrey, savagely. he had himself been drinking more than  was good for him, trying to turn his gloom into uncalculating anger. \u2018i want  to tell you, i must hand over that rent of fowler\u2019s to the squire, or else tell  him i gave it you; for he\u2019s threatening to distrain for it, and it\u2019ll all be out  soon, whether i tell him or not. he said, just now, before he went out, he  should send word to cox to distrain, if fowler didn\u2019t come and pay up his  arrears this week. the squire\u2019s short o\u2019 cash, and in no humour to stand  any nonsense; and you know what he threatened, if ever he found you  making away with his money again. so, see and get the money, and pretty  quickly, will you?\u2019 \u2018oh!\u2019 said dunsey, sneeringly, coming nearer to his brother and  looking in his face. \u2018suppose, now, you get the money yourself, and save  me the trouble, eh? since you was so kind as to hand it over to me, you\u2019ll  not refuse me the kindness to pay it back for me: it was your brotherly love  made you do it, you know.\u2019 godfrey bit his lips and clenched his fist. \u2018don\u2019t come near me with  that look, else i\u2019ll knock you down.\u2019 \u2018oh, no, you won\u2019t,\u2019 said dunsey, turning away on his heel, however.  \u2018because i\u2019m such a good-natured brother, you know. i might get you  turned out of house and home, and cut off with a shilling any day. i might  tell the squire how his handsome son was married to that nice young  woman, molly farren, and was very unhappy because he couldn\u2019t live with  his drunken wife, and i should slip into your place as comfortable as could  be. but, you see, i don\u2019t do it\u2014i\u2019m so easy and good-natured. y ou\u2019ll take  any trouble for me. y ou\u2019ll get the hundred pounds for me\u2014i know you will.\u2019 \u2018how can i get the money?\u2019 said godfrey, quivering. \u2018i haven\u2019t a shilling  to bless myself with. and it\u2019s a lie that you\u2019d slip into my place: you\u2019d get  yourself turned out too, that\u2019s all. for if you begin telling tales, i\u2019ll follow.  bob\u2019s my father\u2019s favourite\u2014you know that very well. he\u2019d only think  himself well rid of you.\u2019 \u2018never mind,\u2019 said dunsey, nodding his head sideways as he looked  out of the window. \u2018it \u2019ud be very pleasant to me to go in your company\u2014 you\u2019re such a handsome brother, and we\u2019ve always been so fond of  quarrelling with one another, i shouldn\u2019t know what to do without you. but  you\u2019d like better for us both to stay at home together; i know you would.  so you\u2019ll manage to get that little sum o\u2019 money, and i\u2019ll bid you good-bye,  though i\u2019m sorry to part.\u2019 dunstan was moving off, but godfrey rushed after him and seized him  by the arm, saying, with an oath. \u2018i tell you, i have no money: i can get no money.\u2019 \u2018borrow off old kimble.\u20195 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/12/o/n/14 \u00a9 ucles 2014 [turn over\u2018i tell you, he won\u2019t lend me any more, and i shan\u2019t ask him.\u2019 \u2018well then, sell wildfire.\u2019 \u2018y es, that\u2019s easy talking. i must have the money directly.\u2019 \u2018well, you\u2019ve only got to ride him to the hunt to-morrow. there\u2019ll be  bryce and keating there, for sure. y ou\u2019ll get more bids than one.\u2019 \u2018i daresay, and get back home at eight o\u2019clock, splashed up to the  chin. i\u2019m going to mrs. osgood\u2019s birthday dance.\u2019 \u2018oho!\u2019 said dunsey, turning his head on one side, and trying to speak  in a small mincing treble. \u2018and there\u2019s sweet miss nancy coming; and we  shall dance with her, and promise never to be naughty again, and be taken  into favour, and\u2014\u2019 \u2018hold your tongue about miss nancy, you fool,\u2019 said godfrey, turning  red, \u2018else i\u2019ll throttle you.\u2019 \u2018what for?\u2019 said dunsey, still in an artificial tone, but taking a whip from  the table and beating the butt-end of it on his palm. \u2018y ou\u2019ve a very good  chance. i\u2019d advise you to creep up her sleeve again: it \u2019ud be saving time  if molly should happen to take a drop too much laudanum some day, and  make a widower of you. miss nancy wouldn\u2019t mind being a second, if she  didn\u2019t know it. and you\u2019ve got a good-natured brother, who\u2019ll keep your  secret well, because you\u2019ll be so very obliging to him.\u2019 [from chapter 3  ]   how does eliot memorably convey dunsey\u2019s unpleasantness here? or  \u202029  explore two moments in the novel which eliot makes particularly amusing for you. or  30  y ou are nancy. y ou are preparing for bed after the party at the red house.    write your thoughts.55 60 65 70",
            "22": "22 0486/12/o/n/14 \u00a9 ucles 2014susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle either  *31  read this extract, and then answer the question that follows it: \u2018i\u2019m going to swim,\u2019 he said later. they had eaten tomatoes and biscuits  for breakfast. hooper was lying flat on the ground in a lozenge of sunlight.  his clothes looked crumpled. just ahead of him, below a bush, a thrush  was banging a snail down on to a flat stone to smash the shell. hooper  watched it intently. \u2018y ou\u2019d better not come in the water, though. y ou might have got a cold  from yesterday.\u2019 \u2018i\u2019m all right.\u2019 \u2018well \u2026\u2019 \u2018anyway, i don\u2019t feel like swimming. in a minute, i\u2019m going to get a  biscuit and see if this bird\u2019ll come for crumbs.\u2019 \u2018it won\u2019t.\u2019 \u2018why won\u2019t it?\u2019 \u2018because it\u2019s wild. not like in the garden.\u2019 \u2018don\u2019t be stupid. all birds are wild, they\u2019re all the same.\u2019 \u2018it won\u2019t come nearer if you\u2019re there.\u2019 \u2018we\u2019ll see.\u2019 \u2018it\u2019s a waste of food. we need to save it all.\u2019 \u2018i\u2019m only giving it crumbs. anyway, you mind your own business,  kingshaw.\u2019 but hooper spoke mildly, his attention fixed on the bird. kingshaw took off his clothes, and went and lay down in the shallowest  part of the stream. the stones were cold against his buttocks and  shoulders, but not sharp. the water moved over and over him, parting and  coming together again. he opened his legs wide and then closed them,  like scissors. the sunlight was limey-yellow, coming through the leaves  above. they fidgeted gently the whole time. a black and white bird flew up,  parting them, going off into the open sky. kingshaw closed his eyes. he didn\u2019t want to swim, not to move at all.  he thought, this is all right, this is all right. hooper was still watching the  thrush. it had got the snail out of the broken shell, now. all round them, the wood pigeons called. it was then that he heard the first shout. a dog barked. it was far  away, at first, but they got nearer very quickly. none of it seemed to take  long. crash, crash, crash they came, through the undergrowth. someone  shouted again. they were almost in the clearing, but kingshaw couldn\u2019t tell  what any of them had said. the dog barked again. he opened his eyes, and saw hooper, sitting up, looking at him. \u2018someone\u2019s coming.\u2019 kingshaw did not answer, did not move, only closed his eyes again  and lay, letting the water sift over his naked body. he thought, i don\u2019t want  them to come, i don\u2019t want them to find us. not now. this is all right. i want  to stay here. he didn\u2019t even mind hooper, now. not in the wood. it was another  world. if they couldn\u2019t have found their way out, then they would either die,  or survive. but this was what he had wanted. to get away, change things.  now, someone was coming, they would be taken back to the house. for a second, he dreaded it. then, he remembered everything that  had happened with hooper, since yesterday morning. things had changed.  perhaps it would be all right.5 10 15 20 25 30 35 40 45 50",
            "23": "23 0486/12/o/n/14 \u00a9 ucles 2014 [turn overthere was another shout. when he opened his eyes again, his view of  the tree-tops and the sunlight was blocked, by a man\u2019s head. [from chapter 9  ]   how does hill at this moment in the novel powerfully convey kingshaw\u2019s feeling that he  has escaped, but also suggest that he has not?  or \u202032 what does hill make you feel about mr hooper\u2019s attitudes towards his son and towards  kingshaw? support your ideas with details from the writing.  or 33 y ou are hooper. from your window you are watching kingshaw early in the morning  attempting to run away.    write your thoughts. ",
            "24": "24 0486/12/o/n/14 \u00a9 ucles 2014from stories \tof\tourselves either  *34 read this extract from the rain horse (by ted hughes),  and then answer the question  that follows it: over to his right a thin, black horse was running across the ploughland  towards the hill, its head down, neck stretched out. it seemed to be running  on its toes like a cat, like a dog up to no good. from the high point on which he stood the hill dipped slightly and rose  to another crested point fringed with the tops of trees, three hundred yards  to his right. as he watched it, the horse ran up that crest, showed against  the sky \u2013 for a moment like a nightmarish leopard \u2013 and disappeared over  the other side. for several seconds he stared at the skyline, stunned by the  unpleasantly strange impression the horse had made on him. then the  plastering beat of icy rain on his bare skull brought him to himself. the  distance had vanished in a wall of grey. all around him the fields were  jumping and streaming. holding his collar close and tucking his chin down into it he ran back  over the hilltop towards the town-side, the lee-side, his feet sucking and  splashing, at every stride plunging to the ankle. this hill was shaped like a wave, a gently rounded back lifting out  of the valley to a sharply crested, almost concave front hanging over the  river meadows towards the town. down this front, from the crest, hung two  small woods separated by a fallow field. the near wood was nothing more  than a quarry, circular, full of stones and bracken, with a few thorns and  nondescript saplings, foxholes and rabbit holes. the other was rectangular,  mainly a planting of scrub oak trees. beyond the river smouldered the town  like a great heap of blue cinders. he ran along the top of the first wood and finding no shelter but the  thin, leafless thorns of the hedge, dipped below the crest out of the wind  and jogged along through thick grass to the wood of oaks. in blinding rain  he lunged through the barricade of brambles at the wood\u2019s edge. the little  crippled trees were small choice in the way of shelter, but at a sudden  fierce thickening of the rain he took one at random and crouched down  under the leaning trunk. still panting from his run, drawing his knees up tightly, he watched  the bleak lines of rain, grey as hail, slanting through the boughs into the  clumps of bracken and bramble. he felt hidden and safe. the sound of the  rain as it rushed and lulled in the wood seemed to seal him in. soon the  chilly sheet lead of his suit became a tight, warm mould, and gradually he  sank into a state of comfort that was all but trance, though the rain beat  steadily on his exposed shoulders and trickled down the oak trunk on to  his neck. all around him the boughs angled down, glistening, black as iron.  from their tips and elbows the drops hurried steadily, and the channels of  the bark pulsed and gleamed. for a time he amused himself calculating  the variation in the rainfall by the variations in a dribble of water from a  trembling twig-end two feet in front of his nose. he studied the twig,  bringing dwarfs and continents and animals out of its scurfy bark. beyond  the boughs the blue shoal of the town was rising and falling, and darkening  and fading again, in the pale, swaying backdrop of rain. he wanted this rain to go on for ever. whenever it seemed to be  drawing off he listened anxiously until it closed in again. as long as it  lasted he was suspended from life and time. he didn\u2019t want to return to his 5 10 15 20 25 30 35 40 45 50",
            "25": "25 0486/12/o/n/14 \u00a9 ucles 2014sodden shoes and his possibly ruined suit and the walk back over that land  of mud. all at once he shivered. he hugged his knees to squeeze out the cold  and found himself thinking of the horse. the hair on the nape of his neck  prickled slightly. he remembered how it had run up to the crest and showed  against the sky. he tried to dismiss the thought. horses wander about the countryside  often enough. but the image of the horse as it had appeared against the  sky stuck in his mind. it must have come over the crest just above the  wood in which he was now sitting. to clear his mind, he twisted around and  looked up the wood between the tree stems, to his left. at the wood top, with the silvered grey light coming in behind it, the  black horse was standing under the oaks, its head high and alert, its ears  pricked, watching him.   how does hughes make this such a powerful moment in the story?  or  \u202035 how does the writer vividly convey what it is like for someone to live in a completely  unfamiliar country in either at hiruharama \t(by penelope fitzgerald) \tor\tsandpiper (by  ahdaf soueif)? or  36 y ou are randolph in the son\u2019s veto. y our mother has just died.    write your thoughts.55 60",
            "26": "26 0486/12/o/n/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/12/o/n/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/12/o/n/14 \u00a9 ucles 2014copyright acknowledgements: question 1 question 16 question 19 question 22 question 25 question 31 question 34\u00a9  all my sons .  \u00a9  1947, arthur miller.  reproduced by permission of the wylie agency.  all rights reserved. \u00a9  sujata bhatt;  a different history  from brunzinem  in songs of ourselves ;  foundation press;  2005. \u00a9  nervous conditions .  \u00a9  1988, tsitsi dangarembga.  reproduced by permission of ayebia clarke publishing. \u00a9  fasting, feasting .  \u00a9  1999, anita desai.  reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews,  london w11 1jn, from vintage.  reprinted by permission of the random house group ltd. \u00a9  hullabaloo in the guava orchard ;  \u00a9  1998, kiran desai;  faber & faber ltd. \u00a9  susan hill;  i\u2019m the king of the castle ;  penguin books ltd;  1973. \u00a9  ted hughes;  the rain horse in stories of ourselves ;  cambridge university press;  2008. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_13.pdf": {
            "1": "this document consists of 24 printed pages and 4 blank pages and 1 insert. dc (lk) 108667 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 9 0 0 5 0 4 8 9 0 8 *literature (english)  0486/13 paper 1  october/november 2014  2 hours 15 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/13/o/n/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/13/o/n/14 \u00a9 ucles 2014 [turn overcontents section a:  drama text\t question \t numbers\t page[s] arthur miller: all my sons  *1, \u20202, 3  pages 4\u20135 william shakespeare: julius caesar  *4, \u20205, 6  pages 6\u20137 william shakespeare: the tempest  *7, \u20208, 9  pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12  pages 10\u201311 section b:  poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015  page 12 songs of ourselves : from part 4  *16, \u202017, \u202018  page 13 section c:  prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21  pages 14\u201315 anita desai: fasting, feasting  *22, \u202023, 24  pages 16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27  pages 18\u201319 george eliot: silas marner  *28, \u202029, 30  pages 20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33  page  22 from stories of ourselves  *34, \u202035, 36  pages 24\u201325",
            "4": "4 0486/13/o/n/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either  *1 read this extract, and then answer the question that follows it: george:  [breathlessly ] my life turned upside down since then. i couldn\u2019t  go back to work when you left.  content removed due to copyright restrictions.",
            "5": "5 0486/13/o/n/14 \u00a9 ucles 2014 [turn overgeorge:  [turning to chris , with deliberation ] i\u2019ll ask you something, and  look me in the eye when you answer me. [from act 2   ]   how does miller so powerfully convey george\u2019s mixture of guilt and anger here? or \u20202 how does miller vividly convey his dislike of joe keller\u2019s greed and dishonesty? support  your ideas with details from the writing. or 3 y ou are kate keller. y ou have just consoled chris at the end of the play.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/13/o/n/14 \u00a9 ucles 2014william shakespeare: julius \tcaesar either  *4 read this extract, and then answer the question that follows it: brutus:  boy! lucius! fast asleep? it is no matter; enjoy the honey-heavy dew of slumber.   thou hast no figures nor no fantasies   which busy care draws in the brains of men;   therefore thou sleep\u2019st so sound.  enter  portia . portia:  brutus, my lord! brutus:  portia, what mean you? wherefore rise you now? it is not for your health thus to commit   y our weak condition to the raw cold morning. portia:  nor for yours neither. y\u2019have ungently, brutus, stole from my bed; and yesternight at supper   y ou suddenly arose and walk\u2019d about,   musing and sighing, with your arms across;   and when i ask\u2019d you what the matter was,   y ou star\u2019d upon me with ungentle looks.   i urg\u2019d you further; then you scratch\u2019d your head   and too impatiently stamp\u2019d with your foot.   y et i insisted; yet you answer\u2019d not,   but with an angry wafture of your hand   give sign for me to leave you. so i did,   fearing to strengthen that impatience   which seem\u2019d too much enkindled; and withal   hoping it was but an effect of humour,   which sometimes hath his hour with every man.   it will not let you eat, nor talk, nor sleep;   and, could it work so much upon your shape   as it hath much prevail\u2019d on your condition,   i should not know you brutus. dear my lord,   make me acquainted with your cause of grief. brutus:  i am not well in health, and that is all. portia:  brutus is wise, and, were he not in health, he would embrace the means to come by it. brutus:  why, so i do. good portia, go to bed. portia:  is brutus sick, and is it physical to walk unbraced and suck up the humours   of the dank morning? what, is brutus sick,   and will he steal out of his wholesome bed,   to dare the vile contagion of the night,   and tempt the rheumy and unpurged air   to add unto his sickness? no, my brutus;   y ou have some sick offence within your mind,   which by the right and virtue of my place   i ought to know of; and upon my knees   i charm you, by my once-commended beauty,   by all your vows of love, and that great vow   which did incorporate and make us one,   that you unfold to me, your self, your half,   why you are heavy \u2013 and what men to-night   have had resort to you; for here have been5 10 15 20 25 30 35 40 45 50",
            "7": "7 0486/13/o/n/14 \u00a9 ucles 2014 [turn over some six or seven, who did hide their faces even from darkness. brutus:           kneel not, gentle portia. portia:  i should not need, if you were gentle brutus. within the bond of marriage, tell me, brutus,   is it excepted i should know no secrets   that appertain to you? am i your self   but, as it were, in sort or limitation?   to keep with you at meals, comfort your bed,   and talk to you sometimes? dwell i but in the suburbs   of your good pleasure? if it be no more,   portia is brutus\u2019 harlot, not his wife. brutus:  y ou are my true and honourable wife, as dear to me as are the ruddy drops   that visit my sad heart. portia:  if this were true, then should i know this secret. i grant i am a woman; but withal   a woman that lord brutus took to wife.   i grant i am a woman; but withal   a woman well reputed, cato\u2019s daughter.   think you i am no stronger than my sex,   being so father\u2019d and so husbanded?   tell me your counsels, i will not disclose \u2019em.   i have made strong proof of my constancy,   giving myself a voluntary wound   here, in the thigh. can i bear that with patience,   and not my husband\u2019s secrets? brutus:                o ye gods, render me worthy of this noble wife! [knocking within.  hark, hark! one knocks. portia, go in awhile, and by and by thy bosom shall partake   the secrets of my heart.   all my engagements i will construe to thee,   all the charactery of my sad brows.   leave me with haste.  [exit portia. [from act 2 scene 1 ]   how does shakespeare make this moment in the play so moving? or \u20205 explore the ways in which shakespeare makes omens and the supernatural such a  dramatic part of the play. or 6 y ou are antony. y ou are fleeing to your house just after the murder of caesar.   write your thoughts.55 60 65 70 75 80 85",
            "8": "8 0486/13/o/n/14 \u00a9 ucles 2014william shakespeare: the\ttempest either  *7 read this extract, and then answer the question that follows it: prospero:  if i have too austerely punish\u2019d you, y our compensation makes amends; for i   have given you here a third of mine own life,   or that for which i live; who once again   i tender to thy hand. all thy vexations   were but my trials of thy love, and thou   hast strangely stood the test; here, afore heaven,   i ratify this my rich gift. o ferdinand!   do not smile at me that i boast her off,   for thou shalt find she will outstrip all praise,   and make it halt behind her. ferdinand:               i do believe it against an oracle. prospero:  then, as my gift, and thine own acquisition worthily purchas\u2019d, take my daughter. but   if thou dost break her virgin-knot before   all sanctimonious ceremonies may   with full and holy rite be minist\u2019red,   no sweet aspersion shall the heavens let fall   to make this contract grow; but barren hate,   sour-ey\u2019d disdain, and discord, shall bestrew   the union of your bed with weeds so loathly   that you shall hate it both. therefore take heed,   as hymen\u2019s lamps shall light you. ferdinand:                 as i hope for quiet days, fair issue, and long life,   with such love as \u2019tis now, the murkiest den,   the most opportune place, the strong\u2019st suggestion   our worser genius can, shall never melt   mine honour into lust, to take away   the edge of that day\u2019s celebration,   when i shall think or phoebus\u2019 steeds are founder\u2019d   or night kept chain\u2019d below. prospero:               fairly spoke. sit, then, and talk with her; she is thine own.   what, ariel! my industrious servant, ariel! enter ariel . ariel:  what would my potent master? here i am. prospero:  thou and thy meaner fellows your last service did worthily perform; and i must use you   in such another trick. go bring the rabble,   o\u2019er whom i give thee pow\u2019r, here to this place.   incite them to quick motion; for i must   bestow upon the eyes of this young couple   some vanity of mine art; it is my promise,   and they expect it from me. ariel:              presently? prospero:  ay, with a twink.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/13/o/n/14 \u00a9 ucles 2014 [turn overariel:  before you can say \u2018come\u2019 and \u2018go\u2019, and breathe twice, and cry \u2018so, so\u2019,   each one, tripping on his toe,   will be here with mop and mow.   do you love me, master? no? prospero:  dearly, my delicate ariel. do not approach till thou dost hear me call. ariel:              well! i conceive.  [exit. prospero:  look thou be true; do not give dalliance too much the rein; the strongest oaths are straw   to th\u2019 fire i\u2019 th\u2019 blood. be more abstemious,   or else good night your vow! ferdinand:               i warrant you, sir, the white cold virgin snow upon my heart   abates the ardour of my liver. prospero:               well! now come, my ariel, bring a corollary,   rather than want a spirit; appear, and pertly.   no tongue! all eyes! be silent.  [soft music . [from act 4 scene 1 ]   how does shakespeare make this moment in the play so dramatic and satisfying? or \u20208 how does shakespeare make trinculo and stephano so entertaining? support your  answer with details from shakespeare\u2019s writing.   or 9 y ou are gonzalo. prospero has just revealed his identity to you towards the end of the  play.    write your thoughts.50 55 60 65",
            "10": "10 0486/13/o/n/14 \u00a9 ucles 2014oscar wilde: the\timportance \tof\tbeing \tearnest either  *10 read this extract, and then answer the question that follows it: algernon:  i think that is rather mean of you, ernest, i must say. [ opens  case and examines it. ] however, it makes no matter, for, now  that i look at the inscription inside, i find that the thing isn\u2019t  yours after all. jack:  of course it\u2019s mine. [ moving to him. ] y ou have seen me with  it a hundred times, and you have no right whatsoever to read  what is written inside. it is a very ungentlemanly thing to read a  private cigarette case. algernon:  oh! it is absurd to have a hard and fast rule about what one  should read and what one shouldn\u2019t. more than half of modern  culture depends on what one shouldn\u2019t read. jack:  i am quite aware of the fact, and i don\u2019t propose to discuss  modern culture. it isn\u2019t the sort of thing one should talk of in  private. i simply want my cigarette case back. algernon:  y es; but this isn\u2019t your cigarette case. this cigarette case is a  present from someone of the name of cecily, and you said you  didn\u2019t know anyone of that name. jack:  well, if you want to know, cecily happens to be my aunt. algernon:  y our aunt! jack:  y es. charming old lady she is, too. lives at tunbridge wells.  just give it back to me, algy. algernon:  [retreating to back of sofa .] but why does she call herself  little cecily if she is your aunt and lives at tunbridge wells?  [reading. ] \u201cfrom little cecily with her fondest love.\u201d jack:  [moving to sofa and kneeling upon it. ] my dear fellow, what  on earth is there in that? some aunts are tall, some aunts are  not tall. that is a matter that surely an aunt may be allowed to  decide for herself. y ou seem to think that every aunt should be  exactly like your aunt! that is absurd. for heaven\u2019s sake give  me back my cigarette case. [follows algernon round the room. algernon:  y es. but why does your aunt call you her uncle? \u201cfrom little  cecily, with her fondest love to her dear uncle jack.\u201d there is  no objection, i admit, to an aunt being a small aunt, but why  an aunt, no matter what her size may be, should call her own  nephew her uncle, i can\u2019t quite make out. besides, your name  isn\u2019t jack at all; it is ernest. jack:  it isn\u2019t ernest; it\u2019s jack. algernon:  y ou have always told me it was ernest. i have introduced you  to every one as ernest. y ou answer to the name of ernest. y ou  look as if your name was ernest. y ou are the most earnest- looking person i ever saw in my life. it is perfectly absurd your  saying that your name isn\u2019t ernest. it\u2019s on your cards. here is  one of them. [ taking it from case. ] \u201cmr. ernest worthing, b.  4, the albany.\u201d i\u2019ll keep this as a proof that your name is ernest  if ever you attempt to deny it to me, or to gwendolen, or to any  one else.  [puts the card in his pocket .5 10 15 20 25 30 35 40 45",
            "11": "11 0486/13/o/n/14 \u00a9 ucles 2014 [turn overjack:  well, my name is ernest in town and jack in the country, and  the cigarette case was given to me in the country. algernon:  y es, but that does not account for the fact that your small aunt  cecily, who lives at tunbridge wells, calls you her dear uncle.  come, old boy, you had much better have the thing out at once. jack:  my dear algy, you talk exactly as if you were a dentist. it is very  vulgar to talk like a dentist when one isn\u2019t a dentist. it produces  a false impression. algernon:  well, that is exactly what dentists always do. now, go on! tell  me the whole thing. i may mention that i have always suspected  you of being a confirmed and secret bunburyist; and i am quite  sure of it now. jack:  bunburyist? what on earth do you mean by a bunburyist? algernon:  i\u2019ll reveal to you the meaning of that incomparable expression  as soon as you are kind enough to inform me why you are  ernest in town and jack in the country. jack:  well, produce my cigarette case first. algernon:  here it is. [ hands cigarette case. ] now produce your  explanation, and pray make it improbable.  [sits on sofa. [from act 1  ]   explore how wilde engages the interest of the audience in this early moment in the play.  or \u202011 how far does wilde\u2019s portrayal of gwendolen suggest that jack worthing is a lucky man  to be marrying her? support your views with details from wilde\u2019s writing. or 12 y ou are cecily at the end of the play.   write your thoughts.50 55 60 65",
            "12": "12 0486/13/o/n/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected \tpoems either  *13 read this poem, and then answer the question that follows it: neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god, and a few leaves lay on the starving sod;  \u2013 they had fallen from an ash, and were gray. y our eyes on me were as eyes that rove over tedious riddles of years ago; and some words played between us to and fro  on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die; and a grin of bitterness swept thereby  like an ominous bird a-wing \u2026 since then, keen lessons that love deceives, and wrings with wrong, have shaped to me y our face, and the god-curst sun, and a tree,  and a pond edged with grayish leaves.   how does hardy make this such a powerful portrayal of disappointment in love? or \u202014  explore the ways in which hardy memorably responds to the sinking of the titanic  in the  convergence of the twain . or \u202015 in what ways does hardy make the people come vividly to life for you in either  the pine  planters  or no buyers: a street scene ?5 10 15",
            "13": "13 0486/13/o/n/14 \u00a9 ucles 2014 [turn oversongs \tof\tourselves : from part 4 either  *16 read this poem, and then answer the question that follows it: the planners they plan. they build. all spaces are gridded, filled with permutations of possibilities. the buildings are in alignment with the roads which meet at desired points linked by bridges all hang in the grace of mathematics. they build and will not stop. even the sea draws back and the skies surrender. they erase the flaws, the blemishes of the past, knock off useless blocks with dental dexterity. all gaps are plugged with gleaming gold. the country wears perfect rows of shining teeth. anaesthesia, amnesia, hypnosis. they have the means. they have it all so it will not hurt, so history is new again. the piling will not stop. the drilling goes right through the fossils of last century. but my heart would not bleed poetry. not a single drop to stain the blueprint of our past\u2019s tomorrow. (by boey kim cheng)   how does boey powerfully convey strong feelings about modern life? or \u202017 how does the poet memorably bring to life a particular moment in either  summer farm   (by norman maccaig) or horses  (by edwin muir)? or \u202018 explore how the poet portrays creatures in ways which surprise you in either  pike (by  ted hughes) or hunting snake  (by judith wright).5 10 15 20 25",
            "14": "14 0486/13/o/n/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous \tconditions either  *19 read this extract, and then answer the question that follows it: it was on new y ear\u2019s eve that my uncle and my father discussed my  future. the discussion took place in the house. i was obliged to eavesdrop. \u2018it may change her character for the worse \u2026 these whites, you know \u2026  you never know,\u2019 mused babamukuru. \u2018no,\u2019 agreed my father. \u2018how could you know with these ones? y ou never  know. with whites! no. y ou never know.\u2019 \u2018on the other hand,\u2019 continued my uncle, \u2018she would receive a first-class  education.\u2019 \u2018ah, ya, mukoma, first class. first class,\u2019 my father enthused. \u2018i did not want her to go to that school \u2026\u2019 said babamukuru. \u2018what for, mukoma? why should she go there? y our mission is first  class.\u2019 \u2018\u2026 because of the reasons i have told you,\u2019 continued my uncle. \u2018but then,  considering that this is a fine opportunity for the girl to receive the finest  education in rhodesia, i think she must not be denied the opportunity. i  have decided to let her go.\u2019 my father went down on one knee. bo-bo-bo. \u2018we thank you, chirandu,  we thank you, muera bonga, chihwa\u2019 he intoned. \u2018truly, we would not  survive without you. our children would not survive without you. head of  the family, princeling, we thank you.\u2019 this is how it was settled. i was to take another step upwards in the  direction of my freedom. another step away from the flies, the smells,  the fields and the rags; from stomachs which were seldom full, from dirt  and disease, from my father\u2019s abject obeisance to babamukuru and my  mother\u2019s chronic lethargy. also from nyamarira that i loved. the prospect of this freedom and its possible price made me dizzy. i  had to sit down, there on the steps that led up to the house. then i felt  numb; then i felt better. the cost would balance. what i needed i would  take with me, the rest i would discard. it would be worth it to dress my  sisters in pretty clothes, feed my mother until she was plump and energetic  again, stop my father making a fool of himself every time he came into  babamukuru\u2019s presence. money would do all this for me. with the ticket i  would acquire attending the convent, i would earn lots of it. \u2018no,\u2019 babamukuru was saying, his face beaming to compete with the  paraffin flame, \u2018do not thank me. it is tambudzai who worked hard for that  scholarship.\u2019 [from chapter 9   ]   how does dangarembga make this such an amusing and satisfying moment?5 10 15 20 25 30 35",
            "15": "15 0486/13/o/n/14 \u00a9 ucles 2014 [turn overor \u202020 explore the ways in which dangarembga makes one of the female characters memorably  rebellious. support your ideas with details from dangarembga\u2019s writing. or 21 y ou are jeremiah. babamukuru has just informed you that you are to have a church  wedding.   write your thoughts.",
            "16": "16 0486/13/o/n/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either  *22 read this extract, and then answer the question that follows it: proper attention. it was with a steely determination that mama turned  this upon her son as if making sure no one could accuse her of any lapse  in his care or recall the reluctance with which she had borne him.  content removed due to copyright restrictions.",
            "17": "17 0486/13/o/n/14 \u00a9 ucles 2014 [turn over and  accepted the fact that he would not touch the meat papa insisted he should  eat: arun was a vegetarian. [from chapter 3   ]   explore the ways in which desai vividly conveys mamapapa\u2019s reactions to arun\u2019s birth  here. or \u202023 how does desai strikingly convey the problems within the patton family? support your  ideas with details from the novel. or 24 y ou are uma. y ou have just said goodbye to arun as he leaves for the usa.   write your thoughts.content removed due to copyright restrictions.",
            "18": "18 0486/13/o/n/14 \u00a9 ucles 2014kiran desai: hullabaloo \tin\tthe\tguava \torchard either  *25 read this extract, and then answer the question that follows it: now, this newspaper deliverer was somebody who prided himself on  his perfect aim and,   it was ridiculous for him to be the cmo when he himself was sick. [from chapter 15  ]   how far does desai make you sympathise with the chief medical officer here \u2013 and how  far does she make you laugh at him?content removed due to copyright restrictions.",
            "19": "19 0486/13/o/n/14 \u00a9 ucles 2014 [turn overor \u202026 how does desai make the clash of personalities between pinky and sampath so  amusing? support your ideas with details from the writing.  or 27 y ou are mr. chawla. y our attempt to arrange a marriage for your son has been a huge  public failure.   write your thoughts.",
            "20": "20 0486/13/o/n/14 \u00a9 ucles 2014george eliot: silas \tmarner either  *28 read this extract, and then answer the question that follows it:  they had to knock loudly before silas heard them; but when he did  come to the door, he showed no impatience, as he would once have done,  at a visit that had been unasked for and unexpected. formerly, his heart  had been as a locked casket with its treasure inside; but now the casket  was empty, and the lock was broken. left groping in darkness, with his  prop utterly gone, silas had inevitably a sense, though a dull and half- despairing one, that if any help came to him it must come from without;  and there was a slight stirring of expectation at the sight of his fellow-men,  a faint consciousness of dependence on their goodwill. he opened the  door wide to admit dolly, but without otherwise returning her greeting than  by moving the arm-chair a few inches as a sign that she was to sit down in  it. dolly, as soon as she was seated, removed the white cloth that covered  her lard-cakes, and said in her gravest way\u2014 \u2018i\u2019d a baking yisterday, master marner, and the lard-cakes turned out  better nor common, and i\u2019d ha\u2019 asked you to accept some, if you\u2019d thought  well. i don\u2019t eat such things myself, for a bit o\u2019 bread\u2019s what i like from one  year\u2019s end to the other; but men\u2019s stomichs are made so comical, they  want a change\u2014they do, i know, god help \u2019em.\u2019 dolly sighed gently as she held out the cakes to silas, who thanked her  kindly, and looked very close at them, absently, being accustomed to look  so at everything he took into his hand\u2014eyed all the while by the wondering  bright orbs of the small aaron, who had made an outwork of his mother\u2019s  chair, and was peeping round from behind it. \u2018there\u2019s letters pricked on \u2019em,\u2019 said dolly. \u2018i can\u2019t read \u2019em myself, and  there\u2019s nobody, not mr. macey himself, rightly knows what they mean; but  they\u2019ve a good meaning, for they\u2019re the same as is on the pulpit-cloth at  church. what are they, aaron, my dear?\u2019 aaron retreated completely behind his outwork. \u2018oh, go, that\u2019s naughty,\u2019 said his mother, mildly. \u2018well, whativer the letters  are, they\u2019ve a good meaning; and it\u2019s a stamp as has been in our house,  ben says, ever since he was a little un, and his mother used to put it on the  cakes, and i\u2019ve allays put it on too; for if there\u2019s any good, we\u2019ve need of it  i\u2019 this world.\u2019 \u2018it\u2019s i. h. s.\u2019 said silas, at which proof of learning aaron peeped round the  chair again. \u2018well, to be sure, you can read \u2019em off,\u2019 said dolly. \u2018ben\u2019s read \u2019em to me  many and many a time, but they slip out o\u2019 my mind again; the more\u2019s the  pity, for they\u2019re good letters, else they wouldn\u2019t be in the church; and so i  prick \u2019em on all the loaves and all the cakes, though sometimes they won\u2019t  hold, because o\u2019 the rising  \u2014for, as i said, if there\u2019s any good to be got,  we\u2019ve need on it i\u2019 this world\u2014that we have; and i hope they\u2019ll bring good  to you, master marner, for it\u2019s wi\u2019 that will i brought you the cakes; and you  see the letters have held better nor common.\u2019 silas was as unable to interpret the letters as dolly, but there was no  possibility of misunderstanding the desire to give comfort that made itself  heard in her quiet tones. he said, with more feeling than before\u2014\u2018thank  you\u2014thank you kindly.\u2019 but he laid down the cake and seated himself  absently\u2014 drearily unconscious of any distinct benefit towards which the  cake and the letters, or even dolly\u2019s kindness, could tend for him. \u2018ah, if there\u2019s good anywhere, we\u2019ve need of it,\u2019 repeated dolly, who did  not lightly forsake a serviceable phrase. she looked at silas pityingly as 5 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/13/o/n/14 \u00a9 ucles 2014 [turn overshe went on. \u2018but you didn\u2019t hear the church-bells this morning, master  marner. i doubt you didn\u2019t know it was sunday. living so lone here, you  lose your count, i daresay; and then, when your loom makes a noise, you  can\u2019t hear the bells, more partic\u2019lar now the frost kills the sound.\u2019 \u2018y es, i did; i heard \u2019em,\u2019 said silas, to whom sunday bells were a mere  accident of the day, and not part of its sacredness. there had been no  bells in lantern y ard. [from chapter 10   ]   how does eliot make this moment in the novel so moving? or \u202029 how does eliot make nancy cass such an impressive character for you? support your  ideas with details from the novel. or 30 y ou are eppie. y ou have just returned from the visit to lantern y ard with silas.   write your thoughts.55",
            "22": "22 0486/13/o/n/14 \u00a9 ucles 2014susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle either  *31 read this extract, and then answer the question that follows it: on the train from london, joseph hooper said, \u2018i hope you are friendly  with young charles kingshaw, now. i have not seen you about the place  together very much.\u2019 hooper looked up from the scourge of the marsh monster . \u2018i can\u2019t help it if he locks himself up, can i? \u2018in his room?\u2019 \u2018somewhere. in some room or other. i don\u2019t know.\u2019 \u2018that sounds to me a very strange way of going on. what is this all in aid  of, what does he do?\u2019 hooper shrugged. \u2018slowly, remorselessly, the huge feet carried the hulking beast forward.  the stench of the marshes hung about it and the mud on its scaly hide  was mud formed at the dawn of history. the blood and death it now sought  were\u2026\u2019 \u2018i suppose that i must speak to his mother.\u2019 the trained crossed over some points. \u2018but then, i daresay he is a little shy. y ou will have to be understanding  about that, edmund, there must always be a little give and take in this sort  of friendship. that is a lesson i hope that you will learn in life very quickly.  he has no father, when all is said and done.\u2019 hooper looked up briefly, raising his eyebrows. mr. hooper coughed, turned his face away, and shifted a little in his seat.  there is no telling, he thought, perhaps he does remember something of  his mother, after all. we cannot fathom the minds of young children. he  was discomforted by his own lack of insight. he tried to find some clue, in  his son\u2019s facial expression, as to what might be going on in his mind, but  there was only a blank. he could recall nothing of himself at the same age  except that he had loathed his own father. but i came through, he said to himself now, i daresay that i am normal  enough, that there is nothing so much wrong with me, in spite of it all. i  shall not allow myself to feel guilty about it. edmund will be like any other  healthy boy. i am not to blame. he watched the darkening countryside and then, after a time, returned  to his magazine, more settled in his mind. he felt exonerated. [from chapter 4   ]   what do you think hill reveals about the father and son \u2013 and their relationship \u2013 at this  moment in the novel? support your ideas with details from the writing. or \u202032 explore two moments in the novel where you think hill\u2019s portrayal of the english  countryside is particularly powerful. support your views with details from the writing. or 33 y ou are mrs kingshaw. y ou have accepted mr. hooper\u2019s proposal of marriage.    write your thoughts.5 10 15 20 25 30",
            "23": "23 0486/13/o/n/14 \u00a9 ucles 2014 [turn overturn to page 24 for question 34.",
            "24": "24 0486/13/o/n/14 \u00a9 ucles 2014from stories \tof\tourselves either  *34 read this extract from the destructors  (by graham greene), and then answer the  question that follows it: mike had gone home to bed, but the rest stayed. the question of  leadership no longer concerned the gang. with nails, chisels, screwdrivers,  anything that was sharp and penetrating they moved around the inner  walls worrying at the mortar between the bricks. they started too high, and  it was blackie who hit on the damp course and realised the work could be  halved if they weakened the joints immediately above. it was a long, tiring,  unamusing job, but at last it was finished. the gutted house stood there  balanced on a few inches of mortar between the damp course and the  bricks. there remained the most dangerous task of all, out in the open at the  edge of the bomb-site. summers was sent to watch the road for passers  by, and mr thomas, sitting on the loo, heard clearly now the sound of  sawing. it no longer came from his house, and that a little reassured him.  he felt less concerned. perhaps the other noises too had no significance. a voice spoke to him through the hole. \u2018mr thomas.\u2019 \u2018let me out,\u2019 mr thomas said sternly. \u2018here\u2019s a blanket,\u2019 the voice said, and a long grey sausage was worked  through the hole and fell in swathes over mr thomas\u2019s head. \u2018there\u2019s nothing personal,\u2019 the voice said. \u2018we want you to be comfortable  tonight.\u2019 \u2018tonight,\u2019 mr thomas repeated incredulously. \u2018catch,\u2019 the voice said. \u2018penny buns \u2013 we\u2019ve buttered them, and sausage- rolls. we don\u2019t want you to starve, mr thomas.\u2019 mr thomas pleaded desperately. \u2018a joke\u2019s a joke, boy. let me out and i  won\u2019t say a thing. i\u2019ve got rheumatics. i got to sleep comfortable.\u2019 \u2018y ou wouldn\u2019t be comfortable, not in your house, you wouldn\u2019t. not now.\u2019 \u2018what do you mean, boy?\u2019 but the footsteps receded. there was only the  silence of night: no sound of sawing. mr thomas tried one more yell, but  he was daunted and rebuked by the silence \u2013 a long way off an owl hooted  and made away again on its muffled flight through the soundless world. at seven next morning the driver came to fetch his lorry. he climbed into  the seat and tried to start the engine. he was vaguely aware of a voice  shouting, but it didn\u2019t concern him. at last the engine responded and he  backed the lorry until it touched the great wooden shore that supported  mr thomas\u2019s house. that way he could drive right out and down the street  without reversing. the lorry moved forward, was momentarily checked as  though something were pulling it from behind, and then went on to the  sound of a long rumbling crash. the driver was astonished to see bricks  bouncing ahead of him, while stones hit the roof of his cab. he put on his  brakes. when he climbed out the whole landscape had suddenly altered.  there was no house beside the car-park, only a hill of rubble. he went  round and examined the back of his car for damage, and found a rope tied  there that was still twisted at the other end round part of a wooden strut. the driver again became aware of somebody shouting. it came from the  wooden erection which was the nearest thing to a house in that desolation  of broken brick. the driver climbed the smashed wall and unlocked the  door. mr thomas came out of the loo. he was wearing a grey blanket to  which flakes of pastry adhered. he gave a sobbing cry. \u2018my house,\u2019 he said.  \u2018where\u2019s my house?\u20195 10 15 20 25 30 35 40 45",
            "25": "25 0486/13/o/n/14 \u00a9 ucles 2014\u2018search me,\u2019 the driver said. his eye lit on the remains of a bath and what  had once been a dresser and he began to laugh. there wasn\u2019t anything  left anywhere. \u2018how dare you laugh,\u2019 mr thomas said. \u2018it was my house. my house.\u2019 \u2018i\u2019m sorry,\u2019 the driver said, making heroic efforts, but when he  remembered the sudden check to his lorry, the crash of bricks falling, he  became convulsed again. one moment the house had stood there with  such dignity between the bomb-sites like a man in a top hat, and then,  bang, crash, there wasn\u2019t anything left \u2013 not anything. he said, \u2018i\u2019m sorry. i  can\u2019t help it, mr thomas. there\u2019s nothing personal, but you got to admit it\u2019s  funny.\u2019   how does greene make this such an effective ending to the story? or \u202035 how does v. s. pritchett make harold\u2019s father in the fly in the ointment  particularly  unpleasant for you? support your ideas with details from the story. or 36 y ou are mr donaldson in the custody of the pumpkin . y ou have just met lord emsworth  and told him of your daughter\u2019s marriage to freddie and of their departure to the usa.   write your thoughts.50 55 60",
            "26": "26 0486/13/o/n/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/13/o/n/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/13/o/n/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 1  \u00a9 all my sons . \u00a9 1947, arthur miller. reproduced by permission of the wylie agency. all rights reserved. question 16   \u00a9 boey kim cheng; the planners  from another place  in songs of ourselves ; cambridge university press; reprinted by permission of marshall  cavendish international (asia) pte ltd; 2004. question 19  \u00a9 nervous conditions. \u00a9 1988, tsitsi dangarembga. reproduced by permission of ayebia clarke publishing. question 22   \u00a9 fasting, feasting . \u00a9 1999, anita desai. reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london  w11 1jn, from vintage. reprinted by permission of the random house group ltd. question 25  \u00a9 hullabaloo in the guava orchard ; \u00a9 1998, kiran desai; faber & faber ltd. question 31  \u00a9 susan hill; i\u2019m the king of the castle ; penguin books ltd; 1973. question 34  \u00a9 graham greene; the destructors  in stories of ourselves ; cambridge university press; 2008. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w14_qp_31.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (cw) 108668 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 3 7 2 8 8 9 0 9 1 4 *literature (english)  0486/31 paper 3  unseen  october/november 2014  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/31/o/n/14 \u00a9 ucles 2014answer either  question 1 or question 2. either 1 read carefully the poem opposite. the poet describes returning to work in an office after the birth  of her daughter.  how does the writing vividly convey the poet\u2019s feelings to you?  to help you answer this question, you might consider:  \u2022 how she reveals her feelings about the return to work  \u2022 how she portrays her baby at home  \u2022 the effects of the contrast between the two halves of the poem.",
            "3": "3 0486/31/o/n/14 \u00a9 ucles 2014 [turn overback to work the world enters my body, runs its vast red buses through my stomach, swerves into my heart causing havoc. inside, telephones ring, typewriters1 ram their sharp metal keys into my mind. there is dust on the windows, on the desks, on the piling paperwork. even the sunshine here is made of grey and nothing is as it should be. meanwhile, my darling girl sleeps and smiles and laughs, her face so full of curiosity and magic that i know the world was made in her honour. she looks around her and as she looks she renews all she sees. the leaves rustle excitedly, the curtains dance by the window, the shadow moves beside her as she turns and she turns and she turns, ocean eyes, taking it all in. 1typewriters:  machines with keys for typing",
            "4": "4 0486/31/o/n/14 \u00a9 ucles 2014or 2 read carefully the following extract from a novel about two boys, arthur and his younger brother  jake.  what do you find striking about the writer\u2019s portrayal of the brothers and their relationship?  to help you answer this question, you might consider:  \u2022 how the writer portrays their different attitudes to school  \u2022 how she reveals arthur\u2019s feelings towards jake  \u2022 how she conveys the tensions in their relationship. it was school jake lived for. school and all the goings-on there, triumphs and  disasters, friends and enemies. especially enemies. content removed due to copyright restrictions.",
            "5": "5 0486/31/o/n/14 \u00a9 ucles 2014it was impossible, of course. jake was right about that. to tell on someone was  the one unforgivable sin. 1struan:  the town where the boys live.content removed due to copyright restrictions.",
            "6": "6 0486/31/o/n/14 \u00a9 ucles 2014blank page",
            "7": "7 0486/31/o/n/14 \u00a9 ucles 2014blank page",
            "8": "8 0486/31/o/n/14 \u00a9 ucles 2014copyright acknowledgements: question 1   \u00a9  sally emerson;  back to work , in ed. goodwin;  101 poems to keep y ou sane ;  reproduced by permission of harpercollins publishers;  2001. question 2  \u00a9  mary lawson;  the other side of the bridge ;  published by chatto & windus.  reprinted by permission of the random house group ltd;  2006.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_32.pdf": {
            "1": "this document consists of 4 printed pages and 4 blank pages and 1 insert. dc (leg) 108720 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 4 4 5 0 2 2 1 7 6 7 *literature (english)  0486/32 paper 3  unseen  october/november 2014  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either question 1 or question 2 . y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/32/o/n/14 \u00a9 ucles 2014answer either  question 1 or question 2. either 1 read carefully the poem opposite. the poet describes catching a trout (a freshwater fish) with his  bare hands.  how does the poet give you a sense of what is both fascinating and disturbing about this  experience?  to help you answer this question, you might consider:  \u2022 how the poet describes the process of preparing to catch the trout  \u2022 how the writing conveys the excitement of catching the trout  \u2022 how the poet communicates his thoughts and feelings to you.",
            "3": "3 0486/32/o/n/14 \u00a9 ucles 2014 [turn over\u2003 \u2003 \u2003 the \u2003trout flat on the bank i parted content removed due to copyright restrictions. taste his terror on my hands. 1 tendril:  a slender, flexible plant stem 2 preternaturally:  more than naturally 3 stipple:  spotted markings on the fish",
            "4": "4 0486/32/o/n/14 \u00a9 ucles 2014or 2 read carefully this extract from a novel. tsotsi, a street gangster, is following a beggar without  legs called morris tshabalala. tsotsi is intending to rob him. he has done this kind of thing many  times before.  how does the writing bring to life tsotsi\u2019s changing feelings?  to help you answer this question, you might consider:  \u2022 how the writing communicates suspense as tsotsi follows his intended victim  \u2022 how tsotsi comes to understand why he did not rob him  \u2022 the impact of this scene and the effect that the writer\u2019s language has on you. tsotsi knew that something was happening to him. but when he discovered the  real nature of the feeling it had gone so far it was too late to do anything about it. they had stopped again. it was obvious why. but maybe even if that dark little  side street hadn\u2019t been there the cripple would still have stopped, because he  needed the rest. he looked even more like a dog when he was out of breath. his  body had the same rhythmic up and down movement as when it panted. at that  distance \u2013 tsotsi was still on the opposite side \u2013 the light sometimes played tricks  on his eyes and he imagined he saw a long tongue lolling out of the bent head.  when he looked up, either to see down the side street or at tsotsi across the road,  or back over his shoulder, you thought he was going to howl, the way dogs did in the  townships, sitting on their haunches in the empty streets when the moon was bright.  one short and dark side street, and the cripple too frightened to crawl into it. he was  right of course, tsotsi knew that. if the cripple moved down it, the time would have  come to act. while he watched the cripple and waited, tsotsi kept saying to himself: i don\u2019t  know you, not from nowhere, so what do i care. just you make a move. i don\u2019t care  a damn thing for you. it had never been necessary to say this to himself before. he  had to now, and it was because of the feeling. tsotsi had a growing presentiment1 of  its nature, but it was not yet fully revealed. at that moment he still knew it only by its  hidden working in his body. it was there as a lethargy2 in his legs that should have  been stiff and ready to run when the moment came, as a tiredness in his fingers that  would have to be even quicker if he was forced to use his knife. above all else it was  there as a desire \u2013 and even that in its way was dull and only half-formed \u2013 that it  would be better if the cripple didn\u2019t move, if neither of them moved at all, and all of  the time to come rushed past like the motor cars, leaving him against the wall and  the cripple on his corner. the full truth of what had happened to him came when the old car stalled and  was pushed to the corner and he saw his man escape in its wake. he did care.  regardless of what he had been saying to himself a few minutes ago, he did care.  there was no possibility of doubt or of arguing it away. when morris tshabalala  crawled off behind the car, tsotsi experienced a spasm of relief. he couldn\u2019t believe  it of himself. he shook his head the way donkeys do to dislodge a troublesome  swarm of flies. he cleared his throat and spat onto the pavement as if there were  a galling taste in his mouth. he even closed his eyes and dropped his head back  against the wall as if he had decided to sleep and forget the episode. the truth  persisted. his man had escaped into a few more hours of troubled living and he  was desperately glad. it was obvious now what had been happening to him as he  followed morris tshabalala down the main street. he was also right in thinking it had  never happened before. he had felt for his victim. 1 presentiment:  anticipation of a future event 2 lethargy:  tiredness",
            "5": "5 0486/32/o/n/14 \u00a9 ucles 2014blank page",
            "6": "6 0486/32/o/n/14 \u00a9 ucles 2014blank page",
            "7": "7 0486/32/o/n/14 \u00a9 ucles 2014blank page",
            "8": "8 0486/32/o/n/14 \u00a9 ucles 2014copyright \u2003acknowledgements: question 1  \u00a9  john montague;  the\u2003trout  in ed. n astley;  staying \u2003alive ;  bloodaxe books;  1995.   question 2  \u00a9  athol fugard;  tsotsi ;  canongate books ltd;  2009.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_33.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (km)) 83365/5 \u00a9 ucles 2014 [turn overcambridge international examinations cambridge international general certificate of secondary education *8794074044*literature (english)  0486/33 paper 3 unseen october/november 2014  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/33/o/n/14 \u00a9 ucles 2014answer either  question 1 or question 2. either1 read carefully the poem opposite, which describes a lone skater skating along a frozen pond in  winter.  how does the poet\u2019s writing create a striking image of the skater? to help you answer this question, you might consider: \u0081 how the poet describes the skater\u2019s preparations  \u0081 the effect of the skater\u2019s movements on those who watch him  \u0081 the possible meaning of the image of him skating out to sea.",
            "3": "3 0486/33/o/n/14 \u00a9 ucles 2014 [turn overthe sea skater a skater comes to this blue pond, his worn canadian skatesheld by the straps. he sits on the grass lacing stiff bootsinto a wreath of effort and breath. he tugs at the straps and they sound as ice does when weight troubles itand cracks bloom around stones creaking in quiet mid-winter mid-afternoons: a fine time for a skater.he knows it and gauges the sunto see how long it will be safe to skate. now he hisses and spins in jumps while powder ice clings to the airbut by trade he\u2019s a long-haul skater. little villages, stick-like in the cold, offer a child or a farm-workergoing his round. these watch himgo beating onward between iced aldersseawards, and so they picture himalways smoothly facing forward, foodless and waterless,mounting the crusted waves on his skates.",
            "4": "4 0486/33/o/n/14 \u00a9 ucles 2014or 2 read carefully this extract from a novel. jim is looking back and telling the story of his boyhood as  an orphan living on a remote farm with his grandparents in nebraska, usa, towards the end of the nineteenth century. \u00e1ntonia (or \u2018tony\u2019) is part of a bohemian immigrant family, and speaks broken english with a heavy accent. both children are about eleven years old. the passage describes the killing of a large and poisonous rattlesnake.  how does the writer make jim\u2019s encounter with the snake both dramatic and significant for  the boy?  to help you answer this question, you might consider:  \u0081 the way the writer portrays jim\u2019s initial response to the snake, and how he kills it  \u0081 how she shows \u00e1ntonia\u2019s influence on jim\u2019s feelings about the snake  \u0081  how the writer shows how jim\u2019s feelings have changed when he looks back at what happened. we were examining a big hole with two entrances. the burrow sloped into the  ground at a gentle angle, so that we could see where the two corridors united, and the floor was dusty from use, like a little highway over which much travel went. i was walking backward, in a crouching position, when i heard \u00e1ntonia scream. she was standing opposite me, pointing behind me and shouting something in bohemian 1. i  whirled round, and there, on one of those dry gravel beds, was the biggest snake i had ever seen. he was sunning himself, after the cold night, and he must have been asleep when \u00e1ntonia screamed. when i turned, he was lying in long loose waves, like a letter \u2018w\u2019. he twitched and began to coil slowly. he was not merely a big snake, i thought \u2013 he was a circus monstrosity. his abominable muscularity, his loathsome, fluid motion, somehow made me sick. he was as thick as my leg, and looked as if millstones couldn\u2019t crush the disgusting vitality out of him. he lifted his hideous little head, and rattled. i didn\u2019t run because i didn\u2019t think of it \u2013 if my back had been against a stone wall i couldn\u2019t have felt more cornered. i saw his coils tighten \u2013 now he would spring, spring his length, i remembered. i ran up and drove at his head with my spade, struck him fairly across the neck, and in a minute he was all about my feet in wavy loops. i struck now from hate. \u00e1ntonia, barefooted as she was, ran up behind me. even after i had pounded his ugly head flat, his body kept on coiling and winding, doubling and falling back on itself. i walked away and turned my back. i felt seasick. \u00e1ntonia came after me, crying, \u2018o jimmy, he not bite you? y ou sure? why you  not run when i say?\u2019 \u2018what did you jabber bohunk 2 for? y ou might have told me there was a snake  behind me!\u2019 i said petulantly. \u2018i know i am just awful, jim, i was so scared.\u2019 she took my handkerchief from my  pocket and tried to wipe my face with it, but i snatched it away from her. i suppose i looked as sick as i felt. \u2018i never know you was so brave, jim,\u2019 she went on comfortingly. \u2018y ou is just like  big mans; you wait for him lift his head and then you go for him. ain\u2019t you feel scared a bit? now we take that snake home and show everybody. nobody ain\u2019t seen in this kawn-tree 3 so big snake like you kill.\u2019 she went on in this strain until i began to think that i had longed for this  opportunity, and had hailed it with joy. cautiously we went back to the snake; he was still groping with his tail, turning up his ugly belly in the light. a faint, fetid smell came from him, and a thread of green liquid oozed from his crushed head. \u2018look, tony, that\u2019s his poison,\u2019 i said.i took a long piece of string from my pocket, and she lifted his head with the  spade while i tied a noose around it. we pulled him out straight and measured him ",
            "5": "5 0486/33/o/n/14 \u00a9 ucles 2014by my riding-quirt4; he was about five and a half feet long. he had twelve rattles,  but they were broken off before they began to taper, so i insisted that he must once have had twenty-four. i explained to \u00e1ntonia how this meant that he was twenty-four years old, that he must have been there when white men first came, left on from buffalo and indian times 5. as i turned him over, i began to feel proud of him,  to have a kind of respect for his age and size. he seemed like the ancient, eldest evil. certainly his kind have left horrible unconscious memories in all warm-blooded life. when we dragged him down into the draw 6, dude7 sprang off to the end of his  tether and shivered all over \u2013 wouldn\u2019t let us come near him. we decided that \u00e1ntonia should ride dude home, and i would walk. as she rode  along slowly, her bare legs swinging against the pony\u2019s sides, she kept shouting back to me about how astonished everybody would be. i followed with the spade over my shoulder, dragging my snake. her exultation was contagious. the great land had never looked to me so big and free. if the red grass were full of rattlers, i was equal to them all. nevertheless, i stole furtive glances behind me now and then to see that no avenging mate, older and bigger than my quarry, was racing up from the rear. we hung him up to the windmill, and when i went down to the kitchen, i found  \u00e1ntonia standing in the middle of the floor, telling the story with a great deal of colour. subsequent experiences with rattlesnakes taught me that my first encounter  was fortunate in circumstance. my big rattler was old, and had led too easy a life; there was not much fight in him. he had probably lived there for years, with a fat prairie-dog 8 for breakfast whenever he felt like it, a sheltered home, even an owl- feather bed, perhaps, and he had forgot that the world doesn\u2019t owe rattlers a living. a snake of his size, in fighting trim, would be more than any boy could handle. so in reality it was a mock adventure; the game was fixed for me by chance, as it probably was for many a dragon-slayer. i had been adequately armed; the snake was old and lazy; and i had \u00e1ntonia beside me, to appreciate and admire. that snake hung on our corral 9 fence for several days; some of the neighbours  came to see it and agreed that it was the biggest rattler ever killed in those parts. this was enough for \u00e1ntonia. she liked me better from that time on, and she never took a supercilious 10 air with me again. i had killed a big snake \u2013 i was now a big  fellow. 1bohemian:  from bohemia, now part of the czech republic 2bohunk  (slang) : in bohemian language (in czech) 3kawn-tree:  \u2018country\u2019 (in \u00e1ntonia\u2019s heavily accented english) 4riding-quirt:  a leather whip 5indian times:  when nebraska was still largely populated by native americans 6the draw:  a dry stream bed 7dude:  the name of jim\u2019s horse 8prairie-dog:  a large rodent 9corral:  enclosure for keeping livestock 10supercilious:  superior",
            "6": "6 0486/33/o/n/14 \u00a9 ucles 2014blank page",
            "7": "7 0486/33/o/n/14 \u00a9 ucles 2014blank page",
            "8": "8 0486/33/o/n/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 1 \u00a9 helen dunmore; short days, long nights; new & selected poems ; bloodaxe books ltd; 1991. permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w14_qp_41.pdf": {
            "1": "this document consists of 24 printed pages and 4 blank pages and 1 insert. dc (st) 108669 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 1 1 3 6 7 0 8 1 6 2 *literature (english)  0486/41 paper 4  october/november 2014  2 hours 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/41/o/n/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/41/o/n/14 \u00a9 ucles 2014 [turn overcontents section a: drama text\t question \t numbers\t page[s] arthur miller: all my sons        *1, \u20202, 3  pages 4\u20135 wiliiam shakespeare: julius caesar        *4, \u20205, 6  pages 6\u20137 wiliiam shakespeare: the tempest        *7, \u20208, 9  pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12  pages 10\u201311 section b: poetry text\t question \t numbers\t page[s] thomas hardy: selected poems  *13, \u202014, \u202015  page 12 songs of ourselves : from part 4  *16, \u202017, \u202018  page 13 section c: prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21  pages 14\u201315 anita desai: fasting, feasting  *22, \u202023, 24  pages 16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27  pages 18\u201319 george eliot: silas marner  *28, \u202029, 30  pages 20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33  pages 22\u201323 from stories of ourselves  *34, \u202035, 36  pages 24\u201325",
            "4": "4 0486/41/o/n/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either  *1 read this extract, and then answer the question that follows it: chris:  [calling after him ] drink your tea, casanova. [ he turns  to ann .] isn\u2019t he a great guy? content removed due to copyright restrictions.",
            "5": "5 0486/41/o/n/14 \u00a9 ucles 2014 [turn overchris:  [speaks quietly, factually at first ] it\u2019s all mixed up with so  many other things. \u2026  [from act 1 ]    in what ways do you think miller makes this such a moving moment in the play? or \u20202 does miller make you despise or sympathise with joe keller? support your ideas with  details from the writing.  or  3 y ou are george deever. y ou have just finished talking to your father in the prison.     write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/41/o/n/14 \u00a9 ucles 2014william shakespeare: julius \tcaesar either  *4 read this extract, and then answer the question that follows it: antony:  these many, then, shall die; their names are prick\u2019d. octavius:  y our brother too must die. consent you, lepidus? lepidus:  i do consent. octavius:    prick him down, antony. lepidus:  upon condition publius shall not live,  who is your sister\u2019s son, mark antony. antony:  he shall not live; look, with a spot i damn him.  but, lepidus, go you to caesar\u2019s house;   fetch the will hither, and we shall determine   how to cut off some charge in legacies. lepidus:  what, shall i find you here? octavius:  or here or at the capitol.  [exit lepidus. antony:  this is a slight unmeritable man, meet to be sent on errands. is it fit,   the threefold world divided, he should stand   one of the three to share it? octavius:    so you thought him, and took his voice who should be prick\u2019d to die   in our black sentence and proscription. antony:  octavius, i have seen more days than you; and though we lay these honours on this man,   to ease ourselves of divers sland\u2019rous loads,   he shall but bear them as the ass bears gold,   the groan and sweat under the business,   either led or driven as we point the way;   and having brought our treasure where we will,   then take we down his load, and turn him off,   like to the empty ass, to shake his ears   and graze in commons. octavius:    y ou may do your will; but he\u2019s a tried and valiant soldier. antony:  so is my horse, octavius, and for that i do appoint him store of provender.   it is a creature that i teach to fight,   to wind, to stop, to run directly on,   his corporal motion govern\u2019d by my spirit.   and, in some taste, is lepidus but so:   he must be taught, and train\u2019d, and bid go forth;   a barren-spirited fellow; one that feeds   on abjects, orts, and imitations,   which, out of use and stal\u2019d by other men,   begin his fashion. do not talk of him   but as a property. and now, octavius,   listen great things: brutus and cassius   are levying powers; we must straight make head;    5 10 15 20 25 30 35 40 45",
            "7": "7 0486/41/o/n/14 \u00a9 ucles 2014 [turn overtherefore let our alliance be combin\u2019d,   our best friends made, our means stretch\u2019d;   and let us presently go sit in council   how covert matters may be best disclos\u2019d,   and open perils surest answered. octavius:  let us do so; for we are at the stake, and bay\u2019d about with many enemies;   and some that smile have in their hearts, i fear,   millions of mischiefs.  [from  act 4 scene 1 ]   how does shakespeare make this such a dramatic moment in the play? or \u20205 \u2018the noblest man that ever lived .\u2019   \u2018a man of such a feeble temper .\u2019   how far does shakespeare make you believe both  these views of caesar? support your  ideas with details from the play. or  6 y ou are lucius. y ou are on your way to the capitol to report on brutus and caesar for  portia.   write your thoughts.50 55",
            "8": "8 0486/41/o/n/14 \u00a9 ucles 2014william shakespeare: the\ttempest either  *7 read this extract, and then answer the question that follows it: re-enter ariel, driving in caliban, stephano, and trinculo, in their  stolen apparel. stephano:  every man shift for all the rest, and let no man take care  for himself; for all is but fortune. coragio, bully-monster,  coragio! trinculo:  if these be true spies which i wear in my head, here\u2019s a  goodly sight. caliban:  o setebos, these be brave spirits indeed! how fine my master is! i am afraid   he will chastise me. sebastian:  ha, ha! what things are these, my lord antonio?   will money buy \u2019em? antonio:    very like; one of them is a plain fish, and no doubt marketable. prospero:  mark but the badges of these men, my lords, then say if they be true. this mis-shapen knave \u2013   his mother was a witch, and one so strong   that could control the moon, make flows and ebbs,   and deal in her command without her power.   these three have robb\u2019d me; and this demi-devil \u2013   for he\u2019s a bastard one \u2013 had plotted with them   to take my life. two of these fellows you   must know and own; this thing of darkness i   acknowledge mine. caliban:    i shall be pinch\u2019d to death. alonso:  is not this stephano, my drunken butler? sebastian:  he is drunk now; where had he wine? alonso:  and trinculo is reeling ripe; where should they find this grand liquor that hath gilded \u2019em?   how cam\u2019st thou in this pickle? trinculo:  i have been in such a pickle since i saw you last that,  i fear me, will never out of my bones. i shall not fear  flyblowing. sebastian:  why, how now, stephano! stephano:  o, touch me not; i am not stephano, but a cramp. prospero:  y ou\u2019d be king \u2018o the isle, sirrah? stephano:  i should have been a sore one, then. alonso:  [pointing to caliban ] this is as strange a thing as e\u2019er i  look\u2019d on. prospero:  he is as disproportion\u2019d in his manners as in his shape. go, sirrah, to my cell;   take with you your companions; as you look   to have my pardon, trim it handsomely.5 10 15 20 25 30 35 40",
            "9": "9 0486/41/o/n/14 \u00a9 ucles 2014 [turn overcaliban:  ay, that i will; and i\u2019ll be wise hereafter, and seek for grace. what a thrice-double ass   was i to take this drunkard for a god,   and worship this dull fool! prospero:    go to; away! alonso:  hence, and bestow your luggage where you found it. sebastian:  or stole it, rather.  [exeunt caliban, stephano, and trinculo. prospero:  sir, i invite your highness and your train to my poor cell, where you shall take your rest   for this one night; which, part of it, i\u2019ll waste   with such discourse as, i not doubt, shall make it   go quick away \u2013 the story of my life,   and the particular accidents gone by   since i came to this isle. and in the morn   i\u2019ll bring you to your ship, and so to naples,   where i have hope to see the nuptial   of these our dear-belov\u2019d solemnized,   and thence retire me to my milan, where   every third thought shall be my grave. alonso:     i long to hear the story of your life, which must   take the ear strangely. prospero:    i\u2019ll deliver all; and promise you calm seas, auspicious gales,   and sail so expeditious that shall catch   y our royal fleet far off. [ aside to ariel ] my ariel, chick, that is thy charge. then to the elements   be free, and fare thou well! \u2013 please you, draw near.  [from act 5 scene 1 ]   how does shakespeare make this such a satisfying conclusion to the play? or \u20208 does shakespeare make you think that caliban is more of a victim than a villain? support  your ideas with details from the play. or  9 y ou are gonzalo just after ariel\u2019s appearance as the harpy. antonio and sebastian have  just left.      write your thoughts.45 50 55 60 65 70",
            "10": "10 0486/41/o/n/14 \u00a9 ucles 2014oscar wilde: the\timportance \tof\tbeing \tearnest either  *10 read this extract, and then answer the question that follows it: lady bracknell:  [sitting down .] y ou can take a seat, mr. worthing.   [looks in her pocket for note-book and pencil. ] jack:  thank you, lady bracknell, i prefer standing. lady bracknell:  [pencil and note-book in hand .] i feel bound to tell you  that you are not down on my list of eligible young men,  although i have the same list as the dear duchess of  bolton has. we work together, in fact. however, i am  quite ready to enter your name, should your answers  be what a really affectionate mother requires. do you  smoke? jack:  well, yes, i must admit i smoke. lady bracknell:  i am glad to hear it. a man should always have an  occupation of some kind. there are far too many idle  men in london as it is. how old are you? jack:  twenty-nine. lady bracknell:  a very good age to be married at. i have always been  of opinion that a man who desires to get married  should know either everything or nothing. which do  you know? jack:  [after some hesitation .] i know nothing, lady bracknell. lady bracknell:  i am pleased to hear it. i do not approve of anything  that tampers with natural ignorance. ignorance is like  a delicate exotic fruit; touch it and the bloom is gone.  the whole theory of modern education is radically  unsound. fortunately in england, at any rate, education  produces no effect whatsoever. if it did, it would prove  a serious danger to the upper classes, and probably  lead to acts of violence in grosvenor square. what is  your income? jack:  between seven and eight thousand a year. lady bracknell:  [makes a note in her book. ] in land, or in investments? jack:  in investments, chiefly. lady bracknell:  that is satisfactory. what between the duties expected  of one during one\u2019s lifetime, and the duties exacted  from one after one\u2019s death, land has ceased to be  either a profit or a pleasure. it gives one position, and  prevents one from keeping it up. that\u2019s all that can be  said about land. jack:  i have a country house with some land, of course,  attached to it, about fifteen hundred acres, i believe;  but i don\u2019t depend on that for my real income. in fact,  as far as i can make out, the poachers are the only  people who make anything out of it.5 10 15 20 25 30 35 40",
            "11": "11 0486/41/o/n/14 \u00a9 ucles 2014 [turn overlady bracknell:  a country house! how many bedrooms? well, that  point can be cleared up afterwards. y ou have a town  house, i hope? a girl with a simple, unspoiled nature,  like gwendolen, could hardly be expected to reside in  the country. jack:  well, i own a house in belgrave square, but it is let by  the year to lady bloxham. of course, i can get it back  whenever i like, at six months\u2019 notice. lady bracknell:  lady bloxham? i don\u2019t know her. jack:  oh, she goes about very little. she is a lady  considerably advanced in years. lady bracknell:  ah, nowadays that is no guarantee of respectability of  character. what number in belgrave square? jack:  149. lady bracknell:  [shaking her head. ] the unfashionable side. i thought  there was something. however, that could easily be  altered. jack:  do you mean the fashion, or the side? lady bracknell:  [sternly. ] both, if necessary, i presume. what are your  politics? jack:  well, i am afraid i really have none. i am a liberal  unionist. lady bracknell:  oh, they count as tories. they dine with us. or come  in the evening, at any rate. now to minor matters. are  your parents living? jack:  i have lost both my parents. lady bracknell:  to lose one parent, mr. worthing, may be regarded as  a misfortune; to lose both looks like carelessness. who  was your father? he was evidently a man of some  wealth. was he born in what the radical papers call  the purple of commerce, or did he rise from the ranks  of the aristocracy? jack:  i am afraid i really don\u2019t know.  [from act 1 ]   how does wilde at this moment in the play ridicule the ways in which the upper class   arranges the marriages of its daughters?   support your ideas with details from the writing. or \u202011 explore two moments in the play in which wilde makes the audience laugh at the absurd  ways in which people can behave. support your ideas with details from the writing. (do  not use the extract in question 10 in answering this question.) or 12 y ou are jack worthing. y ou have left the room after you have heard miss prism\u2019s story of  the handbag.    write your thoughts.45 50 55 60 65 70 75",
            "12": "12 0486/41/o/n/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected \tpoems either  *13 read this poem, and then answer the question that follows it: drummer hodge i  they throw in drummer hodge, to rest   uncoffined \u2013 just as found:  his landmark is a kopje-crest   that breaks the veldt around;  and foreign constellations west   each night above his mound. ii  y oung hodge the drummer never knew \u2013   fresh from his wessex home \u2013  the meaning of the broad karoo,   the bush, the dusty loam,  and why uprose to nightly view   strange stars amid the gloam. iii  y et portion of that unknown plain   will hodge for ever be;  his homely northern breast and brain   grow to some southern tree,  and strange-eyed constellations reign   his stars eternally.   how does hardy make this poem so powerful?  or \u202014 explore the ways in which hardy strikingly creates feelings of loneliness in the voice . or \u202015 explore the ways in which hardy creates vivid images in either  the darkling thrush  or  during wind and rain .5 10 15",
            "13": "13 0486/41/o/n/14 \u00a9 ucles 2014 [turn oversongs \tof\tourselves: \tfrom part 4 either  *16 read this poem, and then answer the question that follows it: where i come from  people are made of places. they carry with them  hints of jungles or mountains, a tropic grace  or the cool eyes of sea-gazers. atmosphere of cities  how different drops from them, like the smell of smog  or the almost-not-smell of tulips in the spring,  nature tidily plotted in little squares  with a fountain in the centre; museum smell,  art also tidily plotted with a guidebook;  or the smell of work, glue factories maybe,  chromium-plated offices; smell of subways  crowded at rush hours.       where i come from, people  carry woods in their minds, acres of pine woods;  blueberry patches in the burned-out bush;  wooden farmhouses, old, in need of paint,  with yards where hens and chickens circle about,  clucking aimlessly; battered schoolhouses  behind which violets grow. spring and winter  are the mind\u2019s chief seasons: ice and the breaking of ice.  a door in the mind blows open, and there blows  a frosty wind from fields of snow.  (by elizabeth brewster)   explore how brewster vividly conveys the atmospheres of different places in this poem. or \u202017 explore the effect of humour in either  continuum  (by allen curnow) or the cockroach  (by kevin halligan). or \u202018 how do the poet\u2019s words capture the beauty of the natural world in either  pied beauty  (by gerard manley hopkins) or summer farm  (by norman maccaig)?5 10 15 20",
            "14": "14 0486/41/o/n/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous \tconditions either  *19 read this extract, and then answer the question that follows it: nyasha remained stern for some time after maiguru left us. the creases  of concentration furrowed her brow ever more deeply. there was nothing  for me to do \u2013 my bed had been made, my clothes were neatly packed in  my suitcase. i sat on my bed and waited, not daring to speak to nyasha,  whose detachment, when she was not disarming you with the full force  of her precocious charm, was very intimidating. fortunately, it was not in  her nature to remain detached for long. she could not resist eyeing me  quickly and cautiously when she thought i wasn\u2019t looking, and i was able to  catch her at it because of course i was doing the same. our eyes met and  nyasha burst out laughing. \u2018we shall have to speak to each other sooner or later,\u2019 she laughed. \u2018and  anyway, it\u2019s not you i\u2019m cross with.\u2019 she was, it seemed, well-disposed towards me. there followed the usual  pleasantries about how the situation was at home and my eager questions  about school at the mission. what time did lessons start in the morning?  what time did they end? were those buildings i had seen through the  living-room window the classrooms? the siren, that was the bell, wasn\u2019t it?  and what about the teachers, were they harsh or kind? \u2018i\u2019m glad,\u2019 said nyasha when we began to talk seriously, \u2018that we have  to share this room. it means we\u2019ll be friends. but you curled your lip at us  when we came back from england, so i didn\u2019t know what was going to  happen when you came. i just said to myself, i\u2019ll try to be nice, i\u2019ll try to be  friendly and we\u2019ll see what happens.\u2019 \u2018but i did not sneer at you,\u2019 i protested, speaking in shona. our  conversation was laboured and clumsy because when nyasha spoke  seriously her thoughts came in english, whereas with me, the little english  i had disappeared when i dropped my vigilance to speak of things that  mattered. \u2018y ou know what happened? i was so disappointed when you  wouldn\u2019t speak to me, you and chido. not a word! y ou didn\u2019t even greet  me. just nhamo \u2013 he was your favourite.\u2019 \u2018actually,\u2019 confessed nyasha with unusual diffidence, so that if i had not  heard her speak before i would have said she was shy, \u2018actually we were  frightened that day. and confused. y ou know, it\u2019s easy to forget things when  you\u2019re that young. we had forgotten what home was like. i mean really  forgotten \u2013 what it looked like, what it smelt like, all the things to do and  say and not to do and say. it was all strange and new. not like anything we  were used to. it was a real shock!\u2019 looking back, i see that that is how our friendship began. in fact it  was more than friendship that developed between nyasha and myself.  the conversation that followed was a long, involved conversation, full of  guileless openings up and intricate lettings out and lettings in. it was the  sort of conversation that young girls have with their best friends, that lovers  have under the influence of the novelty and uniqueness of their love, the  kind of conversation that cousins have when they realise that they like  each other in spite of not wanting to. y ou could say that my relationship  with nyasha was my first love-affair, the first time that i grew to be fond of  someone of whom i did not wholeheartedly approve.  [from chapter 5 ]5 10 15 20 25 30 35 40 45",
            "15": "15 0486/41/o/n/14 \u00a9 ucles 2014 [turn over  how does dangarembga make this such a moving and revealing moment in the novel? or \u202020 how far does dangarembga make your feelings about tambu\u2019s mother change as you  read the novel? support your ideas with details from the writing. or 21 y ou are chido. babamukuru and nyasha have just fought after the dance.   write your thoughts.  ",
            "16": "16 0486/41/o/n/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either  *22 read this extract, and then answer the question that follows it: it was during the sad aftermath of anamika\u2019s marriage that all the  relatives received letters from papa to say,  content removed due to copyright restrictions.",
            "17": "17 0486/41/o/n/14 \u00a9 ucles 2014 [turn overshe could not help worrying how she would pull it  off after the tea party was over.  [from chapter 7  ]   what does desai make you feel for mama at this point in the novel? support your answer  with details from the writing. or  \u202023 \u2018desai creates a rich variety of characters .\u2019     explore the ways in which she makes any two characters come to life for you. (do not  use the extract printed in question 22 in your answer.) or 24 y ou are mrs patton. y ou have just received a letter from your sister mrs o\u2019henry telling  you of the arrival of arun in the usa.    write your thoughts.content removed due to copyright restrictions.",
            "18": "18 0486/41/o/n/14 \u00a9 ucles 2014kiran desai: hullabaloo \tin\tthe\tguava \torchard either  *25 read this extract, and then answer the question that follows it: sampath lifted the ruddy globe of fruit to get a better view of its long- snouted face when,  sampath, working at the back desk in the shahkot post office, however,  did not consider himself to be so terribly lucky.  [from chapter 3  ]content removed due to copyright restrictions.",
            "19": "19 0486/41/o/n/14 \u00a9 ucles 2014 [turn over  how does desai make fun of both mr chawla and \u2018government service\u2019 at this moment  in the novel? support your ideas with details from the writing.  or \u202026 in what ways does desai make kulfi a mysterious and fascinating character as the novel  progresses? support your ideas with details from the writing.  or 27 y ou are the district collector on your first night in shahkot. y ou are in your room.    write your thoughts. ",
            "20": "20 0486/41/o/n/14 \u00a9 ucles 2014george eliot: silas \tmarner either  *28 read this extract, and then answer the question that follows it:  godfrey felt an irritation inevitable to almost all of us when we encounter  an unexpected obstacle. he had been full of his own penitence and  resolution to retrieve his error as far as the time was left to him; he  was possessed with all-important feelings, that were to lead to a pre- determined course of action which he had fixed on as the right, and he  was not prepared to enter with lively appreciation into other people\u2019s  feelings counteracting his virtuous resolves. the agitation with which he  spoke again was not quite unmixed with anger. \u2018but i have a claim on you, eppie  \u2014the strongest of all claims. it is my  duty, marner, to own eppie as my child, and provide for her. she is my own  child\u2014her mother was my wife. i have a natural claim on her that must  stand before every other.\u2019 eppie had given a violent start, and turned quite pale. silas, on the  contrary, who had been relieved, by eppie\u2019s answer, from the dread  lest his mind should be in opposition to hers, felt the spirit of resistance  in him set free, not without a touch of parental fierceness. \u2018then, sir,\u2019 he  answered, with an accent of bitterness that had been silent in him since  the memorable day when his youthful hope had perished\u2014\u2018then, sir, why  didn\u2019t you say so sixteen years ago, and claim her before i\u2019d come to love  her, i\u2019stead o\u2019 coming to take her from me now, when you might as well  take the heart out o\u2019 my body? god gave her to me because you turned  your back upon her, and he looks upon her as mine: you\u2019ve no right to her!  when a man turns a blessing from his door, it falls to them as take it in.\u2019 \u2018i know that, marner. i was wrong. i\u2019ve repented of my conduct in that  matter,\u2019 said godfrey, who could not help feeling the edge of silas\u2019s words. \u2018i\u2019m glad to hear it, sir,\u2019 said marner, with gathering excitement; \u2018but  repentance doesn\u2019t alter what\u2019s been going on for sixteen year. y our  coming now and saying \u201ci\u2019m her father\u201d doesn\u2019t alter the feelings inside us.  it\u2019s me she\u2019s been calling her father ever since she could say the word.\u2019 \u2018but i think you might look at the thing more reasonably, marner,\u2019 said  godfrey, unexpectedly awed by the weaver\u2019s direct truth-speaking. \u2018it isn\u2019t  as if she was to be taken quite away from you, so that you\u2019d never see her  again. she\u2019ll be very near you, and come to see you very often. she\u2019ll feel  just the same towards you.\u2019 \u2018just the same?\u2019 said marner, more bitterly than ever. \u2018how\u2019ll she feel  just the same for me as she does now, when we eat o\u2019 the same bit, and  drink o\u2019 the same cup, and think o\u2019 the same things from one day\u2019s end to  another? just the same? that\u2019s idle talk. y ou\u2019d cut us i\u2019 two.\u2019 godfrey, unqualified by experience to discern the pregnancy of marner\u2019s  simple words, felt rather angry again. it seemed to him that the weaver was  very selfish (a judgment readily passed by those who have never tested  their own power of sacrifice) to oppose what was undoubtedly for eppie\u2019s  welfare; and he felt himself called upon, for her sake, to assert his authority. \u2018i should have thought, marner,\u2019 he said, severely\u2014\u2018i should have  thought your affection for eppie would have made you rejoice in what was  for her good, even if it did call upon you to give up something. y ou ought  to remember that your own life is uncertain, and that she\u2019s at an age now  when her lot may soon be fixed in a way very different from what it would  be in her father\u2019s home: she may marry some low working man, and then,  whatever i might do for her, i couldn\u2019t make her well-off. y ou\u2019re putting 5 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/41/o/n/14 \u00a9 ucles 2014 [turn overyourself in the way of her welfare; and though i\u2019m sorry to hurt you after  what you\u2019ve done, and what i\u2019ve left undone, i feel now it\u2019s my duty to insist  on taking care of my own daughter. i want to do my duty.\u2019  [from chapter 19  ]   does eliot make you sympathise with godfrey here \u2013 or despise him? or \u202029 how does eliot vividly convey the effect of the lantern y ard experience on silas\u2019s life?  support your ideas with details from the novel. or 30 y ou are dolly. y ou are about to see your son aaron marry eppie.   write your thoughts.",
            "22": "22 0486/41/o/n/14 \u00a9 ucles 2014susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle either  *31 read this extract, and then answer the question that follows it: kingshaw\u2019s eyes pricked, he thought of each bird, as it saw the others  going before it down the line towards the knife. he wanted to open the  cages and take each one out, hold it between his hands, he wanted them  all to fly away. fielding saw his face. he stopped, by a pile of logs. \u2018look,  they don\u2019t know anything about it,\u2019 he said, \u2018it\u2019s very quick. it\u2019s not cruel .\u2019 \u2018no.\u2019 \u2018do you want to see my hamster?\u2019 kingshaw nodded, numb before this battery of experience, bewildered  by so many sights and smells and terrible truths, but still willing to be led  by fielding, to be shown everything at once. later, he would be by himself,  he would think about all of it. they went through a wash-house, and into a kitchen. \u2018this is kingshaw. he lives at warings, you know. can he stay to dinner?\u2019 \u2018if he likes.\u2019 fielding went to the window-ledge and lifted up a blue-painted cage. \u2018oh, look, he\u2019s messed all that new bed stuff up again.\u2019 the woman was quite tall and wore trousers. she said, \u2018he has his bed  the way he wants, not the way you want.\u2019 \u2018i know. but it\u2019s annoying. look, kingshaw.\u2019 kingshaw was still watching fielding\u2019s mother. her hair was very  straight. she smiled at him, and then looked away again, peeling potatoes.  he thought, that is how you ought to be. \u2018don\u2019t you want to see it?\u2019 he was still standing just inside the doorway, unsure of things. now, he  went slowly into the room. fielding had put the cage on the table and taken  off the wire front. \u2018y ou can hold him.\u2019 kingshaw felt the small bones through the hamster\u2019s soft, pale body, and  thin claws pressing into his hand. he didn\u2019t know whether he liked it or not. \u2018are you going  to stay to dinner?\u2019 \u2018i \u2013 i don\u2019t know. i\u2019d have to ask mrs boland.\u2019 \u2018oh, i know her. where\u2019s your mother?\u2019 \u2018at the hospital with hooper. he\u2019s hurt, he fell off a wall.\u2019 fielding did not seem interested. \u2018y ou can just go and ask her now, then,  you can take my bike if you want, it\u2019ll be quickest.\u2019 kingshaw stroked his finger along the plushy back of the hamster. its  eyes were like jet beads. he thought, this is my place, mine, it will never  have anything to do with hooper. fielding is my friend, mine. this is all  right. beyond the window, there was a long garden, with fruit trees at the  bottom. the colours and shapes of everything were very sharp and clear  and bright, in the sun. \u2018my bike\u2019s in the shed, i\u2019ll show you.\u2019 fielding took the hamster and dumped it back inside the blue cage. \u2018come on.\u2019  [from chapter 14  ]  5 10 15 20 25 30 35 40",
            "23": "23 0486/41/o/n/14 \u00a9 ucles 2014 [turn over  how do you think hill makes this moment in the novel so moving?  or \u202032 in what ways does hill make you feel that kingshaw\u2019s death is inevitable? support your  ideas with details from the writing.  or 33 y ou are mr hooper on the night of your son\u2019s accident. y ou have returned from the  hospital.    write your thoughts.",
            "24": "24 0486/41/o/n/14 \u00a9 ucles 2014from stories \tof\tourselves either  *34 read this extract from the son\u2019s veto  (by thomas hardy), and then answer the question  that follows it: the vicar just left a widower was at this time a man about forty years of  age, of good family, and childless. he had led a secluded existence in this  college living, partly because there were no resident landowners; and his  loss now intensified his habit of withdrawal from outward observation. he  was seen still less than heretofore, kept himself still less in time with the  rhythm and racket of the movements called progress in the world without.  for many months after his wife\u2019s decease the economy of his household  remained as before; the cook, the housemaid, the parlour-maid, and  the man out-of-doors performed their duties or left them undone, just as  nature prompted them \u2013 the vicar knew not which. it was then represented  to him that his servants seemed to have nothing to do in his small family  of one. he was struck with the truth of this representation, and decided to  cut down his establishment. but he was forestalled by sophy, the parlour- maid, who said one evening that she wished to leave him. \u2018and why?\u2019 said the parson. \u2018sam hobson has asked me to marry him, sir.\u2019 \u2018well \u2013 do you want to marry?\u2019 \u2018not much. but it would be a home for me. and we have heard that one  of us will have to leave.\u2019 a day or two after she said: \u2018i don\u2019t want to leave just yet, sir, if you don\u2019t  wish it. sam and i have quarrelled.\u2019 he looked up at her. he had hardly ever observed her before, though  he had been frequently conscious of her soft presence in the room. what  a kitten-like, flexuous, tender creature she was! she was the only one of  the servants with whom he came into immediate and continuous relation.  what should he do if sophy were gone? sophy did not go, but one of the others did, and things went on quietly  again. when mr twycott, the vicar, was ill, sophy brought up his meals to him,  and she had no sooner left the room one day than he heard a noise on the  stairs. she had slipped down with the tray, and so twisted her foot that she  could not stand. the village surgeon was called in; the vicar got better, but  sophy was incapacitated for a long time; and she was informed that she  must never again walk much or engage in any occupation which required  her to stand long on her feet. as soon as she was comparatively well she  spoke to him alone. since she was forbidden to walk and bustle about,  and, indeed, could not do so, it became her duty to leave. she could very  well work at something sitting down, and she had an aunt a seamstress. the parson had been very greatly moved by what she had suffered on  his account, and he exclaimed, \u2018no, sophy; lame or not lame, i cannot let  you go. y ou must never leave me again!\u2019 he came close to her, and, though she could never exactly tell how it  happened, she became conscious of his lips upon her cheek. he then  asked her to marry him. sophy did not exactly love him, but she had a  respect for him which almost amounted to veneration. even if she had  wished to get away from him she hardly dared refuse a personage so  reverend and august in her eyes, and she assented forthwith to be his wife. thus it happened that one fine morning, when the doors of the church  were naturally open for ventilation, and the singing birds fluttered in  and alighted on the tie-beams of the roof, there was a marriage-service 5 10 15 20 25 30 35 40 45 50",
            "25": "25 0486/41/o/n/14 \u00a9 ucles 2014at the communion-rails, which hardly a soul knew of. the parson and  a neighbouring curate had entered at one door, and sophy at another,  followed by two necessary persons, whereupon in a short time there  emerged a newly-made husband and wife. mr twycott knew perfectly well that he had committed social suicide  by this step, despite sophy\u2019s spotless character, and he had taken his  measures accordingly. an exchange of livings had been arranged with an  acquaintance who was incumbent of a church in the south of london, and  as soon as possible the couple removed thither, abandoning their pretty  country home, with trees and shrubs and glebe, for a narrow, dusty house  in a long, straight street, and their fine peal of bells for the wretchedest  one-tongued clangour that ever tortured mortal ears. it was all on her  account. they were, however, away from every one who had known her  former position; and also under less observation from without than they  would have had to put up with in any country parish. sophy the woman was as charming a partner as a man could possess,  though sophy the lady had her deficiencies. she showed a natural aptitude  for little domestic refinements, so far as related to things and manners; but  in what is called culture she was less intuitive. she had now been married  more than fourteen years, and her husband had taken much trouble with  her education; but she still held confused ideas on the use of \u2018was\u2019 and  \u2018were\u2019, which did not beget a respect for her among the few acquaintances  she made. her great grief in this relation was that her only child, on whose  education no expense had been and would be spared, was now old  enough to perceive these deficiencies in his mother, and not only to see  them but to feel irritated at their existence.   how does hardy make you feel sympathetic towards sophy here? or  \u202035 how does the writer make the narrator so memorable in either  my greatest ambition  (by  morris lurie) or sandpiper  (by ahdaf soueif)? support your ideas with details from the  story you have chosen. or  36 y ou are mcallister in the custody of the pumpkin . lord emsworth has just offered to  double your salary and begged you to come back to blandings castle.     write your thoughts. 55 60 65 70 75",
            "26": "26 0486/41/o/n/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/41/o/n/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/41/o/n/14 \u00a9 ucles 2014copyright acknowledgements: question 1  \u00a9 all my sons. \u00a9 1947, arthur miller. reproduced by permission of the wylie agency. all rights reserved. question 16   \u00a9 elizabeth brewster; where i come from , in songs of ourselves ; reprinted by permission of oberon press, ottawa, canada. question 19   nervous conditions . \u00a9 1988, tsitsi dangarembga. reproduced by permission of ayebia clarke publishing. question 22   fasting, feasting . \u00a9 1999, anita desai. reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london  w11 1jn, from vintage. reprinted by permission of the random house group ltd. question 25  \u00a9 hullabaloo in the guava orchard ; \u00a9 1998, kiran desai; faber & faber ltd. question 31  \u00a9 susan hill; i\u2019m the king of the castle ; penguin books ltd; 2010. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_42.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (st) 108673 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 3 9 2 9 4 1 6 9 0 3 *literature (english)  0486/42 paper 4  october/november 2014  2 hours 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/42/o/n/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/42/o/n/14 \u00a9 ucles 2014 [turn overcontents section a:  drama text\t question \t numbers\t page[s] arthur miller: all my sons  *1, \u20202, 3  pages      4\u20135 william shakespeare: julius caesar  *4, \u20205, 6  pages  6\u20137 william shakespeare: the tempest  *7, \u20208, 9  pages  8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12  pages  10\u201311 section b:  poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015  page  12 songs of ourselves : from part 4  *16, \u202017, \u202018  page  13 section c:  prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21  pages  14\u201315 anita desai: fasting, feasting  *22, \u202023, 24  pages  16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27  pages  18\u201319 george eliot: silas marner  *28, \u202029, 30  pages  20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33  pages  22\u201323 from stories of ourselves  *34, \u202035, 36  pages  24\u201325",
            "4": "4 0486/42/o/n/14 \u00a9 ucles 2014section a:  drama arthur miller:  all\tmy\tsons either  *1  read this extract, and then answer the question that follows it:  mother:  and you? y ou [ shakes her head negatively  ] go out much? [ slight  pause .] content removed due to copyright restrictions.",
            "5": "5 0486/42/o/n/14 \u00a9 ucles 2014 [turn overmother:  i have to have some tea. [from act 1 ]      how does miller make this moment in the play so full of tension? support your ideas with  details from the writing. or  \u20202 what do you think miller\u2019s portrayal of jim bayliss contributes to the power of the play?  support your ideas with details from the writing. or  3 y ou are joe keller. chris has left after you have admitted your guilt. y ou are in your room.    write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/42/o/n/14 \u00a9 ucles 2014william shakespeare: \tjulius \tcaesar either  *4 read this extract, and then answer the question that follows it: caesar:  mark antony shall say i am not well; and for thy humour i will stay at home.  enter decius .  here\u2019s decius brutus, he shall tell them so. decius:  caesar, all hail! good morrow, worthy caesar. i come to fetch you to the senate house. caesar:  and you are come in very happy time, to bear my greeting to the senators   and tell them that i will not come to-day.   cannot, is false; and that i dare not, falser;   i will not come to-day. tell them so, decius. calphurnia:  say he is sick. caesar:   shall caesar send a lie? have i in conquest stretch\u2019d mine arm so far,   to be afeard to tell greybeards the truth?   decius, go tell them, caesar will not come. decius:  most mighty caesar, let me know some cause, lest i be laugh\u2019d at when i tell them so. caesar:  the cause is in my will: i will not come. that is enough to satisfy the senate.   but for your private satisfaction,   because i love you, i will let you know:   calphurnia here, my wife, stays me at home.   she dreamt to-night she saw my statue,   which, like a fountain with an hundred spouts,   did run pure blood; and many lusty romans   came smiling and did bathe their hands in it.   and these does she apply for warnings and portents   and evils imminent, and on her knee   hath begg\u2019d that i will stay at home to-day. decius:  this dream is all amiss interpreted; it was a vision fair and fortunate.   y our statue spouting blood in many pipes,   in which so many smiling romans bath\u2019d,   signifies that from you great rome shall suck   reviving blood, and that great men shall press   for tinctures, stains, relics, and cognizance.   this by calphurnia\u2019s dream is signified. caesar:  and this way have you well expounded it. decius:  i have, when you have heard what i can say \u2013 and know it now: the senate have concluded   to give this day a crown to mighty caesar.   if you shall send them word you will not come,   their minds may change. besides, it were a mock   apt to be render\u2019d, for some one to say   \u2018break up the senate till another time,   when caesar\u2019s wife shall meet with better dreams\u2019.  5 10 15 20 25 30 35 40 45",
            "7": "7 0486/42/o/n/14 \u00a9 ucles 2014 [turn over if caesar hide himself, shall they not whisper \u2018lo, caesar is afraid\u2019?   pardon me, caesar; for my dear dear love   to your proceeding bids me tell you this,   and reason to my love is liable. caesar:  how foolish do your fears seem now, calphurnia! i am ashamed i did yield to them.   give me my robe, for i will go. enter brutus, ligarius, metellus, casca,   trebonius, cinna, and publius.  and look where publius is come to fetch me. publius:  good morrow, caesar. caesar:   welcome, publius. what, brutus, are you stirr\u2019d so early too?   good morrow, casca. caius ligarius,   caesar was ne\u2019er so much your enemy   as that same ague which hath made you lean.   what is\u2019t o\u2019clock? brutus:   caesar, \u2019tis strucken eight. caesar:  i thank you for your pains and courtesy. enter antony .  see! antony, that revels long o\u2019 nights, is notwithstanding up. good morrow, antony. antony:  so to most noble caesar. caesar:   bid them prepare within. i am to blame to be thus waited for.   now, cinna. now, metellus. what, trebonius!   i have an hour\u2019s talk in store for you.   remember that you call on me to-day;   be near me, that i may remember you. trebonius:  caesar, i will. [ aside  ] and so near will i be, that your best friends shall wish i had been further. caesar:  good friends, go in and taste some wine with me; and we, like friends, will straightway go together. brutus  [aside  ]: that every like is not the same, o caesar, the heart of brutus earns to think upon! [exeunt. [from act 2 scene 2  ]   how does shakespeare make this moment in the play so revealing of the character of  caesar? or  \u20205  to what extent does shakespeare change your view of brutus during the play? support  your ideas with details from the text. or  6 y ou are octavius. y ou have just left the meeting with antony and lepidus.    write your thoughts.50 55 60 65 70 75 80",
            "8": "8 0486/42/o/n/14 \u00a9 ucles 2014william shakespeare: the\ttempest either  *7 read this extract, and then answer the question that follows it: stephano:  moon-calf, speak once in thy life, if thou beest a good  moon-calf. caliban:  how does thy honour? let me lick thy shoe. i\u2019ll not serve him; he is not valiant. trinculo:  thou liest, most ignorant monster: i am in case to justle a  constable. why, thou debosh\u2019d fish, thou, was there ever  man a coward that hath drunk so much sack as i to-day?  wilt thou tell a monstrous lie, being but half a fish and half a  monster? caliban:  lo, how he mocks me! wilt thou let him, my lord? trinculo:  \u2018lord\u2019 quoth he! that a monster should be such a natural! caliban:  lo, lo again! bite him to death, i prithee. stephano:  trinculo, keep a good tongue in your head; if you prove a  mutineer \u2013 the next tree! the poor monster\u2019s my subject,  and he shall not suffer indignity. caliban:  i thank my noble lord. wilt thou be pleas\u2019d to hearken once  again to the suit i made to thee? stephano:  marry will i; kneel and repeat it; i will stand, and so shall  trinculo. enter ariel, invisible. caliban:  as i told thee before, i am subject to a tyrant, a sorcerer,  that by his cunning hath cheated me of the island. ariel:  thou liest. caliban:  thou liest, thou jesting monkey, thou; i would my valiant  master would destroy thee. i do not lie. stephano:  trinculo, if you trouble him any more in\u2019s tale, by this hand,  i will supplant some of your teeth. trinculo:  why, i said nothing. stephano:  mum, then, and no more. proceed. caliban:  i say, by sorcery he got this isle; from me he got it. if thy greatness will   revenge it on him \u2013 for i know thou dar\u2019st,   but this thing dare not \u2013 stephano:  that\u2019s most certain. caliban:  thou shalt be lord of it, and i\u2019ll serve thee. stephano:  how now shall this be compass\u2019d? canst thou bring me to the party? caliban:  y ea, yea my lord; i\u2019ll yield him thee asleep, where thou mayst knock a nail into his head. ariel:  thou liest; thou canst not. caliban:  what a pied ninny\u2019s this! thou scurvy patch! i do beseech thy greatness, give him blows,   and take his bottle from him. when that\u2019s gone   he shall drink nought but brine; for i\u2019ll not show him  5 10 15 20 25 30 35 40",
            "9": "9 0486/42/o/n/14 \u00a9 ucles 2014 [turn overwhere the quick freshes are. stephano:  trinculo, run into no further danger; interrupt the monster  one word further and, by this hand, i\u2019ll turn my mercy out o\u2019  doors, and make a stock-fish of thee. trinculo:  why, what did i? i did nothing. i\u2019ll go farther off. stephano:  didst thou not say he lied? ariel:  thou liest. stephano:  do i so? take thou that. [ beats him  ] as you like this, give me the lie another time. trinculo:  i did not give the lie. out o\u2019 your wits and hearing too? a  pox o\u2019 your bottle! this can sack and drinking do. a murrain  on your monster, and the devil take your fingers! caliban:  ha, ha, ha! stephano:  now, forward with your tale. \u2013 prithee stand further off.  caliban:  beat him enough; after a little time, i\u2019ll beat him too. [from act 3 scene 2  ]      explore the ways in which shakespeare makes this such an entertaining moment in the  play. or  \u20208 to what extent does shakespeare make you admire prospero? support your ideas with  details from the play. or 9 y ou are sebastian at the end of the play.    write your thoughts.45 50 55 60",
            "10": "10 0486/42/o/n/14 \u00a9 ucles 2014oscar wilde: the\timportance \tof\tbeing \tearnest either  *10 read this extract, and then answer the question that follows it: cecily:  may i offer you some tea, miss fairfax? gwendolen:  [with elaborate politeness .] thank you. [ aside .] detestable  girl! but i require tea! cecily:  [sweetly .] sugar? gwendolen  [superciliously .] no, thank you. sugar is not fashionable  any more.  [cecily  looks angrily at her, takes up the tongs and puts  four lumps of sugar into the cup. cecily:  [severely .] cake or bread and butter? gwendolen:  [in a bored manner. ] bread and butter, please. cake is  rarely seen at the best houses nowadays. cecily:  [cuts a very large slice of cake and puts it on the tray .]  hand that to miss fairfax.  [merriman  does so, and goes out with footman.  gwendolen  drinks the tea and makes a grimace. puts  down cup at once, reaches out her hand to the bread and  butter, looks at it, and finds it is cake. rises in indignation. gwendolen:  y ou have filled my tea with lumps of sugar, and though i  asked most distinctly for bread and butter, you have given  me cake. i am known for the gentleness of my disposition,  and the extraordinary sweetness of my nature, but i warn  you, miss cardew, you may go too far. cecily:  [rising ] to save my poor, innocent, trusting boy from the  machinations of any other girl there are no lengths to which  i would not go. gwendolen:  from the moment i saw you i distrusted you. i felt that  you were false and deceitful. i am never deceived in such  matters. my first impressions of people are invariably right. cecily:  it seems to me, miss fairfax, that i am trespassing on your  valuable time. no doubt you have many other calls of a  similar character to make in the neighbourhood. [enter jack. gwendolen:  [catching sight of him .] ernest! my own ernest!  jack:  gwendolen! darling!  [offers to kiss her. gwendolen:  [drawing back .] a moment! may i ask if you are engaged to  be married to this young lady? [points to cecily. jack:  [laughing .] to dear little cecily! of course not! what could  have put such an idea into your pretty little head? gwendolen:  thank you. y ou may!  [offers her cheek . cecily:  [very  sweetly .] i knew there must be some  misunderstanding, miss fairfax. the gentleman whose arm  is at present round your waist is my guardian, mr. john  worthing.5 10 15 20 25 30 35 40",
            "11": "11 0486/42/o/n/14 \u00a9 ucles 2014 [turn overgwendolen:  i beg your pardon? cecily:  this is uncle jack. gwendolen:  [receding. ] jack! oh! enter algernon cecily:  here is ernest. algernon:  [goes straight over to  cecily  without noticing any one else .]  my own love!  [offers to kiss her .] cecily:  [drawing back .] a moment, ernest! may i ask you\u2014are you  engaged to be married to this young lady? algernon:  [looking round .] to what young lady? good heavens!  gwendolen! cecily:  y es! to good heavens, gwendolen, i mean to gwendolen. algernon:  [laughing .] of course not! what could have put such an  idea into your pretty little head? cecily:  thank you. [ presenting her cheek to be kissed .] y ou may.  [algernon  kisses her. gwendolen:  i felt there was some slight error, miss cardew. the  gentleman who is now embracing you is my cousin, mr.  algernon moncrieff. cecily:  [breaking away from  algernon .] algernon moncrieff! oh!   [the two girls move towards each other and put their arms  round each other\u2019s waists as if for protection. cecily:  are you called algernon? algernon:  i cannot deny it. cecily:  oh! gwendolen:  is your name really john? jack:  [standing rather proudly. ] i could deny it if i liked. i could  deny anything if i liked. but my name certainly is john. it  has been john for years. cecily:  [to gwendolen ] a gross deception has been practised on  both of us. gwendolen:  my poor wounded cecily! cecily:  my sweet wronged gwendolen! gwendolen:  [slowly and seriously .] y ou will call me sister, will you not?  [they embrace. jack  and algernon  groan and walk up and  down .] [from act 2  ]   explore the ways in which wilde makes the various misunderstandings and their effects  so hilarious at this moment in the play.  or \u202011 how do you think wilde makes dr. chasuble such an amusing character in the play?  support your views with details from wilde\u2019s writing.  or 12 y ou are lady bracknell. y ou are just about to arrive with gwendolen to have tea with  algernon.    write your thoughts. 45 50 55 60 65 70 75 80",
            "12": "12 0486/42/o/n/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected \tpoems either  *13  read this poem, and then answer the question that follows it: nobody comes  tree-leaves labour up and down,   and through them the fainting light   succumbs to the crawl of night.  outside in the road the telegraph wire   to the town from the darkening land intones to travellers like a spectral lyre   swept by a spectral hand.  a car comes up, with lamps full-glare,   that flash upon a tree:   it has nothing to do with me,  and whangs along in a world of its own,   leaving a blacker air; and mute by the gate i stand again alone,   and nobody pulls up there.   how does hardy make the feelings of the speaker so vivid in this poem? or  \u202014 how does hardy make in time of \u2018the breaking of nations\u2019 so memorable for you? or  \u202015 explore the ways in which hardy writes vividly about the past in either  on the departure  platform or the going.5 10",
            "13": "13 0486/42/o/n/14 \u00a9 ucles 2014 [turn oversongs of ourselves: from \tpart\t4 either  *16 read this poem, and then answer the question that follows it: a different history great pan is not dead; he simply emigrated  to india. here, the gods roam freely, disguised as snakes or monkeys; every tree is sacred and it is a sin to be rude to a book. it is a sin to shove a book aside   with your foot, a sin to slam books down  hard on a table, a sin to toss one carelessly  across a room. y ou must learn how to turn the pages gently without disturbing sarasvati, without offending the tree from whose wood the paper was made.  which language  has not been the oppressor\u2019s tongue?  which language  truly meant to murder someone?  and how does it happen  that after the torture,  after the soul has been cropped  with a long scythe swooping out  of the conqueror\u2019s face \u2013  the unborn grandchildren  grow to love that strange language. (by sujata bhatt  )   explore the ways in which bhatt vividly conveys her feelings about different cultures in  this poem. or  \u202017 how does ted hughes powerfully convey his feelings about nature to you in pike? or  \u202018 explore one poem in this selection in which the poet communicates strong reactions to  aspects of city life.5 10 15 20 25",
            "14": "14 0486/42/o/n/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous \tconditions either  *19 read this extract, and then answer the question that follows it: i like to think nyasha really believed that the confrontation had taken  a conciliatory turn. she smiled that the number of her male acquaintances  was the one thing that should put her father at ease. \u2018y ou know me,\u2019 she told him, but of course she was mistaken. \u2018y ou\u2019ve  taught me how i should behave. i don\u2019t worry about what people think so  there\u2019s no need for you to.\u2019 she did not know her father either, because  anyone who did would have retreated at that stage. \u2018don\u2019t push me too far,\u2019 babamukuru pleaded. mustering up his  courage, chido tried to help. \u2018they were only talking for a few minutes,  dad,\u2019 he said, and was ordered to be silent. \u2018y ou, chido, keep quiet,\u2019 babamukuru snapped. \u2018y ou let your sister  behave like a whore without saying anything. keep quiet.\u2019 \u2018babawa chido,\u2019 began maiguru, but was silenced immediately. nyasha grew uncharacteristically calm at times like this. \u2018now why,\u2019  she enquired of no particular person, \u2018should i worry about what people  say when my own father calls me a whore?\u2019 she looked at him with murder  in her eyes. \u2018nyasha, be quiet,\u2019 chido advised. \u2018chido, i have told you to keep out of this,\u2019 reminded babamukuru,  gathering himself within himself so that his whole weight was behind the  blow he dealt nyasha\u2019s face. \u2018never,\u2019 he hissed, \u2018never,\u2019 he repeated, striking  her other cheek with the back of his hand, \u2018speak to me like that.\u2019 nyasha fell on to the bed, her minuscule skirt riding up her bottom.  babamukuru stood over her, distending his nostrils to take in enough air. \u2018today i am going to teach you a lesson,\u2019 he told her. \u2018how can you go  about disgracing me? me! like that! no, you cannot do it. i am respected  at this mission. i cannot have a daughter who behaves like a whore.\u2019 nyasha was capable of pointing out that by his own definition that  was exactly what he had, but she did not. \u2018don\u2019t hit me, daddy,\u2019 she said  backing away from him. \u2018i wasn\u2019t doing anything wrong. don\u2019t hit me.\u2019 \u2018yuwi, yuwi, yuwi!\u2019 maiguru moaned. \u2018babawa chido, do you want to  kill me with your anger? she is only a child, babawa chido, a child.\u2019 \u2018y ou must learn to be obedient,\u2019 babamukuru told nyasha and struck  her again. \u2018i told you not to hit me,\u2019 said nyasha, punching him in the eye. babamukuru bellowed and snorted that if nyasha was going to behave  like a man, then by his mother who was at rest in her grave he would  fight her like one. they went down on to the floor, babamukuru alternately  punching nyasha\u2019s head and banging it against the floor, screaming or  trying to scream but only squeaking, because his throat had seized up with  fury, that he would kill her with his bare hands; nyasha, screaming and  wriggling and doing what damage she could. maiguru and chido could not  stay out of it any longer. they had to hold him. [from chapter 6  ]   explore the ways in which dangarembga makes this moment in the novel so shocking  and surprising.5 10 15 20 25 30 35 40",
            "15": "15 0486/42/o/n/14 \u00a9 ucles 2014 [turn overor  \u202020 to what extent does dangarembga present tambu\u2019s father, jeremiah, as a weak man?  support your ideas with details from the novel. or 21 y ou are babamukuru. maiguru has just left your home following the quarrel over tambu\u2019s  punishment.   write your thoughts.",
            "16": "16 0486/42/o/n/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either  *22 read this extract, and then answer the question that follows it: she fumbles her way back to the veranda and the swing and sits with  mamapapa, staring into the dark.  content removed due to copyright restrictions.",
            "17": "17 0486/42/o/n/14 \u00a9 ucles 2014 [turn overwhat uma said was nothing. [from chapter 13  ]   how does desai make this such a disturbing moment in the novel? or  \u202023 \u2018a life full of disappointment\u2019.    do you think this is a fair description of uma\u2019s life? support your answer with details from  desai\u2019s writing. or  24 y ou are arun. y ou are on your way back to the dorm at the end of the novel.    write your thoughts.content removed due to copyright restrictions.",
            "18": "18 0486/42/o/n/14 \u00a9 ucles 2014kiran desai: hullabaloo \tin\tthe\tguava \torchard either  *25 read this extract, and then answer the question that follows it: at precisely this time in the army cantonment area, the lights were  blazing from the barracks and men, already dressed in khaki uniforms,  were gathering about the flag pole.  \u2018damn!\u2019 the brigadier smashed his fist down upon his palm. \u2018damn,  damn, damn.\u2019 it was a bad omen. [from chapter 24  ]   how does desai surprise you with her portrayal of the brigadier here? support your  ideas with details from the writing. content removed due to copyright restrictions.",
            "19": "19 0486/42/o/n/14 \u00a9 ucles 2014 [turn overor \u202026 explore in detail two moments in the novel where for you desai most effectively makes  self-important people seem ridiculous. (do not use the extract printed in question 25 in  answering this question.) or 27  y ou are sampath. y ou have just been thrown out of mr. d.p .s.\u2019s house after your striptease.    write your thoughts.  ",
            "20": "20 0486/42/o/n/14 \u00a9 ucles 2014george eliot: silas \tmarner either  *28 read this extract, and then answer the question that follows it:  the door opened, and a thick-set, heavy-looking young man entered,  with the flushed face and the gratuitously elated bearing which mark the  first stage of intoxication. it was dunsey, and at the sight of him godfrey\u2019s  face parted with some of the gloom to take on the more active expression  of hatred. the handsome brown spaniel that lay on the hearth retreated  under the chair in the chimney-corner. \u2018well, master godfrey, what do you want with me?\u2019 said dunsey, in a  mocking tone. \u2018y ou\u2019re my elders and betters, you know; i was obliged to  come when you sent for me.\u2019 \u2018why, this is what i want\u2014and just shake yourself sober and listen,  will you?\u2019 said godfrey, savagely. he had himself been drinking more than  was good for him, trying to turn his gloom into uncalculating anger. \u2018i want  to tell you, i must hand over that rent of fowler\u2019s to the squire, or else tell  him i gave it you; for he\u2019s threatening to distrain for it, and it\u2019ll all be out  soon, whether i tell him or not. he said, just now, before he went out, he  should send word to cox to distrain, if fowler didn\u2019t come and pay up his  arrears this week. the squire\u2019s short o\u2019 cash, and in no humour to stand  any nonsense; and you know what he threatened, if ever he found you  making away with his money again. so, see and get the money, and pretty  quickly, will you?\u2019 \u2018oh!\u2019 said dunsey, sneeringly, coming nearer to his brother and  looking in his face. \u2018suppose, now, you get the money yourself, and save  me the trouble, eh? since you was so kind as to hand it over to me, you\u2019ll  not refuse me the kindness to pay it back for me: it was your brotherly love  made you do it, you know.\u2019 godfrey bit his lips and clenched his fist. \u2018don\u2019t come near me with  that look, else i\u2019ll knock you down.\u2019 \u2018oh, no, you won\u2019t,\u2019 said dunsey, turning away on his heel, however.  \u2018because i\u2019m such a good-natured brother, you know. i might get you  turned out of house and home, and cut off with a shilling any day. i might  tell the squire how his handsome son was married to that nice young  woman, molly farren, and was very unhappy because he couldn\u2019t live with  his drunken wife, and i should slip into your place as comfortable as could  be. but, you see, i don\u2019t do it\u2014i\u2019m so easy and good-natured. y ou\u2019ll take  any trouble for me. y ou\u2019ll get the hundred pounds for me\u2014i know you will.\u2019 \u2018how can i get the money?\u2019 said godfrey, quivering. \u2018i haven\u2019t a shilling  to bless myself with. and it\u2019s a lie that you\u2019d slip into my place: you\u2019d get  yourself turned out too, that\u2019s all. for if you begin telling tales, i\u2019ll follow.  bob\u2019s my father\u2019s favourite\u2014you know that very well. he\u2019d only think  himself well rid of you.\u2019 \u2018never mind,\u2019 said dunsey, nodding his head sideways as he looked  out of the window. \u2018it \u2019ud be very pleasant to me to go in your company\u2014 you\u2019re such a handsome brother, and we\u2019ve always been so fond of  quarrelling with one another, i shouldn\u2019t know what to do without you. but  you\u2019d like better for us both to stay at home together; i know you would.  so you\u2019ll manage to get that little sum o\u2019 money, and i\u2019ll bid you good-bye,  though i\u2019m sorry to part.\u2019 dunstan was moving off, but godfrey rushed after him and seized him  by the arm, saying, with an oath. \u2018i tell you, i have no money: i can get no money.\u2019 \u2018borrow off old kimble.\u20195 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/42/o/n/14 \u00a9 ucles 2014 [turn over\u2018i tell you, he won\u2019t lend me any more, and i shan\u2019t ask him.\u2019 \u2018well then, sell wildfire.\u2019 \u2018y es, that\u2019s easy talking. i must have the money directly.\u2019 \u2018well, you\u2019ve only got to ride him to the hunt to-morrow. there\u2019ll be  bryce and keating there, for sure. y ou\u2019ll get more bids than one.\u2019 \u2018i daresay, and get back home at eight o\u2019clock, splashed up to the  chin. i\u2019m going to mrs. osgood\u2019s birthday dance.\u2019 \u2018oho!\u2019 said dunsey, turning his head on one side, and trying to speak  in a small mincing treble. \u2018and there\u2019s sweet miss nancy coming; and we  shall dance with her, and promise never to be naughty again, and be taken  into favour, and\u2014\u2019 \u2018hold your tongue about miss nancy, you fool,\u2019 said godfrey, turning  red, \u2018else i\u2019ll throttle you.\u2019 \u2018what for?\u2019 said dunsey, still in an artificial tone, but taking a whip from  the table and beating the butt-end of it on his palm. \u2018y ou\u2019ve a very good  chance. i\u2019d advise you to creep up her sleeve again: it \u2019ud be saving time  if molly should happen to take a drop too much laudanum some day, and  make a widower of you. miss nancy wouldn\u2019t mind being a second, if she  didn\u2019t know it. and you\u2019ve got a good-natured brother, who\u2019ll keep your  secret well, because you\u2019ll be so very obliging to him.\u2019 [from chapter 3  ]   how does eliot memorably convey dunsey\u2019s unpleasantness here? or  \u202029  explore two moments in the novel which eliot makes particularly amusing for you. or  30  y ou are nancy. y ou are preparing for bed after the party at the red house.    write your thoughts.55 60 65 70",
            "22": "22 0486/42/o/n/14 \u00a9 ucles 2014susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle either  *31  read this extract, and then answer the question that follows it: \u2018i\u2019m going to swim,\u2019 he said later. they had eaten tomatoes and biscuits  for breakfast. hooper was lying flat on the ground in a lozenge of sunlight.  his clothes looked crumpled. just ahead of him, below a bush, a thrush  was banging a snail down on to a flat stone to smash the shell. hooper  watched it intently. \u2018y ou\u2019d better not come in the water, though. y ou might have got a cold  from yesterday.\u2019 \u2018i\u2019m all right.\u2019 \u2018well \u2026\u2019 \u2018anyway, i don\u2019t feel like swimming. in a minute, i\u2019m going to get a  biscuit and see if this bird\u2019ll come for crumbs.\u2019 \u2018it won\u2019t.\u2019 \u2018why won\u2019t it?\u2019 \u2018because it\u2019s wild. not like in the garden.\u2019 \u2018don\u2019t be stupid. all birds are wild, they\u2019re all the same.\u2019 \u2018it won\u2019t come nearer if you\u2019re there.\u2019 \u2018we\u2019ll see.\u2019 \u2018it\u2019s a waste of food. we need to save it all.\u2019 \u2018i\u2019m only giving it crumbs. anyway, you mind your own business,  kingshaw.\u2019 but hooper spoke mildly, his attention fixed on the bird. kingshaw took off his clothes, and went and lay down in the shallowest  part of the stream. the stones were cold against his buttocks and  shoulders, but not sharp. the water moved over and over him, parting and  coming together again. he opened his legs wide and then closed them,  like scissors. the sunlight was limey-yellow, coming through the leaves  above. they fidgeted gently the whole time. a black and white bird flew up,  parting them, going off into the open sky. kingshaw closed his eyes. he didn\u2019t want to swim, not to move at all.  he thought, this is all right, this is all right. hooper was still watching the  thrush. it had got the snail out of the broken shell, now. all round them, the wood pigeons called. it was then that he heard the first shout. a dog barked. it was far  away, at first, but they got nearer very quickly. none of it seemed to take  long. crash, crash, crash they came, through the undergrowth. someone  shouted again. they were almost in the clearing, but kingshaw couldn\u2019t tell  what any of them had said. the dog barked again. he opened his eyes, and saw hooper, sitting up, looking at him. \u2018someone\u2019s coming.\u2019 kingshaw did not answer, did not move, only closed his eyes again  and lay, letting the water sift over his naked body. he thought, i don\u2019t want  them to come, i don\u2019t want them to find us. not now. this is all right. i want  to stay here. he didn\u2019t even mind hooper, now. not in the wood. it was another  world. if they couldn\u2019t have found their way out, then they would either die,  or survive. but this was what he had wanted. to get away, change things.  now, someone was coming, they would be taken back to the house. for a second, he dreaded it. then, he remembered everything that  had happened with hooper, since yesterday morning. things had changed.  perhaps it would be all right.5 10 15 20 25 30 35 40 45 50",
            "23": "23 0486/42/o/n/14 \u00a9 ucles 2014 [turn overthere was another shout. when he opened his eyes again, his view of  the tree-tops and the sunlight was blocked, by a man\u2019s head. [from chapter 9  ]   how does hill at this moment in the novel powerfully convey kingshaw\u2019s feeling that he  has escaped, but also suggest that he has not?  or \u202032 what does hill make you feel about mr hooper\u2019s attitudes towards his son and towards  kingshaw? support your ideas with details from the writing.  or 33 y ou are hooper. from your window you are watching kingshaw early in the morning  attempting to run away.    write your thoughts. ",
            "24": "24 0486/42/o/n/14 \u00a9 ucles 2014from stories \tof\tourselves either  *34 read this extract from the rain horse (by ted hughes),  and then answer the question  that follows it: over to his right a thin, black horse was running across the ploughland  towards the hill, its head down, neck stretched out. it seemed to be running  on its toes like a cat, like a dog up to no good. from the high point on which he stood the hill dipped slightly and rose  to another crested point fringed with the tops of trees, three hundred yards  to his right. as he watched it, the horse ran up that crest, showed against  the sky \u2013 for a moment like a nightmarish leopard \u2013 and disappeared over  the other side. for several seconds he stared at the skyline, stunned by the  unpleasantly strange impression the horse had made on him. then the  plastering beat of icy rain on his bare skull brought him to himself. the  distance had vanished in a wall of grey. all around him the fields were  jumping and streaming. holding his collar close and tucking his chin down into it he ran back  over the hilltop towards the town-side, the lee-side, his feet sucking and  splashing, at every stride plunging to the ankle. this hill was shaped like a wave, a gently rounded back lifting out  of the valley to a sharply crested, almost concave front hanging over the  river meadows towards the town. down this front, from the crest, hung two  small woods separated by a fallow field. the near wood was nothing more  than a quarry, circular, full of stones and bracken, with a few thorns and  nondescript saplings, foxholes and rabbit holes. the other was rectangular,  mainly a planting of scrub oak trees. beyond the river smouldered the town  like a great heap of blue cinders. he ran along the top of the first wood and finding no shelter but the  thin, leafless thorns of the hedge, dipped below the crest out of the wind  and jogged along through thick grass to the wood of oaks. in blinding rain  he lunged through the barricade of brambles at the wood\u2019s edge. the little  crippled trees were small choice in the way of shelter, but at a sudden  fierce thickening of the rain he took one at random and crouched down  under the leaning trunk. still panting from his run, drawing his knees up tightly, he watched  the bleak lines of rain, grey as hail, slanting through the boughs into the  clumps of bracken and bramble. he felt hidden and safe. the sound of the  rain as it rushed and lulled in the wood seemed to seal him in. soon the  chilly sheet lead of his suit became a tight, warm mould, and gradually he  sank into a state of comfort that was all but trance, though the rain beat  steadily on his exposed shoulders and trickled down the oak trunk on to  his neck. all around him the boughs angled down, glistening, black as iron.  from their tips and elbows the drops hurried steadily, and the channels of  the bark pulsed and gleamed. for a time he amused himself calculating  the variation in the rainfall by the variations in a dribble of water from a  trembling twig-end two feet in front of his nose. he studied the twig,  bringing dwarfs and continents and animals out of its scurfy bark. beyond  the boughs the blue shoal of the town was rising and falling, and darkening  and fading again, in the pale, swaying backdrop of rain. he wanted this rain to go on for ever. whenever it seemed to be  drawing off he listened anxiously until it closed in again. as long as it  lasted he was suspended from life and time. he didn\u2019t want to return to his 5 10 15 20 25 30 35 40 45 50",
            "25": "25 0486/42/o/n/14 \u00a9 ucles 2014sodden shoes and his possibly ruined suit and the walk back over that land  of mud. all at once he shivered. he hugged his knees to squeeze out the cold  and found himself thinking of the horse. the hair on the nape of his neck  prickled slightly. he remembered how it had run up to the crest and showed  against the sky. he tried to dismiss the thought. horses wander about the countryside  often enough. but the image of the horse as it had appeared against the  sky stuck in his mind. it must have come over the crest just above the  wood in which he was now sitting. to clear his mind, he twisted around and  looked up the wood between the tree stems, to his left. at the wood top, with the silvered grey light coming in behind it, the  black horse was standing under the oaks, its head high and alert, its ears  pricked, watching him.   how does hughes make this such a powerful moment in the story?  or  \u202035 how does the writer vividly convey what it is like for someone to live in a completely  unfamiliar country in either at hiruharama \t(by penelope fitzgerald) \tor\tsandpiper (by  ahdaf soueif)? or  36 y ou are randolph in the son\u2019s veto. y our mother has just died.    write your thoughts.55 60",
            "26": "26 0486/42/o/n/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/42/o/n/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/42/o/n/14 \u00a9 ucles 2014copyright acknowledgements: question 1 question 16 question 19 question 22 question 25 question 31 question 34\u00a9  all my sons .  \u00a9  1947, arthur miller.  reproduced by permission of the wylie agency.  all rights reserved. \u00a9  sujata bhatt;  a different history  from brunzinem  in songs of ourselves ;  foundation press;  2005. \u00a9  nervous conditions .  \u00a9  1988, tsitsi dangarembga.  reproduced by permission of ayebia clarke publishing. \u00a9  fasting, feasting .  \u00a9  1999, anita desai.  reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews,  london w11 1jn, from vintage.  reprinted by permission of the random house group ltd. \u00a9  hullabaloo in the guava orchard ;  \u00a9  1998, kiran desai;  faber & faber ltd. \u00a9  susan hill;  i\u2019m the king of the castle ;  penguin books ltd;  1973. \u00a9  ted hughes;  the rain horse in stories of ourselves ;  cambridge university press;  2008. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w14_qp_43.pdf": {
            "1": "this document consists of 24 printed pages and 4 blank pages and 1 insert. dc (st) 108675 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 7 3 6 0 9 9 3 1 8 8 *literature (english)  0486/43 paper 4  october/november 2014  2 hours 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer three  questions: one question from section a, one question from section b, and one question from  section c. answer at least one passage-based question (marked *) and at least one essay question (marked \u2020). all questions in this paper carry equal marks.",
            "2": "2 0486/43/o/n/14 \u00a9 ucles 2014blank page",
            "3": "3 0486/43/o/n/14 \u00a9 ucles 2014 [turn overcontents section a:  drama text\t question \t numbers\t page[s] arthur miller: all my sons  *1, \u20202, 3  pages 4\u20135 william shakespeare: julius caesar  *4, \u20205, 6  pages 6\u20137 william shakespeare: the tempest  *7, \u20208, 9  pages 8\u20139 oscar wilde: the importance of being earnest  *10, \u202011, 12  pages 10\u201311 section b:  poetry text\t question \t numbers\t page[s] thomas hardy: selected  poems  *13, \u202014, \u202015  page 12 songs of ourselves : from part 4  *16, \u202017, \u202018  page 13 section c:  prose text\t question \t numbers\t page[s] tsitsi dangarembga: nervous conditions  *19, \u202020, 21  pages 14\u201315 anita desai: fasting, feasting  *22, \u202023, 24  pages 16\u201317 kiran desai: hullabaloo in the guava orchard  *25, \u202026, 27  pages 18\u201319 george eliot: silas marner  *28, \u202029, 30  pages 20\u201321 susan hill: i\u2019m the king of the castle  *31, \u202032, 33  page  22 from stories of ourselves  *34, \u202035, 36  pages 24\u201325",
            "4": "4 0486/43/o/n/14 \u00a9 ucles 2014section a: drama arthur miller: all\tmy\tsons either  *1 read this extract, and then answer the question that follows it: george:  [breathlessly ] my life turned upside down since then. i couldn\u2019t  go back to work when you left.  content removed due to copyright restrictions.",
            "5": "5 0486/43/o/n/14 \u00a9 ucles 2014 [turn overgeorge:  [turning to chris , with deliberation ] i\u2019ll ask you something, and  look me in the eye when you answer me. [from act 2   ]   how does miller so powerfully convey george\u2019s mixture of guilt and anger here? or \u20202 how does miller vividly convey his dislike of joe keller\u2019s greed and dishonesty? support  your ideas with details from the writing. or 3 y ou are kate keller. y ou have just consoled chris at the end of the play.   write your thoughts.content removed due to copyright restrictions.",
            "6": "6 0486/43/o/n/14 \u00a9 ucles 2014william shakespeare: julius \tcaesar either  *4 read this extract, and then answer the question that follows it: brutus:  boy! lucius! fast asleep? it is no matter; enjoy the honey-heavy dew of slumber.   thou hast no figures nor no fantasies   which busy care draws in the brains of men;   therefore thou sleep\u2019st so sound.  enter  portia . portia:  brutus, my lord! brutus:  portia, what mean you? wherefore rise you now? it is not for your health thus to commit   y our weak condition to the raw cold morning. portia:  nor for yours neither. y\u2019have ungently, brutus, stole from my bed; and yesternight at supper   y ou suddenly arose and walk\u2019d about,   musing and sighing, with your arms across;   and when i ask\u2019d you what the matter was,   y ou star\u2019d upon me with ungentle looks.   i urg\u2019d you further; then you scratch\u2019d your head   and too impatiently stamp\u2019d with your foot.   y et i insisted; yet you answer\u2019d not,   but with an angry wafture of your hand   give sign for me to leave you. so i did,   fearing to strengthen that impatience   which seem\u2019d too much enkindled; and withal   hoping it was but an effect of humour,   which sometimes hath his hour with every man.   it will not let you eat, nor talk, nor sleep;   and, could it work so much upon your shape   as it hath much prevail\u2019d on your condition,   i should not know you brutus. dear my lord,   make me acquainted with your cause of grief. brutus:  i am not well in health, and that is all. portia:  brutus is wise, and, were he not in health, he would embrace the means to come by it. brutus:  why, so i do. good portia, go to bed. portia:  is brutus sick, and is it physical to walk unbraced and suck up the humours   of the dank morning? what, is brutus sick,   and will he steal out of his wholesome bed,   to dare the vile contagion of the night,   and tempt the rheumy and unpurged air   to add unto his sickness? no, my brutus;   y ou have some sick offence within your mind,   which by the right and virtue of my place   i ought to know of; and upon my knees   i charm you, by my once-commended beauty,   by all your vows of love, and that great vow   which did incorporate and make us one,   that you unfold to me, your self, your half,   why you are heavy \u2013 and what men to-night   have had resort to you; for here have been5 10 15 20 25 30 35 40 45 50",
            "7": "7 0486/43/o/n/14 \u00a9 ucles 2014 [turn over some six or seven, who did hide their faces even from darkness. brutus:           kneel not, gentle portia. portia:  i should not need, if you were gentle brutus. within the bond of marriage, tell me, brutus,   is it excepted i should know no secrets   that appertain to you? am i your self   but, as it were, in sort or limitation?   to keep with you at meals, comfort your bed,   and talk to you sometimes? dwell i but in the suburbs   of your good pleasure? if it be no more,   portia is brutus\u2019 harlot, not his wife. brutus:  y ou are my true and honourable wife, as dear to me as are the ruddy drops   that visit my sad heart. portia:  if this were true, then should i know this secret. i grant i am a woman; but withal   a woman that lord brutus took to wife.   i grant i am a woman; but withal   a woman well reputed, cato\u2019s daughter.   think you i am no stronger than my sex,   being so father\u2019d and so husbanded?   tell me your counsels, i will not disclose \u2019em.   i have made strong proof of my constancy,   giving myself a voluntary wound   here, in the thigh. can i bear that with patience,   and not my husband\u2019s secrets? brutus:                o ye gods, render me worthy of this noble wife! [knocking within.  hark, hark! one knocks. portia, go in awhile, and by and by thy bosom shall partake   the secrets of my heart.   all my engagements i will construe to thee,   all the charactery of my sad brows.   leave me with haste.  [exit portia. [from act 2 scene 1 ]   how does shakespeare make this moment in the play so moving? or \u20205 explore the ways in which shakespeare makes omens and the supernatural such a  dramatic part of the play. or 6 y ou are antony. y ou are fleeing to your house just after the murder of caesar.   write your thoughts.55 60 65 70 75 80 85",
            "8": "8 0486/43/o/n/14 \u00a9 ucles 2014william shakespeare: the\ttempest either  *7 read this extract, and then answer the question that follows it: prospero:  if i have too austerely punish\u2019d you, y our compensation makes amends; for i   have given you here a third of mine own life,   or that for which i live; who once again   i tender to thy hand. all thy vexations   were but my trials of thy love, and thou   hast strangely stood the test; here, afore heaven,   i ratify this my rich gift. o ferdinand!   do not smile at me that i boast her off,   for thou shalt find she will outstrip all praise,   and make it halt behind her. ferdinand:               i do believe it against an oracle. prospero:  then, as my gift, and thine own acquisition worthily purchas\u2019d, take my daughter. but   if thou dost break her virgin-knot before   all sanctimonious ceremonies may   with full and holy rite be minist\u2019red,   no sweet aspersion shall the heavens let fall   to make this contract grow; but barren hate,   sour-ey\u2019d disdain, and discord, shall bestrew   the union of your bed with weeds so loathly   that you shall hate it both. therefore take heed,   as hymen\u2019s lamps shall light you. ferdinand:                 as i hope for quiet days, fair issue, and long life,   with such love as \u2019tis now, the murkiest den,   the most opportune place, the strong\u2019st suggestion   our worser genius can, shall never melt   mine honour into lust, to take away   the edge of that day\u2019s celebration,   when i shall think or phoebus\u2019 steeds are founder\u2019d   or night kept chain\u2019d below. prospero:               fairly spoke. sit, then, and talk with her; she is thine own.   what, ariel! my industrious servant, ariel! enter ariel . ariel:  what would my potent master? here i am. prospero:  thou and thy meaner fellows your last service did worthily perform; and i must use you   in such another trick. go bring the rabble,   o\u2019er whom i give thee pow\u2019r, here to this place.   incite them to quick motion; for i must   bestow upon the eyes of this young couple   some vanity of mine art; it is my promise,   and they expect it from me. ariel:              presently? prospero:  ay, with a twink.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/43/o/n/14 \u00a9 ucles 2014 [turn overariel:  before you can say \u2018come\u2019 and \u2018go\u2019, and breathe twice, and cry \u2018so, so\u2019,   each one, tripping on his toe,   will be here with mop and mow.   do you love me, master? no? prospero:  dearly, my delicate ariel. do not approach till thou dost hear me call. ariel:              well! i conceive.  [exit. prospero:  look thou be true; do not give dalliance too much the rein; the strongest oaths are straw   to th\u2019 fire i\u2019 th\u2019 blood. be more abstemious,   or else good night your vow! ferdinand:               i warrant you, sir, the white cold virgin snow upon my heart   abates the ardour of my liver. prospero:               well! now come, my ariel, bring a corollary,   rather than want a spirit; appear, and pertly.   no tongue! all eyes! be silent.  [soft music . [from act 4 scene 1 ]   how does shakespeare make this moment in the play so dramatic and satisfying? or \u20208 how does shakespeare make trinculo and stephano so entertaining? support your  answer with details from shakespeare\u2019s writing.   or 9 y ou are gonzalo. prospero has just revealed his identity to you towards the end of the  play.    write your thoughts.50 55 60 65",
            "10": "10 0486/43/o/n/14 \u00a9 ucles 2014oscar wilde: the\timportance \tof\tbeing \tearnest either  *10 read this extract, and then answer the question that follows it: algernon:  i think that is rather mean of you, ernest, i must say. [ opens  case and examines it. ] however, it makes no matter, for, now  that i look at the inscription inside, i find that the thing isn\u2019t  yours after all. jack:  of course it\u2019s mine. [ moving to him. ] y ou have seen me with  it a hundred times, and you have no right whatsoever to read  what is written inside. it is a very ungentlemanly thing to read a  private cigarette case. algernon:  oh! it is absurd to have a hard and fast rule about what one  should read and what one shouldn\u2019t. more than half of modern  culture depends on what one shouldn\u2019t read. jack:  i am quite aware of the fact, and i don\u2019t propose to discuss  modern culture. it isn\u2019t the sort of thing one should talk of in  private. i simply want my cigarette case back. algernon:  y es; but this isn\u2019t your cigarette case. this cigarette case is a  present from someone of the name of cecily, and you said you  didn\u2019t know anyone of that name. jack:  well, if you want to know, cecily happens to be my aunt. algernon:  y our aunt! jack:  y es. charming old lady she is, too. lives at tunbridge wells.  just give it back to me, algy. algernon:  [retreating to back of sofa .] but why does she call herself  little cecily if she is your aunt and lives at tunbridge wells?  [reading. ] \u201cfrom little cecily with her fondest love.\u201d jack:  [moving to sofa and kneeling upon it. ] my dear fellow, what  on earth is there in that? some aunts are tall, some aunts are  not tall. that is a matter that surely an aunt may be allowed to  decide for herself. y ou seem to think that every aunt should be  exactly like your aunt! that is absurd. for heaven\u2019s sake give  me back my cigarette case. [follows algernon round the room. algernon:  y es. but why does your aunt call you her uncle? \u201cfrom little  cecily, with her fondest love to her dear uncle jack.\u201d there is  no objection, i admit, to an aunt being a small aunt, but why  an aunt, no matter what her size may be, should call her own  nephew her uncle, i can\u2019t quite make out. besides, your name  isn\u2019t jack at all; it is ernest. jack:  it isn\u2019t ernest; it\u2019s jack. algernon:  y ou have always told me it was ernest. i have introduced you  to every one as ernest. y ou answer to the name of ernest. y ou  look as if your name was ernest. y ou are the most earnest- looking person i ever saw in my life. it is perfectly absurd your  saying that your name isn\u2019t ernest. it\u2019s on your cards. here is  one of them. [ taking it from case. ] \u201cmr. ernest worthing, b.  4, the albany.\u201d i\u2019ll keep this as a proof that your name is ernest  if ever you attempt to deny it to me, or to gwendolen, or to any  one else.  [puts the card in his pocket .5 10 15 20 25 30 35 40 45",
            "11": "11 0486/43/o/n/14 \u00a9 ucles 2014 [turn overjack:  well, my name is ernest in town and jack in the country, and  the cigarette case was given to me in the country. algernon:  y es, but that does not account for the fact that your small aunt  cecily, who lives at tunbridge wells, calls you her dear uncle.  come, old boy, you had much better have the thing out at once. jack:  my dear algy, you talk exactly as if you were a dentist. it is very  vulgar to talk like a dentist when one isn\u2019t a dentist. it produces  a false impression. algernon:  well, that is exactly what dentists always do. now, go on! tell  me the whole thing. i may mention that i have always suspected  you of being a confirmed and secret bunburyist; and i am quite  sure of it now. jack:  bunburyist? what on earth do you mean by a bunburyist? algernon:  i\u2019ll reveal to you the meaning of that incomparable expression  as soon as you are kind enough to inform me why you are  ernest in town and jack in the country. jack:  well, produce my cigarette case first. algernon:  here it is. [ hands cigarette case. ] now produce your  explanation, and pray make it improbable.  [sits on sofa. [from act 1  ]   explore how wilde engages the interest of the audience in this early moment in the play.  or \u202011 how far does wilde\u2019s portrayal of gwendolen suggest that jack worthing is a lucky man  to be marrying her? support your views with details from wilde\u2019s writing. or 12 y ou are cecily at the end of the play.   write your thoughts.50 55 60 65",
            "12": "12 0486/43/o/n/14 \u00a9 ucles 2014section b: poetry thomas hardy: selected \tpoems either  *13 read this poem, and then answer the question that follows it: neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god, and a few leaves lay on the starving sod;  \u2013 they had fallen from an ash, and were gray. y our eyes on me were as eyes that rove over tedious riddles of years ago; and some words played between us to and fro  on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die; and a grin of bitterness swept thereby  like an ominous bird a-wing \u2026 since then, keen lessons that love deceives, and wrings with wrong, have shaped to me y our face, and the god-curst sun, and a tree,  and a pond edged with grayish leaves.   how does hardy make this such a powerful portrayal of disappointment in love? or \u202014  explore the ways in which hardy memorably responds to the sinking of the titanic  in the  convergence of the twain . or \u202015 in what ways does hardy make the people come vividly to life for you in either  the pine  planters  or no buyers: a street scene ?5 10 15",
            "13": "13 0486/43/o/n/14 \u00a9 ucles 2014 [turn oversongs \tof\tourselves : from part 4 either  *16 read this poem, and then answer the question that follows it: the planners they plan. they build. all spaces are gridded, filled with permutations of possibilities. the buildings are in alignment with the roads which meet at desired points linked by bridges all hang in the grace of mathematics. they build and will not stop. even the sea draws back and the skies surrender. they erase the flaws, the blemishes of the past, knock off useless blocks with dental dexterity. all gaps are plugged with gleaming gold. the country wears perfect rows of shining teeth. anaesthesia, amnesia, hypnosis. they have the means. they have it all so it will not hurt, so history is new again. the piling will not stop. the drilling goes right through the fossils of last century. but my heart would not bleed poetry. not a single drop to stain the blueprint of our past\u2019s tomorrow. (by boey kim cheng)   how does boey powerfully convey strong feelings about modern life? or \u202017 how does the poet memorably bring to life a particular moment in either  summer farm   (by norman maccaig) or horses  (by edwin muir)? or \u202018 explore how the poet portrays creatures in ways which surprise you in either  pike (by  ted hughes) or hunting snake  (by judith wright).5 10 15 20 25",
            "14": "14 0486/43/o/n/14 \u00a9 ucles 2014section c: prose tsitsi dangarembga: nervous \tconditions either  *19 read this extract, and then answer the question that follows it: it was on new y ear\u2019s eve that my uncle and my father discussed my  future. the discussion took place in the house. i was obliged to eavesdrop. \u2018it may change her character for the worse \u2026 these whites, you know \u2026  you never know,\u2019 mused babamukuru. \u2018no,\u2019 agreed my father. \u2018how could you know with these ones? y ou never  know. with whites! no. y ou never know.\u2019 \u2018on the other hand,\u2019 continued my uncle, \u2018she would receive a first-class  education.\u2019 \u2018ah, ya, mukoma, first class. first class,\u2019 my father enthused. \u2018i did not want her to go to that school \u2026\u2019 said babamukuru. \u2018what for, mukoma? why should she go there? y our mission is first  class.\u2019 \u2018\u2026 because of the reasons i have told you,\u2019 continued my uncle. \u2018but then,  considering that this is a fine opportunity for the girl to receive the finest  education in rhodesia, i think she must not be denied the opportunity. i  have decided to let her go.\u2019 my father went down on one knee. bo-bo-bo. \u2018we thank you, chirandu,  we thank you, muera bonga, chihwa\u2019 he intoned. \u2018truly, we would not  survive without you. our children would not survive without you. head of  the family, princeling, we thank you.\u2019 this is how it was settled. i was to take another step upwards in the  direction of my freedom. another step away from the flies, the smells,  the fields and the rags; from stomachs which were seldom full, from dirt  and disease, from my father\u2019s abject obeisance to babamukuru and my  mother\u2019s chronic lethargy. also from nyamarira that i loved. the prospect of this freedom and its possible price made me dizzy. i  had to sit down, there on the steps that led up to the house. then i felt  numb; then i felt better. the cost would balance. what i needed i would  take with me, the rest i would discard. it would be worth it to dress my  sisters in pretty clothes, feed my mother until she was plump and energetic  again, stop my father making a fool of himself every time he came into  babamukuru\u2019s presence. money would do all this for me. with the ticket i  would acquire attending the convent, i would earn lots of it. \u2018no,\u2019 babamukuru was saying, his face beaming to compete with the  paraffin flame, \u2018do not thank me. it is tambudzai who worked hard for that  scholarship.\u2019 [from chapter 9   ]   how does dangarembga make this such an amusing and satisfying moment?5 10 15 20 25 30 35",
            "15": "15 0486/43/o/n/14 \u00a9 ucles 2014 [turn overor \u202020 explore the ways in which dangarembga makes one of the female characters memorably  rebellious. support your ideas with details from dangarembga\u2019s writing. or 21 y ou are jeremiah. babamukuru has just informed you that you are to have a church  wedding.   write your thoughts.",
            "16": "16 0486/43/o/n/14 \u00a9 ucles 2014anita desai: fasting, \tfeasting either  *22 read this extract, and then answer the question that follows it: proper attention. it was with a steely determination that mama turned  this upon her son as if making sure no one could accuse her of any lapse  in his care or recall the reluctance with which she had borne him.  content removed due to copyright restrictions.",
            "17": "17 0486/43/o/n/14 \u00a9 ucles 2014 [turn overit was years before they understood what arun\u2019s tastes were, and  accepted the fact that he would not touch the meat papa insisted he should  eat: arun was a vegetarian. [from chapter 3   ]   explore the ways in which desai vividly conveys mamapapa\u2019s reactions to arun\u2019s birth  here. or \u202023 how does desai strikingly convey the problems within the patton family? support your  ideas with details from the novel. or 24 y ou are uma. y ou have just said goodbye to arun as he leaves for the usa.   write your thoughts.content removed due to copyright restrictions.",
            "18": "18 0486/43/o/n/14 \u00a9 ucles 2014kiran desai: hullabaloo \tin\tthe\tguava \torchard either  *25 read this extract, and then answer the question that follows it: now, this newspaper deliverer was somebody who prided himself on  his perfect aim and, seeing the cmo sitting quietly there on the veranda,  he attempted to deliver the paper right at his feet.  it was ridiculous for him to be the cmo when he himself was sick. [from chapter 15  ]   how far does desai make you sympathise with the chief medical officer here \u2013 and how  far does she make you laugh at him?content removed due to copyright restrictions.",
            "19": "19 0486/43/o/n/14 \u00a9 ucles 2014 [turn overor \u202026 how does desai make the clash of personalities between pinky and sampath so  amusing? support your ideas with details from the writing.  or 27 y ou are mr. chawla. y our attempt to arrange a marriage for your son has been a huge  public failure.   write your thoughts.",
            "20": "20 0486/43/o/n/14 \u00a9 ucles 2014george eliot: silas \tmarner either  *28 read this extract, and then answer the question that follows it:  they had to knock loudly before silas heard them; but when he did  come to the door, he showed no impatience, as he would once have done,  at a visit that had been unasked for and unexpected. formerly, his heart  had been as a locked casket with its treasure inside; but now the casket  was empty, and the lock was broken. left groping in darkness, with his  prop utterly gone, silas had inevitably a sense, though a dull and half- despairing one, that if any help came to him it must come from without;  and there was a slight stirring of expectation at the sight of his fellow-men,  a faint consciousness of dependence on their goodwill. he opened the  door wide to admit dolly, but without otherwise returning her greeting than  by moving the arm-chair a few inches as a sign that she was to sit down in  it. dolly, as soon as she was seated, removed the white cloth that covered  her lard-cakes, and said in her gravest way\u2014 \u2018i\u2019d a baking yisterday, master marner, and the lard-cakes turned out  better nor common, and i\u2019d ha\u2019 asked you to accept some, if you\u2019d thought  well. i don\u2019t eat such things myself, for a bit o\u2019 bread\u2019s what i like from one  year\u2019s end to the other; but men\u2019s stomichs are made so comical, they  want a change\u2014they do, i know, god help \u2019em.\u2019 dolly sighed gently as she held out the cakes to silas, who thanked her  kindly, and looked very close at them, absently, being accustomed to look  so at everything he took into his hand\u2014eyed all the while by the wondering  bright orbs of the small aaron, who had made an outwork of his mother\u2019s  chair, and was peeping round from behind it. \u2018there\u2019s letters pricked on \u2019em,\u2019 said dolly. \u2018i can\u2019t read \u2019em myself, and  there\u2019s nobody, not mr. macey himself, rightly knows what they mean; but  they\u2019ve a good meaning, for they\u2019re the same as is on the pulpit-cloth at  church. what are they, aaron, my dear?\u2019 aaron retreated completely behind his outwork. \u2018oh, go, that\u2019s naughty,\u2019 said his mother, mildly. \u2018well, whativer the letters  are, they\u2019ve a good meaning; and it\u2019s a stamp as has been in our house,  ben says, ever since he was a little un, and his mother used to put it on the  cakes, and i\u2019ve allays put it on too; for if there\u2019s any good, we\u2019ve need of it  i\u2019 this world.\u2019 \u2018it\u2019s i. h. s.\u2019 said silas, at which proof of learning aaron peeped round the  chair again. \u2018well, to be sure, you can read \u2019em off,\u2019 said dolly. \u2018ben\u2019s read \u2019em to me  many and many a time, but they slip out o\u2019 my mind again; the more\u2019s the  pity, for they\u2019re good letters, else they wouldn\u2019t be in the church; and so i  prick \u2019em on all the loaves and all the cakes, though sometimes they won\u2019t  hold, because o\u2019 the rising  \u2014for, as i said, if there\u2019s any good to be got,  we\u2019ve need on it i\u2019 this world\u2014that we have; and i hope they\u2019ll bring good  to you, master marner, for it\u2019s wi\u2019 that will i brought you the cakes; and you  see the letters have held better nor common.\u2019 silas was as unable to interpret the letters as dolly, but there was no  possibility of misunderstanding the desire to give comfort that made itself  heard in her quiet tones. he said, with more feeling than before\u2014\u2018thank  you\u2014thank you kindly.\u2019 but he laid down the cake and seated himself  absently\u2014 drearily unconscious of any distinct benefit towards which the  cake and the letters, or even dolly\u2019s kindness, could tend for him. \u2018ah, if there\u2019s good anywhere, we\u2019ve need of it,\u2019 repeated dolly, who did  not lightly forsake a serviceable phrase. she looked at silas pityingly as 5 10 15 20 25 30 35 40 45 50",
            "21": "21 0486/43/o/n/14 \u00a9 ucles 2014 [turn overshe went on. \u2018but you didn\u2019t hear the church-bells this morning, master  marner. i doubt you didn\u2019t know it was sunday. living so lone here, you  lose your count, i daresay; and then, when your loom makes a noise, you  can\u2019t hear the bells, more partic\u2019lar now the frost kills the sound.\u2019 \u2018y es, i did; i heard \u2019em,\u2019 said silas, to whom sunday bells were a mere  accident of the day, and not part of its sacredness. there had been no  bells in lantern y ard. [from chapter 10   ]   how does eliot make this moment in the novel so moving? or \u202029 how does eliot make nancy cass such an impressive character for you? support your  ideas with details from the novel. or 30 y ou are eppie. y ou have just returned from the visit to lantern y ard with silas.   write your thoughts.55",
            "22": "22 0486/43/o/n/14 \u00a9 ucles 2014susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle either  *31 read this extract, and then answer the question that follows it: on the train from london, joseph hooper said, \u2018i hope you are friendly  with young charles kingshaw, now. i have not seen you about the place  together very much.\u2019 hooper looked up from the scourge of the marsh monster . \u2018i can\u2019t help it if he locks himself up, can i? \u2018in his room?\u2019 \u2018somewhere. in some room or other. i don\u2019t know.\u2019 \u2018that sounds to me a very strange way of going on. what is this all in aid  of, what does he do?\u2019 hooper shrugged. \u2018slowly, remorselessly, the huge feet carried the hulking beast forward.  the stench of the marshes hung about it and the mud on its scaly hide  was mud formed at the dawn of history. the blood and death it now sought  were\u2026\u2019 \u2018i suppose that i must speak to his mother.\u2019 the trained crossed over some points. \u2018but then, i daresay he is a little shy. y ou will have to be understanding  about that, edmund, there must always be a little give and take in this sort  of friendship. that is a lesson i hope that you will learn in life very quickly.  he has no father, when all is said and done.\u2019 hooper looked up briefly, raising his eyebrows. mr. hooper coughed, turned his face away, and shifted a little in his seat.  there is no telling, he thought, perhaps he does remember something of  his mother, after all. we cannot fathom the minds of young children. he  was discomforted by his own lack of insight. he tried to find some clue, in  his son\u2019s facial expression, as to what might be going on in his mind, but  there was only a blank. he could recall nothing of himself at the same age  except that he had loathed his own father. but i came through, he said to himself now, i daresay that i am normal  enough, that there is nothing so much wrong with me, in spite of it all. i  shall not allow myself to feel guilty about it. edmund will be like any other  healthy boy. i am not to blame. he watched the darkening countryside and then, after a time, returned  to his magazine, more settled in his mind. he felt exonerated. [from chapter 4   ]   what do you think hill reveals about the father and son \u2013 and their relationship \u2013 at this  moment in the novel? support your ideas with details from the writing. or \u202032 explore two moments in the novel where you think hill\u2019s portrayal of the english  countryside is particularly powerful. support your views with details from the writing. or 33 y ou are mrs kingshaw. y ou have accepted mr. hooper\u2019s proposal of marriage.    write your thoughts.5 10 15 20 25 30",
            "23": "23 0486/43/o/n/14 \u00a9 ucles 2014 [turn overturn to page 24 for question 34.",
            "24": "24 0486/43/o/n/14 \u00a9 ucles 2014from stories \tof\tourselves either  *34 read this extract from the destructors  (by graham greene), and then answer the  question that follows it: mike had gone home to bed, but the rest stayed. the question of  leadership no longer concerned the gang. with nails, chisels, screwdrivers,  anything that was sharp and penetrating they moved around the inner  walls worrying at the mortar between the bricks. they started too high, and  it was blackie who hit on the damp course and realised the work could be  halved if they weakened the joints immediately above. it was a long, tiring,  unamusing job, but at last it was finished. the gutted house stood there  balanced on a few inches of mortar between the damp course and the  bricks. there remained the most dangerous task of all, out in the open at the  edge of the bomb-site. summers was sent to watch the road for passers  by, and mr thomas, sitting on the loo, heard clearly now the sound of  sawing. it no longer came from his house, and that a little reassured him.  he felt less concerned. perhaps the other noises too had no significance. a voice spoke to him through the hole. \u2018mr thomas.\u2019 \u2018let me out,\u2019 mr thomas said sternly. \u2018here\u2019s a blanket,\u2019 the voice said, and a long grey sausage was worked  through the hole and fell in swathes over mr thomas\u2019s head. \u2018there\u2019s nothing personal,\u2019 the voice said. \u2018we want you to be comfortable  tonight.\u2019 \u2018tonight,\u2019 mr thomas repeated incredulously. \u2018catch,\u2019 the voice said. \u2018penny buns \u2013 we\u2019ve buttered them, and sausage- rolls. we don\u2019t want you to starve, mr thomas.\u2019 mr thomas pleaded desperately. \u2018a joke\u2019s a joke, boy. let me out and i  won\u2019t say a thing. i\u2019ve got rheumatics. i got to sleep comfortable.\u2019 \u2018y ou wouldn\u2019t be comfortable, not in your house, you wouldn\u2019t. not now.\u2019 \u2018what do you mean, boy?\u2019 but the footsteps receded. there was only the  silence of night: no sound of sawing. mr thomas tried one more yell, but  he was daunted and rebuked by the silence \u2013 a long way off an owl hooted  and made away again on its muffled flight through the soundless world. at seven next morning the driver came to fetch his lorry. he climbed into  the seat and tried to start the engine. he was vaguely aware of a voice  shouting, but it didn\u2019t concern him. at last the engine responded and he  backed the lorry until it touched the great wooden shore that supported  mr thomas\u2019s house. that way he could drive right out and down the street  without reversing. the lorry moved forward, was momentarily checked as  though something were pulling it from behind, and then went on to the  sound of a long rumbling crash. the driver was astonished to see bricks  bouncing ahead of him, while stones hit the roof of his cab. he put on his  brakes. when he climbed out the whole landscape had suddenly altered.  there was no house beside the car-park, only a hill of rubble. he went  round and examined the back of his car for damage, and found a rope tied  there that was still twisted at the other end round part of a wooden strut. the driver again became aware of somebody shouting. it came from the  wooden erection which was the nearest thing to a house in that desolation  of broken brick. the driver climbed the smashed wall and unlocked the  door. mr thomas came out of the loo. he was wearing a grey blanket to  which flakes of pastry adhered. he gave a sobbing cry. \u2018my house,\u2019 he said.  \u2018where\u2019s my house?\u20195 10 15 20 25 30 35 40 45",
            "25": "25 0486/43/o/n/14 \u00a9 ucles 2014\u2018search me,\u2019 the driver said. his eye lit on the remains of a bath and what  had once been a dresser and he began to laugh. there wasn\u2019t anything  left anywhere. \u2018how dare you laugh,\u2019 mr thomas said. \u2018it was my house. my house.\u2019 \u2018i\u2019m sorry,\u2019 the driver said, making heroic efforts, but when he  remembered the sudden check to his lorry, the crash of bricks falling, he  became convulsed again. one moment the house had stood there with  such dignity between the bomb-sites like a man in a top hat, and then,  bang, crash, there wasn\u2019t anything left \u2013 not anything. he said, \u2018i\u2019m sorry. i  can\u2019t help it, mr thomas. there\u2019s nothing personal, but you got to admit it\u2019s  funny.\u2019   how does greene make this such an effective ending to the story? or \u202035 how does v. s. pritchett make harold\u2019s father in the fly in the ointment  particularly  unpleasant for you? support your ideas with details from the story. or 36 y ou are mr donaldson in the custody of the pumpkin . y ou have just met lord emsworth  and told him of your daughter\u2019s marriage to freddie and of their departure to the usa.   write your thoughts.50 55 60",
            "26": "26 0486/43/o/n/14 \u00a9 ucles 2014blank page",
            "27": "27 0486/43/o/n/14 \u00a9 ucles 2014blank page",
            "28": "28 0486/43/o/n/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 1  \u00a9 all my sons . \u00a9 1947, arthur miller. reproduced by permission of the wylie agency. all rights reserved. question 16   \u00a9 boey kim cheng; the planners  from another place  in songs of ourselves ; cambridge university press; reprinted by permission of marshall  cavendish international (asia) pte ltd; 2004. question 19  \u00a9 nervous conditions. \u00a9 1988, tsitsi dangarembga. reproduced by permission of ayebia clarke publishing. question 22   \u00a9 fasting, feasting . \u00a9 1999, anita desai. reproduced by permission of the author c/o rogers, coleridge & white ltd., 20 powis mews, london  w11 1jn, from vintage. reprinted by permission of the random house group ltd. question 25  \u00a9 hullabaloo in the guava orchard ; \u00a9 1998, kiran desai; faber & faber ltd. question 31  \u00a9 susan hill; i\u2019m the king of the castle ; penguin books ltd; 1973. question 34  \u00a9 graham greene; the destructors  in stories of ourselves ; cambridge university press; 2008. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w14_qp_51.pdf": {
            "1": "this document consists of 15 printed pages, 1 blank page and 1 insert. dc (st) 108676 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 1 8 4 8 6 2 7 9 1 2 *literature (english)  0486/51 paper 5  october/november 2014  45 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/51/o/n/14 \u00a9 ucles 2014answer one question on any text. jane austen : northanger abbey either  1 read this extract, and then answer the question that follows it: \u2018northanger is not more than half my home; i have an establishment  at my own house in woodston, which is nearly twenty miles from my  father\u2019s, and some of my time is necessarily spent there.\u2019 \u2018how sorry you must be for that!\u2019 \u2018i am always sorry to leave eleanor.\u2019 \u2018y es; but besides your affection for her, you must be so fond of the  abbey! \u2013 after being used to such a home as the abbey, an ordinary  parsonage-house must be very disagreeable.\u2019 he smiled, and said, \u2018y ou have formed a very favourable idea of the  abbey.\u2019 \u2018to be sure i have. is not it a fine old place, just like what one reads  about?\u2019 \u2018and are you prepared to encounter all the horrors that a building  such as \u201cwhat one reads about\u201d may produce? \u2013 have you a stout heart?  \u2013 nerves fit for sliding panels and tapestry?\u2019 \u2018oh! y es \u2013 i do not think i should be easily frightened, because there  would be so many people in the house \u2013 and besides, it has never been  uninhabited and left deserted for years, and then the family come back to  it unawares, without giving any notice, as generally happens.\u2019 \u2018no, certainly \u2013 we shall not have to explore our way into a hall dimly  lighted by the expiring embers of a wood fire \u2013 nor be obliged to spread  our beds on the floor of a room without windows, doors, or furniture.  but you must be aware that when a young lady is (by whatever means)  introduced into a dwelling of this kind, she is always lodged apart from the  rest of the family. while they snugly repair to their own end of the house,  she is formally conducted by dorothy the ancient housekeeper up a  different staircase, and along many gloomy passages, into an apartment  never used since some cousin or kin died in it about twenty years before.  can you stand such a ceremony as this? will not your mind misgive you,  when you find yourself in this gloomy chamber \u2013 too lofty and extensive  for you, with only the feeble rays of a single lamp to take in its size \u2013 its  walls hung with tapestry exhibiting figures as large as life, and the bed, of  dark green stuff or purple velvet, presenting even a funeral appearance.  will not your heart sink within you?\u2019 \u2018oh! but this will not happen to me, i am sure.\u2019 \u2018how fearfully will you examine the furniture of your apartment! \u2013 and  what will you discern? \u2013 not tables, toilettes, wardrobes, or drawers, but on  one side perhaps the remains of a broken lute, on the other a ponderous  chest which no efforts can open, and over the fireplace the portrait of  some handsome warrior, whose features will so incomprehensibly strike  you, that you will not be able to withdraw your eyes from it. dorothy  meanwhile, no less struck by your appearance, gazes on you in great  agitation, and drops a few unintelligible hints. to raise your spirits,  moreover, she gives you reason to suppose that the part of the abbey you  inhabit is undoubtedly haunted, and informs you that you will not have a  single domestic within call. with this parting cordial she curtseys off \u2013 you  listen to the sound of her receding footsteps as long as the last echo can  reach you \u2013 and when, with fainting spirits, you attempt to fasten your  door, you discover, with increased alarm, that it has no lock.\u20195 10 15 20 25 30 35 40 45",
            "3": "3 0486/51/o/n/14 \u00a9 ucles 2014 [turn over\u2018oh! mr tilney, how frightful! \u2013 this is just like a book! \u2013 but it cannot  really happen to me.\u2019  [from chapter 20  ]   in what ways does austen\u2019s writing make this passage so entertaining? or 2 how does austen make you feel about isabella thorpe? support your ideas with details  from the novel. or 3 y ou are john thorpe. y ou have just heard that catherine morland and henry tilney are  engaged to be married.   write your thoughts.50",
            "4": "4 0486/51/o/n/14 \u00a9 ucles 2014carol ann duffy: selected poems either  4 read this poem, and then answer the question that follows it: moments of grace i dream through a wordless, familiar place. the small boat of the day sails into morning, past the postman with his modest haul, the full trees which sound like the sea, leaving my hands free to remember. moments of grace. like this. shaken by first love and kissing a wall. of course. the dried ink on the palms then ran suddenly wet, a glistening blue name in each fist. i sit now in a kind of sly trance, hoping i will not feel me breathing too close across time. a face to the name.  gone. the chimes of mothers calling in children at dusk. y es. it seems we live in those staggering years only to haunt them; the vanishing scents and colours of infinite hours like a melting balloon in earlier hands. the boredom since. memory\u2019s caged bird won\u2019t fly. these days we are adjectives, nouns. in moments of grace we were verbs, the secret of poems, talented. a thin skin lies on the language. we stare deep in the eyes of strangers, look for the doing words. now i smell you peeling an orange in the other room. now i take off my watch, let a minute unravel in my hands, listen and look as i do so, and mild loss opens my lips like no. passing, you kiss the back of my neck. a blessing.   explore how duffy movingly portrays feelings about the past in this poem. or 5 in what ways does duffy vividly convey the speaker\u2019s worries about a loved one in who  loves y ou ? or 6 how does duffy entertainingly portray the speaker in the good teachers ?5 10 15 20 25",
            "5": "5 0486/51/o/n/14 \u00a9 ucles 2014 [turn overturn to page 6 for question 7.",
            "6": "6 0486/51/o/n/14 \u00a9 ucles 2014helen dunmore:  the siege either  7 read this extract, and then answer the question that follows it: in all the city it seems that she\u2019s the only one moving, creeping forward  with her load of wood. content removed due to copyright restrictions.",
            "7": "7 0486/51/o/n/14 \u00a9 ucles 2014 [turn over\u2018\u2019cos if you did, i\u2019d have your clothes off you as well.\u2019  [from chapter 25  ]   in what ways does dunmore make this moment in the novel so disturbing? or 8 how does dunmore make evgenia such a compelling character in the novel? support  your ideas with details from the novel. or 9 y ou are marina petrovna. anna has just drawn a picture of the dead mikhail for you.   write your thoughts.content removed due to copyright restrictions.",
            "8": "8 0486/51/o/n/14 \u00a9 ucles 2014from jo phillips ed.:  poems deep & dangerous either  10 read this poem, and then answer the question that follows it: the marriage of true minds let me not to the marriage of true minds admit impediments. love is not love which alters when it alteration finds, or bends with the remover to remove: o, no! it is an ever-fix\u00e8d mark, that looks on tempests and is never shaken; it is the star to every wandering bark, whose worth\u2019s unknown, although his height be taken. love\u2019s not time\u2019s fool, though rosy lips and cheeks within his bending sickle\u2019s compass come; love alters not with his brief hours and weeks, but bears it out even to the edge of doom. if this be error, and upon me prov\u2019d, i never writ, nor no man ever lov\u2019d. (by william shakespeare )   explore the ways in which shakespeare powerfully captures the speaker\u2019s thoughts and  feelings here. or 11 in football  after school , how does mccarthy vividly convey a mother\u2019s concerns for her  son as he grows up? or 12 explore the ways in which the poet movingly portrays relationships in either  in our tenth  y ear  (by simon armitage) or one flesh (by elizabeth jennings).5 10",
            "9": "9 0486/51/o/n/14 \u00a9 ucles 2014 [turn overturn to page 10 for question 13.",
            "10": "10 0486/51/o/n/14 \u00a9 ucles 2014william shakespeare:  a midsummer night\u2019s dream either  13 read this extract, and then answer the question that follows it: lysander:  why should you think that i should woo in scorn?   scorn and derision never come in tears.   look when i vow, i weep; and vows so born,   in their nativity all truth appears.   how can these things in me seem scorn to you,   bearing the badge of faith, to prove them true? helena:  y ou do advance your cunning more and more.   when truth kills truth, o devilish-holy fray!   these vows are hermia\u2019s. will you give her o\u2019er?   weigh oath with oath, and you will nothing weigh:   y our vows to her and me, put in two scales,   will even weigh; and both as light as tales. lysander:  i had no judgment when to her i swore. helena:  nor none, in my mind, now you give her o\u2019er. lysander:  demetrius loves her, and he loves not you. demetrius  [awaking ]: o helen, goddess, nymph, perfect, divine!   to what, my love, shall i compare thine eyne?   crystal is muddy. o, how ripe in show   thy lips, those kissing cherries, tempting grow!   that pure congealed white, high taurus\u2019 snow,   fann\u2019d with the eastern wind, turns to a crow   when thou hold\u2019st up thy hand. o, let me kiss   this princess of pure white, this seal of bliss! helena:  o spite! o hell! i see you all are bent   to set against me for your merriment.   if you were civil and knew courtesy,   y ou would not do me thus much injury.   can you not hate me, as i know you do,   but you must join in souls to mock me too?   if you were men, as men you are in show,   y ou would not use a gentle lady so:   to vow, and swear, and superpraise my parts,   when i am sure you hate me with your hearts.   y ou both are rivals, and love hermia;   and now both rivals, to mock helena.   a trim exploit, a manly enterprise,   to conjure tears up in a poor maid\u2019s eyes   with your derision! none of noble sort   would so offend a virgin, and extort   a poor soul\u2019s patience, all to make you sport. lysander:  y ou are unkind, demetrius; be not so;   for you love hermia. this you know i know;   and here, with all good will, with all my heart,   in hermia\u2019s love i yield you up my part;   and yours of helena to me bequeath,   whom i do love and will do till my death. helena:  never did mockers waste more idle breath. demetrius:  lysander, keep thy hermia; i will none.   if e\u2019er i lov\u2019d her, all that love is gone.   my heart to her but as guest-wise sojourn\u2019d,   and now to helen is it home return\u2019d,   there to remain.5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/51/o/n/14 \u00a9 ucles 2014 [turn overlysander:    helen, it is not so. demetrius:  disparage not the faith thou dost not know,   lest, to thy peril, thou aby it dear.   look where thy love comes; yonder is thy dear.  [from act 3 scene 2  ]   explore the ways in which shakespeare makes this such a comic moment in the play. or 14 how does shakespeare make bottom and the mechanicals so entertaining? or 15 y ou are theseus. y ou have just given your blessing to the young lovers to marry.   write your thoughts.55",
            "12": "12 0486/51/o/n/14 \u00a9 ucles 2014robert louis stevenson:  the strange case of dr jekyll and mr hyde either  16 read this extract, and then answer the question that follows it: mr utterson was sitting by his fireside one evening after dinner, when  he was surprised to receive a visit from poole. \u2018bless me, poole, what brings you here?\u2019 he cried; and then taking a  second look at him, \u2018what ails you?\u2019 he added, \u2018is the doctor ill?\u2019 \u2018mr utterson,\u2019 said the man, \u2018there is something wrong.\u2019 \u2018take a seat, and here is a glass of wine for you,\u2019 said the lawyer.  \u2018now, take your time, and tell me plainly what you want.\u2019 \u2018y ou know the doctor\u2019s ways, sir,\u2019 replied poole, \u2018and how he shuts  himself up. well, he\u2019s shut up again in the cabinet; and i don\u2019t like it, sir\u2014   i wish i may die if i like it. mr utterson, sir, i\u2019m afraid.\u2019 \u2018now, my good man,\u2019 said the lawyer, \u2018be explicit. what are you afraid  of?\u2019 \u2018i\u2019ve been afraid for about a week,\u2019 returned poole, doggedly  disregarding the question; \u2018and i can bear it no more.\u2019 the man\u2019s appearance amply bore out his words; his manner was  altered for the worse; and except for the moment when he had first  announced his terror, he had not once looked the lawyer in the face. even  now, he sat with the glass of wine untasted on his knee, and his eyes  directed to a corner of the floor. \u2018i can bear it no more,\u2019 he repeated. \u2018come,\u2019 said the lawyer, \u2018i see you have some good reason, poole;   i see there is something seriously amiss. try to tell me what it is.\u2019 \u2018i think there\u2019s been foul play,\u2019 said poole, hoarsely. \u2018foul play!\u2019 cried the lawyer, a good deal frightened and rather  inclined to be irritated in consequence. \u2018what foul play? what does the  man mean?\u2019 \u2018i daren\u2019t say, sir,\u2019 was the answer; \u2018but will you come along with me  and see for yourself?\u2019 mr utterson\u2019s only answer was to rise and get his hat and great coat;  but he observed with wonder the greatness of the relief that appeared  upon the butler\u2019s face, and perhaps with no less, that the wine was still  untasted when he set it down to follow. it was a wild, cold, seasonable night of march, with a pale moon,  lying on her back as though the wind had tilted her, and a flying wrack of  the most diaphanous and lawny texture. the wind made talking difficult,  and flecked the blood into the face. it seemed to have swept the streets  unusually bare of passengers, besides; for mr utterson thought he had  never seen that part of london so deserted. he could have wished it  otherwise; never in his life had he been conscious of so sharp a wish to  see and touch his fellow-creatures; for struggle as he might, there was  borne in upon his mind a crushing anticipation of calamity. the square,  when they got there, was all full of wind and dust, and the thin trees in  the garden were lashing themselves along the railing. poole, who had  kept all the way a pace or two ahead, now pulled up in the middle of  the pavement, and in spite of the biting weather, took off his hat and  mopped his brow with a red pocket-handkerchief. but for all the hurry of  his coming, these were not the dews of exertion that he wiped away, but  the moisture of some strangling anguish; for his face was white and his  voice, when he spoke, harsh and broken. \u2018well, sir,\u2019 he said, \u2018here we are, and god grant there be nothing  wrong.\u2019 \u2018amen, poole,\u2019 said the lawyer. thereupon the servant knocked in a very guarded manner; the door 5 10 15 20 25 30 35 40 45 50",
            "13": "13 0486/51/o/n/14 \u00a9 ucles 2014 [turn overwas opened on the chain; and a voice asked from within, \u2018is that you,  poole?\u2019 \u2018it\u2019s all right,\u2019 said poole. \u2018open the door.\u2019 the hall, when they entered it, was brightly lighted up; the fire was  built high; and about the hearth the whole of the servants, men and  women, stood huddled together like a flock of sheep. at the sight of mr  utterson, the housemaid broke into hysterical whimpering; and the cook,  crying out \u2018bless god! it\u2019s mr utterson,\u2019 ran forward as if to take him in   her arms.  [from chapter 8, \u2018the last night\u2019  ]   in what ways do you think stevenson creates tension at this moment in the novel? or 17 to what extent does stevenson\u2019s writing enable you to sympathise with dr jekyll? or 18 y ou are poole. y ou and mr utterson have just found mr hyde dead. mr utterson has left  to read dr jekyll\u2019s letters.   write your thoughts.55 60",
            "14": "14 0486/51/o/n/14 \u00a9 ucles 2014tennessee williams:  cat on a hot tin roof either  19 read this extract, and then answer  the question that follows it: brick: \t y ou\tcould leave me, maggie.   [he resumes whistle. she wheels about to glare at him. ] content removed due to copyright restrictions.",
            "15": "15 0486/51/o/n/14 \u00a9 ucles 2014margaret :\ty es, i do.  [from act 1  ]   how does williams make this such a dramatic and revealing moment in the play? or 20 what does williams make you feel about big daddy? support your answer with details  from the play. or 21 y ou are brick. y ou are on your way to the high school athletic ground on the night you  injure your ankle.   write your thoughts.content removed due to copyright restrictions.",
            "16": "16 0486/51/o/n/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 4  \u00a9  carol ann duffy;  moments of grace , in selected poems ;  penguin books ltd;  1994. question 7  \u00a9  helen dunmore;  the siege ;  penguin books ltd;  2002;  reproduced by permission of a p watt at united agents on behalf of helen dunmore.   question 19   cat on a hot tin roof  by tennessee williams.  copyright \u00a9  1954, 1955, by the university of the south, renewed 1982, 1983 the university of the  south.  reprinted by permission of new directions publishing corp and georges borchardt, inc. for the estate of tennessee williams.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w14_qp_52.pdf": {
            "1": "this document consists of 15 printed pages, 1 blank page and  1 insert. dc (st) 108677 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 0 7 4 0 7 5 6 1 6 3 *literature (english)  0486/52 paper 5  october/november 2014  45 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/52/o/n/14 \u00a9 ucles 2014answer one question on any text. jane austen: northanger abbey either  1  read this extract, and then answer the question that follows it: catherine was too wretched to be fearful. the journey in itself had no  terrors for her; and she began it without either dreading its length, or  feeling its solitariness. leaning back in one corner of the carriage, in a  violent burst of tears, she was conveyed some miles beyond the walls of  the abbey before she raised her head; and the highest point of ground  within the park was almost closed from her view before she was capable  of turning her eyes towards it. unfortunately, the road she now travelled  was the same which only ten days ago she had so happily passed along  in going to and from woodston; and, for fourteen miles, every bitter feeling  was rendered more severe by the review of objects on which she had  first looked under impressions so different. every mile, as it brought her  nearer woodston, added to her sufferings, and when within the distance  of five, she passed the turning which led to it, and thought of henry, so  near, yet so unconscious, her grief and agitation were excessive. the day which she had spent at that place had been one of the  happiest of her life. it was there, it was on that day that the general had  made use of such expressions with regard to henry and herself, had so  spoken and so looked as to give her the most positive conviction of his  actually wishing their marriage. y es, only ten days ago had he elated her  by his pointed regard \u2013 had he even confused her by his too significant  reference! and now \u2013 what had she done, or what had she omitted to do,  to merit such a change? the only offence against him of which she could accuse herself, had  been such as was scarcely possible to reach his knowledge. henry and  her own heart only were privy to the shocking suspicions which she had  so idly entertained; and equally safe did she believe her secret with each.  designedly, at least, henry could not have betrayed her. if, indeed, by any  strange mischance his father should have gained intelligence of what she  had dared to think and look for, of her causeless fancies and injurious  examinations, she could not wonder at any degree of his indignation. if  aware of her having viewed him as a murderer, she could not wonder at  his even turning her from his house. but a justification so full of torture to  herself, she trusted would not be in his power. anxious as were all her conjectures on this point, it was not,  however, the one on which she dwelt most. there was a thought yet  nearer, a more prevailing, more impetuous concern. how henry would  think, and feel, and look, when he returned on the morrow to northanger  and heard of her being gone, was a question of force and interest to rise  over every other, to be never ceasing, alternately irritating and soothing; it  sometimes suggested the dread of his calm acquiescence, and at others  was answered by the sweetest confidence in his regret and resentment.  to the general, of course, he would not dare to speak; but to eleanor \u2013  what might he not say to eleanor about her?  [from chapter 29]    how does austen\u2019s writing make you feel sorry for catherine at this moment in the novel?5 10 15 20 25 30 35 40",
            "3": "3 0486/52/o/n/14 \u00a9 ucles 2014 [turn overor  2  how does austen make eleanor tilney such a likeable character? support your ideas  with details from the novel. or  3  y ou are isabella thorpe. y ou have just ended your engagement to james morland.     write your thoughts.",
            "4": "4 0486/52/o/n/14 \u00a9 ucles 2014carol ann duffy:  selected poems either  4   read this poem, and then answer the question that follows it: prayer some days, although we cannot pray, a prayer utters itself. so, a woman will lift her head from the sieve of her hands and stare at the minims sung by a tree, a sudden gift. some nights, although we are faithless, the truth enters our hearts, that small familiar pain; then a man will stand stock-still, hearing his youth in the distant latin chanting of a train. pray for us now. grade i piano scales console the lodger looking out across a midlands town. then dusk, and someone calls a child\u2019s name as though they named their loss. darkness outside. inside, the radio\u2019s prayer \u2013 rockall. malin. dogger. finisterre.     in what ways does duffy\u2019s writing make this poem memorable for you? or  5 how does duffy strikingly convey the speaker\u2019s thoughts and feelings in valentine ? or  6 how does duffy\u2019s writing make stealing  such a disturbing poem?5 10",
            "5": "5 0486/52/o/n/14 \u00a9 ucles 2014 [turn overturn to page 6 for question 7.",
            "6": "6 0486/52/o/n/14 \u00a9 ucles 2014helen dunmore:  the siege either  7  read this extract, and then answer the question that follows it: \u2018what\u2019s that, andryusha?\u2019 \u2018y es,\u2019 says kolya, but uncertainly.  [from chapter 21]content removed due to copyright restrictions.",
            "7": "7 0486/52/o/n/14 \u00a9 ucles 2014 [turn overhow does dunmore strikingly convey desperation for food at this moment in the  novel? or  8 explore the ways in which dunmore makes the relationship between anna and  andrei so moving. support your ideas with details from the novel. or  9 y ou are anna. y ou have just left the apartment of evgenia and her mother.    write your thoughts.",
            "8": "8 0486/52/o/n/14 \u00a9 ucles 2014from jo phillips ed.: poems deep & dangerous either  10  read this poem, and then answer the question that follows it: follower my father worked with a horse-plough, behind me, and will not go away. (by seamus heaney )    what vivid impressions of the father and son does heaney create for you as you  read this poem? or  11 how does arnold memorably present feelings of loneliness and despair in to  marguerite ? or  12 explore the ways in which the poet memorably conveys the thoughts and feelings of  the speaker in one of the following sonnets:     i wish i could remember that first day  (by christina rossetti)     shall i compare thee \u2026? (by william shakespeare)content removed due to copyright restrictions.",
            "9": "9 0486/52/o/n/14 \u00a9 ucles 2014 [turn overturn to page 10 for question 13.",
            "10": "10 0486/52/o/n/14 \u00a9 ucles 2014william shakespeare:  a midsummer night\u2019s dream either  13  read this extract, and then answer the question that follows it: bottom:  masters, you ought to consider with yourself to bring  in \u2013 god shield us! \u2013 a lion among ladies is a most  dreadful thing; for there is not a more fearful wild-fowl  than your lion living; and we ought to look to\u2019t. snout:  therefore another prologue must tell he is not a lion. bottom:  nay, you must name his name, and half his face must  be seen through the lion\u2019s neck; and he himself must  speak through, saying thus, or to the same defect:  \u2018ladies,\u2019 or \u2018fair ladies, i would wish you\u2019 or \u2018i would  request you\u2019 or \u2018i would entreat you not to fear, not to  tremble. my life for yours! if you think i come hither as a  lion, it were pity of my life. no, i am no such thing; i am a  man as other men are\u2019. and there, indeed, let him name  his name, and tell them plainly he is snug the joiner. quince:  well, it shall be so. but there is two hard things \u2013 that  is, to bring the moonlight into a chamber; for, you know,  pyramus and thisby meet by moonlight. snout:  doth the moon shine that night we play our play? bottom:  a calendar, a calendar! look in the almanack; find out  moonshine, find out moonshine. quince:  y es, it doth shine that night. bottom:  why, then may you leave a casement of the great  chamber window, where we play, open; and the moon  may shine in at the casement. quince:  ay; or else one must come in with a bush of thorns and  a lantern, and say he comes to disfigure or to present  the person of moonshine. then there is another thing:  we must have a wall in the great chamber; for pyramus  and thisby, says the story, did talk through the chink of  a wall. snout:  y ou can never bring in a wall. what say you, bottom? bottom:  some man or other must present wall; and let him have  some plaster, or some loam, or some rough-cast about  him, to signify wall; and let him hold his fingers thus, and  through that cranny shall pyramus and thisby whisper. quince:  if that may be, then all is well. come, sit down, every  mother\u2019s son, and rehearse your parts. pyramus, you  begin; when you have spoken your speech, enter into  that brake; and so every one according to his cue.  enter puck  behind. puck:  what hempen homespuns have we swagg\u2019ring here,  so near the cradle of the fairy queen?  what, a play toward! i\u2019ll be an auditor;  an actor too perhaps, if i see cause. quince:  speak, pyramus. thisby, stand forth. bottom:  thisby, the flowers of odious savours sweet \u2013 quince:  \u2018odious\u2019 \u2013 odorous! bottom:  \u2014 odours savours sweet;  so hath thy breath, my dearest thisby dear.  but hark, a voice! stay thou but here awhile,  and by and by i will to thee appear.  [exit.5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/52/o/n/14 \u00a9 ucles 2014 [turn overpuck:  a stranger pyramus than e\u2019er played here!  [exit. flute:  must i speak now? quince:  ay, marry, must you; for you must understand he goes  but to see a noise that he heard, and is to come again. flute:  most radiant pyramus, most lily-white of hue,  of colour like the red rose on triumphant brier,  most brisky juvenal, and eke most lovely jew,  as true as truest horse, that yet would never tire,  i\u2019ll meet thee, pyramus, at ninny\u2019s tomb. quince:  \u2018ninus\u2019 tomb\u2019, man! why, you must not speak that yet;  that you answer to pyramus. y ou speak all your part at  once, cues and all. pyramus enter: your cue is past; it is  \u2018never tire\u2019. flute:  o \u2013 as true as truest horse, that yet would never tire .  re-enter puck , and bottom  with an ass\u2019s head. bottom:  if i were fair, thisby, i were only thine. quince:  o monstrous! o strange! we are haunted. pray master!  fly, masters! help! [exeunt all but bottom  and puck. puck:  i\u2019ll follow you; i\u2019ll lead you about a round,  through bog, through bush, through brake, through  brier;  sometime a horse i\u2019ll be, sometime a hound,  a hog, a headless bear, sometime a fire;  and neigh, and bark, and grunt, and roar, and burn,  like horse, hound, hog, bear, fire, at every turn.  [exit.  [from act 3 scene 1]     explore the ways in which shakespeare makes this moment so funny. or  14 what do you find memorable about the way shakespeare portrays the changing  fortunes of helena and hermia? support your ideas with details from the play. or  15 y ou are puck, just after transforming bottom\u2019s head into an ass\u2019s head.    write your thoughts.55 60 65 70 75 80",
            "12": "12 0486/52/o/n/14 \u00a9 ucles 2014robert louis stevenson: the strange case of dr jekyll and mr hyde either  16  read this extract, and then answer the question that follows it: \u2018is dr jekyll at home, poole?\u2019 asked the lawyer. \u2018i will see, mr utterson,\u2019 said poole, admitting the visitor, as he spoke,  into a large, low-roofed, comfortable hall, paved with flags, warmed (after  the fashion of a country house) by a bright, open fire, and furnished with  costly cabinets of oak. \u2018will you wait here by the fire, sir? or shall i give  you a light in the dining-room?\u2019 \u2018here, thank you,\u2019 said the lawyer, and he drew near and leaned on  the tall fender. this hall, in which he was now left alone, was a pet fancy  of his friend the doctor\u2019s; and utterson himself was wont to speak of it as  the pleasantest room in london. but to-night there was a shudder in his  blood; the face of hyde sat heavy on his memory; he felt (what was rare  with him) a nausea and distaste of life; and in the gloom of his spirits, he  seemed to read a menace in the flickering of the firelight on the polished  cabinets and the uneasy starting of the shadow on the roof. he was  ashamed of his relief, when poole presently returned to announce that dr  jekyll was gone out. \u2018i saw mr hyde go in by the old dissecting room door, poole,\u2019 he said.  \u2018is that right, when dr jekyll is from home?\u2019 \u2018quite right, mr utterson, sir,\u2019 replied the servant. \u2018mr hyde has a key.\u2019 \u2018y our master seems to repose a great deal of trust in that young man,  poole,\u2019 resumed the other musingly. \u2018y es, sir, he do indeed,\u2019 said poole. \u2018we have all orders to obey him.\u2019 \u2018i do not think i ever met mr hyde?\u2019 asked utterson. \u2018o, dear no, sir. he never dines  here,\u2019 replied the butler. \u2018indeed we  see very little of him on this side of the house; he mostly comes and goes  by the laboratory.\u2019 \u2018well, good night, poole.\u2019 \u2018good night, mr utterson.\u2019 and the lawyer set out homeward with a very heavy heart. \u2018poor harry  jekyll,\u2019 he thought, \u2018my mind misgives me he is in deep waters! he was wild  when he was young; a long while ago to be sure; but in the law of god, there  is no statute of limitations. ay, it must be that; the ghost of some old sin,  the cancer of some concealed disgrace; punishment coming, pede claudo ,  years after memory has forgotten and self-love condoned the fault.\u2019 and the  lawyer, scared by the thought, brooded awhile on his own past, groping in  all the corners of memory, lest by chance some jack-in-the-box of an old  iniquity should leap to light there. his past was fairly blameless; few men  could read the rolls of their life with less apprehension; yet he was humbled  to the dust by the many ill things he had done, and raised up again into a  sober and fearful gratitude by the many that he had come so near to doing,  yet avoided. and then by a return on his former subject, he conceived a  spark of hope. \u2018this master hyde, if he were studied,\u2019 thought he, \u2018must have  secrets of his own: black secrets, by the look of him; secrets compared to  which poor jekyll\u2019s worst would be like sunshine. things cannot continue  as they are. it turns me cold to think of this creature stealing like a thief  to harry\u2019s bedside; poor harry, what a wakening! and the danger of it; for  if this hyde suspects the existence of the will, he may grow impatient to  inherit. ay, i must put my shoulder to the wheel\u2014if jekyll will but let me,\u2019 he  added, \u2018if jekyll will only let me.\u2019 for once more he saw before his mind\u2019s  eye, as clear as a transparency, the strange clauses of the will.  [from chapter 2, \u2018search for mr hyde\u2019]5 10 15 20 25 30 35 40 45 50",
            "13": "13 0486/52/o/n/14 \u00a9 ucles 2014 [turn over   explore the ways in which stevenson vividly reveals the impact mr hyde has made  on mr utterson at this moment in the novel. or  17 \u2018mr hyde is a far more compelling character than dr jekyll.\u2019 do you agree? support  your ideas with details of stevenson\u2019s presentation of both characters. or  18 y ou are dr jekyll. mr utterson has just left your dinner party, having expressed his  concerns about your relationship with mr hyde.    write your thoughts.",
            "14": "14 0486/52/o/n/14 \u00a9 ucles 2014tennessee williams: cat on a hot tin roof either  19  read this extract, and then answer the question that follows it: big daddy:  i got a surprise for those women. i\u2019m not gonna let  it go for a long time yet if that\u2019s what they\u2019re waiting  for. content removed due to copyright restrictions.",
            "15": "15 0486/52/o/n/14 \u00a9 ucles 2014brick:  y es, sir, yes, i know.  [from act 2]    in what ways does williams make this such a dramatic and significant moment in  the play? or  20 how does williams strikingly portray maggie\u2019s feelings on two different occasions in  the play? or  21 y ou are mae, as the birthday party for big daddy is about to begin.    write your thoughts.content removed due to copyright restrictions.",
            "16": "16 0486/52/o/n/14 \u00a9 ucles 2014blank page copyright acknowledgements: question 4  \u00a9 carol ann duffy; prayer , in selected poems ; penguin books ltd; 1994. question 7  \u00a9 helen dunmore; the siege ; penguin books ltd; 2002. question 10  \u00a9 seamus heaney; follower , in ed. jo phillips; poems deep and dangerous ; cambridge university press; 1995. question 19   \u00a9 cat on a hot tin roof  by tennessee williams. copyright \u00a9 1954, 1955, by the university of the south, renewed 1982, 1983 the university of the  south. reprinted by permission of new directions publishing corp and georges borchardt, inc. for the estate of tennessee williams. 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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w14_qp_53.pdf": {
            "1": "this document consists of 15 printed pages, 1 blank page and 1 insert. dc (st) 108678 \u00a9 ucles 2014  [turn overcambridge international examinations cambridge international general certificate of secondary education * 2 2 9 7 4 5 3 2 9 4 *literature (english)  0486/53 paper 5  october/november 2014  45 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/53/o/n/14 \u00a9 ucles 2014answer  one question on any text. jane austen: northanger abbey either  1 read this extract, and then answer the question that follows it: no one who had ever seen catherine morland in her infancy, would have  supposed her born to be an heroine. her situation in life, the character of  her father and mother, her own person and disposition, were all equally  against her. her father was a clergyman, without being neglected, or poor,  and a very respectable man, though his name was richard \u2013 and he had  never been handsome. he had a considerable independence, besides  two good livings \u2013 and he was not in the least addicted to locking up his  daughters. her mother was a woman of useful plain sense, with a good  temper, and, what is more remarkable, with a good constitution. she had  three sons before catherine was born; and instead of dying in bringing  the latter into the world, as anybody might expect,  she still lived on \u2013  lived to have six children more \u2013 to see them growing up around her, and  to enjoy excellent health herself. a family of ten children will be always  called a fine family, where there are heads and arms and legs enough for  the number; but the morlands had little other right to the word, for they  were in general very plain, and catherine, for many years of her life, as  plain as any. she had a thin awkward figure, a sallow skin without colour,  dark lank hair, and strong features; \u2013 so much for her person; \u2013 and not  less unpropitious for heroism seemed her mind. she was fond of all boys\u2019  plays, and greatly preferred cricket not merely to dolls, but to the more  heroic enjoyments of infancy, nursing a dormouse, feeding a canary-bird,  or watering a rose-bush. indeed she had no taste for a garden; and if she  gathered flowers at all, it was chiefly for the pleasure of mischief \u2013 at least  so it was conjectured from her always preferring those which she was  forbidden to take. \u2013 such were her propensities \u2013 her abilities were quite  as extraordinary. she never could learn or understand anything before she  was taught; and sometimes not even then, for she was often inattentive,  and occasionally stupid. her mother was three months in teaching her  only to repeat the \u2018beggar\u2019s petition\u2019, and after all, her next sister, sally,  could say it better than she did. not that catherine was always stupid,  \u2013 by no means; she learnt the fable of \u2018the hare and many friends\u2019, as  quickly as any girl in england. her mother wished her to learn music; and  catherine was sure she should like it, for she was very fond of tinkling the  keys of the old forlorn spinet; so, at eight years old she began. she learnt  a year, and could not bear it; \u2013 and mrs morland, who did not insist on her  daughters being accomplished in spite of incapacity or distaste, allowed  her to leave off. the day which dismissed the music-master was one of  the happiest of catherine\u2019s life. [from chapter 1]   how does austen\u2019s writing make this such an entertaining opening to the novel?5 10 15 20 25 30 35",
            "3": "3 0486/53/o/n/14 \u00a9 ucles 2014 [turn overor 2 explore how austen makes catherine\u2019s expulsion from northanger abbey by general  tilney such a dramatic part of the novel. or 3 y ou are catherine morland, having returned from your trip to blaize castle. y ou have just  discovered that the tilneys did call on you that morning for the planned walk.   write your thoughts.",
            "4": "4 0486/53/o/n/14 \u00a9 ucles 2014carol ann duffy: selected poems either  4 read this poem, and then answer the question that follows it: mean time the clocks slid back an hour and stole light from my life as i walked through the wrong part of town, mourning our love. and, of course, unmendable rain fell to the bleak streets where i felt my heart gnaw at all our mistakes. if the darkening sky could lift more than one hour from this day there are words i would never have said nor have heard you say. but we will be dead, as we know, beyond all light. these are the shortened days and the endless nights.   explore how duffy\u2019s writing creates such a powerfully gloomy atmosphere in this poem. or 5 how does duffy\u2019s writing vividly recreate the atmosphere of a school in either  in mrs  tilscher\u2019s class  or the good teachers ? or 6 how does duffy movingly convey love in miles away  ?5 10 15",
            "5": "5 0486/53/o/n/14 \u00a9 ucles 2014 [turn overturn to page 6 for question 7.",
            "6": "6 0486/53/o/n/14 \u00a9 ucles 2014helen dunmore: the siege either  7 read this extract, and then answer the question that follows it: home. that\u2019s what they both call it now. home isn\u2019t the apartment, or  even the room warmed by the burzhuika.  but now he doesn\u2019t remember the words. she points to them. \u2018what does  that say, kolya? can you remember? and that one?\u2019 [from chapter 21]   in what ways does dunmore\u2019s writing make this passage so moving?content removed due to copyright restrictions.",
            "7": "7 0486/53/o/n/14 \u00a9 ucles 2014 [turn overor 8 how does dunmore strikingly portray anna\u2019s instinct for survival? support your ideas  with details from the novel. or 9 y ou are elizaveta antonovna. y ou have just finished the evacuation of the children from  leningrad.    write your thoughts.",
            "8": "8 0486/53/o/n/14 \u00a9 ucles 2014from jo phillips ed.: poems deep & dangerous either  10 read this poem, and then answer the question that follows it: one flesh lying apart now, each in a separate bed, he with a book, keeping the light on late, she like a girl dreaming of childhood, all men elsewhere \u2013 it is as if they wait some new event: the book he holds unread, her eyes fixed on the shadows overhead. tossed up like flotsam from a former passion, how cool they lie. they hardly ever touch, or if they do it is like a confession of having little feeling \u2013 or too much. chastity faces them, a destination for which their whole lives were a preparation. strangely apart, yet strangely close together, silence between them like a thread to hold and not wind in. and time itself\u2019s a feather touching them gently. do they know they\u2019re old, these two who are my father and my mother whose fire from which i came, has now grown cold? (by elizabeth jennings )   how does jennings make this poem so moving? or 11 how does laskey memorably convey the speaker\u2019s feelings in registers ? or 12 explore the ways in which the poet memorably depicts the relationship between a parent  and child in one of the following poems:   follower  (by seamus heaney)   the gift  (by chris banks)5 10 15",
            "9": "9 0486/53/o/n/14 \u00a9 ucles 2014 [turn overturn to page 10 for question 13.",
            "10": "10 0486/53/o/n/14 \u00a9 ucles 2014william shakespeare:  a midsummer night\u2019s dream either  13 read this extract, and then answer the question that follows it:   enter oberon  at one door, with his train, and titania ,  at another, with hers. oberon:  ill met by moonlight, proud titania. titania: \t what, jealous oberon! fairies, skip hence;   i have forsworn his bed and company. oberon: \t tarry, rash wanton; am not i thy lord? titania: \t then i must be thy lady; but i know   when thou hast stolen away from fairy land,   and in the shape of corin sat all day,   playing on pipes of corn, and versing love   to amorous phillida. why art thou here,   come from the farthest steep of india,   but that, forsooth, the bouncing amazon,   y our buskin\u2019d mistress and your warrior love,   to theseus must be wedded, and you come   to give their bed joy and prosperity? oberon: \t how canst thou thus, for shame, titania,   glance at my credit with hippolyta,   knowing i know thy love to theseus?   didst not thou lead him through the glimmering night   from perigouna, whom he ravished?   and make him with fair \u00e6gles break his faith,   with ariadne and antiopa? titania: \t these are the forgeries of jealousy;   and never, since the middle summer\u2019s spring,   met we on hill, in dale, forest, or mead,   by paved fountain, or by rushy brook,   or in the beached margent of the sea,   to dance our ringlets to the whistling wind,   but with thy brawls thou hast disturb\u2019d our sport.   therefore the winds, piping to us in vain,   as in revenge, have suck\u2019d up from the sea   contagious fogs; which, falling in the land,   hath every pelting river made so proud   that they have overborne their continents.   the ox hath therefore stretch\u2019d his yoke in vain,   the ploughman lost his sweat, and the green corn   hath rotted ere his youth attain\u2019d a beard;   the fold stands empty in the drowned field,   and crows are fatted with the murrion flock;   the nine men\u2019s morris is fill\u2019d up with mud,   and the quaint mazes in the wanton green,   for lack of tread, are undistinguishable.   the human mortals want their winter here;   no night is now with hymn or carol blest;   therefore the moon, the governess of floods,   pale in her anger, washes all the air,   that rheumatic diseases do abound.   and thorough this distemperature we see   the seasons alter: hoary-headed frosts5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/53/o/n/14 \u00a9 ucles 2014 [turn over  fall in the fresh lap of the crimson rose;   and on old hiems\u2019 thin and icy crown   an odorous chaplet of sweet summer buds   is, as in mockery, set. the spring, the summer,   the childing autumn, angry winter, change   their wonted liveries; and the mazed world,   by their increase, now knows not which is which.   and this same progeny of evils comes   from our debate, from our dissension;   we are their parents and original. oberon: \t do you amend it, then; it lies in you.   why should titania cross her oberon?   i do but beg a little changeling boy   to be my henchman. titania:   set your heart at rest;   the fairy land buys not the child of me. [from act 2 scene 1]   in what ways does shakespeare dramatically convey the conflict between oberon and  titania at this moment in the play? or 14 select two moments from the play which you find particularly amusing, and explore  how shakespeare makes them so amusing. (do not use the passage in question 13 in  answering this question.) or 15 y ou are helena. y ou are about to be married to demetrius.   write your thoughts.55 60 65",
            "12": "12 0486/53/o/n/14 \u00a9 ucles 2014robert louis stevenson:  the strange case of dr jekyll and mr hyde either  16 read this extract, and then answer the question that follows it: nearly a year later, in the month of october 18\u2014, london was startled  by a crime of singular ferocity and rendered all the more notable by  the high position of the victim. the details were few and startling.   a maid servant living alone in a house not far from the river, had gone  upstairs to bed about eleven. although a fog rolled over the city in the  small hours, the early part of the night was cloudless, and the lane, which  the maid\u2019s window overlooked, was brilliantly lit by the full moon. it seems  she was romantically given, for she sat down upon her box, which stood  immediately under the window, and fell into a dream of musing. never (she  used to say, with streaming tears, when she narrated that experience)  never had she felt more at peace with all men or thought more kindly of  the world. and as she so sat she became aware of an aged and beautiful  gentleman with white hair, drawing near along the lane; and advancing to  meet him, another and very small gentleman, to whom at first she paid  less attention. when they had come within speech (which was just under  the maid\u2019s eyes) the older man bowed and accosted the other with a  very pretty manner of politeness. it did not seem as if the subject of his  address were of great importance; indeed, from his pointing, it sometimes  appeared as if he were only inquiring his way; but the moon shone on  his face as he spoke, and the girl was pleased to watch it, it seemed  to breathe such an innocent and old-world kindness of disposition, yet  with something high too, as of a well-founded self-content. presently her  eye wandered to the other, and she was surprised to recognise in him  a certain mr hyde, who had once visited her master and for whom she  had conceived a dislike. he had in his hand a heavy cane, with which he  was trifling; but he answered never a word, and seemed to listen with an  ill-contained impatience. and then all of a sudden he broke out in a great  flame of anger, stamping with his foot, brandishing the cane, and carrying  on (as the maid described it) like a madman. the old gentleman took a  step back, with the air of one very much surprised and a trifle hurt; and at  that mr hyde broke out of all bounds and clubbed him to the earth. and  next moment, with ape-like fury, he was trampling his victim under foot,  and hailing down a storm of blows, under which the bones were audibly  shattered and the body jumped upon the roadway. at the horror of these  sights and sounds, the maid fainted. it was two o\u2019clock when she came to herself and called for the police.  the murderer was gone long ago; but there lay his victim in the middle  of the lane, incredibly mangled. the stick with which the deed had been  done, although it was of some rare and very tough and heavy wood, had  broken in the middle under the stress of this insensate cruelty; and one  splintered half had rolled in the neighbouring gutter\u2014the other, without  doubt, had been carried away by the murderer. a purse and a gold watch  were found upon the victim; but no cards or papers, except a sealed and  stamped envelope, which he had been probably carrying to the post,   and which bore the name and address of mr utterson. [from chapter 4, \u2018the carew murder case\u2019]   how does stevenson\u2019s writing vividly convey mr hyde\u2019s evil nature at this moment in   the novel?5 10 15 20 25 30 35 40 45",
            "13": "13 0486/53/o/n/14 \u00a9 ucles 2014 [turn overor 17 in what ways does stevenson vividly portray dr jekyll\u2019s torment at being two people  in one? support your ideas with details from the novel. or 18 y ou are mr utterson. y ou have just read \u2018\u2018henry jekyll\u2019s full statement of the case\u2019\u2019.   write your thoughts.",
            "14": "14 0486/53/o/n/14 \u00a9 ucles 2014tennessee williams:  cat on a hot tin roof either  19 read this extract, and then answer the question that follows it:   [big daddy  goes over and touches brick\u2019s  shoulder. ] big daddy:  y es, son. brick, boy. \u2013 i\u2019m \u2013 happy! i\u2019m happy, son, i\u2019m happy!    content removed due to copyright restrictions.",
            "15": "15 0486/53/o/n/14 \u00a9 ucles 2014big daddy: \tnaw, it won\u2019t. y ou\u2019re my son, and i\u2019m going to straighten you  out; now that i\u2019m straightened out, i\u2019m going to straighten  you out! [from act 2]   how does williams make this moment in the play so moving and revealing? or 20 explore the ways in which williams vividly depicts the husband-wife relationship of one  of the married couples in the play. or 21 y ou are big mama. y ou have just heard that there is nothing seriously wrong with big  daddy.   write your thoughts.content removed due to copyright restrictions.",
            "16": "16 0486/53/o/n/14 \u00a9 ucles 2014copyright acknowledgements: question 4  \u00a9  carol ann duffy;  mean time , in selected poems ;  penguin books ltd;  1994. question 7  \u00a9  helen dunmore;  the siege ;  penguin books ltd;  2002. question 10  \u00a9  elizabeth jennings;  one flesh , in ed. jo phillips;  poems deep and dangerous ;  cambridge university press;  1995. question 19  \u00a9  cat on a hot tin roof   by tennessee williams.  copyright \u00a9  1954, 1955, by the university of the south, renewed 1982, 1983   the university of the south.  reprinted by permission of new directions publishing corp and georges borchardt, inc. for the estate     of tennessee williams.  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. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        }
    },
    "2015": {
        "0486_m15_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc rcl (jda) 93979/4 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *3984384698*literature (english)  0486/12 paper 1 poetry and prose february/march 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/12/f/m/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/12/f/m/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy:  selected poems   1, 2 pages 4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages 8\u20139 songs of ourselves: from part 4   5, 6 pages  10\u201311 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 12\u201313 tsitsi dangarembga: nervous conditions   9, 10 pages 14\u201315 anita desai: fasting, feasting 11, 12  pages 16\u201317 helen dunmore: the siege 13, 14 pages 18\u201319 george eliot: silas marner 15, 16 pages 20\u201321 susan hill: i\u2019m the king of the castle 17, 18 pages 22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20 pages 24\u201325 from stories of ourselves 21, 22 pages 26\u201327",
            "4": "4 0486/12/f/m/15 \u00a9 ucles 2015section a: poetry answer one question from this section. thomas hardy:  selected poems remember to support your ideas with details from the writing. either 1 explore the ways in which hardy creates a vivid picture of the natural world in either   the darkling thrush  or the convergence of the twain . the darkling thrush i leant upon a coppice gate  when frost was spectre-gray,and winter\u2019s dregs made desolate the weakening eye of day.the tangled bine-stems scored the sky like strings of broken lyres,and all mankind that haunted nigh had sought their household fires. the land\u2019s sharp features seemed to be  the century\u2019s corpse outleant,his crypt the cloudy canopy, the wind his death-lament.the ancient pulse of germ and birth was shrunken hard and dry,and every spirit upon earth seemed fervourless as i. at once a voice arose among  the bleak twigs overheadin a full-hearted evensong of joy illimited;an aged thrush, frail, gaunt, and small, in blast-beruffled plume,had chosen thus to fling his soul upon the growing gloom. so little cause for carolings  of such ecstatic soundwas written on terrestrial things afar or nigh around,that i could think there trembled through his happy good-night airsome blessed hope, whereof he knew and i was unaware.5 10 15 2025 30",
            "5": "5 0486/12/f/m/15 \u00a9 ucles 2015 [turn overthe convergence of the twain (lines on the loss of the \u2018titanic\u2019  ) i in a solitude of the seadeep from human vanity, and the pride of life that planned her, stilly couches she. ii steel chambers, late the pyresof her salamandrine fires, cold currents thrid, and turn to rhythmic tidal lyres. iii over the mirrors meantto glass the opulent the sea-worm crawls \u2013 grotesque, slimed, dumb, indifferent. iv jewels in joy designedto ravish the sensuous mind lie lightless, all their sparkles bleared and black and blind. v dim moon-eyed fishes neargaze at the gilded gear and query: \u2018what does this vaingloriousness down here?\u2019 \u2026 vi well: while was fashioningthis creature of cleaving wing, the immanent will that stirs and urges everything vii prepared a sinister matefor her \u2013 so gaily great \u2013 a shape of ice, for the time far and dissociate. viii and as the smart ship grewin stature, grace, and hue, in shadowy silent distance grew the iceberg too. ix alien they seemed to be:no mortal eye could see the intimate welding of their later history, x or sign that they were bentby paths coincident on being anon twin halves of one august event, xi till the spinner of the y earssaid \u2018now!\u2019 and each one hears, and consummation comes, and jars two hemispheres.5 10 15 20 25 30",
            "6": "6 0486/12/f/m/15 \u00a9 ucles 2015or 2 read this poem, and then answer the question that follows it: neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god,and a few leaves lay on the starving sod; \u2013 they had fallen from an ash, and were gray. y our eyes on me were as eyes that rove over tedious riddles of years ago;and some words played between us to and fro on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die;and a grin of bitterness swept thereby like an ominous bird a-wing \u2026 since then, keen lessons that love deceives, and wrings with wrong, have shaped to mey our face, and the god-curst sun, and a tree, and a pond edged with grayish leaves.   how do hardy\u2019s words and images make the poem neutral tones  so sad?5 1015",
            "7": "7 0486/12/f/m/15 \u00a9 ucles 2015 [turn overturn over for question 3.",
            "8": "8 0486/12/f/m/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: poem for my sister my little sister likes to try my shoes, to strut in them,admire her spindle-thin twelve-year-old legsin this season\u2019s styles.she says they fit her perfectly,but wobbleson their high heels, they\u2019rehard to balance. i like to watch my little sister playing hopscotch, admire the neat hops-and-skips of her,their quick peck,never-missing their mark, notover-stepping the line.she is competent at peever. i try to warn my little sister about unsuitable shoes,point out my own distorted feet, the callouses,odd patches of hard skin.i should not like to see herin my shoes.i wish she could staysure footed, sensibly shod. (liz lochhead)   how does lochhead vividly convey her feelings about her sister in  poem for my sister ?5 1015 20",
            "9": "9 0486/12/f/m/15 \u00a9 ucles 2015 [turn overor 4 in what ways does shakespeare powerfully portray ideas about love in the marriage of  true minds ? the marriage of true minds let me not to the marriage of true minds admit impediments. love is not lovewhich alters when it alteration finds,or bends with the remover to remove:o, no! it is an ever-fix\u00e8d mark,that looks on tempests and is never shaken;it is the star to every wandering bark,whose worth\u2019s unknown, although his height be taken.love\u2019s not time\u2019s fool, though rosy lips and cheekswithin his bending sickle\u2019s compass come;love alters not with his brief hours and weeks,but bears it out even to the edge of doom.if this be error, and upon me prov\u2019d,i never writ, nor no man ever lov\u2019d.  ( william shakespeare )5 10",
            "10": "10 0486/12/f/m/15 \u00a9 ucles 2015songs of ourselves:  from part 4 remember to support your ideas with details from the writing. either 5  read this poem, and then answer the question that follows it: a different history great pan is not dead; he simply emigrated   to india.here, the gods roam freely,disguised as snakes or monkeys;every tree is sacredand it is a sinto be rude to a book.it is a sin to shove a book aside      with your foot,a sin to slam books down   hard on a table,a sin to toss one carelessly   across a room.y ou must learn how to turn the pages gentlywithout disturbing sarasvati,without offending the treefrom whose wood the paper was made.    which language    has not been the oppressor\u2019s tongue?   which language   truly meant to murder someone?   and how does it happen   that after the torture,   after the soul has been cropped   with a long scythe swooping out   of the conqueror\u2019s face \u2013   the unborn grandchildren   grow to love that strange language.  ( sujata bhatt )   explore the ways in which bhatt vividly conveys feelings about oppression in a different  history .5 1015 20 25",
            "11": "11 0486/12/f/m/15 \u00a9 ucles 2015 [turn overor 6 how does rossetti strikingly express the speaker\u2019s state of mind in the poem  the woodspurge ? the woodspurge the wind flapped loose, the wind was still, shaken out dead from tree and hill:i had walked on at the wind\u2019s will, \u2013i sat now, for the wind was still. between my knees my forehead was, \u2013 my lips, drawn in, said not alas!my hair was over in the grass,my naked ears heard the day pass. my eyes, wide open, had the run of some ten weeds to fix upon;among those few, out of the sun,the woodspurge flowered, three cups in one. from perfect grief there need not be wisdom or even memory:one thing then learnt remains to me, \u2013the woodspurge has a cup of three.  ( dante gabriel rossetti  )5 1015",
            "12": "12 0486/12/f/m/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: \u201chave you ever read udolpho, mr. thorpe?\u201d \u201cudolpho! oh, lord! not i; i never read novels; i have some thing else  to do.\u201d catherine, humbled and ashamed, was going to apologise for her  question, but he prevented her by saying, \u201cnovels are all so full of nonsense and stuff; there has not been a tolerably decent one come out since tom jones, except the monk; i read that t\u2019other day; but as for all the others, they are the stupidest things in creation.\u201d \u201ci think you must like udolpho, if you were to read it; it is so very  interesting.\u201d \u201cnot i, faith! no, if i read any it shall be mrs. radcliff\u2019s; her novels  are amusing enough; they are worth reading; some fun and nature in them .\u201d \u201cudolpho was written by mrs. radcliff,\u201d said catherine, with some  hesitation, from the fear of mortifying him. \u201cno sure; was it? aye, i remember, so it was; i was thinking of that  other stupid book, written by that woman they make such a fuss about, she who married the french emigrant.\u201d \u201ci suppose you mean camilla?\u201d\u201cy es, that\u2019s the book; such unnatural stuff!\u2014an old man playing at  see-saw! i took up the first volume once and looked it over, but i soon found it would not do; indeed i guessed what sort of stuff it must be before i saw it: as soon as i heard she had married an emigrant, i was sure i should never be able to get through it.\u201d \u201ci have never read it.\u201d\u201cy ou had no loss i assure you; it is the horridest nonsense you  can imagine; there is nothing in the world in it but an old man\u2019s playing at see-saw and learning latin; upon my soul there is not.\u201d this critique, the justness of which was unfortunately lost on poor  catherine, brought them to the door of mrs. thorpe\u2019s lodgings, and the feelings of the discerning and unprejudiced reader of camilla gave way to the feelings of the dutiful and affectionate son, as they met mrs. thorpe, who had descried them from above, in the passage. \u201cah, mother! how do you do?\u201d said he, giving her a hearty shake of the hand: \u201cwhere did you get that quiz of a hat, it makes you look like an old witch? here is morland and i come to stay a few days with you, so you must look out for a couple of good beds some where near.\u201d and this address seemed to satisfy all the fondest wishes of the mother\u2019s heart, for she received him with the most delighted and exulting affection. on his two younger sisters he then bestowed an equal portion of his fraternal tenderness, for he asked each of them how they did, and observed that they both looked very ugly.  [ from chapter 7 ]5 10152025303540",
            "13": "13 0486/12/f/m/15 \u00a9 ucles 2015 [turn over  how does austen\u2019s writing entertainingly portray john thorpe at this moment in the  novel? or 8 to what extent does austen\u2019s writing persuade you that catherine deserves to marry  henry tilney?",
            "14": "14 0486/12/f/m/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: \u2018but, mother,\u2019 i protested mildly, wanting to stop the conversation  because nyasha was with us. \u2018but mother, maiguru was only speaking plainly, telling us what she thinks.\u2019 \u2018and why does she think differently from the rest of us? she thinks  she is different. she thinks she\u2019s perfect so she can do what she likes. first she kills my son \u2013\u2019 \u2018mother!\u2019 i gasped and turned to nyasha before i could stop myself,  and wished i hadn\u2019t, because i did not want nyasha to see the shame in my eyes. nor did i want to see the pain and confusion in hers. \u2018sisi!\u2019 remonstrated lucia, \u2018contain yourself! why do you want to hurt  yourself by saying such painful things? especially when you know they are not true!\u2019 but my mother was in a bad way and there was no holding her. the  things that were coming out had been germinating and taking root in her mind for a long time. \u2018ha! y ou!\u2019 mocked my mother, raving at her sister. \u2018y ou think you  can tell me to contain myself, you! he-he-e-e! now this is something to make a woman laugh! when, lucia, just tell me, when, did you ever contain yourself? do you even know what it means, you who were in the blankets with my husband the moment you arrived? and with takesure. y ou were probably there, the three of you together, jeremiah having his ride, enjoying himself, and then takesure, and so it carried on. so don\u2019t tell me about containing myself. y ou know nothing about it.\u2019 we thought she had finished, but she was only pausing to breathe. \u2018and anyway,\u2019 she continued, \u2018in what way am i not restraining myself? i am only saying what i think, just like she did. she did tell us, didn\u2019t she, what she thinks, and did anyone say anything! no. why not? because maiguru is educated. that\u2019s why you all kept quiet. because she\u2019s rich and comes here and flashes her money around, so you listen to her as though you want to eat the words that come out of her mouth. but me, i\u2019m not educated, am i? i\u2019m just poor and ignorant, so you want me to keep quiet, you say i mustn\u2019t talk. ehe! i am poor and ignorant, that\u2019s me, but i have a mouth and it will keep on talking, it won\u2019t keep quiet. today i have said it and i am saying it again: she is a witch, a witch. have you heard me properly? she-is-a-witch. she steals other women\u2019s children because she could only produce two of her own, and you can\u2019t call those two people. they\u2019re a disgrace to decent parents, except that maiguru is not decent because first she killed my son and now she has taken tambudzai away from me. oh, yes, tambudzai. do you think i haven\u2019t seen the way you follow her around,\u2019 she spat at me fiercely, \u2018doing all her dirty work for her, anything she says? y ou think your mother is so stupid she won\u2019t see maiguru has turned you against me with her money and her white ways? y ou think i am dirt now, me, your mother. just the other day you told me that my toilet is dirty. \u201cit disgusts me,\u201d that\u2019s what you said. if it is meat you want that i cannot provide for you, if you are so greedy you would betray your own mother for meat, then go to your maiguru. she will give you meat. i will survive on vegetables as we all used to do. and we have survived, so what more do you want? y ou have your life. go to your maiguru and 5 1015202530354045",
            "15": "15 0486/12/f/m/15 \u00a9 ucles 2015 [turn overeat sausage.\u2019 and she sat there with her arms tightly folded across  her chest, her mouth thrust out in a defiant pout, defying us to change her mind.  [ from chapter 7 ]   how does dangarembga make this a powerful moment in the novel? or 10 explore the ways in which dangarembga strikingly presents nervous conditions in two  characters in the novel.50",
            "16": "16 0486/12/f/m/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: \u2018come, come,\u2019 uma cries. \u2018come up here. mama, papa, look who has  come!\u2019 mama and papa are looking, but with such pinched expressions, such  tight-lipped disapproval, that it is clear they do not share uma\u2019s delight in seeing the black sheep of the family who has the bad manners to turn up without notice. both the parents draw their feet together as if to avoid a gutter that runs too close. but ramu beams at them as if he does not recognise the signs of a  cold welcome, or is entirely used to them and accepting of them. he has a club foot and wears an orthopaedic boot to steady him so he clomps across the terrace towards them. the bag weighs him down at one arm so his progress is slow. uma rushes to take it from him. \u2018no, no,\u2019 he says, slapping her hand away. \u2018ladies cannot carry bags  for gents.\u2019 she titters with pleasure: ladies! gents! \u2018shall i get some tea?\u2019 she  asks eagerly. \u2018we have just finished tea,\u2019 mama says, unsticking her lips with some  difficulty. \u2018y ou will have to order more.\u2019 \u2018i will get it,\u2019 uma volunteers cheerfully, and lifts the teapot by its  handle, swinging it so that she nearly knocks the spout off against the swing. \u2018be careful , uma,\u2019 mama snaps. when she leaves, there is silence for a bit because both parents seem  to have decided to use silence as a weapon against an unwelcome guest and insufficiently respectful nephew. in that silence, ramu lowers himself into a creaking basket chair and spreads out his legs and throws back his head. a mynah on the neem tree that overhangs the terrace is watching his movements and lets out a series of whistles as if in comment upon them. ramu-bhai returns a whistle to it. \u2018thirty-six hours on the train \u2013 third class,\u2019 he tells them. \u2018i feel i\u2019m  made of soot.\u2019 he slaps at his thighs and shoulders to show them what he means. then he stamps his orthopaedic boot and more dust flies. the mynah takes off with a squawk of alarm. mama looks as if she would like to do so too. her lips have narrowed  till they almost disappear into her chin. \u2018and where are you coming from?\u2019 she asks. \u2018bombay?\u2019 \u2018oh no, i have been travelling all over. i went to trivandrum with a  friend. his guru lives there and was having a birthday celebration at his ashram, but the food was so awful , i left him to it and went on my own to  cochin. it was much better \u2013 a port, sailors coming off the boats, everyone having a whale of a time. then i took the boat to goa where i ran into \u2013\u2019 \u2018y ou need a bath,\u2019 mama interrupts.\u2018oh, i need a long, hot bath. in good time. but first tea, please, tea!\u2019uma is hurrying back with a refilled pot. she is humming. \u2018i\u2019ve told  cook to heat some bath water,\u2019 she cries, \u2018and he is going to make puris for breakfast.\u2019 \u2018puris for breakfast?\u2019 papa exclaims, breaking his silence. \u2018puris?  puris? did you say puris?\u2019 the words explode from him with both 5 1015202530354045",
            "17": "17 0486/12/f/m/15 \u00a9 ucles 2015 [turn overexcitement and horror: it is what they have on special occasions. uma  must be out of her mind if she thinks this is one. uma looks at him, then at mama. \u2018we haven\u2019t had any for so long,\u2019 she  says apologetically. \u2018ramu has come after such a long time \u2013\u2019 ramu beams at her as she bends to pour his tea. \u2018y es, but i will stay a  long time to make up for that,\u2019 he assures her and, in the manner in which he glances at his elderly relatives, it is hard not to detect a certain mischief. certainly they believe it is out of mischief that he uses up all the hot  water in the hamam for his bath, then asks if there aren\u2019t any chops or cutlets for breakfast in addition to the puris, and insists on telling them ribald stories about respected aunts and uncles that neither mama or papa want to hear, till he falls asleep on the divan in the drawing room and lies there all morning without thought for the guests that might drop in \u2013 even if they do not. in the evening, instead of settling down on the veranda to play a game of cards with his uncle and aunt, he shows a restlessness that is almost like a physical itch. he clumps up and down the terrace in his heavy boots, with a tense air, clasping and unclasping his hands behind his back, now and then running his fingers through his hair and making it stand on end, wiry and streaked with premature grey.  [ from chapter 5 ]   how does desai make this moment in the novel so amusing? or 12 explore two moments in the novel in which desai most vividly conveys to you some of  the difficulties of family life.   (do not use the extract printed in question 11 in answering this question.)50 556065",
            "18": "18 0486/12/f/m/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: the sacks of flour are tightly packed, but even so they judder as the trucks  judder. these are not sacks of flour, but days of life. if a truck rolls into a  crevasse, this number of people will die. if a truck gets through, this number will live. kolya will grab his bread. anna will give it to him bit by bit, to make sure that he chews it properly instead of swallowing it like a dog. he must chew, in order to extract every morsel of goodness from the bread. she will smear it with a few drops of the sunflower oil she bartered for her mother\u2019s sheepskin coat. kolya\u2019s whole life is in his mouth. the bread queue surges. it\u2019s arrived, the bread which is still called  bread even when it\u2019s mostly cellulose and warehouse sweepings. the smell of it drifts out as if from the lips of heaven. in front of anna the woman in the fox-furs begins to cry and laugh, crossing herself over and over. she had believed there would be no bread today. that today the ration would simply cease to be. it would disappear, like the last little circle of water that a wild duck struggles to keep open in winter, by constantly swimming round and round in the same spot. anna shuffles forward, feeling for the ration cards where they lie in the  secret pocket she has sewn into the lining of her coat. she won\u2019t take the cards out until the moment when she\u2019s at the head of the queue. ration cards are not like gold: they are so far above gold that you can\u2019t even make the comparison. before she even picks up her bread, she\u2019ll hide the cards again. if there are thieves about, better lose one day\u2019s ration than the cards. y ou can survive a day without bread, just about, but you can\u2019t survive without ration cards until the end of the month. she and marina have discussed over and over again the risks of anna collecting the rations for the whole family. what if she fainted, and was robbed of the cards? it would be safer if she and marina went together. but someone must stay with her father, and kolya. and although anna doesn\u2019t say it, she knows she is now the only one with the strength for the daily walk to the bakery, and for hours of queuing. marina\u2019s cough is bad. anna prepares for her daily walk to the bakery as carefully as a  marathon runner. she eats the quarter-slice of bread she has saved from her ration, and tucks another quarter-slice into her pocket to eat if she begins to feel dizzy. she drinks a glass of hot water with a pinch of salt. she warms her jacket, coat, gloves and scarf at the burzhuika   before putting them on. she heats foot-cloths, wraps them around her feet, and then puts on her father\u2019s felt boots. she does everything slowly, according to a set pattern. whenever her heart beats too fast, she stops, and rests. she always takes her father\u2019s cherry-wood walking-stick to the bread  queue. if she slipped on the uncleared ice and snow, she might never be able to get up again. and besides, the solidity of the stick in her hand is good. if someone tried to rob her, she would hit them with it. she\u2019s seen people grappling in the snow, fighting in slow-motion over a crust of bread.  [ from chapter 20  ]5 1015202530354045",
            "19": "19 0486/12/f/m/15 \u00a9 ucles 2015 [turn over  how does dunmore\u2019s writing convey vivid impressions of life in siege conditions at this  moment in the novel? or 14 explore how dunmore powerfully portrays love in one relationship in the novel.",
            "20": "20 0486/12/f/m/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: \u2018y ou won\u2019t be giving me away, father,\u2019 she had said before they went to  church; \u2018you\u2019ll only be taking aaron to be a son to you.\u2019 dolly winthrop walked behind with her husband; and there ended the  little bridal procession. there were many eyes to look at it, and miss priscilla lammeter was  glad that she and her father had happened to drive up to the door of the red house just in time to see this pretty sight. they had come to keep nancy company today, because mr cass had had to go away to lytherley, for special reasons. that seemed to be a pity, for otherwise he might have gone, as mr crackenthorp and mr osgood certainly would, to look on at the wedding-feast which he had ordered at the rainbow, naturally feeling a great interest in the weaver who had been wronged by one of his own family. \u2018i could ha\u2019 wished nancy had had the luck to find a child like that and  bring her up,\u2019 said priscilla to her father, as they sat in the gig; \u2018i should ha\u2019 had something young to think of then, besides the lambs and the calves.\u2019 \u2018y es, my dear, yes,\u2019 said mr lammeter; \u2018one feels that as one gets  older. things look dim to old folks: they\u2019d need have some young eyes about \u2019em, to let \u2019em know the world\u2019s the same as it used to be.\u2019 nancy came out now to welcome her father and sister; and the  wedding group had passed on beyond the red house to the humbler part of the village. dolly winthrop was the first to divine that old mr macey, who had been  set in his armchair outside his own door, would expect some special notice as they passed, since he was too old to be at the wedding feast. \u2018mr macey\u2019s looking for a word from us,\u2019 said dolly; \u2018he\u2019ll be hurt if we  pass him and say nothing \u2013 and him so racked with rheumatiz.\u2019 so they turned aside to shake hands with the old man. he had looked  forward to the occasion, and had his premeditated speech. \u2018well, master marner,\u2019 he said, in a voice that quavered a good deal,  \u2018i\u2019ve lived to see my words come true. i was the first to say there was no harm in you, though your looks might be again\u2019 you; and i was the first to say you\u2019d get your money back. and it\u2019s nothing but rightful as you should. and i\u2019d ha\u2019 said the \u201camens,\u201d and willing, at the holy matrimony; but tookey\u2019s done it a good while now, and i hope you\u2019ll have none the worse luck.\u2019 in the open yard before the rainbow, the party of guests were already  assembled, though it was still nearly an hour before the appointed feast-time. but by this means they could not only enjoy the slow advent of their pleasure; they had also ample leisure to talk of silas marner\u2019s strange history, and arrive by due degrees at the conclusion that he had brought a blessing on himself by acting like a father to a lone motherless child. even the farrier did not negative this sentiment: on the contrary, he took it up as peculiarly his own, and invited any hardy person present to contradict him. but he met with no contradiction; and all differences among the company were merged in a general agreement with mr snell\u2019s sentiment, that when a man had deserved his good luck, it was the part of his neighbours to wish him joy.5 1015202530354045",
            "21": "21 0486/12/f/m/15 \u00a9 ucles 2015 [turn overas the bridal group approached, a hearty cheer was raised in  the rainbow yard; and ben winthrop, whose jokes had retained their acceptable flavour, found it agreeable to turn in there and receive congratulations; not requiring the proposed interval of quiet at the stone-pits before joining the company. eppie had a larger garden than she had ever expected there now;  and in other ways there had been alterations at the expense of mr cass, the landlord, to suit silas\u2019s larger family. for he and eppie had declared that they would rather stay at the stone-pits than go to any new home. the garden was fenced with stones on two sides, but in front there was an open fence, through which the flowers shone with answering gladness, as the four united people came within sight of them. \u2018o father,\u2019 said eppie, \u2018what a pretty home ours is! i think nobody could  be happier than we are.\u2019  [ from \u2018conclusion\u2019  ]   how does eliot\u2019s writing make this such a satisfying ending to the novel? or 16 to what extent does eliot\u2019s writing encourage you to sympathise with godfrey cass?50 5560",
            "22": "22 0486/12/f/m/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: \u2018do you want to see something else now?\u2019 \u2018y es.\u2019\u2018something i bet you\u2019ve never seen before.\u2019\u2018o.k.\u2019\u2018y ou might not like it, though.\u2019\u2018why?\u2019\u2018y ou might be scared.\u2019fielding looked surprised. he said, \u2018i\u2019m not frightened of much.\u2019  hooper paused, looking into his face, trying to make up his mind if this was the truth. he had not yet got the measure of fielding, had not met anyone so honest about himself, and able to say and do anything at all. \u2018kingshaw\u2019s scared of them.\u2019at once, fielding turned back. \u2018we won\u2019t go then, if you don\u2019t want to.  it\u2019s o.k.\u2019 kingshaw stood apart from them, hands in his pockets, proud and at  the same time scornful of fielding\u2019s kindness. \u2018i don\u2019t care what you do.\u2019\u2018is it something alive?\u2019\u2018no,\u2019 hooper said, \u2018they\u2019re dead things.\u2019\u2018oh, well, i don\u2019t mind that. i don\u2019t mind anything much. only \u2026\u2019 \u2018look, i\u2019ve said i don\u2019t care, haven\u2019t i? it doesn\u2019t bother me what you  do with him,\u2019 kingshaw spoke furiously, resenting everything about the way fielding was, with hooper. inside the red room, fielding said, \u2018hey \u2013 it\u2019s butterflies! great!\u2019\u2018moths,\u2019 hooper said, \u2018moths are different. they\u2019re better than  butterflies.\u2019 fielding was peering down eagerly into the first case. \u2018i can see them  properly, now. i can see all the hairs on their bodies.\u2019 kingshaw stiffened.\u2018my grandfather collected these. he was world-famous, he wrote  books and things about them. they\u2019re worth thousands of pounds.\u2019 \u2018liar.\u2019hooper turned on kingshaw. \u2018y ou just stuff it, scaredy. y ou don\u2019t know  anything.\u2019 at once, fielding glanced round, anxiously. kingshaw re fused to meet  his eye. hooper was moving over to the display cases, looking closely at fielding\u2019s face again. \u2018dare you touch  one?\u2019 fielding looked puzzled. \u2018y es. they\u2019re only dead things. they can\u2019t  hurt you.\u2019 \u2018go on then.\u2019\u2018it\u2019s locked, though.\u2019\u2018no, it isn\u2019t, you can lift the lid up.\u2019\u2018wouldn\u2019t they get damaged? we might get into trouble.\u2019\u2018i dare touch one. i lifted one out, once.\u2019 \u2018oh.\u2019fielding had walked to the next case. from the doorway, watching  them, kingshaw thought, hooper believes him, he isn\u2019t going to make him open the case and put his hand on one, he isn\u2019t going to make him 5 1015202530354045",
            "23": "23 0486/12/f/m/15 \u00a9 ucles 2015 [turn overprove it, he just believes him. that\u2019s the way fielding is, that\u2019s the way you  should be. it had been different with him. hooper had known, from the very first  moment he had looked into fielding\u2019s face, that it would all be easy, that he would always be able to make him afraid. why, thought kingshaw, why ?  his eyes suddenly pricked with tears, at the unfairness of it. why?  [ from chapter 16  ]   how does hill\u2019s writing make the changing relationship between the boys so compelling  at this moment in the novel? or 18 explore some of the ways in which hill makes dead creatures significant in i\u2019m the king  of the castle .   (do not use the extract printed in question 17 in answering this question.)50",
            "24": "24 0486/12/f/m/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: this person (who had thus, from the first moment of his entrance,  struck in me what i can only describe as a disgustful curiosity) was dressed in a fashion that would have made an ordinary person laughable: his clothes, that is to say, although they were of rich and sober fabric, were enormously too large for him in every measurement\u2013\u2013 the trousers hanging on his legs and rolled up to keep them from the ground, the waist of the coat below his haunches, and the collar sprawling wide upon his shoulders. strange to relate, this ludicrous accoutrement was far from moving me to laughter. rather, as there was something abnormal and misbegotten in the very essence of the creature that now faced me\u2013\u2013something seizing, surprising and revolting\u2013\u2013this fresh disparity seemed but to fit in with and to reinforce it; so that to my interest in the man\u2019s nature and character, there was added a curiosity as to his origin, his life, his fortune and status in the world. these observations, though they have taken so great a space to be  set down in, were yet the work of a few seconds. my visitor was, indeed, on fire with sombre excitement. \u2018have you got it?\u2019 he cried. \u2018have you got it?\u2019 and so lively was his  impatience that he even laid his hand upon my arm and sought to shake me. i put him back, conscious at his touch of a certain icy pang along my  blood. \u2018come, sir,\u2019 said i. \u2018y ou forget that i have not yet the pleasure of your acquaintance. be seated, if you please.\u2019 and i showed him an example, and sat down myself in my customary seat and with as fair an imitation of my ordinary manner to a patient, as the lateness of the hour, the nature of my preoccupations, and the horror i had of my visitor, would suffer me to muster. \u2018i beg your pardon, dr lanyon,\u2019 he replied civilly enough. \u2018what you  say is very well founded; and my impatience has shown its heels to my politeness. i come here at the instance of your colleague, dr henry jekyll, on a piece of business of some moment; and i understood ...\u2019 he paused and put his hand to his throat, and i could see, in spite of his collected manner, that he was wrestling against the approaches of the hysteria\u2013\u2013\u2018i understood, a drawer ...\u2019 but here i took pity on my visitor\u2019s suspense, and some perhaps on  my own growing curiosity. \u2018there it is, sir,\u2019 said i, pointing to the drawer, where it lay on the floor  behind a table and still covered with the sheet. he sprang to it, and then paused, and laid his hand upon his heart;  i could hear his teeth grate with the convulsive action of his jaws; and his face was so ghastly to see that i grew alarmed both for his life and reason. \u2018compose yourself,\u2019 said i.he turned a dreadful smile to me, and as if with the decision of  despair, plucked away the sheet. at sight of the contents, he uttered one loud sob of such immense relief that i sat petrified. and the next moment, in a voice that was already fairly well under control, \u2018have you a graduated glass?\u2019 he asked.  [ from chapter 9, \u2018dr lanyon\u2019s narrative\u2019  ]5 1015202530354045",
            "25": "25 0486/12/f/m/15 \u00a9 ucles 2015 [turn over  in what ways does stevenson make this such a dramatic moment in the novel? or 20 how does stevenson make the contrast between the characters of dr jekyll and  mr hyde so powerful?",
            "26": "26 0486/12/f/m/15 \u00a9 ucles 2015from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from sandpiper  (by ahdaf soueif), and then answer the question that  follows it: outside, there is a path. a path of beaten white stone bordered by a white  wall \u2013 low but not low enough for me to see over it from here. white sands drift across the path. from my window, i used to see patterns in their drift. on my way to the beach i would try to place my foot, just the ball of my foot, for there never was much room, on those white spaces that glinted flat and free of sand. i had an idea that the patterns on the stone should be made by nature alone; i did not want one grain of sand, blown by a breeze i could not feel, to change its course because of me. what point would there be in trying to decipher a pattern that i had caused? it was not easy. balancing, the toes of one bare foot on the hot stone, looking for the next clear space to set the other foot down. it took a long time to reach the end of the path. and then the stretch of beach. and then the sea. i used to sit where the water rolled in, rolled in, its frilled white edge  nibbling at the sand, withdrawing to leave great damp half moons of a darker, more brownish-beige. i would sit inside one of these curves, at the very midpoint, fitting my body to its contour, and wait. the sea unceasingly shifts and stirs and sends out fingers, paws, tongues to probe the shore. each wave coming in is different. it separates itself from the vast, moving blue, rises and surges forward with a low growl, lightening as it approaches to a pale green, then turns over to display the white frill that slides like a thousand snakes down upon itself, breaks and skitters up the sandbank. i used to sit very still. sometimes the wave would barely touch my feet, sometimes it would swirl around me then pull back, sifting yet another layer of sand from under me, leaving me wet to the waist. my heels rested in twin hollows that filled, emptied and refilled without a break. and subtle as the shadow of a passing cloud, my half moon would slip down the bank \u2013 only to be overtaken and swamped by the next leap of foaming white. i used to sit in the curve and dig my fingers into the grainy, compact  sand and feel it grow wetter as my fingers went deeper and deeper till the next rippling, frothing rush of white came and smudged the edges of the little burrow i had made. its walls collapsed and i removed my hand, covered in wet clay, soon to revert to dry grains that i would easily brush away. i lean against the wall of my room and count: twelve years ago, i met  him. eight years ago, i married him. six years ago, i gave birth to his child. for eight summers we have been coming here; to the beach-house  west of alexandria. the first summer had not been a time of reflection; my occupation then had been to love my husband in this \u2013 to me \u2013 new and different place. to love him as he walked towards my parasol, shaking the water from his black hair, his feet sinking into the warm, hospitable sand. to love him as he carried his nephew on his shoulders into the sea, threw him in, caught him and hoisted him up again; a colossus bestriding the waves. to love him as he played backgammon with his father in the evening, the slam of counters and the clatter of dice resounding on the patio while, at the dining-room table, his sister showed me how to draw their ornate, circular script. to love this new him, who had been hinted at but never revealed when we lived in my northern land, and who after a long 5 1015202530354045",
            "27": "27 0486/12/f/m/15 \u00a9 ucles 2015absence, had found his way back into the heart of his country, taking me  along with him. we walked in the sunset along the water\u2019s edge, kicking at the spray, my sun-hat fallen on my back, my hand, pale bronze in his burnt brown, my face no doubt mirroring his: aglow with health and love; a young couple in a glitzy commercial for life insurance or a two-week break in the sun. my second summer here was the sixth summer of our love \u2013 and the  last of our happiness. carrying my child and loving her father, i sat on the beach, dug holes in the sand and let my thoughts wander. i thought about our life in my country, before we were married: four years in the cosy flat, precarious on top of a roof in a georgian square, him meeting me at the bus-stop when i came back from work, sundays when it did not rain and we sat in the park with our newspapers, late nights at the movies. i thought of those things and missed them \u2013 but with no great sense of loss. it was as though they were all there, to be called upon, to be lived again whenever we wanted. i looked out to sea and, now i realise, i was trying to work out my  co-ordinates. i thought a lot about the water and the sand as i sat there watching them meet and flirt and touch. i tried to understand that i was on the edge, the very edge of africa; that the vastness ahead was nothing compared to what lay behind me. but \u2013 even though i\u2019d been there and seen for myself its never-ending dusty green interior, its mountains, the big sky, my mind could not grasp a world that was not present to my senses \u2013 i could see the beach, the waves, the blue beyond, and cradling them all, my baby.   how does soueif make this such a striking opening to the story? or 22 in what ways does the writer make the central character so likeable in either  her first  ball (by katherine mansfield) or my greatest ambition  (by morris lurie)?50 55606570",
            "28": "28 0486/12/f/m/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m15_qp_22.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (ac) 93081/4 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *9997883080*literature (english)  0486/22 paper 2 drama february/march 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. y ou must answer one passage-based question (marked *) and one essay question (marked \u2020). y our questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/22/f/m/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the writing. either *1  read this passage carefully, and then answer the question that follows it: mother [with an accusing undertone ]: why did he invite her here? keller: why does that bother you? mother: she\u2019s been in new y ork three and a half years, why all of a sudden \u2013 ? keller: well, maybe \u2013 maybe he just wanted to see her. mother: nobody comes seven hundred miles \u2018just to see\u2019. keller:  what do you mean? he lived next door to the girl all his life, why  shouldn\u2019t he want to see her again? [mother looks at him critically .]  don\u2019t look at me like that, he didn\u2019t tell me any more than he told you. mother [\u2013 a warning and a question ]: he\u2019s not going to marry her. keller: how do you know he\u2019s even thinking of it? mother: it\u2019s got that about it. keller [sharply watching her reaction ]: well? so what? mother [alarmed ]: what\u2019s going on here, joe? keller: now listen, kid \u2013 mother [avoiding contact with him ]: she\u2019s not his girl, joe; she knows she\u2019s not. keller: y ou can\u2019t read her mind. mother:  then why is she still single? new y ork is full of men, why isn\u2019t she  married? [ pause .] probably a hundred people told her she\u2019s foolish, but  she\u2019s waited. keller: how do you know why she waited? mother:  she knows what i know, that\u2019s why. she\u2019s faithful as a rock. in my worst  moments, i think of her waiting, and i know again that i\u2019m right. keller:  look, it\u2019s a nice day. what are we arguing for? mother  [warningly ]: nobody in this house dast take her faith away, joe.  strangers might. but not his father, not his brother. keller [exasperated ]: what do you want me to do? what do you want? mother:  i want you to act like he\u2019s coming back. both of you. don\u2019t think i haven\u2019t  noticed you since chris invited her. i won\u2019t stand for any nonsense. keller: but, kate \u2013 mother:  because if he\u2019s not coming back, then i\u2019ll kill myself! laugh. laugh at  me. [ she points to tree .] but why did that happen the very night she  came back? laugh, but there are meanings in such things. she goes to sleep in his room and his memorial breaks in pieces. look at it; look. [she sits on bench .] joe \u2013 keller: calm yourself. mother: believe with me, joe. i can\u2019t stand all alone. keller: calm yourself. mother:  only last week a man turned up in detroit, missing longer than larry.  y ou read it yourself. keller: all right, all right, calm yourself. mother: y ou above all have got to believe, you \u20135 10 15 2025 30 35 40",
            "3": "3 0486/22/f/m/15 \u00a9 ucles 2015 [turn overkeller [rising ]: why me above all? mother: just don\u2019t stop believing. keller: what does that mean, me above all?  [bert  comes rushing on .] bert:  mr keller! say, mr keller \u2026 [ pointing up driveway ] tommy just said it  again! keller [not remembering any of it ]: said what? who? bert: the dirty word. keller: oh. well \u2013 bert: gee, aren\u2019t you going to arrest him? i warned him. mother:  [with suddenness ]: stop that, bert. go home. [bert backs up, as she  advances .] there\u2019s no jail here. keller [as though to say, \u2018oh-what-the-hell-let-him-believe-there-is\u2019  ]: kate \u2013 mother  [turning on  keller furiously ]: there\u2019s no jail here! i want you to stop  that jail business! [ he turns, shamed, but peeved .] bert [past her to keller]: he\u2019s right across the street. mother:  go home, bert. [bert turns around and goes up driveway. she is  shaken. her speech is bitten off, extremely urgent .] i want you to stop  that, joe. that whole jail business! keller [alarmed, therefore angered ]: look at you, look at you shaking. mother  [trying to control herself, moving about clasping her hands ]: i can\u2019t  help it. keller: what have i got to hide? what the hell is the matter with you, kate? mother:  i didn\u2019t say you had anything to hide, i\u2019m just telling you to stop it! now  stop it!  [from act 1]   what does miller make you feel towards kate at this moment in the play? or \u20202  explore the ways in which miller makes larry such a powerful part of the play despite   the fact that he never appears on stage.   45 5055 60 65",
            "4": "4 0486/22/f/m/15 \u00a9 ucles 2015j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: edna  enters. edna:  please, sir, an inspector\u2019s called. birling: an inspector? what kind of inspector? edna: a police inspector. he says his name\u2019s inspector goole. birling: don\u2019t know him. does he want to see me? edna: y es, sir. he says it\u2019s important. birling: all right, edna. show him in here. give us some more light.  edna  does, then goes out.  i\u2019m still on the bench. it may be something about a warrant. gerald  [lightly ]: sure to be. unless eric\u2019s been up to something. [ nodding  confidentially to birling.] and that would be awkward, wouldn\u2019t it? birling [humorously ]: very. eric [who is uneasy, sharply ]: here, what do you mean? gerald  [lightly ]: only something we were talking about when you were out. a  joke really. eric [still uneasy ]: well, i don\u2019t think it\u2019s very funny. birling [sharply, staring at him ]: what\u2019s the matter with you? eric [defiantly ]: nothing. edna [opening door, and announcing ]: inspector goole.   the inspector  enters, and edna  goes, closing door after her.  the inspector  need not be a big man but he creates at once an  impression of massiveness, solidity and purposefulness. he is a man in his fifties, dressed in a plain darkish suit of the period. he speaks carefully, weightily, and has a disconcerting habit of looking hard at the person he addresses before actually speaking. inspector: mr birling? birling: y es. sit down, inspector. inspector [sitting ]: thank you, sir. birling: have a glass of port \u2013 or a little whisky? inspector: no, thank you, mr birling. i\u2019m on duty. birling: y ou\u2019re new, aren\u2019t you? inspector: y es, sir. only recently transferred. birling:  i thought you must be. i was an alderman for years \u2013 and lord mayor  two years ago \u2013 and i\u2019m still on the bench \u2013 so i know the brumley police officers pretty well \u2013 and i thought i\u2019d never seen you before. inspector: quite so. birling: well, what can i do for you? some trouble about a warrant? inspector: no, mr birling. birling [after a pause, with a touch of impatience ]: well, what is it then? inspector:   i\u2019d like some information, if you don\u2019t mind, mr birling. two hours ago  a young woman died in the infirmary. she\u2019d been taken there this 5 10 15 20 25 30 35 40",
            "5": "5 0486/22/f/m/15 \u00a9 ucles 2015 [turn overafternoon because she\u2019d swallowed a lot of strong disinfectant. burnt  her inside out, of course. eric [involuntarily ]: my god! inspector:  y es, she was in great agony. they did everything they could for her at  the infirmary, but she died. suicide, of course. birling  [rather impatiently ]: y es, yes. horrible business. but i don\u2019t understand  why you should come here, inspector\u2014 inspector  [cutting through, massively ]: i\u2019ve been round to the room she had, and  she\u2019d left a letter there and a sort of diary. like a lot of these young women who get into various kinds of trouble, she\u2019d used more than one name. but her original name \u2013 her real name \u2013 was eva smith. birling [thoughtfully ]: eva smith? inspector: do you remember her, mr birling? birling  [slowly ]: no \u2013 i seem to remember hearing that name \u2013 eva smith  \u2013 somewhere. but it doesn\u2019t convey anything to me. and i don\u2019t see where i come into this.  [from act 1]   how does priestley make this such a strikingly dramatic moment in the play? or   \u20204 in what ways does priestley make mrs birling so dislikeable?45 50 55",
            "6": "6 0486/22/f/m/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either *5 read this passage carefully, and then answer the question that follows it: portia: by my troth, nerissa, my little body is aweary of this great world. nerissa:  y ou would be, sweet madam, if your miseries were in the same  abundance as your good fortunes are; and yet, for aught i see, they are as sick that surfeit with too much as they that starve with nothing. it is no mean happiness, therefore, to be seated in the mean: superfluity comes sooner by white hairs, but competency lives longer. portia: good sentences, and well pronounc\u2019d. nerissa: they would be better, if well followed. portia:  if to do were as easy as to know what were good to do, chapels had  been churches, and poor men\u2019s cottages princes\u2019 palaces. it is a good divine that follows his own instructions; i can easier teach twenty what were good to be done than to be one of the twenty to follow mine own teaching. the brain may devise laws for the blood, but a hot temper leaps o\u2019er a cold decree; such a hare is madness the youth, to skip o\u2019er the meshes of good counsel the cripple. but this reasoning is not in the fashion to choose me a husband. o me, the word \u2018choose\u2019! i may neither choose who i would nor refuse who i dislike; so is the will of a living daughter curb\u2019d by the will of a dead father. is it not hard, nerissa, that i cannot choose one, nor refuse none? nerissa:  y our father was ever virtuous, and holy men at their death have good  inspirations; therefore the lott\u2019ry that he hath devised in these three chests, of gold, silver, and lead \u2013 whereof who chooses his meaning chooses you \u2013 will no doubt never be chosen by any rightly but one who you shall rightly love. but what warmth is there in your affection towards any of these princely suitors that are already come? portia:  i pray thee over-name them; and as thou namest them, i will describe  them; and according to my description, level at my affection. nerissa: first, there is the neapolitan prince. portia:  ay, that\u2019s a colt indeed, for he doth nothing but talk of his horse; and he  makes it a great appropriation to his own good parts that he can shoe him himself; i am much afear\u2019d my lady his mother play\u2019d false with a smith. nerissa: then is there the county palatine. portia:  he doth nothing but frown, as who should say \u2018an you will not have me,  choose\u2019. he hears merry tales and smiles not. i fear he will prove the weeping philosopher when he grows old, being so full of unmannerly sadness in his youth. i had rather be married to a death\u2019s-head with a bone in his mouth than to either of these. god defend me from these two! nerissa: how say you by the french lord, monsieur le bon? portia:  god made him, and therefore let him pass for a man. in truth, i know it  is a sin to be a mocker, but he \u2013 why, he hath a horse better than the neapolitan\u2019s, a better bad habit of frowning than the count palatine; he is every man in no man. if a throstle sing he falls straight a-cap\u2019ring; he will fence with his own shadow; if i should marry him, i should marry 5 10 15 2025 3035 4045",
            "7": "7 0486/22/f/m/15 \u00a9 ucles 2015 [turn overtwenty husbands. if he would despise me, i would forgive him; for if he  love me to madness, i shall never requite him.  [from act 1 scene 2] in what ways does shakespeare make this such a striking introduction to portia?  or \u20206  explore the ways in which shakespeare  makes the relationship between jessica and  lorenzo so memorable and significant. ",
            "8": "8 0486/22/f/m/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the writing. either *7  read this passage carefully, and then answer the question that follows it: hermia: dark night, that from the eye his function takes,    the ear more quick of apprehension makes; wherein it doth impair the seeing sense,it pays the hearing double recompense.thou art not by mine eye, lysander, found;mine ear, i thank it, brought me to thy sound.but why unkindly didst thou leave me so? lysander: why should he stay whom love doth press to go? hermia: what love could press lysander from my side? lysander: lysander\u2019s love, that would not let him bide \u2013    fair helena, who more engilds the night than all yon fiery oes and eyes of light.why seek\u2019st thou me? could not this make thee knowthe hate i bare thee made me leave thee so? hermia: y ou speak not as you think; it cannot be. helena: lo, she is one of this confederacy!    now i perceive they have conjoin\u2019d all three to fashion this false sport in spite of me.injurious hermia! most ungrateful maid!have you conspir\u2019d, have you with these contriv\u2019d,to bait me with this foul derision?is all the counsel that we two have shar\u2019d,the sisters\u2019 vows, the hours that we have spent,when we have chid the hasty-footed timefor parting us \u2013 o, is all forgot?all school-days\u2019 friendship, childhood innocence?we, hermia, like two artificial gods,have with our needles created both one flower,both on one sampler, sitting on one cushion,both warbling of one song, both in one key;as if our hands, our sides, voices, and minds,had been incorporate. so we grew together,like to a double cherry, seeming parted,but yet an union in partition,two lovely berries moulded on one stem;so, with two seeming bodies, but one heart;two of the first, like coats in heraldry,due but to one, and crowned with one crest.and will you rent our ancient love asunder,to join with men in scorning your poor friend?it is not friendly, \u2019tis not maidenly;our sex, as well as i, may chide you for it,though i alone do feel the injury. hermia:  i am amazed at your passionate words;  i scorn you not; it seems that you scorn me. helena:  have you not set lysander, as in scorn, to follow me and praise my eyes and face?and made your other love, demetrius,5 10 1520 25303540 45",
            "9": "9 0486/22/f/m/15 \u00a9 ucles 2015 [turn overwho even but now did spurn me with his foot, to call me goddess, nymph, divine, and rare,precious, celestial? wherefore speaks he thisto her he hates? and wherefore doth lysanderdeny your love, so rich within his soul,and tender me, forsooth, affection,but by your setting on, by your consent?what though i be not so in grace as you,so hung upon with love, so fortunate,but miserable most, to love unlov\u2019d?this you should pity rather than despise. hermia: i understand not what you mean by this. helena:  ay, do \u2013 persever, counterfeit sad looks, make mouths upon me when i turn my back,wink each at other; hold the sweet jest up;this sport, well carried, shall be chronicled.if you have any pity, grace, or manners,y ou would not make me such an argument.but fare ye well; \u2019tis partly my own fault,which death, or absence, soon shall remedy.  [from act 3 scene 2]   how does shakespeare make this such a powerful moment in the play?  or  \u20208  explore the ways in which shakespeare makes the relationship between titania and   oberon such a memorable part of the play. 50 55 6065",
            "10": "10 0486/22/f/m/15 \u00a9 ucles 2015william shakespeare: the tempest remember to support your ideas with details from the writing. either *9 read this passage carefully, and then answer the question that follows it: prospero:                  thy false uncle \u2013    dost thou attend me? miranda:                  sir, most heedfully. prospero:  being once perfected how to grant suits,  how to deny them, who t\u2019 advance, and whoto trash for over-topping, new createdthe creatures that were mine, i say, or chang\u2019d \u2019em,or else new form\u2019d \u2019em; having both the keyof officer and office, set all hearts i\u2019 th\u2019 stateto what tune pleas\u2019d his ear; that now he was the ivy which had hid my princely trunkand suck\u2019d my verdure out on\u2019t. thou attend\u2019st not. miranda: o, good sir, i do! prospero:        i pray thee, mark me.    i thus neglecting worldly ends, all dedicated to closeness and the bettering of my mindwith that which, but by being so retir\u2019d,o\u2019er-priz\u2019d all popular rate, in my false brotherawak\u2019d an evil nature; and my trust,like a good parent, did beget of hima falsehood, in its contrary as greatas my trust was; which had indeed no limit,a confidence sans bound. he being thus lorded,not only with what my revenue yielded,but what my power might else exact, like onewho having into truth, by telling of it,made such a sinner of his memory,to credit his own lie \u2013 he did believehe was indeed the duke; out o\u2019 th\u2019 substitution,and executing th\u2019 outward face of royaltywith all prerogative. hence his ambition growing \u2013dost thou hear? miranda: y our tale, sir, would cure deafness. prospero:  to have no screen between this part he play\u2019d and him he play\u2019d it for, he needs will beabsolute milan. me, poor man \u2013 my librarywas dukedom large enough \u2013 of temporal royaltieshe thinks me now incapable; confederates,so dry he was for sway, wi\u2019 th\u2019 king of naples,to give him annual tribute, do him homage,subject his coronet to his crown, and bendthe dukedom, yet unbow\u2019d \u2013 alas, poor milan! \u2013to most ignoble stooping. miranda:             o the heavens! prospero:  mark his condition, and th\u2019 event, then tell me if this might be a brother. miranda:             i should sin5 10 15 202530 35 40 45",
            "11": "11 0486/22/f/m/15 \u00a9 ucles 2015 [turn overto think but nobly of my grandmother: good wombs have borne bad sons. prospero:                 now the condition: this king of naples, being an enemyto me inveterate, hearkens my brother\u2019s suit;which was, that he, in lieu o\u2019 th\u2019 premises,of homage, and i know not how much tribute,should presently extirpate me and mineout of the dukedom, and confer fair milanwith all the honours on my brother. whereon,a treacherous army levied, one midnightfated to th\u2019 purpose, did antonio openthe gates of milan; and, i\u2019 th\u2019 dead of darkness,the ministers for th\u2019 purpose hurried thenceme and thy crying self. miranda:            alack, for pity! i, not rememb\u2019ring how i cried out then,will cry it o\u2019er again; it is a hintthat wrings mine eyes to\u2019t. prospero:              hear a little further, and then i\u2019ll bring thee to the present businesswhich now\u2019s upon \u2019s; without the which this storywere most impertinent. miranda:             wherefore did they not that hour destroy us? prospero:            well demanded, wench! my tale provokes that question. dear, they durst not,so dear the love my people bore me; nor seta mark so bloody on the business; butwith colours fairer painted their foul ends.in few, they hurried us aboard a bark;bore us some leagues to sea, where they prepareda rotten carcass of a butt, not rigg\u2019d,nor tackle, sail, nor mast; the very ratsinstinctively have quit it. there they hoist us,to cry to th\u2019 sea, that roar\u2019d to us; to sighto th\u2019 winds, whose pity, sighing back again,did us but loving wrong. miranda:             alack, what trouble was i then to you! prospero:          o, a cherubin thou wast that did preserve me!  [from act 1 scene 2]   how does shakespeare make you sympathise with prospero at this moment in the play? or  \u202010  explore the ways in which  shakespeare portrays stephano and trinculo as ridiculous and  yet also disturbing.50 5560 65 70 75 80 85",
            "12": "12 0486/22/f/m/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the  writing . either *11  read this passage carefully, and then answer the question that follows it:   [enter dr chasuble.] chasuble: everything is quite ready for the christenings. lady bracknell: the christenings, sir! is not that somewhat premature? chasuble  [looking rather puzzled, and pointing to  jack and algernon]:  both these gentlemen have expressed a desire for immediate baptism. lady bracknell:  at their age? the idea is grotesque and irreligious! algernon, i  forbid you to be baptized. i will not hear of such excesses. lord bracknell would be highly displeased if he learned that that was the way in which you wasted your time and money. chasuble:  am i to understand then that there are to be no christenings at all  this afternoon? jack:   i don\u2019t think that, as things are now, it would be of much practical  value to either of us, dr chasuble. chasuble:  i am grieved to hear such sentiments from you, mr worthing. they  savour of the heretical views of the anabaptists, views that i have completely refuted in four of my unpublished sermons. however, as your present mood seems to be one peculiarly secular, i will return to the church at once. indeed, i have just been informed by the pew-opener that for the last hour and a half miss prism has been waiting for me in the vestry. lady bracknell [starting ]: miss prism! did i hear you mention a miss prism? chasuble: y es, lady bracknell. i am on my way to join her. lady bracknell:  pray allow me to detain you for a moment. this matter may prove  to be one of vital importance to lord bracknell and myself. is this miss prism a female of repellent aspect, remotely connected with education? chasuble  [somewhat indignantly ]: she is the most cultivated of ladies, and  the very picture of respectability. lady bracknell:  it is obviously the same person. may i ask what position she holds  in your household? chasuble [severely ]: i am a celibate, madam. jack   [interposing ]: miss prism, lady bracknell, has been for the last  three years miss cardew\u2019s esteemed governess and valued companion. lady bracknell:  in spite of what i hear of her, i must see her at once. let her be  sent for. chasuble [looking off ]: she approaches; she is nigh. [enter miss prism  hurriedly. ] miss prism:  i was told you expected me in the vestry, dear canon. i have been  waiting for you there for an hour and three-quarters. [ catches  sight of  lady bracknell, who has fixed her with a stony glare.   miss prism grows pale and quails. she looks anxiously round  as if desirous to escape .]5 10 15 20 25 3035 40",
            "13": "13 0486/22/f/m/15 \u00a9 ucles 2015lady bracknell  [in a severe, judicial voice ]: prism! [miss prism bows her  head in shame .] come here, prism! [miss prism approaches  in a humble manner .] prism! where is that baby? [ general  consternation. the canon starts back in horror . algernon  and jack  pretend to be anxious to shield  cecil y and  gwendolen from hearing the details of a terrible public  scandal .] twenty-eight years ago, prism, you left lord bracknell\u2019s  house, number 104, upper grosvenor square, in charge of a perambulator that contained a baby of the male sex. y ou never returned. a few weeks later, through the elaborate investigations of the metropolitan police, the perambulator was discovered at midnight standing by itself in a remote corner of bayswater. it contained the manuscript of a three-volume novel of more than usually revolting sentimentality. [miss prism starts in involuntary  indignation .] but the baby was not there. [ every one looks at  miss  prism.] prism! where is that baby? [ a pause .] miss prism:  lady bracknell, i admit with shame that i do not know. i only wish  i did. the plain facts of the case are these. on the morning of the day you mention, a day that is for ever branded on my memory, i prepared as usual to take the baby out in its perambulator. i had also with me a somewhat old, but capacious handbag in which i had intended to place the manuscript of a work of fiction that i had written during my few unoccupied hours. in a moment of mental abstraction, for which i can never forgive myself, i deposited the manuscript in the bassinette and placed the baby in the hand-bag. jack   [who had been listening attentively ]: but where did you deposit  the hand-bag? miss prism: do not ask me, mr worthing. jack:   miss prism, this is a matter of no small importance to me. i insist  on knowing where you deposited the hand-bag that contained that infant. miss prism:  i left it in the cloak-room of one of the larger railway stations in  london. jack:  what railway station? miss prism [quite crushed ]: victoria. the brighton line. [ sinks into a chair .] jack:   i must retire to my room for a moment. gwendolen, wait here for me. gwendolen:  if you are not too long, i will wait here for you all my life. [ exit  jack in great excitement .] chasuble: what do you think this means, lady bracknell? lady bracknell:  i dare not even suspect, dr chasuble. i need hardly tell you that  in families of high position strange coincidences are not supposed to occur. they are hardly considered the thing. [noises heard overhead as if some one was throwing trunks about. every one  looks up. ]  [from act 3]    how does wilde make this such an entertaining moment in the play? or  \u202012 \u2018wilde makes you feel affection for algernon despite his foolishness.\u2019   to what extent do you agree with this comment about algernon?45 505560 6570 75 80 85",
            "14": "14 0486/22/f/m/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/22/f/m/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/22/f/m/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m15_qp_32.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 104109/1 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *4755540173*literature (english)  0486/32 paper 3 drama (open text) february/march 2015  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/32/f/m/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the writing. either 1  read this passage carefully, and then answer the question that follows it: mother [with an accusing undertone ]: why did he invite her here? keller: why does that bother you? mother: she\u2019s been in new y ork three and a half years, why all of a sudden \u2013 ? keller: well, maybe \u2013 maybe he just wanted to see her. mother: nobody comes seven hundred miles \u2018just to see\u2019. keller:  what do you mean? he lived next door to the girl all his life, why  shouldn\u2019t he want to see her again? [mother looks at him critically .]  don\u2019t look at me like that, he didn\u2019t tell me any more than he told you. mother [\u2013 a warning and a question ]: he\u2019s not going to marry her. keller: how do you know he\u2019s even thinking of it? mother: it\u2019s got that about it. keller [sharply watching her reaction ]: well? so what? mother [alarmed ]: what\u2019s going on here, joe? keller: now listen, kid \u2013 mother [avoiding contact with him ]: she\u2019s not his girl, joe; she knows she\u2019s not. keller: y ou can\u2019t read her mind. mother:  then why is she still single? new y ork is full of men, why isn\u2019t she  married? [ pause .] probably a hundred people told her she\u2019s foolish, but  she\u2019s waited. keller: how do you know why she waited? mother:  she knows what i know, that\u2019s why. she\u2019s faithful as a rock. in my worst  moments, i think of her waiting, and i know again that i\u2019m right. keller:  look, it\u2019s a nice day. what are we arguing for? mother  [warningly ]: nobody in this house dast take her faith away, joe.  strangers might. but not his father, not his brother. keller [exasperated ]: what do you want me to do? what do you want? mother:  i want you to act like he\u2019s coming back. both of you. don\u2019t think i haven\u2019t  noticed you since chris invited her. i won\u2019t stand for any nonsense. keller: but, kate \u2013 mother:  because if he\u2019s not coming back, then i\u2019ll kill myself! laugh. laugh at  me. [ she points to tree .] but why did that happen the very night she  came back? laugh, but there are meanings in such things. she goes to sleep in his room and his memorial breaks in pieces. look at it; look. [she sits on bench .] joe \u2013 keller: calm yourself. mother: believe with me, joe. i can\u2019t stand all alone. keller: calm yourself. mother:  only last week a man turned up in detroit, missing longer than larry.  y ou read it yourself. keller: all right, all right, calm yourself. mother: y ou above all have got to believe, you \u20135 10 15 2025 30 35 40",
            "3": "3 0486/32/f/m/15 \u00a9 ucles 2015 [turn overkeller [rising ]: why me above all? mother: just don\u2019t stop believing. keller: what does that mean, me above all?  [bert  comes rushing on .] bert:  mr keller! say, mr keller \u2026 [ pointing up driveway ] tommy just said it  again! keller [not remembering any of it ]: said what? who? bert: the dirty word. keller: oh. well \u2013 bert: gee, aren\u2019t you going to arrest him? i warned him. mother:  [with suddenness ]: stop that, bert. go home. [bert backs up, as she  advances .] there\u2019s no jail here. keller [as though to say, \u2018oh-what-the-hell-let-him-believe-there-is\u2019  ]: kate \u2013 mother  [turning on  keller furiously ]: there\u2019s no jail here! i want you to stop  that jail business! [ he turns, shamed, but peeved .] bert [past her to keller]: he\u2019s right across the street. mother:  go home, bert. [bert turns around and goes up driveway. she is  shaken. her speech is bitten off, extremely urgent .] i want you to stop  that, joe. that whole jail business! keller [alarmed, therefore angered ]: look at you, look at you shaking. mother  [trying to control herself, moving about clasping her hands ]: i can\u2019t  help it. keller: what have i got to hide? what the hell is the matter with you, kate? mother:  i didn\u2019t say you had anything to hide, i\u2019m just telling you to stop it! now  stop it!  [from act 1]   what does miller make you feel towards kate at this moment in the play? or 2  explore the ways in which miller makes larry such a powerful part of the play despite   the fact that he never appears on stage.   45 5055 60 65",
            "4": "4 0486/32/f/m/15 \u00a9 ucles 2015j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: edna  enters. edna:  please, sir, an inspector\u2019s called. birling: an inspector? what kind of inspector? edna: a police inspector. he says his name\u2019s inspector goole. birling: don\u2019t know him. does he want to see me? edna: y es, sir. he says it\u2019s important. birling: all right, edna. show him in here. give us some more light.  edna  does, then goes out.  i\u2019m still on the bench. it may be something about a warrant. gerald  [lightly ]: sure to be. unless eric\u2019s been up to something. [ nodding  confidentially to birling.] and that would be awkward, wouldn\u2019t it? birling [humorously ]: very. eric [who is uneasy, sharply ]: here, what do you mean? gerald  [lightly ]: only something we were talking about when you were out. a  joke really. eric [still uneasy ]: well, i don\u2019t think it\u2019s very funny. birling [sharply, staring at him ]: what\u2019s the matter with you? eric [defiantly ]: nothing. edna [opening door, and announcing ]: inspector goole.   the inspector  enters, and edna  goes, closing door after her.  the inspector  need not be a big man but he creates at once an  impression of massiveness, solidity and purposefulness. he is a man in his fifties, dressed in a plain darkish suit of the period. he speaks carefully, weightily, and has a disconcerting habit of looking hard at the person he addresses before actually speaking. inspector: mr birling? birling: y es. sit down, inspector. inspector [sitting ]: thank you, sir. birling: have a glass of port \u2013 or a little whisky? inspector: no, thank you, mr birling. i\u2019m on duty. birling: y ou\u2019re new, aren\u2019t you? inspector: y es, sir. only recently transferred. birling:  i thought you must be. i was an alderman for years \u2013 and lord mayor  two years ago \u2013 and i\u2019m still on the bench \u2013 so i know the brumley police officers pretty well \u2013 and i thought i\u2019d never seen you before. inspector: quite so. birling: well, what can i do for you? some trouble about a warrant? inspector: no, mr birling. birling [after a pause, with a touch of impatience ]: well, what is it then? inspector:   i\u2019d like some information, if you don\u2019t mind, mr birling. two hours ago  a young woman died in the infirmary. she\u2019d been taken there this 5 10 15 20 25 30 35 40",
            "5": "5 0486/32/f/m/15 \u00a9 ucles 2015 [turn overafternoon because she\u2019d swallowed a lot of strong disinfectant. burnt  her inside out, of course. eric [involuntarily ]: my god! inspector:  y es, she was in great agony. they did everything they could for her at  the infirmary, but she died. suicide, of course. birling  [rather impatiently ]: y es, yes. horrible business. but i don\u2019t understand  why you should come here, inspector\u2014 inspector  [cutting through, massively ]: i\u2019ve been round to the room she had, and  she\u2019d left a letter there and a sort of diary. like a lot of these young women who get into various kinds of trouble, she\u2019d used more than one name. but her original name \u2013 her real name \u2013 was eva smith. birling [thoughtfully ]: eva smith? inspector: do you remember her, mr birling? birling  [slowly ]: no \u2013 i seem to remember hearing that name \u2013 eva smith  \u2013 somewhere. but it doesn\u2019t convey anything to me. and i don\u2019t see where i come into this.  [from act 1]   how does priestley make this such a strikingly dramatic moment in the play? or  4 in what ways does priestley make mrs birling so dislikeable?45 50 55",
            "6": "6 0486/32/f/m/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either 5 read this passage carefully, and then answer the question that follows it: portia: by my troth, nerissa, my little body is aweary of this great world. nerissa:  y ou would be, sweet madam, if your miseries were in the same  abundance as your good fortunes are; and yet, for aught i see, they are as sick that surfeit with too much as they that starve with nothing. it is no mean happiness, therefore, to be seated in the mean: superfluity comes sooner by white hairs, but competency lives longer. portia: good sentences, and well pronounc\u2019d. nerissa: they would be better, if well followed. portia:  if to do were as easy as to know what were good to do, chapels had  been churches, and poor men\u2019s cottages princes\u2019 palaces. it is a good divine that follows his own instructions; i can easier teach twenty what were good to be done than to be one of the twenty to follow mine own teaching. the brain may devise laws for the blood, but a hot temper leaps o\u2019er a cold decree; such a hare is madness the youth, to skip o\u2019er the meshes of good counsel the cripple. but this reasoning is not in the fashion to choose me a husband. o me, the word \u2018choose\u2019! i may neither choose who i would nor refuse who i dislike; so is the will of a living daughter curb\u2019d by the will of a dead father. is it not hard, nerissa, that i cannot choose one, nor refuse none? nerissa:  y our father was ever virtuous, and holy men at their death have good  inspirations; therefore the lott\u2019ry that he hath devised in these three chests, of gold, silver, and lead \u2013 whereof who chooses his meaning chooses you \u2013 will no doubt never be chosen by any rightly but one who you shall rightly love. but what warmth is there in your affection towards any of these princely suitors that are already come? portia:  i pray thee over-name them; and as thou namest them, i will describe  them; and according to my description, level at my affection. nerissa: first, there is the neapolitan prince. portia:  ay, that\u2019s a colt indeed, for he doth nothing but talk of his horse; and he  makes it a great appropriation to his own good parts that he can shoe him himself; i am much afear\u2019d my lady his mother play\u2019d false with a smith. nerissa: then is there the county palatine. portia:  he doth nothing but frown, as who should say \u2018an you will not have me,  choose\u2019. he hears merry tales and smiles not. i fear he will prove the weeping philosopher when he grows old, being so full of unmannerly sadness in his youth. i had rather be married to a death\u2019s-head with a bone in his mouth than to either of these. god defend me from these two! nerissa: how say you by the french lord, monsieur le bon? portia:  god made him, and therefore let him pass for a man. in truth, i know it  is a sin to be a mocker, but he \u2013 why, he hath a horse better than the neapolitan\u2019s, a better bad habit of frowning than the count palatine; he is every man in no man. if a throstle sing he falls straight a-cap\u2019ring; he will fence with his own shadow; if i should marry him, i should marry 5 10 15 2025 3035 4045",
            "7": "7 0486/32/f/m/15 \u00a9 ucles 2015 [turn overtwenty husbands. if he would despise me, i would forgive him; for if he  love me to madness, i shall never requite him.  [from act 1 scene 2] in what ways does shakespeare make this such a striking introduction to portia?  or 6  explore the ways in which shakespeare  makes the relationship between jessica and  lorenzo so memorable and significant. ",
            "8": "8 0486/32/f/m/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the writing. either 7  read this passage carefully, and then answer the question that follows it: hermia: dark night, that from the eye his function takes,    the ear more quick of apprehension makes; wherein it doth impair the seeing sense,it pays the hearing double recompense.thou art not by mine eye, lysander, found;mine ear, i thank it, brought me to thy sound.but why unkindly didst thou leave me so? lysander: why should he stay whom love doth press to go? hermia: what love could press lysander from my side? lysander: lysander\u2019s love, that would not let him bide \u2013    fair helena, who more engilds the night than all yon fiery oes and eyes of light.why seek\u2019st thou me? could not this make thee knowthe hate i bare thee made me leave thee so? hermia: y ou speak not as you think; it cannot be. helena: lo, she is one of this confederacy!    now i perceive they have conjoin\u2019d all three to fashion this false sport in spite of me.injurious hermia! most ungrateful maid!have you conspir\u2019d, have you with these contriv\u2019d,to bait me with this foul derision?is all the counsel that we two have shar\u2019d,the sisters\u2019 vows, the hours that we have spent,when we have chid the hasty-footed timefor parting us \u2013 o, is all forgot?all school-days\u2019 friendship, childhood innocence?we, hermia, like two artificial gods,have with our needles created both one flower,both on one sampler, sitting on one cushion,both warbling of one song, both in one key;as if our hands, our sides, voices, and minds,had been incorporate. so we grew together,like to a double cherry, seeming parted,but yet an union in partition,two lovely berries moulded on one stem;so, with two seeming bodies, but one heart;two of the first, like coats in heraldry,due but to one, and crowned with one crest.and will you rent our ancient love asunder,to join with men in scorning your poor friend?it is not friendly, \u2019tis not maidenly;our sex, as well as i, may chide you for it,though i alone do feel the injury. hermia:  i am amazed at your passionate words;  i scorn you not; it seems that you scorn me. helena:  have you not set lysander, as in scorn, to follow me and praise my eyes and face?and made your other love, demetrius,5 10 1520 25303540 45",
            "9": "9 0486/32/f/m/15 \u00a9 ucles 2015 [turn overwho even but now did spurn me with his foot, to call me goddess, nymph, divine, and rare,precious, celestial? wherefore speaks he thisto her he hates? and wherefore doth lysanderdeny your love, so rich within his soul,and tender me, forsooth, affection,but by your setting on, by your consent?what though i be not so in grace as you,so hung upon with love, so fortunate,but miserable most, to love unlov\u2019d?this you should pity rather than despise. hermia: i understand not what you mean by this. helena:  ay, do \u2013 persever, counterfeit sad looks, make mouths upon me when i turn my back,wink each at other; hold the sweet jest up;this sport, well carried, shall be chronicled.if you have any pity, grace, or manners,y ou would not make me such an argument.but fare ye well; \u2019tis partly my own fault,which death, or absence, soon shall remedy.  [from act 3 scene 2]   how does shakespeare make this such a powerful moment in the play?  or 8  explore the ways in which shakespeare makes the relationship between titania and  oberon such a memorable part of the play. 50 55 6065",
            "10": "10 0486/32/f/m/15 \u00a9 ucles 2015william shakespeare: the tempest remember to support your ideas with details from the writing. either 9 read this passage carefully, and then answer the question that follows it: prospero:  thy false uncle \u2013    dost thou attend me? miranda:  sir, most heedfully. prospero:  being once perfected how to grant suits,  how to deny them, who t\u2019 advance, and whoto trash for over-topping, new createdthe creatures that were mine, i say, or chang\u2019d \u2019em,or else new form\u2019d \u2019em; having both the keyof officer and office, set all hearts i\u2019 th\u2019 stateto what tune pleas\u2019d his ear; that now he was the ivy which had hid my princely trunkand suck\u2019d my verdure out on\u2019t. thou attend\u2019st not. miranda: o, good sir, i do! prospero:        i pray thee, mark me.    i thus neglecting worldly ends, all dedicated to closeness and the bettering of my mindwith that which, but by being so retir\u2019d,o\u2019er-priz\u2019d all popular rate, in my false brotherawak\u2019d an evil nature; and my trust,like a good parent, did beget of hima falsehood, in its contrary as greatas my trust was; which had indeed no limit,a confidence sans bound. he being thus lorded,not only with what my revenue yielded,but what my power might else exact, like onewho having into truth, by telling of it,made such a sinner of his memory,to credit his own lie \u2013 he did believehe was indeed the duke; out o\u2019 th\u2019 substitution,and executing th\u2019 outward face of royaltywith all prerogative. hence his ambition growing \u2013dost thou hear? miranda: y our tale, sir, would cure deafness. prospero:  to have no screen between this part he play\u2019d and him he play\u2019d it for, he needs will beabsolute milan. me, poor man \u2013 my librarywas dukedom large enough \u2013 of temporal royaltieshe thinks me now incapable; confederates,so dry he was for sway, wi\u2019 th\u2019 king of naples,to give him annual tribute, do him homage,subject his coronet to his crown, and bendthe dukedom, yet unbow\u2019d \u2013 alas, poor milan! \u2013to most ignoble stooping. miranda:             o the heavens! prospero:  mark his condition, and th\u2019 event, then tell me if this might be a brother. miranda:             i should sin5 10 15 202530 35 40 45",
            "11": "11 0486/32/f/m/15 \u00a9 ucles 2015 [turn overto think but nobly of my grandmother: good wombs have borne bad sons. prospero:                 now the condition: this king of naples, being an enemyto me inveterate, hearkens my brother\u2019s suit;which was, that he, in lieu o\u2019 th\u2019 premises,of homage, and i know not how much tribute,should presently extirpate me and mineout of the dukedom, and confer fair milanwith all the honours on my brother. whereon,a treacherous army levied, one midnightfated to th\u2019 purpose, did antonio openthe gates of milan; and, i\u2019 th\u2019 dead of darkness,the ministers for th\u2019 purpose hurried thenceme and thy crying self. miranda:            alack, for pity! i, not rememb\u2019ring how i cried out then,will cry it o\u2019er again; it is a hintthat wrings mine eyes to\u2019t. prospero:              hear a little further, and then i\u2019ll bring thee to the present businesswhich now\u2019s upon \u2019s; without the which this storywere most impertinent. miranda:             wherefore did they not that hour destroy us? prospero:            well demanded, wench! my tale provokes that question. dear, they durst not,so dear the love my people bore me; nor seta mark so bloody on the business; butwith colours fairer painted their foul ends.in few, they hurried us aboard a bark;bore us some leagues to sea, where they prepareda rotten carcass of a butt, not rigg\u2019d,nor tackle, sail, nor mast; the very ratsinstinctively have quit it. there they hoist us,to cry to th\u2019 sea, that roar\u2019d to us; to sighto th\u2019 winds, whose pity, sighing back again,did us but loving wrong. miranda:             alack, what trouble was i then to you! prospero:          o, a cherubin thou wast that did preserve me!  [from act 1 scene 2]   how does shakespeare make you sympathise with prospero at this moment in the play? or 10  explore the ways in which  shakespeare portrays stephano and trinculo as ridiculous and  yet also disturbing.50 5560 65 70 75 80 85",
            "12": "12 0486/32/f/m/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the  writing . either 11  read this passage carefully, and then answer the question that follows it:   [enter dr chasuble.] chasuble: everything is quite ready for the christenings. lady bracknell: the christenings, sir! is not that somewhat premature? chasuble  [looking rather puzzled, and pointing to  jack and algernon]:  both these gentlemen have expressed a desire for immediate baptism. lady bracknell:  at their age? the idea is grotesque and irreligious! algernon, i  forbid you to be baptized. i will not hear of such excesses. lord bracknell would be highly displeased if he learned that that was the way in which you wasted your time and money. chasuble:  am i to understand then that there are to be no christenings at all  this afternoon? jack:   i don\u2019t think that, as things are now, it would be of much practical  value to either of us, dr chasuble. chasuble:  i am grieved to hear such sentiments from you, mr worthing. they  savour of the heretical views of the anabaptists, views that i have completely refuted in four of my unpublished sermons. however, as your present mood seems to be one peculiarly secular, i will return to the church at once. indeed, i have just been informed by the pew-opener that for the last hour and a half miss prism has been waiting for me in the vestry. lady bracknell [starting ]: miss prism! did i hear you mention a miss prism? chasuble: y es, lady bracknell. i am on my way to join her. lady bracknell:  pray allow me to detain you for a moment. this matter may prove  to be one of vital importance to lord bracknell and myself. is this miss prism a female of repellent aspect, remotely connected with education? chasuble  [somewhat indignantly ]: she is the most cultivated of ladies, and  the very picture of respectability. lady bracknell:  it is obviously the same person. may i ask what position she holds  in your household? chasuble [severely ]: i am a celibate, madam. jack   [interposing ]: miss prism, lady bracknell, has been for the last  three years miss cardew\u2019s esteemed governess and valued companion. lady bracknell:  in spite of what i hear of her, i must see her at once. let her be  sent for. chasuble [looking off ]: she approaches; she is nigh. [enter miss prism  hurriedly. ] miss prism:  i was told you expected me in the vestry, dear canon. i have been  waiting for you there for an hour and three-quarters. [ catches  sight of  lady bracknell, who has fixed her with a stony glare.   miss prism grows pale and quails. she looks anxiously round  as if desirous to escape .]5 10 15 20 25 3035 40",
            "13": "13 0486/32/f/m/15 \u00a9 ucles 2015lady bracknell  [in a severe, judicial voice ]: prism! [miss prism bows her  head in shame .] come here, prism! [miss prism approaches  in a humble manner .] prism! where is that baby? [ general  consternation. the canon starts back in horror . algernon  and jack  pretend to be anxious to shield  cecil y and  gwendolen from hearing the details of a terrible public  scandal .] twenty-eight years ago, prism, you left lord bracknell\u2019s  house, number 104, upper grosvenor square, in charge of a perambulator that contained a baby of the male sex. y ou never returned. a few weeks later, through the elaborate investigations of the metropolitan police, the perambulator was discovered at midnight standing by itself in a remote corner of bayswater. it contained the manuscript of a three-volume novel of more than usually revolting sentimentality. [miss prism starts in involuntary  indignation .] but the baby was not there. [ every one looks at  miss  prism.] prism! where is that baby? [ a pause .] miss prism:  lady bracknell, i admit with shame that i do not know. i only wish  i did. the plain facts of the case are these. on the morning of the day you mention, a day that is for ever branded on my memory, i prepared as usual to take the baby out in its perambulator. i had also with me a somewhat old, but capacious handbag in which i had intended to place the manuscript of a work of fiction that i had written during my few unoccupied hours. in a moment of mental abstraction, for which i can never forgive myself, i deposited the manuscript in the bassinette and placed the baby in the hand-bag. jack   [who had been listening attentively ]: but where did you deposit  the hand-bag? miss prism: do not ask me, mr worthing. jack:   miss prism, this is a matter of no small importance to me. i insist  on knowing where you deposited the hand-bag that contained that infant. miss prism:  i left it in the cloak-room of one of the larger railway stations in  london. jack:  what railway station? miss prism [quite crushed ]: victoria. the brighton line. [ sinks into a chair .] jack:   i must retire to my room for a moment. gwendolen, wait here for me. gwendolen:  if you are not too long, i will wait here for you all my life. [ exit  jack in great excitement .] chasuble: what do you think this means, lady bracknell? lady bracknell:  i dare not even suspect, dr chasuble. i need hardly tell you that  in families of high position strange coincidences are not supposed to occur. they are hardly considered the thing. [noises heard overhead as if some one was throwing trunks about. every one  looks up. ]  [from act 3]    how does wilde make this such an entertaining moment in the play? or 12 \u2018wilde makes you feel affection for algernon despite his foolishness.\u2019   to what extent do you agree with this comment about algernon?45 505560 6570 75 80 85",
            "14": "14 0486/32/f/m/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/32/f/m/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/32/f/m/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m15_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (nh) 95996/3 \u00a9 ucles 2015 [turn over *3680645528*literature (english)  0486/42 paper 4 unseen february/march 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.cambridge international examinations cambridge international general certificate of secondary education the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/42/f/m/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. it is written from the point of view of a dormant volcano, one  which has not erupted for years but may do so in the future. krakatoa and vesuvius (\u2018vesuvian\u2019), mentioned in the poem, are volcanoes which erupted in the past causing major destruction.  how does the poet powerfully portray the volcano? to help you answer this question, you might consider:   \u0081 how the volcano describes itself    \u0081 the effect of the poet comparing this volcano to krakatoa   \u0081 the impact on you of the final six lines of the poem. ",
            "3": "3 0486/42/f/m/15 \u00a9 ucles 2015 [turn overvolcano when i speak now there are no urgent rumblings in my voiceno scarlet vapour issues from my lipsi spit no lava:but i am a volcanoan incandescent 1 cone of angry flesh black brimstone2 broils within the craters of my being.when i speak nowno one can hear methe thunder lies too deep too deepfor violent cataclysm: 3 my heatis nothing but a memory now:my crya terror of the long forgotten:time heaps high snow upon my passive flanksand i stand muted with my furnace cagedtoo chilled for agitation.but mark me wellfor i am still volcanoi may disown my nature, my vesuvian blood,so did my cousin krakatoafor centuries locked his fist within the earthand only shook it when his wrath was fulland died to rock the world.so, mark me wellpray that my silence shall outlive my wrathfor if this vomit ventures to my lips againold orthodoxies 4 villaged on my flanks shall face the molten magma5 of my wrath submerge and perish. 1 incandescent  : white-hot 2 brimstone : sulphur 3 cataclysm : destructive upheaval 4 orthodoxies : opinions, beliefs, traditions 5 magma : hot liquid rock inside the volcano",
            "4": "4 0486/42/f/m/15 \u00a9 ucles 2015or 2 read carefully the following extract from a novel. after a very long journey lev, an eastern  european, has just arrived in london. lev\u2019s wife has recently died and he has left his daughter, maya, in his home country with his mother, ina, in order to find work in england.  how does the writer vividly convey to you lev\u2019s thoughts and feelings at this moment? to help you answer this question, you might consider:   \u0081 the way the writer describes lev\u2019s feelings about the tourists and the joggers   \u0081 how she portrays his thoughts about his mother and daughter   \u0081 how she conveys his feelings of being in a strange country in the passage as a whole. reaching the river, lev set down his bag and extracted one twenty-pound note from  his wallet. he bought two hot dogs and a can of coca-cola from a stall and a hoard of change was put into his hand. he felt proud of this transaction. he leaned on the embankment wall, and looked at london. the food felt rich  and burning, the cola seemed to pinch at his teeth. though the sky was blue, the river remained an opalescent 1 grey-green and lev wondered whether this was always  true of city rivers \u2013 that they were incapable of reflecting the sky because of all the centuries of dark mud beneath. travelling on the water, going in both directions, were cumbersome tourist boats, with carefree people clustered into seating on the top deck, taking photographs in the sun. lev\u2019s eye was held by these people. he envied them their ease and their  summer shorts and the way the voices of the tour guides echoed out across the wavelets, naming the buildings in three or four different languages, so that those on the boats would never feel confused or lost. lev noted, too, that this journey of theirs was finite \u2013 upriver a few miles, past the giant white wheel 2 turning slowly on its too- fragile stem, then back to where they\u2019d started from \u2013 whereas his own journey in england had barely begun; it was infinite, with no known ending or destination, and yet already, as the moments passed, confusion and worry were sending pains to his head. at lev\u2019s back, joggers kept passing, and the scuff and squeak of their trainers,  their rapid breathing, were like a reproach to lev, who stood without moving, bathing his teeth in cola, devoid of any plan, while these runners had purpose and strength and a tenacious little goal of self-improvement. lev finished the cola and lit a cigarette. he was sure his \u2018self\u2019 needed improving,  too. for a long time now, he\u2019d been moody, melancholy and short-tempered. even with maya. for days on end, he\u2019d sat on ina\u2019s porch without moving, or lain in an old grey hammock, smoking and staring at the sky. many times he\u2019d refused to play with his daughter, or help her with her reading, left everything to ina. and this was unfair, he knew. ina kept the family alive with her jewellery-making. she also cooked their meals and cleaned the house and hoed the vegetable patch and fed the animals \u2013 while lev lay and looked at clouds. it was more than unfair; it was lamentable. but at last he\u2019d been able to tell his mother he was going to make amends. by learning english and then by migrating to england, he was going to save them. two years from now, he would be a man-of-the-world. he would own an expensive watch. he would put ina and maya aboard a tourist boat and show them the famous buildings. they would have no need of a tourist guide because he, lev, would know the names of everything in london by heart \u2026 reproaching himself for his laziness, his thoughtlessness toward ina, lev  walked in the direction of a riverside stall selling souvenirs and cards. the stall was shaded by the pillars of a tall bridge and lev felt suddenly cold as he moved out of the sunlight. he stared at the flags, toys, models, mugs and linen towels, wondering ",
            "5": "5 0486/42/f/m/15 \u00a9 ucles 2015what to buy for his mother. the stall-holder watched him lazily from his corner in  the shadows. lev knew that ina would like the towels \u2013 the linen felt thick and hard-wearing \u2013 but the price on them was \u00a35.99, so he moved away. slowly, he turned the rack of postcards, and scenes from life in london revolved  obediently in front of him. then he saw the thing he knew he would have to buy: it was a greetings card in the shape of princess diana\u2019s 3 head. on her face was her  famous, heartbreaking smile and in her blonde hair nestled a diamond tiara and the blue of her eyes was startling and sad. buying the diana card exhausted lev. as he slouched back into the sunshine,  he felt spent, lame, at the end of what he could endure that day. he had to find a bed somewhere and lie down. 1 opalescent : changing colour 2 the giant white wheel : \u2018the london eye\u2019, a famous ferris wheel and tourist attraction 3 princess diana : a member of the british royal family",
            "6": "6 0486/42/f/m/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/42/f/m/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/42/f/m/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl/km) 91057/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *3083167168*literature (english)  0486/11 paper 1 poetry and prose may/june 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/11/m/j/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/11/m/j/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy:  from selected poems   1, 2 pages 4\u20135 from jo phillips ed: poems deep & dangerous   3, 4 pages 6\u20137 songs of ourselves : from part 4  5, 6 pages 8\u20139 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 10\u201311 tsitsi dangarembga: nervous conditions   9, 10 pages 12\u201313 anita desai: fasting, feasting 11, 12  pages 14\u201315 helen dunmore: the siege 13, 14 pages 16\u201317 george eliot: silas marner 15, 16 pages 18\u201319 susan hill: i\u2019m the king of the castle 17, 18 pages 20\u201321 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/11/m/j/15 \u00a9 ucles 2015 section a: poetry answer one question from this section. thomas hardy:  from  selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: the darkling thrush i leant upon a coppice gate  when frost was spectre-gray,and winter\u2019s dregs made desolate the weakening eye of day.the tangled bine-stems scored the sky like strings of broken lyres,and all mankind that haunted nigh had sought their household fires. the land\u2019s sharp features seemed to be  the century\u2019s corpse outleant,his crypt the cloudy canopy, the wind his death-lament.the ancient pulse of germ and birth was shrunken hard and dry,and every spirit upon earth seemed fervourless as i. at once a voice arose among  the bleak twigs overheadin a full-hearted evensong of joy illimited;an aged thrush, frail, gaunt, and small, in blast-beruffled plume,had chosen thus to fling his soul upon the growing gloom. so little cause for carolings  of such ecstatic soundwas written on terrestrial things afar or nigh around,that i could think there trembled through his happy good-night airsome blessed hope, whereof he knew and i was unaware.   explore the ways in which hardy\u2019s words and images create feelings of sadness in the  darkling thrush.5 10 15 2025 30",
            "5": "5 0486/11/m/j/15 \u00a9 ucles 2015 [turn overor 2 how does hardy make memories so vivid in the going ? the going why did you give no hint that night that quickly after the morrow\u2019s dawn,and calmly, as if indifferent quite,y ou would close your term here, up and be gone where i could not follow with wing of swallowto gain one glimpse of you ever anon!  never to bid good-bye,  or lip me the softest call,or utter a wish for a word, while isaw morning harden upon the wall, unmoved, unknowing that your great goinghad place that moment, and altered all. why do you make me leave the house and think for a breath it is you i seeat the end of the alley of bending boughswhere so often at dusk you used to be; till in darkening dankness the yawning blanknessof the perspective sickens me!  y ou were she who abode  by those red-veined rocks far west,y ou were the swan-necked one who rodealong the beetling beeny crest, and, reining nigh me, would muse and eye me,while life unrolled us its very best. why, then, latterly did we not speak, did we not think of those days long dead,and ere your vanishing strive to seekthat time\u2019s renewal? we might have said, \u2018in this bright spring weather we\u2019ll visit togetherthose places that once we visited.\u2019  well, well! all\u2019s past amend,  unchangeable. it must go.i seem but a dead man held on endto sink down soon \u2026 o you could not know that such swift fleeing no soul foreseeing \u2013not even i \u2013 would undo me so!5 1015 20 2530 35 40",
            "6": "6 0486/11/m/j/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it:  shall i compare thee \u2026? shall i compare thee to a summer\u2019s day? thou art more lovely and more temperate:rough winds do shake the darling buds of may,and summer\u2019s lease hath all too short a date:sometime too hot the eye of heaven shines,and often is his gold complexion dimm\u2019d;and every fair from fair sometime declines,by chance, or nature\u2019s changing course, untrimm\u2019d;but thy eternal summer shall not fade,nor lose possession of that fair thou owest;nor shall death brag thou wander\u2019st in his shade,when in eternal lines to time thou growest; so long as men can breathe, or eyes can see, so long lives this, and this gives life to thee. (william shakespeare )   in what ways does shakespeare\u2019s writing make shall i compare thee \u2026?  such a  powerful love poem?5 10",
            "7": "7 0486/11/m/j/15 \u00a9 ucles 2015 [turn overor 4 how does heaney make this memory of childhood in follower  so vivid for you? follower my father worked with a horse-plough, his shoulders globed like a full sail strungbetween the shafts and the furrow.the horses strained at his clicking tongue. an expert. he would set the wing and fit the bright steel-pointed sock.the sod rolled over without breaking.at the headrig, with a single pluck of reins, the sweating team turned round and back into the land. his eyenarrowed and angled at the ground,mapping the furrow exactly. i stumbled in his hob-nailed wake, fell sometimes on the polished sod;sometimes he rode me on his backdipping and rising to his plod. i wanted to grow up and plough, to close one eye, stiffen my arm.all i ever did was followin his broad shadow round the farm. i was a nuisance, tripping, falling, y apping always. but todayit is my father who keeps stumblingbehind me, and will not go away. (seamus heaney )5 101520",
            "8": "8 0486/11/m/j/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it:  horses those lumbering horses in the steady plough, on the bare field \u2013 i wonder why, just now,they seemed terrible, so wild and strange,like magic power on the stony grange. perhaps some childish hour has come again, when i watched fearful, through the blackening rain,their hooves like pistons in an ancient millmove up and down, yet seem as standing still. their conquering hooves which trod the stubble down were ritual that turned the field to brown,and their great hulks were seraphim of gold,or mute ecstatic monsters on the mould. and oh the rapture, when, one furrow done, they marched broad-breasted to the sinking sun!the light flowed off their bossy sides in flakes;the furrows rolled behind like struggling snakes. but when at dusk with steaming nostrils home they came, they seemed gigantic in the gloam,and warm and glowing with mysterious firethat lit their smouldering bodies in the mire. their eyes as brilliant and as wide as night gleamed with a cruel apocalyptic light.their manes the leaping ire of the windlifted with rage invisible and blind. ah, now it fades! it fades! and i must pine again for that dread country crystalline,where the black field and the still-standing treewere bright and fearful presences to me. (edwin muir )   explore the ways in which muir vividly conveys a sense of mystery in horses .5 101520 25",
            "9": "9 0486/11/m/j/15 \u00a9 ucles 2015 [turn overor 6 how does rossetti strikingly create a sense of wonder in a birthday ? a birthday my heart is like a singing bird  whose nest is in a watered shoot;my heart is like an apple-tree whose boughs are bent with thickset fruit;my heart is like a rainbow shell that paddles in a halcyon sea;my heart is gladder than all these because my love is come to me. raise me a dais of silk and down;  hang it with vair and purple dyes;carve it in doves and pomegranates, and peacocks with a hundred eyes;work it in gold and silver grapes, in leaves and silver fleurs-de-lys;because the birthday of my life is come, my love is come to me. (christina rossetti )5 10 15",
            "10": "10 0486/11/m/j/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: this was the first time of her brother\u2019s openly siding against her, and  anxious to avoid his displeasure, she proposed a compromise. if they would only put off their scheme till tuesday, which they might easily do, as it depended only on themselves, she could go with them, and everybody might then be satisfied. but \u2018no, no, no!\u2019 was the immediate answer; \u2018that could not be, for thorpe did not know that he might not go to town on tuesday.\u2019 catherine was sorry, but could do no more; and a short silence ensued, which was broken by isabella; who in a voice of cold resentment said, \u2018very well, then there is an end of the party. if catherine does not go, i cannot. i cannot be the only woman. i would not, upon any account in the world, do so improper a thing.\u2019 \u2018catherine, you must go,\u2019 said james.\u2018but why cannot mr thorpe drive one of his other sisters? i dare say  either of them would like to go.\u2019 \u2018thank ye,\u2019 cried thorpe, \u2018but i did not come to bath to drive my sisters  about, and look like a fool. no, if you do not go, d\u2014 me if i do. i only go for the sake of driving you.\u2019 \u2018that is a compliment which gives me no pleasure.\u2019 but her words were  lost on thorpe, who had turned abruptly away. the three others still continued together, walking in a most uncomfortable  manner to poor catherine; sometimes not a word was said, sometimes she was again attacked with supplications or reproaches, and her arm was still linked within isabella\u2019s, though their hearts were at war. at one moment she was softened, at another irritated; always distressed, but always steady. \u2018i did not think you had been so obstinate, catherine,\u2019 said james; \u2018you  were not used to be so hard to persuade; you once were the kindest, best-tempered of my sisters.\u2019 \u2018i hope i am not less so now,\u2019 she replied, very feelingly; \u2018but indeed i  cannot go. if i am wrong, i am doing what i believe to be right.\u2019 \u2018i suspect,\u2019 said isabella, in a low voice, \u2018there is no great struggle.\u2019catherine\u2019s heart swelled; she drew away her arm, and isabella made  no opposition. thus passed a long ten minutes, till they were again joined by thorpe, who coming to them with a gayer look, said, \u2018well, i have settled the matter, and now we may all go tomorrow with a safe conscience. i have been to miss tilney, and made your excuses.\u2019 \u2018y ou have not!\u2019 cried catherine.\u2018i have, upon my soul. left her this moment. told her you had sent me  to say, that having just recollected a prior engagement of going to clifton with us tomorrow, you could not have the pleasure of walking with her till tuesday. she said very well, tuesday was just as convenient to her; so there is an end of all our difficulties. \u2013 a pretty good thought of mine \u2013 hey?\u2019 isabella\u2019s countenance was once more all smiles and good-humour, and  james too looked happy again.  [from chapter 13]5 10152025303540",
            "11": "11 0486/11/m/j/15 \u00a9 ucles 2015 [turn over  how does austen make you feel about the way james, isabella and john behave towards  catherine at this moment in the novel? or 8 in what ways does austen strikingly portray the desire for wealth in the novel?",
            "12": "12 0486/11/m/j/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: slowly the cavalcade progressed towards the yard, which by now was  full of rejoicing relatives. my father jumped out of babamukuru\u2019s car and, brandishing a staff like a victory spear, bounded over the bumpy road, leaping into the air and landing on one knee, to get up and leap again and pose like a warrior inflicting a death wound. \u2018 hezvo !\u2019 he cried \u2018do you  see him? our returning prince. do you see him? observe him well. he has returned. our father and benefactor has returned appeased, having devoured english letters with a ferocious appetite! did you think degrees were indigestible? if so, look at my brother. he has digested them! if you want to see an educated man, look at my brother, big brother to us all!\u2019 the spear aimed high and low, thrust to the right, to the left. all was conquered. the cars rolled to a stop beneath the mango trees. tete gladys  disembarked with difficulty, with false starts and strenuous breathing; because she was so large, it was not altogether clear how she had managed to insert herself into her car in the first place. but her mass was not frivolous. it had a ponderous presence which rendered any situation, even her attempts to remove herself from her car, weighty and serious. we did not giggle, did not think of it. on her feet at last, tete straightened herself, planted herself firmly, feet astride, in the dust. clenched fists settling on hips, elbows jutting aggressively, she defied any contradiction of my father\u2019s eulogy. \u2018do you hear?\u2019 she demanded, \u2018what jeremiah is saying? if you have not heard, listen well. it is the truth he is speaking! truly our prince has returned today! full of knowledge. knowledge that will benefit us all! purururu!\u2019 she ululated, shuffling with small gracious jumps to embrace my mother. \u2018purururu!\u2019 they ululated. \u2018he has returned. our prince has returned!\u2019 babamukuru stepped out of his car, paused behind its open door,  removed his hat to smile graciously, joyfully, at us all. indeed, my babamukuru had returned. i saw him only for a moment. the next minute he was drowned in a sea of bodies belonging to uncles, aunts and nephews; grandmothers, grandfathers and nieces; brothers and sisters of the womb and not of the womb. the clan had gathered to welcome its returning hero. his hand was shaken, his head was rubbed, his legs were embraced. i was there too, wanting to touch babamukuru, to talk, to tell him i was glad that he had returned. babamukuru made his fair-sized form as expansive as possible, holding his arms out and bending low so that we all could be embraced, could embrace him. he was happy. he was smiling. \u2018y es, yes,\u2019 he kept saying. \u2018it is good, it is good.\u2019 we moved, dancing and ululating and kicking up a fine dust-storm from our stamping feet, to the house. babamukuru stepped inside, followed by a retinue of grandfathers,  uncles and brothers. various paternal aunts, who could join them by virtue of their patriarchal status and were not too shy to do so, mingled with the men. behind them danced female relatives of the lower strata. maiguru entered last and alone, except for her two children, smiling quietly and inconspicuously. dressed in flat brown shoes and a pleated polyester dress very much like the one babamukuru bought for my mother the christmas before he left, she did not look as though she had been to england. my cousin nyasha, pretty bright nyasha, on the other hand, obviously had. 5 1015202530354045",
            "13": "13 0486/11/m/j/15 \u00a9 ucles 2015 [turn overthere was no other explanation for the tiny little dress she wore, hardly  enough of it to cover her thighs. she was self-conscious though, constantly clasping her hands behind her buttocks to prevent her dress from riding up, and observing everybody through veiled vigilant eyes to see what we were thinking. catching me examining her, she smiled slightly and shrugged. \u2018i shouldn\u2019t have worn it,\u2019 her eyes seemed to say. unfortunately, she had worn it. i could not condone her lack of decorum. i would not give my approval. i turned away.  [from chapter 3]   how does dangarembga make this an amusing and revealing moment in the novel? or 10 explore the ways in which dangarembga shows the importance of food in the novel.50 55",
            "14": "14 0486/11/m/j/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: it is summer. arun makes his way slowly through the abundant green of  edge hill as if he were moving cautiously through massed waves of water under which unknown objects lurked. greenness hangs, drips and sways from every branch and twig and frond in the surging luxuriance of july. in such profusion, the houses seem as lost, as stranded, as they might have been when this was primeval forest. white clapboard is most prominent but there are houses painted dark with red oxide, some a military grey with white trim, and a few have yellow doors and shutters, or blue. these touches of colour seem both brave and forlorn, picturebook dreams pitted against the wilderness, without conviction. outside many of them the starred and striped american flag flies on a  post with all the bravado of a new frontier. in direct contradiction, there are the more domestic signs of habitation that imply settlement by generations \u2013 the rubber paddling pools left outdoors by children who have gone in, moulded plastic tricycles and steel bicycles, go-carts and skateboards. there is garden furniture and garden statuary \u2013 pink plastic flamingoes poised beside a birdbath, spotted deer or hatted gnomes crouched amongst the rhododendrons like decoys set out by homesteaders, conveying some message to the threatening hinterland. arun keeps his chin lowered, as nervous as someone venturing alone  across the border, but his eyes glance from side to side into all the windows. none of them are curtained. most are very large. he can look in directly at the kitchen sinks, the pots of busily flowering busy-lizzies, the lamps and the dangling glass decorations. there are so many objects, so rarely any people. only occasionally a woman crosses one of these illuminated rooms, withdraws. there seems to be more happening in the darkened rooms where the uncertain light of television sets flickers. here he might see undefined shapes huddled upon a couch, sprawled on the floor. and there is the multicoloured life of the screen, jigging and jumping with a mechanical animation that has no natural equivalent. the windows are shut, he cannot hear a sound. now and then a car turns into the road, very slowly because it is a  residential area and there are mountainous speedbreakers, then turns into its assigned driveway. a garage door slides up with an obedient, even obsequious murmur, and the car disappears. where? arun knows nothing. he peers around him for footprints, for signs, for  markers. he studies the mailboxes that line the drive, leaning into each other, for some indications or evidence. he notes which ones have names written upon them, which ones only numbers. if the mail has not been collected, he squints to find the name on the newspapers and the mail order catalogues stuffed into them. shambling along, he notes which house has a large clutter of children\u2019s  toys \u2013 spades, buckets, bats, balls \u2013 and which have carefully constructed gardens: the small beds of bright flowers, stone-edged and stranded in huge stretches of immaculate lawn, the clipped hedges, the bird-feeders watched over by murderously patient cats that seem painted onto the scene in black and white. tucking his chin into his collar, he ponders these omens and indicators.5 1015202530354045",
            "15": "15 0486/11/m/j/15 \u00a9 ucles 2015 [turn overa car drives up suddenly behind him, very close, as if with intention. he  climbs hastily onto a grass verge. it passes. why had it done that? are pedestrians against the law in this land of the four-wheeled? he turns into bayberry lane and walks past more trimmed lawns, more  swept drives, till the road slopes down to the last house in the lane, on the edge of the woods below the hill. here, too, a red-white-and-blue flag flies upon its pole, its rope slack in the summer stillness, and the mailbox holds its measure of junk mail, too voluminous to merit collection. here, too, the big picture-windows are lit, and the rooms empty, like stage sets before the play begins: is there or is there not to be a play? he walks around to the side of the house where a basketball hoop holds  its ring over his head in speechless invitation to play. as he slouches past the manicured shrubs, he glances into the kitchen window and sees the aluminium sink, the wall cupboards, the tea towels on their rack. mrs patton is there. [from chapter 14]   how does desai vividly convey arun\u2019s thoughts and feelings to you at this moment in the  novel? or 12 how does desai make the suffering of women in their marriages so vivid in the indian  part (part one) of the novel?50 5560",
            "16": "16 0486/11/m/j/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: anna takes the two children by the hands. girls aged three and five, they  were pushed into her arms by their mother. \u2018i can\u2019t go with them, i\u2019m an essential worker. here, take them.  remember, nyusha, keep a hold of her hand, don\u2019t let her run around or gobble up all her sandwiches before you even get on the train. do what the lady tells you and you\u2019ll soon be back home again. quick now.\u2019 y ou would have thought she felt nothing, but for the staring pallor of her  face. the children, too, seemed numb. they were stuffed into their winter coats, as round as little cabbages. the little one held a bit of grey cloth, and stroked its silky edge against her face. \u2018put that back in your pocket. only when you\u2019re in bed , remember, or  they\u2019ll take it off you.\u2019 the little girl whipped the cloth into her pocket, and huddled against  nyusha. \u2018what\u2019s this lady going to think of you, carrying round a bit of dirty old  rag?\u2019 the mother spat on her handkerchief, bent down, and briskly polished  her daughters\u2019 faces. \u2018there. there\u2019s good girls. now then \u2013\u2019 but as she straightened up, anna saw her face, tight with anguish.she whispered, \u2018is it true what they say, that they\u2019re bombing the railways  the kids are going on?\u2019 \u2018i don\u2019t know. we haven\u2019t heard anything.\u2019\u2018but our kids\u2019ll get out safe, won\u2019t they? i mean, you won\u2019t be sending  them anywhere there\u2019s bombs?\u2019 \u2018they\u2019ll be safer out of the city, away from air-raids.\u2019the mother nodded convulsively, putting her hand up to her throat.\u2018please, don\u2019t worry. we\u2019ll look after them.\u2019the mother seemed about to speak again, but instead she made  a gesture with her hand, as if pushing something away, grabbed both children in a clumsy hug that knocked their heads together, then turned and rushed out of the room. the little one began to wail. her sister scrabbled in the child\u2019s pocket,  and fetched out the rag. flushing, she explained to anna, \u2018mum lets her have it when she cries.\u2019 \u2018it\u2019s the best thing, nyusha. y our mother wouldn\u2019t want her to be crying  all the time. give her the rag whenever she wants it.\u2019 the little girl had stopped crying. she was rubbing the silky edge  rhythmically over her lips, slipping away into safety, her eyes wide, dark and unfocused. \u2018now, let\u2019s get you two sorted out. y ou\u2019ll be going into that room first, with  all the others, so you can be divided into groups for the journey. we\u2019ll make sure you stay together. y ou\u2019ll be going on a train, you know that, and we\u2019re sending plenty of food with you, so you don\u2019t need to worry.\u2019 \u2018mum\u2019s made our sandwiches.\u2019\u2018i know. but maybe there are children who haven\u2019t brought anything. we  have to look after everyone. what\u2019s your little sister\u2019s name?\u2019 \u2018olenka. she doesn\u2019t talk.\u20195 1015202530354045",
            "17": "17 0486/11/m/j/15 \u00a9 ucles 2015 [turn over\u2018but you can tell when she\u2019s hungry and when she wants to go to the  toilet?\u2019 nyusha nods importantly. \u2018y eah, i can tell. she sort of pulls me when she  wants things.\u2019 \u2018that\u2019s good. now, in here, just wait on these benches and we\u2019ll be as  quick as we can. move up a bit, the rest of you, there are two more here who want to sit down.\u2019  [from chapter 11]   how does dunmore\u2019s writing make this moment in the novel so sad? or 14 how, in your view, does dunmore make andrei such an admirable character?50",
            "18": "18 0486/11/m/j/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: dunstan cass, setting off in the raw morning, at the judiciously quiet pace  of a man who is obliged to ride to cover on his hunter, had to take his way along the lane, which, at its farther extremity, passed by the piece of unenclosed ground called the stonepit, where stood the cottage, once a stone-cutter\u2019s shed, now for fifteen years inhabited by silas marner. the spot looked very dreary at this season, with the moist trodden clay about it, and the red, muddy water high up in the deserted quarry. that was dunstan\u2019s first thought as he approached it; the second was, that the old fool of a weaver, whose loom he heard rattling already, had a great deal of money hidden somewhere. how was it that he, dunstan cass, who had often heard talk of marner\u2019s miserliness, had never thought of suggesting to godfrey that he should frighten or persuade the old fellow into lending the money on the excellent security of the young squire\u2019s prospects? the resource occurred to him now as so easy and agreeable, especially as marner\u2019s hoard was likely to be large enough to leave godfrey a handsome surplus beyond his immediate needs, and enable him to accommodate his faithful brother, that he had almost turned the horse\u2019s head towards home again. godfrey would be ready enough to accept the suggestion: he would snatch eagerly at a plan that might save him from parting with wildfire. but when dunstan\u2019s meditation reached this point, the inclination to go on grew strong and prevailed. he didn\u2019t want to give godfrey that pleasure: he preferred that master godfrey should be vexed. moreover, dunstan enjoyed the self-important consciousness of having a horse to sell, and the opportunity of driving a bargain, swaggering, and, possibly, taking somebody in. he might have all the satisfaction attendant on selling his brother\u2019s horse, and not the less have the further satisfaction of setting godfrey to borrow marner\u2019s money. so he rode on to cover. bryce and keating were there, as dunstan was quite sure they would be  \u2013 he was such a lucky fellow. \u2018hey-day,\u2019 said bryce, who had long had his eye on wildfire, \u2018you\u2019re on  your brother\u2019s horse today: how\u2019s that?\u2019 \u2018o, i\u2019ve swopped with him,\u2019 said dunstan, whose delight in lying, grandly  independent of utility, was not to be diminished by the likelihood that his hearer would not believe him \u2013 \u2018wildfire\u2019s mine now.\u2019 \u2018what! has he swopped with you for that big-boned hack of yours?\u2019 said  bryce, quite aware that he should get another lie in answer. \u2018o, there was a little account between us,\u2019 said dunsey, carelessly, \u2018and  wildfire made it even. i accommodated him by taking the horse, though it was against my will, for i\u2019d got an itch for a mare o\u2019 jortin\u2019s \u2013 as rare a bit o\u2019 blood as ever you threw your leg across. but i shall keep wildfire, now i\u2019ve got him; though i\u2019d a bid of a hundred and fifty for him the other day, from a man over at flitton \u2013 he\u2019s buying for lord cromleck \u2013 a fellow with a cast in his eye, and a green waistcoat. but i mean to stick to wildfire: i shan\u2019t get a better at a fence in a hurry. the mare\u2019s got more blood, but she\u2019s a bit too weak in the hind-quarters.\u2019 bryce of course divined that dunstan wanted to sell the horse, and  dunstan knew that he divined it (horse-dealing is only one of many human transactions carried on in this ingenious manner); and they both considered 5 1015202530354045",
            "19": "19 0486/11/m/j/15 \u00a9 ucles 2015 [turn overthat the bargain was in its first stage, when bryce replied ironically \u2013  \u2018i wonder at that now; i wonder you mean to keep him; for i never heard of a man who didn\u2019t want to sell his horse getting a bid of half as much again as the horse was worth. y ou\u2019ll be lucky if you get a hundred.\u2019 keating rode up now, and the transaction became more complicated.  it ended in the purchase of the horse by bryce for a hundred and twenty, to be paid on the delivery of wildfire, safe and sound, at the batherley stables. it did occur to dunsey that it might be wise for him to give up the day\u2019s hunting, proceed at once to batherley, and, having waited for bryce\u2019s return, hire a horse to carry him home with the money in his pocket. but the inclination for a run, encouraged by confidence in his luck, and by a draught of brandy from his pocket-pistol at the conclusion of the bargain, was not easy to overcome, especially with a horse under him that would take the fences to the admiration of the field.  [from chapter 4]   how does eliot vividly reveal dunstan\u2019s character to you at this moment in the novel? or 16 explore two moments in the novel which eliot\u2019s writing makes particularly moving for  you.50 5560",
            "20": "20 0486/11/m/j/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: hooper was standing a couple of yards away, scraping at the leaf mould  with his toe. \u2018come on, kingshaw.\u2019 \u2018i don\u2019t want to play this game now.\u2019hooper\u2019s face puckered with scorn. \u2018what game ? we\u2019re tracking deer,  aren\u2019t we? i am, anyway. y ou can do what you like.\u2019 \u2018i want to go. it\u2019s about time i was getting out.\u2019\u2018out where?\u2019\u2018of here. i\u2019m going through the fields behind the wood, and then \u2026\u2019\u2018then what?\u2019\u2018never mind. nowhere. y ou\u2019ll have to go back, though.\u2019hooper shook his head.\u2018i\u2019m off.\u2019kingshaw had stuffed his sweater inside the satchel. behind him were  the bushes, through which they had just come. he went straight on. \u2018where are you going?\u2019\u2018i told you, i\u2019ve got to go out of here now.\u2019\u2018home?\u2019\u2018mind your own business. no.\u2019\u2018out the other side of the wood, then?\u2019\u2018y es.\u2019\u2018that\u2019s not the way.\u2019\u2018it is.\u2019\u2018it\u2019s not, we were over there. we turned round.\u2019kingshaw hesitated. there were clumps of undergrowth all round. he  tried to get his bearings. if he went into that clearing to his left, then he would be heading out of hang wood. he must be almost on the edge, by now. he walked on, for some way. after a bit, he heard hooper coming behind him. the clearing narrowed, but there were none of the tangled bushes here,  it was possible to walk upright. the branches of the trees locked closely together, overhead. it was very dim. kingshaw stopped. it went on being dark for as far as he could see. if it were near the edge of the wood, it would be getting light. he turned round slowly. but it was the same. everywhere looked the  same. \u2018what\u2019s the matter now?\u2019kingshaw heard, for the first time, a note of fear in hooper\u2019s voice, and  knew that he was leader, again, now. \u2018what have you stopped for?\u2019very deliberately, kingshaw inserted his forefingers under the string,  and pulled the satchel off his back. he untied his anorak from it, and spread it out on the ground, and then sat down. hooper stood above him, his eyes flicking about nervously, his face as pale as his limbs in the dim light. kingshaw said, \u2018we\u2019re lost. we\u2019d better stay here and think what to do.\u2019hooper crumpled. he knelt down on the ground some way off, and  began to poke restlessly about among the foliage, his head bent. \u2018it\u2019s your 5 1015202530354045",
            "21": "21 0486/11/m/j/15 \u00a9 ucles 2015 [turn overfault,\u2019 he said, \u2018your bloody stupid fault, kingshaw. y ou should have done  what i said.\u2019 \u2018oh, shut up.\u2019there was a sudden screeching cry, and a great flapping of wings,  like wooden clappers. kingshaw looked up. two jays came flying straight through the wood, their wings whirring on the air. when they had gone, it went very still again at once, and it seemed darker, too. then, a faint breeze came through the wood towards them, and passed, just stirring the warm air. silence again. a blackbird began to sing, a loud, bright, warning song. hooper looked up in alarm. from somewhere, far away, came the first rumble of thunder.  [from chapter 6]   how does hill strikingly convey the emotions of the two boys at this moment in the novel? or 18 explore the ways in which hill shows how the relationship between mr hooper and mrs  kingshaw makes matters worse for charles kingshaw.50 55",
            "22": "22 0486/11/m/j/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: on the 8th of january utterson had dined at the doctor\u2019s with a small  party; lanyon had been there; and the face of the host had looked from one to the other as in the old days when the trio were inseparable friends. on the 12th, and again on the 14th, the door was shut against the lawyer. \u2018the doctor was confined to the house,\u2019 poole said, \u2018and saw no one.\u2019 on the 15th, he tried again, and was again refused; and having now been used for the last two months to see his friend almost daily, he found this return of solitude to weigh upon his spirits. the fifth night, he had in guest to dine with him; and the sixth he betook himself to doctor lanyon\u2019s. there at least he was not denied admittance; but when he came in,  he was shocked at the change which had taken place in the doctor\u2019s appearance. he had his death-warrant written legibly upon his face. the rosy man had grown pale; his flesh had fallen away; he was visibly balder and older; and yet it was not so much these tokens of a swift physical decay that arrested the lawyer\u2019s notice, as a look in the eye and quality of manner that seemed to testify to some deep-seated terror of the mind. it was unlikely that the doctor should fear death; and yet that was what utterson was tempted to suspect. \u2018y es,\u2019 he thought; \u2018he is a doctor, he must know his own state and that his days are counted; and the knowledge is more than he can bear.\u2019 and yet when utterson remarked on his ill-looks, it was with an air of great firmness that lanyon declared himself a doomed man. \u2018i have had a shock,\u2019 he said, \u2018and i shall never recover. it is a question  of weeks. well, life has been pleasant; i liked it; yes, sir, i used to like it. i sometimes think if we knew all, we should be more glad to get away.\u2019 \u2018jekyll is ill, too,\u2019 observed utterson. \u2018have you seen him?\u2019but lanyon\u2019s face changed, and he held up a trembling hand. \u2018i wish to  see or hear no more of doctor jekyll,\u2019 he said in a loud, unsteady voice. \u2018i am quite done with that person; and i beg that you will spare me any allusion to one whom i regard as dead.\u2019 \u2018tut-tut,\u2019 said mr utterson; and then after a considerable pause, \u2018can\u2019t i  do anything?\u2019 he inquired. \u2018we are three very old friends, lanyon; we shall not live to make others.\u2019 \u2018nothing can be done,\u2019 returned lanyon; \u2018ask himself.\u2019\u2018he will not see me,\u2019 said the lawyer.\u2018i am not surprised at that,\u2019 was the reply. \u2018some day, utterson, after i  am dead, you may perhaps come to learn the right and wrong of this. i cannot tell you. and in the meantime, if you can sit and talk with me of other things, for god\u2019s sake, stay and do so; but if you cannot keep clear of this accursed topic, then, in god\u2019s name, go, for i cannot bear it.\u2019 as soon as he got home, utterson sat down and wrote to jekyll,  complaining of his exclusion from the house, and asking the cause of this unhappy break with lanyon; and the next day brought him a long answer, often very pathetically worded, and sometimes darkly mysterious in drift. the quarrel with lanyon was incurable. \u2018i do not blame our old friend,\u2019 jekyll wrote, \u2018but i share his view that we must never meet. i mean from henceforth to lead a life of extreme seclusion; you must not be surprised, nor must you doubt my friendship, if my door is often shut even to you. 5 1015202530354045",
            "23": "23 0486/11/m/j/15 \u00a9 ucles 2015 [turn overy ou must suffer me to go my own dark way. i have brought on myself a  punishment and a danger that i cannot name. if i am the chief of sinners, i am the chief of sufferers also. i could not think that this earth contained a place for sufferings and terrors so unmanning; and you can do but one thing, utterson, to lighten this destiny, and that is to respect my silence.\u2019  [from chapter 6, \u2018remarkable incident of doctor lanyon\u2019]   how does stevenson\u2019s writing create suspense here? or 20 explore the ways in which stevenson\u2019s writing makes two violent moments in the novel  particularly gripping.50",
            "24": "24 0486/11/m/j/15 \u00a9 ucles 2015from  stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the destructors  (by graham greene), and then answer the  question that follows it: \u2018at old misery\u2019s?\u2019 blackie said. there was nothing in the rules against  it, but he had a sensation that t. was treading on dangerous ground. he asked hopefully, \u2018did you break in?\u2019 \u2018no. i rang the bell.\u2019\u2018and what did you say?\u2019\u2018i said i wanted to see his house.\u2019\u2018what did he do?\u2019\u2018he showed it me.\u2019\u2018pinch anything?\u2019\u2018no.\u2019\u2018what did you do it for then?\u2019the gang had gathered round: it was as though an impromptu court  were about to form and to try some case of deviation. t. said, \u2018it\u2019s a beautiful house,\u2019 and still watching the ground, meeting no one\u2019s eyes, he licked his lips first one way, then the other. \u2018what do you mean, a beautiful house?\u2019 blackie asked with scorn.\u2018it\u2019s got a staircase two hundred years old like a corkscrew. nothing  holds it up.\u2019 \u2018what do you mean, nothing holds it up. does it float?\u2019\u2018it\u2019s to do with opposite forces, old misery said.\u2019\u2018what else?\u2019\u2018there\u2019s panelling.\u2019\u2018like in the blue boar?\u2019\u2018two hundred years old.\u2019\u2018is old misery two hundred years old?\u2019mike laughed suddenly and then was quiet again. the meeting was in  a serious mood. for the first time since t. had strolled into the car-park on the first day of the holidays his position was in danger. it only needed a single use of his real name and the gang would be at his heels. \u2018what did you do it for?\u2019 blackie asked. he was just, he had no jealousy,  he was anxious to retain t. in the gang if he could. it was the word \u2018beautiful\u2019 that worried him \u2013 that belonged to a class world that you could still see parodied at the wormsley common empire by a man wearing a top hat and a monocle, with a haw-haw accent. he was tempted to say, \u2018my dear trevor, old chap,\u2019 and unleash his hell hounds. \u2018if you\u2019d broken in,\u2019 he said sadly \u2013 that indeed would have been an exploit worthy of the gang. \u2018this was better,\u2019 t. said, \u2018i found out things.\u2019 he continued to stare at his  feet, not meeting anybody\u2019s eye, as though he were absorbed in some dream he was unwilling \u2013 or ashamed \u2013 to share. \u2018what things?\u2019\u2018old misery\u2019s going to be away all tomorrow and bank holiday.\u2019blackie said with relief, \u2018y ou mean we could break in?\u2019\u2018and pinch things?\u2019 somebody asked.blackie said, \u2018nobody\u2019s going to pinch things. breaking in \u2013 that\u2019s good  enough, isn\u2019t it? we don\u2019t want any court stuff.\u2019 \u2018i don\u2019t want to pinch anything,\u2019 t. said. \u2018i\u2019ve got a better idea.\u20195 1015202530354045",
            "25": "25 0486/11/m/j/15 \u00a9 ucles 2015\u2018what is it?\u2019 t. raised eyes, as grey and disturbed as the drab august day. \u2018we\u2019ll pull it  down,\u2019 he said. \u2018we\u2019ll destroy it.\u2019 blackie gave a single hoot of laughter and then, like mike, fell quiet,  daunted by the serious implacable gaze. \u2018what\u2019d the police be doing all the time?\u2019 he said. \u2018they\u2019d never know. we\u2019d do it from inside. i\u2019ve found a way in.\u2019 he said  with a sort of intensity, \u2018we\u2019d be like worms, don\u2019t you see, in an apple.\u2019   how does greene make t. such a compelling character at this moment in the story? or 22 explore the ways in which the writer makes either  my greatest ambition  (by morris  lurie) or a horse and two goats  (by r. k. narayan) so entertaining.50 55",
            "26": "26 0486/11/m/j/15 \u00a9 ucles 2015blank page",
            "27": "27 0486/11/m/j/15 \u00a9 ucles 2015blank page",
            "28": "28 0486/11/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rcl/km) 91056/3 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *6634497062*literature (english)  0486/12 paper 1 poetry and prose may/june 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/12/m/j/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/12/m/j/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy:  from selected poems   1, 2 pages 4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages 8\u20139 songs of ourselves : from part 4  5, 6 pages 10\u201311 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 12\u201313 tsitsi dangarembga:  nervous conditions   9, 10 pages 14\u201315 anita desai:  fasting, feasting  11, 12 pages 16\u201317 helen dunmore:  the siege  13, 14 pages 18\u201319 george eliot:  silas marner  15, 16 pages 20\u201321 susan hill:  i\u2019m the king of the castle  17, 18 pages 22\u201323 robert louis stevenson:  the strange case of dr jekyll and mr hyde  19, 20 page  24 from stories of ourselves  21, 22 pages 26\u201327",
            "4": "4 0486/12/m/j/15 \u00a9 ucles 2015section a: poetry   answer one question from this section. thomas hardy: from selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: the pine planters (marty south\u2019s reverie ) i we work here together in blast and breeze;he fills the earth in, i hold the trees. he does not notice  that what i dokeeps me from moving and chills me through. he has seen one fairer  i feel by his eye,which skims me as though i were not by. and since she passed here  he scarce has knownbut that the woodland holds him alone. i have worked here with him  since morning shine,he busy with his thoughts and i with mine. i have helped him so many,  so many days,but never win any small word of praise! shall i not sigh to him  that i work onglad to be nigh to him though hope is gone? nay, though he never  knew love like mine,i\u2019ll bear it ever and make no sign!5 101520 25 30",
            "5": "5 0486/12/m/j/15 \u00a9 ucles 2015 [turn overii from the bundle at hand here i take each tree,and set it to stand, here always to be;when, in a second, as if from fearof life unreckoned beginning here,it starts a sighing through day and night,though while there lying \u2019twas voiceless quite. it will sigh in the morning,  will sigh at noon,at the winter\u2019s warning, in wafts of june;grieving that never kind fate decreedit should for ever remain a seed,and shun the welter of things without,unneeding shelter from storm and drought. thus, all unknowing  for whom or whatwe set it growing in this bleak spot,it still will grieve here throughout its time,unable to leave here, or change its clime;or tell the story of us to-daywhen, halt and hoary, we pass away.   explore the ways in which hardy creates such moving impressions of marty south and  the man she loves in the pine planters .35 40 45 5055 60 65",
            "6": "6 0486/12/m/j/15 \u00a9 ucles 2015or 2 how do hardy\u2019s words and images make a memorable moment so vivid in neutral  tones ? neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god,and a few leaves lay on the starving sod; \u2013 they had fallen from an ash, and were gray. y our eyes on me were as eyes that rove over tedious riddles of years ago;and some words played between us to and fro on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die;and a grin of bitterness swept thereby like an ominous bird a-wing \u2026 since then, keen lessons that love deceives, and wrings with wrong, have shaped to mey our face, and the god-curst sun, and a tree, and a pond edged with grayish leaves.5 1015",
            "7": "7 0486/12/m/j/15 \u00a9 ucles 2015 [turn overturn to page 8 for question 3.",
            "8": "8 0486/12/m/j/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3  read this poem, and then answer the question that follows it: registers out of the warm primordial cave of our conversations, jack\u2019s gone.no more chit-chat under the blanketspegged over chairs and nipped in drawers. throughout his first five years an ear always open, at worst ajar,i catch myself still listening outfor sounds of him in the sensible house where nothing stirs but the washing machine which clicks and churns. i\u2019m loosening his armsclasped round my neck, detaching myselffrom his soft protracted kiss goodbye. good boy, diminishing down the long corridors into the huge unknownassembly hall, each word strange,even his name on miss cracknell\u2019s tongue. (michael laskey )   how does laskey make registers  so moving?5 1015",
            "9": "9 0486/12/m/j/15 \u00a9 ucles 2015 [turn overor 4 in what ways does clare convey to you the powerful emotions of the speaker in first  love ? first love i ne\u2019er was struck before that hour  with love so sudden and so sweet.her face it bloomed like a sweet flower and stole my heart away complete.my face turned pale as deadly pale, my legs refused to walk away,and when she looked \u2018what could i ail?\u2019 my life and all seemed turned to clay. and then my blood rushed to my face  and took my sight away.the trees and bushes round the place seemed midnight at noonday.i could not see a single thing, words from my eyes did start;they spoke as chords do from the string and blood burnt round my heart. are flowers the winter\u2019s choice?  is love\u2019s bed always snow?she seemed to hear my silent voice and love\u2019s appeal to know.i never saw so sweet a face as that i stood before:my heart has left its dwelling-place and can return no more. (john clare )5 10 15 20",
            "10": "10 0486/12/m/j/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it: the city planners cruising these residential sunday streets in dry august sunlight:what offends us isthe sanities:the houses in pedantic rows, the plantedsanitary trees, assertlevelness of surface like a rebuketo the dent in our car door.no shouting here, orshatter of glass; nothing more abruptthan the rational whine of a power mowercutting a straight swath in the discouraged grass. but though the driveways neatly sidestep hysteriaby being even, the roofs all displaythe same slant of avoidance to the hot sky,certain things:the smell of spilt oil a faintsickness lingering in the garages,a splash of paint on brick surprising as a bruise,a plastic hose poised in a viciouscoil; even the too-fixed stare of the wide windows give momentary access to the landscape behind or underthe future cracks in the plasterwhen the houses, capsized, will slideobliquely into the clay seas, gradual as glaciersthat right now nobody notices. that is where the city planners with the insane faces of political conspiratorsare scattered over unsurveyedterritories, concealed from each other,each in his own private blizzard; guessing directions, they sketch transitory lines rigid as wooden borderson a wall in the white vanishing air tracing the panic of suburb order in a bland madness of snows. (margaret atwood )   to what extent does atwood make you feel that human activities are pointless in the city  planners ?5 10 15 20 253035",
            "11": "11 0486/12/m/j/15 \u00a9 ucles 2015 [turn overor 6 how does rossetti create a sense of extreme emotion in the woodspurge ? the woodspurge the wind flapped loose, the wind was still, shaken out dead from tree and hill:i had walked on at the wind\u2019s will, \u2013i sat now, for the wind was still. between my knees my forehead was, \u2013 my lips, drawn in, said not alas!my hair was over in the grass,my naked ears heard the day pass. my eyes, wide open, had the run of some ten weeds to fix upon;among those few, out of the sun,the woodspurge flowered, three cups in one. from perfect grief there need not be wisdom or even memory:one thing then learnt remains to me, \u2013the woodspurge has a cup of three. (dante gabriel rossetti )5 1015",
            "12": "12 0486/12/m/j/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: the marriage of eleanor tilney, her removal from all the evils of such a  home as northanger had been made by henry\u2019s banishment, to the home of her choice and the man of her choice, is an event which i expect to give general satisfaction among all her acquaintance. my own joy on the occasion is very sincere. i know no one more entitled, by unpretending merit, or better prepared by habitual suffering, to receive and enjoy felicity. her partiality for this gentleman was not of recent origin; and he had been long withheld only by inferiority of situation from addressing her. his unexpected accession to title and fortune had removed all his difficulties; and never had the general loved his daughter so well in all her hours of companionship, utility, and patient endurance, as when he first hailed her, \u2018y our ladyship!\u2019 her husband was really deserving of her; independent of his peerage, his wealth, and his attachment, being to a precision the most charming young man in the world. any further definition of his merits must be unnecessary; the most charming young man in the world is instantly before the imagination of us all. concerning the one in question therefore i have only to add \u2013 (aware that the rules of composition forbid the introduction of a character not connected with my fable) \u2013 that this was the very gentleman whose negligent servant left behind him that collection of washing-bills, resulting from a long visit at northanger, by which my heroine was involved in one of her most alarming adventures. the influence of the viscount and viscountess in their brother\u2019s behalf  was assisted by that right understanding of mr morland\u2019s circumstances which, as soon as the general would allow himself to be informed, they were qualified to give. it taught him that he had been scarcely more misled by thorpe\u2019s first boast of the family wealth, than by his subsequent malicious overthrow of it; that in no sense of the word were they necessitous or poor, and that catherine would have three thousand pounds. this was so material an amendment of his late expectations, that it greatly contributed to smooth the descent of his pride; and by no means without its effect was the private intelligence, which he was at some pains to procure, that the fullerton estate, being entirely at the disposal of its present proprietor, was consequently open to every greedy speculation. on the strength of this, the general, soon after eleanor\u2019s marriage,  permitted his son to return to northanger, and thence made him the bearer of his consent, very courteously worded in a page full of empty professions to mr morland. the event which it authorised soon followed: henry and catherine were married, the bells rang and everybody smiled; and, as this took place within a twelve-month from the first day of their meeting, it will not appear, after all the dreadful delays occasioned by the general\u2019s cruelty, that they were essentially hurt by it. to begin perfect happiness at the respective ages of twenty-six and eighteen, is to do pretty well; and professing myself moreover convinced, that the general\u2019s unjust interference, so far from being really injurious to their felicity, was perhaps 5 10152025303540",
            "13": "13 0486/12/m/j/15 \u00a9 ucles 2015 [turn overrather conducive to it, by improving their knowledge of each other, and  adding strength to their attachment, i leave it to be settled by whomsoever it may concern, whether the tendency of this work be altogether to recommend parental tyranny, or reward filial disobedience.  [from chapter 31]   how does austen\u2019s writing make this ending of the novel satisfying for you? or 8 in what ways does austen strikingly contrast john thorpe and henry tilney?45",
            "14": "14 0486/12/m/j/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: \u2018maiguru,\u2019 my mother asked, suckling my little brother, \u2018do you think we  will go home tonight?\u2019 \u2018how should i know what you and your babamukuru have planned?\u2019  laughed maiguru. \u2018we shall see when he comes.\u2019 babamukuru did not come until we had all gone to bed. he did not take  my mother home that day, or the next, or the next. \u2018mainini has been wondering when they will go home,\u2019 maiguru probed  on the fourth day. \u2018oh yes! i said i would take them,\u2019 remembered my uncle.at lunchtime the day after he came home looking very pleased with  himself. something very wonderful indeed must have happened for us to be able to see it, because babamukuru\u2019s face did not usually reflect his moods. so we waited and hoped he would share the occasion with us. \u2018have you packed, mainini?\u2019 he asked my mother when we were half- way into the meal. \u2018i think i can take you home this afternoon.\u2019 \u2018but what about the shopping?\u2019 objected maiguru. \u2018will there be time to  do both?\u2019 \u2018we\u2019ll see to that later,\u2019 babamukuru dismissed my aunt, and he told my  mother to get ready since he wanted to leave straight after lunch. but when lucia rose too, babamukuru stopped her. \u2018lucia,\u2019 he said indifferently, \u2018er \u2013 if you are going to help mainini, that is  all right. but you yourself will not be going. i have found something for you to do. not much. a little job. at the girls\u2019 hostel. y ou will help to cook the food there at the hostel. i will take you there today.\u2019 \u2018purururu!\u2019 ululated lucia loud and long, although i do not know how  she managed it with such a broad grin on her face. \u2018purururu!\u2019 she shrilled, her hand to her mouth. \u2018did you hear that, sisi, did you hear that, sisi?\u2019 she crowed at my mother with a little jump to emphasise each word. \u2018babamukuru has found me a job. he has found me a job!\u2019 she knelt in front of babamukuru, energetically clapping her hands. \u2018thank you, samusha, thank you, chihwa. y ou have done a great deed. truly, we could not survive without you. those foreign places, those places you went, did not make you forget us. no! they enabled you to come back and perform miracles!\u2019 my mother came hurrying with her own shrill ululations. \u2018that is why they  say education is life,\u2019 she cried. \u2018aren\u2019t we all benefiting from babamukuru\u2019s education?\u2019 and she knelt worshipping beside lucia. then it was maiguru\u2019s turn to take her place on the floor. \u2018thank you, baba, thank you for finding mainini lucia a job.\u2019it was an intoxicating occasion. my first instinct was to join the adoring  women \u2013 my mouth had already pursed itself for a loud ululation. \u2018don\u2019t you dare,\u2019 nyasha hissed, kicking me under the table. i unpursed  my mouth, but the urge to extol babamukuru\u2019s magnanimity was implacable. \u2018thank you, babamukuru,\u2019 i said as calmly as i could so as not to  disappoint nyasha, \u2018for finding lucia a job.\u2019 i was mesmerised by the sleight of hand that had lifted lucia out of her  misery, and even more seductive was the power that this sleight of hand 5 1015202530354045",
            "15": "15 0486/12/m/j/15 \u00a9 ucles 2015 [turn overrepresented. with the crescendos of praise, babamukuru grew modest  and egalitarian. \u2018stand up, stand up. do not thank me. lucia is the one who will be doing  the work!\u2019 he exclaimed. so lucia never went back to the homestead to live, although she did go  with my mother that afternoon to collect her spare dress and her few other possessions. in the excitement, my mother left behind at the mission a lime-green bonnet and a bright pink bootee which she had received at my brother\u2019s birth.  [from chapter 8]   how does dangarembga vividly convey the reactions of the characters at this moment in  the novel? or 10 \u2018babamukuru has his family\u2019s best interests at heart.\u2019    how far does dangarembga\u2019s writing persuade you that this is true?    d o  not use the extract printed in question 9 in your answer.50 55",
            "16": "16 0486/12/m/j/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: arun stands looking at his shoes, dusty from the long walk out of town,  and carefully refrains from informing him that melanie is indoors, gorging on peanuts. he waits for the dreaded moment when he will have to confess what he wishes he did not have to confess \u2013 again. will mrs patton make the confession for him? will mrs patton be brave and make it unnecessary for him to speak, publicly reveal himself as unworthy, unfit to take the wafer upon his tongue, the wine into his throat? \u2018come on, bring me your plates,\u2019 mr patton tells his foot-dragging  communicants, trying to sound jovial and only managing to sound impatient. mrs patton advances, holding her plate before her. she stands very  upright before the grill, trying not to flinch but evidently fully aware of the gravity of the ceremony. \u2018thank you, dear,\u2019 she says as she receives the slab of charred meat on her plate, making it dip a little with its weight so that grease and blood run across it and spread. \u2018and now you, aaroon,\u2019 commands mr patton, sliding the spatula under  another slab that is blackening upon the coals. \u2018this here should be just right for you, red,\u2019 he jollies the nervous newcomer to his congregation, not yet saved but surely on his way. arun has made the mistake of telling the pattons once that his name means \u2018red\u2019 in hindi, and mr patton has seized upon this as a good joke, particularly in conjunction with his son\u2019s name, rod. fortunately arun has not elaborated that it means, specifically, the red sky at sunrise or mr patton might now be calling him \u2018dawn\u2019. instinctively, then, arun steps backwards and even puts his hands behind  his back. some stubborn adherence to his own tribe asserts itself and prevents him from converting. \u2018oh, i\u2019ll just have the \u2013 the bun and \u2013 then salad,\u2019 he stammers and his hair falls over his forehead in embarrassment. mr patton raises an eyebrow \u2013 slowly, significantly \u2013 holding the spatula  in the air while the steak sputters in indignation at this denial. mrs patton rushes in hurriedly, but too late. \u2018ahroon\u2019s a vegetarian,  dear \u2013\u2019 and then her voice drops to a whisper \u2018\u2013 like me.\u2019 mr patton either does not hear the whisper, or does but ignores it. he  responds only to the first half of the statement. \u2018okay, now i remember,\u2019 he says at last. \u2018y eah, you told me once. just can\u2019t see how anyone would refuse a good piece of meat, that\u2019s all. it\u2019s not natural. and it costs \u2013\u2019 mrs patton begins to play the role of a distracting decoy. she flutters  about the patio, helping herself to bread and mustard, pattering rapidly, \u2018ahroon explained it all to us, dear \u2013 you know, about the hindoo religion, and the cows \u2013\u2019 mr patton gives his head a shake, sadly disappointed in such moral  feebleness, and turns the slab of meat over and over. \u2018y eah, how they let them out on the streets because they can\u2019t kill \u2019em and don\u2019t know what to do with \u2019em. i could show \u2019em. a cow is a cow, and good red meat as far as i\u2019m concerned.\u2019 \u2018y es, dear,\u2019 mrs patton coos consolingly.\u2018and here it\u2019s all turning to coal,\u2019 mr patton mourns, patting the scorched  slice. arun follows mrs patton to a table set with platters and bowls of lettuce 5 1015202530354045",
            "17": "17 0486/12/m/j/15 \u00a9 ucles 2015 [turn overand rolls. sadly he resigns himself to the despised foods, wondering once  again how he has let himself be drawn into this repetitious farce \u2013 the ceremonies of other tribes must seem either farcical or outrageous always \u2013 as bad as anything he remembers at home. thinking of his father\u2019s stolid face and frown at the table, grave and disapproving, he feels he must assure mrs patton as he would his mother, \u2018i will eat the bun and salad.\u2019 mr patton says nothing. he is prying the scorched shreds of meat off the  grill with his spatula and scraping them onto his plate, grievously aware of the failure of this summer night\u2019s sacrament. mrs patton settles onto a canvas chair and pantomimes the eating of a  meal while playing with it with her fork. \u2018mmm, it\u2019s real good,\u2019 she murmurs. \u2018rod and melanie just don\u2019t know what they\u2019re missing.\u2019  [from chapter 15]   how does desai make this such a memorable moment in the novel? or 12 explore the ways in which desai persuades you that there are similarities between papa  and mr patton.50 5560",
            "18": "18 0486/12/m/j/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: anna and the sledge. little anna on her sledge, long ago. mammy loved  sledging as much as anna did. they would go out, the two of them, while anna\u2019s father worked. he would have liked to come with them but he had a deadline to meet. walking through snow, with the red sledge bumping along behind them,  anna wished that everyone she knew was there to see what a beautiful sledge she had. there were curls of green and gold on the smart, bright red. the rope was new and anna was allowed to pull the sledge herself. her mother swooped down to pick up anna when snow went over the top of her boots. when she set her down again, anna took up the thick, new rope. a bit farther on, near the park, someone stopped them. she stood so close that anna smelt her smoky perfume. her boots had shiny silver buckles on the side, and anna wanted to touch them. \u2018hasn\u2019t she grown! how are you all, vera?\u2019\u2018we\u2019re well,\u2019 said vera. her hand squeezed anna\u2019s tightly. there was a  silence, but vera didn\u2019t put any more words into it. \u2018i haven\u2019t seen misha for weeks \u2013 he\u2019s not ill, i hope?\u2019her mother\u2019s voice was steady. \u2018he\u2019s perfectly well, marina petrovna. we  are all perfectly well. and now, if you\u2019ll excuse me, anna mustn\u2019t stand in the cold \u2026\u2019 \u2018of course \u2013\u2019when anna looked back she was still standing there. she didn\u2019t move,  and no one said goodbye. when they had turned the corner, her mother stopped and placed anna  carefully on the sledge. she wrapped the shawl around anna in the usual way, making sure that her chest was covered. but suddenly she changed and did something new. she dropped on her  knees in the snow in front of the sledge. she grasped anna and pulled her close. she pressed her tight, tight, so that anna felt the cold of her mother\u2019s cheeks burning her. \u2018mammy, you\u2019re hurting me.\u2019her mother moved back. anna saw her face close-up.\u2018mammy, are you all right?\u2019her mother stood up, brushing snow off her coat. \u2018i\u2019m fine. don\u2019t worry,  anna.\u2019 anna said nothing. carefully, she tucked in the ends of the shawl which  her mother had forgotten. she looked up and she saw that her mother\u2019s face was stiff with anger. she was drumming her fingers on the rope, staring up the street as if she\u2019d forgotten about anna. \u2018mammy?\u2019\u2018what?\u2019\u2018can we go?\u2019\u2018y ou want to go back home?\u2019\u2018i\u2019m cold, mammy.\u2019\u2018i\u2019m sorry. i was thinking about some things at work. let\u2019s go. hold on  tight now, anna.\u2019 how old was she then? five, six? all through that spring and summer  there was trouble hanging in the air like thunder. at night anna woke up 5 1015202530354045",
            "19": "19 0486/12/m/j/15 \u00a9 ucles 2015 [turn overand there were voices slashing the dark. when holiday time came her  mother took anna away to the dacha, but her father didn\u2019t come with them. he had things to do in leningrad. \u2018too much work to do, anna. i want to come, but \u2013\u2019  [from chapter 1]   how does dunmore\u2019s writing make this such a dramatic and significant moment in the  novel? or 14 explore two memorable moments in the novel where dunmore portrays the impact of  war on people\u2019s lives.50",
            "20": "20 0486/12/m/j/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: while godfrey cass was taking draughts of forgetfulness from the sweet  presence of nancy, willingly losing all sense of that hidden bond which at other moments galled and fretted him so as to mingle irritation with the very sunshine, godfrey\u2019s wife was walking with slow uncertain steps through the snow-covered raveloe lanes, carrying her child in her arms. this journey on new y ear\u2019s eve was a pre-meditated act of vengeance  which she had kept in her heart ever since godfrey, in a fit of passion, had told her he would sooner die than acknowledge her as his wife. there would be a great party at the red house on new y ear\u2019s eve, she knew: her husband would be smiling and smiled upon, hiding her existence  in the darkest corner of his heart. but she would mar his pleasure: she would go in her dingy rags, with her faded face, once as handsome as the best, with her little child that had its father\u2019s hair and eyes, and disclose herself to the squire as his eldest son\u2019s wife. it is seldom that the miserable can help regarding their misery as a wrong inflicted by those who are less miserable. molly knew that the cause of her dingy rags was not her husband\u2019s neglect, but the demon opium to whom she was enslaved, body and soul, except in the lingering mother\u2019s tenderness that refused to give him her hungry child. she knew this well; and yet, in the moments of wretched unbenumbed consciousness, the sense of her want and degradation transformed itself continually into bitterness towards godfrey. he was well off; and if she had her rights she would be well off too. the  belief that he repented his marriage, and suffered from it, only aggravated her vindictiveness. just and self-reproving thoughts do not come to us too thickly, even in the purest air, and with the best lessons of heaven and earth; how should those white-winged delicate messengers make their way to molly\u2019s poisoned chamber, inhabited by no higher memories than those of a bar-maid\u2019s paradise of pink ribbons and gentlemen\u2019s jokes? she had set out at an early hour, but had lingered on the road, inclined  by her indolence to believe that if she waited under a warm shed the snow would cease to fall. she had waited longer than she knew, and now that she found herself belated in the snow-hidden ruggedness of the long lanes, even the animation of a vindictive purpose could not keep her spirit from failing. it was seven o\u2019clock, and by this time she was not very far from raveloe, but she was not familiar enough with those monotonous lanes to know how near she was to her journey\u2019s end. she needed comfort, and she knew but one comforter \u2013 the familiar demon in her bosom; but she hesitated a moment, after drawing out the black remnant, before she raised it to her lips. in that moment the mother\u2019s love pleaded for painful consciousness rather than oblivion \u2013 pleaded to be left in aching weariness, rather than to have the encircling arms benumbed so that they could not feel the dear burden. in another moment molly had flung something away, but it was not the black remnant \u2013 it was an empty phial. and she walked on again under the breaking cloud, from which there came now and then the light of a quickly-veiled star, for a freezing wind had sprung up since the snowing had ceased. but she walked always more and more drowsily, and clutched more and more automatically the sleeping child at her bosom.  [from chapter 12]5 1015202530354045",
            "21": "21 0486/12/m/j/15 \u00a9 ucles 2015 [turn over  how does eliot make this moment in the novel so disturbing? or 16 to what extent does eliot\u2019s writing make you feel sympathy for nancy?",
            "22": "22 0486/12/m/j/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: kingshaw ignored him. he picked up the rabbit cautiously. it felt quite  heavy, and rather loose, as though there were nothing holding its limbs together, inside. \u2018haven\u2019t you ever touched a dead thing before?\u2019\u2018no. well \u2013 only birds. nothing big.\u2019\u2018that isn\u2019t big!\u2019\u2018it is. i mean, i\u2019ve never touched an animal  that was dead.\u2019 \u2018haven\u2019t you ever seen a dead person, either?\u2019kingshaw looked up nervously. \u2018no.\u2019\u2018not even your father? didn\u2019t they take you to look at him in his coffin?\u2019\u2018no.\u2019\u2018i saw my grandfather dead. that wasn\u2019t long ago.\u2019\u2018oh.\u2019 kingshaw had no way of telling if this were true. he moved his  fingers about in the rabbit\u2019s wet fur. \u2018oh, chuck it away, kingshaw.\u2019but he was reluctant. he liked the feel of it. he had not known how it  would be to hold a dead thing. now he knew. he nursed it to him. hooper said, \u2018it\u2019s only dead. dead things are finished, they don\u2019t matter.\u2019 \u2018y es, they do. well \u2013 dead people do, anyway.\u2019\u2018of course they don\u2019t. there\u2019s no difference.\u2019\u2018there is, there is.\u2019\u2018how is there?\u2019 \u2018because \u2026 because it\u2019s human bodies.\u2019\u2018humans are only animals.\u2019\u2018y es \u2013 only \u2026 only they\u2019re not. they\u2019re different.\u2019hooper sighed. \u2018look, when you\u2019re breathing, you\u2019re alive aren\u2019t you?  everything is. and when you stop breathing, your heart stops, and then you\u2019re dead.\u2019 kingshaw hesitated, worried about it, uncertain how to argue. hooper\u2019s  eyes opened very wide. \u2018i suppose you don\u2019t believe all that guff about souls and ghosts and everything, do you?\u2019 \u2018not ghosts \u2026\u2019\u2018when you\u2019re dead you\u2019re dead, you\u2019re finished.\u2019\u2018no.\u2019\u2018look \u2026 you can see.\u2019 hooper poked his finger at the rabbit. its head  flopped heavily sideways. \u2018it\u2019s dead,\u2019 he said.kingshaw stared at it miserably. he could not think clearly. what hooper  said must be true, and yet he knew that it was not true. \u2018if you believe all that about souls, you believe in ghosts and spooks.\u2019\u2018no, i don\u2019t.\u2019\u2018ghosts are supposed to be people, after they\u2019re dead, aren\u2019t they?\u2019\u2018i don\u2019t know.\u2019\u2018well, they are.\u2019\u2018y ou just said that when you were dead you were finished.\u2019\u2018oh, i don\u2019t believe in any old ghosts. but you do. y ou\u2019ve got to, if you  believe that other.\u20195 1015202530354045",
            "23": "23 0486/12/m/j/15 \u00a9 ucles 2015 [turn overkingshaw said nothing. but he was still anxious about it. \u2018so you\u2019d better watch out, hadn\u2019t you? but it\u2019s all guff, really.\u2019  [from chapter 7]   how does hill\u2019s writing make this moment in the novel revealing and significant? or 18 explore the ways in which hill memorably presents kingshaw\u2019s relationship with fielding.",
            "24": "24 0486/12/m/j/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: \u2018did you ever come across a prot\u00e9g\u00e9 of his\u2014one hyde?\u2019 he asked. \u2018hyde?\u2019 repeated lanyon. \u2018no. never heard of him. since my time.\u2019that was the amount of information that the lawyer carried back with  him to the great, dark bed on which he tossed to and fro, until the small hours of the morning began to grow large. it was a night of little ease to his toiling mind, toiling in mere darkness and besieged by questions. six o\u2019clock struck on the bells of the church that was so conveniently near  to mr utterson\u2019s dwelling, and still he was digging at the problem. hitherto it had touched him on the intellectual side alone; but now his imagination also was engaged or rather enslaved; and as he lay and tossed in the gross darkness of the night and the curtained room, mr enfield\u2019s tale went by before his mind in a scroll of lighted pictures. he would be aware of the great field of lamps of a nocturnal city; then of the figure of a man walking swiftly; then of a child running from the doctor\u2019s; and then these met, and that human juggernaut trod the child down and passed on regardless of her screams. or else he would see a room in a rich house, where his friend lay asleep, dreaming and smiling at his dreams; and then the door of that room would be opened, the curtains of the bed plucked apart, the sleeper recalled, and lo! there would stand by his side a figure to whom power was given, and even at that dead hour, he must rise and do its bidding. the figure in these two phases haunted the lawyer all night; and if at any time he dozed over, it was but to see it glide more stealthily through sleeping houses, or move the more swiftly and still the more swiftly, even to dizziness, through wider labyrinths of lamplighted city, and at every street corner crush a child and leave her screaming. and still the figure had no face by which he might know it; even in his dreams, it had no face, or one that baffled him and melted before his eyes; and thus it was that there sprang up and grew apace in the lawyer\u2019s mind a singularly strong, almost an inordinate, curiosity to behold the features of the real mr hyde. if he could but once set eyes on him, he thought the mystery would lighten and perhaps roll altogether away, as was the habit of mysterious things when well examined. he might see a reason for his friend\u2019s strange preference or bondage (call it which you please) and even for the startling clauses of the will. and at least it would be a face worth seeing: the face of a man who was without bowels of mercy: a face which had but to show itself to raise up, in the mind of the unimpressionable enfield, a spirit of enduring hatred. from that time forward, mr utterson began to haunt the door in the  by-street of shops. in the morning before office hours, at noon when business was plenty and time scarce, at night under the face of the fogged city moon, by all lights and at all hours of solitude or concourse, the lawyer was to be found on his chosen post.  [from chapter 2, \u2018search for mr hyde\u2019]   in what ways does stevenson\u2019s writing vividly convey mr utterson\u2019s disturbed state of  mind at this moment in the novel? or 20 how does stevenson make dr jekyll\u2019s relationship with mr hyde so fascinating?5 10152025303540",
            "25": "25 0486/12/m/j/15 \u00a9 ucles 2015 [turn overturn to page 26 for question 21.",
            "26": "26 0486/12/m/j/15 \u00a9 ucles 2015from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the fly in the ointment  (by v. s. pritchett), and then answer the  question that follows it: the old man turned his head away. he actually wiped a tear from his  eye. a glow of sympathy transported the younger man. he felt as though a sun had risen. \u2018y ou know \u2013\u2019 the father said uneasily, flitting a glance at the fly on the  ceiling as if he wanted the fly as well as his son to listen to what he was going to say \u2013 \u2018you know,\u2019 he said, \u2018the world\u2019s all wrong. i\u2019ve made my mistakes. i was thinking about it before you came. y ou know where i went wrong? y ou know where i made my mistake?\u2019 the son\u2019s heart started to a panic of embarrassment. for heaven\u2019s sake,  he wanted to shout, don\u2019t! don\u2019t stir up the whole business. don\u2019t humiliate yourself before me. don\u2019t start telling the truth. don\u2019t oblige me to say we know all about it, that we have known for years the mess you\u2019ve been in, that we\u2019ve seen through the plausible stories you\u2019ve spread, that we\u2019ve known the people you\u2019ve swindled. \u2018money\u2019s been my trouble,\u2019 said the old man. \u2018i thought i needed money.  that\u2019s one thing it\u2019s taught me. i\u2019ve done with money. absolutely done and finished with it. i never want to see another penny as long as i live. i don\u2019t want to see or hear of it. if you came in now and offered me a thousand pounds i should laugh at you. we deceive ourselves. we don\u2019t want the stuff. all i want now is just to go to a nice little cottage by the sea,\u2019 the old man said. \u2018i feel i need air, sun, life.\u2019 the son was appalled.\u2018y ou want money even for that,\u2019 the son said irritably. \u2018y ou want quite a lot  of money to do that.\u2019 \u2018don\u2019t say i want money,\u2019 the old man said vehemently. \u2018don\u2019t say it. when  i walk out of this place tonight i\u2019m going to walk into freedom. i am not going to think of money. y ou never know where it will come from. y ou may see something. y ou may meet a man. y ou never know. did the children of israel worry about money? no, they just went out and collected the manna. that\u2019s what i want to do.\u2019 the son was about to speak. the father stopped him.\u2018money,\u2019 the father said, \u2018isn\u2019t necessary at all.\u2019now, like the harvest moon in full glow, the father\u2019s face shone up at his  son. \u2018what i came round about was this,\u2019 said the son awkwardly and dryly.  \u2018i\u2019m not rich. none of us is. in fact, with things as they are we\u2019re all pretty shaky and we can\u2019t do anything. i wish i could, but i can\u2019t. but\u2019 \u2013 after the assured beginning he began to stammer and to crinkle his eyes timidly \u2013 \u2018but the idea of your being \u2013 you know, well short of some immediate necessity, i mean \u2013 well, if it is ever a question of \u2013 well, to be frank, cash ,  i\u2019d raise it somehow.\u2019 he coloured. he hated to admit his own poverty, he hated to offer charity  to his father. he hated to sit there knowing the things he knew about him. he was ashamed to think how he, how they all dreaded having the gregarious, optimistic, extravagant, uncontrollable, disingenuous old man on their hands. the son hated to feel he was being in some peculiar way which he could not understand, mean, cowardly and dishonest.5 1015202530354045",
            "27": "27 0486/12/m/j/15 \u00a9 ucles 2015the father\u2019s sailing eyes came down and looked at his son\u2019s nervous,  frowning face and slowly the dreaming look went from the father\u2019s face. slowly the harvest moon came down from its rosy voyage. the little face suddenly became dominant within the outer folds of skin like a fox looking out of a hole of clay. he leaned forward brusquely on the table and somehow a silver-topped pencil was in his hand preparing to note something briskly on a writing-pad. \u2018raise it?\u2019 said the old man sharply. \u2018why didn\u2019t you tell me before you  could raise money? how can you raise it? where? by when?\u2019   how does pritchett make this such a powerful ending to the story? or 22 explore the ways in which the writer makes either  the custody of the pumpkin   (by p .g. wodehouse) or at hiruharama  (by penelope fitzgerald) particularly amusing.50 55",
            "28": "28 0486/12/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl/km) 91055/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *6698120226*literature (english)  0486/13 paper 1 poetry and prose may/june 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/13/m/j/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/13/m/j/15 \u00a9 ucles 2015 [turn overcontents section a: poetry   text question numbers page[s] thomas hardy: from  selected poems   1, 2 pages 4\u20135 from jo phillips ed:  poems deep & dangerous   3, 4 pages 6\u20137 songs of ourselves : from part 4  5, 6 pages 8\u20139 section b:  prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 10\u201311 tsitsi dangarembga: nervous conditions   9, 10 pages 12\u201313 anita desai: fasting, feasting  11, 12 pages 14\u201315 helen dunmore: the siege  13, 14 pages 16\u201317 george eliot: silas marner  15, 16 pages 18\u201319 susan hill: i\u2019m the king of the castle 17, 18 pages 20\u201321 robert louis stevenson: the strange case of dr jekyll and mr hyde 19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/13/m/j/15 \u00a9 ucles 2015 section a: poetry answer one question from this section. thomas hardy: from  selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: during wind and rain they sing their dearest songs \u2013 he, she, all of them \u2013 yea,treble and tenor and bass, and one to play; with the candles mooning each face \u2026 ah, no; the years o! how the sick leaves reel down in throngs! they clear the creeping moss \u2013 elders and juniors \u2013 aye,making the pathways neat and the garden gay; and they build a shady seat \u2026 ah, no; the years, the years; see, the white storm-birds wing across! they are blithely breakfasting all \u2013 men and maidens \u2013 yea,under the summer tree, with a glimpse of the bay, while pet fowl come to the knee \u2026 ah, no; the years o! and the rotten rose is ript from the wall. they change to a high new house, he, she, all of them \u2013 aye,clocks and carpets and chairs on the lawn all day, and brightest things that are theirs \u2026 ah, no; the years, the years; down their carved names the rain-drop ploughs.   how do hardy\u2019s words create strong feelings about the passage of time in during wind  and rain ?5 1015 20 25",
            "5": "5 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 2 explore the ways in which hardy makes the poem drummer hodge  so moving for you. drummer hodge i they throw in drummer hodge, to rest uncoffined \u2013 just as found:his landmark is a kopje-crest that breaks the veldt around;and foreign constellations west each night above his mound. ii y oung hodge the drummer never knew \u2013 fresh from his wessex home \u2013the meaning of the broad karoo, the bush, the dusty loam,and why uprose to nightly view strange stars amid the gloam. iii y et portion of that unknown plain will hodge for ever be;his homely northern breast and brain grow to some southern tree,and strange-eyed constellations reign his stars eternally.5 1015",
            "6": "6 0486/13/m/j/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: the gift after the accident, the hospital, they brought me aching homemouth pumped up like a tyreblack stitches tracking the woundover my lip, the red slit signallingthe broken place. and my sonmy tall, cool son of sixteenkissed the top of my headand over the curve of my shoulderlaid his arm, like the broad wingof a mother bird guarding its young. anyone who has known tenderness thrown like a lifeline into the heart of painanyone who has known pain bleed into tendernessknows how the power of the two combine.and if i am a fool to give thanksfor pain as well as tendernessand even if, as some would saythere are no accidents \u2013 still. i am grateful for the gift. (chris banks )   how does banks movingly convey the effect of her accident on both herself and her son  in the gift ?5 10 1520",
            "7": "7 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 4 how does lochhead use words and images to striking effect in laundrette ? laundrette we sit nebulous in steam. it calms the air and makes the windows streamrippling the hinterland\u2019s big houses to a blurof bedsits \u2013 not a patch on what they were before. we stuff the tub, jam money in the slot, sit back on rickle chairs notreading. the paperbacks in our pockets curl.our eyes are riveted. our own colours whirl. we pour in smithereens of soap. the machine sobs through its cycle. the rhythm throbsand changes. suds drool and slobber in the churn.our duds don\u2019t know which way to turn. the dark shoves one man in, lugging a bundle like a wandering jew. linenwashed in public here.we let out of the bag who we are. this youngwife has a fine stack of sheets, each pair a present. she admires their clean cut airof colourschemes and being chosen. are the dyes fast?this christening lather will be the first test. this woman is deadpan before the rinse and sluice of the family in a bagwash. let them stew in their juiceto a final fankle, twisted, wrung out into rope,hard to unravel. she sees a kaleidoscope for her to narrow her eyes and blow smoke at, his overalls and pants ballooning, tangling with her smallsand the teeshirts skinned from her wriggling son.she has a weather eye for what might shrink or run. this dour man does for himself. before him, half lost, his small possessions swim.cast off, randomthey nose and nudge the porthole glass like flotsam. (liz lochhead )5 101520 25 30",
            "8": "8 0486/13/m/j/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it:  a different history great pan is not dead; he simply emigrated to india.here, the gods roam freely,disguised as snakes or monkeys;every tree is sacredand it is a sinto be rude to a book.it is a sin to shove a book aside  with your foot,a sin to slam books down hard on a table,a sin to toss one carelessly across a room.y ou must learn how to turn the pages gentlywithout disturbing sarasvati,without offending the treefrom whose wood the paper was made.  which language  has not been the oppressor\u2019s tongue? which language truly meant to murder someone? and how does it happen that after the torture, after the soul has been cropped with a long scythe swooping out of the conqueror\u2019s face \u2013 the unborn grandchildren grow to love that strange language. (sujata bhatt )   explore the ways in which bhatt uses powerful words and images in a different history.5 1015 20 25",
            "9": "9 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 6 how does maccaig create a sense of the unexpected in summer farm ? summer farm straws like tame lightnings lie about the grass and hang zigzag on hedges. green as glassthe water in the horse-trough shines.nine ducks go wobbling by in two straight lines. a hen stares at nothing with one eye, then picks it up. out of an empty skya swallow falls and, flickering throughthe barn, dives up again into the dizzy blue. i lie, not thinking, in the cool, soft grass, afraid of where a thought might take me \u2013 asthis grasshopper with plated faceunfolds his legs and finds himself in space. self under self, a pile of selves i stand threaded on time, and with metaphysic handlift the farm like a lid and seefarm within farm, and in the centre, me. (norman maccaig )5 1015",
            "10": "10 0486/13/m/j/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: the dancing began within a few minutes after they were seated;  and james, who had been engaged quite as long as his sister, was very importunate with isabella to stand up; but john was gone into the cardroom to speak to a friend, and nothing, she declared, should induce her to join the set before her dear catherine could join it too: \u2018i assure you,\u2019 said she, \u2018i would not stand up without your dear sister for all the world; for if i did we should certainly be separated the whole evening.\u2019 catherine accepted this kindness with gratitude, and they continued as they were for three minutes longer, when isabella, who had been talking to james on the other side of her, turned again to his sister and whispered, \u2018my dear creature, i am afraid i must leave you, your brother is so amazingly impatient to begin; i know you will not mind my going away, and i dare say john will be back in a moment, and then you may easily find me out.\u2019 catherine, though a little disappointed, had too much good-nature to make any opposition, and the others rising up, isabella had only time to press her friend\u2019s hand and say, \u2018good-bye, my dear love,\u2019 before they hurried off. the younger miss thorpes being also dancing, catherine was left to the mercy of mrs thorpe and mrs allen, between whom she now remained. she could not help being vexed at the non-appearance of mr thorpe, for she not only longed to be dancing, but was likewise aware that, as the real dignity of her situation could not be known, she was sharing with the scores of other young ladies still sitting down all the discredit of wanting a partner. to be disgraced in the eye of the world, to wear the appearance of infamy while her heart is all purity, her actions all innocence, and the misconduct of another the true source of her debasement, is one of those circumstances which peculiarly belong to the heroine\u2019s life, and her fortitude under it what particularly dignifies her character. catherine had fortitude too; she suffered, but no murmur passed her lips. from this state of humiliation, she was roused, at the end of ten  minutes, to a pleasanter feeling, by seeing, not mr thorpe, but mr tilney, within three yards of the place where they sat; he seemed to be moving that way, but he did not see her, and therefore the smile and the blush, which his sudden reappearance raised in catherine, passed away without sullying her heroic importance. he looked as handsome and as lively as ever, and was talking with interest to a fashionable and pleasing-looking young woman, who leant on his arm, and whom catherine immediately guessed to be his sister; thus unthinkingly throwing away a fair opportunity of considering him lost to her for ever, by being married already. but guided only by what was simple and probable, it had never entered her head that mr tilney could be married; he had not behaved, he had not talked, like the married men to whom she had been used; he had never mentioned a wife, and he had acknowledged a sister. from these circumstances sprang the instant conclusion of his sister\u2019s now being by his side; and therefore, instead of turning of a death-like paleness, and falling in a fit on mrs allen\u2019s 5 10152025303540",
            "11": "11 0486/13/m/j/15 \u00a9 ucles 2015 [turn overbosom, catherine sat erect, in the perfect use of her senses, and with  cheeks only a little redder than usual.  [from chapter 8]   in what ways does austen make this moment in the novel so entertaining? or 8 mr and mrs allen are supposed to be looking after catherine in bath. to what extent  does austen\u2019s writing persuade you that they do this successfully?45",
            "12": "12 0486/13/m/j/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: \u2018switch the light off when you\u2019ve finished, tambu,\u2019 nyasha told me  sleepily. she was in the mood for bedtime talk, telling me that she could not sleep with the light on but had left it on for me so that i would not bump my toe against a bed-leg or some other piece of furniture in the unfamiliar room. i was not impressed with her light-induced insomnia, which i thought was only to be expected in a person as frivolous and shallow as my anglicised cousin. nor was i impressed with her consideration for me, steeped as i was in the greater virtue that i believed was mine; a virtue which her behaviour had instigated and which babamukuru\u2019s homily had nourished. i pulled off my dress and jumped into bed in silence. \u2018what about the light?\u2019 nyasha reminded me.what about the light? where was the switch and how did you work it?  should i admit my ignorance to nyasha, to whom i was feeling so superior, or should i ignore her? it was good to be feeling superior for a change, for the first time since i entered my uncle\u2019s house, so i ignored my cousin. nyasha climbed out of bed, advising me to make an effort to stop being a peasant, which distressed me no end. i knew what the word meant because we had come across it one day in a poem in an english lesson and our teacher had explained that a peasant was a land-fowl which looked something like a guinea fowl. nyasha must have been very annoyed, i thought, to be so rude and i was on the verge of apologising and confessing my ignorance, but stopped myself by remembering that she was always rude, if not to me then to her parents. i decided she expected too much of people so i kept quiet. i would have liked to have turned to the wall to emphasise my disapproval, but since i could not confess my ignorance about the lights, i had to watch nyasha closely. nyasha was perceptive. i had admired this about her when we talked  earlier that evening, but now it annoyed me, made me feel silly. \u2018this is it,\u2019 she said, pointing to a black patch in the wall beside the door.  \u2018it\u2019s down now, which means it\u2019s on. it\u2019s off when it\u2019s up.\u2019 she switched the light off and on again to demonstrate. \u2018switch it off,\u2019 i told her nastily, \u2018otherwise you won\u2019t sleep.\u2019she switched the light off and climbed back into bed. typically she had  the last word: \u2018y ou haven\u2019t put your bedclothes on. y ou\u2019ll have to do it in the dark.\u2019 i did not ask what bedclothes were since we were quarrelling. instead the  smug determination that babamukuru\u2019s talk had instilled in me evaporated. i began to feel inferior again. i was a bit masochistic at that age, wallowing in my imagined inadequacy until i was in real danger of feeling sorry for myself. then i reprimanded myself for this self-indulgence by thinking of my mother, who suffered from being female and poor and uneducated and black so stoically that i was ashamed of my weakness in succumbing so flabbily to the strangeness of my new circumstances. this gave me the fine lash of guilt to whip myself on with. i reaffirmed my vow to use the opportunity my uncle had given me to maximum advantage. a lot of my reactions were of this complicated kind in those days,  requiring a lot of thought to sort them out into organised parts. but the activity and excitement of that day\u2019s events had exhausted me: i fell asleep 5 1015202530354045",
            "13": "13 0486/13/m/j/15 \u00a9 ucles 2015 [turn overbefore i could order my thoughts neatly. i think this is why i dreamt of my  brother.  [from chapter 5]   how does dangarembga make this such an amusing and revealing moment in the novel? or 10 does dangarembga\u2019s writing make you feel respect or pity for nyasha \u2013 or both?50",
            "14": "14 0486/13/m/j/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: \u2018didn\u2019t you hear? didn\u2019t you hear what dr dutt was saying?\u2019 papa asked  irritably. \u2018no,\u2019 said uma, and dr dutt again rattled through the sequence of events  that had left the medical institute with a new dormitory and new nurses and no one to take care of them while they were in training. \u2018so, you see, i thought of you, uma. a young woman with no employment,  who has been running the house for her parents for so long. i feel sure you would be right for the job.\u2019 \u2018job?\u2019 gulped uma, never having aspired so high in her life, and found  the idea as novel as that of being launched into space. papa looked incredulous and mama outraged. dr dutt still clasped  uma\u2019s arm. \u2018don\u2019t look so frightened,\u2019 she urged. \u2018i know how well you look after your parents. i know how much you helped mrs o\u2019henry with her work. i am confident you can do it.\u2019 but uma was not confident. \u2018i have no degree,\u2019 she faltered, \u2018or training.\u2019\u2018this kind of work does not require training, uma,\u2019 dr dutt assured her,  \u2018or degrees. just leave that to me. i will deal with it if the authorities ask. y ou will agree, sir?\u2019 she turned to papa, smiling, as if she knew how much he adored being called sir. but papa did not appear to have noticed the honour this time. he was  locking his face up into a frown of great degree. the frown was filled with everything he thought of working women, of women who dared presume to step into the world he occupied. uma knew that, and cringed. \u2018papa,\u2019 she said pleadingly.it was mama who spoke, however. as usual, for papa. very clearly and  decisively. \u2018our daughter does not need to go out to work, dr dutt,\u2019 she said. \u2018as long as we are here to provide for her, she will never need to go to work.\u2019 \u2018but she works all the time!\u2019 dr dutt exclaimed on a rather sharp note. \u2018at  home. now you must give her a chance to work outside \u2013\u2019 \u2018there is no need,\u2019 papa supported mama\u2019s view. in double strength, it  grew formidable. \u2018where is the need?\u2019 dr dutt persisted. \u2018shouldn\u2019t we ask uma for her view? perhaps she  would like to go out and work? after all, it is at my own institute, in a women\u2019s dormitory, with other women. i can vouch for the conditions, they are perfectly decent, sir. y ou may come and inspect the dormitory, meet the nurses, see for yourself. would you like to pay us a visit, uma?\u2019 uma bobbed her head rapidly up and down. she worked hard at  controlling her expression; she knew her face was twitching in every direction. she knew her parents were watching. she tried to say yes, please, yes please, yespleaseyes \u2013 \u2018go and take the tray away,\u2019 mama said.uma\u2019s head was bobbing, her lips were fluttering: yes, yespleaseyes.\u2018uma,\u2019 mama repeated, and her voice brought uma to her feet. she  took up the tray and went into the kitchen. she stood there, wrapping her hands into her sari, saying into the corner behind the ice-box: pleasepleaseplease \u2013 then she went back to the veranda \u2013 warily, warily. dr dutt was sitting 5 1015202530354045",
            "15": "15 0486/13/m/j/15 \u00a9 ucles 2015 [turn oververy upright in her basket chair. she looked directly at uma. \u2018i am sorry,\u2019  she said, \u2018i am very sorry to hear that.\u2019 hear what? what?mama was getting to her feet. she walked dr dutt down the veranda  steps to her waiting bicycle. \u2018isn\u2019t it difficult to cycle in a sari?\u2019 she asked with a little laugh, and looked pointedly at the frayed and oily hem of dr dutt\u2019s sari. dr dutt did not answer but tucked it up at her waist and stood steadying  the bicycle. she did not look back at uma but uma heard her say to mama, \u2018if you have that problem, you must come to the hospital for tests. if you need the hysterectomy, it is better to get it done soon. there is no need to live like an invalid.\u2019 she mounted the small, hard leather seat and bicycled away, the wheels crushing the gravel and making it spurt up in a reddish spray. uma stopped twitching her hands in a fold of her sari and looked towards  mama. hysterectomy \u2013 what was that? mama came up the steps and linked arms with uma, giving her an  affectionate little squeeze. \u2018and so my madcap wanted to run away and leave her mama? what will my madcap do next?\u2019  [from chapter 12]   how does desai make you strongly sympathise with uma at this moment in the novel? or 12 explore the ways in which desai makes mira-masi a memorable character.50 556065",
            "16": "16 0486/13/m/j/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: kolya\u2019s birth was easy, and immediately afterwards everything seemed  fine. he was a big baby, a strong, fine child they said to her, slapping the soles of his feet to make him cry. vera sat up and took the baby. a nurse told anna about it afterwards. \u2018i want to know everything that happened,\u2019  said anna.  \u2018don\u2019t leave  anything out because you think it will upset me.\u2019 the nurse looked at her, frightened.\u2018what is it?\u2019\u2018it\u2019s only \u2013 it\u2019s just that you sound exactly like your mother.\u2019anna brushed that away. don\u2019t think of it now, think of it later.\u2018go on, please. tell me what happened.\u2019the delivery of the placenta was difficult. immediately afterwards, before  vera\u2019s uterus had contracted fully, there was an emergency in the next ward. a prolapsed cord, it was. they had to leave vera alone for a few minutes,  \u2018it was only a few minutes, anna mikhailovna, no more than  seven. i swear it.\u2019 vera would not have been frightened when she lifted her sheet and saw  blood, even though she\u2019d have known what the bleeding meant. this was her world, the hospital world. she\u2019d have guessed what had happened. part of the placenta had not been expelled. now she would continue to haemorrhage until it could be removed. the situation was urgent, but not yet dangerous. she rang a bell beside the bed. a nurse came. vera said calmly, \u2018i think  i\u2019m bleeding.\u2019 \u2018is that exactly what she said?\u2019\u2018y es, it was me who came, you see. those were her words.\u2019so vera was frightened. she said \u2018i think\u2019 when she knew. or perhaps  she didn\u2019t want to frighten the nurse. the nurse lifted the sheet. she looked and then she said, \u2018it\u2019s all right. y ou\u2019re fine,\u2019 and then she ran, her feet striking the hard floor all the way down the ward. next, there was a metal trolley and porters lifting vera on to it. the nurse ran alongside the trolley as it clattered down the corridor to the lift. vera said she felt faint, then closed her eyes. and then what? then the clean, shabby hospital wall, and the shut door.  anna can\u2019t go any farther with her mother. and then there was her father, kneeling by vera\u2019s bed with his hands over his face. anna touched her mother\u2019s soft, warm cheek, but the gaping face belonged to someone else. all the sense had gone out of it. vera was forty-one.\u2018there\u2019s always a greater risk, you understand,\u2019  someone said. but how could it be vera who had died in this way? it wasn\u2019t like her at all.  she knew about bodies, and hospitals. she understood the limits of what should happen to people. health was her job and her life. she knew what anna should eat, and how many hours she should study. she\u2019d talked to anna about her periods before they started, telling her just enough and not too much. \u2018when you have children,\u2019 she\u2019d said. not \u2018when i have children.\u2019 vera\u2019s days of children were over, it went without saying. she had anna. but she died at forty-one. she left her child to anna. in the end, instead 5 1015202530354045",
            "17": "17 0486/13/m/j/15 \u00a9 ucles 2015 [turn overof freeing her daughter, she put a child into her arms. that red, squirming  thing they were swaddling in the next room. kolya.  [from chapter 1]   how does dunmore\u2019s writing movingly portray vera\u2019s death in this passage? or 14 explore the ways in which dunmore vividly conveys to you the importance of food in the  novel.50",
            "18": "18 0486/13/m/j/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: the landlord forced marner to take off his coat, and then to sit down on a  chair aloof from every one else, in the centre of the circle, and in the direct rays of the fire. the weaver, too feeble to have any distinct purpose beyond that of getting help to recover his money, submitted unresistingly. the transient fears of the company were now forgotten in their strong curiosity, and all faces were turned towards silas, when the landlord, having seated himself again, said; \u2018now then, master marner, what\u2019s this you\u2019ve got to say, as you\u2019ve been robbed? speak out.\u2019 \u2018he\u2019d better not say again as it was me robbed him,\u2019 cried jem rodney,  hastily. \u2018what could i ha\u2019 done with his money? i could as easy steal the parson\u2019s surplice, and wear it.\u2019 \u2018hold your tongue, jem, and let\u2019s hear what he\u2019s got to say,\u2019 said the  landlord. \u2018now then, master marner.\u2019 silas now told his story under frequent questioning, as the mysterious  character of the robbery became evident. this strangely novel situation of opening his trouble to his raveloe  neighbours, of sitting in the warmth of a hearth not his own, and feeling the presence of faces and voices which were his nearest promise of help, had doubtless its influence on marner, in spite of his passionate preoccupation with his loss. our consciousness rarely registers the beginning of a growth within us any more than without us: there have been many circulations of the sap before we detect the smallest sign of the bud. the slight suspicion with which his hearers at first listened to him,  gradually melted away before the convincing simplicity of his distress: it was impossible for the neighbours to doubt that marner was telling the truth, not because they were capable of arguing at once from the nature of his statements to the absence of any motive for making them falsely, but because, as mr macey observed, \u2018folks as had the devil to back \u2019em were not likely to be so mushed\u2019 as poor silas was. rather, from the strange fact that the robber had left no traces, and had happened to know the nick of time, utterly incalculable by mortal agents, when silas would go away from home without locking his door, the more probable conclusion seemed to be, that his disreputable intimacy in that quarter, if it ever existed, had been broken up, and that, in consequence, this ill turn had been done to marner by somebody it was quite in vain to set the constable after. why this preternatural felon should be obliged to wait till the door was left unlocked, was a question which did not present itself. \u2018it isn\u2019t jem rodney as has done this work, master marner,\u2019 said the  landlord. \u2018y ou mustn\u2019t be a-casting your eye at poor jem. there may be a bit of a reckoning against jem for the matter of a hare or so, if anybody was bound to keep their eyes staring open, and niver to wink \u2013 but jem\u2019s been a-sitting here drinking his can, like the decentest man i\u2019 the parish, since before you left your house, master marner, by your own account.\u2019 \u2018ay, ay,\u2019 said mr macey; \u2018let\u2019s have no accusing o\u2019 the innicent. that isn\u2019t  the law. there must be folks to swear again\u2019 a man before he can be ta\u2019en up. let\u2019s have no accusing o\u2019 the innicent, master marner.\u2019 memory was not so utterly torpid in silas that it could not be wakened  by these words. with a movement of compunction, as new and strange to 5 1015202530354045",
            "19": "19 0486/13/m/j/15 \u00a9 ucles 2015 [turn overhim as everything else within the last hour, he started from his chair and  went close up to jem, looking at him as if he wanted to assure himself of the expression in his face. \u2018i was wrong,\u2019 he said \u2013 \u2018yes, yes \u2013 i ought to have thought. there\u2019s  nothing to witness against you, jem. only you\u2019d been into my house oftener than anybody else, and so you came into my head. i don\u2019t accuse you \u2013 i won\u2019t accuse anybody \u2013 only,\u2019 he added, lifting up his hands to his head, and turning away with bewildered misery, \u2018i try \u2013 i try to think where my money can be.\u2019  [from chapter 7]   how does eliot vividly convey to you the significance of this moment for silas? or 16 how does eliot\u2019s writing make dunstan (dunsey) cass such a dislikeable character?50 55",
            "20": "20 0486/13/m/j/15 \u00a9 ucles 2015susan hill:  i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: mr hooper said, \u2018this is the strand, this is trafalgar square, this is the  mall, there is buckingham palace \u2026\u2019 \u2018i know.\u2019but the taxi skidded in and out of the traffic, and mr hooper did not  listen, he recited the names of streets and buildings because of his belief in the usefulness and fascination of such facts. kingshaw said, \u2018we lived in london.\u2019 \u2018ah, yes! now that is st george\u2019s hospital \u2026\u2019he did not like being here with mr hooper. it was like being with a  stranger, one of the masters from school, perhaps, it felt odd. he could think of nothing at all to say, except in answer to questions. they walked very quietly across the grey carpets of the department store, towards school outfitting, and the rooms smelled of perfume and new cloth. he thought, i could run away. i could get into the lift and go down the other staircase, and out into the street, i would be lost. but he would not do it. it would be worse, alone in the city streets,  full of strange people, than it had been alone in hang wood. the noise confused him, the way everybody pushed about. he had forgotten london. mr hooper said, \u2018well, now \u2026\u2019 there was a man with striped trousers and a tape-measure. kingshaw had never been shopping with anyone except his mother. he was measured and pushed in and out of the sleeves of blazers and the legs of shorts, and mr hooper and the man talked about him over the top of his head, he felt as though he was not really here, not really himself. he said nothing. but when he looked in the tall glass, and saw himself like hooper, in the black and gold uniform, looked into his own eyes, he knew that there was no more hope for him, that it had all begun. hooper was playing with the silver cardboard model of the fort, rolling  the marble down and letting it drop through the chute, over and over again. kingshaw watched him for a moment, his fury rising, and then began to run, down the corridor and the staircase, across the hall and into the sitting room, clenching and unclenching his hands. mr hooper was pouring out two glasses of sherry from a bottle. the  windows of the sitting room were open onto the silent lawn. kingshaw shouted, \u2018it\u2019s my model, you gave him my model, the one i  made, and you didn\u2019t even ask. i didn\u2019t want him to have that, you shouldn\u2019t give him any of my things.\u2019 he saw the look that passed between his mother and mr hooper, knew  what they were thinking of him, and it made him want to strike out at them, in rage, he felt misjudged by them. he thought, they don\u2019t want me, they don\u2019t want anything to do with me here, they want themselves and hooper, there is no place for me. \u2018y ou\u2019ve got to make him give it back. he\u2019s got plenty of things, he\u2019s got  everything. he\u2019s got to give me back my model.\u2019 \u2018charles \u2026\u2019\u2018it\u2019s mine, mine, mine , he isn\u2019t to have anything  of mine.\u2019 when mr hooper stepped forward quickly, and struck him across  the cheek, he heard the sound of it sharply, through his own head, and 5 10152025 30 354045",
            "21": "21 0486/13/m/j/15 \u00a9 ucles 2015 [turn overout in the room, too, saw his mother\u2019s face, full of relief and shock, and  mr hooper\u2019s, as he stood over him. and then the silence. none of them moved. silence and silence. the telephone rang. mr hooper went out of the door and into the hall.\u2018i think you had better go quietly upstairs, charles. i\u2019m sure you can  understand why. and perhaps you will also try and understand how very much you have upset me.\u2019 he did not look at her.  [from chapter 15]   how does hill vividly convey the unfairness which charles kingshaw experiences at this  point in the novel? or 18 does hill\u2019s writing make it possible for you to feel any sympathy for hooper?50 55",
            "22": "22 0486/13/m/j/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: mr utterson reflected; and then, raising his head, \u2018if you will come with  me in my cab,\u2019 he said, \u2018i think i can take you to his house.\u2019 it was by this time about nine in the morning, and the first fog of the  season. a great chocolate-coloured pall lowered over heaven, but the wind was continually charging and routing these embattled vapours; so that as the cab crawled from street to street, mr utterson beheld a marvellous number of degrees and hues of twilight; for here it would be dark like the back-end of evening; and there would be a glow of a rich, lurid brown, like the light of some strange conflagration; and here, for a moment, the fog would be quite broken up, and a haggard shaft of daylight would glance in between the swirling wreaths. the dismal quarter of soho seen under these changing glimpses, with its muddy ways, and slatternly passengers, and its lamps, which had never been extinguished or had been kindled afresh to combat this mournful reinvasion of darkness, seemed, in the lawyer\u2019s eyes, like a district of some city in a nightmare. the thoughts of his mind, besides, were of the gloomiest dye; and when he glanced at the companion of his drive, he was conscious of some touch of that terror of the law and the law\u2019s officers, which may at times assail the most honest. as the cab drew up before the address indicated, the fog lifted a little  and showed him a dingy street, a gin palace, a low french eating house, a shop for the retail of penny numbers and twopenny salads, many ragged children huddled in the doorways, and many women of many different nationalities passing out, key in hand, to have a morning glass; and the next moment the fog settled down again upon that part, as brown as umber, and cut him off from his blackguardly surroundings. this was the home of henry jekyll\u2019s favourite; of a man who was heir to a quarter of a million sterling. an ivory-faced and silvery-haired old woman opened the door. she had  an evil face, smoothed by hypocrisy; but her manners were excellent. y es, she said, this was mr hyde\u2019s, but he was not at home; he had been in that night very late, but had gone away again in less than an hour; there was nothing strange in that; his habits were very irregular, and he was often absent; for instance, it was nearly two months since she had seen him till yesterday. \u2018very well then, we wish to see his rooms,\u2019 said the lawyer; and when the  woman began to declare it was impossible, \u2018i had better tell you who this person is,\u2019 he added. \u2018this is inspector newcomen of scotland y ard.\u2019 a flash of odious joy appeared upon the woman\u2019s face. \u2018ah!\u2019 said she, \u2018he  is in trouble! what has he done?\u2019 mr utterson and the inspector exchanged glances. \u2018he don\u2019t seem a  very popular character,\u2019 observed the latter. \u2018and now, my good woman, just let me and this gentleman have a look about us.\u2019  [from chapter 4, \u2018the carew murder case\u2019]   in what ways does stevenson\u2019s writing make this moment in the novel so disturbing?5 10152025303540",
            "23": "23 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 20 how does stevenson strikingly portray the friendship between mr utterson and dr jekyll  in the novel?",
            "24": "24 0486/13/m/j/15 \u00a9 ucles 2015from  stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the rain horse  (by ted hughes), and then answer the question  that follows it: he came out at the woodside, in open battle now, still searching for the  right stones. there were plenty here, piled and scattered where they had been ploughed out of the field. he selected two, then straightened and saw the horse twenty yards off in the middle of the steep field, watching him calmly. they looked at each other. \u2018out of it!\u2019 he shouted, brandishing his arm. \u2018out of it! go on!\u2019 the horse  twitched its pricked ears. with all his force he threw. the stone soared and landed beyond with a soft thud. he re-armed and threw again. for several minutes he kept up his bombardment without a single hit, working himself up into a despair and throwing more and more wildly, till his arm began to ache with the unaccustomed exercise. throughout the performance the horse watched him fixedly. finally he had to stop and ease his shoulder muscles. as if the horse had been waiting for just this, it dipped its head twice and came at him. he snatched up two stones and roaring with all his strength flung the  one in his right hand. he was astonished at the crack of the impact. it was as if he had struck a tile \u2013 and the horse actually stumbled. with another roar he jumped forward and hurled his other stone. his aim seemed to be under superior guidance. the stone struck and rebounded straight up into the air, spinning fiercely, as the horse swirled away and went careering down towards the far bottom corner of the field, at first with great, swinging leaps, then at a canter, leaving deep churned holes in the soil. it turned up the far side of the field, climbing till it was level with him. he  felt a little surprise of pity to see it shaking its head, and once it paused to lower its head and paw over its ear with its forehoof as a cat does. \u2018y ou stay there!\u2019 he shouted. \u2018keep your distance and you\u2019ll not get hurt.\u2019and indeed the horse did stop at that moment, almost obediently. it  watched him as he climbed to the crest. the rain swept into his face and he realised that he was freezing, as if  his very flesh were sodden. the farm seemed miles away over the dreary fields. without another glance at the horse \u2013 he felt too exhausted to care now what it did \u2013 he loaded the crook of his left arm with stones and plunged out on to the waste of mud. he was halfway to the first hedge before the horse appeared, silhouetted  against the sky at the corner of the wood, head high and attentive, watching his laborious retreat over the three fields. the ankle-deep clay dragged at him. every stride was a separate,  deliberate effort, forcing him up and out of the sucking earth, burdened as he was by his sogged clothes and load of stones and limbs that seemed themselves to be turning to mud. he fought to keep his breathing even, two strides in, two strides out, the air ripping his lungs. in the middle of the last field he stopped and looked around. the horse, tiny on the skyline, had not moved. at the corner of the field he unlocked his clasped arms and dumped  the stones by the gatepost, then leaned on the gate. the farm was in front of him. he became conscious of the rain again and suddenly longed to stretch out full-length under it, to take the cooling, healing drops all over 5 1015202530354045",
            "25": "25 0486/13/m/j/15 \u00a9 ucles 2015his body and forget himself in the last wretchedness of the mud. making an  effort, he heaved his weight over the gate-top. he leaned again, looking up at the hill. rain was dissolving land and sky together like a wet watercolour as  the afternoon darkened. he concentrated, raising his head, searching the skyline from end to end. the horse had vanished. the hill looked lifeless and desolate, an island lifting out of the sea, awash with every tide. under the long shed where the tractors, plough, binders and the rest  were drawn up, waiting for their seasons, he sat on a sack thrown over a petrol drum, trembling, his lungs heaving. the mingled smell of paraffin, creosote, fertiliser, dust \u2013 all was exactly as he had left it twelve years ago. the ragged swallows\u2019 nests were still there tucked in the angles of the rafters. he remembered three dead foxes hanging in a row from one of the  beams, their teeth bloody. the ordeal with the horse had already sunk from reality. it hung under  the surface of his mind, an obscure confusion of fright and shame, as after a narrowly escaped street accident. there was a solid pain in his chest, like a spike of bone stabbing, that made him wonder if he had strained his heart on that last stupid burdened run. piece by piece he began to take off his clothes, wringing the grey water out of them, but soon he stopped that and just sat staring at the ground, as if some important part had been cut out of his brain.   how does hughes make this such a powerful ending to the story? or 22 what does the writer make you feel about either  mr twycott in  the son\u2019s veto  (by  thomas hardy) or the husband in sandpiper  (by ahdaf soueif)?50 556065",
            "26": "26 0486/13/m/j/15 \u00a9 ucles 2015blank page",
            "27": "27 0486/13/m/j/15 \u00a9 ucles 2015blank page",
            "28": "28 0486/13/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_21.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/21 literature (english) may/june 2015paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer  two questions. you must  answer  one passage -based  question  (marked  *) and one essay  question  (marked  \u2020).  your questions  must  be on two different  plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 13printed pages and 3blank pages. [turn /g82ver06_0486_21_2015_1.13   \u00a9 ucles  2015 *3560420035*",
            "2": "06_0486_21_2015_1.13 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either * 1read this passage, and then answer the question that follows it: sue: is my husband \u2013 ? content removed due to copyright restrictions",
            "3": "06_0486_21_2015_1.13 \u00a9 ucles 2015 [turn over3  he meets a man and makes a statue out of him. explore the ways in which miller makes this such a dramatic and revealing moment in the play.or \u2020 2 how does miller make kate\u2019s self-deception such a memorable feature of the play?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either * 3 read this passage, and then answer the question that follows it: how could i know what would happen afterwards? if she\u2019d been some miserable plain little creature, i don\u2019t suppose i\u2019d have done it. but she was very pretty and looked asif she could take care of herself. i couldn\u2019t be sorry for her.sheila: in fact, in a kind of way, you might be said to have been jealous of her. inspector: yes, i suppose so. sheila: and so you used the power you had, as a daughter of a good customer and also of a man well-known in the town, to punish the girl just because she made you feel likethat?inspector: yes, but it didn\u2019t seem to be anything very terrible at the time. don\u2019t you understand? and if i could help her now, i would \u2013sheila: [harshly ] yes, but you can\u2019t. it\u2019s too late. she\u2019s dead. inspector: my god, it\u2019s a bit thick, when you come to think of it \u2013 eric: [stormily ] oh shut up, eric. i know, i know. it\u2019s the only time i\u2019ve ever done anything like that, and i\u2019ll never, never do it again to anybody. i\u2019ve noticed them giving me asheila: sort of look sometimes at milwards \u2013 i noticed it even this afternoon \u2013 and i suppose some of them remember. i feel now i can never go there again. oh \u2013 why had this tohappen? [sternly ] that\u2019s what i asked myself tonight when i was looking at that dead girl. and then i said to myself: \u2018well, we\u2019ll try to understand why it had to happen?\u2019 and that\u2019sinspector: why i\u2019m here, and why i\u2019m not going until i know allthat happened. eva smith lost her job with birling and company because the strike failed and they were determined notto have another one. at last she found another job \u2013 under what name i don\u2019t know\u2013 in a big shop, and had to leave there because you were annoyed with yourself andpassed the annoyance on to her. now she had to try something else. so first shechanged her name to daisy renton \u2013 [startled ] what? gerald: [steadily ] i said she changed her name to daisy renton. inspector: [pulling himself together ] d\u2019you mind if i give myself a drink, sheila? gerald: sheila merely nods, still staring at him, and he goes across to the tantalus on the sideboard for a whisky. where is your father, miss birling? inspector: he went into the drawing-room, to tell my mother what was happening here. eric, take the inspector along to the drawing-room.sheila: as eric moves, the inspector looks from sheila to gerald, then goes out with eric. well, gerald? [trying to smile ] well what, sheila? gerald: how did you come to know this girl \u2013 eva smith? sheila: 06_0486_21_2015_1.13 \u00a9 ucles 20154",
            "5": "656055504540i didn\u2019t. gerald: daisy renton then \u2013 it\u2019s the same thing. sheila: why should i have known her? gerald: oh don\u2019t be stupid. we haven\u2019t much time. you gave yourself away as soon as he mentioned her other name.sheila: all right, i knew her. let\u2019s leave it at that. gerald: we can\u2019t leave it at that. sheila: [approaching he r] now listen, darling \u2013 gerald: no, that\u2019s no use. you not only knew her but you knew her very well. otherwise, you wouldn\u2019t look so guilty about it. when did you first get to know her?sheila: he does not reply. was it after she left milwards? when she changed her name, as he said, and began to lead a different sort of life? were you seeing her last spring and summer, duringthat time when you hardly came near me and said you were so busy? were you? he does not reply but looks at her. yes, of course you were.i\u2019m sorry, sheila. but it was all over and done with, last summer. i hadn\u2019t set eyes on the girl for at least six months. i don\u2019t come into this suicide business.gerald: i thought i didn\u2019t, half an hour ago. sheila: you don\u2019t. neither of us does. so \u2013 for god\u2019s sake \u2013 don\u2019t say anything to the inspector. gerald: about you and this girl? sheila: yes. we can keep it from him. gerald: [laughs rather hysterically ] why \u2013 you fool \u2013 he know s.of course he knows. and i hate to think how much he knows that we don\u2019t know yet. you\u2019ll see, you\u2019ll see.sheila: she looks at him almost in triumph. he looks crushed. the door slowly opens and the inspector appears, looking steadily and searchingly at them. well? inspector: end of act one [from act 1 ] how does priestley make this such a powerful ending to act 1? or \u2020 4 mrs birling says that eric is \u2018only a boy\u2019. to what extent does priestley make you agree with her? [turn /g82ver06_0486_21_2015_1.13 \u00a9 ucles 20155",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either * 5read this passage, and then answer the question that follows it: make room, and let him stand before our face. shylock, the world thinks, and i think so too,that thou but leadest this fashion of thy maliceto the last hour of act; and then, \u2019tis thought,thou\u2019lt show thy mercy and remorse, more strangethan is thy strange apparent cruelty;and where thou now exacts the penalty,which is a pound of this poor merchant\u2019s flesh,thou wilt not only loose the forfeiture,but, touch\u2019d with human gentleness and love,forgive a moiety of the principal,glancing an eye of pity on his losses,that have of late so huddled on his back \u2013enow to press a royal merchant down,and pluck commiseration of his statefrom brassy bosoms and rough hearts of flint,from stubborn turks and tartars, never train\u2019dto offices of tender courtesy.we all expect a gentle answer, jew.duke: i have  possess\u2019d  your grace  of what  i purpose,   and by our holy sabbath  have  i sworn to have  the due and forfeit  of my bond. if you deny  it, let the danger  light upon  your charter  and your city\u2019s  freedom.   you\u2019ll  ask me why i  rather  choose  to have a weight  of carrion  flesh  than to receive three  thousand  ducats.  i\u2019ll not answer  that,  but say it is my humour  \u2013 is it answer\u2019d? what  if my house  be troubled  with a rat, and i be pleas\u2019d  to give ten thousand  ducats   to have  it ban\u2019d?  what,  are you answer\u2019d  yet? some  men there  are love not a gaping  pig;  some  that are mad if they behold  a cat; and others,  when  the bagpipe  sings  i\u2019 th\u2019 nose,   cannot  contain  their urine;  for affection,   mistress  of passion,  sways  it to the mood of what  it likes or loathes.  now,  for your answer:   as there  is no firm reason  to be rend\u2019red why he cannot  abide  a gaping  pig; why he, a harmless  necessary  cat; why he, a woollen  bagpipe,  but of force must  yield to such  inevitable  shame as to offend,  himself  being  offended;shylock: 06_0486_21_2015_1.13 \u00a9 ucles 20156",
            "7": "5045so can i give no reason, nor i will not, more than a lodg\u2019d hate and a certain loathingi bear antonio, that i follow thusa losing suit against him. are you answered? this is no answer, thou unfeeling man, to excuse the current of thy cruelty.bassanio: i am not bound to please thee with my answers. shylock: do all men kill the things they do not love? bassanio: hates any man the thing he would not kill? shylock: every offence is not a hate at first. bassanio: what, wouldst thou have a serpent sting thee twice? shylock: [from act 4 scene 1 ] does shakespeare make it possible for you to have any sympathy for shylock at this moment in the play? or \u2020 6 explore the ways in which shakespeare makes you admire portia. [turn /g82ver 06_0486_21_2015_1.13 \u00a9 ucles 20157",
            "8": "3530252015105william shakespeare: a/g3midsummer /g3night /g182s/g3dream /g3 remember to support your ideas with details from the text. either * 7read this passage, and then answer the question that follows it: enter quince, snug, bottom, flute, snout and starveling . is all our company here? quince: you were best to call them generally, man by man, according to the scrip. bottom: here is the scroll of every man\u2019s name which is thought fit, through all athens, to play in our interlude before the duke and the duchess on his wedding-day at night.quince: first, good peter quince, say what the play treats on; then read the names of the actors; and so grow to a point.bottom: marry, our play is \u2018the most lamentable comedy and most cruel death of pyramus and thisby\u2019.quince: a very good piece of work, i assure you, and a merry. now, good peter quince, call forth your actors by the scroll. masters, spread yourselves.bottom: answer, as i call you. nick bottom, the weaver. quince: ready. name what part i am for, and proceed. bottom: you, nick bottom, are set down for pyramus. quince: what is pyramus? a lover, or a tyrant? bottom: a lover, that kills himself most gallant for love. quince: that will ask some tears in the true performing of it. if i do it, let the audience look to their eyes; i will move storms; i will condole in some measure. to the rest \u2013 yet mybottom: chief humour is for a tyrant. i could play ercles rarely, or a part to tear a cat in, to make all split. \u2018the raging rocksand shivering shocksshall break the locks of prison gates; and phibbus\u2019 carshall shine from far,and make and mar the foolish fates.\u2019 this was lofty. now name the rest of the players. this is ercles\u2019 vein, a tyrant\u2019s vein:a lover is more condoling. francis flute, the bellows-mender. quince: here, peter quince. flute: flute, you must take thisby on you. quince: what is thisby? a wand\u2019ring knight? flute: it is the lady that pyramus must love. quince: nay, faith, let not me play a woman; i have a beard coming. flute: that\u2019s all one; you shall play it in a mask, and you may speak as small as you will. quince: 06_0486_21_2015_1.13 \u00a9 ucles 20158",
            "9": "55504540an i may hide my face, let me play thisby too. i\u2019ll speak in a monstrous little voice: \u2018thisne, thisne!\u2019 [ then speaking small ] \u2018ah pyramus, my lover dear! thy thisby dear, and lady dear!\u2019bottom: no, no, you must play pyramus; and, flute, you thisby. quince: well; proceed. bottom: robin starveling, the tailor. quince: here, peter quince. starveling: robin starveling, you must play thisby\u2019s mother. tom snout, the tinker. quince: here, peter quince. snout: you, pyramus\u2019 father; myself, thisby\u2019s father; snug, the joiner, you, the lion\u2019s part. and, i hope, here is a play fitted.quince: have you the lion\u2019s part written? pray you, if it be, give it me, for i am slow of study. snug: you may do it extempore, for it is nothing but roaring. quince: let me play the lion too. i will roar that i will do any man\u2019s heart good to hear me; i will roar that i will make the duke say \u2018let him roar again, let him roar again\u2019.bottom: an you should do it too terribly, you would fright the duchess and the ladies, that they would shriek; and that were enough to hang us all.quince: that would hang us, every mother\u2019s son. all: [from act 1 scene  2/g64  how does  shakespeare  make  this such  an entertaining  introduction  to bottom  and the mechanicals? or \u2020 8 puck  says \u2018what  fools  these  mortals  be\u2019. to what  extent  does  shakespeare  make  you share  puck/g182s  view of human  characters  in the play? [turn /g82ver06_0486_21_2015_1.13 \u00a9 ucles 20159",
            "10": "403530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either * 9read this passage, and then answer the question that follows it: if by your art, my dearest father, you have put the wild waters in this roar, allay them.the sky, it seems, would pour down stinking pitch,but that the sea, mounting to th\u2019 welkin\u2019s cheek,dashes the fire out. o, i have sufferedwith those that i saw suffer! a brave vessel,who had no doubt some noble creature in her,dash\u2019d all to pieces! o, the cry did knockagainst my very heart! poor souls, they perish\u2019d.had i been any god of power, i wouldhave sunk the sea within the earth or ereit should the good ship so have swallow\u2019d andthe fraughting souls within her.miranda: be collected; no more amazement; tell your piteous heartthere\u2019s no harm done.prospero: o, woe the day! miranda: no harm. i have done nothing but in care of thee,of thee, my dear one, thee, my daughter, whoart ignorant of what thou art, nought knowingof whence i am, nor that i am more betterthan prospero, master of a full poor cell,and thy no greater father.prospero: more to know did never meddle with my thoughts.miranda: /g182tis time i should  inform  thee farther.  lend  thy hand, and pluck  my magic  garment  from me. so, /g62lays  down  his mantle /g64  lie there  my art. wipe  thou thine  eyes;  have  comfort. the direful  spectacle  of the wreck,   which  touch\u2019d the very virtue  of compassion  in thee, i have  with such  provision  in mine  art so safely  ordered  that there  is no soul \u2013 no, not so much  perdition  as an hair betid  to any creature  in the vessel which  thou heard\u2019st  cry, which  thou saw\u2019st  sink. sit down, for thou must  now know  farther.prospero: you have often begun to tell me what i am; but stopp\u2019d,and left me to a bootless inquisition,concluding \u2018stay; not yet\u2019.miranda: 06_0486_21_2015_1.13 \u00a9 ucles 201510",
            "11": "75706560555045the hour\u2019s now come; the very minute bids thee ope thine ear.obey, and be attentive. canst thou remembera time before we came unto this cell?i do not think thou canst; for then thou wast notout three years old.prospero: certainly, sir, i can. miranda: by what? by any other house, or person? of any thing the image, tell me, thathath kept with thy remembrance?prospero: \u2019tis far off, and rather like a dream than an assurancethat my remembrance warrants. had i notfour, or five, women once, that tended me?miranda: thou hadst, and more, miranda. but how is it that this lives in thy mind? what seest thou elsein the dark backward and abysm of time?if thou rememb\u2019rest aught, ere thou cam\u2019st here,how thou cam\u2019st here thou mayst.prospero: but that i do not. miranda: twelve year since, miranda, twelve year since, thy father was the duke of milan, anda prince of power.prospero: sir, are not you my father? miranda: thy mother was a piece of virtue, and she said thou wast my daughter; and thy fatherwas duke of milan, and his only heirand princess no worse issued.prospero: o, the heavens! what foul play had we that we came from thence?or blessed was\u2019t we did?miranda: both, both, my girl. by foul play, as thou say\u2019st, were we heav\u2019d thence;but blessedly holp hither.prospero: o, my heart bleeds to think o\u2019 th\u2019 teen that i have turn\u2019d you to,which is from my remembrance.miranda: [from act 1 scene 2 ] how does shakespeare make this such a striking introduction to prospero and miranda? or \u2020 10 to what extent do you think shakespeare suggests that antonio gets what he deserves at the end of the play? [turn /g82ver 06_0486_21_2015_1.13 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either * 11read this passage, and then answer the question that follows it: cecily cardew? [ moving to her and shaking hands .] what a very sweet name! something tells me that we are going to be great friends. i like you already morethan i can say. my first impressions of people are never wrong.gwendolen: how nice of you to like me so much after we have known each other such a comparatively short time. pray sit down.cecily: [still standing up ]: i may call you cecily, may i not? gwendolen with pleasure! cecily: and you will always call me gwendolen, won\u2019t you? gwendolen: if you wish. cecily: then that is all quite settled, is it not? gwendolen: i hope so. [ a pause. they both sit down together. ] cecily: perhaps this might be a favourable opportunity for my mentioning who i am. my father is lord bracknell. you have never heard of papa, i suppose?gwendolen: i don\u2019t think so. cecily: outside the family circle, papa, i am glad to say, is entirely unknown. i think that is quite as it should be. the home seems to me to be the proper sphere for the man.gwendolen: and certainly once a man begins to neglect his domestic duties he becomes painfully effeminate, does he not? and i don\u2019t like that. it makes men so very attractive.cecily, mamma, whose views on education are remarkably strict, has brought meup to be extremely short-sighted; it is part of her system; so do you mind my lookingat you through my glasses? oh! not at all, gwendolen. i am very fond of being looked at. cecily: [after examining cecily carefully through a lorgnette ]:you are here on a short visit, i suppose.gwendolen oh no! i live here. cecily: [severely ]: really? your mother, no doubt, or some female relative of advanced years, resides here also?gwendolen oh no! i have no mother, nor, in fact, any relations. cecily: indeed? gwendolen: my dear guardian, with the assistance of miss prism, has the arduous task of looking after me.cecily: your guardian? gwendolen: yes, i am mr worthing\u2019s ward. cecily: oh! it is strange he never mentioned to me that he had a ward. how secretive of him! he grows more interesting hourly. i am not sure, however, that the news inspiresgwendolen: me with feelings of unmixed delight. [ rising and going to her. ] i am very fond of you, cecily; i have liked you ever since i met you! but i am bound to state that now 06_0486_21_2015_1.13 \u00a9 ucles 201512",
            "13": "6055504540that i know that you are mr worthing\u2019s ward, i cannot help expressing a wish you were \u2013 well, just a little older than you seem to be \u2013 and not quite so very alluringin appearance. in fact, if i may speak candidly \u2013 pray do! i think that whenever one has anything unpleasant to say, one should always be quite candid.cecily: well, to speak with perfect candour, cecily, i wish that you were fully forty-two, and more than usually plain for your age. ernest has a strong upright nature. he is thegwendolen: very soul of truth and honour. disloyalty would be as impossible to him as deception. but even men of the noblest possible moral character are extremely susceptible tothe influence of the physical charms of others. modern, no less than ancient history,supplies us with many most painful examples of what i refer to. if it were not so,indeed, history would be quite unreadable. i beg your pardon, gwendolen, did you say ernest? cecily: yes. gwendolen: oh, but it is not mr ernest worthing who is my guardian. it is his brother \u2013 his elder brother.cecily: [sitting down again ]: ernest never mentioned to me that he had a brother. gwendolen i am very sorry to say they have not been on good terms for a long time. cecily: ah! that accounts for it. and now that i think of it i have never heard any man mention his brother. the subject seems distasteful to most men. cecily, you havegwendolen: lifted a load from my mind. i was growing almost anxious. it would have been terrible if any cloud had come across a friendship like ours, would it not? of course you arequite, quite sure that it is not mr ernest worthing who is your guardian? quite sure. [ ap a u s e .] in fact, i am going to be his. cecily: [from act 2 ] how does wilde make this such an entertaining moment in the play? or \u2020 12 in what ways do you think wilde is making criticisms of society through the comedy of the play? 06_0486_21_2015_1.13 \u00a9 ucles 201513",
            "14": "blank page 06_0486_21_2015_1.13 \u00a9 ucles 201514",
            "15": "blank page 06_0486_21_2015_1.13 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_21_2015_1.13 \u00a9 ucles 201516"
        },
        "0486_s15_qp_22.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/22 literature (english) may/june 2015paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer twoquestions. you must answer onepassage-based question (marked *) and oneessay question (marked \u2020). your questions must be on twodifferent plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 13printed pages and 3blank pages. [turn /g3/g82ver06_0486_22_2015_1.1/g21/g3 \u00a9/g3ucles/g3201/g24 *5359377494*",
            "2": "06_0486_22_2015_1.12 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either * 1read this passage, and then answer the question that follows it: [ jim bayliss rounds corner of driveway, walking rapidly. content removed due to copyright restrictions",
            "3": "06_0486_22_2015_1.12 \u00a9 ucles 2015 [turn over3 george:  why, afraid you\u2019ll forget him? how does miller make this such a powerfully dramatic moment in the play?or \u2020 2 the stage directions at the beginning of act 1 describe joe keller as \u2018a man amoung men\u2019.how far does miller make you agree with this description of joe?",
            "4": "403530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either * 3read this passage, and then answer the question that follows it: [who has put ring on, admiringly ] i think it\u2019s perfect. now i really feel engaged. sheila: so you ought, darling. it\u2019s a lovely ring. be careful with it. mrs birling: careful! i\u2019ll never let it out of my sight for an instant. sheila: [smiling ] well, it came just at the right moment. that was clever of you, gerald. now, arthur, if you\u2019ve got no more to say, i think sheila and i had better go in thedrawing-room and leave you men \u2013mrs birling: [rather heavily ] i just want to say this. [ noticing that sheila is still admiring her ring. ] are you listening, sheila? this concerns you too. and after all i don\u2019t often makespeeches at you \u2013birling: i\u2019m sorry, daddy. actually i was listening. sheila: she looks attentive, as they all do. he holds them for a moment before continuing. i\u2019m delighted about this engagement and i hope it won\u2019t be too long before you\u2019re married. and i want to say this. there\u2019s a good deal of silly talk about these days \u2013birling: but\u2013 and i speak as a hard-headed business man, who has to take risks and know what he\u2019s about \u2013 i say, you can ignore all this silly pessimistic talk. when you marry,you\u2019ll be marrying at a very good time. yes, a very good time \u2013 and soon it\u2019ll be aneven better time. last month, just because the miners came out on strike, there\u2019s alot of wild talk about possible labour trouble in the near future. don\u2019t worry. we\u2019vepassed the worst of it. we employers at last are coming together to see that ourinterests \u2013 and the interests of capital \u2013 are properly protected. and we\u2019re in for atime of steadily increasing prosperity. i believe you\u2019re right, sir. gerald: what about war? eric: glad you mentioned it, eric. i\u2019m coming to that. just because the kaiser makes a speech or two, or a few german officers have too much to drink and begin talkingbirling: nonsense, you\u2019ll hear some people say that war\u2019s inevitable. and to that i say \u2013 fiddlesticks! the germans don\u2019t want war. nobody wants war, except somehalf-civilised folks in the balkans. and why? there\u2019s too much at stake these days.everything to lose and nothing to gain by war. yes, i know \u2013 but still \u2013 eric: just let me finish, eric. you\u2019ve a lot to learn yet. and i\u2019m talking as a hard-headed, practical man of business. and i say there isn\u2019t a chance of war. the world\u2019sbirling: developing so fast that it\u2019ll make war impossible. look at the progress we\u2019re making. in a year or two we\u2019ll have aeroplanes that will be able to go anywhere. and look atthe way the automobile\u2019s making headway \u2013 bigger and faster all the time. and then ships. why, a friend of mine went over this new liner last week \u2013 the titanic \u2013s h e sails next week \u2013 forty-six thousand eight hundred tons \u2013 forty-six thousand eighthundred tons \u2013 new york in five days \u2013 and every luxury \u2013 and unsinkable, absolutelyunsinkable. that\u2019s what you\u2019ve got to keep your eye on, facts like that, progress likethat \u2013 and not a few german officers talking nonsense and a few scaremongers here 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g244",
            "5": "555045making a fuss about nothing. now you three young people, just listen to this \u2013 and remember what i\u2019m telling you now. in twenty or thirty years\u2019 time \u2013 let\u2019s say, in 1940\u2013 you may be giving a little party like this \u2013 your son or daughter might be gettingengaged \u2013 and i tell you, by that time you\u2019ll be living in a world that\u2019ll have forgottenall these capital versus labour agitations and all these silly little war scares. there\u2019llbe peace and prosperity and rapid progress everywhere \u2013 except of course in russia,which will always be behindhand naturally. arthur! mrs birling: as mrs birling shows signs of interrupting. yes, my dear, i know \u2013 i\u2019m talking too much. but you youngsters just remember what i said. we can\u2019t let these bernard shaws and h.g. wellses do all the talking. webirling: hard-headed practical business men must say something sometime. and we don\u2019t guess \u2013 we\u2019ve had experience \u2013 and we know . [rising. the others rise ] yes, of course, dear. well \u2013 don\u2019t keep gerald in here too long. eric \u2013 i want you a minute.mrs birling: [from act 1 ] how does priestley strikingly portray mr birling at this moment in the play? or \u2020 4 explore the ways in which priestley makes the inspector such a memorably mysterious figure. [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g245",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either * 5read this passage, and then answer the question that follows it: i pray you tarry; pause a day or two before/g3you/g3hazard;/g3for,/g3in/g3choosing/g3wrong,i/g3lose/g3your/g3company;/g3therefore/g3forbear/g3awhile./g3there/g182s/g3something/g3tells/g3me/g3\u2013/g3but/g3it/g3is/g3not/g3love/g3\u2013i/g3would/g3not/g3lose/g3you;/g3and/g3you/g3know/g3yourself/g3hate/g3counsels/g3not/g3in/g3such/g3a/g3quality.but/g3lest/g3you/g3should/g3not/g3understand/g3me/g3well/g3\u2013and/g3yet/g3a/g3maiden/g3hath/g3no/g3tongue/g3but/g3thought/g3\u2013i/g3would/g3detain/g3you/g3here/g3some/g3month/g3or/g3two/g3before/g3you/g3venture/g3for/g3me./g3i/g3could/g3teach/g3you/g3how/g3to/g3choose/g3right,/g3but/g3then/g3i/g3am/g3forsworn;/g3so/g3will/g3i/g3never/g3be;/g3so/g3may/g3you/g3miss/g3me;but/g3if/g3you/g3do,/g3you'll/g3make/g3me/g3wish/g3a/g3sin,that/g3i/g3had/g3been/g3forsworn./g3beshrew/g3your/g3eyes!they/g3have/g3o/g182erlook/g182d/g3me/g3and/g3divided/g3me;/g3one/g3half/g3of/g3me/g3is/g3yours,/g3the/g3other/g3half/g3yours/g3\u2013mine/g3own,/g3i/g3would/g3say;/g3but/g3if/g3mine,/g3then/g3yours,/g3and/g3so/g3all/g3yours./g3o!/g3these/g3naughty/g3times/g3puts/g3bars/g3between/g3the/g3owners/g3and/g3their/g3rights;/g3and/g3so,/g3though/g3yours,/g3not/g3yours./g3prove/g3it/g3so,/g3let/g3fortune/g3go/g3to/g3hell/g3for/g3it,/g3not/g3i.i/g3speak/g3too/g3long,/g3but/g3/g182tis/g3to/g3peize/g3the/g3time,to/g3eke/g3it,/g3and/g3to/g3draw/g3it/g3out/g3in/g3length,to/g3stay/g3you/g3from/g3election.portia: let me choose; for as i am, i live upon the rack.bassanio: upon the rack, bassanio? then confess what treason there is mingled with your love.portia: none/g3but/g3that/g3ugly/g3treason/g3of/g3mistrust,/g3 which/g3makes/g3me/g3fear/g3th\u2019/g3enjoying/g3of/g3my/g3love;/g3there/g3may/g3as/g3well/g3be/g3amity/g3and/g3life/g182tween/g3snow/g3and/g3fire/g3as/g3treason/g3and/g3my/g3love.bassanio: ay, but i fear you speak upon the rack, where men enforced do speak anything.portia: bassanio: /g3promise/g3me/g3life,/g3and/g3i/g182ll/g3confess/g3the/g3truth. well then, confess and live. portia: /g181confess/g182/g3and/g3/g181love/g182/g3 had/g3been/g3the/g3very/g3sum/g3of/g3my/g3confession.o/g3happy/g3torment,/g3when/g3my/g3torturerdoth/g3teach/g3me/g3answers/g3for/g3deliverance!but/g3let/g3me/g3to/g3my/g3fortune/g3and/g3the/g3caskets.bassanio: 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g246",
            "7": "60555045away,/g3then;/g3i/g3am/g3lock/g182d/g3in/g3one/g3of/g3them. if/g3you/g3do/g3love/g3me,/g3you/g3will/g3find/g3me/g3out.nerissa/g3and/g3the/g3rest,/g3stand/g3all/g3aloof;let/g3music/g3sound/g3while/g3he/g3doth/g3make/g3his/g3choice;/g3then,/g3if/g3he/g3lose,/g3he/g3makes/g3a/g3swan-like/g3end,/g3fading/g3in/g3music./g3that/g3the/g3comparisonmay/g3stand/g3more/g3proper,/g3my/g3eye/g3shall/g3be/g3the/g3stream/g3and/g3wat/g182ry/g3death-bed/g3for/g3him./g3he/g3may/g3win;and/g3what/g3is/g3music/g3then?/g3then/g3music/g3iseven/g3as/g3the/g3flourish/g3when/g3true/g3subjects/g3bowto/g3a/g3new-crowned/g3monarch;/g3such/g3it/g3isas/g3are/g3those/g3dulcet/g3sounds/g3in/g3break/g3of/g3daythat/g3creep/g3into/g3the/g3dreaming/g3bridegroom/g182s/g3ear,/g3and/g3summon/g3him/g3to/g3marriage./g3now/g3he/g3goes,/g3with/g3no/g3less/g3presence,/g3but/g3with/g3much/g3more/g3love,/g3than/g3young/g3alcides,/g3when/g3he/g3did/g3redeemthe/g3virgin/g3tribute/g3paid/g3by/g3howling/g3troyto/g3the/g3sea-monster./g3i/g3stand/g3for/g3sacrifice;the/g3rest/g3aloof/g3are/g3the/g3dardanian/g3wives,with/g3bleared/g3visages/g3come/g3forth/g3to/g3viewthe/g3issue/g3of/g3th\u2019/g3exploit./g3go,/g3hercules!live/g3thou,/g3i/g3live./g3with/g3much/g3much/g3more/g3dismayi/g3view/g3the/g3fight/g3than/g3thou/g3that/g3mak\u2019st/g3the/g3fray.portia: [from act 3 scene 2 ] how does shakespeare make this such a memorably dramatic moment in the play? or \u2020 6 how far does shakespeare persuade you that shylock deserves his punishment? [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g247",
            "8": "403530252015105william /g3shakespeare: /g3a/g3midsummer /g3night /g182s/g3dream /g3 remember /g3to/g3support /g3your /g3ideas /g3with /g3details /g3from /g3the/g3text. either * 7read this passage, and then answer the question that follows it: this falls out better than i could devise. but hast thou yet latch\u2019d the athenian\u2019s eyeswith the love-juice, as i did bid thee do?oberon: i took him sleeping \u2013 that is finish\u2019d too \u2013 and the athenian woman by his side;that, when he wak\u2019d, of force she must be ey\u2019d.puck: enter demetrius and hermia. stand close; this is the same athenian. oberon: this is the woman, but not this the man. puck: o, why rebuke you him that loves you so? lay breath so bitter on your bitter foe.demetrius: 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\u2019er shoes in blood, plunge in the deep,and kill me too.the sun was not so true unto the dayas he to me. would he have stolen awayfrom sleeping hermia? i\u2019ll believe as soonthis whole earth may be bor\u2019d and that the moonmay through the centre creep and so displeaseher brother\u2019s noontide with th\u2019 antipodes.it cannot be but thou hast murd\u2019red him;so should a murderer look \u2013 so dead, so grim.hermia: so should the murdered look; and so should i, pierc\u2019d through the heart with your stern cruelty;yet you, the murderer, look as bright, as clear,as yonder venus in her glimmering sphere.demetrius: what\u2019s this to my lysander? where is he? ah, good demetrius, wilt thou give him me?hermia: i had rather give his carcass to my hounds. demetrius: out, dog! out, cur! thou driv\u2019st me past the bounds of maiden\u2019s patience. hast thou slain him, then?henceforth be never numb\u2019red among men!o, once tell true; tell true, even for my sake!durst thou have look\u2019d upon him being awake,and hast thou kill\u2019d him sleeping? o brave touch!could not a worm, an adder, do so much?an adder did it; for with doubler tonguethan thine, thou serpent, never adder stung.hermia: 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g248",
            "9": "555045you spend your passion on a mispris\u2019d mood: i am not guilty of lysander\u2019s blood;nor is he dead, for aught that i can tell.demetrius: i pray thee, tell me then that he is well. hermia: and if i could, what should i get therefore? demetrius: a privilege never to see me more. and from thy hated presence part i so;see me no more whether he be dead or no.hermia: /g62exit. there is no following her in this fierce vein; here, therefore, for a while i will remain.so sorrow\u2019s heaviness doth heavier growfor debt that bankrupt sleep doth sorrow owe;which now in some slight measure it will pay,if for his tender here i make some stay.demetrius: /g62lies /g3down. what hast thou done? oberon: [from act 3 scene 2 ] how/g3does/g3shakespeare/g182s/g3writing/g3make/g3this/g3moment/g3in/g3the/g3play/g3so/g3dramatic? or/g3\u2020/g38 explore/g3the/g3ways/g3in/g3which/g3shakespeare/g3makes/g3 two /g3moments/g3in/g3the/g3play/g3 a/g3midsummer /g3night /g182s/g3dream /g3 disturbing/g3for/g3you. [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g249",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either * 9read this passage, and then answer the question that follows it: here prospero discovers ferdinand and miranda playing at chess. sweet lord, you play me false. miranda: no, my dearest love, i would not for the world.ferdinand: yes, for a score of kingdoms you should wrangle, and i would call it fair play.miranda: if this prove a vision of the island, one dear sonshall i twice lose.alonso: a most high miracle! sebastian: though the seas threaten, they are merciful; i have curs\u2019d them without cause. [kneels]ferdinand: now all the blessings of a glad father compass thee about!arise, and say how thou cam\u2019st here.alonso: o, wonder! how many goodly creatures are there here!how beauteous mankind is! o brave new worldthat has such people in\u2019t!miranda: \u2019tis new to thee. prospero: what is this maid with whom thou wast at play? your eld\u2019st acquaintance cannot be three hours;is she the goddess that hath sever\u2019d us,and brought us thus together?alonso: sir, she is mortal; but by immortal providence she\u2019s mine.i chose her when i could not ask my fatherfor his advice, nor thought i had one. sheis daughter to this famous duke of milan,of whom so often i have heard renownbut never saw before; of whom i havereceiv\u2019d a second life; and second fatherthis lady makes him to me.ferdinand: i am hers. but, o, how oddly will it sound that imust ask my child forgiveness!alonso: there, sir, stop; let us not burden our remembrances witha heaviness that\u2019s gone.prospero: 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2410 [kneels ]",
            "11": "656055504540 i have inly wept, or should have spoke ere this. look down, you gods,and on this couple drop a blessed crown;for it is you that have chalk\u2019d forth the waywhich brought us hither.gonzalo: i say, amen, gonzalo! alonso: was milan thrust from milan, that his issue should become kings of naples? o, rejoicebeyond a common joy, and set it downwith gold on lasting pillars: in one voyagedid claribel her husband find at tunis;and ferdinand, her brother, found a wifewhere he himself was lost; prospero his dukedomin a poor isle; and all of us ourselveswhen no man was his own.gonzalo: /g62to/g3f/g40/g53/g39/g44/g49/g36/g49/g39/g3 and/g3m/g44/g53/g36/g49/g39/g36 /g64/g3give /g3me /g3your /g3hands. /g3 let /g3grief /g3and /g3sorrow /g3still /g3embrace /g3his /g3heart /g3 that /g3doth /g3not /g3wish /g3you /g3joy.alonso: be it so. amen! gonzalo: re-enter ariel, with the master and boatswain amazedly following. o look, sir; look, sir! here is more of us! i prophesied, if a gallows were on land,this fellow could not drown. now, blasphemy,that swear\u2019st grace o\u2019erboard, not an oath on shore?hast thou no mouth by land? what is the news? the best news is that we have safely found our king and company; the next, our ship \u2013which but three glasses since we gave out split \u2013is tight and yare, and bravely rigg\u2019d, as whenwe first put out to sea.boatswain: [from act 5 scene 1 ] how does shakespeare make this such a moving and dramatic moment in the play? or \u2020 10 how does shakespeare make magic so memorable and significant in the play? [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2411",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either * 11read this passage, and then answer the question that follows it: algernon :/g3[raising /g3his/g3hat]/g3you /g3are /g3my /g3little /g3cousin /g3cecily, /g3i\u2019m /g3sure /g17 you are under some strange mistake. i am not little. in fact, i believe i am more than usually tall for my age. [ algernon is rather taken aback .] but i am your cousincecily: cecily. you, i see from your card, are uncle jack\u2019s brother, my cousin ernest, my wicked cousin ernest. oh! i am not really wicked at all, cousin cecily. you mustn\u2019t think that i am wicked. algernon : if you are not, then you have certainly been deceiving us all in a very inexcusable manner. i hope you have not been leading a double life, pretending to be wicked andbeing really good all the time. that would be hypocrisy.cecily: [looks at her in amazement ] oh! of course i have been rather reckless. algernon : i am glad to hear it. cecily: in fact, now you mention the subject, i have been very bad in my own small way. algernon : i don\u2019t think you should be so proud of that, though i am sure it must have been very pleasant.cecily: it is much pleasanter being here with you. algernon : i can\u2019t understand how you are here at all. uncle jack won\u2019t be back till monday afternoon.cecily: that is a great disappointment. i am obliged to go up by the first train on monday morning. i have a business appointment that i am anxious\u2026.to miss!algernon : couldn\u2019t you miss it anywhere but in london? cecily: no: the appointment is in london. algernon : well, i know, of course, how important it is not to keep a business engagement, if one wants to retain any sense of the beauty of life, but i still think you had better wait tilluncle jack arrives. i know he wants to speak to you about your emigrating.cecily: about my what? algernon: your emigrating. he has gone up to buy your outfit. cecily: i certainly wouldn\u2019t let jack buy my outfit. he has no taste in neckties at all. algernon : i don\u2019t think you will require neckties. uncle jack is sending you to australia. cecily: australia! i\u2019d sooner die. algernon : well, he said at dinner on wednesday night, that you would have to choose between this world, the next world, and australia.cecily: oh, well! the accounts i have received of australia and the next world are not particularly encouraging. this world is good enough for me, cousin cecily.algernon : yes, but are you good enough for it? cecily: i\u2019m afraid i\u2019m not that. that is why i want you to reform me. you might make that your mission, if you don\u2019t mind, cousin cecily.algernon : 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2412",
            "13": "55504540i\u2019m afraid i\u2019ve no time, this afternoon. cecily: well, would you mind my reforming myself this afternoon? algernon : it is rather quixotic of you. but i think you should try. cecily: i will. i feel better already. algernon : you are looking a little worse. cecily: that is because i am hungry. algernon : how thoughtless of me. i should have remembered that when one is going to lead an entirely new life, one requires regular and wholesome meals. won\u2019t you come in?cecily: thank you. might i have a buttonhole first? i have never any appetite unless i have a buttonhole first.algernon : a mar\u00e9chal niel? [ picks up scissors. ] cecily: no, i\u2019d sooner have a pink rose. algernon : why? [ cuts a flower. ] cecily: because you are like a pink rose, cousin cecily. algernon : i don\u2019t think it can be right for you to talk to me like that. miss prism never says such things to me.cecily: then miss prism is a short-sighted old lady. [ cecily puts the rose in his buttonhole .] you are the prettiest girl i ever saw.algernon : miss prism says that all good looks are a snare. cecily: they are a snare that every sensible man would like to be caught in. algernon : oh, i don\u2019t think i would care to catch a sensible man. i shouldn\u2019t know what to talk to him about.cecily: [from act 2 ] how does wilde make this first meeting between algernon and cecily so entertaining? or /g3\u2020/g312 \u2018a/g3girl /g3with /g3a/g3simple, /g3unspoilt /g3nature /g17\u2019 how /g3does /g3wilde /g3vividly /g3convey /g3to/g3you /g3that /g3this /g3is/g3not/g3an /g3accurate /g3view /g3of/g3gwendolen? 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2413",
            "14": "blank page 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2414",
            "15": "blank page 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2415",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2416"
        },
        "0486_s15_qp_23.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/23 literature (english) may/june 2015paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer  booklet  is provided  inside  this question  paper.  you should  follow  the instructions  on the front cover   of the answer  booklet.  if you need  additional  answer  paper  ask the invigilator  for a continuation  booklet. answer twoquestions. you must answer onepassage-based question (marked *) and oneessay question (marked \u2020). your questions must be on twodifferent plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 13printed pages and 3blank pages. [turn over06_0486_23_2015_1.13   \u00a9 ucles  2015 *8919178229*",
            "2": "06_0486_23_2015_1.13 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either * 1read this passage, and then answer the question that follows it:keller:  what\u2019s she going to say? maybe we ought to tell her before she sees it. content removed due to copyright restrictions",
            "3": "06_0486_23_2015_1.13 \u00a9 ucles 2015 [turn over3 chris:   sometimes you infuriate me, you know that? isn\u2019t it your business, too, if i tell this to  mother and she throws a fit about it? you have such a talent for ignoring things. how does miller vividly reveal the tensions in the keller family at this moment in the play.or \u2020 2 to what extent does miller make keller\u2019s suicide shocking for you?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either * 3read this passage, and then answer the question that follows it: [coolly ] at the end of january, last year, this girl eva smith had to leave milwards, because miss birling compelled them to discharge her, and then she stopped beinginspector: eva smith, looking for a job, and became daisy renton, with other ideas. [ sharply turning on him. ] mr croft, when did you first get to know her? an exclamation  of surprise  from birling and mrs birling .  where  did you get the idea that i did know  her? gerald: it\u2019s no use, gerald. you\u2019re wasting time. sheila: as soon as i mentioned the name daisy renton, it was obvious you\u2019d known her. you gave yourself away at once.inspector: [bitterly ] of course he did. sheila: and anyhow i knew already. when and where did you first meet her? inspector: all right, if you must have it. i met her first, sometime in march last year, in the stalls bar at the palace. i mean the palace music hall here in brumley \u2013gerald: well, we didn\u2019t think you meant buckingham palace. sheila: [to sheila ] thanks. you\u2019re going to be a great help, i can see. you\u2019ve said your piece, and you\u2019re obviously going to hate this, so why on earth don\u2019t you leave usto it?gerald: nothing would induce me. i want to understand exactly what happens when a man says he\u2019s so busy at the works that he can hardly ever find time to come and seethe girl he\u2019s supposed to be in love with. i wouldn\u2019t miss it for worlds \u2013sheila: [with authority ] yes, mr croft \u2013 in the stalls bar at the palace variety theatre \u2026 inspector: i happened to look in, one night, after a rather long dull day, and as the show wasn\u2019t very bright, i went down into the bar for a drink. it\u2019s a favourite haunt of women ofthe town \u2013gerald: women of the town? mrs birling: yes, yes. but i see no point in mentioning the subject \u2013 especially \u2013 [ indicating sheila .]birling: it would be much better if sheila didn\u2019t listen to this story at all. mrs birling: but you\u2019re forgetting i\u2019m supposed to be engaged to the hero of it. go on, gerald. you went down into the bar, which is a favourite haunt of women of the town.sheila: i\u2019m glad i amuse you \u2013 gerald: [sharply ] come along, mr croft. what happened? inspector: i didn\u2019t propose to stay long down there. i hate those hard-eyed dough-faced women. but then i noticed a girl who looked quite different. she was very pretty \u2013 soft brown hair and big dark eyes \u2013 [ breaks off ]. my god!gerald: what\u2019s the matter? inspector: 06_0486_23_2015_1.13 \u00a9 ucles 20154",
            "5": "55504540[distressed ] sorry \u2013 i \u2013 well, i\u2019ve suddenly realized \u2013 taken it in properly \u2013 that she\u2019s dead \u2013gerald: [harshly ] yes, she\u2019s dead. inspector: and probably between us we killed her. sheila: [sharply ] sheila, don\u2019t talk nonsense. mrs birling: you wait, mother. sheila: [to gerald ]g oo n . inspector: she looked young and fresh and charming and altogether out of place down there. and obviously she wasn\u2019t enjoying herself. old joe meggarty, half-drunk andgoggle-eyed, had wedged her into a corner with that obscene fat carcase of his \u2013gerald: [cutting in ] there\u2019s no need to be disgusting. and surely you don\u2019t mean alderman meggarty?mrs birling: of course i do. he\u2019s a notorious womanizer as well as being one of the worst sots and rogues in brumley \u2013gerald: quite right. inspector: [staggered ] well, really! alderman meggarty! i must say, we arelearning something tonight.mrs birling: [coolly ] of course we are. but everybody knows about that horrible old meggarty. a girl i know had to see him at the town hall one afternoon and she only escaped witha torn blouse \u2013sheila: [sharply, shocked ] sheila! birling: [from act 2 ] how does priestley make this such a tense and dramatic moment in the play? o r\u20204 how far does priestley convince you that, by the end of the play, mr and mrs birling have learnt anything? [turn over 06_0486_23_2015_1.13 \u00a9 ucles 20155",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either * 5read this passage, and then answer the question that follows it: [to nerissa ] by yonder moon i swear you do me wrong; in faith, i gave it to the judge\u2019s clerk.would he were gelt that had it, for my part,since you do take it, love, so much at heart.gratiano: a quarrel, ho, already! what\u2019s the matter? portia: about a hoop of gold, a paltry ring that she did give me, whose posy wasfor all the world like cutler\u2019s poetryupon a knife, \u2018love me, and leave me not\u2019.gratiano: what talk you of the posy or the value? you swore to me, when i did give it you,that you would wear it till your hour of death,and that it should lie with you in your grave;though not for me, yet for your vehement oaths,you should have been respective and have kept it.gave it a judge\u2019s clerk! no, god\u2019s my judge,the clerk will ne\u2019er wear hair on\u2019s face that had it.nerissa: he will, an if he live to be a man. gratiano: ay, if a woman live to be a man. nerissa: now by this hand i gave it to a youth, a kind of boy, a little scrubbed boyno higher than thyself, the judge\u2019s clerk;a prating boy that begg\u2019d it as a fee;i could not for my heart deny it him.gratiano: you were  to blame,  i must  be plain  with you,  to part so slightly  with your wife\u2019s  first gift, a thing  stuck  on with oaths  upon  your finger   and so riveted  with faith unto your flesh. i  gave  my love a ring, and made  him swear   never  to part with it, and here he stands; i dare be sworn  for him he would  not leave  it  nor pluck  it from his finger  for the wealth   that the world  masters.  now,  in faith gratiano,   you give your wife too unkind  a cause  of grief;   an \u2019twere  to me, i should  be mad at it.portia: [aside ] why, i were best to cut my left hand off, and swear i lost the ring defending it.bassanio: 06_0486_23_2015_1.13 \u00a9 ucles 20156",
            "7": "70656055504540my lord bassanio gave his ring away unto the judge that begg\u2019d it, and indeeddeserv\u2019d it too; and then the boy, his clerk,that took some pains in writing, he begg\u2019d mine;and neither man nor master would take aughtbut the two rings.gratiano: what ring gave you, my lord? not that, i hope, which you receiv\u2019d of me.portia: if i could add a lie unto a fault, i would deny it; but you see my fingerhath not the ring upon it; it is gone.bassanio: even so void is your false heart of truth; by heaven, i will ne\u2019er come in your beduntil i see the ring.portia: nor i in yours till i again see mine.nerissa: sweet portia, if you did know to whom i gave the ring,if you did know for whom i gave the ring,and would conceive for what i gave the ring,and how unwillingly i left the ring.when nought would be accepted but the ring,you would abate the strength of your displeasure.bassanio: if you had known the virtue of the ring, or half her worthiness that gave the ring,or your own honour to contain the ring,you would not then have parted with the ring,what man is there so much unreasonable,if you had pleas\u2019d to have defended itwith any terms of zeal, wanted the modestyto urge the thing held as a ceremony?nerissa teaches me what to believe:i\u2019ll die for\u2019t but some woman had the ring.portia: [from act 5 scene1 ] how does shakespeare make this such an entertaining and satisfying moment in the play? or \u2020 6 \u2018a kinder  gentleman  treads  not the earth. \u2019 to what  extent  does  shakespeare \u2019s portrayal  of antonio  persuade  you that this opinion  of him is true? [turn over 06_0486_23_2015_1.13 \u00a9 ucles 20157",
            "8": "403530252015105william shakespeare: a midsummer  night \u2019s dream   remember to support your ideas with details from the text . either * 7read this passage, and then answer the question that follows it: dark night, that from the eye his function takes, the ear more quick of apprehension makes;wherein it doth impair the seeing sense,it pays the hearing double recompense.thou art not by mine eye, lysander, found;mine ear, i thank it, brought me to thy sound.but why unkindly didst thou leave me so?hermia: why should he stay whom love doth press to go? lysander: what love could press lysander from my side? hermia: lysander\u2019s love, that would not let him bide \u2013 fair helena, who more engilds the nightthan all yon fiery oes and eyes of light.why seek\u2019st thou me? could not this make thee knowthe hate i bare thee made me leave thee so?lysander: you speak not as you think; it cannot be. hermia: lo, she is one of this confederacy! now i perceive they have conjoin\u2019d all threeto fashion this false sport in spite of me.injurious hermia! most ungrateful maid!have you conspir\u2019d, have you with these contriv\u2019d,to bait me with this foul derision?is all the counsel that we two have shar\u2019d,the sisters\u2019 vows, the hours that we have spent,when we have chid the hasty-footed timefor parting us \u2013 o, is all forgot?all school-days\u2019 friendship, childhood innocence?we, hermia, like two artificial gods,have with our needles created both one flower,both on one sampler, sitting on one cushion,both warbling of one song, both in one key;as if our hands, our sides, voices, and minds,had been incorporate. so we grew together.like to a double cherry, seeming parted,but yet an union in partition,two lovely berries moulded on one stem;so, with two seeming bodies, but one heart;two of the first, like coats in heraldry,due but to one, and crowned with one crest.and will you rent our ancient love asunder,to join with men in scorning your poor friend?it is not friendly,\u2019tis not maidenly;our sex, as well as i, may chide you for it,though i alone do feel the injury.helena: 06_0486_23_2015_1.13 \u00a9 ucles 20158",
            "9": "706560555045i am amazed at your passionate words; i scorn you not; it seems that you scorn me.hermia: have you not set lysander, as in scorn, to follow me and praise my eyes and face?and made your other love, demetrius,who even but now did spurn me with his foot,to call me goddess, nymph, divine, and rare,precious, celestial? wherefore speaks he thisto her he hates? and wherefore doth lysanderdeny your love, so rich within his soul,and tender me, forsooth, affection,but by your setting on, by your consent?what though i be not so in grace as you,so hung upon with love, so fortunate,but miserable most, to love unlov\u2019d?this you should pity rather than despise.helena: i understand not what you mean by this. hermia: ay, do \u2013 persever, counterfeit sad looks, make mouths upon me when i turn my back,wink each at other; hold the sweet jest up;this sport, well carried, shall be chronicled.if you have any pity, grace, or manners,you would not make me such an argument.but fare ye well; \u2019tis partly my own fault,which death, or absence, soon shall remedy.helena: stay, gentle helena; hear my excuse; my love, my life, my soul, fair helena!lysander: o excellent! helena: [from act 3 scene 2 ] in what ways does shakespeare make this such an emotional and dramatic moment in the play? o r\u20208 to what extent do you think that shakespeare suggests that \u2018love is blind\u2019 in the play? [turn over 06_0486_23_2015_1.13 \u00a9 ucles 20159",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either * 9read this passage, and then answer the question that follows it: prospero and ariel remain, invisible. enter caliban, stephano, and trinculo, all wet. pray you, tread softly, that the blind mole may not hear a foot fall; we now are near his cell.caliban: monster, your fairy, which you say is a harmless fairy, has done little better than play\u2019d the jack with us.stephano: monster, i do smell all horse-piss at which my nose is in great indignation. trinculo : so is mine. do you hear, monster? if i should take a displeasure against you, look you \u2013stephano: thou wert but a lost monster. trinculo: good my lord, give me thy favour still. be patient, for the prize i\u2019ll bring thee toshall hoodwink this mischance; therefore speak softly.all\u2019s hush\u2019d as midnight yet.caliban: ay, but to lose our bottles in the pool! trinculo : there is not only disgrace and dishonour in that, monster, but an infinite loss. stephano: that\u2019s more to me than my wetting; yet this is your harmless fairy, monster. trinculo: stephano:  i will fetch  off my bottle,  though  i be o\u2019er ears for my labour. prithee, my king, be quiet. seest thou here, this is the mouth o\u2019 th\u2019 cell; no noise, and enter.do that good mischief which may make this island,thine own for ever, and i, thy caliban,for aye thy foot-licker.caliban: give me thy hand. i do begin to have bloody thoughts. stephano: o king stephano! o peer! o worthy stephano! look what a wardrobe here is for thee! trinculo: let it alone, thou fool; it is but trash. caliban: o, ho, monster; we know what belongs to a frippery. o king stephano! trinculo : put off that gown, trinculo; by this hand, i\u2019ll have that gown. stephano: thy grace shall have it. trinculo : the dropsy drown this fool! what do you mean to dote thus on such luggage? let\u2019t alone,and do the murder first. if he awakefrom toe to crown he\u2019ll fill our skins with pinches;make us strange stuff.caliban: be you quiet, monster. mistress line, is not this my jerkin? now is the jerkin under the line; now, jerkin, you are like to lose your hair, and prove a bald jerkin.stephano: do, do. we steal by line and level, an\u2019t like your grace. trinculo: 06_0486_23_2015_1.13 \u00a9 ucles 201510",
            "11": "6055504540i thank thee for that jest; here\u2019s a garment for\u2019t. wit shall not go unrewarded while i am king of this country. \u2018steal by line and level\u2019 is an excellent pass of pate; there\u2019sanother garment for\u2019t.stephano: monster, come, put some lime upon your fingers, and away with the rest. trinculo : i will have none on\u2019t. we shall lose our time, and all be turn\u2019d to barnacles, or to apeswith foreheads villainous low.caliban: monster, lay-to your fingers; help to bear this away where my hogshead of wine is, or i\u2019ll turn you out of my kingdom. go to, carry this.stephano: and this. trinculo : ay, and this. stephano: a noise of hunters heard. enter divers spirits, in shape of dogs and hounds, hunting them about; prospero and ariel setting them on. hey, mountain, hey! prospero: silver! there it goes, silver! ariel: fury, fury! there, tyrant, there! hark, hark! [caliban, stephano, and trinculo are driven out ] go charge my goblins that they grind their jointswith dry convulsions, shorten up their sinewswith aged cramps, and more pinch-spotted make themthan pard or cat o\u2019 mountain.prospero: hark, they roar. ariel: let them be hunted soundly. at this hour lies at my mercy all mine enemies.shortly shall all my labours end, and thoushalt have the air at freedom; for a littlefollow, and do me service.prospero: [from act 4 scene 1 ] how does shakespeare make this moment in the play so entertaining and yet serious at the same time? o r\u20201 0 explore the ways in which shakespeare memorably portrays the relationship between prospero and ariel. [turn over 06_0486_23_2015_1.13 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either * 11read this passage, and then answer the question that follows it: charming day it has been, miss fairfax. jack: pray don\u2019t talk to me about the weather, mr worthing. whenever people talk to me about the weather, i always feel quite certain that they mean something else. andthat makes me so nervous.gwendolen: i do mean something else. jack: i thought so. in fact, i am never wrong. gwendolen: and i would like to be allowed to take advantage of lady bracknell\u2019s temporary absence. . . .jack: i would certainly advise you to do so. mamma has a way of coming back suddenly into a room that i have often had to speak to her about.gwendolen: [nervously ] miss fairfax, ever since i met you i have admired you more than any g i r l...i have ever met sinc e...im e t you.jack: yes, i am quite well aware of the fact. and i often wish that in public, at any rate, you had been more demonstrative. for me you have always had an irresistiblegwendolen: fascination. even before i met you i was far from indifferent to you. [jack looks at her in amazement .] we live, as i hope you know, mr worthing, in an age of ideals. the fact is constantly mentioned in the more expensive monthly magazines, andhas reached the provincial pulpits, i am told; and my ideal has always been to lovesomeone of the name of ernest. there is something in that name that inspiresabsolute confidence. the moment algernon first mentioned to me that he had afriend called ernest, i knew i was destined to love you. you really love me, gwendolen? jack: passionately! gwendolen: darling! you don\u2019t know how happy you\u2019ve made me. jack: my own ernest! gwendolen: but you don\u2019t really mean to say that you couldn\u2019t love me if my name wasn\u2019t ernest? jack: but your name is ernest. gwendolen: yes, i know it is. but supposing it was something else? do you mean to say you couldn\u2019t love me then?jack: [glibly ] ah! that is clearly a metaphysical speculation, and like most metaphysical speculations has very little reference at all to the actual facts of real life, as we knowthem.gwendolen: personally, darling, to speak quite candidly, i don\u2019t much care about the name of e r n e s t i don\u2019t think the name suits me at all.jack: it suits you perfectly. it is a divine name. it has music of its own. it produces vibrations.gwendolen: well, really, gwendolen, i must say that i think there are lots of other much nicer names. i think jack, for instance, a charming name.jack: 06_0486_23_2015_1.13 \u00a9 ucles 201512",
            "13": "656055504540jack? . . . no, there is very little music in the name jack, if any at all, indeed. it does not thrill. it produces absolutely no vibrations. ...i have known several jacks, andgwendolen: they all, without exception, were more than usually plain. besides, jack is a notorious domesticity for john! and i pity any woman who is married to a man called john.she would probably never be allowed to know the entrancing pleasure of a singlemoment\u2019s solitude. the only really safe name is ernest. gwendolen, i must get christened at once \u2013 i mean we must get married at once. there is no time to be lost.jack: married, mr worthing? gwendolen: [astounded ]w e l l...s u r e l y .y o uk n o wt h a til o v ey o u ,a n dy o ul e dm et o believe, miss fairfax, that you were not absolutely indifferent to me.jack: i adore you. but you haven\u2019t proposed to me yet. nothing has been said at all about marriage. the subject has not even been touched on.gwendolen: w e l l...m a yip r opose to you now? jack: i think it would be an admirable opportunity. and to spare you any possible disappointment, mr worthing, i think it only fair to tell you quite frankly beforehandthat i am fully determined to accept you.gwendolen: gwendolen! jack: yes, mr worthing, what have you got to say to me? gwendolen: you know what i have got to say to you. jack: yes, but you don\u2019t say it. gwendolen: gwendolen, will you marry me? [ goes on his knees. ] jack: of course i will, darling. how long you have been about it! i am afraid you have had very little experience in how to propose.gwendolen: my own one, i have never loved anyone in the world but you. jack: yes, but men often propose for practice. i know my brother gerald does. all my girl-friends tell me so. what wonderfully blue eyes you have, ernest! they are quite,gwendolen: quite blue. i hope you will always look at me just like that, especially when there are other people present. [from act 1 ] how does wilde amusingly make it clear to you at this moment in the play that gwendolen is the more powerful partner in her relationship with jack? o r\u20201 2 jack describes lady bracknell as \u2018a monster\u2019. how far does wilde convince you that this is a fair description of her? 06_0486_23_2015_1.13 \u00a9 ucles 201513",
            "14": "blank page 06_0486_23_2015_1.13 \u00a9 ucles 201514",
            "15": "blank page 06_0486_23_2015_1.13 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_23_2015_1.13 \u00a9 ucles 201516"
        },
        "0486_s15_qp_31.pdf": {
            "1": "th/g72 syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.  this document consists of 13 printed pages, 3 blank pages and 1 insert.  06_0486_31_2015_1. 2   \u00a9 ucles 2015 [turn over *7010296440*cambridge international examinations  cambridge international general certificate of secondary education  literature (english) 0486/31    paper 3 drama (open text) may/june 2015 45 minutes  texts studied should be taken into the examination.  read these instructions first  an answer booklet is provided inside this question paper. you should follow the instructions on the front  cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet.  answer one question.  all questions in this paper carry equal marks. ",
            "2": "06_0486_31_2015_1.2 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either 1read this passage, and then answer the question that follows it:sue: is my husband \u2013 ? content removed due to copyright restrictions",
            "3": "06_0486_31_2015_1.2 \u00a9 ucles 2015 [turn over3  he meets a man and makes a statue out of him. explore the ways in which miller makes this such a dramatic and revealing moment in the play.or 2 how does miller make kate\u2019s self-deception such a memorable feature of the play?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read  this passage,  and then  answer  the question  that follows  it: how could i know what would happen afterwards? if she\u2019d been some miserable plain little creature, i don\u2019t suppose i\u2019d have done it. but she was very pretty and looked asif she could take care of herself. i couldn\u2019t be sorry for her.sheila: in fact, in a kind of way, you might be said to have been jealous of her. inspector: yes, i suppose so. sheila: and so you used the power you had, as a daughter of a good customer and also of a man well-known in the town, to punish the girl just because she made you feel likethat?inspector: yes, but it didn\u2019t seem to be anything very terrible at the time. don\u2019t you understand? and if i could help her now, i would \u2013sheila: [harshly ] yes, but you can\u2019t. it\u2019s too late. she\u2019s dead. inspector: my god, it\u2019s a bit thick, when you come to think of it \u2013 eric: [stormily ] oh shut up, eric. i know, i know. it\u2019s the only time i\u2019ve ever done anything like that, and i\u2019ll never, never do it again to anybody. i\u2019ve noticed them giving me asheila: sort of look sometimes at milwards \u2013 i noticed it even this afternoon \u2013 and i suppose some of them remember. i feel now i can never go there again. oh \u2013 why had this tohappen? [sternly ] that\u2019s what i asked myself tonight when i was looking at that dead girl. and then i said to myself: \u2018well, we\u2019ll try to understand why it had to happen?\u2019 and that\u2019sinspector: why i\u2019m here, and why i\u2019m not going until i know allthat happened. eva smith lost her job with birling and company because the strike failed and they were determined notto have another one. at last she found another job \u2013 under what name i don\u2019t know\u2013 in a big shop, and had to leave there because you were annoyed with yourself andpassed the annoyance on to her. now she had to try something else. so first shechanged her name to daisy renton \u2013 [startled ] what? gerald: [steadily ] i said she changed her name to daisy renton. inspector: [pulling himself together ] d\u2019you mind if i give myself a drink, sheila? gerald: sheila merely nods, still staring at him, and he goes across to the tantalus on the sideboard for a whisky. where is your father, miss birling? inspector: he went into the drawing-room, to tell my mother what was happening here. eric, take the inspector along to the drawing-room.sheila: as eric moves, the inspector looks from sheila to gerald, then goes out with eric. well, gerald? [trying to smile ] well what, sheila? gerald: how did you come to know this girl \u2013 eva smith? sheila: 06_0486_ 31_2015_1. 2 \u00a9 ucles 20154",
            "5": "656055504540i didn\u2019t. gerald: daisy renton then \u2013 it\u2019s the same thing. sheila: why should i have known her? gerald: oh don\u2019t be stupid. we haven\u2019t much time. you gave yourself away as soon as he mentioned her other name.sheila: all right, i knew her. let\u2019s leave it at that. gerald: we can\u2019t leave it at that. sheila: [approaching he r] now listen, darling \u2013 gerald: no, that\u2019s no use. you not only knew her but you knew her very well. otherwise, you wouldn\u2019t look so guilty about it. when did you first get to know her?sheila: he does not reply. was it after she left milwards? when she changed her name, as he said, and began to lead a different sort of life? were you seeing her last spring and summer, duringthat time when you hardly came near me and said you were so busy? were you? he does not reply but looks at her. yes, of course you were.i\u2019m sorry, sheila. but it was all over and done with, last summer. i hadn\u2019t set eyes on the girl for at least six months. i don\u2019t come into this suicide business.gerald: i thought i didn\u2019t, half an hour ago. sheila: you don\u2019t. neither of us does. so \u2013 for god\u2019s sake \u2013 don\u2019t say anything to the inspector. gerald: about you and this girl? sheila: yes. we can keep it from him. gerald: [laughs rather hysterically ] why \u2013 you fool \u2013 he know s.of course he knows. and i hate to think how much he knows that we don\u2019t know yet. you\u2019ll see, you\u2019ll see.sheila: she looks at him almost in triumph. he looks crushed. the door slowly opens and the inspector appears, looking steadily and searchingly at them. well? inspector: end of act one [from act 1 ] how does priestley make this such a powerful ending to act 1? or 4 mrs birling  says  that eric  is \u2018only  a boy\u2019. to what  extent  does  priestley  make  you agree  with  her? [turn  /g82ver06_0486_ 31_2015_1. 2 \u00a9 ucles 20155",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read this passage, and then answer the question that follows it: make room, and let him stand before our face. shylock, the world thinks, and i think so too,that thou but leadest this fashion of thy maliceto the last hour of act; and then, \u2019tis thought,thou\u2019lt show thy mercy and remorse, more strangethan is thy strange apparent cruelty;and where thou now exacts the penalty,which is a pound of this poor merchant\u2019s flesh,thou wilt not only loose the forfeiture,but, touch\u2019d with human gentleness and love,forgive a moiety of the principal,glancing an eye of pity on his losses,that have of late so huddled on his back \u2013enow to press a royal merchant down,and pluck commiseration of his statefrom brassy bosoms and rough hearts of flint,from stubborn turks and tartars, never train\u2019dto offices of tender courtesy.we all expect a gentle answer, jew.duke: i have  possess\u2019d  your grace  of what  i purpose,   and by our holy sabbath  have  i sworn to have  the due and forfeit  of my bond. if you deny  it, let the danger  light upon  your charter  and your city\u2019s  freedom.   you\u2019ll  ask me why  i rather  choose  to have a weight  of carrion  flesh  than to receive three  thousand  ducats.  i\u2019ll not answer  that,  but say it is my humour  \u2013 is it answer\u2019d? what  if my house  be troubled  with a rat, and i be pleas\u2019d  to give ten thousand  ducats   to have  it ban\u2019d?  what,  are you answer\u2019d  yet? some  men there  are love not a gaping  pig;  some  that are mad if they behold  a cat; and others,  when  the bagpipe  sings  i\u2019 th\u2019 nose,   cannot  contain  their urine;  for affection,   mistress  of passion,  sways  it to the mood of what  it likes or loathes.  now,  for your answer:   as there  is no firm reason  to be rend\u2019red why he cannot  abide  a gaping  pig; why he, a harmless  necessary  cat; why he, a woollen  bagpipe,  but of force must  yield to such  inevitable  shame as to offend,  himself  being  offended;shylock: 06_0486_ 31_2015_1. 2 \u00a9 ucles 20156",
            "7": "5045so can i give no reason, nor i will not, more than a lodg\u2019d hate and a certain loathingi bear antonio, that i follow thusa losing suit against him. are you answered? this is no answer, thou unfeeling man, to excuse the current of thy cruelty.bassanio: i am not bound to please thee with my answers. shylock: do all men kill the things they do not love? bassanio: hates any man the thing he would not kill? shylock: every offence is not a hate at first. bassanio: what, wouldst thou have a serpent sting thee twice? shylock: [from act 4 scene 1 ] does shakespeare make it possible for you to have any sympathy for shylock at this moment in the play? or 6 explore  the ways  in which  shakespeare  makes  you admire  portia. [turn  /g82ver 06_0486_ 31_2015_1. 2 \u00a9 ucles 20157",
            "8": "3530252015105william  shakespeare:  a/g3midsummer /g3night /g182s/g3dream /g3 remember  to support  your  ideas  with details  from  the text. either  7 read this passage, and then answer the question that follows it: enter quince, snug, bottom, flute, snout and starveling . is all our company here? quince: you were best to call them generally, man by man, according to the scrip. bottom: here is the scroll of every man\u2019s name which is thought fit, through all athens, to play in our interlude before the duke and the duchess on his wedding-day at night.quince: first, good peter quince, say what the play treats on; then read the names of the actors; and so grow to a point.bottom: marry, our play is \u2018the most lamentable comedy and most cruel death of pyramus and thisby\u2019.quince: a very good piece of work, i assure you, and a merry. now, good peter quince, call forth your actors by the scroll. masters, spread yourselves.bottom: answer, as i call you. nick bottom, the weaver. quince: ready. name what part i am for, and proceed. bottom: you, nick bottom, are set down for pyramus. quince: what is pyramus? a lover, or a tyrant? bottom: a lover, that kills himself most gallant for love. quince: that will ask some tears in the true performing of it. if i do it, let the audience look to their eyes; i will move storms; i will condole in some measure. to the rest \u2013 yet mybottom: chief humour is for a tyrant. i could play ercles rarely, or a part to tear a cat in, to make all split. \u2018the raging rocksand shivering shocksshall break the locks of prison gates; and phibbus\u2019 carshall shine from far,and make and mar the foolish fates.\u2019 this was lofty. now name the rest of the players. this is ercles\u2019 vein, a tyrant\u2019s vein:a lover is more condoling. francis flute, the bellows-mender. quince: here, peter quince. flute: flute, you must take thisby on you. quince: what is thisby? a wand\u2019ring knight? flute: it is the lady that pyramus must love. quince: nay, faith, let not me play a woman; i have a beard coming. flute: that\u2019s all one; you shall play it in a mask, and you may speak as small as you will. quince: 06_0486_ 31_2015_1. 2 \u00a9 ucles 20158",
            "9": "55504540an i may hide my face, let me play thisby too. i\u2019ll speak in a monstrous little voice: \u2018thisne, thisne!\u2019 [ then speaking small ] \u2018ah pyramus, my lover dear! thy thisby dear, and lady dear!\u2019bottom: no, no, you must play pyramus; and, flute, you thisby. quince: well; proceed. bottom: robin starveling, the tailor. quince: here, peter quince. starveling: robin starveling, you must play thisby\u2019s mother. tom snout, the tinker. quince: here, peter quince. snout: you, pyramus\u2019 father; myself, thisby\u2019s father; snug, the joiner, you, the lion\u2019s part. and, i hope, here is a play fitted.quince: have you the lion\u2019s part written? pray you, if it be, give it me, for i am slow of study. snug: you may do it extempore, for it is nothing but roaring. quince: let me play the lion too. i will roar that i will do any man\u2019s heart good to hear me; i will roar that i will make the duke say \u2018let him roar again, let him roar again\u2019.bottom: an you should do it too terribly, you would fright the duchess and the ladies, that they would shriek; and that were enough to hang us all.quince: that would hang us, every mother\u2019s son. all: [from act 1 scene  2/g64  how does  shakespeare  make  this such  an entertaining  introduction  to bottom  and the mechanicals? or 8 puck  says \u2018what  fools  these  mortals  be\u2019. to what  extent  does  shakespeare  make  you share  puck /g182s view of human  characters  in the play? [turn  /g82ver06_0486_ 31_2015_1. 2 \u00a9 ucles 20159",
            "10": "403530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read  this passage,  and then  answer  the question  that follows  it: if by your art, my dearest father, you have put the wild waters in this roar, allay them.the sky, it seems, would pour down stinking pitch,but that the sea, mounting to th\u2019 welkin\u2019s cheek,dashes the fire out. o, i have sufferedwith those that i saw suffer! a brave vessel,who had no doubt some noble creature in her,dash\u2019d all to pieces! o, the cry did knockagainst my very heart! poor souls, they perish\u2019d.had i been any god of power, i wouldhave sunk the sea within the earth or ereit should the good ship so have swallow\u2019d andthe fraughting souls within her.miranda: be collected; no more amazement; tell your piteous heartthere\u2019s no harm done.prospero: o, woe the day! miranda: no harm. i have done nothing but in care of thee,of thee, my dear one, thee, my daughter, whoart ignorant of what thou art, nought knowingof whence i am, nor that i am more betterthan prospero, master of a full poor cell,and thy no greater father.prospero: more to know did never meddle with my thoughts.miranda: /g182tis time i should  inform  thee farther.  lend  thy hand, and pluck  my magic  garment  from me. so, /g62lays  down  his mantle /g64  lie there  my art. wipe  thou thine  eyes;  have  comfort. the direful  spectacle  of the wreck,  which  touch\u2019d the very virtue  of compassion  in thee, i have  with such  provision  in mine  art so safely  ordered  that there  is no soul \u2013 no, not so much  perdition  as an hair betid  to any creature  in the vessel which  thou heard\u2019st  cry, which  thou saw\u2019st  sink. sit down, for thou must  now know  farther.prospero: you have often begun to tell me what i am; but stopp\u2019d,and left me to a bootless inquisition,concluding \u2018stay; not yet\u2019.miranda: 06_0486_ 31_2015_1. 2 \u00a9 ucles 201510",
            "11": "75706560555045the hour\u2019s now come; the very minute bids thee ope thine ear.obey, and be attentive. canst thou remembera time before we came unto this cell?i do not think thou canst; for then thou wast notout three years old.prospero: certainly, sir, i can. miranda: by what? by any other house, or person? of any thing the image, tell me, thathath kept with thy remembrance?prospero: \u2019tis far off, and rather like a dream than an assurancethat my remembrance warrants. had i notfour, or five, women once, that tended me?miranda: thou hadst, and more, miranda. but how is it that this lives in thy mind? what seest thou elsein the dark backward and abysm of time?if thou rememb\u2019rest aught, ere thou cam\u2019st here,how thou cam\u2019st here thou mayst.prospero: but that i do not. miranda: twelve year since, miranda, twelve year since, thy father was the duke of milan, anda prince of power.prospero: sir, are not you my father? miranda: thy mother was a piece of virtue, and she said thou wast my daughter; and thy fatherwas duke of milan, and his only heirand princess no worse issued.prospero: o, the heavens! what foul play had we that we came from thence?or blessed was\u2019t we did?miranda: both, both, my girl. by foul play, as thou say\u2019st, were we heav\u2019d thence;but blessedly holp hither.prospero: o, my heart bleeds to think o\u2019 th\u2019 teen that i have turn\u2019d you to,which is from my remembrance.miranda: [from act 1 scene 2 ] how does shakespeare make this such a striking introduction to prospero and miranda? or 10 to what  extent  do you think  shakespeare  suggests  that antonio  gets  what  he deserves  at the end of  the play? [turn  /g82ver 06_0486_ 31_2015_1. 2 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read  this passage,  and then  answer  the question  that follows  it: cecily cardew? [ moving to her and shaking hands .] what a very sweet name! something tells me that we are going to be great friends. i like you already morethan i can say. my first impressions of people are never wrong.gwendolen: how nice of you to like me so much after we have known each other such a comparatively short time. pray sit down.cecily: [still standing up ]: i may call you cecily, may i not? gwendolen with pleasure! cecily: and you will always call me gwendolen, won\u2019t you? gwendolen: if you wish. cecily: then that is all quite settled, is it not? gwendolen: i hope so. [ a pause. they both sit down together. ] cecily: perhaps this might be a favourable opportunity for my mentioning who i am. my father is lord bracknell. you have never heard of papa, i suppose?gwendolen: i don\u2019t think so. cecily: outside the family circle, papa, i am glad to say, is entirely unknown. i think that is quite as it should be. the home seems to me to be the proper sphere for the man.gwendolen: and certainly once a man begins to neglect his domestic duties he becomes painfully effeminate, does he not? and i don\u2019t like that. it makes men so very attractive.cecily, mamma, whose views on education are remarkably strict, has brought meup to be extremely short-sighted; it is part of her system; so do you mind my lookingat you through my glasses? oh! not at all, gwendolen. i am very fond of being looked at. cecily: [after examining cecily carefully through a lorgnette ]:you are here on a short visit, i suppose.gwendolen oh no! i live here. cecily: [severely ]: really? your mother, no doubt, or some female relative of advanced years, resides here also?gwendolen oh no! i have no mother, nor, in fact, any relations. cecily: indeed? gwendolen: my dear guardian, with the assistance of miss prism, has the arduous task of looking after me.cecily: your guardian? gwendolen: yes, i am mr worthing\u2019s ward. cecily: oh! it is strange he never mentioned to me that he had a ward. how secretive of him! he grows more interesting hourly. i am not sure, however, that the news inspiresgwendolen: me with feelings of unmixed delight. [ rising and going to her. ]ia mv e r yf o n do f you, cecily; i have liked you ever since i met you! but i am bound to state that now 06_0486_ 31_2015_1. 2 \u00a9 ucles 201512",
            "13": "6055504540that i know that you are mr worthing\u2019s ward, i cannot help expressing a wish you were \u2013 well, just a little older than you seem to be \u2013 and not quite so very alluringin appearance. in fact, if i may speak candidly \u2013 pray do! i think that whenever one has anything unpleasant to say, one should always be quite candid.cecily: well, to speak with perfect candour, cecily, i wish that you were fully forty-two, and more than usually plain for your age. ernest has a strong upright nature. he is thegwendolen: very soul of truth and honour. disloyalty would be as impossible to him as deception. but even men of the noblest possible moral character are extremely susceptible tothe influence of the physical charms of others. modern, no less than ancient history,supplies us with many most painful examples of what i refer to. if it were not so,indeed, history would be quite unreadable. i beg your pardon, gwendolen, did you say ernest? cecily: yes. gwendolen: oh, but it is not mr ernest worthing who is my guardian. it is his brother \u2013 his elder brother.cecily: [sitting down again ]: ernest never mentioned to me that he had a brother. gwendolen i am very sorry to say they have not been on good terms for a long time. cecily: ah! that accounts for it. and now that i think of it i have never heard any man mention his brother. the subject seems distasteful to most men. cecily, you havegwendolen: lifted a load from my mind. i was growing almost anxious. it would have been terrible if any cloud had come across a friendship like ours, would it not? of course you arequite, quite sure that it is not mr ernest worthing who is your guardian? quite sure. [ ap a u s e .] in fact, i am going to be his. cecily: [from act 2 ] how does wilde make this such an entertaining moment in the play? or 12 in what  ways  do you think  wilde  is making  criticisms  of society  through  the comedy  of the play? 06_0486_ 31_2015_1. 2 \u00a9 ucles 201513",
            "14": "blank page 06_0486_ 31_2015_1. 2 \u00a9 ucles 201514",
            "15": "blank page 06_0486_ 31_2015_1. 2 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_ 31_2015_1. 2 \u00a9 ucles 201516"
        },
        "0486_s15_qp_32.pdf": {
            "1": "th/g72 syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.  this document consists of 13 printed pages, 3 blank pages and 1 insert.  06_0486_32_2015_1. 2   \u00a9 ucles 2015 [turn over *4940784481*cambridge international examinations  cambridge international general certificate of secondary education  literature (english) 0486/32    paper 3 drama (open text) may/june 2015 45 minutes  texts studied should be taken into the examination.  read these instructions first  an answer booklet is provided inside this question paper. you should follow the instructions on the front  cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet.  answer one question.  all questions in this paper carry equal marks. ",
            "2": "06_0486_32_2015_1.2 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either 1read this passage, and then answer the question that follows it: [ jim bayliss rounds corner of driveway, walking rapidly. content removed due to copyright restrictions",
            "3": "06_0486_32_2015_1.2 \u00a9 ucles 2015 [turn over3 george:  why, afraid you\u2019ll forget him? how does miller make this such a powerfully dramatic moment in the play?or 2 the stage directions at the beginning of act 1 describe joe keller as \u2018a man amoung men\u2019.how far does miller make you agree with this description of joe?",
            "4": "403530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read this passage, and then answer the question that follows it: [who has put ring on, admiringly ] i think it\u2019s perfect. now i really feel engaged. sheila: so you ought, darling. it\u2019s a lovely ring. be careful with it. mrs birling: careful! i\u2019ll never let it out of my sight for an instant. sheila: [smiling ] well, it came just at the right moment. that was clever of you, gerald. now, arthur, if you\u2019ve got no more to say, i think sheila and i had better go in thedrawing-room and leave you men \u2013mrs birling: [rather heavily ] i just want to say this. [ noticing that sheila is still admiring her ring. ] are you listening, sheila? this concerns you too. and after all i don\u2019t often makespeeches at you \u2013birling: i\u2019m sorry, daddy. actually i was listening. sheila: she looks attentive, as they all do. he holds them for a moment before continuing. i\u2019m delighted about this engagement and i hope it won\u2019t be too long before you\u2019re married. and i want to say this. there\u2019s a good deal of silly talk about these days \u2013birling: but\u2013 and i speak as a hard-headed business man, who has to take risks and know what he\u2019s about \u2013 i say, you can ignore all this silly pessimistic talk. when you marry,you\u2019ll be marrying at a very good time. yes, a very good time \u2013 and soon it\u2019ll be aneven better time. last month, just because the miners came out on strike, there\u2019s alot of wild talk about possible labour trouble in the near future. don\u2019t worry. we\u2019vepassed the worst of it. we employers at last are coming together to see that ourinterests \u2013 and the interests of capital \u2013 are properly protected. and we\u2019re in for atime of steadily increasing prosperity. i believe you\u2019re right, sir. gerald: what about war? eric: glad you mentioned it, eric. i\u2019m coming to that. just because the kaiser makes a speech or two, or a few german officers have too much to drink and begin talkingbirling: nonsense, you\u2019ll hear some people say that war\u2019s inevitable. and to that i say \u2013 fiddlesticks! the germans don\u2019t want war. nobody wants war, except somehalf-civilised folks in the balkans. and why? there\u2019s too much at stake these days.everything to lose and nothing to gain by war. yes, i know \u2013 but still \u2013 eric: just let me finish, eric. you\u2019ve a lot to learn yet. and i\u2019m talking as a hard-headed, practical man of business. and i say there isn\u2019t a chance of war. the world\u2019sbirling: developing so fast that it\u2019ll make war impossible. look at the progress we\u2019re making. in a year or two we\u2019ll have aeroplanes that will be able to go anywhere. and look atthe way the automobile\u2019s making headway \u2013 bigger and faster all the time. and then ships. why, a friend of mine went over this new liner last week \u2013 the titanic \u2013s h e sails next week \u2013 forty-six thousand eight hundred tons \u2013 forty-six thousand eighthundred tons \u2013 new york in five days \u2013 and every luxury \u2013 and unsinkable, absolutelyunsinkable. that\u2019s what you\u2019ve got to keep your eye on, facts like that, progress likethat \u2013 and not a few german officers talking nonsense and a few scaremongers here 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g244",
            "5": "555045making a fuss about nothing. now you three young people, just listen to this \u2013 and remember what i\u2019m telling you now. in twenty or thirty years\u2019 time \u2013 let\u2019s say, in 1940\u2013 you may be giving a little party like this \u2013 your son or daughter might be gettingengaged \u2013 and i tell you, by that time you\u2019ll be living in a world that\u2019ll have forgottenall these capital versus labour agitations and all these silly little war scares. there\u2019llbe peace and prosperity and rapid progress everywhere \u2013 except of course in russia,which will always be behindhand naturally. arthur! mrs birling: as mrs birling shows signs of interrupting. yes, my dear, i know \u2013 i\u2019m talking too much. but you youngsters just remember what i said. we can\u2019t let these bernard shaws and h.g. wellses do all the talking. webirling: hard-headed practical business men must say something sometime. and we don\u2019t guess \u2013 we\u2019ve had experience \u2013 and we know. [rising. the others rise ] yes, of course, dear. well \u2013 don\u2019t keep gerald in here too long. eric \u2013 i want you a minute.mrs birling: [from act 1 ] how does priestley strikingly portray mr birling at this moment in the play? or 4 explore  the ways  in which  priestley  makes  the inspector  such  a memorably  mysterious  figure. [turn /g3/g82ver 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g245",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read  this passage,  and then  answer  the question  that follows  it: i pray you tarry; pause a day or two before /g3you/g3hazard; /g3for,/g3in/g3choosing /g3wrong, i/g3lose/g3your/g3company; /g3therefore /g3forbear /g3awhile. /g3 there /g182s/g3something /g3tells/g3me/g3\u2013/g3but/g3it/g3is/g3not/g3love/g3\u2013 i/g3would /g3not/g3lose/g3you;/g3and/g3you/g3know /g3yourself/g3 hate /g3counsels /g3not/g3in/g3such /g3a/g3quality. but/g3lest/g3you/g3should /g3not/g3understand /g3me/g3well/g3\u2013 and/g3yet/g3a/g3maiden /g3hath/g3no/g3tongue /g3but/g3thought /g3\u2013 i/g3would /g3detain /g3you/g3here/g3some /g3month /g3or/g3two/g3 before /g3you/g3venture /g3for/g3me./g3i/g3could /g3teach /g3you/g3 how/g3to/g3choose /g3right, /g3but/g3then/g3i/g3am/g3forsworn; /g3 so/g3will/g3i/g3never /g3be;/g3so/g3may/g3you/g3miss/g3me; but/g3if/g3you/g3do,/g3you'll /g3make /g3me/g3wish/g3a/g3sin, that/g3i/g3had/g3been /g3forsworn. /g3beshrew /g3your/g3eyes! they /g3have /g3o/g182erlook /g182d/g3me/g3and/g3divided /g3me;/g3 one/g3half/g3of/g3me/g3is/g3yours, /g3the/g3other /g3half/g3yours /g3\u2013 mine /g3own, /g3i/g3would /g3say;/g3but/g3if/g3mine, /g3then/g3yours, /g3 and/g3so/g3all/g3yours. /g3o!/g3these /g3naughty /g3times /g3 puts/g3bars/g3between /g3the/g3owners /g3and/g3their/g3rights; /g3 and/g3so,/g3though /g3yours, /g3not/g3yours. /g3prove /g3it/g3so,/g3 let/g3fortune /g3go/g3to/g3hell/g3for/g3it,/g3not/g3i. i/g3speak /g3too/g3long, /g3but/g3/g182tis/g3to/g3peize /g3the/g3time, to/g3eke/g3it,/g3and/g3to/g3draw /g3it/g3out/g3in/g3length, to/g3stay/g3you/g3from/g3election.portia: let me choose; for as i am, i live upon the rack.bassanio: upon the rack, bassanio? then confess what treason there is mingled with your love.portia: none /g3but/g3that/g3ugly/g3treason /g3of/g3mistrust, /g3 which /g3makes /g3me/g3fear/g3th\u2019/g3enjoying /g3of/g3my/g3love; /g3 there /g3may/g3as/g3well/g3be/g3amity /g3and/g3life /g182tween /g3snow /g3and/g3fire/g3as/g3treason /g3and/g3my/g3love.bassanio: ay, but i fear you speak upon the rack, where men enforced do speak anything.portia: bassanio:/g3promise /g3me/g3life,/g3and/g3i/g182ll/g3confess /g3the/g3truth. well then, confess and live. portia: /g181confess /g182/g3and/g3/g181love/g182/g3 had/g3been /g3the/g3very/g3sum/g3of/g3my/g3confession. o/g3happy /g3torment, /g3when /g3my/g3torturer doth /g3teach /g3me/g3answers /g3for/g3deliverance! but/g3let/g3me/g3to/g3my/g3fortune /g3and/g3the/g3caskets.bassanio: 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g246",
            "7": "60555045away, /g3then; /g3i/g3am/g3lock/g182d/g3in/g3one/g3of/g3them. if/g3you/g3do/g3love/g3me,/g3you/g3will/g3find/g3me/g3out. nerissa /g3and/g3the/g3rest,/g3stand /g3all/g3aloof; let/g3music /g3sound /g3while /g3he/g3doth/g3make /g3his/g3choice; /g3 then, /g3if/g3he/g3lose, /g3he/g3makes /g3a/g3swan-like /g3end,/g3 fading /g3in/g3music. /g3that/g3the/g3comparison may/g3stand /g3more /g3proper, /g3my/g3eye/g3shall/g3be/g3the/g3stream /g3 and/g3wat/g182ry/g3death-bed /g3for/g3him./g3he/g3may/g3win; and/g3what /g3is/g3music /g3then? /g3then /g3music /g3is even /g3as/g3the/g3flourish /g3when /g3true/g3subjects /g3bow to/g3a/g3new-crowned /g3monarch; /g3such /g3it/g3is as/g3are/g3those /g3dulcet /g3sounds /g3in/g3break /g3of/g3day that/g3creep /g3into/g3the/g3dreaming /g3bridegroom /g182s/g3ear,/g3 and/g3summon /g3him/g3to/g3marriage. /g3now/g3he/g3goes, /g3 with/g3no/g3less/g3presence, /g3but/g3with/g3much /g3more /g3love, /g3 than /g3young /g3alcides, /g3when /g3he/g3did/g3redeem the/g3virgin /g3tribute /g3paid/g3by/g3howling /g3troy to/g3the/g3sea-monster. /g3i/g3stand /g3for/g3sacrifice; the/g3rest/g3aloof /g3are/g3the/g3dardanian /g3wives, with/g3bleared /g3visages /g3come /g3forth/g3to/g3view the/g3issue /g3of/g3th\u2019/g3exploit. /g3go,/g3hercules! live/g3thou, /g3i/g3live./g3with/g3much /g3much /g3more /g3dismay i/g3view/g3the/g3fight/g3than/g3thou/g3that/g3mak\u2019st /g3the/g3fray.portia: [from act 3 scene 2 ] how does shakespeare make this such a memorably dramatic moment in the play? or 6 how  far does  shakespeare  persuade  you that shylock  deserves  his punishment? [turn /g3/g82ver06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g247",
            "8": "403530252015105william /g3shakespeare: /g3a/g3midsummer /g3night /g182s/g3dream /g3 remember /g3to/g3support /g3your /g3ideas /g3with /g3details /g3from /g3the/g3text. either  7 read  this passage,  and then  answer  the question  that follows  it: this falls out better than i could devise. but hast thou yet latch\u2019d the athenian\u2019s eyeswith the love-juice, as i did bid thee do?oberon: i took him sleeping \u2013 that is finish\u2019d too \u2013 and the athenian woman by his side;that, when he wak\u2019d, of force she must be ey\u2019d.puck: enter demetrius and hermia. stand close; this is the same athenian. oberon: this is the woman, but not this the man. puck: o, why rebuke you him that loves you so? lay breath so bitter on your bitter foe.demetrius: 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\u2019er shoes in blood, plunge in the deep,and kill me too.the sun was not so true unto the dayas he to me. would he have stolen awayfrom sleeping hermia? i\u2019ll believe as soonthis whole earth may be bor\u2019d and that the moonmay through the centre creep and so displeaseher brother\u2019s noontide with th\u2019 antipodes.it cannot be but thou hast murd\u2019red him;so should a murderer look \u2013 so dead, so grim.hermia: so should the murdered look; and so should i, pierc\u2019d through the heart with your stern cruelty;yet you, the murderer, look as bright, as clear,as yonder venus in her glimmering sphere.demetrius: what\u2019s this to my lysander? where is he? ah, good demetrius, wilt thou give him me?hermia: i had rather give his carcass to my hounds. demetrius: out, dog! out, cur! thou driv\u2019st me past the bounds of maiden\u2019s patience. hast thou slain him, then?henceforth be never numb\u2019red among men!o, once tell true; tell true, even for my sake!durst thou have look\u2019d upon him being awake,and hast thou kill\u2019d him sleeping? o brave touch!could not a worm, an adder, do so much?an adder did it; for with doubler tonguethan thine, thou serpent, never adder stung.hermia: 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g248",
            "9": "555045you spend your passion on a mispris\u2019d mood: i am not guilty of lysander\u2019s blood;nor is he dead, for aught that i can tell.demetrius: i pray thee, tell me then that he is well. hermia: and if i could, what should i get therefore? demetrius: a privilege never to see me more. and from thy hated presence part i so;see me no more whether he be dead or no.hermia: /g62exit. there is no following her in this fierce vein; here, therefore, for a while i will remain.so sorrow\u2019s heaviness doth heavier growfor debt that bankrupt sleep doth sorrow owe;which now in some slight measure it will pay,if for his tender here i make some stay.demetrius: /g62lies/g3down. what hast thou done? oberon: [from act 3 scene 2 ] how/g3does /g3shakespeare /g182s/g3writing /g3make /g3this/g3moment /g3in/g3the/g3play/g3so/g3dramatic? or/g38 explore /g3the/g3ways /g3in/g3which /g3shakespeare /g3makes /g3two /g3moments /g3in/g3the/g3play/g3a/g3midsummer/g3night/g182s/g3dream/g3  disturbing /g3for/g3you. [turn /g3/g82ver 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g249",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read  this passage,  and then  answer  the question  that follows  it: here prospero discovers ferdinand and miranda playing at chess. sweet lord, you play me false. miranda: no, my dearest love, i would not for the world.ferdinand: yes, for a score of kingdoms you should wrangle, and i would call it fair play.miranda: if this prove a vision of the island, one dear sonshall i twice lose.alonso: a most high miracle! sebastian: though the seas threaten, they are merciful; i have curs\u2019d them without cause. [kneels]ferdinand: now all the blessings of a glad father compass thee about!arise, and say how thou cam\u2019st here.alonso: o, wonder! how many goodly creatures are there here!how beauteous mankind is! o brave new worldthat has such people in\u2019t!miranda: \u2019tis new to thee. prospero: what is this maid with whom thou wast at play? your eld\u2019st acquaintance cannot be three hours;is she the goddess that hath sever\u2019d us,and brought us thus together?alonso: sir, she is mortal; but by immortal providence she\u2019s mine.i chose her when i could not ask my fatherfor his advice, nor thought i had one. sheis daughter to this famous duke of milan,of whom so often i have heard renownbut never saw before; of whom i havereceiv\u2019d a second life; and second fatherthis lady makes him to me.ferdinand: i am hers. but, o, how oddly will it sound that imust ask my child forgiveness!alonso: there, sir, stop; let us not burden our remembrances witha heaviness that\u2019s gone.prospero: 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2410 [kneels ]",
            "11": "656055504540 i have inly wept, or should have spoke ere this. look down, you gods,and on this couple drop a blessed crown;for it is you that have chalk\u2019d forth the waywhich brought us hither.gonzalo: i say, amen, gonzalo! alonso: was milan thrust from milan, that his issue should become kings of naples? o, rejoicebeyond a common joy, and set it downwith gold on lasting pillars: in one voyagedid claribel her husband find at tunis;and ferdinand, her brother, found a wifewhere he himself was lost; prospero his dukedomin a poor isle; and all of us ourselveswhen no man was his own.gonzalo: [to/g3f/g40/g53/g39/g44/g49/g36/g49/g39/g3 and/g3m/g44/g53/g36/g49/g39/g36 ]/g3give/g3me/g3your/g3hands. /g3 let/g3grief/g3and/g3sorrow /g3still/g3embrace /g3his/g3heart /g3 that/g3doth/g3not/g3wish/g3you/g3joy.alonso: be it so. amen! gonzalo: re-enter ariel, with the master and boatswain amazedly following. o look, sir; look, sir! here is more of us! i prophesied, if a gallows were on land,this fellow could not drown. now, blasphemy,that swear\u2019st grace o\u2019erboard, not an oath on shore?hast thou no mouth by land? what is the news? the best news is that we have safely found our king and company; the next, our ship \u2013which but three glasses since we gave out split \u2013is tight and yare, and bravely rigg\u2019d, as whenwe first put out to sea.boatswain: [from act 5 scene 1 ] how does shakespeare make this such a moving and dramatic moment in the play? or 10 how  does  shakespeare  make  magic  so memorable  and significant  in the play? [turn /g3/g82ver 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2411",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read  this passage,  and then  answer  the question  that follows  it: algernon :/g3[raising/g3his/g3hat]/g3you/g3are/g3my/g3little/g3cousin /g3cecily, /g3i\u2019m/g3sure/g17 you are under some strange mistake. i am not little. in fact, i believe i am more than usually tall for my age. [ algernon is rather taken aback .] but i am your cousincecily: cecily. you, i see from your card, are uncle jack\u2019s brother, my cousin ernest, my wicked cousin ernest. oh! i am not really wicked at all, cousin cecily. you mustn\u2019t think that i am wicked. algernon : if you are not, then you have certainly been deceiving us all in a very inexcusable manner. i hope you have not been leading a double life, pretending to be wicked andbeing really good all the time. that would be hypocrisy.cecily: [looks at her in amazement ] oh! of course i have been rather reckless. algernon : i am glad to hear it. cecily: in fact, now you mention the subject, i have been very bad in my own small way. algernon : i don\u2019t think you should be so proud of that, though i am sure it must have been very pleasant.cecily: it is much pleasanter being here with you. algernon : i can\u2019t understand how you are here at all. uncle jack won\u2019t be back till monday afternoon.cecily: that is a great disappointment. i am obliged to go up by the first train on monday morning. i have a business appointment that i am anxious\u2026.to miss!algernon : couldn\u2019t you miss it anywhere but in london? cecily: no: the appointment is in london. algernon : well, i know, of course, how important it is not to keep a business engagement, if one wants to retain any sense of the beauty of life, but i still think you had better wait tilluncle jack arrives. i know he wants to speak to you about your emigrating.cecily: about my what? algernon: your emigrating. he has gone up to buy your outfit. cecily: i certainly wouldn\u2019t let jack buy my outfit. he has no taste in neckties at all. algernon : i don\u2019t think you will require neckties. uncle jack is sending you to australia. cecily: australia! i\u2019d sooner die. algernon : well, he said at dinner on wednesday night, that you would have to choose between this world, the next world, and australia.cecily: oh, well! the accounts i have received of australia and the next world are not particularly encouraging. this world is good enough for me, cousin cecily.algernon : yes, but are you good enough for it? cecily: i\u2019m afraid i\u2019m not that. that is why i want you to reform me. you might make that your mission, if you don\u2019t mind, cousin cecily.algernon : 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2412",
            "13": "55504540i\u2019m afraid i\u2019ve no time, this afternoon. cecily: well, would you mind my reforming myself this afternoon? algernon : it is rather quixotic of you. but i think you should try. cecily: i will. i feel better already. algernon : you are looking a little worse. cecily: that is because i am hungry. algernon : how thoughtless of me. i should have remembered that when one is going to lead an entirely new life, one requires regular and wholesome meals. won\u2019t you come in?cecily: thank you. might i have a buttonhole first? i have never any appetite unless i have a buttonhole first.algernon : a mar\u00e9chal niel? [ picks up scissors. ] cecily: no, i\u2019d sooner have a pink rose. algernon : why? [ cuts a flower. ] cecily: because you are like a pink rose, cousin cecily. algernon : i don\u2019t think it can be right for you to talk to me like that. miss prism never says such things to me.cecily: then miss prism is a short-sighted old lady. [ cecily puts the rose in his buttonhole .] you are the prettiest girl i ever saw.algernon : miss prism says that all good looks are a snare. cecily: they are a snare that every sensible man would like to be caught in. algernon : oh, i don\u2019t think i would care to catch a sensible man. i shouldn\u2019t know what to talk to him about.cecily: [from act 2 ] how does wilde make this first meeting between algernon and cecily so entertaining? or/g312 \u2018a/g3girl/g3with/g3a/g3simple, /g3unspoilt /g3nature /g17\u2019 how/g3does /g3wilde /g3vividly /g3convey /g3to/g3you/g3that/g3this/g3is/g3not/g3an/g3accurate /g3view/g3of/g3gwendolen? 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2413",
            "14": "blank page 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2414",
            "15": "blank page 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2415",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2416"
        },
        "0486_s15_qp_33.pdf": {
            "1": "th/g72 syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.  this document consists of 13 printed pages, 3 blank pages and 1 insert.  06_0486_33_2015_1. 2   \u00a9 ucles 2015 [turn over *2825410216*cambridge international examinations  cambridge international general certificate of secondary education  literature (english) 0486/33    paper 3 drama (open text) may/june 2015 45 minutes  texts studied should be taken into the examination.  read these instructions first  an answer booklet is provided inside this question paper. you should follow the instructions on the front  cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet.  answer one question.  all questions in this paper carry equal marks. ",
            "2": "06_0486_33_2015_1.2 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either 1read this passage, and then answer the question that follows it:keller:  what\u2019s she going to say? maybe we ought to tell her before she sees it. content removed due to copyright restrictions",
            "3": "06_0486_33_2015_1.2 \u00a9 ucles 2015 [turn over3 chris:   sometimes you infuriate me, you know that? isn\u2019t it your business, too, if i tell this to  mother and she throws a fit about it? you have such a talent for ignoring things. how does miller vividly reveal the tensions in the keller family at this moment in the play.or 2 to what extent does miller make keller\u2019s suicide shocking for you?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read  this passage,  and then  answer  the question  that follows  it: [coolly ] at the end of january, last year, this girl eva smith had to leave milwards, because miss birling compelled them to discharge her, and then she stopped beinginspector: eva smith, looking for a job, and became daisy renton, with other ideas. [ sharply turning on him. ] mr croft, when did you first get to know her? an exclamation  of surprise  from birling and mrs birling .  where  did you get the idea that i did know  her? gerald: it\u2019s no use, gerald. you\u2019re wasting time. sheila: as soon as i mentioned the name daisy renton, it was obvious you\u2019d known her. you gave yourself away at once.inspector: [bitterly ] of course he did. sheila: and anyhow i knew already. when and where did you first meet her? inspector: all right, if you must have it. i met her first, sometime in march last year, in the stalls bar at the palace. i mean the palace music hall here in brumley \u2013gerald: well, we didn\u2019t think you meant buckingham palace. sheila: [to sheila ] thanks. you\u2019re going to be a great help, i can see. you\u2019ve said your piece, and you\u2019re obviously going to hate this, so why on earth don\u2019t you leave usto it?gerald: nothing would induce me. i want to understand exactly what happens when a man says he\u2019s so busy at the works that he can hardly ever find time to come and seethe girl he\u2019s supposed to be in love with. i wouldn\u2019t miss it for worlds \u2013sheila: [with authority ] yes, mr croft \u2013 in the stalls bar at the palace variety theatre \u2026 inspector: i happened to look in, one night, after a rather long dull day, and as the show wasn\u2019t very bright, i went down into the bar for a drink. it\u2019s a favourite haunt of women ofthe town \u2013gerald: women of the town? mrs birling: yes, yes. but i see no point in mentioning the subject \u2013 especially \u2013 [ indicating sheila .]birling: it would be much better if sheila didn\u2019t listen to this story at all. mrs birling: but you\u2019re forgetting i\u2019m supposed to be engaged to the hero of it. go on, gerald. you went down into the bar, which is a favourite haunt of women of the town.sheila: i\u2019m glad i amuse you \u2013 gerald: [sharply ] come along, mr croft. what happened? inspector: i didn\u2019t propose to stay long down there. i hate those hard-eyed dough-faced women. but then i noticed a girl who looked quite different. she was very pretty \u2013 soft brown hair and big dark eyes \u2013 [ breaks off ]. my god!gerald: what\u2019s the matter? inspector: 06_0486_ 33_2015_1. 2 \u00a9 ucles 20154",
            "5": "55504540[distressed ] sorry \u2013 i \u2013 well, i\u2019ve suddenly realized \u2013 taken it in properly \u2013 that she\u2019s dead \u2013gerald: [harshly ] yes, she\u2019s dead. inspector: and probably between us we killed her. sheila: [sharply ] sheila, don\u2019t talk nonsense. mrs birling: you wait, mother. sheila: [to gerald ] go on. inspector: she looked young and fresh and charming and altogether out of place down there. and obviously she wasn\u2019t enjoying herself. old joe meggarty, half-drunk andgoggle-eyed, had wedged her into a corner with that obscene fat carcase of his \u2013gerald: [cutting in ] there\u2019s no need to be disgusting. and surely you don\u2019t mean alderman meggarty?mrs birling: of course i do. he\u2019s a notorious womanizer as well as being one of the worst sots and rogues in brumley \u2013gerald: quite right. inspector: [staggered ] well, really! alderman meggarty! i must say, we arelearning something tonight.mrs birling: [coolly ] of course we are. but everybody knows about that horrible old meggarty. a girl i know had to see him at the town hall one afternoon and she only escaped witha torn blouse \u2013sheila: [sharply, shocked ] sheila! birling: [from act 2 ] how does priestley make this such a tense and dramatic moment in the play? or 4 how  far does  priestley  convince  you that,  by the end of the play,  mr and mrs birling  have  learnt  anything? [turn  over06_0486_ 33_2015_1. 2 \u00a9 ucles 20155",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read  this passage,  and then  answer  the question  that follows  it: [to nerissa ] by yonder moon i swear you do me wrong; in faith, i gave it to the judge\u2019s clerk.would he were gelt that had it, for my part,since you do take it, love, so much at heart.gratiano: a quarrel, ho, already! what\u2019s the matter? portia: about a hoop of gold, a paltry ring that she did give me, whose posy wasfor all the world like cutler\u2019s poetryupon a knife, \u2018love me, and leave me not\u2019.gratiano: what talk you of the posy or the value? you swore to me, when i did give it you,that you would wear it till your hour of death,and that it should lie with you in your grave;though not for me, yet for your vehement oaths,you should have been respective and have kept it.gave it a judge\u2019s clerk! no, god\u2019s my judge,the clerk will ne\u2019er wear hair on\u2019s face that had it.nerissa: he will, an if he live to be a man. gratiano: ay, if a woman live to be a man. nerissa: now by this hand i gave it to a youth, a kind of boy, a little scrubbed boyno higher than thyself, the judge\u2019s clerk;a prating boy that begg\u2019d it as a fee;i could not for my heart deny it him.gratiano: you were  to blame,  i must  be plain  with you,  to part so slightly  with your wife\u2019s  first gift, a thing  stuck  on with oaths  upon  your finger   and so riveted  with faith unto your flesh. i gave  my love a ring, and made  him swear   never  to part with it, and here he stands; i dare be sworn  for him he would  not leave  it  nor pluck  it from his finger  for the wealth   that the world  masters.  now,  in faith gratiano,   you give your wife too unkind  a cause  of grief;   an \u2019twere  to me, i should  be mad at it.portia: [aside ] why, i were best to cut my left hand off, and swear i lost the ring defending it.bassanio: 06_0486_ 33_2015_1. 2 \u00a9 ucles 20156",
            "7": "70656055504540my lord bassanio gave his ring away unto the judge that begg\u2019d it, and indeeddeserv\u2019d it too; and then the boy, his clerk,that took some pains in writing, he begg\u2019d mine;and neither man nor master would take aughtbut the two rings.gratiano: what ring gave you, my lord? not that, i hope, which you receiv\u2019d of me.portia: if i could add a lie unto a fault, i would deny it; but you see my fingerhath not the ring upon it; it is gone.bassanio: even so void is your false heart of truth; by heaven, i will ne\u2019er come in your beduntil i see the ring.portia: nor i in yours till i again see mine.nerissa: sweet portia, if you did know to whom i gave the ring,if you did know for whom i gave the ring,and would conceive for what i gave the ring,and how unwillingly i left the ring.when nought would be accepted but the ring,you would abate the strength of your displeasure.bassanio: if you had known the virtue of the ring, or half her worthiness that gave the ring,or your own honour to contain the ring,you would not then have parted with the ring,what man is there so much unreasonable,if you had pleas\u2019d to have defended itwith any terms of zeal, wanted the modestyto urge the thing held as a ceremony?nerissa teaches me what to believe:i\u2019ll die for\u2019t but some woman had the ring.portia: [from act 5 scene1 ] how does shakespeare make this such an entertaining and satisfying moment in the play? or 6 \u2018a kinder  gentleman  treads  not the earth. \u2019 to what  extent  does  shakespeare \u2019s portrayal  of antonio  persuade  you that this opinion  of him is true? [turn  over 06_0486_ 33_2015_1. 2 \u00a9 ucles 20157",
            "8": "403530252015105william  shakespeare:  a midsummer  night \u2019s dream   remember  to support  your  ideas  with details  from  the text. either  7 read  this passage,  and then  answer  the question  that follows  it: dark night, that from the eye his function takes, the ear more quick of apprehension makes;wherein it doth impair the seeing sense,it pays the hearing double recompense.thou art not by mine eye, lysander, found;mine ear, i thank it, brought me to thy sound.but why unkindly didst thou leave me so?hermia: why should he stay whom love doth press to go? lysander: what love could press lysander from my side? hermia: lysander\u2019s love, that would not let him bide \u2013 fair helena, who more engilds the nightthan all yon fiery oes and eyes of light.why seek\u2019st thou me? could not this make thee knowthe hate i bare thee made me leave thee so?lysander: you speak not as you think; it cannot be. hermia: lo, she is one of this confederacy! now i perceive they have conjoin\u2019d all threeto fashion this false sport in spite of me.injurious hermia! most ungrateful maid!have you conspir\u2019d, have you with these contriv\u2019d,to bait me with this foul derision?is all the counsel that we two have shar\u2019d,the sisters\u2019 vows, the hours that we have spent,when we have chid the hasty-footed timefor parting us \u2013 o, is all forgot?all school-days\u2019 friendship, childhood innocence?we, hermia, like two artificial gods,have with our needles created both one flower,both on one sampler, sitting on one cushion,both warbling of one song, both in one key;as if our hands, our sides, voices, and minds,had been incorporate. so we grew together.like to a double cherry, seeming parted,but yet an union in partition,two lovely berries moulded on one stem;so, with two seeming bodies, but one heart;two of the first, like coats in heraldry,due but to one, and crowned with one crest.and will you rent our ancient love asunder,to join with men in scorning your poor friend?it is not friendly,\u2019tis not maidenly;our sex, as well as i, may chide you for it,though i alone do feel the injury.helena: 06_0486_ 33_2015_1. 2 \u00a9 ucles 20158",
            "9": "706560555045i am amazed at your passionate words; i scorn you not; it seems that you scorn me.hermia: have you not set lysander, as in scorn, to follow me and praise my eyes and face?and made your other love, demetrius,who even but now did spurn me with his foot,to call me goddess, nymph, divine, and rare,precious, celestial? wherefore speaks he thisto her he hates? and wherefore doth lysanderdeny your love, so rich within his soul,and tender me, forsooth, affection,but by your setting on, by your consent?what though i be not so in grace as you,so hung upon with love, so fortunate,but miserable most, to love unlov\u2019d?this you should pity rather than despise.helena: i understand not what you mean by this. hermia: ay, do \u2013 persever, counterfeit sad looks, make mouths upon me when i turn my back,wink each at other; hold the sweet jest up;this sport, well carried, shall be chronicled.if you have any pity, grace, or manners,you would not make me such an argument.but fare ye well; \u2019tis partly my own fault,which death, or absence, soon shall remedy.helena: stay, gentle helena; hear my excuse; my love, my life, my soul, fair helena!lysander: o excellent! helena: [from act 3 scene 2 ] in what ways does shakespeare make this such an emotional and dramatic moment in the play? or 8 to what  extent  do you think  that shakespeare  suggests  that \u2018love  is blind\u2019  in the play? [turn  over 06_0486_ 33_2015_1. 2 \u00a9 ucles 20159",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read this passage, and then answer the question that follows it: prospero and ariel remain, invisible. enter caliban, stephano, and trinculo, all wet. pray you, tread softly, that the blind mole may not hear a foot fall; we now are near his cell.caliban: monster, your fairy, which you say is a harmless fairy, has done little better than play\u2019d the jack with us.stephano: monster, i do smell all horse-piss at which my nose is in great indignation. trinculo : so is mine. do you hear, monster? if i should take a displeasure against you, look you \u2013stephano: thou wert but a lost monster. trinculo: good my lord, give me thy favour still. be patient, for the prize i\u2019ll bring thee toshall hoodwink this mischance; therefore speak softly.all\u2019s hush\u2019d as midnight yet.caliban: ay, but to lose our bottles in the pool! trinculo : there is not only disgrace and dishonour in that, monster, but an infinite loss. stephano: that\u2019s more to me than my wetting; yet this is your harmless fairy, monster. trinculo: stephano:  i will fetch  off my bottle,  though  i be o\u2019er ears for my labour. prithee, my king, be quiet. seest thou here, this is the mouth o\u2019 th\u2019 cell; no noise, and enter.do that good mischief which may make this island,thine own for ever, and i, thy caliban,for aye thy foot-licker.caliban: give me thy hand. i do begin to have bloody thoughts. stephano: o king stephano! o peer! o worthy stephano! look what a wardrobe here is for thee! trinculo: let it alone, thou fool; it is but trash. caliban: o, ho, monster; we know what belongs to a frippery. o king stephano! trinculo : put off that gown, trinculo; by this hand, i\u2019ll have that gown. stephano: thy grace shall have it. trinculo : the dropsy drown this fool! what do you mean to dote thus on such luggage? let\u2019t alone,and do the murder first. if he awakefrom toe to crown he\u2019ll fill our skins with pinches;make us strange stuff.caliban: be you quiet, monster. mistress line, is not this my jerkin? now is the jerkin under the line; now, jerkin, you are like to lose your hair, and prove a bald jerkin.stephano: do, do. we steal by line and level, an\u2019t like your grace. trinculo: 06_0486_ 33_2015_1. 2 \u00a9 ucles 201510",
            "11": "6055504540i thank thee for that jest; here\u2019s a garment for\u2019t. wit shall not go unrewarded while i am king of this country. \u2018steal by line and level\u2019 is an excellent pass of pate; there\u2019sanother garment for\u2019t.stephano: monster, come, put some lime upon your fingers, and away with the rest. trinculo : i will have none on\u2019t. we shall lose our time, and all be turn\u2019d to barnacles, or to apeswith foreheads villainous low.caliban: monster, lay-to your fingers; help to bear this away where my hogshead of wine is, or i\u2019ll turn you out of my kingdom. go to, carry this.stephano: and this. trinculo : ay, and this. stephano: a noise of hunters heard. enter divers spirits, in shape of dogs and hounds, hunting them about; prospero and ariel setting them on. hey, mountain, hey! prospero: silver! there it goes, silver! ariel: fury, fury! there, tyrant, there! hark, hark! [caliban, stephano, and trinculo are driven out ] go charge my goblins that they grind their jointswith dry convulsions, shorten up their sinewswith aged cramps, and more pinch-spotted make themthan pard or cat o\u2019 mountain.prospero: hark, they roar. ariel: let them be hunted soundly. at this hour lies at my mercy all mine enemies.shortly shall all my labours end, and thoushalt have the air at freedom; for a littlefollow, and do me service.prospero: [from act 4 scene 1 ] how does shakespeare make this moment in the play so entertaining and yet serious at the same time? or 10 explore  the ways  in which  shakespeare  memorably  portrays  the relationship  between  prospero  and  ariel. [turn  over 06_0486_ 33_2015_1. 2 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read  this passage,  and then  answer  the question  that follows  it: charming day it has been, miss fairfax. jack: pray don\u2019t talk to me about the weather, mr worthing. whenever people talk to me about the weather, i always feel quite certain that they mean something else. andthat makes me so nervous.gwendolen: i do mean something else. jack: i thought so. in fact, i am never wrong. gwendolen: and i would like to be allowed to take advantage of lady bracknell\u2019s temporary absence. . . .jack: i would certainly advise you to do so. mamma has a way of coming back suddenly into a room that i have often had to speak to her about.gwendolen: [nervously ] miss fairfax, ever since i met you i have admired you more than any g i r l...ih a v ee v e rm e ts i n c e...im e ty o u .jack: yes, i am quite well aware of the fact. and i often wish that in public, at any rate, you had been more demonstrative. for me you have always had an irresistiblegwendolen: fascination. even before i met you i was far from indifferent to you. [jack looks at her in amazement .] we live, as i hope you know, mr worthing, in an age of ideals. the fact is constantly mentioned in the more expensive monthly magazines, andhas reached the provincial pulpits, i am told; and my ideal has always been to lovesomeone of the name of ernest. there is something in that name that inspiresabsolute confidence. the moment algernon first mentioned to me that he had afriend called ernest, i knew i was destined to love you. you really love me, gwendolen? jack: passionately! gwendolen: darling! you don\u2019t know how happy you\u2019ve made me. jack: my own ernest! gwendolen: but you don\u2019t really mean to say that you couldn\u2019t love me if my name wasn\u2019t ernest? jack: but your name is ernest. gwendolen: yes, i know it is. but supposing it was something else? do you mean to say you couldn\u2019t love me then?jack: [glibly] ah! that is clearly a metaphysical speculation, and like most metaphysical speculations has very little reference at all to the actual facts of real life, as we knowthem.gwendolen: personally, darling, to speak quite candidly, i don\u2019t much care about the name of e r n e s t i don\u2019t think the name suits me at all.jack: it suits you perfectly. it is a divine name. it has music of its own. it produces vibrations.gwendolen: well, really, gwendolen, i must say that i think there are lots of other much nicer names. i think jack, for instance, a charming name.jack: 06_0486_ 33_2015_1. 2 \u00a9 ucles 201512",
            "13": "656055504540jack? . . . no, there is very little music in the name jack, if any at all, indeed. it does not thrill. it produces absolutely no vibrations. ...ih a v ek nown several jacks, andgwendolen: they all, without exception, were more than usually plain. besides, jack is a notorious domesticity for john! and i pity any woman who is married to a man called john.she would probably never be allowed to know the entrancing pleasure of a singlemoment\u2019s solitude. the only really safe name is ernest. gwendolen, i must get christened at once \u2013 i mean we must get married at once. there is no time to be lost.jack: married, mr worthing? gwendolen: [astounded ]w e l l...s u r e l y .y o uk n o wt h a til o v ey o u ,a n dy o ul e dm et ob elieve, miss fairfax, that you were not absolutely indifferent to me.jack: i adore you. but you haven\u2019t proposed to me yet. nothing has been said at all about marriage. the subject has not even been touched on.gwendolen: w e l l...m a yip r opose to you now? jack: i think it would be an admirable opportunity. and to spare you any possible disappointment, mr worthing, i think it only fair to tell you quite frankly beforehandthat i am fully determined to accept you.gwendolen: gwendolen! jack: yes, mr worthing, what have you got to say to me? gwendolen: you know what i have got to say to you. jack: yes, but you don\u2019t say it. gwendolen: gwendolen, will you marry me? [ goes on his knees. ] jack: of course i will, darling. how long you have been about it! i am afraid you have had very little experience in how to propose.gwendolen: my own one, i have never loved anyone in the world but you. jack: yes, but men often propose for practice. i know my brother gerald does. all my girl-friends tell me so. what wonderfully blue eyes you have, ernest! they are quite,gwendolen: quite blue. i hope you will always look at me just like that, especially when there are other people present. [from act 1 ] how does wilde amusingly make it clear to you at this moment in the play that gwendolen is the more powerful partner in her relationship with jack? or 12 jack  describes  lady  bracknell  as \u2018a monster\u2019. how  far does  wilde  convince  you that this is a fair description   of her? 06_0486_ 33_2015_1. 2 \u00a9 ucles 201513",
            "14": "blank page 06_0486_ 33_2015_1. 2 \u00a9 ucles 201514",
            "15": "blank page 06_0486_ 33_2015_1. 2 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_ 33_2015_1. 2 \u00a9 ucles 201516"
        },
        "0486_s15_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages, and 1 insert. dc rcl (km) 96900/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *9280964180*literature (english)  0486/41 paper 4 unseen may/june 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/41/m/j/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. the poet is explaining to his young son why he stays up late at  night writing his poems.  how does the poet\u2019s writing make his thoughts and feelings so vivid for you? to help you answer this question, you might consider:  \u0081 how the poet describes his son\u2019s experiences at the rockpool  \u0081 how he explains to his son his experience of writing  \u0081 how he connects the nature of the two experiences.",
            "3": "3 0486/41/m/j/15 \u00a9 ucles 2015 [turn overwhy do y ou stay up so late? i\u2019ll tell you, if you really want to know: remember that day you lost two years agoat the rockpool where you sat and played the jewellerwith all those stones you\u2019d stolen from the shore?most of them went dark and nothing more,but sometimes one would blink the secret colourit had locked up somewhere in its stony sleep.this is how you knew the ones to keep. so i collect the dull things of the day in which i see some possibilitybut which are dead and which have the surprisei don\u2019t know, and i\u2019ve no pool to help me tell \u2013so i look at them and look at them untilone thing makes a mirror in my eyesthen i paint it with the tear to make it bright.this is why i sit up through the night.",
            "4": "4 0486/41/m/j/15 \u00a9 ucles 2015or 2 read carefully the following extract from a short story. before this extract, walter henderson, an  office worker in new y ork, has been worried that he might lose his job. his boss, george crowell, calls him into his office.  how does the writer make this moment so memorable for you? to help you answer this question, you might consider:  \u0081 how the writer builds tension between walter and crowell  \u0081 how he describes walter\u2019s return to his desk  \u0081 how he strikingly reveals walter\u2019s feelings. \u201cpull up a chair, walt,\u201d he said. \u201csmoke?\u201d \u201cno thanks.\u201d walter sat down and laced his fingers tight between his  knees. crowell shut the cigarette box without taking one for himself, pushed  it aside and leaned forward, both hands spread flat on the plate-glass top of the desk. \u201cwalt, i might as well give you this straight from the shoulder,\u201d he said, and the last shred of hope slipped away. the funny part was that it came as a shock, even so. \u201cmr. harvey and i have felt for some time that you haven\u2019t quite caught on to the work here, and we\u2019ve both very reluctantly come to the conclusion that the best thing to do, in your own best interests as well as ours, is to let you go. now,\u201d he added quickly, \u201cthis is no reflection on you personally, walt. we do a highly specialized kind of work here and we can\u2019t expect everybody to stay on top of the job. in your case particularly, we really feel you\u2019d be happier in some organization better suited to your\u2014abilities.\u201d crowell leaned back, and when he raised his hands their moisture left  two gray, perfect prints on the glass, like the hands of a skeleton. walter stared at them, fascinated, while they shriveled and disappeared. \u201cwell,\u201d he said, and looked up. \u201cy ou put that very nicely, george.  thanks.\u201d crowell\u2019s lips worked into an apologetic, regular guy\u2019s smile. \u201cawfully  sorry,\u201d he said. \u201cthese things just happen.\u201d and he began to fumble with the knobs of his desk drawers, visibly relieved that the worst was over. \u201cnow,\u201d he said, \u201cwe\u2019ve made out a check here covering your salary through the end of next month. that\u2019ll give you something in the way of\u2014severance pay, so to speak\u2014to tide you over until you find something.\u201d he held out a long envelope. \u201cthat\u2019s very generous,\u201d walter said. then there was a silence, and  walter realized it was up to him to break it. he got to his feet. \u201call right, george. i won\u2019t keep you.\u201d crowell got up quickly and came around the desk with both hands  held out\u2014one to shake walter\u2019s hand, the other to put on his shoulder as they walked to the door. the gesture, at once friendly and humiliating, brought a quick rush of blood to walter\u2019s throat, and for a terrible second he thought he might be going to cry. \u201cwell, boy,\u201d crowell said, \u201cgood luck to you.\u201d \u201cthanks,\u201d he said, and he was so relieved to find his voice steady that  he said it again, smiling. \u201cthanks. so long, george.\u201d there was a distance of some fifty feet to be crossed on the way back  to his cubicle, and walter henderson accomplished it with style. he was aware of how trim and straight his departing shoulders looked to crowell; ",
            "5": "5 0486/41/m/j/15 \u00a9 ucles 2015he was aware too, as he threaded his way among desks whose occupants  either glanced up shyly at him or looked as if they\u2019d like to, of every subtle play of well-controlled emotion in his face. it was as if the whole thing were a scene in a movie. the camera had opened the action from crowell\u2019s viewpoint and dollied back 1 to take the entire office as a frame for walter\u2019s  figure in lonely, stately passage; now it came in for a long-held close-up of walter\u2019s face, switched to other brief views of his colleagues\u2019 turning heads (joe collins looking worried, fred holmes trying to keep from looking pleased), and switched again to walter\u2019s viewpoint as it discovered the plain, unsuspecting face of mary, his secretary, who was waiting for him at his desk with a report he had given her to type. \u201ci hope this is all right, mr. henderson.\u201dwalter took it and dropped it on the desk. \u201cforget it, mary,\u201d he said.  \u201clook, you might as well take the rest of the day off, and go see the personnel manager in the morning. y ou\u2019ll be getting a new job. i\u2019ve just been fired.\u201d 1 dollied back : moved along a track (cinema term)",
            "6": "6 0486/41/m/j/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/41/m/j/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/41/m/j/15 \u00a9 ucles 2015permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s15_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages, and 1 insert. dc (rcl (km)) 96905/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *9240781196*literature (english)  0486/42 paper 4 unseen may/june 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/42/m/j/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. at first the poet seems to be waiting for a postal delivery, but as  the poem continues he reflects on the whole experience of waiting.  how does the poet memorably portray his experience of waiting? to help you answer this question, you might consider:  \u0081 how the poet creates a sense of time passing  \u0081 the ways in which he portrays his frustration  \u0081 how his thoughts and feelings develop in the final seven lines.",
            "3": "3 0486/42/m/j/15 \u00a9 ucles 2015 [turn overwaiting in they promised to deliver. so i wait all day, and listen for the bell. the hoursgo by from morning until noon, and lateinto the afternoon. nothing arrives.the time drifts off in bits like vanished lives.the windows show dark clouds like distant towers. a bruised june sky. my birthday came and went. now i wait in, have nothing else to doexcept to wait and let the time be spentin counting minutes, restless, fidgeting,unable to get on with anything,watching the traffic down the avenue. now it\u2019s too late. nothing will come today. a waste of time, a whole day gone like this,emptily, with such trivial delaynagging at age and irritation. wheni draw the heavy curtains, restless, thenthe waiting-in slips into sleeplessness, and a whole day of waiting starts again.",
            "4": "4 0486/42/m/j/15 \u00a9 ucles 2015or 2 read carefully the following extract from a novel. a farmer, brangwen, takes his young daughter to  see the cattle feeding at night. he does this to distract the child who has been crying hysterically. tilly is the family\u2019s servant.  how does the writer strikingly convey to you the atmosphere of this moment?  to help you answer this question, you might consider:  \u0081 how the writer contrasts the night outside with the atmosphere inside the barn  \u0081 how he portrays the child\u2019s responses  \u0081 the effect of this moment on the farmer\u2019s thoughts and feelings. he took a big shawl, folded her round, and went out into the kitchen  for a lantern. \u201cy ou\u2019re never taking the child out, of a night like this,\u201d said tilly.\u201cay 1, it\u2019ll quieten her,\u201d he answered. it was raining. the child was suddenly still, shocked, finding the rain  on its face, the darkness. \u201cwe\u2019ll just give the cows their something-to-eat, afore2 they go to bed,\u201d  brangwen was saying to her, holding her close and sure. there was a trickling of water into the butt, a burst of rain-drops  sputtering on to her shawl, and the light of the lantern swinging, flashing on a wet pavement and the base of a wet wall. otherwise it was black darkness: one breathed darkness. he opened the doors, upper and lower, and they entered into the high,  dry barn, that smelled warm even if it were not warm. he hung the lantern on the nail and shut the door. they were in another world now. the light shed softly on the timbered barn, on the whitewashed walls,  and the great heap of hay; instruments cast their shadows largely, a ladder rose to the dark arch of a loft. outside there was the driving rain, inside, the softly-illuminated stillness and calmness of the barn. holding the child on one arm, he set about preparing the food for the  cows, filling a pan with chopped hay and brewer\u2019s grains and a little meal. the child, all wonder, watched what he did. a new being was created in her for the new conditions. sometimes, a little spasm, eddying from the bygone storm of sobbing, shook her small body. her eyes were wide and wondering, pathetic. she was silent, quite still. in a sort of dream, his heart sunk to the bottom, leaving the surface of  him still, quite still, he rose with the panful of food, carefully balancing the child on one arm, the pan in the other hand. the silky fringe of the shawl swayed softly, grains and hay trickled to the floor; he went along a dimly-lit passage behind the mangers 3, where the horns of the cows pricked out  of the obscurity. the child shrank, he balanced stiffly, rested the pan on the manger wall, and tipped out the food, half to this cow, half to the next. there was a noise of chains running, as the cows lifted or dropped their heads sharply; then a contented, soothing sound, a long snuffing as the beasts ate in silence. the journey had to be performed several times. there was the  rhythmic sound of the shovel in the barn, then the man returned walking stiffly between the two weights, the face of the child peering out from the shawl. then the next time, as he stooped, she freed her arm and put it round his neck, clinging soft and warm, making all easier.",
            "5": "5 0486/42/m/j/15 \u00a9 ucles 2015the beasts fed, he dropped the pan and sat down on a box, to arrange  the child. \u201cwill the cows go to sleep now?\u201d she said, catching her breath as she  spoke. \u201cy es.\u201d\u201cwill they eat all their stuff up first?\u201d\u201cy es. hark at them 4.\u201d and the two sat still listening to the snuffing and breathing of cows  feeding in the sheds communicating with this small barn. the lantern shed a soft, steady light from one wall. all outside was still in the rain. he looked down at the silky folds of the paisley shawl 5. it reminded him of his mother.  she used to go to church in it. he was back again in the old irresponsibility and security, a boy at home. the two sat very quiet. his mind, in a sort of trance, seemed to  become more and more vague. he held the child close to him. a quivering little shudder, re-echoing from her sobbing, went down her limbs. he held her closer. gradually she relaxed, the eyelids began to sink over her dark, watchful eyes. as she sank to sleep, his mind became blank. 1 ay : yes (dialect) 2 afore : before (dialect) 3 mangers : feeding troughs 4 hark at them : listen to them 5 paisley shawl : soft wool shawl with bright design",
            "6": "6 0486/42/m/j/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/42/m/j/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/42/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages, and 1 insert. dc (km) 96907/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *1844555085*literature (english)  0486/43 paper 4 unseen may/june 2015  1 hour 15 minutes no additional materials required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/43/m/j/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. in it the poet writes about an albino blackbird a friend had seen.  blackbirds are usually black birds with yellow beaks and yellow rings round their eyes. \u201calbino\u201d means abnormally white.  how does the poet\u2019s writing convey to you her fascination with the albino blackbird? to help you answer this question, you might consider:  \u0081 how the poet imagines the bird at first  \u0081 how her images of the bird change and develop \u0081 the overall impact the bird makes on her.",
            "3": "3 0486/43/m/j/15 \u00a9 ucles 2015 [turn overalbino the truth is, it was only part white; the albino blackbird that came to your gardentwo winters ago \u2013 but into my headcomes this ghost of a bird, shadowless,a white absence, blind negative 1 in the snow. no reflection glidesover the lake where he flies, light and boneless,no sound from his throat. and though you say they never survive; the rare or different, destroyed by their own kindi see how he speeds out of the distance,gathers weight, and darkens, over the milestill he meets his own blackness, grows into lustre; blackbryd, ouzel, merle 2 who quickens the heart as he sings each night from our gate-post;his mouth\u2019s open crocus 3, his eye ringed with gold. 1  negative : photographic image in which black and  white are reversed 2  blackbryd, ouzel, merle : all old names for a  blackbird 3 crocus : small beak-shaped flower",
            "4": "4 0486/43/m/j/15 \u00a9 ucles 2015or 2 read carefully the following extract  from an autobiography. the writer describes a boyhood trip  with his father to the local park. the father swims in the lake, while the boy, who is afraid of water, watches him.  how does the writer vividly convey to you his feelings about this event? to help you answer this question, you might consider:  \u0081 the writer\u2019s descriptions of the lake and the swans  \u0081 his descriptions of his father swimming  \u0081 how his thoughts and feelings about his father develop. instead of walking in the direction of the waterworks, we walked quietly  towards the lake in the centre of the park. swimming here was forbidden. the lake was surrounded by a low iron fence which was only three feet high. so it was not meant to keep people away from the deep water, only to emphasise the prohibition. i had never seen anyone swim here, except a family of swans. i had heard that the lake was maybe forty feet deep. the banks down to the water\u2019s edge were steep and overgrown with tall weeds. one reason i think dad liked this park was its informality. it was more like the countryside than the term \u2018park\u2019 suggested. \u2018y ou wait here and mind this stuff. i won\u2019t be long,\u2019 he said without  looking at me. i was immediately relieved and immediately apprehensive. the edges of the lake had swathes of water reed growing and beyond that a film of algae that looked like green confetti 1. only at the centre could  you see the still black sheen of unmoving water. it looked pretty at first glance, especially when the swans moved across it. but the thought of it was ominous, and the swans scared me. they were not like the birds in the reservoir lakes who were used to the proximity of people with their toy boats and the fishermen and families who often fed them bait or breadcrumbs. the lake swans never got close to human beings because of the fence, the bank and the reeds. the lake was their home and they patrolled it with austere 2 assurance. dad stepped over the fence with the rolled-up towel and swimming  trunks he had brought in the small haversack3. within minutes, he had  changed and was descending the bank. \u2018daddy, daddy, what about the swans?\u2019 i asked, becoming more fearful by the second. i had seen the waterworks swans hissing and charging at dogs they thought were too near their nests. i had watched them stand up and spread their wings, flapping furiously. \u2018the swans won\u2019t come near me,\u2019 dad assured me calmly as he slid down through the waist-high weeds and entered the water like a sea snake. he breasted the reeds and the water without a sound. a few water hens scurried out and skimmed to the far side of the lake. other birds called out their warning at his alien presence in the water. everywhere else around us was complete silence. but dad was no alien here. he swam on through the algae into the  middle of the lake. i saw his head and face crusted with the green scum and his black shiny hair sitting on top of the water. he looked like a seal that had suddenly emerged out of the black depths. then he disappeared again, only to reappear a few seconds later. i watched him intensely and felt lonely and afraid. he moved across the water as if his head was fixed to a submerged stick and an invisible hand was moving it under the surface. he wasn\u2019t himself. there were no signs of movement of a body beneath ",
            "5": "5 0486/43/m/j/15 \u00a9 ucles 2015the dull water. for a moment i hardly recognised the thing in the water. all  i knew was an overwhelming sense of distance between him and me. his hand came up out of the water and made a slight wave. and then he was swallowed up by the lake again. i knew the wave was an encouragement for me to be unafraid; but it was a passing gesture, as if he was only half conscious of me or anything else. there in the middle of the lake he hardly made a splash or a ripple. he seemed so content. water was his element and he melted into it. i didn\u2019t know him. i only knew the man who made aeroplanes and who brought home animals. this aquatic beast who looked back at me like a ponderous seal, rolled languorously 4 as a beaver, shook  his wet hair and snorted like a water buffalo, was from another world. 1 confetti : small pieces of coloured paper thrown in celebration 2 austere : stern or severe 3 haversack : backpack or rucksack 4 languorously : lazily and gracefully",
            "6": "6 0486/43/m/j/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/43/m/j/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/43/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_11.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc rcl (km) 91533/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *4652211804*literature (english)  0486/11 paper 1 poetry and prose october/november 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/11/o/n/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/11/o/n/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy: from  selected poems   1, 2 pages 4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages 8\u20139 songs of ourselves : from part 4  5, 6 pages 10\u201311 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 12\u201313 tsitsi dangarembga: nervous conditions   9, 10 pages 14\u201315 anita desai: fasting, feasting 11, 12 pages 16\u201317 helen dunmore: the siege  13, 14 pages 18\u201319 george eliot: silas marner  15, 16 pages 20\u201321 susan hill: i\u2019m the king of the castle  17, 18 pages 22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20 pages 24\u201325 from stories of ourselves  21, 22 pages 26\u201327",
            "4": "4 0486/11/o/n/15 \u00a9 ucles 2015section a: poetry thomas hardy: from selected poems remember to support your ideas with details from the writing. either 1 explore the ways in which hardy creates a vivid sense that some things do not change  despite the passage of time in both  in time of \u2018the breaking of nations\u2019 and part two of  the pine planters . in time of \u2018the breaking of nations\u2019 i only a man harrowing clods in a slow silent walkwith an old horse that stumbles and nods half asleep as they stalk. ii only thin smoke without flame from the heaps of couch-grass;y et this will go onward the same though dynasties pass. iii y onder a maid and her wight come whispering by:war\u2019s annals will cloud into night ere their story die. from the pine planters (marty south\u2019s reverie ) ii from the bundle at hand here i take each tree,and set it to stand, here always to be;when, in a second, as if from fearof life unreckoned beginning here,it starts a sighing through day and night,though while there lying \u2019twas voiceless quite. it will sigh in the morning,  will sigh at noon,at the winter\u2019s warning,5 10 5 10 15",
            "5": "5 0486/11/o/n/15 \u00a9 ucles 2015 [turn over in wafts of june; grieving that never kind fate decreedit should for ever remain a seed,and shun the welter of things without,unneeding shelter from storm and drought. thus, all unknowing  for whom or whatwe set it growing in this bleak spot,it still will grieve here throughout its time,unable to leave here, or change its clime;or tell the story of us to-daywhen, halt and hoary, we pass away.20 25 3035",
            "6": "6 0486/11/o/n/15 \u00a9 ucles 2015or 2 read this poem, and then answer the question that follows it: at the word \u2018farewell\u2019 she looked like a bird from a cloud  on the clammy lawn,moving alone, bare-browed in the dim of dawn.the candles alight in the room for my parting mealmade all things withoutdoors loom strange, ghostly, unreal. the hour itself was a ghost,  and it seemed to me thenas of chances the chance furthermost i should see her again.i beheld not where all was so fleet that a plan of the pastwhich had ruled us from birthtime to meet was in working at last: no prelude did i there perceive  to a drama at all,or foreshadow what fortune might weave from beginnings so small;but i rose as if quicked by a spur i was bound to obey,and stepped through the casement to her still alone in the gray. \u2018i am leaving you \u2026 farewell!\u2019 i said  as i followed her onby an alley bare boughs overspread; \u2018i soon must be gone!\u2019even then the scale might have been turned against love by a feather,\u2013 but crimson one cheek of hers burned when we came in together.    how do hardy\u2019s words and images make at the word \u2018farewell\u2019 so moving?5 10 15 2025 30",
            "7": "7 0486/11/o/n/15 \u00a9 ucles 2015 [turn overturn to page 8 for question 3",
            "8": "8 0486/11/o/n/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it:    sonnet i wish i could remember that first day, first hour, first moment of your meeting me,if bright or dim the season, it might besummer or winter for aught i can say;so unrecorded did it slip away,so blind was i to see and to foresee,so dull to mark the budding of my treethat would not blossom yet for many a may.if only i could recollect it, sucha day of days! i let it come and goas traceless as a thaw of bygone snow;it seemed to mean so little, meant so much;if only now i could recall that touch,first touch of hand in hand \u2013 did one but know! (by christina rossetti )   how does rossetti vividly convey the speaker\u2019s desire to revisit the past in sonnet: i wish  i could remember that first day ?5 10",
            "9": "9 0486/11/o/n/15 \u00a9 ucles 2015 [turn overor 4 how does mccarthy strikingly imagine her son\u2019s teenage years in football after school ? football after school (to kerry ) y ou\u2019ll be one of them in a few years, warpaint slicked over your face \u2013your common language jeers,dribbling the sun about the placewith the premature swaggerof manhood, butting it with your head:your school tie a stiff striped dagger. y es, soon you\u2019ll be picking scabs of kisses off your skin as each kickmakes you dwarf a tree, and staba flower; the unset homeworkbetween margins of this makeshift pitchteaching you more than a textbookhow to survive any monster\u2019s switch. y et as i look at your porcelain skin, their granite jowls, i wonder if you\u2019ll everknow how to dodge bruises on your shinsfrom studded boots, be cleverenough to tackle fouls with somethingmore than inkstained fists and feet. perhapsyou\u2019ll be too vulnerable for living \u2013 not hooligan enough to trample into the sod your shadow that growstwice as fast as yourself, to samplepunches below the belt from one you knowwithout flinching. i can\u2019t preventcrossbones on your kneesturn bullies into cement \u2013 or confiscate the sun they\u2019ll puncture and put out.in their robust world i\u2019m no amazon.i can only scream inside without a shoutfor you not to inherit my fragility:never to love too much or be agedas i was by youth\u2019s anxiety. (by patricia mccarthy )5 1015 20 2530 35",
            "10": "10 0486/11/o/n/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it: sonnet: composed upon westminster bridge earth has not anything to show more fair: dull would he be of soul who could pass bya sight so touching in its majesty:this city now doth like a garment wearthe beauty of the morning; silent, bare,ships, towers, domes, theatres, and temples lieopen unto the fields, and to the sky;all bright and glittering in the smokeless air.never did sun more beautifully steepin his first splendour, valley, rock, or hill;ne\u2019er saw i, never felt, a calm so deep!the river glideth at his own sweet will:dear god! the very houses seem asleep;and all that mighty heart is lying still! (by william wordsworth )    how does wordsworth powerfully convey his feelings on looking at london in his poem   sonnet: composed upon westminster bridge ?5 10",
            "11": "11 0486/11/o/n/15 \u00a9 ucles 2015 [turn overor 6 explore the ways in which wright vividly recreates the experience described in hunting  snake . hunting snake sun-warmed in this late season\u2019s grace under the autumn\u2019s gentlest skywe walked, and froze half-through a pace.the great black snake went reeling by. head-down, tongue flickering on the trail he quested through the parting grass;sun glazed his curves of diamond scale,and we lost breath to watch him pass. what track he followed, what small food fled living from his fierce intent,we scarcely thought; still as we stoodour eyes went with him as he went. cold, dark and splendid he was gone into the grass that hid his prey.we took a deeper breath of day,looked at each other, and went on. (by judith wright )5 1015",
            "12": "12 0486/11/o/n/15 \u00a9 ucles 2015section b: prose jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: catherine\u2019s feelings, as she got into the carriage, were in a very  unsettled state; divided between regret for the loss of one great pleasure, and the hope of soon enjoying another, almost its equal in degree, however unlike in kind. she could not think the tilneys had acted quite well by her, in so readily giving up their engagement, without sending her any message of excuse. it was now but an hour later than the time fixed on for the beginning of their walk; and, in spite of what she had heard of the prodigious accumulation of dirt in the course of that hour, she could not from her own observation help thinking, that they might have gone with very little inconvenience. to feel herself slighted by them was very painful. on the other hand, the delight of exploring an edifice like udolpho, as her fancy represented blaize castle to be, was such a counterpoise of good, as might console her for almost anything. they passed briskly down pulteney street, and through laura place,  without the exchange of many words. thorpe talked to his horse, and she meditated, by turns, on broken promises and broken arches, phaetons and false hangings, tilneys and trap-doors. as they entered argyle buildings, however, she was roused by this address from her companion, \u2018who is that girl who looked at you so hard as she went by?\u2019 \u2018who? \u2013 where?\u2019\u2018on the right-hand pavement \u2013 she must be almost out of sight now.\u2019  catherine looked round and saw miss tilney leaning on her brother\u2019s arm, walking slowly down the street. she saw them both looking back at her. \u2018stop, stop, mr thorpe,\u2019 she impatiently cried, \u2018it is miss tilney; it is indeed. \u2013 how could you tell me they were gone? \u2013 stop, stop, i will get out this moment and go to them.\u2019 but to what purpose did she speak? \u2013 thorpe only lashed his horse into a brisker trot; the tilneys, who had soon ceased to look after her, were in a moment out of sight round the corner of laura place, and in another moment she was herself whisked into the market place. still, however, and during the length of another street, she entreated him to stop. \u2018pray, pray stop, mr thorpe. \u2013 i cannot go on. \u2013 i will not go on. \u2013 i must go back to miss tilney.\u2019 but mr thorpe only laughed, smacked his whip, encouraged his horse, made odd noises, and drove on; and catherine, angry and vexed as she was, having no power of getting away, was obliged to give up the point and submit. her reproaches, however, were not spared. \u2018how could you deceive me so, mr thorpe? \u2013 how could you say, that you saw them driving up the lansdown road? \u2013 i would not have had it happen so for the world. \u2013 they must think it so strange; so rude of me! to go by them, too, without saying a word! y ou do not know how vexed i am. \u2013 i shall have no pleasure at clifton, nor in anything else. i had rather, ten thousand times rather get out now, and walk back to them. how could you say, you saw them driving out in a phaeton?\u2019 thorpe defended himself very stoutly, declared he had never seen two men so much alike in his life, and would hardly give up the point of its having been tilney himself. [from chapter 11]5 10152025303540",
            "13": "13 0486/11/o/n/15 \u00a9 ucles 2015 [turn over  how does austen make this moment in the novel so dramatic? or 8 to what extent does austen\u2019s writing persuade you that catherine grows up because of  her experiences?  ",
            "14": "14 0486/11/o/n/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: nyasha gave me the impression of moving, always moving and striving  towards some state that she had seen and accepted a long time ago. apprehensive as i was, vague as i was about the nature of her destination, i wanted to go with her. i did not want to be left behind. and being so young, time measured in hours and half hours was important, so i did not want to spend three whole weeks away from my cousin. knowing i would be at a loss without her, i was tempted to ask  babamukuru whether i could go with them to the mission, but in the end i decided not to because i knew he would refuse and be justified in doing so. there was much work to be done in the fields, in the garden, in the home. and, of course, i could not leave my mother, who was not well. we all gathered in the yard, my father, my mother, takesure, lucia,  my little sisters and myself, to wave them off, with everybody laughing and talking, saying my uncle must be sure to come back soon, bringing maiguru, nyasha and chido as well with him. and then my relatives were in the car, rolling out of the yard and out of sight. a sigh escaped from us and we all felt oddly relieved. \u2018whew! it was good to have mukoma  here, it was good,\u2019 observed my  father, \u2018but it puts a weight on your shoulders, a great weight on your shoulders!\u2019 \u2018it\u2019s true,\u2019 nodded takesure, leering lasciviously at lucia. \u2018dhiya! there\u2019s  nothing to be afraid of any more. won\u2019t you come back to the hozi tonight?\u2019 \u2018maybe if you cut my hands off,\u2019 retorted lucia. \u2018then you might be  useful.\u2019 \u2018but you have the hands and you are still here. so you are waiting, aren\u2019t  you? just waiting to come back into the hozi.\u2019 lucia was careful not to be provoked. \u2018y ou know why i\u2019m waiting? for my  sister, isn\u2019t it? as soon as my sister makes up her mind what she wants, you won\u2019t see me here any more.\u2019 my father and takesure found this amusing. they had a good laugh at  lucia\u2019s expense. \u2018now what is this i am hearing!\u2019 gurgled takesure. \u2018the woman thinks  she can go away. just like that. now, lucia, where do you say you will go? aren\u2019t you waiting for me to take you to my home?\u2019 those men! they never realised that lucia was a serious person. her  laughter, like her temper, was hearty and quick but never superficial. and she thought a lot, did lucia; although she laughed at herself, thinking was a slow painful process for her because her mind had not been trained by schooling to do it quickly. in the days after the dare she had thought a lot  about whether to leave, but she knew that her actions had consequences and was not frightened by the fact. so she waited for my mother to make up her mind whether she would go as well or not. since for most of her life my mother\u2019s mind, belonging first to her father and then to her husband, had not been hers to make up, she was finding it difficult to come to a decision. [from chapter 8]   how does dangarembga make this such a significant moment in the novel?5 1015202530354045",
            "15": "15 0486/11/o/n/15 \u00a9 ucles 2015 [turn overor 10 explore the ways in which dangarembga powerfully shows that women are not always  dominated by men in the society of nervous conditions .",
            "16": "16 0486/11/o/n/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: then one day papa arrived at the house. uma\u2019s mouth fell open with  shock and alarm when she saw him storming in at the door, and hurried towards him, afraid that he had brought bad news. it was bad, but it was not anything she had expected: papa had learnt that they had been duped. harish was married already, had a wife and four children in meerut where he ran an ailing pharmaceutical factory to save which he had needed another dowry which had led him to marry again. the scene that followed was surely a unique and memorable one but  uma\u2019s response to it was to shut not only her eyes and ears to it \u2013 she had gone into her room, shut the door and sat on the bed, wrapping her sari over her head, around her ears and mouth and eyes, till it was all over \u2013 but even her mind, so as to block out a memory she could not have lived with. it consisted of papa raving and ranting at one end, the mother-in-law screaming and screeching at the other, the brothers shouting and threatening in between, and the sisters-in-law clustering together to watch all the parties in a kind of bitter satisfaction. so uma went home with papa. by doing the same journey on a day train,  it was as if the entire process was being reversed. the compartment was crowded this time with strangers, but papa had so lost control of himself, was so beside himself, as not to behave normally or sanely: he beat his head with his fists, and moaned aloud about the dowry and the wedding expenses while everyone, all of them strangers \u2013 women with babies and baskets of food, men reading papers or playing cards or discussing business \u2013 turned to listen with the keenest of interest, throwing significant looks at uma who kept her head wrapped up in her sari in an effort to screen her shame. by the time they reached their own station, everyone along the way knew of her humiliation and her ruin. it was fortunate that none of them were the lawyers and magistrates papa ordinarily met: he would not have cared so to lose control of himself and betray his gullibility before them. it was necessary to get himself under control by the time he returned to his own circle and his normal round. stepping out at the station that looked so large, so orderly and civilised by comparison with the others they had passed \u2013 electric fans hung from the high ceiling, magazines and paperbacks were arrayed on the shelves of wheeler\u2019s stall \u2013 he fell silent and resumed his ordinarily grim appearance. uma was relieved; the disintegration of papa\u2019s personality had pained her as much as that of her marriage. at home mama opened every one of the trunks papa had insisted  uma pack and bring with her, and checked every item in them. papa had managed to retrieve her jewellery by threatening the family with legal action \u2013 oh, what a mistake they had made by choosing a bride from a legal family, an educated family! \u2013 but it had been too demeaning to fight for every pot and pan they had contributed to the kitchen, and there was a great deal, mama lamented, that was lost. while these scenes were being played out in the centre, the heart of the family and household, arun withdrew to its outermost limits, hiding in his room under a blanket of comic books. if anyone were to look in, arun was not to be found; in his place were captain marvel, superman and phantom.5 1015202530354045",
            "17": "17 0486/11/o/n/15 \u00a9 ucles 2015 [turn overat night, in the dark and the silence, aruna whispered to her sister,  \u2018uma. uma. did \u2013 did he touch you, uma?\u2019 making uma bury her head in her pillow and howl \u2018no! no!\u2019 so that aruna fell back with a little sigh of disappointment. next day she reported it to ayah who reported it to mama. mama and ayah appeared relieved, as if a great weight had been lifted from them. the marriage was somehow cancelled, annulled. [from chapter 8]   in what ways does desai make this such a dramatic moment in the novel? or 12 who do you think desai\u2019s writing suggests is a better mother \u2013 mama or mrs patton?50 55",
            "18": "18 0486/11/o/n/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: the dacha is only thirty kilometres from the centre of leningrad, but  it might as well be three thousand. no one is invited there, and no one goes. marina petrovna doesn\u2019t push her luck. she went to ground, and they seem to have forgotten about her. but they could remember her at any time. y ou have to look straight ahead. don\u2019t look round at the black vans, or  the men who climb out of them, mount the stairs with heavy boots, and stand in silence for thirty seconds before the chosen door. then they raise their fists, and knock. people tell themselves that the worst is over. and it\u2019s true that it\u2019s  better now than in the worst of the y ezhov terror. y ou have to believe in something. even in the y ezhov years, people still trusted in an unbroken record of party membership, or hoped that influence and contacts would protect them. or pretended to themselves that they still hoped and trusted. sometimes they were released while further evidence was gathered.  fish with hooks in their mouths, waiting to be jerked out of the water, like olya. she\u2019d been one of vera\u2019s colleagues. one day in the bread queue, someone tapped anna on the back. anna turned, stared, but did not recognize the woman. \u2018it\u2019s me. olya. don\u2019t you remember me? i used to work with your mother.\u2019\u2018oh yes, yes, of course \u2013\u2019\u2018don\u2019t pretend. y ou didn\u2019t recognize me, did you?\u2019\u2018i\u2019m sorry.\u2019\u2018don\u2019t be sorry. would your mother recognize me, do you think?  sometimes i think vera had all the luck. she got away in time. no one betrayed her, and she didn\u2019t betray anybody.\u2019 of course. olya. one of her mother\u2019s prot\u00e9g\u00e9es. she was twenty-two  when she joined the radiology department, but she\u2019d looked eighteen, even sixteen. she had very short, wildly curly brown hair that everyone made excuses to touch. she was brilliantly intelligent, and had been the best student of her year. \u2018we won\u2019t keep our olya for long,\u2019 vera had predicted. \u2018she\u2019ll go on to  great things.\u2019 \u2018i lost my job,\u2019 whispered olya in the bread queue.\u2018what are you doing?\u2019\u2018nothing. just waiting. they\u2019ve chucked me out of the party as well. y ou  know, anna, work was everything to me. my colleagues were my family.\u2019 she glanced behind her, scanning the street. \u2018i shouldn\u2019t talk to you. it might be dangerous for you.\u2019 \u2018olya \u2013\u2019\u2018no. i\u2019ve got to go.\u2019all over leningrad they lie frozen in the hours before dawn, listening  for the knock that comes to other doors, but never, surely never, to your own. not to you, with your next promotion on its way, and the holiday in the crimea planned, and little mitya\u2019s fourth birthday next week. even anna\u2019s boss, that perfect supplier of statistics and ever-ready  follower of party directives, even elizaveta antonovna was grey with terror that february four years ago, after stalin\u2019s speech to the central 5 1015202530354045",
            "19": "19 0486/11/o/n/15 \u00a9 ucles 2015 [turn overcommittee. wreckers, traitors, enemies and saboteurs were not only to  be found in the opposition. they had infiltrated the party itself, and were among its \u00e9lite, masking themselves as irreproachable party activists and committee members. but how could you ever prove it wasn\u2019t a mask, anna wonders. only by ripping off your own flesh \u2026 [from chapter 2]   how does dunmore\u2019s writing make this moment in the novel so disturbing? or 14 in what ways does dunmore memorably contrast vera and marina petrovna in the novel?50",
            "20": "20 0486/11/o/n/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: \u2018the squire\u2019s pretty springe, considering his weight,\u2019 said mr macey, \u2018and  he stamps uncommon well. but mr lammeter beats \u2019em all for shapes: you see, he holds his head like a sodger, and he isn\u2019t so cushiony as most o\u2019 the oldish gentlefolks \u2013 they run fat in general; and he\u2019s got a fine leg. the parson\u2019s nimble enough, but he hasn\u2019t got much of a leg: it\u2019s a bit too thick down\u2019ard, and his knees might be a bit nearer wi\u2019out damage; but he might do worse, he might do worse. though he hasn\u2019t that grand way o\u2019 waving his hand as the squire has.\u2019 \u2018talk o\u2019 nimbleness, look at mrs osgood,\u2019 said ben winthrop, who was  holding his son aaron between his knees. \u2018she trips along with her little steps, so as nobody can see how she goes \u2013 it\u2019s like as if she had little wheels to her feet. she doesn\u2019t look a day older nor last year: she\u2019s the finest-made woman as is, let the next be where she will.\u2019 \u2018i don\u2019t heed how the women are made,\u2019 said mr macey, with some  contempt. \u2018they wear nayther coat nor breeches: you can\u2019t make much out o\u2019 their shapes.\u2019 \u2018fayder,\u2019 said aaron, whose feet were busy beating out the tune, \u2018how  does that big cock\u2019s-feather stick in mrs crackenthorp\u2019s yead? is there a little hole for it, like in my shuttlecock?\u2019 \u2018hush, lad, hush; that\u2019s the way the ladies dress theirselves, that is,\u2019 said  the father, adding, however, in an under-tone to mr macey, \u2018it does make her look funny, though \u2013 partly like a short-necked bottle wi\u2019 a long quill in it. hey, by jingo, there\u2019s the young squire leading off now, wi\u2019 miss nancy for partners. there\u2019s a lass for you! \u2013 like a pink-and-white posy \u2013 there\u2019s nobody \u2019ud think as anybody could be so pritty. i shouldn\u2019t wonder if she\u2019s madam cass some day, arter all \u2013 and nobody more rightfuller, for they\u2019d make a fine match. y ou can find nothing against master godfrey\u2019s shapes, macey,  i \u2019ll bet a penny.\u2019 mr macey screwed up his mouth, leaned his head further on one side,  and twirled his thumbs with a presto movement as his eyes followed godfrey up the dance. at last he summed up his opinion. \u2018pretty well down\u2019ard, but a bit too round i\u2019 the shoulder-blades. and as  for them coats as he gets from the flitton tailor, they\u2019re a poor cut to pay double money for.\u2019 \u2018ah, mr macey, you and me are two folks,\u2019 said ben, slightly indignant at  this carping. \u2018when i\u2019ve got a pot o\u2019 good ale, i like to swaller it, and do my inside good, i\u2019stead o\u2019 smelling and staring at it to see if i can\u2019t find faut wi\u2019 the brewing. i should like you to pick me out a finer-limbed young fellow nor master godfrey \u2013 one as \u2019ud knock you down easier, or\u2019s more pleasanter-looksed when he\u2019s piert and merry.\u2019 \u2018tchuh!\u2019 said mr macey, provoked to increased severity, \u2018he isn\u2019t come to  his right colour yet: he\u2019s partly like a slack-baked pie. and i doubt he\u2019s got a soft place in his head, else why should he be turned round the finger by that offal dunsey as nobody\u2019s seen o\u2019 late, and let him kill that fine hunting hoss as was the talk o\u2019 the country? and one while he was allays after miss nancy, and then it all went off again, like a smell o\u2019 hot porridge, as i may say. that wasn\u2019t my way, when i went a-coorting.\u20195 1015202530354045",
            "21": "21 0486/11/o/n/15 \u00a9 ucles 2015 [turn over\u2018ah, but mayhap miss nancy hung off, like, and your lass didn\u2019t,\u2019 said  ben. \u2018i should say she didn\u2019t,\u2019 said mr macey, significantly. \u2018before i said \u201csniff\u201d,  i took care to know as she\u2019d say \u201csnaff\u201d, and pretty quick too. i wasn\u2019t a-going to open my mouth, like a dog at a fly, and snap it to again, wi\u2019  nothing to swaller.\u2019 \u2018well, i think miss nancy\u2019s a-coming round again,\u2019 said ben, \u2018for master  godfrey doesn\u2019t look so down-hearted tonight. and i see he\u2019s for taking her away to sit down, now they\u2019re at the end o\u2019 the dance: that looks like sweethearting, that does.\u2019 [from chapter 11]   how does eliot make this conversation between mr macey and ben winthrop so  amusing? or 16 what does eliot\u2019s writing make you feel about the community at lantern y ard?50 55",
            "22": "22 0486/11/o/n/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: he had two other things to take along to the room with the dolls. he  waited until after lunch. and he had to think of something to put them all in, too. he looked about him carefully, on the landing and up the first flight of  stairs. there was nobody. anyway, if hooper already knew about the room, it scarcely mattered now. all the doors up here were painted brown, and after the first landing,  there was no carpet. kingshaw thought, i hate this house, i hate it, it is the very worst of all the places we have lived in. from the first moment he had looked at it, out of the car window, he had hated it. it didn\u2019t seem much for hooper to be so proud of. he walked along a little, dark passage-way, and turned into the corridor.  then he saw hooper. he was sitting on the floor, with his back against the door of the room and his legs stretched out. kingshaw stopped dead. \u2018going somewhere?\u2019\u2018get lost, hooper.\u2019\u2018where\u2019s the key? look, this isn\u2019t your house, you know, who do you  think you are, going around locking doors?\u2019 \u2018stuff it.\u2019\u2018y ou can\u2019t come in here any more unless i say so.\u2019kingshaw put down the small box he was carrying, wearily. hooper was  very childish. \u2018y ou needn\u2019t think i\u2019m going away, either. i can stay here all day. all night  as well, if i like. i can stay here for ever. this is my house.\u2019 \u2018why don\u2019t you grow up?\u2019\u2018i want to know what\u2019s in here.\u2019\u2018nothing.\u2019\u2018that means something. y ou\u2019d better tell me.\u2019\u2018shut up.\u2019\u2018i want to know what you keep coming up here for. y ou needn\u2019t think i  don\u2019t know where you go to, i\u2019ve known for weeks, all the time, i\u2019ve known.\u2019 kingshaw was silent. he stood some way back from hooper, his face  in the shadows. there was the sound of rain on the roof. he might as well let hooper in. he\u2019d get in, anyway, fight, or else just stick it out for hours on end. he had no good opinion of his own chances, against hooper. or against anyone. he was not cowardly. just realistic, hopeless. he did not give in to people, he only went, from the beginning, with the assurance that he would be beaten. it meant that there was no surprise, and no disappointment, about anything. so he might as well let hooper into the room now, and get it over with.  if he was going to find out, he might as well find out because kingshaw chose to let him. it kept the initiative in his hands, somehow, and he cared about that. hooper always won. kingshaw reached slowly into the back pocket of his jeans, and fetched  out the key. [from chapter 4]5 1015202530354045",
            "23": "23 0486/11/o/n/15 \u00a9 ucles 2015 [turn over  what impressions of the two boys does hill\u2019s writing create for you at this moment in the  novel? or 18 how far does hill show that charles kingshaw\u2019s sense of duty contributes to his death?",
            "24": "24 0486/11/o/n/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: mr utterson stepped out and touched him on the shoulder as he passed.  \u2018mr hyde, i think?\u2019 mr hyde shrank back with a hissing intake of the breath. but his fear  was only momentary; and though he did not look the lawyer in the face, he answered coolly enough: \u2018that is my name. what do you want?\u2019 \u2018i see you are going in,\u2019 returned the lawyer. \u2018i am an old friend of dr  jekyll\u2019s\u2014mr utterson of gaunt street\u2014you must have heard my name; and meeting you so conveniently, i thought you might admit me.\u2019 \u2018y ou will not find dr jekyll; he is from home,\u2019 replied mr hyde, blowing in  the key. and then suddenly, but still without looking up, \u2018how did you know me?\u2019 he asked. \u2018on your side,\u2019 said mr utterson, \u2018will you do me a favour?\u2019\u2018with pleasure,\u2019 replied the other. \u2018what shall it be?\u2019\u2018will you let me see your face?\u2019 asked the lawyer.mr hyde appeared to hesitate, and then, as if upon some sudden  reflection, fronted about with an air of defiance; and the pair stared at each other pretty fixedly for a few seconds. \u2018now i shall know you again,\u2019 said mr utterson. \u2018it may be useful.\u2019 \u2018y es,\u2019 returned mr hyde, \u2018it is as well we have met; and \u00e0 propos , you  should have my address.\u2019 and he gave a number of a street in soho. \u2018good god!\u2019 thought mr utterson, \u2018can he too have been thinking  of the will?\u2019 but he kept his feelings to himself and only grunted in acknowledgement of the address. \u2018and now,\u2019 said the other, \u2018how did you know me?\u2019\u2018by description,\u2019 was the reply.\u2018whose description?\u2019\u2018we have common friends,\u2019 said mr utterson.\u2018common friends?\u2019 echoed mr hyde, a little hoarsely. \u2018who are they?\u2019\u2018jekyll, for instance,\u2019 said the lawyer.\u2018he never told you,\u2019 cried mr hyde, with a flush of anger. \u2018i did not think  you would have lied.\u2019 \u2018come,\u2019 said mr utterson, \u2018that is not fitting language.\u2019the other snarled aloud into a savage laugh; and the next moment, with  extraordinary quickness, he had unlocked the door and disappeared into the house. the lawyer stood awhile when mr hyde had left him, the picture of  disquietude. then he began slowly to mount the street, pausing every step or two and putting his hand to his brow like a man in mental perplexity. the problem he was thus debating as he walked, was one of a class that is rarely solved. mr hyde was pale and dwarfish, he gave an impression of deformity without any nameable malformation, he had a displeasing smile, he had borne himself to the lawyer with a sort of murderous mixture of timidity and boldness, and he spoke with a husky, whispering and somewhat broken voice; all these were points against him, but not all of these together could explain the hitherto unknown disgust, loathing and fear with which mr utterson regarded him. \u2018there must be something else,\u2019 said the perplexed gentleman. \u2018there is something more, if i could find  a name for it. god bless me, the man seems hardly human! something 5 1015202530354045",
            "25": "25 0486/11/o/n/15 \u00a9 ucles 2015 [turn overtroglodytic, shall we say? or can it be the old story of dr fell? or is it the  mere radiance of a foul soul that thus transpires through, and transfigures, its clay continent? the last, i think; for o my poor old harry jekyll, if ever i read satan\u2019s signature upon a face, it is on that of your new friend.\u2019 [from chapter 2, \u2018search for mr hyde\u2019]   how does stevenson make this first meeting between mr utterson and mr hyde so  dramatic? or 20 in what ways does stevenson memorably depict the conflict between good and evil in the  novel?50",
            "26": "26 0486/11/o/n/15 \u00a9 ucles 2015from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from at hiruharama  (by penelope fitzgerald), and then answer the  question that follows it: like most people who live on their own brinkman continued with the  course of his thoughts, which were more real to him than the outside world\u2019s commotion. walking straight into the front room he stopped in front of the piece of mirror-glass tacked over the sink and looked fixedly into it. \u2018i\u2019ll tell you something, tanner, i thought i caught sight of my first grey  hairs this morning.\u2019 \u2018i\u2019m sorry to hear that.\u2019brinkman looked round. \u2018i see the table isn\u2019t set.\u2019\u2018i don\u2019t want you to feel that you\u2019re not welcome,\u2019 said tanner, \u2018but kitty\u2019s  not well. she told me to be sure that you came in and rested a while, but she\u2019s not well. truth is, she\u2019s in labour.\u2019 \u2018then she won\u2019t be cooking dinner this evening, then?\u2019\u2018y ou mean you were counting on having it here?\u2019\u2018my half-yearly dinner with you and mrs tanner, yis, that\u2019s about it.\u2019\u2018what day is it, then?\u2019 asked tanner, somewhat at random. it was almost  too much for him at that moment to realise that brinkman existed. he seemed like a stranger, perhaps from a foreign country, not understanding how ordinary things were done or said. brinkman made no attempt to leave, but said; \u2018last time i came here  we started with canned toheroas. y our wife set them in front of me. i\u2019m not sure that they had an entirely good effect on the intestines. then we had fried eggs and excellent jellied beetroot, a choice between tea or bovo, bread and butter and unlimited quantities of treacle. i have a note of all this in my daily journal. that\u2019s not to say, however, that i came over here simply to take dinner with you. it wasn\u2019t for the drive, either, although i\u2019m always glad to have the opportunity of a change of scene and to read a little in nature\u2019s book. no, i\u2019ve come today, as i came formerly, for the sake of hearing a woman\u2019s voice.\u2019 had tanner noticed, he went on, that there were no native songbirds in  the territory? at that moment there was a crying, or a calling, from the next room such as tanner had never heard before, not in a shipwreck \u2013 and he had been in a wreck \u2013 not in a slaughterhouse. \u2018don\u2019t put yourself out on my account,\u2019 said brinkman. \u2018i\u2019m going to sit  here until you come back and have a quiet smoko.\u2019 the doctor drove up bringing with him his wife\u2019s widowed sister, who lived  with them and was a nurse, or had been a nurse. tanner came out of the bedroom covered with blood, something like a butcher. he told the doctor he\u2019d managed to deliver the child, a girl, in fact he\u2019d wrapped it in a towel and tucked it up in the washbasket. the doctor took him back into the bedroom and made him sit down. the nurse put down the things she\u2019d brought with her and looked round for the tea-tin. brinkman sat there, as solid as his chair. \u2018y ou may be wondering who i am,\u2019 he said. \u2018i\u2019m a neighbour, come over for dinner. i think of myself as one of the perpetually welcome.\u2019 \u2018suit yourself,\u2019 said the sister-in-law. the doctor emerged, moving rather faster than he usually did. \u2018please to go in there and wash the patient. i\u2019m going to take a look at the afterbirth. the father put it out with the waste.\u20195 1015202530 35 4045",
            "27": "27 0486/11/o/n/15 \u00a9 ucles 2015there tanner had made his one oversight. it wasn\u2019t the afterbirth, it was a  second daughter, smaller, but a twin. \u2013 but how come, if both of them were girls, that mr tanner himself still had the name of tanner? well, the tanners went on to have nine more children, some of them boys, and one of those boys was mr tanner\u2019s father. that evening, when the doctor came in from the yard with the messy scrap, he squeezed it as though he was wringing it out to dry, and it opened its mouth and the colder air of the kitchen rushed in and she\u2019d got her start in life. after that the tanners always had one of those tinplate mottoes hung up on the wall \u2013 throw nothing away. y ou could get them then at the hardware store. \u2013 and this was the point that mr tanner had been wanting to make all along \u2013 whereas the first daughter never got to be anything in particular, this second little girl grew up to be a lawyer with a firm in wellington, and she did very well. all the time brinkman continued to sit there by the table and smoke his  pipe. two more women born into the world! it must have seemed to him that if this sort of thing went on there should be a good chance, in the end, for him to acquire one for himself. meanwhile, they would have to serve dinner sometime.   how does fitzgerald make this account of the events at the time of the birth of tanner\u2019s  daughters so memorable? or 22 explore the ways in which ted hughes makes nature such a powerful force in the rain  horse .50 5560",
            "28": "28 0486/11/o/n/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc rcl (jda) 91537/3 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *2204995661*literature (english)  0486/12 paper 1 poetry and prose october/november 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/12/o/n/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/12/o/n/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy: from  selected poems   1, 2 pages 4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages 8\u20139 songs of ourselves : from part 4  5, 6 pages 10\u201311 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 12\u201313 tsitsi dangarembga: nervous conditions   9, 10 pages 14\u201315 anita desai: fasting, feasting 11, 12  pages 16\u201317 helen dunmore: the siege 13, 14 pages 18\u201319 george eliot: silas marner 15, 16 pages 20\u201321 susan hill: i\u2019m the king of the castle 17, 18 pages 22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20 pages 24\u201325 from stories of ourselves 21, 22 pages 26\u201327",
            "4": "4 0486/12/o/n/15 \u00a9 ucles 2015section a: poetry thomas hardy: from selected poems remember to support your ideas with details from the writing. either 1  explore the ways in which hardy creates strong feelings of loneliness in both  the  darkling thrush  and drummer hodge. the darkling thrush i leant upon a coppice gate  when frost was spectre-gray,and winter\u2019s dregs made desolate the weakening eye of day.the tangled bine-stems scored the sky like strings of broken lyres,and all mankind that haunted nigh had sought their household fires. the land\u2019s sharp features seemed to be  the century\u2019s corpse outleant,his crypt the cloudy canopy, the wind his death-lament.the ancient pulse of germ and birth was shrunken hard and dry,and every spirit upon earth seemed fervourless as i. at once a voice arose among  the bleak twigs overheadin a full-hearted evensong of joy illimited;an aged thrush, frail, gaunt, and small, in blast-beruffled plume,had chosen thus to fling his soul upon the growing gloom. so little cause for carolings  of such ecstatic soundwas written on terrestrial things afar or nigh around,that i could think there trembled through his happy good-night airsome blessed hope, whereof he knew and i was unaware.5 10 15 2025 30",
            "5": "5 0486/12/o/n/15 \u00a9 ucles 2015 [turn overdrummer hodge i they throw in drummer hodge, to rest uncoffined \u2013 just as found:his landmark is a kopje-crest that breaks the veldt around;and foreign constellations west each night above his mound. ii y oung hodge the drummer never knew \u2013 fresh from his wessex home \u2013the meaning of the broad karoo, the bush, the dusty loam,and why uprose to nightly view strange stars amid the gloam. iii y et portion of that unknown plain will hodge for ever be;his homely northern breast and brain grow to some southern tree,and strange-eyed constellations reign his stars eternally.5 1015",
            "6": "6 0486/12/o/n/15 \u00a9 ucles 2015or 2 read this poem, and then answer the question that follows it: no buyers a street scene a load of brushes and baskets and cradles and chairs labours along the street in the rain: with it a man, a woman, a pony with whiteybrown hairs. \u2013 the man foots in front of the horse with a shambling sway at a slower tread than a funeral train, while to a dirge-like tune he chants his wares,swinging a turk\u2019s-head brush (in a drum-major\u2019s way when the bandsmen march and play). a yard from the back of the man is the whiteybrown pony\u2019s nose: he mirrors his master in every item of pace and pose: he stops when the man stops, without being told, and seems to be eased by a pause; too plainly he\u2019s old, indeed, not strength enough shows to steer the disjointed waggon straight, which wriggles left and right in a rambling line,deflected thus by its own warp and weight,and pushing the pony with it in each incline. the woman walks on the pavement verge, parallel to the man: she wears an apron white and wide in span, and carries a like turk\u2019s-head, but more in nursing-wise: now and then she joins in his dirge,but as if her thoughts were on distant things.the rain clams her apron till it clings. \u2013 so, step by step, they move with their merchandize, and nobody buys.   explore the ways in which hardy creates such a sad picture in no buyers: a street  scene .5 10 15 20 25",
            "7": "7 0486/12/o/n/15 \u00a9 ucles 2015 [turn overturn to page 8 for question 3.",
            "8": "8 0486/12/o/n/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: in our tenth y ear this book, this page, this harebell laid to rest between these sheets, these leaves, if pressed still bleedsa watercolour of the way we were. those years: the fuss of such and such a day, that disagreement and its final word,your inventory of names and dates and times,my infantries of tall, dark, handsome lies. a decade on, now we astound ourselves; still two, still twinned but doubled now with loveand for a single night apart, alone,how sure we are, each of the other half. this harebell holds its own. let\u2019s give it now in air, in light, the chance to fade, to fold.here, take it from my hand. now, let it go. (simon armitage )   in what ways does armitage memorably portray the speaker\u2019s feelings in in our tenth  y ear ?5 10",
            "9": "9 0486/12/o/n/15 \u00a9 ucles 2015 [turn overor 4 how does jennings movingly convey her feelings about her parents to you in one flesh ? one flesh lying apart now, each in a separate bed, he with a book, keeping the light on late,she like a girl dreaming of childhood,all men elsewhere \u2013 it is as if they waitsome new event: the book he holds unread,her eyes fixed on the shadows overhead. tossed up like flotsam from a former passion, how cool they lie. they hardly ever touch,or if they do it is like a confessionof having little feeling \u2013 or too much.chastity faces them, a destinationfor which their whole lives were a preparation. strangely apart, yet strangely close together, silence between them like a thread to holdand not wind in. and time itself\u2019s a feathertouching them gently. do they know they\u2019re old,these two who are my father and my motherwhose fire from which i came, has now grown cold? (elizabeth jennings )5 1015",
            "10": "10 0486/12/o/n/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it:  where i come from people are made of places. they carry with them hints of jungles or mountains, a tropic graceor the cool eyes of sea-gazers. atmosphere of citieshow different drops from them, like the smell of smogor the almost-not-smell of tulips in the spring,nature tidily plotted in little squareswith a fountain in the centre; museum smell,art also tidily plotted with a guidebook;or the smell of work, glue factories maybe,chromium-plated offices; smell of subwayscrowded at rush hours. where i come from, people carry woods in their minds, acres of pine woods;blueberry patches in the burned-out bush;wooden farmhouses, old, in need of paint,with yards where hens and chickens circle about,clucking aimlessly; battered schoolhousesbehind which violets grow. spring and winterare the mind\u2019s chief seasons: ice and the breaking of ice. a door in the mind blows open, and there blows a frosty wind from fields of snow. (elizabeth brewster  )   how does brewster vividly convey a sense of different places in where i come from ?5 10 1520",
            "11": "11 0486/12/o/n/15 \u00a9 ucles 2015 [turn overor 6 explore the ways in which halligan uses words and images vividly in the cockroach . the cockroach i watched a giant cockroach start to pace, skirting a ball of dust that rode the floor.at first he seemed quite satisfied to tracea path between the wainscot and the door,but soon he turned to jog in crooked rings,circling the rusty table leg and back,and flipping right over to scratch his wings \u2013as if the victim of a mild attackof restlessness that worsened over time.after a while, he climbed an open shelfand stopped. he looked uncertain where to go.was this due payment for some vicious crimea former life had led to? i don\u2019t know,except i thought i recognised myself. (kevin halligan )5 10",
            "12": "12 0486/12/o/n/15 \u00a9 ucles 2015section b: prose jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: \u2018y es, yes,\u2019 (with a blush) \u2018there are more ways than one of our being  sisters. \u2013 but where am i wandering to? \u2013 well, my dear catherine, the case seems to be, that you are determined against poor john \u2013 is not it so?\u2019 \u2018i certainly cannot return his affection, and as certainly never meant to  encourage it.\u2019 \u2018since that is the case, i am sure i shall not tease you any further. john  desired me to speak to you on the subject, and therefore i have. but i confess, as soon as i read his letter, i thought it a very foolish, imprudent business, and not likely to promote the good of either; for what were you to live upon, supposing you came together? y ou have both of you something to be sure, but it is not a trifle that will support a family now-a-days; and after all that romancers may say, there is no doing without money. i only wonder john could think of it; he could not have received my last.\u2019 \u2018y ou do acquit me then of anything wrong? \u2013 y ou are convinced that i  never meant to deceive your brother, never suspected him of liking me till this moment?\u2019 \u2018oh! as to that,\u2019 answered isabella laughingly, \u2018i do not pretend to  determine what your thoughts and designs in time past may have been. all that is best known to yourself. a little harmless flirtation or so will occur, and one is often drawn on to give more encouragement than one wishes to stand by. but you may be assured that i am the last person in the world to judge you severely. all those things should be allowed for in youth and high spirits. what one means one day, you know, one may not mean the next. circumstances change, opinions alter.\u2019 \u2018but my opinion of your brother never did alter; it was always the same.  y ou are describing what never happened.\u2019 \u2018my dearest catherine,\u2019 continued the other without at all listening to  her, \u2018i would not for all the world be the means of hurrying you into an engagement before you knew what you were about. i do not think anything would justify me in wishing you to sacrifice all your happiness merely to oblige my brother, because he is my brother, and who perhaps after all, you know, might be just as happy without you, for people seldom know what they would be at, young men especially, they are so amazingly changeable and inconstant. what i say is, why should a brother\u2019s happiness be dearer to me than a friend\u2019s? y ou know i carry my notions of friendship pretty high. but, above all things, my dear catherine, do not be in a hurry. take my word for it, that if you are in too great a hurry, you will certainly live to repent it. tilney says, there is nothing people are so often deceived in, as the state of their own affections, and i believe he is very right. ah! here he comes; never mind, he will not see us, i am sure.\u2019 catherine, looking up, perceived captain tilney; and isabella, earnestly  fixing her eye on him as she spoke, soon caught his notice. he approached immediately, and took the seat to which her movements invited him. his first address made catherine start. though spoken low, she could distinguish, 5 1015202530354045",
            "13": "13 0486/12/o/n/15 \u00a9 ucles 2015 [turn over\u2018what! always to be watched, in person or by proxy!\u2019 \u2018psha, nonsense!\u2019 was isabella\u2019s answer in the same half whisper. \u2018why  do you put such things into my head? if i could believe it \u2013 my spirit, you know, is pretty independent.\u2019 \u2018i wish your heart were independent. that would be enough for me.\u2019\u2018my heart, indeed! what can you have to do with hearts? y ou men have  none of you any hearts.\u2019 \u2018if we have not hearts, we have eyes; and they give us torment enough.\u2019\u2018do they? i am sorry for it; i am sorry they find anything so disagreeable  in me. i will look another way. i hope this pleases you, (turning her back on him,) i hope your eyes are not tormented now.\u2019 \u2018never more so; for the edge of a blooming cheek is still in view \u2013 at  once too much and too little.\u2019 catherine heard all this, and quite out of countenance could listen no  longer.  [from chapter 18]   in what ways does austen make this such a revealing and significant moment in the  novel? or 8 who does austen\u2019s writing persuade you is the villain of the novel \u2013 and why?50 5560",
            "14": "14 0486/12/o/n/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read the following extract, and then answer the question that follows it: babamukuru was of the opinion that enough chances had come my way,  and on another level he agreed with nyasha that the experience would not be good for me. from his armchair opposite the fireplace he told me why i could not go to the convent. \u2018it is not a question of money,\u2019 he assured me. \u2018although there would still  be a lot of expense on my part, you have your scholarship, so the major financial burden would be lifted. but i feel that even that little money could be better used. for one thing, there is now the small boy at home. every month i put away a little bit, a very little bit, a very little bit every month, so that when he is of school-going age everything will be provided for. as you know, he is the only boy in your family, so he must be provided for. as for you, we think we are providing for you quite well. by the time you have finished your form four you will be able to take your course, whatever it is that you choose. in time you will be earning money. y ou will be in a position to be married by a decent man and set up a decent home. in all that we are doing for you, we are preparing you for this future life of yours, and i have observed from my own daughter\u2019s behaviour that it is not a good thing for a young girl to associate too much with these white people, to have too much freedom. i have seen that girls who do that do not develop into decent women.\u2019 marriage. i had nothing against it in principle. in an abstract way i thought  it was a very good idea. but it was irritating the way it always cropped up in one form or another, stretching its tentacles back to bind me before i had even begun to think about it seriously, threatening to disrupt my life before i could even call it my own. babamukuru had lost me with his talk of marriage. i inspected my dressing-gown for fluff, waiting for the session to end. \u2018this,\u2019 continued my uncle, \u2018is what i shall tell your father: if he wishes to send you there to that school, he may do so if he can find the money. myself, i would not consider it money well spent. mai,\u2019 he concluded, turning to my aunt, \u2018is there anything that you would wish to say?\u2019 \u2018y es, baba,\u2019 maiguru spoke up softly from the sofa. my inspection came  to an abrupt end. i listened incredulously. \u2018y ou do!\u2019 exclaimed babamukuru and, recovering himself, invited her to  continue. \u2018speak freely, mai. say whatever you are thinking.\u2019 there was a pause during which maiguru folded her arms and leant back  in the sofa. \u2018i don\u2019t think,\u2019 she began easily in her soft, soothing voice, \u2018that tambudzai will be corrupted by going to that school. don\u2019t you remember, when we went to south africa everybody was saying that we, the women, were loose.\u2019 babamukuru winced at this explicitness. maiguru continued. \u2018it wasn\u2019t a question of associating with this race or that race at that time. people were prejudiced against educated women. prejudiced. that\u2019s why they said we weren\u2019t decent. that was in the fifties. now we are into the seventies. i am disappointed that people still believe the same things. after all this time and when we have seen nothing to say it is true. i don\u2019t know what people mean by a loose woman \u2013 sometimes she is someone who walks the streets, sometimes she is an educated woman, sometimes she is a successful man\u2019s daughter or she is simply beautiful. loose or decent, i don\u2019t know. all i know is that if our daughter tambudzai is not a decent 5 1015202530354045",
            "15": "15 0486/12/o/n/15 \u00a9 ucles 2015 [turn overperson now, she never will be, no matter where she goes to school. and if  she is decent, then this convent should not change her. as for money, you have said yourself that she has a full scholarship. it is possible that you have other reasons why she should not go there, babawa chido, but these \u2013 the question of decency and the question of money \u2013 are the ones i have heard and so these are the ones i have talked of.\u2019 there was another pause during which maiguru unfolded her arms and  clasped her hands in her lap. babamukuru cleared his throat. \u2018er, tambudzai,\u2019 he asked tentatively, \u2018do  you have anything to say?\u2019  [from chapter 9]   explore the ways in which dangarembga makes this a memorable and significant  moment in the novel. or 10 to what extent does dangarembga\u2019s writing make you feel that tambu loses something  of value by trying to gain an education?50 55",
            "16": "16 0486/12/o/n/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: at thirteen, aruna still had thin brown legs and wore her hair plaited and  tied in loops over her ears with large ribbons. even though she had to dress in the faded blue cotton slip ordained by the convent, and white not coloured ribbons, there was already something about the way she tossed her head when she saw a man looking at her, with a sidelong look of both scorn and laughter, and the way her foot tapped and her legs changed position, that might have alerted the family to what it could expect. even if mama was indignant in refusing, she was impressed too, and \u2013 uma saw \u2013 respectful of this display of her younger daughter\u2019s power of attraction. by the time aruna was fourteen she was rebelling against the blue  cotton tunic and the white hair ribbons. at every opportunity she would shed them and change into flowered silk salwars. \u2018silk!\u2019 uma would exclaim, and papa would sit up and take notice, frowning, but mama was inclined to indulge aruna and perhaps realised, instinctively, that if she did, there would be rewards to reap. so aruna fluttered about in flowered silk, and the hair ribbons were replaced with little shiny plastic clips and clasps, and flowers that she picked from the dusty shrubs and hedges. when uma was still watching to see that arun did not crawl off the veranda and break his neck or put knitting needles or naphthalene balls in his mouth, aruna was already climbing into bicycle rickshaws and going off to the cinema \u2013 with girl friends from school, she said. that was quite true, but she did not mention the young men who took the seats behind them, or even beside them, tempestuously throwing out a knee, an elbow, or even a hand at times, and contriving to touch the little, flustered, excited creatures, then followed them home on their bicycles, weaving through the traffic and singing ardently along the way. while mama searched energetically for a husband for uma, families were  already \u2018making enquiries\u2019 about aruna. y et nothing could be done about them; it was imperative that uma marry first. that was the only decent, the only respectable line of behaviour. that also explained why mamapapa responded so eagerly to an advertisement in a sunday newspaper placed by \u2018a decent family\u2019 in search of a bride for their only son. mamapapa went together to meet them and found it was a cloth merchant\u2019s family from the bazaar which had recently begun to prosper and was building a new house on the outskirts of the city. they had purchased a large piece of land in what had formerly been a swamp but was being reclaimed by the municipality by filling it in with city refuse; it was now marked into plots and even had some gates and walls coming up to show the beginnings of urbanisation. the merchant\u2019s family had laid the foundation of what would clearly be a palatial dwelling compared to the cramped quarters they had occupied for generations in the city. but, the father explained \u2013 disarmingly \u2013 they could not proceed until they came into some money, and here the dowry mentioned by papa would come in useful. he was being frank with papa, but then it was papa\u2019s daughter who would come to his house as a bride. papa looked dubious at this confession, but mama was so delighted by the sight of prospective prosperity that she could not be restrained. they themselves owned no house; papa had always refused to move out of their rented one with which he was perfectly content, leaving mama 5 1015202530354045",
            "17": "17 0486/12/o/n/15 \u00a9 ucles 2015 [turn overwith an enormous, unfulfilled desire for property. why should uma not fulfil  it if she could not? a negotiated sum was made over as dowry, and the engagement ceremony arranged simultaneously.  [from chapter 7]   what does desai\u2019s writing make you feel about mama and papa at this moment in the  novel? or 12 how does desai\u2019s writing make anamika so memorable and significant in the novel?50",
            "18": "18 0486/12/o/n/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: but the terrible thing about coming back to life is that you can\u2019t be at  peace any more. there are a thousand things to torment you. before, i didn\u2019t mind what happened. i could let it all slip away. i didn\u2019t listen to the radio, even though marina has it on all the time. but now i\u2019m afraid, just like everyone else. when marina takes the boy down to the air-raid shelter, i\u2019m afraid that i\u2019ll never see them again. i lie here: that\u2019s all i can do. i listen to the anti-aircraft guns and sometimes i can hear planes. they aren\u2019t our fighters. they drum above the roof and i find myself praying, even though i never pray. always the same words: if it falls, let it be a bomb, not an incendiary. the sheets stick to me with sweat. i am not afraid of bombs. but if an incendiary took hold here, i wouldn\u2019t  be able to get away. i\u2019m afraid of that. last night i dreamed of marina and the child. they were trying to wade  towards me through a river which was full of fire instead of water. but he slipped and went down and then he floated away, slowly at first then faster and faster, with the fire lapping around his head. marina kept on looking at me. i knew she wanted to tell me why she hadn\u2019t rescued him. it was because it was too late for him. he would suffer too much if he was brought up into the air again. when i woke up i was wet with sweat and the guns were still crackling.  they drop phosphorus bombs. water can\u2019t put out phosphorus: it burns and burns. last night there was a terrible screaming that went on and on, and i think it was that which made me dream about kolya, and the fire. marina says they weren\u2019t human screams. a bomb hit the zoo and the animals were wounded. some of the cages were blown open and the animals were running up and down the streets. i suppose they had to be shot in the end. marina says they\u2019re not selling any food off the rations now. the  restaurants are closed. she sits on my bed and tells me how many potatoes we\u2019ve got left, how many onions, how many grammes of lard. she counts them over aloud, then counts them again. we both enjoy it. if she stops, i ask her more questions. \u2018how many potatoes did you say exactly, marina?\u2019 kolya loves peeping into the store-cupboard and seeing how many  jars there are. he doesn\u2019t try to touch anything. he stares solemnly for a while, and then he says, \u2018we\u2019ve got lots of food, haven\u2019t we, marina?\u2019 she answers, \u2018y es, we\u2019re very fortunate,\u2019 and he nods, satisfied, and goes back to his game. there\u2019s been further bombing of food stocks, but no one knows exactly  where. now we know that they don\u2019t just want to defeat us. they want to destroy us. nothing in leningrad matters to them at all. not a stone, or a child. carthage must be destroyed. but there\u2019s freedom in knowing it. we can\u2019t make deals with them any  more. so much for our pact. we have no choice left. we have to resist.  [from chapter 15]   how does dunmore vividly convey mikhail\u2019s thoughts and feelings to you at this moment  in the novel?5 10152025303540",
            "19": "19 0486/12/o/n/15 \u00a9 ucles 2015 [turn overor 14 what does dunmore\u2019s writing make you feel about the way the russian government  affects the lives of two of the following characters in the novel?   elizaveta antonovna   fedya   marina petrovna",
            "20": "20 0486/12/o/n/15 \u00a9 ucles 2015george eliot:  silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: \u2018is she dead?\u2019 said the voice that predominated over every other within  him. \u2018if she is, i may marry nancy; and then i shall be a good fellow in future, and have no secrets, and the child \u2013 shall be taken care of somehow.\u2019 but across that vision came the other possibility \u2013 \u2018she may live, and then it\u2019s all up with me.\u2019 godfrey never knew how long it was before the door of the cottage  opened and mr kimble came out. he went forward to meet his uncle, prepared to suppress the agitation he must feel, whatever news he was to hear. \u2018i waited for you, as i\u2019d come so far,\u2019 he said, speaking first.\u2018pooh, it was nonsense for you to come out: why didn\u2019t you send one  of the men? there\u2019s nothing to be done. she\u2019s dead \u2013 has been dead for hours, i should say.\u2019 \u2018what sort of woman is she?\u2019 said godfrey, feeling the blood rush to his  face. \u2018a young woman, but emaciated, with long black hair. some vagrant \u2013  quite in rags. she\u2019s got a wedding-ring on, however. they must fetch her away to the workhouse tomorrow. come, come along.\u2019 \u2018i want to look at her,\u2019 said godfrey. \u2018i think i saw such a woman yesterday.  i\u2019ll overtake you in a minute or two.\u2019 mr kimble went on, and godfrey turned back to the cottage. he cast  only one glance at the dead face on the pillow, which dolly had smoothed with decent care; but he remembered that last look at his unhappy hated wife so well, that at the end of sixteen years every line in the worn face was present to him when he told the full story of this night. he turned immediately towards the hearth where silas marner sat lulling  the child. she was perfectly quiet now, but not asleep \u2013 only soothed by sweet porridge and warmth into that wide-gazing calm which makes us older human beings, with our inward turmoil, feel a certain awe in the presence of a little child, such as we feel before some quiet majesty or beauty in the earth or sky \u2013 before a steady-glowing planet, or a full-flowered eglantine, or the bending trees over a silent pathway. the wide-open blue eyes looked up at godfrey\u2019s without any uneasiness or sign of recognition: the child could make no visible audible claim on its father; and the father felt a strange mixture of feelings, a conflict of regret and joy, that the pulse of that little heart had no response for the half-jealous yearning in his own, when the blue eyes turned away from him slowly, and fixed themselves on the weaver\u2019s queer face, which was bent low down to look at them, while the small hand began to pull marner\u2019s withered cheek with loving disfiguration. \u2018y ou\u2019ll take the child to the parish tomorrow?\u2019 asked godfrey, speaking  as indifferently as he could. \u2018who says so?\u2019 said marner, sharply. \u2018will they make me take her?\u2019\u2018why, you wouldn\u2019t like to keep her, should you \u2013 an old bachelor like you?\u2019\u2018till anybody shows they\u2019ve a right to take her away from me,\u2019 said  marner. \u2018the mother\u2019s dead, and i reckon it\u2019s got no father: it\u2019s a lone thing \u2013 and i\u2019m a lone thing. my money\u2019s gone, i don\u2019t know where \u2013 and this is come from i don\u2019t know where. i know nothing \u2013 i\u2019m partly mazed.\u20195 1015202530354045",
            "21": "21 0486/12/o/n/15 \u00a9 ucles 2015 [turn over\u2018poor little thing!\u2019 said godfrey. \u2018let me give something towards finding it  clothes.\u2019 he had put his hand in his pocket and found half-a-guinea, and, thrusting  it into silas\u2019s hand, he hurried out of the cottage to overtake mr kimble. \u2018ah, i see it\u2019s not the same woman i saw,\u2019 he said, as he came up. \u2018it\u2019s a  pretty little child: the old fellow seems to want to keep it; that\u2019s strange for a miser like him. but i gave him a trifle to help him out: the parish isn\u2019t likely to quarrel with him for the right to keep the child.\u2019  [from chapter 13]   in what ways does eliot make this such a striking and significant moment in the novel? or 16 how does eliot vividly portray silas\u2019s loneliness before eppie comes into his life?50",
            "22": "22 0486/12/o/n/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: \u2018what are you going to do?\u2019 kingshaw looked down at him coldly.\u2018climb,\u2019 he said.they were inside the ruin. the outer walls reached up very high, and  there were odd bits of stone staircase, ending abruptly, so that you could step off into air, or on to parapets, and the remains of pillars, flat-topped like stepping stones. the surface was the colour of damp sand, rough and grainy to the touch, except where bits of moss and lichen grew out of the cracks. \u2018i bet you won\u2019t dare go up far.\u2019kingshaw smiled to himself. he moved steadily from stone to stone,  along the edge of one wall. he wanted to get as high as he could, up beside the tower. hooper watched him from below.\u2018y ou\u2019ll fall off.\u2019kingshaw ignored him. he was sure-footed and unhurried, not afraid of  any height. he looked down. hooper was immediately below him. kingshaw waved an arm. \u2018why don\u2019t you come up as well?\u2019his voice echoed round the castle walls. hooper had got his penknife  out and was digging his initials into a slab of stone. \u2018y ou\u2019ll  catch it if anyone sees you. y ou\u2019re not supposed to do that. they  can put you in prison for doing it.\u2019 hooper went on scratching.the walls were narrower here. kingshaw went down on all fours, and  made sure of the surface with his hands, as he went along, moving very slowly forwards. they had put new mortar between the spaces, though, so that there were no loose stones. now the wall went up about a foot, on to the next level. he manoeuvred  the step, and then stood upright, carefully, and looked around. outside of the castle, he could see the flat grass and the lake, and his mother and mr hooper, sitting on their bench at the far side. he felt high above them, very tall and strong, and safe, too, nobody could touch him. he thought, this is  all right, i don\u2019t care about any of them here, they can\u2019t do anything at all to me, i don\u2019t care, i don\u2019t care. he felt light-headed, exulting in the freedom of it. if he reached his arm up, he might touch the sky. but even up here, it was warm and airless.he shouted down to hooper, \u2018i\u2019m a bowman, i\u2019m the head warrior of this  castle. if i shoot an arrow, i can kill you.\u2019 hooper looked up.\u2018i\u2019m the king of the castle!\u2019 kingshaw began to wave his arms about,  and to prance a little, delicately, on top of the wall. if he walked forwards a few yards farther, he would come to a gap. if he could jump it, he would be out on the parapet, leading to the tower.  [from chapter 12]   what does hill\u2019s writing make you feel at this moment in the novel?5 10152025303540",
            "23": "23 0486/12/o/n/15 \u00a9 ucles 2015 [turn overor 18 how does hill\u2019s writing powerfully show that kingshaw is an easy target for hooper\u2019s  tormenting?",
            "24": "24 0486/12/o/n/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: \u2018hold your tongue!\u2019 poole said to her, with a ferocity of accent that  testified to his own jangled nerves; and indeed, when the girl had so suddenly raised the note of her lamentation, they had all started and turned towards the inner door with faces of dreadful expectation. \u2018and now,\u2019 continued the butler, addressing the knife-boy, \u2018reach me a candle, and we\u2019ll get this through hands at once.\u2019 and then he begged mr utterson to follow him, and led the way to the back garden. \u2018now, sir,\u2019 said he, \u2018you come as gently as you can. i want you to hear,  and i don\u2019t want you to be heard. and see here, sir, if by any chance he was to ask you in, don\u2019t go.\u2019 mr utterson\u2019s nerves, at this unlooked-for termination, gave a jerk that  nearly threw him from his balance; but he recollected his courage and followed the butler into the laboratory building and through the surgical theatre, with its lumber of crates and bottles, to the foot of the stair. here poole motioned him to stand on one side and listen; while he himself, setting down the candle and making a great and obvious call on his resolution, mounted the steps and knocked with a somewhat uncertain hand on the red baize of the cabinet door. \u2018mr utterson, sir, asking to see you,\u2019 he called; and even as he did so,  once more violently signed to the lawyer to give ear. a voice answered from within: \u2018tell him i cannot see anyone,\u2019 it said  complainingly. \u2018thank you, sir,\u2019 said poole, with a note of something like triumph in his  voice; and taking up his candle, he led mr utterson back across the yard and into the great kitchen, where the fire was out and the beetles were leaping on the floor. \u2018sir,\u2019 he said, looking mr utterson in the eyes, \u2018was that my master\u2019s  voice?\u2019 \u2018it seems much changed,\u2019 replied the lawyer, very pale, but giving look  for look. \u2018changed? well, yes, i think so,\u2019 said the butler. \u2018have i been twenty  years in this man\u2019s house, to be deceived about his voice? no, sir; master\u2019s made away with; he was made away with, eight days ago, when we heard him cry out upon the name of god: and who\u2019s  in there instead of him, and  why it stays there, is a thing that cries to heaven, mr utterson!\u2019 \u2018this is a very strange tale, poole; this is rather a wild tale, my man,\u2019 said  mr utterson, biting his finger. \u2018suppose it were as you suppose, supposing dr jekyll to have been\u2014well, murdered, what could induce the murderer to stay? that won\u2019t hold water; it doesn\u2019t commend itself to reason.\u2019 \u2018well, mr utterson, you are a hard man to satisfy, but i\u2019ll do it yet,\u2019 said  poole. \u2018all this last week (you must know) him, or it, or whatever it is that lives in that cabinet, has been crying night and day for some sort of medicine and cannot get it to his mind. it was sometimes his way\u2014the master\u2019s, that is\u2014to write his orders on a sheet of paper and throw it on the stair. we\u2019ve had nothing else this week back; nothing but papers, and a closed door, and the very meals left there to be smuggled in when nobody was looking. well, sir, every day, ay, and twice and thrice in the same day, there have been orders and complaints, and i have been sent flying to all 5 1015202530354045",
            "25": "25 0486/12/o/n/15 \u00a9 ucles 2015 [turn overthe wholesale chemists in town. every time i brought the stuff back, there  would be another paper telling me to return it, because it was not pure, and another order to a different firm. this drug is wanted bitter bad, sir, whatever for.\u2019  [from chapter 8, \u2018the last night\u2019]   how does stevenson make this moment in the novel so tense? or 20 explore one moment in the novel where stevenson\u2019s writing makes you feel particularly  shocked.    do not use the extract printed in question 19 in your answer.50",
            "26": "26 0486/12/o/n/15 \u00a9 ucles 2015from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from my greatest ambition  (by morris lurie), and then answer the  question that follows it: \u2018i have an appointment to see the editor of boy magazine ,\u2019 i said. \u2018oh,\u2019 she said.\u2018at ten o\u2019clock,\u2019 i said. \u2018i think i\u2019m early.\u2019 it was half past nine.\u2018just one minute,\u2019 she said, and picked up a telephone. while she was  talking i looked around the foyer, in which there was nothing to look at, but i don\u2019t like eavesdropping on people talking on the phone. then she put down the phone and said to me, \u2018won\u2019t be long. would you  like to take a seat?\u2019 for some reason that caught me unawares and i flashed her a blinding  smile and kept standing there, wondering what was going to happen next, and then i realised what she had said and i smiled again and turned around and bumped into a chair and sat down and crossed my legs and looked around and then remembered the shortness of my trousers and quickly uncrossed my legs and sat perfectly straight and still, except for looking at my watch ten times in the next thirty seconds. i don\u2019t know how long i sat there. it was either five minutes or an hour,  it\u2019s hard to say. the lady at the desk didn\u2019t seem to have anything to do, and i didn\u2019t like looking at her, but from time to time our eyes met, and i would smile \u2013 or was that smile stretched across my face from the second i came in? i used to do things like that when i was thirteen. finally a door opened and another lady appeared. she seemed, for  some reason, quite surprised when she saw me sitting there, as though i had three eyes or was wearing a red suit, but i must say this for her, she had poise, she pulled herself together very quickly, hardly dropped a stitch, as it were, and holding open the door through which she had come, she said, \u2018won\u2019t you come this way?\u2019 and i did. i was shown into an office that was filled with men in grey suits. actually,  there were only three of them, but they all stood up when i came in, and the effect was overpowering. i think i might even have taken a half-step back. but my blinding smile stayed firm. the only name i remember is randell and maybe i have that wrong.  there was a lot of handshaking and smiling and saying of names. and when all that was done, no one seemed to know what to do. we just stood there, all uncomfortably smiling. finally, the man whose name might have been randell said, \u2018oh, please,  please, sit down,\u2019 and everyone did. \u2018well,\u2019 mr randell said. \u2018y ou\u2019re a young man to be drawing comics, i must  say.\u2019 \u2018i\u2019ve been interested in comics all my life.\u2019 i said.\u2018well, we like your comic very much,\u2019 he said. \u2018and we\u2019d like to make you  an offer for it. ah, fifteen pounds?\u2019 \u2018i accept,\u2019 i said.i don\u2019t think mr randell was used to receiving quick decisions, for he  then said something that seemed to me enormously ridiculous. \u2018that\u2019s, ah, two pounds ten a page,\u2019 he said, and looked at me with his eyes wide open and one eyebrow higher than the other. \u2018y es, that\u2019s right,\u2019 i said. \u2018six two-and-a-halfs are fifteen. exactly.\u20195 1015202530354045",
            "27": "27 0486/12/o/n/15 \u00a9 ucles 2015that made his eyes open even wider, and suddenly he shut them  altogether and looked down at the floor. one of the other men coughed. no one seemed to know what to do. i leaned back in my chair and crossed my legs and just generally smiled at everyone. i knew what was coming. a job. and i knew what i was going to say then, too. and then mr randell collected himself, as though he had just thought of  something very important (what an actor, i thought) and he said, \u2018oh, there is one other thing, though. jim, do we have mr lurie\u2019s comic here?\u2019 \u2018right here,\u2019 said jim, and whipped it out from under a pile of things on  a desk. \u2018some of the, ah, spelling,\u2019 mr randell said.\u2018oh?\u2019 i said.\u2018well, yes, there are, ah, certain things,\u2019 he said, turning over the pages  of my comic, \u2018not, ah, big mistakes, but, here, see? y ou\u2019ve spelt it as  \u201cjungel\u201d which is not, ah, common usage.\u2019 \u2018y ou\u2019re absolutely right,\u2019 i said, flashing out my fountain pen all ready to  make the correction. \u2018oh, no no no,\u2019 mr randell said. \u2018don\u2019t you worry about it. we\u2019ll, ah, make  the corrections. if you approve, that is.\u2019 \u2018of course,\u2019 i said.\u2018we\u2019ll, ah, post you our cheque for, ah, fifteen pounds,\u2019 he said. \u2018in the  mail,\u2019 he added, rather lamely, it seemed to me. \u2018oh, there\u2019s no great hurry about that,\u2019 i said. \u2018any old time at all will do.\u2019\u2018y es,\u2019 he said.then we fell into another of these silences with which this appointment  seemed to be plagued. mr randell scratched his neck. a truck just outside the window started with a roar and then began to whine and grind. it\u2019s reversing, i thought. my face felt stiff from smiling, but somehow i couldn\u2019t let it go.   how does lurie make the narrator such a likeable character here? or 22 explore the ways in which graham greene makes the story the destructors  both  disturbing and amusing for you.50 5560657075",
            "28": "28 0486/12/o/n/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_13.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (st) 128459 \u00a9 ucles 2015  [turn overcambridge international examinations cambridge international general certificate of secondary education * 2 3 6 8 5 3 6 0 6 9 *literature (english)  0486/13 paper 1  poetry and prose  october/november 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/13/o/n/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/13/o/n/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text\t question \t numbers\t page[s] thomas hardy: \tfrom selected poems   1, 2 pages  4\u20136 from jo phillips ed: poems deep & dangerous \t  3, 4 pages  8\u20139 songs of ourselves : from part 4   5, 6 pages  10\u201311 section b: prose text\t question \t numbers\t page[s] jane austen: northanger abbey   7, 8 pages  12\u201313 tsitsi dangarembga: nervous conditions   9, 10  pages  14\u201315 anita desai: fasting, feasting  11, 12  pages  16\u201317 helen dunmore: the siege  13, 14  page  18 george eliot: silas marner  15, 16  pages  20\u201321 susan hill: i\u2019m the king of the castle  17, 18  pages  22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20  pages  24\u201325 from stories of ourselves  21, 22  pages  26\u201327",
            "4": "4 0486/13/o/n/15 \u00a9 ucles 2015section a: poetry answer one question from this section. thomas hardy: from \tselected \tpoems remember to support your ideas with details from the writing. either  1 explore the ways in which hardy vividly conveys the pain of separation in either  on the  departure platform or the going . on the departure platform we kissed at the barrier; and passing through she left me, and moment by moment got smaller and smaller, until to my view     she was but a spot; a wee white spot of muslin fluff that down the diminishing platform bore through hustling crowds of gentle and rough     to the carriage door. under the lamplight\u2019s fitful glowers, behind dark groups from far and near, whose interests were apart from ours,     she would disappear, then show again, till i ceased to see that flexible form, that nebulous white; and she who was more than my life to me     had vanished quite ... we have penned new plans since that fair fond day, and in season she will appear again \u2013 perhaps in the same soft white array \u2013     but never as then! \u2013 \u2018and why, young man, must eternally fly a joy you\u2019ll repeat, if you love her well?\u2019 \u2013 o friend, nought happens twice thus; why,     i cannot tell!5 10 15 20",
            "5": "5 0486/13/o/n/15 \u00a9 ucles 2015 [turn overthe going why did you give no hint that night that quickly after the morrow\u2019s dawn, and calmly, as if indifferent quite, y ou would close your term here, up and be gone     where i could not follow     with wing of swallow to gain one glimpse of you ever anon!     never to bid good-bye,     or lip me the softest call, or utter a wish for a word, while i saw morning harden upon the wall,     unmoved, unknowing     that your great going had place that moment, and altered all. why do you make me leave the house and think for a breath it is you i see at the end of the alley of bending boughs where so often at dusk you used to be;     till in darkening dankness     the yawning blankness of the perspective sickens me!     y ou were she who abode     by those red-veined rocks far west, y ou were the swan-necked one who rode along the beetling beeny crest,     and, reining nigh me,     would muse and eye me, while life unrolled us its very best. why, then, latterly did we not speak, did we not think of those days long dead, and ere your vanishing strive to seek that time\u2019s renewal? we might have said,     \u2018in this bright spring weather     we\u2019ll visit together those places that once we visited.\u2019     well, well! all\u2019s past amend,     unchangeable. it must go. i seem but a dead man held on end to sink down soon ... o you could not know     that such swift fleeing     no soul foreseeing \u2013 not even i \u2013 would undo me so!5 10 15 20 25 30 35 40",
            "6": "6 0486/13/o/n/15 \u00a9 ucles 2015or 2 read this poem, and then answer the question that follows it: the voice woman much missed, how you call to me, call to me, saying that now you are not as you were when you had changed from the one who was all to me, but as at first, when our day was fair. can it be you that i hear? let me view you, then, standing as when i drew near to the town where you would wait for me: yes, as i knew you then, even to the original air-blue gown! or is it only the breeze, in its listlessness travelling across the wet mead to me here, y ou being ever dissolved to wan wistlessness, heard no more again far or near? thus i; faltering forward, leaves around me falling, wind oozing thin through the thorn from norward, and the woman calling.   how does hardy movingly create sympathy for the speaker in the voice  ?5 10 15",
            "7": "7 0486/13/o/n/15 \u00a9 ucles 2015 [turn overturn to page 8 for question 3.",
            "8": "8 0486/13/o/n/15 \u00a9 ucles 2015from jo phillips ed: poems \tdeep \t&\tdangerous remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: to marguerite y es! in the sea of life enisled, with echoing straits between us thrown, dotting the shoreless watery wild, we mortal millions live alone . the islands feel the enclasping flow, and then their endless bounds they know. but when the moon their hollows lights, and they are swept by balms of spring, and in their glens, on starry nights, the nightingales divinely sing; and lovely notes, from shore to shore, across the sounds and channels pour \u2013 oh! then a longing like despair is to their farthest caverns sent; for surely once, they feel, we were parts of a single continent! now round us spreads the watery plain \u2013 oh might our marges meet again! who order\u2019d, that their longing\u2019s fire should be, as soon as kindled, cool\u2019d? who renders vain their deep desire? \u2013 a god, a god their severance ruled; and bade betwixt their shores to be the unplumb\u2019d, salt, estranging sea. (matthew arnold  )   in what ways does arnold use imagery to striking effect in to marguerite  ?5 10 15 20",
            "9": "9 0486/13/o/n/15 \u00a9 ucles 2015 [turn overor 4 how does mitchell\u2019s writing make her portrayal of people so vivid and entertaining for  you in people etcetera ? people etcetera people are lovely to touch \u2013 a nice warm sloppy tilting belly happy in its hollow of pelvis like a bowl of porridge. people are fun to notice \u2013 their eyes taking off like birds away from their words to settle on breasts and ankles irreverent as pigeons. people are good to smell \u2013 leathery, heathery, culinary or chanel, lamb\u2019s-wool, sea-salt, linen dried in the wind, skin fresh out of a shower. people are delicious to taste \u2013 crisp and soft and tepid as new-made bread, tangy as blackberries, luscious as avocado, native as milk, acrid as truth. people are irresistible to draw \u2013 hand following hand, eye outstaring eye, every curve an experience of self, felt weight of flesh, tension of muscle and all the geology of an elderly face. and people are easy to write about? don\u2019t say it. what are these shadows vanishing round the corner? (elma mitchell  )5 10 15 20 25 30",
            "10": "10 0486/13/o/n/15 \u00a9 ucles 2015songs \tof\tourselves: \tfrom part 4 remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it:  pike pike, three inches long, perfect content removed due to copyright restrictions.",
            "11": "11 0486/13/o/n/15 \u00a9 ucles 2015 [turn overthat rose slowly towards me, watching. (ted hughes  )   explore the ways in which hughes creates feelings of fear in pike. or 6 how does rossetti strikingly use words and images in a birthday  ? a birthday my heart is like a singing bird whose nest is in a watered shoot; my heart is like an apple-tree whose boughs are bent with thickset fruit; my heart is like a rainbow shell that paddles in a halcyon sea; my heart is gladder than all these because my love is come to me. raise me a dais of silk and down; hang it with vair and purple dyes; carve it in doves and pomegranates, and peacocks with a hundred eyes; work it in gold and silver grapes, in leaves and silver fleurs-de-lys; because the birthday of my life is come, my love is come to me. (christina rossetti  )5 10 15content removed due to copyright restrictions.",
            "12": "12 0486/13/o/n/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger \tabbey remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: catherine blushed for her friend, and said, \u2018isabella is wrong. but i am  sure she cannot mean to torment, for she is very much attached to my  brother. she has been in love with him ever since they first met, and while  my father\u2019s consent was uncertain, she fretted herself almost into a fever.  y ou know she must be attached to him.\u2019 \u2018i understand: she is in love with james, and flirts with frederick.\u2019 \u2018oh! no, not flirts. a woman in love with one man cannot flirt with another.\u2019 \u2018it is probable that she will neither love so well, nor flirt so well, as she  might do either singly. the gentlemen must each give up a little.\u2019 after a short pause, catherine resumed with \u2018then you do not believe  isabella so very much attached to my brother?\u2019 \u2018i can have no opinion on that subject.\u2019 \u2018but what can your brother mean? if he knows her engagement, what  can he mean by his behaviour?\u2019 \u2018y ou are a very close questioner.\u2019 \u2018am i? \u2013 i only ask what i want to be told.\u2019 \u2018but do you only ask what i can be expected to tell?\u2019 \u2018y es, i think so; for you must know your brother\u2019s heart.\u2019 \u2018my brother\u2019s heart, as you term it, on the present occasion, i assure you  i can only guess at.\u2019 \u2018well?\u2019 \u2018well! \u2013 nay, if it is to be guess-work, let us all guess for ourselves. to  be guided by second-hand conjecture is pitiful. the premises are before  you. my brother is a lively, and perhaps sometimes a thoughtless young  man; he has had about a week\u2019s acquaintance with your friend, and he has  known her engagement almost as long as he has known her.\u2019 \u2018well,\u2019 said catherine, after some moments\u2019 consideration, \u2018 you may  be able to guess at your brother\u2019s intentions from all this; but i am sure i  cannot. but is not your father uncomfortable about it? \u2013 does not he want  captain tilney to go away? \u2013 sure, if your father were to speak to him, he  would go.\u2019 \u2018my dear miss morland,\u2019 said henry, \u2018in this amiable solicitude for your  brother\u2019s comfort, may you not be a little mistaken? are you not carried  a little too far? would he thank you, either on his own account or miss  thorpe\u2019s, for supposing that her affection, or at least her good-behaviour,  is only to be secured by her seeing nothing of captain tilney? is he safe  only in solitude? \u2013 or, is her heart constant to him only when unsolicited   by anyone else? \u2013 he cannot think this \u2013 and you may be sure that he  would not have you think it. i will not say, \u201cdo not be uneasy,\u201d because i  know that you are so, at this moment; but be as little uneasy as you can.  y ou have no doubt of the mutual attachment of your brother and your  friend; depend upon it therefore, that real jealousy never can exist between  them; depend upon it that no disagreement between them can be of any  duration. their hearts are open to each other, as neither heart can be to 5 10 15 20 25 30 35 40",
            "13": "13 0486/13/o/n/15 \u00a9 ucles 2015 [turn overyou; they know exactly what is required and what can be borne; and you  may be certain, that one will never tease the other beyond what is known  to be pleasant.\u2019 perceiving her still to look doubtful and grave, he added, \u2018though  frederick does not leave bath with us, he will probably remain but a very  short time, perhaps only a few days behind us. his leave of absence will  soon expire, and he must return to his regiment. \u2013 and what will then be  their acquaintance? \u2013 the mess-room will drink isabella thorpe for a  fortnight, and she will laugh with your brother over poor tilney\u2019s passion  for a month.\u2019 catherine would contend no longer against comfort. she had resisted  its approaches during the whole length of a speech, but it now carried her  captive. henry tilney must know best. she blamed herself for the extent  of her fears, and resolved never to think so seriously on the subject again. [from chapter 19]   how does austen make this conversation between catherine and henry tilney at this  moment in the novel so fascinating? or 8 explore how austen vividly portrays a character behaving badly at one moment in the  novel.45 50 55",
            "14": "14 0486/13/o/n/15 \u00a9 ucles 2015tsitsi dangarembga: nervous \tconditions remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: maiguru reached the house just as takesure was explaining that lucia had  refused to leave her sister. \u2018y es,\u2019 he was saying, \u2018it\u2019s lucia\u2019s fault. ehe! that\u2019s what she did, that  lucia of yours. she refused, absolutely refused, to leave. she knew she  had taken this pregnancy of hers, but she just refused to leave.\u2019 \u2018may i pass?\u2019 asked maiguru at the door, curtseying and bringing her  hands together in a respectful, soundless clap. \u2018ma\u2019chido,\u2019 reprimanded babamukuru sternly, \u2018we are listening to a very  important case here. sit down and listen with us.\u2019 \u2018could it be that important?\u2019 demurred maiguru, passing through the  room with a deferential stoop of her back. \u2018we did not know anything about  it.\u2019 \u2018ma\u2019chido,\u2019 babamukuru insisted, his voice breaking ever so slightly,   \u2018i have invited you to sit down and listen to this case.\u2019 \u2018very well, baba,\u2019 acquiesced maiguru, subsiding to the floor and folding  her legs up under her. \u2018i am sure it is not necessary,\u2019 adjudged tete, the female patriarch.  \u2018maiguru works very hard all day. maybe it is best for her to sleep.\u2019 \u2018if she is tired, why doesn\u2019t she say so?\u2019 babamukuru enquired irritably  of tete, and to maiguru he graciously gave permission to leave. maiguru  accepted the permission and passed on to the bedroom. the men looked  after her. \u2018shame,\u2019 sympathised babamunini thomas. \u2018she is so tired, too tired  even to sit and listen. but it is true. maiguru works hard. y a, she really  works hard to keep things comfortable here.\u2019 and babamukuru was  pleased enough to let the matter pass. the rest of us stood whispering outside, listening to these goings on and  peering in at the window when the talking was intense and we thought no  one would notice. \u2018finish what you were telling us, takesure,\u2019 ordered babamukuru. \u2018y es,\u2019 continued takesure, darting pleading glances at my father, who  remained patriarchally impervious and stern. \u2018y es,\u2019 takesure quivered,  \u2018this is what i was saying. she just refused to go with me. ehe! i told her,  mukoma  said we must go, and she laughed! she just laughed and said she  could go with mukoma if mukoma asked because he is her mwaramu, but  she would not go with me. ehe! that is what she said, mukoma, i swear by  my grandmother who died in 1959! that is what she said.\u2019 \u2018i see,\u2019 said babamukuru magnanimously, while lucia in the shadowy  moonlight choked on chuckles that would not be suppressed. \u2018what you  say is not surprising,\u2019 went on babamukuru. \u2018it is understandable, because  it is well known that she is an immodest woman. but why did you not report  the matter?\u2019 \u2018i was afraid, mukoma , truly afraid,\u2019 takesure quavered. \u2018y ou know what  is said of her, that she walks in the night?\u2019 this allegation was takesure\u2019s  undoing. babamukuru cleared his throat and fixed his cousin with an  uncompromising eye. takesure had lost his advantage but he blustered   on. \u2018she threatened terrible things. and we know what she is like. she  would do them. ehe! she would do them. she\u2019s probably the one 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/13/o/n/15 \u00a9 ucles 2015 [turn overbewitching mukoma  jeremiah\u2019s children, so that he will marry her. she  wants jeremiah, not me!\u2019 [from chapter 7]   how does dangarembga make this such an entertaining and revealing moment in the  novel? or 10 tambu refers to chido\u2019s \u2018usual lovable self\u2019. how far does dangarembga\u2019s writing  convince you that chido is lovable?50",
            "16": "16 0486/13/o/n/15 \u00a9 ucles 2015anita desai: fasting, \tfeasting remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: then why, at that moment, when triumph should have reached its apogee,  did everything change? and all good fortune veer around and plunge  shockingly downwards? in a way, it was anamika\u2019s scholarship that had summoned him up,  brought him to her parents\u2019 attention out of the swarm of other suitors,  because he had qualifications equal to hers; he too had degrees, had   won medals and certificates, and it seemed clear he would be a match for  her. uma, aruna and all the other girl cousins crowded around to see the  match when he came, a bridegroom, to the wedding, and they fell back  when they saw him, in dismay. he was so much older than anamika, so  grim-faced and conscious of his own superiority to everyone else present:  those very degrees and medals had made him insufferably proud and kept  everyone at a distance. the children saw that straight away: there would  be no bridegroom jokes played at this wedding, no little gifts and bribes  from him to them. in fact, he barely noticed them; he barely seemed to  notice anamika. the children saw that too \u2013 that she was marrying the  one person who was totally impervious to anamika\u2019s beauty and grace  and distinction. he was too occupied with maintaining his superiority. he  raised his chin and his nose \u2013 which was as long and sharp as a needle  \u2013 and seemed to look over the top of her head as they exchanged heavy  garlands of rose and jasmine, then sat before the ceremonial fire. the  children twisted and squirmed to see what it was that he was staring at:  was there a mirror hanging a little above the bride\u2019s head in which he could  see himself? y es, in a way there was: it was the face of his mother, as sharp-nosed  and grim-featured as he, gazing steadily back at him with an expression of  fortitude in the face of calamity. they were to find out that this was how it  was \u2013 it was the relationship central to his life, leaving room for no other.  anamika was simply an interloper, someone brought in because it was the  custom and because she would, by marrying him, enhance his superiority  to other men. so they had to tolerate her. only they did not tolerate her. no one said so openly, but uma and  aruna heard gossip, over the next year or two, whispers and low voices  that dropped even lower when they were within earshot. when they did  pick up some hints, some information, it was deeply troubling: anamika  had been beaten, anamika was beaten regularly by her mother-in-law  while her husband stood by and approved \u2013 or, at least, did not object.  anamika spent her entire time in the kitchen, cooking for his family which  was large so that meals were eaten in shifts \u2013 first the men, then the  children, finally the women. she herself ate the remains in the pots before  scouring them (or did uma and aruna imagine this last detail?). if the pots  were not properly scoured, so they heard, her mother-in-law threw them  on the ground and made her do them all over again. when anamika was  not scrubbing or cooking, she was in her mother-in-law\u2019s room, either  massaging that lady\u2019s feet or folding and tidying her clothes. she never  went out of the house except to the temple with other women. anamika  had never once been out alone with her husband. aruna wondered what 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/13/o/n/15 \u00a9 ucles 2015 [turn overshe did with all the fine clothes and jewellery she had been given at her  wedding. then the news came that anamika had had to go to the hospital. she  had had a miscarriage at home, it was said, after a beating. it was said she  could not bear more children. now anamika was flawed, she was damaged  goods. she was no longer perfect. would she be sent back to her family?  everyone waited to hear. [from chapter 6]   how does desai make this moment in the novel so disturbing? or 12 how does desai vividly convey how difficult it is for arun to feel at home in the usa?50 55",
            "18": "18 0486/13/o/n/15 \u00a9 ucles 2015helen dunmore: the\tsiege remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: general winter stood in his greatcoat of snow, and greeted general  hunger, as all great generals greet one another, once enough of their  people have died and they can open their talks. general hunger, on the other hand, was not what you would expect.  his cheeks were rosy, his hair sprang from his head, and his eyes were  moist and bright. he was in his element. the two generals sat down on  their chairs, planted their tall polished boots in front of them and leaned  towards one another. they began to boast of what they could do to their  enemies. \u2018this is what i can do,\u2019 said general hunger. \u2018i make their skin flake and  crack at the corners of their mouths. i make sores break out on their lips.  they screw up their eyes and try to focus, but they never see me. they  don\u2019t realize that it\u2019s i who have changed their eyesight. \u2018i whittle most of them down to skeletons, but with some i play a trick  and fill their bodies with liquid that keeps them pinned to their beds.  what i like best is a big, strong, well-muscled lad of eighteen, who burns  up food like a stove. y ou should come back and see him after i\u2019ve been  keeping him company for a few weeks. he melts faster than a candle, in  my hands. his muscles waste away. all those big strong bones stand out.  i can turn him into an old man, i can make his eyes weak and watering, i  can loosen his teeth in his gums until a crust of bread will pull them out.  no one eats himself up quicker than a fit young man. \u2018i turn old men into children whimpering for food, and i turn five-year- olds into old men. it\u2019s all the same to me if they\u2019re young or old, ugly or  beautiful, and i make them all the same. i\u2019ve seen a lovely young woman  of twenty-five shrink back from the sight of herself in a mirror after she\u2019s  been living with me for a month or two. \u2018if i can\u2019t finish them off on my own, i groom them for my friends. a little  cold that wouldn\u2019t keep them in bed for half a day soon proves fatal when  it visits them after i\u2019ve been staying. \u2018i strip them of their thoughts. i take away their feelings. i get into their  blood. i am closer to them than they are to themselves. they can think of  no one else. \u2018my dear cousin, you have got to admit defeat.\u2019 [from chapter 5]   how does dunmore\u2019s writing portray hunger so powerfully at this moment in the novel? or 14 to what extent do you think dunmore portrays the women in the novel as more admirable  than the men?5 10 15 20 25 30",
            "19": "19 0486/13/o/n/15 \u00a9 ucles 2015 [turn overturn to page 20 for question 15.",
            "20": "20 0486/13/o/n/15 \u00a9 ucles 2015george eliot: silas \tmarner remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: baby was christened, the rector deciding that a double baptism was the  lesser risk to incur; and on this occasion silas, making himself as clean and  tidy as he could, appeared for the first time within the church, and shared  in the observances held sacred by his neighbours. he was quite unable, by  means of anything he heard or saw, to identify the raveloe religion with his  old faith: if he could at any time in his previous life have done so, it must have  been by the aid of a strong feeling ready to vibrate with sympathy, rather  than by a comparison of phrases and ideas; and now for long years that  feeling had been dormant. he had no distinct idea about the baptism and  the church-going, except that dolly had said it was for the good of the child;  and in this way, as the weeks grew to months, the child created fresh and  fresh links between his life and the lives from which he had hitherto shrunk  continually into narrower isolation. unlike the gold which needed nothing,  and must be worshipped in close-locked solitude \u2013 which was hidden away  from the daylight, was deaf to the song of birds, and started to no human  tones \u2013 eppie was a creature of endless claims and ever-growing desires,  seeking and loving sunshine, and living sounds, and living movements;  making trial of everything, with trust in new joy, and stirring the human  kindness in all eyes that looked on her. the gold had kept his thoughts in  an ever-repeated circle, leading to nothing beyond itself; but eppie was an  object compacted of changes and hopes that forced his thoughts onward,  and carried them far away from their old eager pacing towards the same  blank limit \u2013 carried them away to the new things that would come with  the coming years, when eppie would have learned to understand how her  father silas cared for her; and made him look for images of that time in   the ties and charities that bound together the families of his neighbours.  the gold had asked that he should sit weaving longer and longer, deafened  and blinded more and more to all things except the monotony of his loom  and the repetition of his web; but eppie called him away from his weaving, and  made him think all its pauses a holiday, reawakening his senses with her  fresh life, even to the old winter-flies that came crawling forth in the early  spring sunshine, and warming him into joy because she had joy. and when the sunshine grew strong and lasting, so that the buttercups  were thick in the meadows, silas might be seen in the sunny mid-day,  or in the late afternoon when the shadows were lengthening under the  hedgerows, strolling out with uncovered head to carry eppie beyond the  stone-pits to where the flowers grew, till they reached some favourite bank  where he could sit down, while eppie toddled to pluck the flowers, and  make remarks to the winged things that murmured happily above the bright  petals, calling \u2018dad-dad\u2019s\u2019 attention continually by bringing him the flowers.  then she would turn her ear to some sudden bird-note, and silas learned  to please her by making signs of hushed stillness, that they might listen for  the note to come again: so that when it came, she set up her small back  and laughed with gurgling triumph. sitting on the banks in this way, silas  began to look for the once familiar herbs again; and as the leaves, with  their unchanged outline and markings, lay on his palm, there was a sense  of crowding remembrances from which he turned away timidly, taking  refuge in eppie\u2019s little world, that lay lightly on his enfeebled spirit. [from chapter 14]5 10 15 20 25 30 35 40 45",
            "21": "21 0486/13/o/n/15 \u00a9 ucles 2015 [turn over  how does eliot\u2019s writing movingly convey the impact of eppie on silas\u2019s life at this  moment in the novel? or 16 in what ways does eliot make the relationship between godfrey and nancy so  compelling?",
            "22": "22 0486/13/o/n/15 \u00a9 ucles 2015susan hill:  i\u2019m\tthe\tking \tof\tthe\tcastle remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: kingshaw woke. the room was quite silent. he had dreamed it, then. he lay on his back, keeping his eyes tightly closed, and thinking about  why hooper might have disappeared for the rest of that day. he had been  waiting for him to come and say, \u2018y ou\u2019ve got to go into the copse, now, i  shall come to the window and watch you, you\u2019ve got to go right in, and if  you don\u2019t \u2026\u2019 but hooper had not come near. what kingshaw thought was, hooper is not very used to being a bully.  he is trying it out, he is just learning. because he was not like the usual  bullies he had known at school. he could cope with them, they had simple,  and transparent minds. in any case, they rarely bothered him, now. he had  ways of dealing with them. but hooper was unpredictable. clever. inventive. there was a sound outside on the landing, a sort of shuffle. but warings  was that sort of house, it moved and creaked all the time, it was old and  the doors and windows did not shut properly. kingshaw turned his head and then opened his eyes, to look at the  clock. he never liked to open his eyes in this room, at night, he could not  stop himself thinking about hooper\u2019s grandfather, lying dead. what he saw first was not the clock. there was a thin beam of moonlight  coming into the room, and a shape upon his bed, about half way down. he  could not at all make out what it was. he listened. somebody had been in  his room, but there was no sound, now, from outside the door. he thought, make me put the light on, i mustn\u2019t be too scared to put the  light on, i\u2019ve got to see. but he dared not reach out his hand, he lay stiff, his  eyes wide open. nothing moved. he did not move. but he had to see, had to know. make me, make me put on the light \u2026 he reached out his left hand swiftly, and found the switch and pressed it  before he could stop himself. he looked. he knew at once that the crow was not real, that it was stuffed and dead.  somehow, that only made it so much worse. its claws were gripping the  sheet. it was very big. kingshaw lay stiff, and did not scream, did not make any sound at all.  he was dry and faint with fear of the thing, though his brain still worked,  he knew who had brought it, he knew that hooper was still waiting out in  the corridor, must have seen the light go on. hooper wanted him to be  frightened, to scream and cry and shout for his mother. he would not do  that. there was nothing, nothing at all, that he could do to help himself.  he wanted to lift up his leg quickly, and topple the terrible bird on to the  floor, out of sight, not to have it there, pressing down on his thigh. but if  he moved at all, it might fall the wrong way \u2013 forwards, nearer to him. he  would not be able to touch it with his hand. he must put out the light. hooper was still waiting, listening. he managed  it, eventually, but he dared not draw his hand back into the bed. he lay with  his eyes squeezed shut, and a burning pain in his bladder. he was afraid  of wetting the bed. he wished to be dead, he wished hooper dead. but  there was nothing, nothing he could do. in the end, towards morning, he  half-slept. when he woke again, it was just after six o\u2019clock. the crow looked even  less real, now, but much larger. he lay and waited for the beak to open so 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/13/o/n/15 \u00a9 ucles 2015 [turn overthat he would see the scarlet inside of its mouth, for it to rise up and swoop  down at him, making for his eyes. he thought, it\u2019s stupid, it\u2019s stupid, it\u2019s only  a stupid, rotten bird. he took one deep breath, and then closed his eyes  and rolled over, out of bed on to the floor. then, ran. he sat for a long time  on the lavatory. the house was quite silent. he wondered what he could do with the thing, how he could possibly get  rid of it. now it was daylight, he would be even more afraid of touching it  with his bare hands, but he wouldn\u2019t tell anyone about its presence in his  room. it would have to stay there, then, lie on the floor beside his bed, night  after night, until mrs boland came to clean and took it away. but when he got back, the crow had gone. [from chapter 3]   how effectively does hill\u2019s writing create a sense of terror at this moment in the novel? or 18 to what extent does hill make the adults in the novel difficult to admire?50 55",
            "24": "24 0486/13/o/n/15 \u00a9 ucles 2015robert louis stevenson: the\tstrange \tcase \tof\tdr\tjekyll \tand\tmr\thyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it:  \u201810th december, 18\u2014 \u2018dear lanyon,\u2014y ou are one of my oldest friends; and although we may  have differed at times on scientific questions, i cannot remember, at least  on my side, any break in our affection. there was never a day when, if you  had said to me, \u201cjekyll, my life, my honour, my reason, depend upon you,\u201d  i would not have sacrificed my fortune or my left hand to help you. lanyon,  my life, my honour, my reason, are all at your mercy; if you fail me to-night,  i am lost. y ou might suppose, after this preface, that i am going to ask you  for something dishonourable to grant. judge for yourself. \u2018i want you to postpone all other engagements for to-night\u2014ay, even if  you were summoned to the bedside of an emperor; to take a cab, unless  your carriage should be actually at the door; and with this letter in your  hand for consultation, to drive straight to my house. poole, my butler, has  his orders; you will find him waiting your arrival with a locksmith. the door  of my cabinet is then to be forced; and you are to go in alone; to open the  glazed press (letter e) on the left hand, breaking the lock if it be shut; and  to draw out, with all its contents as they stand , the fourth drawer from the  top or (which is the same thing) the third from the bottom. in my extreme  distress of mind, i have a morbid fear of misdirecting you; but even if i am  in error, you may know the right drawer by its contents: some powders, a  phial and a paper book. this drawer i beg of you to carry back with you to  cavendish square exactly as it stands. \u2018that is the first part of the service: now for the second. y ou should be  back, if you set out at once on the receipt of this, long before midnight; but  i will leave you that amount of margin, not only in the fear of one of those  obstacles that can neither be prevented nor foreseen, but because an hour  when your servants are in bed is to be preferred for what will then remain  to do. at midnight, then, i have to ask you to be alone in your consulting  room, to admit with your own hand into the house a man who will present  himself in my name, and to place in his hands the drawer that you will have  brought with you from my cabinet. then you will have played your part  and earned my gratitude completely. five minutes, afterwards, if you insist  upon an explanation, you will have understood that these arrangements  are of capital importance; and that by the neglect of one of them, fantastic  as they must appear, you might have charged your conscience with my  death or the shipwreck of my reason. \u2018confident as i am that you will not trifle with this appeal, my heart sinks  and my hand trembles at the bare thought of such a possibility. think of me  at this hour, in a strange place, labouring under a blackness of distress that  no fancy can exaggerate, and yet well aware that, if you will but punctually  serve me, my troubles will roll away like a story that is told. serve me, my  dear lanyon, and save  \u2018y our friend,  \u2018h. j. \u2018p .s. i had already sealed this up when a fresh terror struck upon my  soul. it is possible that the post office may fail me, and this letter not come  into your hands until to-morrow morning. in that case, dear lanyon, do my 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/13/o/n/15 \u00a9 ucles 2015 [turn overerrand when it shall be most convenient for you in the course of the day;  and once more expect my messenger at midnight. it may then already be  too late; and if that passes without event, you will know that you have seen  the last of henry jekyll.\u2019 [from chapter 9, \u2018dr lanyon\u2019s narrative\u2019 ]   how does stevenson\u2019s writing vividly convey jekyll\u2019s desperation to you at this moment  in the novel? or 20 explore the ways in which stevenson makes the final night and death of dr jekyll  /  mr hyde so dramatic.50",
            "26": "26 0486/13/o/n/15 \u00a9 ucles 2015from  stories \tof\tourselves remember to support your ideas with details from the writing. either  21 read this extract from sandpiper  (by ahdaf soueif), and then answer the question that  follows it: i lean against the wall of my room and count: twelve years ago, i met  him. eight years ago, i married him. six years ago, i gave birth to his child. for eight summers we have been coming here; to the beach-house  west of alexandria. the first summer had not been a time of reflection;  my occupation then had been to love my husband in this \u2013 to me \u2013 new  and different place. to love him as he walked towards my parasol, shaking  the water from his black hair, his feet sinking into the warm, hospitable  sand. to love him as he carried his nephew on his shoulders into the sea,  threw him in, caught him and hoisted him up again; a colossus bestriding  the waves. to love him as he played backgammon with his father in the  evening, the slam of counters and the clatter of dice resounding on the  patio while, at the dining-room table, his sister showed me how to draw  their ornate, circular script. to love this new him, who had been hinted at  but never revealed when we lived in my northern land, and who after a long  absence, had found his way back into the heart of his country, taking me  along with him. we walked in the sunset along the water\u2019s edge, kicking at  the spray, my sun-hat fallen on my back, my hand, pale bronze in his burnt  brown, my face no doubt mirroring his: aglow with health and love; a young  couple in a glitzy commercial for life insurance or a two-week break in the  sun. my second summer here was the sixth summer of our love \u2013 and the  last of our happiness. carrying my child and loving her father, i sat on  the beach, dug holes in the sand and let my thoughts wander. i thought  about our life in my country, before we were married: four years in the cosy  flat, precarious on top of a roof in a georgian square, him meeting me at  the bus-stop when i came back from work, sundays when it did not rain  and we sat in the park with our newspapers, late nights at the movies. i  thought of those things and missed them \u2013 but with no great sense of loss.  it was as though they were all there, to be called upon, to be lived again  whenever we wanted. i looked out to sea and, now i realise, i was trying to work out my  co-ordinates. i thought a lot about the water and the sand as i sat there  watching them meet and flirt and touch. i tried to understand that i was  on the edge, the very edge of africa; that the vastness ahead was nothing  compared to what lay behind me. but \u2013 even though i\u2019d been there and  seen for myself its never-ending dusty green interior, its mountains, the big  sky, my mind could not grasp a world that was not present to my senses \u2013 i  could see the beach, the waves, the blue beyond, and cradling them all,  my baby. i sat with my hand on my belly and waited for the tiny eruptions, the small  flutterings, that told me how she lay and what she was feeling. gradually,  we came to talk to each other. she would curl into a tight ball in one corner  of my body until, lopsided and uncomfortable, i coaxed and prodded her  back into a more centred, relaxed position. i slowly rubbed one corner  of my belly until there , aimed straight at my hand, i felt a gentle punch. i  tapped and she punched again. i was twenty-nine. for seventeen years my  body had waited to conceive, and now my heart and mind had caught up 5 10 15 20 25 30 35 40 45",
            "27": "27 0486/13/o/n/15 \u00a9 ucles 2015with it. nature had worked admirably; i had wanted the child through my  love for her father and how i loved her father that summer. my body could  not get enough of him. his baby was snug inside me and i wanted him  there too. from where i stand now, all i can see is dry, solid white. the white glare,  the white wall, and the white path, narrowing in the distance. i should have gone. no longer a serrating thought but familiar and dull.  i should have gone. on that swirl of amazed and wounded anger when,  knowing him as i did, i first sensed that he was pulling away from me, i  should have gone. i should have turned, picked up my child and gone.   how does soueif make this passage so moving? or 22 what makes the writer\u2019s portrayal of a young person so memorable in either  her first  ball (by katherine mansfield) or the son\u2019s veto  (by thomas hardy)?50 55",
            "28": "28 0486/13/o/n/15 \u00a9 ucles 2015blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_21.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 128458 \u00a9 ucles 2015  [turn over * 0 3 1 4 9 7 4 4 6 7 *literature (english)  0486/21 paper 2  drama  october/november 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. y ou must answer one passage-based question (marked *) and one essay question (marked \u2020). y our questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.cambridge international examinations cambridge international general certificate of secondary education",
            "2": "2 0486/21/o/n/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the text. either  *1 read this passage, and then answer the question that follows it: keller:\t george \u2013 hey, you kissed it out of my head \u2013 your brother\u2019s on  the phone. ann\t [surprised \t \t]: my brother? keller:\t y eah, george. long distance. ann:\t what\u2019s the matter, is anything wrong? keller:\t i don\u2019t know, kate\u2019s talking to him. hurry up, she\u2019ll cost him  five dollars. ann\t [takes \ta\tstep\tupstage, \tthen\tcomes \tdown \ttowards \tchris]: i  wonder if we ought to tell your mother yet? i mean i\u2019m not very  good in an argument. chris:\t we\u2019ll wait till tonight. after dinner. now don\u2019t get tense, just  leave it to me. keller:\t what\u2019re you telling her? chris:\t go ahead, ann. [ with\tmisgivings,  ann goes \tup\tand\t into\thouse. ] we\u2019re getting married, dad. [keller nods \t indecisively. ] well, don\u2019t you say anything? keller\t [distracted \t \t]: i\u2019m glad, chris, i\u2019m just \u2013 george is calling from  columbus. chris:\t columbus! keller:\t did annie tell you he was going to see his father today? chris:\t no, i don\u2019t think she knew anything about it. keller\t [asking \tuncomfortably ]: chris! y ou \u2013 you think you know her  pretty good? chris\t [hurt\tand\tapprehensive ]: what kind of a question? keller:\t i\u2019m just wondering. all these years george don\u2019t go to see his  father. suddenly he goes \u2026 and she comes here. chris:\t well, what about it? keller:\t it\u2019s crazy, but it comes to my mind. she don\u2019t hold nothin\u2019  against me, does she? chris\t [angry ]: i don\u2019t know what you\u2019re talking about. keller\t [a\tlittle\tmore \tcombatively ]: i\u2019m just talkin\u2019. to his last day in  court the man blamed it all on me; and this is his daughter. i  mean if she was sent here to find out something? chris\t [angered ]: why? what is there to find out? ann\t [on\tphone, \toffstage ]: why are you so excited, george? what  happened there? keller:\t i mean if they want to open up the case again, for the nuisance  value, to hurt us?5 10 15 20 25 30 35",
            "3": "3 0486/21/o/n/15 \u00a9 ucles 2015 [turn overchris:\t dad \u2026 how could you think that of her? ann\t [still\ton\tphone ]: but what did he say to you, for god\u2019s sake?   together keller:\t it couldn\u2019t be, heh. y ou know. chris:\t dad, you amaze me \u2026 keller\t [breaking \tin]: all right, forget it, forget it. [ with\tgreat \tforce, \t moving \tabout \t \t] i want a clean start for you, chris. i want a new  sign over the plant \u2013 christopher keller, incorporated. chris\t [a\tlittle\tuneasily ]: j. o. keller is good enough. keller:\t we\u2019ll talk about it. i\u2019m going to build you a house, stone, with  a driveway from the road. i want you to spread out, chris, i  want you to use what i made for you. [ he\tis\tclose \tto\thim\tnow. ]  i mean, with joy, chris, without shame \u2026 with joy. chris\t [touched \t \t]: i will, dad. keller\t [with\tdeep \temotion ]: say it to me. chris:\t why? keller:\t because sometimes i think you\u2019re \u2026ashamed of the money. chris:\t no, don\u2019t feel that. keller:\t because it\u2019s good money, there\u2019s nothing wrong with that  money. chris\t [a\tlittle\tfrightened \t \t]: dad, you don\u2019t have to tell me this. keller\t [\u2013\twith\toverriding \taffection \tand\tself-confidence \tnow.\the\tgrips \t chris by\tthe\tback \tof\tthe\tneck, \tand\twith\tlaughter \tbetween \t his\tdetermined \tjaws ]: look, chris, i\u2019ll go to work on mother  for you. we\u2019ll get her so drunk tonight we\u2019ll all get married!  [steps \taway, \twith\ta\twide \tgesture \tof\this\tarm. ] there\u2019s gonna  be a wedding, kid, like there never was seen! champagne,  tuxedos \u2013 ! \t   [he\tbreaks \toff\tas\tann\u2019s \tvoice \tcomes \tout\tloud\tfrom\tthe\t house \twhere \tshe\tis\tstill\ttalking \ton\tphone. ] ann:\t simply because when you get excited you don\u2019t control  yourself. \u2026 [mother comes \tout\tof\thouse .] well, what did he  tell you for god\u2019s sake? [ pause. ] all right, come then. [ pause. ]  y es, they\u2019ll all be here. nobody\u2019s running away from you. and  try to get hold of yourself, will you? [ pause. ] all right, all right.  good-bye. [ there \tis\ta\tbrief\tpause \tas\tann \thangs \tup\treceiver, \t then\tcomes \tout\tof\tkitchen. ] [from\tact\t1]     explore the ways in which miller makes this such a dramatic and significant moment in  the play. or  \u20202  in what ways does miller memorably convey the relationship between joe keller and his  son chris?40 45 50 55 60 65 70 75",
            "4": "4 0486/21/o/n/15 \u00a9 ucles 2015j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  *3 read this passage, and then answer the question that follows it: inspector:\t mrs birling, you\u2019re a member \u2013 a prominent member \u2013 of the  brumley women\u2019s charity organization, aren\u2019t you? content removed due to copyright restrictions.",
            "5": "5 0486/21/o/n/15 \u00a9 ucles 2015 [turn overmrs\tbirling\t [stung ]: y es, it was. i didn\u2019t like her manner.  [from\tact\t2]    in what ways does priestley make this moment in the play so dramatic and revealing? or  \u20204 does priestley\u2019s writing make it possible for you to have any sympathy for sheila?content removed due to copyright restrictions.",
            "6": "6 0486/21/o/n/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  *5 read this passage, and then answer the question that follows it: portia:\t          why then, thus it is: y ou must prepare your bosom for his knife. shylock:\t o noble judge! o excellent young man! portia:\t for the intent and purpose of the law hath full relation to the penalty,   which here appeareth due upon the bond. shylock:\t \u2019tis very true. o wise and upright judge, how much more elder art thou than thy looks! portia:\t therefore, lay bare your bosom. shylock:\t               ay, his breast \u2013 so says the bond; doth it not, noble judge?   \u2018nearest his heart\u2019, those are the very words. portia:\t it is so. are there balance here to weigh  the flesh? shylock:\t  i have them ready. portia:\t have by some surgeon, shylock, on your charge, to stop his wounds, lest he do bleed to death. shylock:\t is it so nominated in the bond? portia:\t it is not so express\u2019d, but what of that? \u2019twere good you do so much for charity. shylock:\t i cannot find it; \u2019tis not in the bond. portia:\t y ou, merchant, have you anything to say? antonio:\t but little: i am arm\u2019d and well prepar\u2019d. give me your hand bassanio; fare you well.   grieve not that i am fall\u2019n to this for you,   for herein fortune shows herself more kind   than is her custom. it is still her use   to let the wretched man outlive his wealth,   to view with hollow eye and wrinkled brow   an age of poverty; from which ling\u2019ring penance   of such misery doth she cut me off.   commend me to your honourable wife;   tell her the process of antonio\u2019s end;   say how i lov\u2019d you; speak me fair in death;   and, when the tale is told, bid her be judge   whether bassanio had not once a love.   repent but you that you shall lose your friend,   and he repents not that he pays your debt;   for if the jew do cut but deep enough,   i\u2019ll pay it instantly with all my heart. bassanio:\t antonio, i am married to a wife which is as dear to me as life itself;   but life itself, my wife, and all the world,   are not with me esteem\u2019d above thy life;   i would lose all, ay, sacrifice them all   here to this devil, to deliver you.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/21/o/n/15 \u00a9 ucles 2015 [turn overportia:\t y our wife would give you little thanks for that, if she were by to hear you make the offer, gratiano:\t i have a wife who i protest i love; i would she were in heaven, so she could   entreat some power to change this currish jew. nerissa:\t \u2019tis well you offer it behind her back; the wish would make else an unquiet house. shylock:\t [aside ]: these be the christian husbands! i have a daughter \u2013 would any of the stock of barrabas   had been her husband, rather than a christian! \u2013   we trifle time; i pray thee pursue sentence. portia:\t a pound of that same merchant\u2019s flesh is thine. the court awards it and the law doth give it.  [from\tact\t4\tscene \t1]    how does shakespeare make this such a powerful and memorable moment in the play? or  \u20206 how far does shakespeare\u2019s writing convince you that bassanio deserves portia?50 55",
            "8": "8 0486/21/o/n/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the text. either  *7 read this passage, and then answer the question that follows it: helena:\t good hermia, do not be so bitter with me. i evermore did love you, hermia,   did ever keep your counsels, never wrong\u2019d 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\u2019ned 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.   y ou see how simple and how fond i am. hermia:\t why, get you gone! who is\u2019t that hinders you? helena:\t a foolish heart that i leave here behind. hermia:\t what! with lysander? helena:\t           with demetrius. lysander:\t be not afraid; she shall not harm thee, helena. demetrius:\t no, sir, she shall not, though you take her part. helena:\t 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. hermia:\t \u2018little\u2019 again! nothing but \u2018low\u2019 and \u2018little\u2019! why will you suffer her to flout me thus?   let me come to her. lysander:\t          get you gone, you dwarf; y ou minimus, of hind\u2019ring knot-grass made;   y ou bead, you acorn. demetrius:\t          y ou are too officious in her behalf that scorns your services.   let her alone; speak not of helena;   take not her part; for if thou dost intend   never so little show of love to her,   thou shalt aby it. lysander:\t        now she holds me not. now follow, if thou dar\u2019st, to try whose right,   of thine or mine, is most in helena. demetrius:\t follow! nay, i\u2019ll go with thee, cheek by jowl. \t  [exeunt \tl ysander \tand\tdemetrius . hermia:\t y ou, mistress, all this coil is long of you. nay, go not back. helena:\t         i will not trust you, i; nor longer stay in your crust company.   y our hands than mine are quicker for a fray;   my legs are longer though, to run away. \t           [exit.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/21/o/n/15 \u00a9 ucles 2015 [turn overhermia:\t i am amaz\u2019d, and know not what to say.   [exit. oberon:\t this is thy negligence. still thou mistak\u2019st, or else committ\u2019st thy knaveries wilfully. puck:\t believe me, king of shadows, i mistook. did not you tell me i should know the man   by the athenian garments he had on?   and so far blameless proves my enterprise   that i have \u2019nointed an athenian\u2019s eyes;   and so far am i glad it so did sort,   as this their jangling i esteem a sport. oberon:\t thou seest these lovers seek a place to fight. hie therefore, robin, overcast the night;   the starry welkin cover thou anon   with drooping fog as black as acheron,   and lead these testy rivals so astray   as one come not within another\u2019s way.   like to lysander sometime frame thy tongue,   then stir demetrius up with bitter wrong;   and sometime rail thou like demetrius;   and from each other look thou lead them thus,   till o\u2019er their brows death-counterfeiting sleep   with leaden legs and batty wings doth creep.   then crush this herb into lysander\u2019s eye;   whose liquor hath this virtuous property,   to take from hence all error with his might   and make his eyeballs roll with wonted sight.   when they next wake, all this derision   shall seem a dream and fruitless vision;   and back to athens shall the lovers wend   with league whose date till death shall never end.   whiles i in this affair do thee employ,   i\u2019ll to my queen, and beg her indian boy;   and then i will her charmed eye release   from monster\u2019s view, and all things shall be peace.  [from\tact\t3\tscene \t2]     in what ways does shakespeare make this such a dramatic and significant moment in  the play? or  \u20208  explore the ways in which shakespeare makes the wood such a memorable setting in  a\tmidsummer \tnight\u2019s \tdream .50 55 60 65 70 75 80",
            "10": "10 0486/21/o/n/15 \u00a9 ucles 2015william shakespeare: the tempest remember to support your ideas with details from the text. either  *9 read this passage, and then answer the question that follows it: \t enter  caliban ,\twith\ta\tburden \tof\twood. \t a\tnoise \tof\tthunder \theard. caliban:\t all the infections that the sun sucks up from bogs, fens, flats, on prosper fall, and make him   by inch-meal a disease! his spirits hear me,   and yet i needs must curse. but they\u2019ll nor pinch,   fright me with urchin-shows, pitch me i\u2019 th\u2019 mire,   nor lead me, like a firebrand, in the dark   out of my way, unless he bid \u2019em; but   for every trifle are they set upon me;   sometime like apes that mow and chatter at me,   and after bite me; then like hedgehogs which   lie tumbling in my barefoot way, and mount   their pricks at my footfall; sometime am i   all wound with adders, who with cloven tongues   do hiss me into madness. enter \ttrinculo . \t             lo, now, lo! here comes a spirit of his, and to torment me   for bringing wood in slowly. i\u2019ll fall flat;   perchance he will not mind me. trinculo:\t here\u2019s neither bush nor shrub to bear off any weather at all,  and another storm brewing; i hear it sing i\u2019 th\u2019 wind.   y ond same black cloud, yond huge one, looks like a foul  bombard that would shed his liquor. if it should thunder as  it did before, i know not where to hide my head. y ond same  cloud cannot choose but fall by pailfuls. what have we here?  a man or a fish? dead or alive? a fish: he smells like a fish; a  very ancient and fish-like smell; a kind of not-of-the-newest  poor-john. a strange fish! were i in england now, as once i  was, and had but this fish painted, not a holiday fool there but  would give a piece of silver. there would this monster make  a man; any strange beast there makes a man; when they will  not give a doit to relieve a lame beggar, they will lay out ten to  see a dead indian. legg\u2019d like a man, and his fins like arms!  warm, o\u2019 my troth! i do now let loose my opinion; hold it no  longer: this is no fish, but an islander, that hath lately suffered  by a thunderbolt. \t [thunder ] alas, the storm is come again! my best way  is to creep under his gaberdine; there is no other shelter  hereabout. misery acquaints a man with strange bedfellows. i  will here shroud till the dregs of the storm be past. enter \tstephano \tsinging; \ta\tbottle \tin\this\thand. stephano:\t i shall no more to sea, to sea, here shall i die ashore \u2013   this is a very scurvy tune to sing at a man\u2019s funeral; well,  here\u2019s my comfort.  [drinks .5 10 15 20 25 30 35 40 45",
            "11": "11 0486/21/o/n/15 \u00a9 ucles 2015 [turn over\t  the master, the swabber, the boatswain, and i,  the gunner, and his mate,    lov\u2019d mall, meg, and marian, and margery,    but none of us car\u2019d for kate;    for she had a tongue with a tang,    would cry to a sailor \u2018go hang!\u2019    she lov\u2019d not the savour of tar nor of pitch,    y et a tailor might scratch her where\u2019er she did itch.    then to sea, boys, and let her go hang! \t this is a scurvy tune too; but here\u2019s my comfort.  [drinks . caliban:\t do not torment me. o! stephano:\t what\u2019s the matter? have we devils here? do you put tricks  upon\u2019s with savages and men of ind? ha! i have not scap\u2019d  drowning to be afeard now of your four legs; for it hath been  said: as proper a man as ever went on four legs cannot make  him give ground; and it shall be said so again, while stephano  breathes at nostrils. caliban:\t the spirit torments me. o! stephano:\t this is some monster of the isle with four legs, who hath got,  as i take it, an ague. where the devil should he learn our  language? i will give him some relief, if it be but for that. if i  can recover him, and keep him tame, and get to naples with  him, he\u2019s a present for any emperor that ever trod on neat\u2019s  leather. caliban:\t do not torment me, prithee; i\u2019ll bring my wood home faster. stephano:\t he\u2019s in his fit now, and does not talk after the wisest. he shall  taste of my bottle; if he have never drunk wine afore, it will  go near to remove his fit. if i can recover him, and keep him  tame, i will not take too much for him; he shall pay for him that  hath him, and that soundly. caliban:\t thou dost me yet but little hurt; thou wilt anon, i know it by thy  trembling; now prosper works upon thee.  [from\tact\t2\tscene \t2]    how does shakespeare make this such a memorable moment in the play? or  \u202010 to what extent do you think that shakespeare portrays prospero as a cruel master?50 55 60 65 70 75",
            "12": "12 0486/21/o/n/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  *11 read this passage, and then answer the question that follows it: cecily:\t uncle jack! oh, i am pleased to see you back. but what horrid  clothes you have got on. do go and change them. miss \tprism:\t cecily! chasuble:\t my child! my child. [cecil y goes \ttowards  jack; \the\tkisses \ther\t brow \tin\ta\tmelancholy \tmanner. ] cecily:\t what is the matter, uncle jack? do look happy! y ou look as  if you had toothache, and i have got such a surprise for you.  who do you think is in the dining-room? y our brother! jack:\t who? cecily:\t y our brother ernest. he arrived about half an hour ago. jack:\t what nonsense! i haven\u2019t got a brother. cecily:\t oh, don\u2019t say that. however badly he may have behaved  to you in the past he is still your brother. y ou couldn\u2019t be so  heartless as to disown him. i\u2019ll tell him to come out. and you  will shake hands with him, won\u2019t you, uncle jack? [ runs \tback \t into\tthe\thouse. ] chasuble:\t these are very joyful tidings. miss \tprism:\t after we had all been resigned to his loss, his sudden return  seems to me peculiarly distressing. jack:\t my brother is in the dining-room? i don\u2019t know what it all  means. i think it is perfectly absurd. \t [enter \talgernon \tand\tcecil y \thand \tin\thand. \tthey \tcome \t slowly \tup\tto\tjack .] jack:\t good heavens! [ motions  algernon away .] algernon:\t brother john, i have come down from town to tell you that i  am very sorry for all the trouble i have given you, and that i  intend to lead a better life in the future. [jack glares \tat\thim\t and\tdoes \tnot\ttake\this\thand. ] cecily:\t uncle jack, you are not going to refuse your own brother\u2019s  hand? jack:\t nothing will induce me to take his hand. i think his coming  down here disgraceful. he knows perfectly well why. cecily:\t uncle jack, do be nice. there is some good in everyone.  ernest has just been telling me about his poor invalid friend  mr bunbury whom he goes to visit so often. and surely there  must be much good in one who is kind to an invalid, and  leaves the pleasures of london to sit by a bed of pain. jack:\t oh! he has been talking about bunbury, has he? cecily:\t y es, he has told me all about poor mr bunbury, and his terrible  state of health. jack:\t bunbury! well, i won\u2019t have him talk to you about bunbury or  about anything else. it is enough to drive one perfectly frantic. algernon:\t of course i admit that the faults were all on my side. but i must  say that i think that brother john\u2019s coldness to me is peculiarly 5 10 15 20 25 30 35 40",
            "13": "13 0486/21/o/n/15 \u00a9 ucles 2015painful. i expected a more enthusiastic welcome especially  considering it is the first time i have come here. cecily:\t uncle jack, if you don\u2019t shake hands with ernest i will never  forgive you. jack:\t never forgive me? cecily:\t never, never, never! jack:\t well, this is the last time i shall ever do it. [ shakes \thands \twith\t algernon \tand\tglares. ] chasuble:\t it\u2019s pleasant, is it not, to see so perfect a reconciliation? i think  we might leave the two brothers together. miss \tprism:\t cecily, you will come with us. cecily:\t certainly, miss prism. my little task of reconciliation is over. chasuble:\t y ou have done a beautiful action today, dear child. miss \tprism:\t we must not be premature in our judgements. cecily:\t i feel very happy. [ they \tall\tgo\toff\texcept \tjack \tand\t algernon .] jack:\t y ou young scoundrel, algy, you must get out of this place as  soon as possible. i don\u2019t allow any bunburying here. \t [enter  merriman.] merriman:\t i have put mr ernest\u2019s things in the room next to yours, sir. i  suppose that is all right? jack:\t what? merriman:\t mr ernest\u2019s luggage, sir. i have unpacked it and put it in the  room next to your own. jack:\t his luggage? merriman:\t y es, sir. three portmanteaus, a dressing-case, two hat-boxes,  and a large luncheon-basket. algernon:\t i am afraid i can\u2019t stay more than a week this time.  [from\tact\t2]    how does wilde make this moment in the play so entertaining? or  \u202012  explore the ways in which wilde makes the relationship between dr chasuble and  miss  prism so delightfully amusing.45 50 55 60 65 70",
            "14": "14 0486/21/o/n/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/21/o/n/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/21/o/n/15 \u00a9 ucles 2015blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_22.pdf": {
            "1": "this document consists of 13 printed pages and 3 blank pages, and 1 insert. dc (st) 128457 \u00a9 ucles 2015  [turn overcambridge international examinations cambridge international general certificate of secondary education * 2 8 3 8 1 8 0 3 2 0 *literature (english)  0486/22 paper 2  drama  october/november 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. y ou must answer one passage-based question (marked *) and one essay question (marked \u2020). y our questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/22/o/n/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the text. either  *1 read this extract, and then answer the question that follows it: \t [mother comes \tout.\tshe\tcarries \ta\tpot\tof\tstring \tbeans .] mother:\t it\u2019s her day off, what are you crabbing about? chris\t [to mother]: isn \u2019t annie finished eating? mother\t [looking \taround \tpreoccupiedly \tat\tyard]: she \u2019ll be right  out. [ moves .] that wind did some job on this place. [ of\t the\ttree.] so much for that, thank god. keller\t [indicating \tchair \tbeside \thim]: sit down, take it easy. mother  [pressing \ther\thand \tto\ttop\tof\ther\thead ]: i\u2019ve got such a  funny pain on the top of my head. chris:  can i get you an aspirin?  [mother picks \ta\tfew\tpetals \toff\tground, \tstands \tthere \t smelling \tthem \tin\ther\thand, \tthen\tsprinkles \tthem \tover\t plants .] mother:  no more roses. it \u2019s so funny ... everything decides to  happen at the same time. this month is his birthday;  his tree blows down, annie comes. everything that  happened seems to be coming back. i was just down  the cellar, and what do i stumble over? his baseball  glove. i haven \u2019t seen it in a century. chris:  don\u2019t you think annie looks well? mother:  fine. there \u2019s no question about it. she \u2019s a beauty. ... i  still don \u2019t know what brought her here. not that i \u2019m not  glad to see her, but \u2013 chris:  i just thought we \u2019d all like to see each other again.  [mother just\tlooks \tat\thim,\tnodding \tever\tso\tslightly \t\u2013 almost \tas\tthough \tadmitting \tsomething .] and i wanted to  see her myself. mother  [as\ther\tnods \thalt,\tto keller]: the only thing is i think  her nose got longer. but i \u2019ll always love that girl. she \u2019s  one that didn \u2019t jump into bed with somebody else as  soon as it happened with her fella. keller\t [as\tthough \tthat\twere \timpossible \tfor\tannie ]: oh, what \u2019re  you \u2013 ? mother:  never mind. most of them didn \u2019t wait till the telegrams  were opened. i \u2019m just glad she came, so you can see  i\u2019m not completely  out of my mind. [ sits,\tand\trapidly \t breaks \tstring \tbeans \tin\tthe\tpot.] chris:  just because she isn \u2019t married doesn\u2019t mean she\u2019s  been mourning larry. mother  [with\tan\tundercurrent \tof\tobservation ]: why then isn \u2019t  she? chris  [a\tlittle\tflustered ]: well ... it could \u2019ve been any number of  things. mother  [directly \tat\thim]: like what, for instance? chris  [embarrassed, \tbut\tstanding \this\tground ]: i don \u2019t know.  whatever it is. can i get you an aspirin?  [mother puts\ther\thand \tto\ther\thead. \tshe\tgets\tup\tand\t goes \taimlessly \ttowards \tthe\ttrees \ton\trising .] mother:  it\u2019s not like a headache.5 10 15 20 25 30 35 40 45",
            "3": "3 0486/22/o/n/15 \u00a9 ucles 2015 [turn overkeller:\t y ou don \u2019t sleep, that \u2019s why. she \u2019s wearing out more  bedroom slippers than shoes. mother:  i had a terrible night. [ she\tstops \tmoving .] i never had a  night like that. chris  [looking \tat\tkeller ]: what was it, mom? did you  dream? mother:  more, more than a dream. chris  [hesitantly ]: about larry? mother:  i was fast asleep, and \u2013 [ raising \ther\tarm\tover\tthe\t audience .] remember the way he used to fly low past  the house when he was in training? when we used to  see his face in the cockpit going by? that \u2019s the way i  saw him. only high up. way, way up, where the clouds  are. he was so real i could reach out and touch him. and  suddenly he started to fall. and crying, crying to me  ...  mom, mom! i could hear him like he was in the room.  mom! ... it was his voice! if i could touch him i knew i  could stop him, if i could only \u2013 [ breaks \toff,\tallowing \ther\t outstretched \thand \tto\tfall.] i woke up and it was so funny  \u2013 the wind  ... it was like the roaring of his engine. i came  out here  ... i must \u2019ve still been half asleep. i could hear  that roaring like he was going by. the tree snapped right  in front of me \u2013 and i like \u2013 came awake. [ she\tis\tlooking \t at\ttree.\tshe\tsuddenly \trealizes \tsomething, \tturns \twith\ta\t reprimanding \tfinger \tshaking \tslightly \tat keller.] see?  we should never have planted that tree. i said so in the  first place; it was too soon to plant a tree for him.  [from \tact\t1]    how does miller make this such a striking introduction to kate? or  \u20202  what makes miller\u2019s portrayal of the relationship between steve and george deever  such a powerful part of the play?50 55 60 65 70 75",
            "4": "4 0486/22/o/n/15 \u00a9 ucles 2015j.b. priestley: an inspector calls remember to support your ideas with details from the text. either  *3 read this extract, and then answer the question that follows it: inspector\t [taking \tcharge, \tmasterfully ]: stop! \t content removed due to copyright restrictions.",
            "5": "5 0486/22/o/n/15 \u00a9 ucles 2015 [turn oversheila:\t but that\u2019s not what i\u2019m talking about. i don\u2019t care  about that. the point is, you don\u2019t seem to have learnt  anything.  [from \tact\t3]    in what ways does priestley make this such a powerfully dramatic moment in the play? or  \u20204  explore the ways in which priestley creates such a memorable portrait of eva smith,  despite the fact that she never appears in the play.    do not use the extract printed in question 3 in your answer.content removed due to copyright restrictions.",
            "6": "6 0486/22/o/n/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  *5  read this extract, and then answer the question that follows it: shylock:\t \t three thousand ducats \u2013 well. bassanio:\t ay, sir, for three months. shylock:\t \t for three months \u2013 well. bassanio:\t for the which, as i told you, antonio shall be bound. shylock:\t \t antonio shall become bound \u2013 well. bassanio:\t \tmay you stead me? will you pleasure me? shall i  know your answer? shylock:\t \t \tthree thousand ducats for three months, and  antonio bound. bassanio:\t y our answer to that. shylock:\t \t antonio is a good man. bassanio:\t have you heard any imputation to the contrary? shylock:\t \t \tho, no, no, no, no; my meaning in saying he is a  good man is to have you understand me that he is  sufficient; yet his means are in supposition: he hath  an argosy bound to tripolis, another to the indies;  i understand, moreover, upon the rialto, he hath  a third at mexico, a fourth for england \u2013 and other  ventures he hath, squand \u2019red abroad. but ships are  but boards, sailors but men; there be land-rats and  water-rats, water-thieves and land-thieves \u2013 i mean  pirates; and then there is the peril of waters, winds,  and rocks. the man is, notwithstanding, sufficient.  three thousand ducats \u2013 i think i may take his bond. bassanio:\t be assur \u2019d you may. shylock:\t \t \ti will be assur \u2019d i may; and, that i may be assured, i  will bethink me. may i speak with antonio? bassanio:\t if it please you to dine with us. shylock:\t \t \ty es, to smell pork, to eat of the habitation which  your prophet, the nazarite, conjured the devil into!  i will buy with you, sell with you, talk with you, walk  with you, and so following; but i will not eat with you,  drink with you, nor pray with you. what news on the  rialto? who is he comes here?   enter  antonio bassanio:\t this is signior antonio. shylock\t \t \t[aside ]: how like a fawning publican he looks! i hate him for he is a christian;   but more for that in low simplicity   he lends out money gratis, and brings down   the rate of usance here with us in venice.   if i can catch him once upon the hip,   i will feed fat the ancient grudge i bear him.   he hates our sacred nation; and he rails,   even there where merchants most do congregate,   on me, my bargains, and my well-won thrift,   which he calls interest. cursed be my tribe   if i forgive him! bassanio:\t \t \t \t shylock, do you hear? shylock:\t \t \ti am debating of my present store,5 10 15 20 25 30 35 40 45 50",
            "7": "7 0486/22/o/n/15 \u00a9 ucles 2015 [turn overand, by the near guess of my memory,   i cannot instantly raise up the gross   of full three thousand ducats. what of that?   tubal, a wealthy hebrew of my tribe,   will furnish me. but soft! how many months   do you desire? [ to\tantonio ] rest you fair, good  signior;   y our worship was the last man in our mouths. antonio :   shylock, albeit i neither lend nor borrow by taking nor by giving of excess,   y et, to supply the ripe wants of my friend,   i\u2019ll break a custom. [ to\tbassanio ] is he yet  possess \u2019d how much ye would? shylock:\t \t \t\t \t ay, ay, three thousand ducats. antonio :  and for three months. shylock:\t \t \ti had forgot \u2013 three months; you told me so. well then, your bond; and, let me see \u2013 but hear    you,  methoughts you said you neither lend nor borrow   upon advantage. antonio :    i do never use it.  [from \tact\t1\tscene \t3] how does shakespeare make you have mixed feelings about shylock at this  moment in the play? or  \u20206 explore the ways in which shakespeare makes false appearances so significant in  the play.55 60 65 70",
            "8": "8 0486/22/o/n/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the text. either  *7  read this extract, and then answer the question that follows it: \t \t enter  quince as\tthe prologue. prologue:\t if \twe\toffend, \tit\tis\twith\tour\tgood \twill. \t \t that \tyou\tshould \tthink, \twe\tcome \tnot\tto\toffend, \t \t but \twith\tgood \twill.\tto\tshow \tour\tsimple \tskill, \t \t that \tis\tthe\ttrue\tbeginning \tof\tour\tend. \t \t consider \tthen, \twe\tcome \tbut\tin\tdespite. \t \t we \tdo\tnot\tcome, \tas\tminding \tto\tcontent \tyou, \t \t our \ttrue\tintent \tis.\tall\tfor\tyour\tdelight \t \t we \tare\tnot\there. \tthat \tyou\tshould \there \trepent \tyou, \t \t the \tactors \tare\tat\thand; \tand,\tby\ttheir\tshow, \t \t y ou \tshall \tknow \tall,\tthat\tyou\tare\tlike\tto\tknow. theseus:\t \t this fellow doth not stand upon points. lysander:\t \the hath rid his prologue like a rough colt; he knows  not the stop. a good moral my lord: it is not enough  to speak, but to speak true. hippolyta:\t \tindeed he hath play \u2019d on this prologue like a child on  a recorder \u2013 a sound, but not in government. theseus:\t \t \this speech was like a tangled chain; nothing  impaired, but all disordered. who is next?   \tenter, \twith\ta\ttrumpet \tbefore \tthem, \tas\tin\tdumb \tshow,   pyramus and thisby , wall, moonshine, and  lion. prologue:\t gentles, \tperchance \tyou\twonder \tat\tthis\tshow; \t \t but \twonder \ton,\ttill\ttruth \tmake \tall\tthings \tplain. \t \t this \tman\tis\tpyramus, \tif\tyou\twould \tknow; \t \t this \tbeauteous \tlady\tthisby \tis\tcertain. \t \t this \tman, \twith\tlime\tand\trough-cast, \tdoth\tpresent \t \t wall, \tthat\tvile\twall\twhich \tdid\tthese \tlovers \tsunder; \t \t \tand\tthrough \twall\u2019s \tchink, \tpoor \tsouls, \tthey\tare\t \tcontent \t \t to \twhisper. \tat\tthe\twhich \tlet\tno\tman\twonder. \t \t this \tman, \twith\tlanthorn, \tdog,\tand\tbush \tof\tthorn, \t \t presenteth \tmoonshine; \tfor,\tif\tyou\twill\tknow, \t \t by \tmoonshine \tdid\tthese \tlovers \tthink \tno\tscorn \t \t to \tmeet \tat\tninus\u2019 \ttomb, \tthere, \tthere \tto\twoo. \t \t this \tgrisly \tbeast, \twhich \tlion\thight \tby\tname, \t \t the \ttrusty \tthisby, \tcoming \tfirst\tby\tnight, \t \t did \tscare \taway, \tor\trather \tdid\taffright; \t \t and \tas\tshe\tfled,\ther\tmantle \tshe\tdid\tfall; \t \t which \tlion\tvile\twith\tbloody \tmouth \tdid\tstain. \t \t anon \tcomes \tpyramus, \tsweet \tyouth \tand\ttall, \t \t and \tfinds \this\ttrusty \tthisby\u2019s \tmantle \tslain; \t \t whereat \twith\tblade, \twith\tbloody \tblameful \tblade, \t \t he \tbravely \tbroach\u2019d \this\tboiling \tbloody \tbreast; \t \t and \tthisby, \ttarrying \tin\tmulberry \tshade, \t \t his \tdagger \tdrew, \tand\tdied. \tfor\tall\tthe\trest, \t \t let \tlion, \tmoonshine, \twall, \tand\tlovers \ttwain, \t \t at \tlarge \tdiscourse \twhile \there \tthey\tdo\tremain. \t \t \t \t[exeunt \tprologue ,\tpyramus ,\tthisby ,\t lion ,\tand\tmoonshine .5 10 15 20 25 30 35 40 45 50",
            "9": "9 0486/22/o/n/15 \u00a9 ucles 2015 [turn overtheseus:\t \t i wonder if the lion be to speak. demetrius:   no wonder, my lord: one lion may, when many asses  do. wall:   \tin\tthis\tsame \tinterlude \tit\tdoth\tbefall \t \t that \ti,\tone\tsnout \tby\tname, \tpresent \ta\twall; \t \t and \tsuch \ta\twall\tas\ti\twould \thave \tyou\tthink \t \t that \thad\tin\tit\ta\tcrannied \thole\tor\tchink, \t \t through \twhich \tthe\tlovers, \tpyramus \tand\tthisby, \t \t did \twhisper \toften \tvery\tsecretly. \t \t \tthis\tloam, \tthis\trough-cast, \tand\tthis\tstone, \tdoth\t \tshow \t \t that \ti\tam\tthat\tsame \twall;\tthe\ttruth \tis\tso; \t \t and \tthis\tthe\tcranny \tis,\tright\tand\tsinister, \t \t through \twhich \tthe\tfearful \tlovers \tare\tto\twhisper. theseus:\t \t would you desire lime and hair to speak better? demetrius:   it is the wittiest partition that ever i heard discourse,  my lord.   enter  pyramus. theseus:\t \t pyramus draws near the wall; silence. pyramus:  o\tgrim-look\u2019d \tnight! \to\tnight \twith\thue\tso\tblack! \t \t o \tnight, \twhich \tever\tart\twhen \tday\tis\tnot! \t \t o \tnight, \to\tnight, \talack, \talack, \talack, \t \t i \tfear\tmy\tthisby\u2019s \tpromise \tis\tforgot! \t \t and \tthou, \to\twall, \to\tsweet, \to\tlovely \twall, \t \t that \tstand\u2019st \tbetween \ther\tfather\u2019s \tground \tand\tmine; \t \t thou \twall, \to\twall, \to\tsweet \tand\tlovely \twall, \t \t show \tme\tthy\tchink, \tto\tblink \tthrough \twith\tmine \teyne. [ wall \tholds \tup\this\tfingers. \t \t \tthanks, \tcourteous \twall.\tjove \tshield \tthee\twell\tfor\t \tthis!\t \t \t but \twhat \tsee\ti?\tno\tthisby \tdo\ti\tsee. \t \t o \twicked \twall, \tthrough \twhom \ti\tsee\tno\tbliss; \t \t curs\u2019d \tbe\tthy\tstones \tfor\tthus\tdeceiving \tme! theseus:\t \t \tthe wall, methinks, being sensible, should curse  again. pyramus:   no, in truth, sir, he should not. deceiving \tme is  thisby \u2019s cue. she is to enter now, and i am to spy  her through the wall. y ou shall see it will fall pat as i  told you; yonder she comes.  [from \tact\t5\tscene \t1] how does shakespeare make this such an enjoyable moment in the play? or  \u20208 explore the ways in which shakespeare strikingly portrays similarities between  oberon and theseus.55 60 65 70 75 80 85",
            "10": "10 0486/22/o/n/15 \u00a9 ucles 2015william shakespeare:  the tempest remember to support your ideas with details from the text. either  *9  read this extract, and then answer the question that follows it: gonzalo:\t\t beseech you, sir, be merry; you have cause, \t  so have we all, of joy; for our escape \t  is much beyond our loss. our hint of woe \t  is common; every day, some sailor\u2019s wife, \t  the masters of some merchant, and the merchant, \t  have just our theme of woe; but for the miracle, \t  i mean our preservation, few in millions \t  can speak like us. then wisely, good sir, weigh \t  our sorrow with our comfort. alonso:\t \t prithee, peace. sebastian:\t he receives comfort like cold porridge. antonio:\t \t the visitor will not give him o \u2019er so. sebastian:\t \tlook, he \u2019s winding up the watch of his wit; by and by  it will strike. gonzalo:\t\t sir \u2013 sebastian:\t one \u2013 tell. gonzalo:\t\t when every grief is entertain\u2019d that\u2019s offer\u2019d, \t  comes to th\u2019 entertainer \u2013 sebastian:\t a dollar. gonzalo:\t\t \tdolour comes to him, indeed; you have spoken truer  than you purpos\u2019d. sebastian:\t y ou have taken it wiselier than i meant you should. gonzalo:\t\t therefore, my lord \u2013 antonio:\t \t fie, what a spendthrift is he of his tongue! alonso:\t \t i prithee, spare. gonzalo:\t\t well, i have done; but yet \u2013 sebastian:\t he will be talking. antonio:\t \t \twhich, of he or adrian, for a good wager, first begins  to crow? sebastian:\t the old cock. antonio:\t \t the cock \u2019rel. sebastian:\t done. the wager? antonio:\t \t a laughter. sebastian:\t a match! adrian:\t \t though this island seem to be desert \u2013 antonio:\t \t ha, ha, ha! sebastian:\t so, you \u2019re paid. adrian:\t \t uninhabitable, and almost inaccessible \u2013 sebastian:\t y et \u2013 adrian:\t \t y et \u2013 antonio:\t \t he could not miss \u2019t. adrian:\t \t \tit must needs be of subtle, tender, and delicate  temperance. antonio:\t \t temperance was a delicate wench. sebastian:\t ay, and a subtle; as he most learnedly deliver \u2019d. adrian:\t \t the air breathes upon us here most sweetly. sebastian:\t as if it had lungs, and rotten ones. antonio:\t \t or, as \u2019twere perfum\u2019 d by a fen. gonzalo:\t\t here is everything advantageous to life. antonio:\t \t true; save means to live.5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/22/o/n/15 \u00a9 ucles 2015 [turn oversebastian:\t of that there \u2019s none, or little. gonzalo:\t\t how lush and lusty the grass looks! how green! antonio:\t \t the ground indeed is tawny. sebastian:\t with an eye of green in \u2019t. antonio:\t \t he misses not much. sebastian:\t no; he doth but mistake the truth totally. gonzalo:\t\t \tbut the rarity of it is, which is indeed almost beyond  credit \u2013 sebastian:\t as many vouch \u2019d rarities are. gonzalo:\t\t \tthat our garments, being, as they were, drench \u2019d in  the sea, hold, notwithstanding, their freshness and  glosses, being rather newdy \u2019d, than stain \u2019d with salt  water. antonio:\t \t \tif but one of his pockets could speak, would it not  say he lies? sebastian:\t ay, or very falsely pocket up his report. gonzalo:\t\t \tmethinks our garments are now as fresh as when  we put them on first in afric, at the marriage of the  king \u2019s fair daughter claribel to the king of tunis. sebastian:\t \t\u2019twas a sweet marriage, and we prosper well in our  return. adrian:\t \t \ttunis was never grac \u2019d before with such a paragon  to their queen. gonzalo:\t\t not since widow dido \u2019s time.  [from \tact\t2\tscene \t1]     how does shakespeare create striking impressions of the characters on stage at  this moment in the play? or  \u202010 \u2018in the\ttempest \tgood clearly triumphs over evil.\u2019 explore the ways in which  shakespeare vividly conveys this to you.55 60 65 70",
            "12": "12 0486/22/o/n/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  *11  read this extract, and then answer the question that follows it: \t [enter \tjack \tslowly \tfrom \tthe\tback \tof\tthe\tgarden. \t he\tis\tdressed \tin\tthe\tdeepest \tmourning, \twith\tcr\u00eape \t hatband \tand\tblack \tgloves. ] miss \tprism:\t mr worthing! chasuble:\t mr worthing? miss \tprism:\t this is indeed a surprise. we did not look for you till  monday afternoon. jack\t [shakes  miss prism\u2019 s hand \tin\ta\ttragic \tmanner ]: i  have returned sooner than i expected. dr chasuble,  i hope you are well? chasuble:\t dear mr worthing, i trust this garb of woe does not  betoken some terrible calamity? jack:\t my brother. miss \tprism:\t more shameful debts and extravagance? chasuble:\t still leading his life of pleasure? jack\t [shaking \this\thead ]: dead! chasuble:\t y our brother ernest dead? jack:\t quite dead. miss \tprism:\t what a lesson for him! i trust he will profit by it. chasuble:\t mr worthing, i offer you my sincere condolence.  y ou have at least the consolation of knowing that  you are always the most generous and forgiving of  brothers. jack:\t poor ernest! he had many faults, but it is a sad,  sad blow. chasuble:\t very sad indeed. were you with him at the end? jack:\t no. he died abroad; in paris, in fact. i had a  telegram last night from the manager of the grand  hotel. chasuble:\t was the cause of death mentioned? jack:\t a severe chill, it seems. miss \tprism:\t as a man sows, so shall he reap. chasuble\t [raising \this\thand ]: charity, dear miss prism, charity!  none of us are perfect. i myself am peculiarly  susceptible to draughts. will the interment take  place here? jack:\t no. he seems to have expressed a desire to be  buried in paris. chasuble:\t in paris! [ shakes \this\thead .] i fear that hardly  points to any very serious state of mind at the  last. y ou would no doubt wish me to make some  slight allusion to this tragic domestic affliction next  sunday. [jack presses \this\thand \tconvulsively .]  my sermon on the meaning of the manna in the  wilderness can be adapted to almost any occasion,  joyful, or, as in the present case, distressing. [ all\t sigh.] i have preached it at harvest celebrations,  christenings, confirmations, on days of humiliation  and festal days. the last time i delivered it was in  the cathedral, as a charity sermon on behalf of the 5 10 15 20 25 30 35 40 45 50",
            "13": "13 0486/22/o/n/15 \u00a9 ucles 2015society for the prevention of discontent among the  upper orders. the bishop, who was present, was  much struck by some of the analogies i drew. jack:\t ah! that reminds me, you mentioned christenings  i think, dr chasuble? i suppose you know how  to christen all right? [dr chasuble looks \t astounded .] i mean, of course, you are continually  christening, aren\u2019t you? miss \tprism:\t it is, i regret to say, one of the rector\u2019s most  constant duties in this parish. i have often spoken  to the poorer classes on the subject. but they don\u2019t  seem to know what thrift is. chasuble:\t but is there any particular infant in whom you  are interested, mr worthing? y our brother was, i  believe, unmarried, was he not? jack:\t oh yes. miss \tprism\t [bitterly ]: people who live entirely for pleasure  usually are. jack:\t but it is not for any child, dear doctor. i am very  fond of children. no! the fact is, i would like to  be christened myself, this afternoon, if you have  nothing better to do. chasuble:\t but surely, mr worthing, you have been christened  already? jack:\t i don\u2019t remember anything about it. chasuble:\t but have you any grave doubts on the subject? jack:\t i certainly intend to have. of course i don\u2019t know  if the thing would bother you in any way, or if you  think i am a little too old now. chasuble:\t not at all. the sprinkling, and, indeed, the immersion of adults is a perfectly canonical practice. jack:\t immersion! \t [from \tact\t2]    how does wilde make this such an entertaining moment in the play? or  \u202012 cecily is described as \u2018a sweet, simple, innocent girl\u2019 by jack. how far does wilde  make you agree with this description?55 60 65 70 75 80",
            "14": "14 0486/22/o/n/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/22/o/n/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/22/o/n/15 \u00a9 ucles 2015blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_23.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 128456 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education * 4 9 8 7 5 3 1 3 1 6 *literature (english) 0486/23 paper 2  drama october/november 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside the question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. y ou must answer one passage-based question (marked *) and one essay question (marked \u2020).y our questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/23/o/n/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the text. either *1 read this passage, and then answer the question that follows it: chris\t [quietly, incredibly]: how could you do that? how? keller:\t what\u2019s the matter with you! chris: dad \u2026 dad, you killed twenty-one men! keller: what, killed? chris: y ou killed them, you murdered them. keller [as though throwing his whole nature open before chris]:  how could i kill anybody? chris: dad! dad! keller [trying to hush him]: i didn\u2019t kill anybody! chris: then explain it to me. what did you do? explain it to me or  i\u2019ll tear you to pieces! keller [horrified at his overwhelming fury ]: don\u2019t, chris, don\u2019t \u2013 chris: i want to know what you did, now what did you do? y ou had  a hundred and twenty cracked engine-heads, now what did  you do? keller: if you\u2019re going to hang me then i \u2013 chris: i\u2019m listening. god almighty, i\u2019m listening! keller [ \u2013 their movements now are those of subtle pursuit and  escape. keller keeps a step out of chris\u2019s range as he  talks.]: y ou\u2019re a boy, what could i do! i\u2019m in business, a man is in business; a hundred and twenty cracked, you\u2019re out of  business; you got a process, the process don\u2019t work you\u2019re  out of business; you don\u2019t know how to operate, your stuff is no good; they close you up, they tear up your contracts, what the hell\u2019s it to them? y ou lay forty years into a business and they knock you out in five minutes, what could i do, let them take forty years, let them take my life away? [his voice  cracking] i never thought they\u2019d install them. i swear to god. i  thought they\u2019d stop \u2019em before anybody took off. chris: then why\u2019d you ship them out? keller: by the time they could spot them i thought i\u2019d have the process going again, and i could show them they needed me and they\u2019d let it go by. but weeks passed and i got no kick-back, so i was going to tell them. chris: then why didn\u2019t you tell them? keller: it was too late. the paper, it was all over the front page, twenty-one went down, it was too late. they came with handcuffs into the shop, what could i do? [he sits on bench.] chris \u2026 chris, i did it for you, it was a chance and i took it  for you. i\u2019m sixty-one years old, when would i have another  chance to make something for you? sixty-one years old you don\u2019t get another chance, do ya? chris: y ou even knew they wouldn\u2019t hold up in the air. keller: i didn\u2019t say that.5 10 15 20 25 30 35 40",
            "3": "3 0486/23/o/n/15 \u00a9 ucles 2015 [turn overchris: but you were going to warn them not to use them \u2013  keller: but that don\u2019t mean \u2013  chris:  it means you knew they\u2019d crash. keller:  it don\u2019t mean that. chris: then you thought they\u2019d crash. keller: i was afraid maybe \u2013  chris: y ou were afraid maybe! god in heaven, what kind of man  are you? kids were hanging in the air by those heads. y ou knew that! keller: for you, a business for you! chris [with burning fury]: for me! where do you live, where have you come from? for me! \u2013 i was dying every day and you  were killing my boys and you did it for me? what the hell do  you think i was thinking of, the goddam business? is that as far as your mind can see, the business? what is that, the world \u2013 the business? what the hell do you mean, you did it for me? don\u2019t you have a country? don\u2019t you live in the  world? what the hell are you? y ou\u2019re not even an animal, no  animal kills his own, what are you? what must i do to you? i ought to tear the tongue out of your mouth, what must i do? [with his fist he pounds down upon his father\u2019s shoulder. he stumbles away, covering his face as he weeps.] what must i do, jesus god, what must i do? keller: chris \u2026 my chris \u2026   curtain [from act 2 ]    how does miller make this such a powerfully dramatic ending to act 2? or \u20202 how do you think the portrayal of the two couples \u2013 sue and jim bayliss and frank and  lydia lubey \u2013 contributes to the power of miller\u2019s play?45 50 55 6065",
            "4": "4 0486/23/o/n/15 \u00a9 ucles 2015j. b. priestley: an inspector calls remember to support your ideas with details from the text. either *3 read this passage, and then answer the question that follows it: birling [somewhat impatiently ]: look \u2013 there\u2019s nothing mysterious \u2013  content removed due to copyright restrictions.",
            "5": "5 0486/23/o/n/15 \u00a9 ucles 2015 [turn overinspector: they might. but after all it\u2019s better to ask for the earth than to  take it. [from act 1]     in what ways does priestley make this such a dramatic and significant moment  in the play? or \u20204 explore the ways in which priestley vividly depicts the conflict between mrs birling and  sheila in two moments in the play.content removed due to copyright restrictions.",
            "6": "6 0486/23/o/n/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the text. either *5 read this passage, and then answer the question that follows it: antonio:  is that anything now? bassanio:\t gratiano speaks an infinite deal of nothing, more than  any man in all venice. his reasons are as two grains of wheat hid in two bushels of chaff: you shall seek all day ere you find them, and when you have them they are not worth the search. antonio:\t well; tell me now what lady is the sameto whom you swore a secret pilgrimage,  that you to-day promis\u2019d to tell me of? bassanio:\t \u2019tis not unknown to you, antonio, how much i have disabled mine estate   by something showing a more swelling port   than my faint means would grant continuance;   nor do i now make moan to be abridg\u2019d from such a noble rate; but my chief care  is to come fairly off from the great debts  wherein my time, something too prodigal,  hath left me gag\u2019d. to you, antonio, i owe the most, in money and in love;   and from your love i have a warranty  to unburden all my plots and purposes how to get clear of all the debts i owe. antonio: i pray you, good bassanio, let me know it;and if it stand, as you yourself still do,  within the eye of honour, be assur\u2019d  my purse, my person, my extremest means,   lie all unlock\u2019d to your occasions. bassanio: in my school-days, when i had lost one shaft,i shot his fellow of the self-same flight the self-same way, with more advised watch,   to find the other forth; and by adventuring both  i oft found both. i urge this childhood proof, because what follows is pure innocence.   i owe you much; and, like a wilful youth, that which i owe is lost; but if you please to shoot another arrow that self way which you did shoot the first, i do not doubt,  as i will watch the aim, or to find both,  or bring your latter hazard back again  and thankfully rest debtor for the first. antonio: y ou know me well, and herein spend but timeto wind about my love with circumstance;  and out of doubt you do me now more wrong in making question of my uttermost  than if you had made waste of all i have.   then do but say to me what i should do  that in your knowledge may by me be done, and i am prest unto it; therefore, speak.5     10         15         20      25        30         35        40        45  ",
            "7": "7 0486/23/o/n/15 \u00a9 ucles 2015 [turn overbassanio: in belmont is a lady richly left, and she is fair and, fairer than that word, of wondrous virtues. sometimes from her eyes i did receive fair speechless messages.   her name is portia \u2013 nothing undervalu\u2019d  to cato\u2019s daughter, brutus\u2019 portia.   nor is the wide world ignorant of her worth;   for the four winds blow in from every coast  renowned suitors, and her sunny locks hang on her temples like a golden fleece,  which makes her seat of belmont colchos\u2019 strond,  and many jasons come in quest of her.   o my antonio, had i but the means to hold a rival place with one of them, i have a mind presages me such thrift that i should questionless be fortunate. antonio: thou know\u2019st that all my fortunes are at sea;neither have i money nor commodity to raise a present sum; therefore go forth, try what my credit can in venice do;   that shall be rack\u2019d, even to the uttermost, to furnish thee to belmont to fair portia.   go presently inquire, and so will i, where money is; and i no question make to have it of my trust or for my sake.  [exeunt. [from act 1 scene 1 ]     how does shakespeare create vivid impressions of bassanio and his friendship with antonio at this moment in the play? or \u20206 what does shakespeare\u2019s writing make you feel about jessica and lorenzo?  50        55         60        65        70   ",
            "8": "8 0486/23/o/n/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the text. either *7 read this passage, and then answer the question that follows it: oberon:  i wonder if titania be awak\u2019d; then, what it was that next came in her eye,  which she must dote on in extremity.   enter puck.   here comes my messenger. how now, mad spirit!  what night-rule now about this haunted grove? puck:\t my mistress with a monster is in love. near to her close and consecrated bower, while she was in her dull and sleeping hour, a crew of patches, rude mechanicals, that work for bread upon athenian stalls,  were met together to rehearse a play  intended for great theseus\u2019 nuptial day.   the shallowest thickskin of that barren sort, who pyramus presented, in their sport forsook his scene and ent\u2019red in a brake;   when i did him at this advantage take, an ass\u2019s nole i fixed on his head.   anon his thisby must be answered, and forth my mimic comes. when they him spy, as wild geese that the creeping fowler eye, or russet-pated choughs, many in sort,  rising and cawing at the gun\u2019s report,  sever themselves and madly sweep the sky, so at his sight away his fellows fly;   and at our stamp here, o\u2019er and o\u2019er one falls;   he murder cries, and help from athens calls.   their sense thus weak, lost with their fears thus strong, made senseless things begin to do them wrong, for briers and thorns at their apparel snatch;   some sleeves, some hats, from yielders all things catch.   i led them on in this distracted fear, and left sweet pyramus translated there;   when in that moment, so it came to pass, titania wak\u2019d, and straightway lov\u2019d an ass. oberon:\t this falls out better than i could devise. but hast thou yet latch\u2019d the athenian\u2019s eyes   with the love-juice, as i did bid thee do? puck:\t i took him sleeping \u2013 that is finish\u2019d too \u2013  and the athenian woman by his side;   that, when he wak\u2019d, of force she must be ey\u2019d.   enter demetrius and hermia. oberon:\t stand close; this is the same athenian. puck:\t this is the woman, but not this the man. demetrius:\t o, why rebuke you him that loves you so?lay breath so bitter on your bitter foe.5        10         15         20         25        30       35       40         45",
            "9": "9 0486/23/o/n/15 \u00a9 ucles 2015 [turn overhermia: 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\u2019er 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\u2019ll believe as soon  this whole earth may be bor\u2019d, and that the moon may through the centre creep and so displease  her brother\u2019s noontide with th\u2019 antipodes.   it cannot be but thou hast murd\u2019red him;   so should a murderer look \u2013 so dead, so grim. demetrius:\t so should the murdered look; and so should i, pierc\u2019d through the heart with your stern cruelty;   y et you, the murderer, look as bright, as clear, as yonder venus in her glimmering sphere. hermia: what\u2019s this to my lysander? where is he?ah, good demetrius, wilt thou give him me? demetrius:\t i had rather give his carcass to my hounds. [from act 3 scene 2 ]     how does shakespeare make this such a dramatic moment in the play? or \u20208 to what extent do you think that shakespeare portrays hermia and helena as victims?    50         55        60        65  ",
            "10": "10 0486/23/o/n/15 \u00a9 ucles 2015william shakespeare: the tempest remember to support your ideas with details from the text. either *9 read this passage, and then answer the question that follows it: prospero:  thou poisonous slave, got by the devil himself upon thy wicked dam, come forth!   enter caliban. caliban:\t as wicked dew as e\u2019er my mother brush\u2019dwith raven\u2019s feather from unwholesome fen drop on you both! a south-west blow on ye   and blister you all o\u2019er! prospero: for this, be sure, to-night thou shalt have cramps, side-stitches that shall pen thy breath up; urchins shall, for that vast of night that they may work, all exercise on thee; thou shalt be pinch\u2019d  as thick as honeycomb, each pinch more stinging  than bees that made \u2019em. caliban:\t \t \t \ti must eat my dinner. this island\u2019s mine, by sycorax my mother, which thou tak\u2019st from me. when thou cam\u2019st first, thou strok\u2019st me and made much of me, wouldst   give me  water with berries in\u2019t, and teach me how   to name the bigger light, and how the less,  that burn by day and night; and then i lov\u2019d thee, and show\u2019d thee all the qualities o\u2019 th\u2019 isle, the fresh springs, brine-pits, barren place and fertile.   curs\u2019d be i that did so! all the charms of sycorax, toads, beetles, bats, light on you!  for i am all the subjects that you have,  which first was mine own king; and here you sty me in this hard rock, whiles you do keep from me the rest o\u2019 th\u2019 island. prospero:    thou most lying slave, whom stripes may move, not kindness! i have   us\u2019d thee,  filth as thou art, with human care, and lodg\u2019d thee in mine own cell, till thou didst seek to violate the honour of my child. caliban:\t o ho, o ho! would\u2019t had been done.thou didst prevent me; i had peopl\u2019d else this isle with calibans. miranda:\t \t \t \tabhorred slave, which any print of goodness wilt not take, being capable of all ill! i pitied thee, took pains to make thee speak, taught thee  each hour  one thing or other. when thou didst not, savage, know thine own meaning, but wouldst gabble like a thing most brutish, i endow\u2019d thy purposes with words that made them known. but thy vile race,5      10      15       20   25      30 35       40       45",
            "11": "11 0486/23/o/n/15 \u00a9 ucles 2015 [turn over  though thou didst learn, had that in\u2019t which    good natures  could not abide to be with; therefore wast thou deservedly confin\u2019d into this rock, who hadst  deserv\u2019d more than a prison. caliban:\t y ou taught me language, and my profit on\u2019tis, i know how to curse. the red plague rid you for learning me your language! prospero:    hag-seed, hence! fetch us in fuel. and be quick, thou\u2019rt best, to answer other business. shrug\u2019st thou, malice? if thou neglect\u2019st, or dost unwillingly what i command, i\u2019ll rack thee with old cramps, fill all thy bones with aches, make thee roar,  that beasts shall tremble at thy din. caliban:\t \t \t \tno, pray thee. [aside ] i must obey. his art is of such pow\u2019r,  it would control my dam\u2019s god, setebos,   and make a vassal of him. prospero:    so, slave; hence!  [exit caliban [from act 1 scene 2 ]     to what extent does shakespeare make it possible for you to feel sympathy for caliban at this moment in the play? or \u202010 \u2018so perfect and so peerless.\u2019 how far does shakespeare make you agree with this view of  miranda?50      55       60    65",
            "12": "12 0486/23/o/n/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either *11 read this passage, and then answer the question that follows it: gwendolen: ah! that accounts for it. and now that i think of it i have never  heard any man mention his brother. the subject seems  distasteful to most men. cecily, you have lifted a load from  my mind. i was growing almost anxious. it would have been terrible if any cloud had come across a friendship like ours, would it not? of course you are quite, quite sure that it is not mr ernest worthing who is your guardian? cecily: quite sure. [a pause.] in fact, i am going to be his. gwendolen [inquiringly]: i beg your pardon? cecily [rather shy and confidingly]: dearest gwendolen, there is no reason why i should make a secret of it to you. our little  county newspaper is sure to chronicle the fact next week.  mr ernest worthing and i are engaged to be married. gwendolen [quite politely, rising]: my darling cecily, i think there must  be some slight error. mr ernest worthing is engaged to me.   the announcement will appear in the morning post on  saturday at the latest. cecily [very politely, rising]: i am afraid you must be under some  misconception. ernest proposed to me exactly ten minutes  ago. [shows diary.] gwendolen [examines diary through her lorgnette carefully ]: it is very  curious, for he asked me to be his wife yesterday afternoon  at 5.30. if you would care to verify the incident, pray do so.  [produces diary of her own.] i never travel without my diary.  one should always have something sensational to read in the train. i am so sorry, dear cecily, if it is any disappointment to you, but i am afraid i have the prior claim. cecily: it would distress me more than i can tell you, dear gwendolen, if it caused you any mental or physical anguish, but i feel bound to point out that since ernest proposed to you he clearly has changed his mind. gwendolen [meditatively ]: if the poor fellow has been entrapped into any  foolish promise i shall consider it my duty to rescue him at once, and with a firm hand. cecily [thoughtfully and sadly]: whatever unfortunate entanglement my dear boy may have got into, i will never reproach him  with it after we are married. gwendolen:  do you allude to me, miss cardew, as an entanglement? y ou  are presumptuous. on an occasion of this kind it becomes more than a moral duty to speak one\u2019s mind. it becomes a pleasure. cecily: do you suggest, miss fairfax, that i entrapped ernest into an engagement? how dare you? this is no time for wearing the shallow mask of manners. when i see a spade i call it a spade.5    10      15      20       25        30      35      40      45 ",
            "13": "13 0486/23/o/n/15 \u00a9 ucles 2015gwendolen [satirically]: i am glad to say that i have never seen a spade.  it is obvious that our social spheres have been widely  different.   [enter merriman, followed by the footman. he carries  a salver, table cloth, and plate stand. cecil y is about to  retort. the presence of the servants exercises a restraining influence, under which both girls chafe.] merriman: shall i lay tea here as usual, miss? cecily [sternly, in a calm voice]: y es, as usual. [merriman begins to clear table and lay cloth. a long pause. cecil y and  gwendolen glare at each other.] gwendolen:  are there many interesting walks in the vicinity, miss cardew? cecily: oh! yes! a great many. from the top of one of the hills quite close one can see five counties. gwendolen:  five counties! i don\u2019t think i should like that; i hate crowds. cecily: [sweetly]: i suppose that is why you live in town? [gwendolen bites her lip, and beats her foot nervously  with her parasol.] gwendolen [looking around  ]: quite a well-kept garden this is, miss  cardew. cecily: so glad you like it, miss fairfax. gwendolen:  i had no idea there were any flowers in the country. cecily: oh, flowers are as common here, miss fairfax, as people are in london. gwendolen:  personally i cannot understand how anybody manages to exist in the country, if anybody who is anybody does. the country always bores me to death. cecily: ah! this is what the newspapers call agricultural depression,  is it not? i believe the aristocracy are suffering very much  from it just at present. it is almost an epidemic amongst them, i have been told. may i offer you some tea, miss fairfax? gwendolen [with elaborate politeness]: thank you. [aside.] detestable girl! but i require tea!  [from act 2 ]   how does wilde make this conversation between gwendolen and cecily so entertaining  at this moment in the play? or \u202012 explore the ways in which wilde amusingly portrays the relationship between jack and  algernon.      50     55    60    65     70         75",
            "14": "14 0486/23/o/n/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/23/o/n/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/23/o/n/15 \u00a9 ucles 2015permission 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w15_qp_31.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 128455 \u00a9 ucles 2015  [turn over * 1 7 9 1 3 2 7 8 8 0 *literature (english)  0486/31 paper 3  drama (open text)  october/november 2015  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.cambridge international examinations cambridge international general certificate of secondary education",
            "2": "2 0486/31/o/n/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the text. either  1 read this passage, and then answer the question that follows it: keller:\t george \u2013 hey, you kissed it out of my head \u2013 your brother\u2019s on  the phone. ann\t [surprised \t \t]: my brother? keller:\t y eah, george. long distance. ann:\t what\u2019s the matter, is anything wrong? keller:\t i don\u2019t know, kate\u2019s talking to him. hurry up, she\u2019ll cost him  five dollars. ann\t [takes \ta\tstep\tupstage, \tthen\tcomes \tdown \ttowards \tchris]: i  wonder if we ought to tell your mother yet? i mean i\u2019m not very  good in an argument. chris:\t we\u2019ll wait till tonight. after dinner. now don\u2019t get tense, just  leave it to me. keller:\t what\u2019re you telling her? chris:\t go ahead, ann. [ with\tmisgivings,  ann goes \tup\tand\t into\thouse. ] we\u2019re getting married, dad. [keller nods \t indecisively. ] well, don\u2019t you say anything? keller\t [distracted \t \t]: i\u2019m glad, chris, i\u2019m just \u2013 george is calling from  columbus. chris:\t columbus! keller:\t did annie tell you he was going to see his father today? chris:\t no, i don\u2019t think she knew anything about it. keller\t [asking \tuncomfortably ]: chris! y ou \u2013 you think you know her  pretty good? chris\t [hurt\tand\tapprehensive ]: what kind of a question? keller:\t i\u2019m just wondering. all these years george don\u2019t go to see his  father. suddenly he goes \u2026 and she comes here. chris:\t well, what about it? keller:\t it\u2019s crazy, but it comes to my mind. she don\u2019t hold nothin\u2019  against me, does she? chris\t [angry ]: i don\u2019t know what you\u2019re talking about. keller\t [a\tlittle\tmore \tcombatively ]: i\u2019m just talkin\u2019. to his last day in  court the man blamed it all on me; and this is his daughter. i  mean if she was sent here to find out something? chris\t [angered ]: why? what is there to find out? ann\t [on\tphone, \toffstage ]: why are you so excited, george? what  happened there? keller:\t i mean if they want to open up the case again, for the nuisance  value, to hurt us?5 10 15 20 25 30 35",
            "3": "3 0486/31/o/n/15 \u00a9 ucles 2015 [turn overchris:\t dad \u2026 how could you think that of her? ann\t [still\ton\tphone ]: but what did he say to you, for god\u2019s sake?   together keller:\t it couldn\u2019t be, heh. y ou know. chris:\t dad, you amaze me \u2026 keller\t [breaking \tin]: all right, forget it, forget it. [ with\tgreat \tforce, \t moving \tabout \t \t] i want a clean start for you, chris. i want a new  sign over the plant \u2013 christopher keller, incorporated. chris\t [a\tlittle\tuneasily ]: j. o. keller is good enough. keller:\t we\u2019ll talk about it. i\u2019m going to build you a house, stone, with  a driveway from the road. i want you to spread out, chris, i  want you to use what i made for you. [ he\tis\tclose \tto\thim\tnow. ]  i mean, with joy, chris, without shame \u2026 with joy. chris\t [touched \t \t]: i will, dad. keller\t [with\tdeep \temotion ]: say it to me. chris:\t why? keller:\t because sometimes i think you\u2019re \u2026ashamed of the money. chris:\t no, don\u2019t feel that. keller:\t because it\u2019s good money, there\u2019s nothing wrong with that  money. chris\t [a\tlittle\tfrightened \t \t]: dad, you don\u2019t have to tell me this. keller\t [\u2013\twith\toverriding \taffection \tand\tself-confidence \tnow.\the\tgrips \t chris by\tthe\tback \tof\tthe\tneck, \tand\twith\tlaughter \tbetween \t his\tdetermined \tjaws ]: look, chris, i\u2019ll go to work on mother  for you. we\u2019ll get her so drunk tonight we\u2019ll all get married!  [steps \taway, \twith\ta\twide \tgesture \tof\this\tarm. ] there\u2019s gonna  be a wedding, kid, like there never was seen! champagne,  tuxedos \u2013 ! \t   [he\tbreaks \toff\tas\tann\u2019s \tvoice \tcomes \tout\tloud\tfrom\tthe\t house \twhere \tshe\tis\tstill\ttalking \ton\tphone. ] ann:\t simply because when you get excited you don\u2019t control  yourself. \u2026 [mother comes \tout\tof\thouse .] well, what did he  tell you for god\u2019s sake? [ pause. ] all right, come then. [ pause. ]  y es, they\u2019ll all be here. nobody\u2019s running away from you. and  try to get hold of yourself, will you? [ pause. ] all right, all right.  good-bye. [ there \tis\ta\tbrief\tpause \tas\tann \thangs \tup\treceiver, \t then\tcomes \tout\tof\tkitchen. ] [from\tact\t1]     explore the ways in which miller makes this such a dramatic and significant moment in  the play. or  2  in what ways does miller memorably convey the relationship between joe keller and his  son chris?40 45 50 55 60 65 70 75",
            "4": "4 0486/31/o/n/15 \u00a9 ucles 2015j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read this passage, and then answer the question that follows it: inspector:\t mrs birling, you\u2019re a member \u2013 a prominent member \u2013 of the  brumley women\u2019s charity organization, aren\u2019t you? \t mrs birling \tdoes \tnot\treply. content removed due to copyright restrictions.",
            "5": "5 0486/31/o/n/15 \u00a9 ucles 2015 [turn overmrs\tbirling\t [stung ]: y es, it was. i didn\u2019t like her manner.  [from\tact\t2]    in what ways does priestley make this moment in the play so dramatic and revealing? or  4 does priestley\u2019s writing make it possible for you to have any sympathy for sheila?content removed due to copyright restrictions.",
            "6": "6 0486/31/o/n/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read this passage, and then answer the question that follows it: portia:\t          why then, thus it is: y ou must prepare your bosom for his knife. shylock:\t o noble judge! o excellent young man! portia:\t for the intent and purpose of the law hath full relation to the penalty,   which here appeareth due upon the bond. shylock:\t \u2019tis very true. o wise and upright judge, how much more elder art thou than thy looks! portia:\t therefore, lay bare your bosom. shylock:\t               ay, his breast \u2013 so says the bond; doth it not, noble judge?   \u2018nearest his heart\u2019, those are the very words. portia:\t it is so. are there balance here to weigh  the flesh? shylock:\t  i have them ready. portia:\t have by some surgeon, shylock, on your charge, to stop his wounds, lest he do bleed to death. shylock:\t is it so nominated in the bond? portia:\t it is not so express\u2019d, but what of that? \u2019twere good you do so much for charity. shylock:\t i cannot find it; \u2019tis not in the bond. portia:\t y ou, merchant, have you anything to say? antonio:\t but little: i am arm\u2019d and well prepar\u2019d. give me your hand bassanio; fare you well.   grieve not that i am fall\u2019n to this for you,   for herein fortune shows herself more kind   than is her custom. it is still her use   to let the wretched man outlive his wealth,   to view with hollow eye and wrinkled brow   an age of poverty; from which ling\u2019ring penance   of such misery doth she cut me off.   commend me to your honourable wife;   tell her the process of antonio\u2019s end;   say how i lov\u2019d you; speak me fair in death;   and, when the tale is told, bid her be judge   whether bassanio had not once a love.   repent but you that you shall lose your friend,   and he repents not that he pays your debt;   for if the jew do cut but deep enough,   i\u2019ll pay it instantly with all my heart. bassanio:\t antonio, i am married to a wife which is as dear to me as life itself;   but life itself, my wife, and all the world,   are not with me esteem\u2019d above thy life;   i would lose all, ay, sacrifice them all   here to this devil, to deliver you.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/31/o/n/15 \u00a9 ucles 2015 [turn overportia:\t y our wife would give you little thanks for that, if she were by to hear you make the offer, gratiano:\t i have a wife who i protest i love; i would she were in heaven, so she could   entreat some power to change this currish jew. nerissa:\t \u2019tis well you offer it behind her back; the wish would make else an unquiet house. shylock:\t [aside ]: these be the christian husbands! i have a daughter \u2013 would any of the stock of barrabas   had been her husband, rather than a christian! \u2013   we trifle time; i pray thee pursue sentence. portia:\t a pound of that same merchant\u2019s flesh is thine. the court awards it and the law doth give it.  [from\tact\t4\tscene \t1]    how does shakespeare make this such a powerful and memorable moment in the play? or  6 how far does shakespeare\u2019s writing convince you that bassanio deserves portia?50 55",
            "8": "8 0486/31/o/n/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the text. either  7 read this passage, and then answer the question that follows it: helena:\t good hermia, do not be so bitter with me. i evermore did love you, hermia,   did ever keep your counsels, never wrong\u2019d 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\u2019ned 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.   y ou see how simple and how fond i am. hermia:\t why, get you gone! who is\u2019t that hinders you? helena:\t a foolish heart that i leave here behind. hermia:\t what! with lysander? helena:\t           with demetrius. lysander:\t be not afraid; she shall not harm thee, helena. demetrius:\t no, sir, she shall not, though you take her part. helena:\t 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. hermia:\t \u2018little\u2019 again! nothing but \u2018low\u2019 and \u2018little\u2019! why will you suffer her to flout me thus?   let me come to her. lysander:\t          get you gone, you dwarf; y ou minimus, of hind\u2019ring knot-grass made;   y ou bead, you acorn. demetrius:\t          y ou are too officious in her behalf that scorns your services.   let her alone; speak not of helena;   take not her part; for if thou dost intend   never so little show of love to her,   thou shalt aby it. lysander:\t        now she holds me not. now follow, if thou dar\u2019st, to try whose right,   of thine or mine, is most in helena. demetrius:\t follow! nay, i\u2019ll go with thee, cheek by jowl. \t  [exeunt \tl ysander \tand\tdemetrius . hermia:\t y ou, mistress, all this coil is long of you. nay, go not back. helena:\t         i will not trust you, i; nor longer stay in your crust company.   y our hands than mine are quicker for a fray;   my legs are longer though, to run away. \t           [exit.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/31/o/n/15 \u00a9 ucles 2015 [turn overhermia:\t i am amaz\u2019d, and know not what to say.   [exit. oberon:\t this is thy negligence. still thou mistak\u2019st, or else committ\u2019st thy knaveries wilfully. puck:\t believe me, king of shadows, i mistook. did not you tell me i should know the man   by the athenian garments he had on?   and so far blameless proves my enterprise   that i have \u2019nointed an athenian\u2019s eyes;   and so far am i glad it so did sort,   as this their jangling i esteem a sport. oberon:\t thou seest these lovers seek a place to fight. hie therefore, robin, overcast the night;   the starry welkin cover thou anon   with drooping fog as black as acheron,   and lead these testy rivals so astray   as one come not within another\u2019s way.   like to lysander sometime frame thy tongue,   then stir demetrius up with bitter wrong;   and sometime rail thou like demetrius;   and from each other look thou lead them thus,   till o\u2019er their brows death-counterfeiting sleep   with leaden legs and batty wings doth creep.   then crush this herb into lysander\u2019s eye;   whose liquor hath this virtuous property,   to take from hence all error with his might   and make his eyeballs roll with wonted sight.   when they next wake, all this derision   shall seem a dream and fruitless vision;   and back to athens shall the lovers wend   with league whose date till death shall never end.   whiles i in this affair do thee employ,   i\u2019ll to my queen, and beg her indian boy;   and then i will her charmed eye release   from monster\u2019s view, and all things shall be peace.  [from\tact\t3\tscene \t2]     in what ways does shakespeare make this such a dramatic and significant moment in  the play? or  8  explore the ways in which shakespeare makes the wood such a memorable setting in  a\tmidsummer \tnight\u2019s \tdream .50 55 60 65 70 75 80",
            "10": "10 0486/31/o/n/15 \u00a9 ucles 2015william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read this passage, and then answer the question that follows it: \t enter  caliban ,\twith\ta\tburden \tof\twood. \t a\tnoise \tof\tthunder \theard. caliban:\t all the infections that the sun sucks up from bogs, fens, flats, on prosper fall, and make him   by inch-meal a disease! his spirits hear me,   and yet i needs must curse. but they\u2019ll nor pinch,   fright me with urchin-shows, pitch me i\u2019 th\u2019 mire,   nor lead me, like a firebrand, in the dark   out of my way, unless he bid \u2019em; but   for every trifle are they set upon me;   sometime like apes that mow and chatter at me,   and after bite me; then like hedgehogs which   lie tumbling in my barefoot way, and mount   their pricks at my footfall; sometime am i   all wound with adders, who with cloven tongues   do hiss me into madness. enter \ttrinculo . \t             lo, now, lo! here comes a spirit of his, and to torment me   for bringing wood in slowly. i\u2019ll fall flat;   perchance he will not mind me. trinculo:\t here\u2019s neither bush nor shrub to bear off any weather at all,  and another storm brewing; i hear it sing i\u2019 th\u2019 wind.   y ond same black cloud, yond huge one, looks like a foul  bombard that would shed his liquor. if it should thunder as  it did before, i know not where to hide my head. y ond same  cloud cannot choose but fall by pailfuls. what have we here?  a man or a fish? dead or alive? a fish: he smells like a fish; a  very ancient and fish-like smell; a kind of not-of-the-newest  poor-john. a strange fish! were i in england now, as once i  was, and had but this fish painted, not a holiday fool there but  would give a piece of silver. there would this monster make  a man; any strange beast there makes a man; when they will  not give a doit to relieve a lame beggar, they will lay out ten to  see a dead indian. legg\u2019d like a man, and his fins like arms!  warm, o\u2019 my troth! i do now let loose my opinion; hold it no  longer: this is no fish, but an islander, that hath lately suffered  by a thunderbolt. \t [thunder ] alas, the storm is come again! my best way  is to creep under his gaberdine; there is no other shelter  hereabout. misery acquaints a man with strange bedfellows. i  will here shroud till the dregs of the storm be past. enter \tstephano \tsinging; \ta\tbottle \tin\this\thand. stephano:\t i shall no more to sea, to sea, here shall i die ashore \u2013   this is a very scurvy tune to sing at a man\u2019s funeral; well,  here\u2019s my comfort.  [drinks .5 10 15 20 25 30 35 40 45",
            "11": "11 0486/31/o/n/15 \u00a9 ucles 2015 [turn over\t  the master, the swabber, the boatswain, and i,  the gunner, and his mate,    lov\u2019d mall, meg, and marian, and margery,    but none of us car\u2019d for kate;    for she had a tongue with a tang,    would cry to a sailor \u2018go hang!\u2019    she lov\u2019d not the savour of tar nor of pitch,    y et a tailor might scratch her where\u2019er she did itch.    then to sea, boys, and let her go hang! \t this is a scurvy tune too; but here\u2019s my comfort.  [drinks . caliban:\t do not torment me. o! stephano:\t what\u2019s the matter? have we devils here? do you put tricks  upon\u2019s with savages and men of ind? ha! i have not scap\u2019d  drowning to be afeard now of your four legs; for it hath been  said: as proper a man as ever went on four legs cannot make  him give ground; and it shall be said so again, while stephano  breathes at nostrils. caliban:\t the spirit torments me. o! stephano:\t this is some monster of the isle with four legs, who hath got,  as i take it, an ague. where the devil should he learn our  language? i will give him some relief, if it be but for that. if i  can recover him, and keep him tame, and get to naples with  him, he\u2019s a present for any emperor that ever trod on neat\u2019s  leather. caliban:\t do not torment me, prithee; i\u2019ll bring my wood home faster. stephano:\t he\u2019s in his fit now, and does not talk after the wisest. he shall  taste of my bottle; if he have never drunk wine afore, it will  go near to remove his fit. if i can recover him, and keep him  tame, i will not take too much for him; he shall pay for him that  hath him, and that soundly. caliban:\t thou dost me yet but little hurt; thou wilt anon, i know it by thy  trembling; now prosper works upon thee.  [from\tact\t2\tscene \t2]    how does shakespeare make this such a memorable moment in the play? or  10 to what extent do you think that shakespeare portrays prospero as a cruel master?50 55 60 65 70 75",
            "12": "12 0486/31/o/n/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read this passage, and then answer the question that follows it: cecily:\t uncle jack! oh, i am pleased to see you back. but what horrid  clothes you have got on. do go and change them. miss \tprism:\t cecily! chasuble:\t my child! my child. [cecil y goes \ttowards  jack; \the\tkisses \ther\t brow \tin\ta\tmelancholy \tmanner. ] cecily:\t what is the matter, uncle jack? do look happy! y ou look as  if you had toothache, and i have got such a surprise for you.  who do you think is in the dining-room? y our brother! jack:\t who? cecily:\t y our brother ernest. he arrived about half an hour ago. jack:\t what nonsense! i haven\u2019t got a brother. cecily:\t oh, don\u2019t say that. however badly he may have behaved  to you in the past he is still your brother. y ou couldn\u2019t be so  heartless as to disown him. i\u2019ll tell him to come out. and you  will shake hands with him, won\u2019t you, uncle jack? [ runs \tback \t into\tthe\thouse. ] chasuble:\t these are very joyful tidings. miss \tprism:\t after we had all been resigned to his loss, his sudden return  seems to me peculiarly distressing. jack:\t my brother is in the dining-room? i don\u2019t know what it all  means. i think it is perfectly absurd. \t [enter \talgernon \tand\tcecil y \thand \tin\thand. \tthey \tcome \t slowly \tup\tto\tjack .] jack:\t good heavens! [ motions  algernon away .] algernon:\t brother john, i have come down from town to tell you that i  am very sorry for all the trouble i have given you, and that i  intend to lead a better life in the future. [jack glares \tat\thim\t and\tdoes \tnot\ttake\this\thand. ] cecily:\t uncle jack, you are not going to refuse your own brother\u2019s  hand? jack:\t nothing will induce me to take his hand. i think his coming  down here disgraceful. he knows perfectly well why. cecily:\t uncle jack, do be nice. there is some good in everyone.  ernest has just been telling me about his poor invalid friend  mr bunbury whom he goes to visit so often. and surely there  must be much good in one who is kind to an invalid, and  leaves the pleasures of london to sit by a bed of pain. jack:\t oh! he has been talking about bunbury, has he? cecily:\t y es, he has told me all about poor mr bunbury, and his terrible  state of health. jack:\t bunbury! well, i won\u2019t have him talk to you about bunbury or  about anything else. it is enough to drive one perfectly frantic. algernon:\t of course i admit that the faults were all on my side. but i must  say that i think that brother john\u2019s coldness to me is peculiarly 5 10 15 20 25 30 35 40",
            "13": "13 0486/31/o/n/15 \u00a9 ucles 2015painful. i expected a more enthusiastic welcome especially  considering it is the first time i have come here. cecily:\t uncle jack, if you don\u2019t shake hands with ernest i will never  forgive you. jack:\t never forgive me? cecily:\t never, never, never! jack:\t well, this is the last time i shall ever do it. [ shakes \thands \twith\t algernon \tand\tglares. ] chasuble:\t it\u2019s pleasant, is it not, to see so perfect a reconciliation? i think  we might leave the two brothers together. miss \tprism:\t cecily, you will come with us. cecily:\t certainly, miss prism. my little task of reconciliation is over. chasuble:\t y ou have done a beautiful action today, dear child. miss \tprism:\t we must not be premature in our judgements. cecily:\t i feel very happy. [ they \tall\tgo\toff\texcept \tjack \tand\t algernon .] jack:\t y ou young scoundrel, algy, you must get out of this place as  soon as possible. i don\u2019t allow any bunburying here. \t [enter  merriman.] merriman:\t i have put mr ernest\u2019s things in the room next to yours, sir. i  suppose that is all right? jack:\t what? merriman:\t mr ernest\u2019s luggage, sir. i have unpacked it and put it in the  room next to your own. jack:\t his luggage? merriman:\t y es, sir. three portmanteaus, a dressing-case, two hat-boxes,  and a large luncheon-basket. algernon:\t i am afraid i can\u2019t stay more than a week this time.  [from\tact\t2]    how does wilde make this moment in the play so entertaining? or  12  explore the ways in which wilde makes the relationship between dr chasuble and  miss  prism so delightfully amusing.45 50 55 60 65 70",
            "14": "14 0486/31/o/n/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/31/o/n/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/31/o/n/15 \u00a9 ucles 2015blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_32.pdf": {
            "1": "this document consists of 13 printed pages and 3 blank pages, and 1 insert. dc (st) 128454 \u00a9 ucles 2015  [turn overcambridge international examinations cambridge international general certificate of secondary education * 5 2 6 2 2 1 8 4 2 8 *literature (english)  0486/32 paper 3  drama (open text)  october/november 2015  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/32/o/n/15 \u00a9 ucles 2015arthur miller: all my sons remember to support your ideas with details from the text. either   1 read this extract, and then answer the question that follows it: \t [mother comes \tout.\tshe\tcarries \ta\tpot\tof\tstring \tbeans .] mother:\t it\u2019s her day off, what are you crabbing about? chris\t [to mother]: isn \u2019t annie finished eating? mother\t [looking \taround \tpreoccupiedly \tat\tyard]: she \u2019ll be right  out. [ moves .] that wind did some job on this place. [ of\t the\ttree.] so much for that, thank god. keller\t [indicating \tchair \tbeside \thim]: sit down, take it easy. mother  [pressing \ther\thand \tto\ttop\tof\ther\thead ]: i\u2019ve got such a  funny pain on the top of my head. chris:  can i get you an aspirin?  [mother picks \ta\tfew\tpetals \toff\tground, \tstands \tthere \t smelling \tthem \tin\ther\thand, \tthen\tsprinkles \tthem \tover\t plants .] mother:  no more roses. it \u2019s so funny ... everything decides to  happen at the same time. this month is his birthday;  his tree blows down, annie comes. everything that  happened seems to be coming back. i was just down  the cellar, and what do i stumble over? his baseball  glove. i haven \u2019t seen it in a century. chris:  don\u2019t you think annie looks well? mother:  fine. there \u2019s no question about it. she \u2019s a beauty. ... i  still don \u2019t know what brought her here. not that i \u2019m not  glad to see her, but \u2013 chris:  i just thought we \u2019d all like to see each other again.  [mother just\tlooks \tat\thim,\tnodding \tever\tso\tslightly \t\u2013 almost \tas\tthough \tadmitting \tsomething .] and i wanted to  see her myself. mother  [as\ther\tnods \thalt,\tto keller]: the only thing is i think  her nose got longer. but i \u2019ll always love that girl. she \u2019s  one that didn \u2019t jump into bed with somebody else as  soon as it happened with her fella. keller\t [as\tthough \tthat\twere \timpossible \tfor\tannie ]: oh, what \u2019re  you \u2013 ? mother:  never mind. most of them didn \u2019t wait till the telegrams  were opened. i \u2019m just glad she came, so you can see  i\u2019m not completely  out of my mind. [ sits,\tand\trapidly \t breaks \tstring \tbeans \tin\tthe\tpot.] chris:  just because she isn \u2019t married doesn\u2019t mean she\u2019s  been mourning larry. mother  [with\tan\tundercurrent \tof\tobservation ]: why then isn \u2019t  she? chris  [a\tlittle\tflustered ]: well ... it could \u2019ve been any number of  things. mother  [directly \tat\thim]: like what, for instance? chris  [embarrassed, \tbut\tstanding \this\tground ]: i don \u2019t know.  whatever it is. can i get you an aspirin?  [mother puts\ther\thand \tto\ther\thead. \tshe\tgets\tup\tand\t goes \taimlessly \ttowards \tthe\ttrees \ton\trising .] mother:  it\u2019s not like a headache.5 10 15 20 25 30 35 40 45",
            "3": "3 0486/32/o/n/15 \u00a9 ucles 2015 [turn overkeller:\t y ou don \u2019t sleep, that \u2019s why. she \u2019s wearing out more  bedroom slippers than shoes. mother:  i had a terrible night. [ she\tstops \tmoving .] i never had a  night like that. chris  [looking \tat\tkeller ]: what was it, mom? did you  dream? mother:  more, more than a dream. chris  [hesitantly ]: about larry? mother:  i was fast asleep, and \u2013 [ raising \ther\tarm\tover\tthe\t audience .] remember the way he used to fly low past  the house when he was in training? when we used to  see his face in the cockpit going by? that \u2019s the way i  saw him. only high up. way, way up, where the clouds  are. he was so real i could reach out and touch him. and  suddenly he started to fall. and crying, crying to me  ...  mom, mom! i could hear him like he was in the room.  mom! ... it was his voice! if i could touch him i knew i  could stop him, if i could only \u2013 [ breaks \toff,\tallowing \ther\t outstretched \thand \tto\tfall.] i woke up and it was so funny  \u2013 the wind  ... it was like the roaring of his engine. i came  out here  ... i must \u2019ve still been half asleep. i could hear  that roaring like he was going by. the tree snapped right  in front of me \u2013 and i like \u2013 came awake. [ she\tis\tlooking \t at\ttree.\tshe\tsuddenly \trealizes \tsomething, \tturns \twith\ta\t reprimanding \tfinger \tshaking \tslightly \tat keller.] see?  we should never have planted that tree. i said so in the  first place; it was too soon to plant a tree for him.  [from \tact\t1]    how does miller make this such a striking introduction to kate? or   2  what makes miller\u2019s portrayal of the relationship between steve and george deever  such a powerful part of the play?50 55 60 65 70 75",
            "4": "4 0486/32/o/n/15 \u00a9 ucles 2015j.b. priestley: an inspector calls remember to support your ideas with details from the text. either   3 read this extract, and then answer the question that follows it: inspector\t [taking \tcharge, \tmasterfully ]: stop! \t content removed due to copyright restrictions.",
            "5": "5 0486/32/o/n/15 \u00a9 ucles 2015 [turn oversheila:\t but that\u2019s not what i\u2019m talking about. i don\u2019t care  about that. the point is, you don\u2019t seem to have learnt  anything.  [from \tact\t3]    in what ways does priestley make this such a powerfully dramatic moment in the play? or   4  explore the ways in which priestley creates such a memorable portrait of eva smith,  despite the fact that she never appears in the play.    do not use the extract printed in question 3 in your answer.content removed due to copyright restrictions.",
            "6": "6 0486/32/o/n/15 \u00a9 ucles 2015william shakespeare: the merchant of venice remember to support your ideas with details from the text. either   5  read this extract, and then answer the question that follows it: shylock:\t \t three thousand ducats \u2013 well. bassanio:\t ay, sir, for three months. shylock:\t \t for three months \u2013 well. bassanio:\t for the which, as i told you, antonio shall be bound. shylock:\t \t antonio shall become bound \u2013 well. bassanio:\t \tmay you stead me? will you pleasure me? shall i  know your answer? shylock:\t \t \tthree thousand ducats for three months, and  antonio bound. bassanio:\t y our answer to that. shylock:\t \t antonio is a good man. bassanio:\t have you heard any imputation to the contrary? shylock:\t \t \tho, no, no, no, no; my meaning in saying he is a  good man is to have you understand me that he is  sufficient; yet his means are in supposition: he hath  an argosy bound to tripolis, another to the indies;  i understand, moreover, upon the rialto, he hath  a third at mexico, a fourth for england \u2013 and other  ventures he hath, squand \u2019red abroad. but ships are  but boards, sailors but men; there be land-rats and  water-rats, water-thieves and land-thieves \u2013 i mean  pirates; and then there is the peril of waters, winds,  and rocks. the man is, notwithstanding, sufficient.  three thousand ducats \u2013 i think i may take his bond. bassanio:\t be assur \u2019d you may. shylock:\t \t \ti will be assur \u2019d i may; and, that i may be assured, i  will bethink me. may i speak with antonio? bassanio:\t if it please you to dine with us. shylock:\t \t \ty es, to smell pork, to eat of the habitation which  your prophet, the nazarite, conjured the devil into!  i will buy with you, sell with you, talk with you, walk  with you, and so following; but i will not eat with you,  drink with you, nor pray with you. what news on the  rialto? who is he comes here?   enter  antonio bassanio:\t this is signior antonio. shylock\t \t \t[aside ]: how like a fawning publican he looks! i hate him for he is a christian;   but more for that in low simplicity   he lends out money gratis, and brings down   the rate of usance here with us in venice.   if i can catch him once upon the hip,   i will feed fat the ancient grudge i bear him.   he hates our sacred nation; and he rails,   even there where merchants most do congregate,   on me, my bargains, and my well-won thrift,   which he calls interest. cursed be my tribe   if i forgive him! bassanio:\t \t \t \t shylock, do you hear? shylock:\t \t \ti am debating of my present store,5 10 15 20 25 30 35 40 45 50",
            "7": "7 0486/32/o/n/15 \u00a9 ucles 2015 [turn overand, by the near guess of my memory,   i cannot instantly raise up the gross   of full three thousand ducats. what of that?   tubal, a wealthy hebrew of my tribe,   will furnish me. but soft! how many months   do you desire? [ to\tantonio ] rest you fair, good  signior;   y our worship was the last man in our mouths. antonio :   shylock, albeit i neither lend nor borrow by taking nor by giving of excess,   y et, to supply the ripe wants of my friend,   i\u2019ll break a custom. [ to\tbassanio ] is he yet  possess \u2019d how much ye would? shylock:\t \t \t\t \t ay, ay, three thousand ducats. antonio :  and for three months. shylock:\t \t \ti had forgot \u2013 three months; you told me so. well then, your bond; and, let me see \u2013 but hear    you,  methoughts you said you neither lend nor borrow   upon advantage. antonio :    i do never use it.  [from \tact\t1\tscene \t3] how does shakespeare make you have mixed feelings about shylock at this  moment in the play? or   6 explore the ways in which shakespeare makes false appearances so significant in  the play.55 60 65 70",
            "8": "8 0486/32/o/n/15 \u00a9 ucles 2015william shakespeare: a midsummer night\u2019s dream remember to support your ideas with details from the text. either   7  read this extract, and then answer the question that follows it: \t \t enter  quince as\tthe prologue. prologue:\t if \twe\toffend, \tit\tis\twith\tour\tgood \twill. \t \t that \tyou\tshould \tthink, \twe\tcome \tnot\tto\toffend, \t \t but \twith\tgood \twill.\tto\tshow \tour\tsimple \tskill, \t \t that \tis\tthe\ttrue\tbeginning \tof\tour\tend. \t \t consider \tthen, \twe\tcome \tbut\tin\tdespite. \t \t we \tdo\tnot\tcome, \tas\tminding \tto\tcontent \tyou, \t \t our \ttrue\tintent \tis.\tall\tfor\tyour\tdelight \t \t we \tare\tnot\there. \tthat \tyou\tshould \there \trepent \tyou, \t \t the \tactors \tare\tat\thand; \tand,\tby\ttheir\tshow, \t \t y ou \tshall \tknow \tall,\tthat\tyou\tare\tlike\tto\tknow. theseus:\t \t this fellow doth not stand upon points. lysander:\t \the hath rid his prologue like a rough colt; he knows  not the stop. a good moral my lord: it is not enough  to speak, but to speak true. hippolyta:\t \tindeed he hath play \u2019d on this prologue like a child on  a recorder \u2013 a sound, but not in government. theseus:\t \t \this speech was like a tangled chain; nothing  impaired, but all disordered. who is next?   \tenter, \twith\ta\ttrumpet \tbefore \tthem, \tas\tin\tdumb \tshow,   pyramus and thisby , wall, moonshine, and  lion. prologue:\t gentles, \tperchance \tyou\twonder \tat\tthis\tshow; \t \t but \twonder \ton,\ttill\ttruth \tmake \tall\tthings \tplain. \t \t this \tman\tis\tpyramus, \tif\tyou\twould \tknow; \t \t this \tbeauteous \tlady\tthisby \tis\tcertain. \t \t this \tman, \twith\tlime\tand\trough-cast, \tdoth\tpresent \t \t wall, \tthat\tvile\twall\twhich \tdid\tthese \tlovers \tsunder; \t \t \tand\tthrough \twall\u2019s \tchink, \tpoor \tsouls, \tthey\tare\t \tcontent \t \t to \twhisper. \tat\tthe\twhich \tlet\tno\tman\twonder. \t \t this \tman, \twith\tlanthorn, \tdog,\tand\tbush \tof\tthorn, \t \t presenteth \tmoonshine; \tfor,\tif\tyou\twill\tknow, \t \t by \tmoonshine \tdid\tthese \tlovers \tthink \tno\tscorn \t \t to \tmeet \tat\tninus\u2019 \ttomb, \tthere, \tthere \tto\twoo. \t \t this \tgrisly \tbeast, \twhich \tlion\thight \tby\tname, \t \t the \ttrusty \tthisby, \tcoming \tfirst\tby\tnight, \t \t did \tscare \taway, \tor\trather \tdid\taffright; \t \t and \tas\tshe\tfled,\ther\tmantle \tshe\tdid\tfall; \t \t which \tlion\tvile\twith\tbloody \tmouth \tdid\tstain. \t \t anon \tcomes \tpyramus, \tsweet \tyouth \tand\ttall, \t \t and \tfinds \this\ttrusty \tthisby\u2019s \tmantle \tslain; \t \t whereat \twith\tblade, \twith\tbloody \tblameful \tblade, \t \t he \tbravely \tbroach\u2019d \this\tboiling \tbloody \tbreast; \t \t and \tthisby, \ttarrying \tin\tmulberry \tshade, \t \t his \tdagger \tdrew, \tand\tdied. \tfor\tall\tthe\trest, \t \t let \tlion, \tmoonshine, \twall, \tand\tlovers \ttwain, \t \t at \tlarge \tdiscourse \twhile \there \tthey\tdo\tremain. \t \t \t \t[exeunt \tprologue ,\tpyramus ,\tthisby ,\t lion ,\tand\tmoonshine .5 10 15 20 25 30 35 40 45 50",
            "9": "9 0486/32/o/n/15 \u00a9 ucles 2015 [turn overtheseus:\t \t i wonder if the lion be to speak. demetrius:   no wonder, my lord: one lion may, when many asses  do. wall:   \tin\tthis\tsame \tinterlude \tit\tdoth\tbefall \t \t that \ti,\tone\tsnout \tby\tname, \tpresent \ta\twall; \t \t and \tsuch \ta\twall\tas\ti\twould \thave \tyou\tthink \t \t that \thad\tin\tit\ta\tcrannied \thole\tor\tchink, \t \t through \twhich \tthe\tlovers, \tpyramus \tand\tthisby, \t \t did \twhisper \toften \tvery\tsecretly. \t \t \tthis\tloam, \tthis\trough-cast, \tand\tthis\tstone, \tdoth\t \tshow \t \t that \ti\tam\tthat\tsame \twall;\tthe\ttruth \tis\tso; \t \t and \tthis\tthe\tcranny \tis,\tright\tand\tsinister, \t \t through \twhich \tthe\tfearful \tlovers \tare\tto\twhisper. theseus:\t \t would you desire lime and hair to speak better? demetrius:   it is the wittiest partition that ever i heard discourse,  my lord.   enter  pyramus. theseus:\t \t pyramus draws near the wall; silence. pyramus:  o\tgrim-look\u2019d \tnight! \to\tnight \twith\thue\tso\tblack! \t \t o \tnight, \twhich \tever\tart\twhen \tday\tis\tnot! \t \t o \tnight, \to\tnight, \talack, \talack, \talack, \t \t i \tfear\tmy\tthisby\u2019s \tpromise \tis\tforgot! \t \t and \tthou, \to\twall, \to\tsweet, \to\tlovely \twall, \t \t that \tstand\u2019st \tbetween \ther\tfather\u2019s \tground \tand\tmine; \t \t thou \twall, \to\twall, \to\tsweet \tand\tlovely \twall, \t \t show \tme\tthy\tchink, \tto\tblink \tthrough \twith\tmine \teyne. [ wall \tholds \tup\this\tfingers. \t \t \tthanks, \tcourteous \twall.\tjove \tshield \tthee\twell\tfor\t \tthis!\t \t \t but \twhat \tsee\ti?\tno\tthisby \tdo\ti\tsee. \t \t o \twicked \twall, \tthrough \twhom \ti\tsee\tno\tbliss; \t \t curs\u2019d \tbe\tthy\tstones \tfor\tthus\tdeceiving \tme! theseus:\t \t \tthe wall, methinks, being sensible, should curse  again. pyramus:   no, in truth, sir, he should not. deceiving \tme is  thisby \u2019s cue. she is to enter now, and i am to spy  her through the wall. y ou shall see it will fall pat as i  told you; yonder she comes.  [from \tact\t5\tscene \t1] how does shakespeare make this such an enjoyable moment in the play? or   8 explore the ways in which shakespeare strikingly portrays similarities between  oberon and theseus.55 60 65 70 75 80 85",
            "10": "10 0486/32/o/n/15 \u00a9 ucles 2015william shakespeare:  the tempest remember to support your ideas with details from the text. either   9  read this extract, and then answer the question that follows it: gonzalo:\t\t beseech you, sir, be merry; you have cause, \t  so have we all, of joy; for our escape \t  is much beyond our loss. our hint of woe \t  is common; every day, some sailor\u2019s wife, \t  the masters of some merchant, and the merchant, \t  have just our theme of woe; but for the miracle, \t  i mean our preservation, few in millions \t  can speak like us. then wisely, good sir, weigh \t  our sorrow with our comfort. alonso:\t \t prithee, peace. sebastian:\t he receives comfort like cold porridge. antonio:\t \t the visitor will not give him o \u2019er so. sebastian:\t \tlook, he \u2019s winding up the watch of his wit; by and by  it will strike. gonzalo:\t\t sir \u2013 sebastian:\t one \u2013 tell. gonzalo:\t\t when every grief is entertain\u2019d that\u2019s offer\u2019d, \t  comes to th\u2019 entertainer \u2013 sebastian:\t a dollar. gonzalo:\t\t \tdolour comes to him, indeed; you have spoken truer  than you purpos\u2019d. sebastian:\t y ou have taken it wiselier than i meant you should. gonzalo:\t\t therefore, my lord \u2013 antonio:\t \t fie, what a spendthrift is he of his tongue! alonso:\t \t i prithee, spare. gonzalo:\t\t well, i have done; but yet \u2013 sebastian:\t he will be talking. antonio:\t \t \twhich, of he or adrian, for a good wager, first begins  to crow? sebastian:\t the old cock. antonio:\t \t the cock \u2019rel. sebastian:\t done. the wager? antonio:\t \t a laughter. sebastian:\t a match! adrian:\t \t though this island seem to be desert \u2013 antonio:\t \t ha, ha, ha! sebastian:\t so, you \u2019re paid. adrian:\t \t uninhabitable, and almost inaccessible \u2013 sebastian:\t y et \u2013 adrian:\t \t y et \u2013 antonio:\t \t he could not miss \u2019t. adrian:\t \t \tit must needs be of subtle, tender, and delicate  temperance. antonio:\t \t temperance was a delicate wench. sebastian:\t ay, and a subtle; as he most learnedly deliver \u2019d. adrian:\t \t the air breathes upon us here most sweetly. sebastian:\t as if it had lungs, and rotten ones. antonio:\t \t or, as \u2019twere perfum\u2019 d by a fen. gonzalo:\t\t here is everything advantageous to life. antonio:\t \t true; save means to live.5 10 15 20 25 30 35 40 45 50",
            "11": "11 0486/32/o/n/15 \u00a9 ucles 2015 [turn oversebastian:\t of that there \u2019s none, or little. gonzalo:\t\t how lush and lusty the grass looks! how green! antonio:\t \t the ground indeed is tawny. sebastian:\t with an eye of green in \u2019t. antonio:\t \t he misses not much. sebastian:\t no; he doth but mistake the truth totally. gonzalo:\t\t \tbut the rarity of it is, which is indeed almost beyond  credit \u2013 sebastian:\t as many vouch \u2019d rarities are. gonzalo:\t\t \tthat our garments, being, as they were, drench \u2019d in  the sea, hold, notwithstanding, their freshness and  glosses, being rather newdy \u2019d, than stain \u2019d with salt  water. antonio:\t \t \tif but one of his pockets could speak, would it not  say he lies? sebastian:\t ay, or very falsely pocket up his report. gonzalo:\t\t \tmethinks our garments are now as fresh as when  we put them on first in afric, at the marriage of the  king \u2019s fair daughter claribel to the king of tunis. sebastian:\t \t\u2019twas a sweet marriage, and we prosper well in our  return. adrian:\t \t \ttunis was never grac \u2019d before with such a paragon  to their queen. gonzalo:\t\t not since widow dido \u2019s time.  [from \tact\t2\tscene \t1]     how does shakespeare create striking impressions of the characters on stage at  this moment in the play? or   10 \u2018in the\ttempest \tgood clearly triumphs over evil.\u2019 explore the ways in which  shakespeare vividly conveys this to you.55 60 65 70",
            "12": "12 0486/32/o/n/15 \u00a9 ucles 2015oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either   11  read this extract, and then answer the question that follows it: \t [enter \tjack \tslowly \tfrom \tthe\tback \tof\tthe\tgarden. \t he\tis\tdressed \tin\tthe\tdeepest \tmourning, \twith\tcr\u00eape \t hatband \tand\tblack \tgloves. ] miss \tprism:\t mr worthing! chasuble:\t mr worthing? miss \tprism:\t this is indeed a surprise. we did not look for you till  monday afternoon. jack\t [shakes  miss prism\u2019 s hand \tin\ta\ttragic \tmanner ]: i  have returned sooner than i expected. dr chasuble,  i hope you are well? chasuble:\t dear mr worthing, i trust this garb of woe does not  betoken some terrible calamity? jack:\t my brother. miss \tprism:\t more shameful debts and extravagance? chasuble:\t still leading his life of pleasure? jack\t [shaking \this\thead ]: dead! chasuble:\t y our brother ernest dead? jack:\t quite dead. miss \tprism:\t what a lesson for him! i trust he will profit by it. chasuble:\t mr worthing, i offer you my sincere condolence.  y ou have at least the consolation of knowing that  you are always the most generous and forgiving of  brothers. jack:\t poor ernest! he had many faults, but it is a sad,  sad blow. chasuble:\t very sad indeed. were you with him at the end? jack:\t no. he died abroad; in paris, in fact. i had a  telegram last night from the manager of the grand  hotel. chasuble:\t was the cause of death mentioned? jack:\t a severe chill, it seems. miss \tprism:\t as a man sows, so shall he reap. chasuble\t [raising \this\thand ]: charity, dear miss prism, charity!  none of us are perfect. i myself am peculiarly  susceptible to draughts. will the interment take  place here? jack:\t no. he seems to have expressed a desire to be  buried in paris. chasuble:\t in paris! [ shakes \this\thead .] i fear that hardly  points to any very serious state of mind at the  last. y ou would no doubt wish me to make some  slight allusion to this tragic domestic affliction next  sunday. [jack presses \this\thand \tconvulsively .]  my sermon on the meaning of the manna in the  wilderness can be adapted to almost any occasion,  joyful, or, as in the present case, distressing. [ all\t sigh.] i have preached it at harvest celebrations,  christenings, confirmations, on days of humiliation  and festal days. the last time i delivered it was in  the cathedral, as a charity sermon on behalf of the 5 10 15 20 25 30 35 40 45 50",
            "13": "13 0486/32/o/n/15 \u00a9 ucles 2015society for the prevention of discontent among the  upper orders. the bishop, who was present, was  much struck by some of the analogies i drew. jack:\t ah! that reminds me, you mentioned christenings  i think, dr chasuble? i suppose you know how  to christen all right? [dr chasuble looks \t astounded .] i mean, of course, you are continually  christening, aren\u2019t you? miss \tprism:\t it is, i regret to say, one of the rector\u2019s most  constant duties in this parish. i have often spoken  to the poorer classes on the subject. but they don\u2019t  seem to know what thrift is. chasuble:\t but is there any particular infant in whom you  are interested, mr worthing? y our brother was, i  believe, unmarried, was he not? jack:\t oh yes. miss \tprism\t [bitterly ]: people who live entirely for pleasure  usually are. jack:\t but it is not for any child, dear doctor. i am very  fond of children. no! the fact is, i would like to  be christened myself, this afternoon, if you have  nothing better to do. chasuble:\t but surely, mr worthing, you have been christened  already? jack:\t i don\u2019t remember anything about it. chasuble:\t but have you any grave doubts on the subject? jack:\t i certainly intend to have. of course i don\u2019t know  if the thing would bother you in any way, or if you  think i am a little too old now. chasuble:\t not at all. the sprinkling, and, indeed, the immersion of adults is a perfectly canonical practice. jack:\t immersion! \t [from \tact\t2]    how does wilde make this such an entertaining moment in the play? or   12 cecily is described as \u2018a sweet, simple, innocent girl\u2019 by jack. how far does wilde  make you agree with this description?55 60 65 70 75 80",
            "14": "14 0486/32/o/n/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/32/o/n/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/32/o/n/15 \u00a9 ucles 2015blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w15_qp_33.pdf": {
            "1": "this document consists of 13 printed pages, 3 blank pages and 1 insert. dc (st) 128453 \u00a9 ucles 2015  [turn overcambridge international examinations cambridge international general certificate of secondary education * 3 5 4 7 5 8 4 6 4 1 *literature (english)  0486/33 paper 3  drama (open text)  october/november 2015  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside the question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/33/o/n/15 \u00a9 ucles 2015arthur miller : all my sons remember to support your ideas with details from the text. either  1 read this passage, and then answer the question that follows it: chris \t [quietly, incredibly ]: how could you do that? how? keller: \t what\u2019s the matter with you! chris:  dad \u2026 dad, you killed twenty-one men! keller:  what, killed? chris:  y ou killed them, you murdered them. keller  [as though throwing his whole nature open before chris ]:  how could i kill anybody? chris:  dad! dad! keller  [trying to hush him ]: i didn\u2019t kill anybody! chris:  then explain it to me. what did you do? explain it to me or  i\u2019ll tear you to pieces! keller  [horrified at his overwhelming fury  ]: don\u2019t, chris, don\u2019t \u2013 chris:  i want to know what you did, now what did you do? y ou had  a hundred and twenty cracked engine-heads, now what did  you do? keller:  if you\u2019re going to hang me then i \u2013 chris:  i\u2019m listening. god almighty, i\u2019m listening! keller  [ \u2013 their movements now are those of subtle pursuit and  escape. keller  keeps a step out of chris \u2019s range as he  talks. ]: y ou\u2019re a boy, what could i do! i\u2019m in business, a man  is in business; a hundred and twenty cracked, you\u2019re out of  business; you got a process, the process don\u2019t work you\u2019re  out of business; you don\u2019t know how to operate, your stuff  is no good; they close you up, they tear up your contracts,  what the hell\u2019s it to them? y ou lay forty years into a business  and they knock you out in five minutes, what could i do, let  them take forty years, let them take my life away? [ his voice  cracking ] i never thought they\u2019d install them. i swear to god. i  thought they\u2019d stop \u2019em before anybody took off. chris:  then why\u2019d you ship them out? keller:  by the time they could spot them i thought i\u2019d have the  process going again, and i could show them they needed  me and they\u2019d let it go by. but weeks passed and i got no  kick-back, so i was going to tell them. chris:  then why didn\u2019t you tell them? keller:  it was too late. the paper, it was all over the front page,  twenty-one went down, it was too late. they came with  handcuffs into the shop, what could i do? [ he sits on bench .]  chris \u2026 chris, i did it for you, it was a chance and i took it  for you. i\u2019m sixty-one years old, when would i have another  chance to make something for you? sixty-one years old you  don\u2019t get another chance, do ya? chris:  y ou even knew they wouldn\u2019t hold up in the air. keller:  i didn\u2019t say that.5 10 15 20 25 30 35 40",
            "3": "3 0486/33/o/n/15 \u00a9 ucles 2015 [turn overchris:  but you were going to warn them not to use them \u2013  keller:  but that don\u2019t mean \u2013  chris:  it means you knew they\u2019d crash. keller:  it don\u2019t mean that. chris:  then you thought  they\u2019d crash. keller:  i was afraid maybe \u2013  chris:  y ou were afraid maybe! god in heaven, what kind of man  are you? kids were hanging in the air by those heads. y ou  knew that! keller:  for you, a business for you! chris  [with burning fury ]: for me! where do you live, where have  you come from? for me! \u2013 i was dying every day and you  were killing my boys and you did it for me? what the hell do  you think i was thinking of, the goddam business? is that as  far as your mind can see, the business? what is that, the  world \u2013 the business? what the hell do you mean, you did  it for me? don\u2019t you have a country? don\u2019t you live in the  world? what the hell are you? y ou\u2019re not even an animal, no  animal kills his own, what are you? what must i do to you? i  ought to tear the tongue out of your mouth, what must i do?  [with his fist he pounds down upon his father\u2019s shoulder. he  stumbles away, covering his face as he weeps .] what must i  do, jesus god, what must i do? keller:  chris \u2026 my chris \u2026   curtain [from act 2  ]    how does miller make this such a powerfully dramatic ending to act 2? or 2 how do you think the portrayal of the two couples \u2013 sue and jim bayliss and frank and  lydia lubey \u2013 contributes to the power of miller\u2019s play?45 50 55 60 65",
            "4": "4 0486/33/o/n/15 \u00a9 ucles 2015j. b. priestley:  an inspector calls remember to support your ideas with details from the text. either  3 read this passage, and then answer the question that follows it: birling  [somewhat impatiently  ]: look \u2013 there\u2019s nothing mysterious \u2013  content removed due to copyright restrictions.",
            "5": "5 0486/33/o/n/15 \u00a9 ucles 2015 [turn overinspector:  they might. but after all it\u2019s better to ask for the earth than to  take it. [from act 1 ]     in what ways does priestley make this such a dramatic and significant moment  in the play? or 4 explore the ways in which priestley vividly depicts the conflict between mrs birling and  sheila in two moments in the play.content removed due to copyright restrictions.",
            "6": "6 0486/33/o/n/15 \u00a9 ucles 2015william shakespeare:  the merchant of venice remember to support your ideas with details from the text. either  5 read this passage, and then answer the question that follows it: antonio:  is that anything now? bassanio: \tgratiano speaks an infinite deal of nothing, more than  any man in all venice. his reasons are as two grains  of wheat hid in two bushels of chaff: you shall seek all  day ere you find them, and when you have them they  are not worth the search. antonio: \t well; tell me now what lady is the same to whom you swore a secret pilgrimage,   that you to-day promis\u2019d to tell me of? bassanio: \t\u2019tis not unknown to you, antonio,  how much i have disabled mine estate   by something showing a more swelling port   than my faint means would grant continuance;   nor do i now make moan to be abridg\u2019d   from such a noble rate; but my chief care   is to come fairly off from the great debts   wherein my time, something too prodigal,   hath left me gag\u2019d. to you, antonio,   i owe the most, in money and in love;   and from your love i have a warranty   to unburden all my plots and purposes   how to get clear of all the debts i owe. antonio:  i pray you, good bassanio, let me know it; and if it stand, as you yourself still do,   within the eye of honour, be assur\u2019d   my purse, my person, my extremest means,   lie all unlock\u2019d to your occasions. bassanio:  in my school-days, when i had lost one shaft, i shot his fellow of the self-same flight   the self-same way, with more advised watch,   to find the other forth; and by adventuring both   i oft found both. i urge this childhood proof,   because what follows is pure innocence.   i owe you much; and, like a wilful youth,   that which i owe is lost; but if you please   to shoot another arrow that self way   which you did shoot the first, i do not doubt,   as i will watch the aim, or to find both,   or bring your latter hazard back again   and thankfully rest debtor for the first. antonio:  y ou know me well, and herein spend but time to wind about my love with circumstance;   and out of doubt you do me now more wrong   in making question of my uttermost   than if you had made waste of all i have.   then do but say to me what i should do   that in your knowledge may by me be done,   and i am prest unto it; therefore, speak.5       10          15          20        25         30          35          40         45  ",
            "7": "7 0486/33/o/n/15 \u00a9 ucles 2015 [turn overbassanio:  in belmont is a lady richly left, and she is fair and, fairer than that word,   of wondrous virtues. sometimes from her eyes   i did receive fair speechless messages.   her name is portia \u2013 nothing undervalu\u2019d   to cato\u2019s daughter, brutus\u2019 portia.   nor is the wide world ignorant of her worth;   for the four winds blow in from every coast   renowned suitors, and her sunny locks   hang on her temples like a golden fleece,   which makes her seat of belmont colchos\u2019 strond,   and many jasons come in quest of her.   o my antonio, had i but the means   to hold a rival place with one of them,   i have a mind presages me such thrift   that i should questionless be fortunate. antonio:  thou know\u2019st that all my fortunes are at sea; neither have i money nor commodity   to raise a present sum; therefore go forth,   try what my credit can in venice do;   that shall be rack\u2019d, even to the uttermost,   to furnish thee to belmont to fair portia.   go presently inquire, and so will i,   where money is; and i no question make   to have it of my trust or for my sake.  [exeunt. [from act 1 scene 1  ]     how does shakespeare create vivid impressions of bassanio and his friendship with  antonio at this moment in the play? or 6 what does shakespeare\u2019s writing make you feel about jessica and lorenzo?  50          55          60        65          70   ",
            "8": "8 0486/33/o/n/15 \u00a9 ucles 2015william shakespeare:  a midsummer night\u2019s dream remember to support your ideas with details from the text. either  7 read this passage, and then answer the question that follows it: oberon:  i wonder if titania be awak\u2019d; then, what it was that next came in her eye,   which she must dote on in extremity.   enter puck .   here comes my messenger. how now, mad spirit!   what night-rule now about this haunted grove? puck: \t my mistress with a monster is in love.  near to her close and consecrated bower,   while she was in her dull and sleeping hour,   a crew of patches, rude mechanicals,   that work for bread upon athenian stalls,   were met together to rehearse a play   intended for great theseus\u2019 nuptial day.   the shallowest thickskin of that barren sort,   who pyramus presented, in their sport   forsook his scene and ent\u2019red in a brake;   when i did him at this advantage take,   an ass\u2019s nole i fixed on his head.   anon his thisby must be answered,   and forth my mimic comes. when they him spy,   as wild geese that the creeping fowler eye,   or russet-pated choughs, many in sort,   rising and cawing at the gun\u2019s report,   sever themselves and madly sweep the sky,   so at his sight away his fellows fly;   and at our stamp here, o\u2019er and o\u2019er one falls;   he murder cries, and help from athens calls.   their sense thus weak, lost with their fears thus strong,   made senseless things begin to do them wrong,   for briers and thorns at their apparel snatch;   some sleeves, some hats, from yielders all things catch.   i led them on in this distracted fear,   and left sweet pyramus translated there;   when in that moment, so it came to pass,   titania wak\u2019d, and straightway lov\u2019d an ass. oberon: \t this falls out better than i could devise.  but hast thou yet latch\u2019d the athenian\u2019s eyes   with the love-juice, as i did bid thee do? puck: \t i took him sleeping \u2013 that is finish\u2019d too \u2013  and the athenian woman by his side;   that, when he wak\u2019d, of force she must be ey\u2019d.   enter demetrius and hermia . oberon: \t stand close; this is the same athenian. puck: \t this is the woman, but not this the man. demetrius: \to, why rebuke you him that loves you so? lay breath so bitter on your bitter foe.5         10          15          20          25          30          35       40           45",
            "9": "9 0486/33/o/n/15 \u00a9 ucles 2015 [turn overhermia:  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\u2019er 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\u2019ll believe as soon   this whole earth may be bor\u2019d, and that the moon   may through the centre creep and so displease   her brother\u2019s noontide with th\u2019 antipodes.   it cannot be but thou hast murd\u2019red him;   so should a murderer look \u2013 so dead, so grim. demetrius: \tso should the murdered look; and so should i, pierc\u2019d through the heart with your stern cruelty;   y et you, the murderer, look as bright, as clear,   as yonder venus in her glimmering sphere. hermia:  what\u2019s this to my lysander? where is he? ah, good demetrius, wilt thou give him me? demetrius: \ti had rather give his carcass to my hounds. [from act 3 scene 2  ]     how does shakespeare make this such a dramatic moment in the play? or 8 to what extent do you think that shakespeare portrays hermia and helena as victims?      50          55        60        65  ",
            "10": "10 0486/33/o/n/15 \u00a9 ucles 2015william shakespeare:  the tempest remember to support your ideas with details from the text. either  9 read this passage, and then answer the question that follows it: prospero:  thou poisonous slave, got by the devil himself upon thy wicked dam, come forth!   enter caliban . caliban: \t as wicked dew as e\u2019er my mother brush\u2019d with raven\u2019s feather from unwholesome fen   drop on you both! a south-west blow on ye   and blister you all o\u2019er! prospero:  for this, be sure, to-night thou shalt have cramps, side-stitches that shall pen thy breath up; urchins   shall, for that vast of night that they may work,   all exercise on thee; thou shalt be pinch\u2019d   as thick as honeycomb, each pinch more stinging   than bees that made \u2019em. caliban: \t \t \t \ti must eat my dinner. this island\u2019s mine, by sycorax my mother,   which thou tak\u2019st from me. when thou cam\u2019st first,   thou strok\u2019st me and made much of me, wouldst    give me   water with berries in\u2019t, and teach me how   to name the bigger light, and how the less,   that burn by day and night; and then i lov\u2019d thee,   and show\u2019d thee all the qualities o\u2019 th\u2019 isle,   the fresh springs, brine-pits, barren place and fertile.   curs\u2019d be i that did so! all the charms   of sycorax, toads, beetles, bats, light on you!   for i am all the subjects that you have,   which first was mine own king; and here you sty me   in this hard rock, whiles you do keep from me   the rest o\u2019 th\u2019 island. prospero:     thou most lying slave, whom stripes may move, not kindness! i have    us\u2019d thee,   filth as thou art, with human care, and lodg\u2019d thee   in mine own cell, till thou didst seek to violate   the honour of my child. caliban: \t o ho, o ho! would\u2019t had been done. thou didst prevent me; i had peopl\u2019d else   this isle with calibans. miranda: \t \t \t \tabhorred slave, which any print of goodness wilt not take,   being capable of all ill! i pitied thee,   took pains to make thee speak, taught thee    each hour   one thing or other. when thou didst not, savage,   know thine own meaning, but wouldst gabble like   a thing most brutish, i endow\u2019d thy purposes   with words that made them known. but thy vile race,5         10         15          20   25        30 35       40         45",
            "11": "11 0486/33/o/n/15 \u00a9 ucles 2015 [turn over  though thou didst learn, had that in\u2019t which    good natures   could not abide to be with; therefore wast thou   deservedly confin\u2019d into this rock, who hadst   deserv\u2019d more than a prison. caliban: \t y ou taught me language, and my profit on\u2019t is, i know how to curse. the red plague rid you   for learning me your language! prospero:     hag-seed, hence! fetch us in fuel. and be quick, thou\u2019rt best,   to answer other business. shrug\u2019st thou, malice?   if thou neglect\u2019st, or dost unwillingly   what i command, i\u2019ll rack thee with old cramps,   fill all thy bones with aches, make thee roar,   that beasts shall tremble at thy din. caliban: \t \t \t \tno, pray thee. [aside  ] i must obey. his art is of such pow\u2019r,  it would control my dam\u2019s god, setebos,   and make a vassal of him. prospero:     so, slave; hence!  [exit caliban [from act 1 scene 2  ]     to what extent  does shakespeare make it possible for you to feel sympathy for caliban  at this moment in the play? or 10 \u2018so perfect and so peerless.\u2019 how far does shakespeare make you agree with this view of  miranda?50        55         60    65",
            "12": "12 0486/33/o/n/15 \u00a9 ucles 2015oscar wilde:  the importance of being earnest remember to support your ideas with details from the text. either  11 read this passage, and then answer the question that follows it: gwendolen:  ah! that accounts for it. and now that i think of it i have never  heard any man mention his brother. the subject seems  distasteful to most men. cecily, you have lifted a load from  my mind. i was growing almost anxious. it would have been  terrible if any cloud had come across a friendship like ours,  would it not? of course you are quite, quite sure that it is not  mr ernest worthing who is your guardian? cecily:  quite sure. [ a pause. ] in fact, i am going to be his. gwendolen  [inquiringly ]: i beg your pardon? cecily  [rather shy and confidingly ]: dearest gwendolen, there is  no reason why i should make a secret of it to you. our little  county newspaper is sure to chronicle the fact next week.  mr ernest worthing and i are engaged to be married. gwendolen  [quite politely, rising ]: my darling cecily, i think there must  be some slight error. mr ernest worthing is engaged to me.   the announcement will appear in the morning post  on  saturday at the latest. cecily  [very politely, rising ]: i am afraid you must be under some  misconception. ernest proposed to me exactly ten minutes  ago. [ shows diary .] gwendolen  [examines diary through her lorgnette carefully  ]: it is very  curious, for he asked me to be his wife yesterday afternoon  at 5.30. if you would care to verify the incident, pray do so.  [produces diary of her own .] i never travel without my diary.  one should always have something sensational to read in  the train. i am so sorry, dear cecily, if it is any disappointment  to you, but i am afraid i have the prior claim. cecily:  it would distress me more than i can tell you, dear  gwendolen, if it caused you any mental or physical anguish,  but i feel bound to point out that since ernest proposed to  you he clearly has changed his mind. gwendolen  [meditatively  ]: if the poor fellow has been entrapped into any  foolish promise i shall consider it my duty to rescue him at  once, and with a firm hand. cecily  [thoughtfully and sadly ]: whatever unfortunate entanglement  my dear boy may have got into, i will never reproach him  with it after we are married. gwendolen:  do you allude to me, miss cardew, as an entanglement? y ou  are presumptuous. on an occasion of this kind it becomes  more than a moral duty to speak one\u2019s mind. it becomes a  pleasure. cecily:  do you suggest, miss fairfax, that i entrapped ernest into  an engagement? how dare you? this is no time for wearing  the shallow mask of manners. when i see a spade i call it a  spade.5     10         15         20         25         30       35         40         45 ",
            "13": "13 0486/33/o/n/15 \u00a9 ucles 2015gwendolen  [satirically ]: i am glad to say that i have never seen a spade.  it is obvious that our social spheres have been widely  different.   [enter merriman , followed by the footman. he carries  a salver, table cloth, and plate stand. cecil y  is about to  retort. the presence of the servants exercises a restraining  influence, under which both girls chafe. ] merriman:  shall i lay tea here as usual, miss? cecily  [sternly, in a calm voice ]: y es, as usual. [ merriman  begins  to clear table and lay cloth. a long pause. cecil y  and  gwendolen  glare at each other. ] gwendolen:  are there many interesting walks in the vicinity, miss  cardew? cecily:  oh! yes! a great many. from the top of one of the hills quite  close one can see five counties. gwendolen:  five counties! i don\u2019t think i should like that; i hate crowds. cecily:  [sweetly ]: i suppose that is why you live in town?  [gwendolen bites her lip, and beats her foot nervously  with her parasol .] gwendolen  [looking around  ]: quite a well-kept garden this is, miss  cardew. cecily:  so glad you like it, miss fairfax. gwendolen:  i had no idea there were any flowers in the country. cecily:  oh, flowers are as common here, miss fairfax, as people  are in london. gwendolen:  personally i cannot understand how anybody manages to  exist in the country, if anybody who is anybody does. the  country always bores me to death. cecily:  ah! this is what the newspapers call agricultural depression,  is it not? i believe the aristocracy are suffering very much  from it just at present. it is almost an epidemic amongst them,  i have been told. may i offer you some tea, miss  fairfax? gwendolen  [with elaborate politeness ]: thank you. [ aside .] detestable  girl! but i require tea!  [from act 2  ]   how does wilde make this conversation between gwendolen and cecily so entertaining  at this moment in the play? or 12 explore the ways in which wilde amusingly portrays the relationship between jack and  algernon.      50      55    60    65     70         75",
            "14": "14 0486/33/o/n/15 \u00a9 ucles 2015blank page",
            "15": "15 0486/33/o/n/15 \u00a9 ucles 2015blank page",
            "16": "16 0486/33/o/n/15 \u00a9 ucles 2015permission 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w15_qp_41.pdf": {
            "1": "this document consists of 5 printed pages,  3 blank pages and 1 insert. dc (rcl (km)) 97511/3 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *1257317573*literature (english)  0486/41 paper 4 unseen october/november 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/41/o/n/15 \u00a9 ucles 2015answer either  question 1 or question 2. either1 read carefully the following poem. the poet was about to hit his son. his action triggers thoughts  and feelings about his own father.  how does the poet\u2019s writing powerfully convey to you the impact of this experience? to help you answer this question, you might consider:  \u0081 how the poet conveys his first reactions to the incident  \u0081 how he compares his hand to his own father\u2019s hand  \u0081  how the poet\u2019s thoughts and feelings about himself and his father develop in the last seven  lines.",
            "3": "3 0486/41/o/n/15 \u00a9 ucles 2015 [turn overhit! i raise my hand against my son and all night afterwards re-run a bitter sequence in my head. that hand is not this hand. instead of this hand rising in the light that hand is rough, the knuckles white where skin is tight across the bone. that hand is not this hand. my own. is long and delicate. the fists as skinny as a lazarist\u2019s1, are bony; not so quick, so square. that hand is not this hand but where the fingers probe against the brain i feel again that hurt, that pain of snap rejection. now i know that hand becomes this hand. i grow more like my father. on his grave the ragged grasses misbehave. 1 lazarist\u2019s : belonging to a member of a strict religious order",
            "4": "4 0486/41/o/n/15 \u00a9 ucles 2015or 2 read carefully this extract from a non-fiction text. the writer and his two friends have sailed out to  a remote island off the coast of wales, where they intend to spend the night.  how does the writer encourage you to share his appreciation of what he sees and feels? to help you answer this question, you might consider:  \u0081 the ways in which he describes his surroundings as the sun goes down  \u0081 his descriptions of the fire and of the water at night  \u0081 how he portrays the powerful sensations he feels when swimming in the water. that afternoon the sun returned, filling the air with low warm light. we  climbed steep cliffs near the cove 1, above deep sea water which would  catch us if we fell, and gathered the rock samphire2 that grew in vertical  fields. we perched in little nooks and sentry holes, facing out to the setting sun, and talked to each other across the cliff, as we chewed on the samphire\u2019s pale green leaves, relishing its saltiness. as dark was finally falling, we returned to the cove off which the boat  was moored. it lay at the mouth of a small steep-sided valley, cut by a stream. the valley\u2019s two banks were thick with small trees \u2013 ash, elder, rowan \u2013 hung with wild honeysuckle, and bindweed 3, whose almond scent  gathered in the air and moved with the wind in currents through the dusk, and whose white trumpet-shaped flowers shone in the fading light. the cove\u2019s beach was formed of hundreds of thousands of stones,  some as smooth as eggs. several old rusted tractors with black plastic bucket seats were pulled up to either side, near the cliffs, ready to haul fishing boats out of the water. where it was sandier, near the water, three wading birds moved forwards together in a line, swinging their beaks from side to side in arcs as they advanced, like a team of metal detectors. we moved boulders to make seats, and sat for a while, watching the sun complete its combustion over the western sea. when it was fully dark, we lit a birchwood fire in a pit of stones  beneath the westernmost cliff edge of the cove, and sat round it, drinking, eating, talking. the orange fire popped bright sun-flares out into the darkness. resin hissed, and wood cracked as it tore itself along its grain. sparks rushed in flocks into the darkness, before passing out of sight. the sea hushed on the shingle. time became measured by the fire\u2019s failing and flaring. later in the evening, i walked across the cove. i looked back through the dark at the fire, to see its orange sway, and the figures, visible only as shadows, moving about it. by two in the morning the fire had dulled down to a pyre of embers,  which pulsed black and orange with the light wind. the night was moonless and tepid. it was then that i saw the glimmering of the water. a line of blinking light \u2013 purple and silver \u2013 rimming the long curve of the beach. i walked down to the edge, squatted, and waved a hand in the water. it blazed purple, orange, yellow and silver. phosphorescence 4! i left my clothes on the stones, and waded into the warm shallows.  where it was undisturbed, the water was still and black. but where it was stirred, it burned with light. every movement i made provoked a brilliant swirl, and everywhere it lapped against a floating body it was struck into colour, so that the few boats moored in the bay were outlined with luminescence, gleaming off their wet sloped sides. glancing back, the cove, the cliffs and the caves all appeared trimmed with light. i found that ",
            "5": "5 0486/41/o/n/15 \u00a9 ucles 2015i could fling long streaks of fire from my fingertips, sorcerer-style, so i  stood in the shallows for a few happy minutes, pretending to be merlin5,  dispensing magic to right and left. then i walked out into the deeper water, and slipped forward and  swam in a squall of tangerine light. i rolled on to my back, and sculled6  along the line of the shore, looking back at the land, and kicking my legs so that complex drapes of colour were slung outwards. it was dark in the cove, and there was little loose light in the sky,  and i realised that i could not see myself, only the phosphorescence that surrounded me, so that it appeared as though i were not there in the water at all: my body was unclear, defined only as a shape of darkness set against the swirling aqueous 7 light. 1 cove : sheltered bay 2 rock samphire : edible plant which grows on sea cliffs 3 honeysuckle, and bindweed  : types of climbing plant 4 phosphorescence : natural glow produced at night by tiny sea creatures 5 merlin : a legendary welsh magician 6 sculled  : swam with a rowing motion 7 aqueous : watery",
            "6": "6 0486/41/o/n/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/41/o/n/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/41/o/n/15 \u00a9 ucles 2015permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w15_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (st) 128452 \u00a9 ucles 2015  [turn overcambridge international examinations cambridge international general certificate of secondary education * 7 4 5 5 5 4 0 9 3 9 *literature (english)  0486/42 paper 4 unseen  october/november 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/42/o/n/15 \u00a9 ucles 2015answer either  question 1 or question 2. either 1 read carefully the poem opposite.  how does the poet\u2019s writing make his night wanderings so vivid for you?  to help you answer this question, you might consider:  \u2022 how he describes what he has seen and heard  \u2022 how he conveys his feelings to you  \u2022 the impact of the form and ending of the poem.",
            "3": "3 0486/42/o/n/15 \u00a9 ucles 2015 [turn overacquainted with the night i have been one acquainted with the night. content removed due to copyright restrictions.",
            "4": "4 0486/42/o/n/15 \u00a9 ucles 2015or 2 read carefully this extract from a novel set in england in the nineteenth century. jane, a young  orphan girl, has been unfairly punished after she was bullied by her cousin john. she has been  locked in the red room, the room where her uncle mr reed died \u2013 and now night is falling.  how does the writing strikingly convey jane\u2019s growing terror to you?  to help you answer this question, you might consider:  \u2022 the way the writer portrays jane\u2019s changing mood as night falls  \u2022 the way she portrays jane\u2019s fears and imaginings  \u2022 the different reactions to jane\u2019s terror by the servants bessie and abbot. daylight began to forsake the red-room; it was past four o\u2019clock, and  the beclouded afternoon was tending to drear1 twilight. i heard the rain  still beating continuously on the staircase window, and the wind howling  in the grove behind the hall; i grew by degrees cold as a stone, and then  my courage sank. my habitual mood of humiliation, self-doubt, forlorn  depression, fell damp on the embers of my decaying ire2. all said i was  wicked, and perhaps i might be so: what thought had i been but just  conceiving of starving myself to death? that certainly was a crime: and  was i fit to die? or was the vault  3 under the chancel of gateshead church  an inviting bourne4? in such vault i had been told did mr reed lie buried;  and led by this thought to recall his idea, i dwelt on it with gathering dread.  i could not remember him, but i knew that he was my own uncle \u2013 my  mother\u2019s brother \u2013 that he had taken me when a parentless infant to his  house; and that in his last moments he had required a promise of mrs  reed that she would rear and maintain me as one of her own children. mrs  reed probably considered she had kept this promise; and so she had, i  dare say, as well as her nature would permit her: but how could she really  like an interloper, unconnected with her, after her husband\u2019s death, by any  tie? it must have been most irksome to find herself bound by a hard-wrung  pledge to stand in the stead of a parent to a strange child she could not  love, and to see an uncongenial alien permanently intruded on her own  family group. a singular notion dawned upon me. i doubted not \u2013 never doubted \u2013  that if mr reed had been alive he would have treated me kindly; and now,  as i sat looking at the white bed and overshadowed walls \u2013 occasionally  also turning a fascinated eye towards the dimly gleaming mirror \u2013 i began  to recall what i had heard of dead men, troubled in their graves by the  violation of their last wishes, revisiting the earth to punish the perjured5  and avenge the oppressed; and i thought mr reed\u2019s spirit, harassed by the  wrongs of his sister\u2019s child, might quit its abode \u2013 whether in the church  vault or in the unknown world of the departed \u2013 and rise before me in  this chamber. i wiped my tears and hushed my sobs, fearful lest any sign  of violent grief might waken a preternatural6 voice to comfort me, or elicit  from the gloom some haloed face, bending over me with strange pity. this  idea, consolatory7 in theory, i felt would be terrible if realised: with all my  might i endeavoured to stifle it \u2013 i endeavoured to be firm. shaking my hair  from my eyes, i lifted my head and tried to look boldly round the dark room;  at this moment a light gleamed on the wall. was it, i asked myself, a ray  from the moon penetrating some aperture in the blind? no; moonlight was  still, and this stirred; while i gazed, it glided up to the ceiling and quivered  over my head. i can now conjecture8 readily that this streak of light was, in ",
            "5": "5 0486/42/o/n/15 \u00a9 ucles 2015all likelihood, a gleam from a lantern carried by some one across the lawn;  but then, prepared as my mind was for horror, shaken as my nerves were  by agitation, i thought the swift-darting beam was a herald of some coming  vision from another world. my heart beat thick, my head grew hot; a sound  filled my ears, which i deemed the rushing of wings; something seemed  near me; i was oppressed, suffocated: endurance broke down; i rushed to  the door and shook the lock in desperate effort. steps came running along  the outer passage; the key turned, bessie and abbot entered. \u2018miss eyre, are you ill?\u2019 said bessie. \u2018what a dreadful noise! it went quite through me!\u2019 exclaimed abbot. \u2018take me out! let me go into the nursery!\u2019 was my cry. \u2018what for? are you hurt? have you seen something?\u2019 again demanded  bessie. \u2018oh! i saw a light, and i thought a ghost would come.\u2019 i had now got  hold of bessie\u2019s hand, and she did not snatch it from me. \u2018she has screamed out on purpose,\u2019 declared abbot, in some disgust.  \u2018and what a scream! if she had been in great pain one would have excused  it, but she only wanted to bring us all here; i know her naughty tricks.\u2019 1 drear  : gloomy 2 ire : anger 3 vault  : underground tomb 4 bourne : destination 5 the perjured  : people who break promises 6 preternatural  : supernatural, extraordinary 7 consolatory  : bringing comfort and help 8 conjecture  : guess",
            "6": "6 0486/42/o/n/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/42/o/n/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/42/o/n/15 \u00a9 ucles 2015permission 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_w15_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (st) 128451 \u00a9 ucles 2015  [turn overcambridge international examinations cambridge international general certificate of secondary education * 3 9 9 5 2 8 1 5 1 4 *literature (english)  0486/43 paper 4 unseen  october/november 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/43/o/n/15 \u00a9 ucles 2015answer either  question 1 or question 2. either 1 read carefully the following poem. the poet, revisiting her homeland, describes the darkness of  an evening when the electricity has failed.  how does the poet\u2019s language portray the scene so vividly?  to help you answer this question, you might consider:  \u2022 how the poet describes the behaviour of various people in the darkness  \u2022 the ways in which she contrasts darkness and light  \u2022 how she encourages you to feel about the scene she describes.",
            "3": "3 0486/43/o/n/15 \u00a9 ucles 2015 [turn overblackout blackout is endemic1 to the land. people have grown sixthsense and sonic ways, like bats, emerging out of the shadows into the light of their own flesh. but the car headlamps coming towards us make it seem we\u2019re in some thirdworld2 movie, throwing up potholes and houses exaggeratedly, the fresh white painted and grey ramshackle blending into snug relief. and inside, the children are still hovering, hopeful moths around \u2013 the flickerless box3, immune to the cloying stench of toilets that can\u2019t be flushed. the children, all waiting on electric-spell to come and trigger a movie, the one featuring america, played out endlessly in their heads. while back outside, coconut vendors decapitate the night, husky heads cutlassed off4 in the medieval glow of bottle lamps. and everywhere there are flittings and things coming into being, in a night where footfall is an act of faith \u2013 a group of young girls huddled in a questionable doorway; the sudden dim horizontal of an alleyway; and the occasional generator-lit big house, obscenely bright \u2013 hurting the soft iris5 of darkness in this worn-out movie, slow reeling under the endless cinema of the skies. 1 endemic\u200a : present everywhere within a country 2 thirdworld\u200a \u200a : of a less economically developed country 3 box\u200a \u200a \u200a: (slang) television 4 cutlassed \u200aoff\u200a \u200a: removed with a large sharp knife 5 iris\u200a \u200a: aperture admitting light into a camera or the eye",
            "4": "4 0486/43/o/n/15 \u00a9 ucles 2015or 2 read carefully this opening section from a novel. the narrator is on a train crossing the border into  germany. he is sharing a train compartment with a stranger.  how does the writer make the stranger such an intriguing character?  to help you answer this question, you might consider:  \u2022 how the writer describes the stranger\u2019s unusual appearance and movements  \u2022 how he portrays the developing relationship between the narrator and the stranger  \u2022 the stranger\u2019s reaction to the narrator\u2019s final question. my first impression was that the stranger\u2019s eyes were of an unusually  light blue.  content removed due to copyright restrictions.",
            "5": "5 0486/43/o/n/15 \u00a9 ucles 2015\u2018all these frontiers \u2026 such a horrible nuisance.\u2019content removed due to copyright restrictions.",
            "6": "6 0486/43/o/n/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/43/o/n/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/43/o/n/15 \u00a9 ucles 2015blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        }
    },
    "2016": {
        "0486_M16_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (km)) 115906/3 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *8266505678*literature (english)  0486/42 paper 4 unseen february/march 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/42/f/m/16 \u00a9 ucles 2016answer either question 1 or question 2. either1 read carefully the poem opposite. the poet remembers how she used to visit her grandmother  and the antiques shop which she owned.  how does the poet strikingly convey her memories of her grandmother to you? to help you answer this question, you might consider:   \u0081 how the poet portrays the grandmother and her relationship with her   \u0081 how she describes her grandmother\u2019s room   \u0081 how she conveys her feelings about her grandmother\u2019s death.",
            "3": "3 0486/42/f/m/16 \u00a9 ucles 2016 [turn overmy grandmother she kept an antique shop1\u2014or it kept her. among apostle spoons2 and bristol glass, the faded silks, the heavy furniture,she watched her own reflection in the brasssalvers 3 and silver bowls, as if to prove polish was all, there was no need of love. and i remember how i once refused to go out with her, since i was afraid.it was perhaps a wish not to be usedlike antique objects. though she never saidthat she was hurt, i still could feel the guiltof that refusal, guessing how she felt. later, too frail to keep a shop, she put all her best things in one long narrow room.the place smelt old, of things too long kept shut,the smell of absences where shadows comethat can\u2019t be polished. there was nothing thento give her own reflection back again. and when she died i felt no grief at all, only the guilt of what i once refused.i walked into her room among the tallsideboards and cupboards\u2014things she never usedbut needed; and no finger-marks were there,only the new dust falling through the air. 1 antique shop : a place where old, sometimes quite valuable items are sold 2 apostle spoons : spoons with images of christ\u2019s disciples on the handles 3 salvers  : serving trays",
            "4": "4 0486/42/f/m/16 \u00a9 ucles 2016or 2 read carefully the following extract from a short story. some amateur actors are arriving at a  distant town to perform a play but have gone to the wrong place.  how does the writer create a sense of tension and unease? to help you answer this question, you might consider:   \u0081 how the writer conveys the actors\u2019 problems on the way to the hall   \u0081 the way she describes their encounters with the local and the policeman   \u0081 how the writing conveys the actors\u2019 impressions of the town and its people. they stumbled round the polyclinic 1, humpy in the dark with their props and  costumes. \u2018a drain!\u2019 someone shouted, \u2018look out!\u2019 \u2018drain ahead!\u2019 they were all talking at once. the others waiting in the car stared out at them; the driver leaned over his  window: \u2018all right?\u2019 they gesticulated, called out together.\u2018\u2013 can\u2019t hear. is it ok?\u2019 shouted the driver.peering, chins lifted over bundles, they arrived back at the car again. \u2018there\u2019s  nobody there. it\u2019s all locked up.\u2019 \u2018are you sure it was the polyclinic?\u2019\u2018well, it\u2019s very nice, i must say!\u2019they stood around the car, laughing in the pleasant little adventure of being lost  together. a thin local who had been watching them suspiciously from the dusty-red wash  set afloat upon the night by the one street light, came over and mumbled, \u2018i take you \u2026 y ou want to go inside?\u2019 he looked over his shoulder to the location gates. \u2018get in,\u2019 one young girl nudged the other towards the car. suddenly they all got  in, shut the doors. \u2018i take you,\u2019 said the boy again, his hands deep in his pockets.at that moment a light wavered down the road from the gates, a bicycle  swooped swallow-like upon the car, a fat police-boy in uniform shone a torch. \u2018y ou in any trouble there, sir?\u2019 he roared. his knobkerrie 2 swung from his belt. \u2018no, but we\u2019ve come to the wrong place\u2014\u2019\u2018y ou having any trouble?\u2019 insisted the police-boy. the other shrank away into  the light. he stood hands in pockets, shoulders hunched, looking at the car from the street light. \u2018we\u2019re supposed to be giving a play \u2013 concert \u2013 tonight, and we were told it  would be at the polyclinic. now there\u2019s nobody there,\u2019 the girl called impatiently from the back seat. \u2018concert, sir? it\u2019s in the hall, sir. just follow me.\u2019taken over by officialdom, they went through the gates, saluted and stared at,  and up the rutted street past the beer hall, into the location. only a beer-brazen face, blinking into the car lights as they passed, laughed and called out something half-heard. driving along the narrow, dark streets, they peered white-faced at the windows,  wanting to see what it was like. but, curiously, it seemed that although they might want to see the location, the location didn\u2019t want to see them. the rows of low two-roomed houses with their homemade tin and packing-case lean-tos 3 and beans  growing up the chicken wire, throbbed only here and there with the faint pulse of a candle; no one was to be seen. life seemed always to be in the next street, voices singing far off and shouts, but when the car turned the corner \u2013 again, there was nobody.",
            "5": "5 0486/42/f/m/16 \u00a9 ucles 2016the bicycle wobbled to a stop in front of them. here was the hall, here were  lights, looking out like sore eyes in the moted4 air, here were people, more part of  the dark than the light, standing about in straggling curiosity. two girls in flowered headscarves stood with their arms crossed leaning against the wall of the building; some men cupped their hands over an inch of cigarette and drew with the intensity of the stub-smoker. the amateur company climbed shrilly out of their car. they nearly hadn\u2019t arrived  at all! what a story to tell! their laughter, their common purpose, their solidarity before the multifarious 5 separateness of the audiences they faced, generated once  again that excitement that so often seized them. what a story to tell! 1 polyclinic  : community clinic 2 knobkerrie : short wooden stick used as a weapon 3 lean-tos : shacks 4 moted : dust-filled 5 multifarious : widely varying",
            "6": "6 0486/42/f/m/16 \u00a9 ucles 2016blank page",
            "7": "7 0486/42/f/m/16 \u00a9 ucles 2016blank page",
            "8": "8 0486/42/f/m/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m16_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (st) 135347 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *5691126504*literature (english)  0486/12 paper 1  poetry and prose  february/march 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/12/f/m/16 \u00a9 ucles 2016 blank page",
            "3": "3 0486/12/f/m/16 \u00a9 ucles 2016 [turn over contents section a: poetry text question  numbers  page[s] thomas hardy: from  selected poems   1, 2 pages  4\u20135 from jo phillips (ed.): poems deep & dangerous   3, 4 pages  6\u20137 songs of ourselves volume 2\u200a : from part 1   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages 10\u201311 jane austen: northanger abbey   9, 10  pages 12\u201313 george eliot: silas marner  11, 12  pages 14\u201315 michael frayn: spies  13, 14  pages 16\u201317 susan hill: i\u2019m the king of the castle  15, 16  pages 18\u201319 r. k. narayan: the english teacher  17, 18  pages 20\u201321 robert louis stevenson: the strange case of  dr jekyll and mr hyde  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/12/f/m/16 \u00a9 ucles 2016 section a: poetry answer one question from this section. thomas hardy: from selected poems remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: drummer hodge i they throw in drummer hodge, to rest  uncoffined \u2013 just as found: his landmark is a kopje-crest  that breaks the veldt around; and foreign constellations west  each night above his mound. ii young hodge the drummer never knew \u2013  fresh from his wessex home \u2013 the meaning of the broad karoo,  the bush, the dusty loam, and why uprose to nightly view  strange stars amid the gloam. iii yet portion of that unknown plain  will hodge for ever be; his homely northern breast and brain  grow to some southern tree, and strange-eyed constellations reign  his stars eternally.   how does hardy so movingly depict the death of an ordinary soldier in drummer hodge ?5 10 15",
            "5": "5 0486/12/f/m/16 \u00a9 ucles 2016 [turn over or 2 explore the ways in which hardy makes the voice such a sad poem . the voice woman much missed, how you call to me, call to me, saying that now you are not as you were when you had changed from the one who was all to me, but as at first, when our day was fair. can it be you that i hear? let me view you, then, standing as when i drew near to the town where you would wait for me: yes, as i knew you then, even to the original air-blue gown! or is it only the breeze, in its listlessness travelling across the wet mead to me here, you being ever dissolved to wan wistlessness, heard no more again far or near?    thus i; faltering forward,    leaves around me falling, wind oozing thin through the thorn from norward,    and the woman calling.5 10 15",
            "6": "6 0486/12/f/m/16 \u00a9 ucles 2016 from jo phillips  (ed.):  poems deep & dangerous remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: follower my father worked with a horse-plough, behind me, and will not go away. (seamus heaney  )   explore the ways in which heaney vividly conveys his feelings for his father in follower.content removed due to copyright restrictions.",
            "7": "7 0486/12/f/m/16 \u00a9 ucles 2016 [turn over or 4 explore the ways in which arnold creates a feeling of great sadness in to marguerite. to marguerite yes! in the sea of life enisled, with echoing straits between us thrown, dotting the shoreless watery wild, we mortal millions live alone. the islands feel the enclasping flow, and then their endless bounds they know. but when the moon their hollows lights, and they are swept by balms of spring, and in their glens, on starry nights, the nightingales divinely sing; and lovely notes, from shore to shore, across the sounds and channels pour \u2013 oh! then a longing like despair is to their farthest caverns sent; for surely once, they feel, we were parts of a single continent! now round us spreads the watery plain \u2013 oh might our marges meet again! who order\u2019d, that their longing\u2019s fire should be, as soon as kindled, cool\u2019d? who renders vain their deep desire? \u2013 a god, a god their severance ruled; and bade betwixt their shores to be the unplumb\u2019d, salt, estranging sea. (matthew arnold  )5 10 15 20",
            "8": "8 0486/12/f/m/16 \u00a9 ucles 2016 songs of ourselves volume 2 : from part 1 remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: father returning home my father travels on the late evening train standing among silent commuters in the yellow light suburbs slide past his unseeing eyes his shirt and pants are soggy and his black raincoat stained with mud and his bag stuffed with books is falling apart. his eyes dimmed by age fade homeward through the humid monsoon night. now i can see him getting off the train like a word dropped from a long sentence. he hurries across the length of the grey platform, crosses the railway line, enters the lane, his chappals are sticky with mud, but he hurries onward. home again, i see him drinking weak tea, eating a stale chapati, reading a book. he goes into the toilet to contemplate man\u2019s estrangement from a man-made world. coming out he trembles at the sink, the cold water running over his brown hands, a few droplets cling to the greying hairs on his wrists. his sullen children have often refused to share jokes and secrets with him. he will now go to sleep listening to the static on the radio, dreaming of his ancestors and grandchildren, thinking of nomads entering a subcontinent through a narrow pass. (dilip chitre )   how does chitre create a moving portrait of his father in father returning home ?5 10 15 20",
            "9": "9 0486/12/f/m/16 \u00a9 ucles 2016 [turn over or 6 in what ways does herbert vividly portray love in love (iii) ? love (iii) love bade me welcome: yet my soul drew back,         guilty of dust and sin. but quick-eyed love, observing me grow slack         from my first entrance in, drew nearer to me, sweetly questioning,         if i lacked anything. a guest, i answered, worthy to be here:         love said, you shall be he. i the unkind, ungrateful? ah my dear,         i cannot look on thee. love took my hand, and smiling did reply,         who made the eyes but i? truth lord, but i have marred them: let my shame         go where it doth deserve. and know you not, says love, who bore the blame?         my dear, then i will serve. you must sit down, says love, and taste my meat:         so i did sit and eat. finis. glory be to god on high, and on earth   peace, good will towards men. (george herbert  )5 10 15 20",
            "10": "10 0486/12/f/m/16 \u00a9 ucles 2016 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: obi was disposed to like the hon. sam okoli from the moment he learnt  that he had no designs on clara. in fact he was getting married shortly to  clara\u2019s best friend and clara had been asked to be chief bridesmaid. \u2018come in, clara. come in, obi,\u2019 he said as if he had known both of  them all his life. \u2018that is a lovely car. how is it behaving? come right in.  you are looking very sweet, clara. we haven\u2019t met, obi, but i know all  about you. i\u2019m happy you are getting married to clara. sit down. anywhere.  and tell me what you will drink. lady first; that is what the white man has  brought. i respect the white man although we want them to go. squash?  god forbid! nobody drinks squash in my house. samson, bring sherry for  miss.\u2019 \u2018yes, sah,\u2019 said samson in immaculate white and brass buttons. \u2018beer? why not try a little whisky?\u2019 \u2018i don\u2019t touch spirits,\u2019 said obi. \u2018many young people from overseas start that way,\u2019 said sam okoli.  \u2018o.k., samson, one beer, whisky and soda for me.\u2019 obi looked round the luxurious sitting-room. he had read the  controversy in the press when the government had decided to build these  ministers\u2019 houses at a cost of thirty-five thousand each. \u2018a very good house this,\u2019 he said. \u2018it\u2019s not too bad,\u2019 said the minister. \u2018what an enormous radiogram!\u2019 obi rose from his seat to go and have  a closer look. \u2018it has a recording machine as well,\u2019 explained the owner. as if he  knew what obi was thinking, he added: \u2018it was not part of the house. i paid  two-seventy-five pounds for it.\u2019 he walked across the room and switched  on the tape-recorder. \u2018how do you like your work on the scholarship board? if you press  this thing down, it begins to record. if you want to stop, you press this one.  this is for playing records and this one is the radio. if i had a vacancy in  my ministry, i would have liked you to come and work there.\u2019 he stopped  the tape-recorder, wound back and then pressed the play-back knob.   \u2018you will hear all our conversation, everything.\u2019 he smiled with satisfaction  as he listened to his own voice, adding an occasional commentary in  pidgin. \u2018white man don go far. we just de shout for nothing,\u2019 he said. then  he  seemed to realize his position. \u2018all the same they must go. this no be  them  country.\u2019 he helped himself to another whisky, switched on the radio and  sat down. \u2018do you have just one assistant secretary in your ministry?\u2019 asked  obi. \u2018yes, at present. i hope to get another one in april. i used to have  a nigerian as my a.s., but he was an idiot. his head was swollen like a 5 10 15 20 25 30 35 40",
            "11": "11 0486/12/f/m/16 \u00a9 ucles 2016 [turn over soldier ant because he went to ibadan university. now i have a white man  who went to oxford and he says \u201csir\u201d to me. our people have a long way  to go.\u2019 [from chapter 7\u200a]   how does achebe\u2019s writing make this conversation so revealing? or 8 how does achebe memorably convey the significance of the umuofia progressive union  in this novel?45",
            "12": "12 0486/12/f/m/16 \u00a9 ucles 2016 jane austen: northanger abbey remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: catherine cheerfully complied; and being properly equipped, was  more impatient than ever to be at the pump-room, that she might inform  herself of general tilney\u2019s lodgings, for though she believed they were in  milsom-street, she was not certain of the house, and mrs. allen\u2019s wavering  convictions only made it more doubtful. to milsom-street she was directed;  and having made herself perfect in the number, hastened away with eager  steps and a beating heart to pay her visit, explain her conduct, and be  forgiven; tripping lightly through the church-yard, and resolutely turning  away her eyes, that she might not be obliged to see her beloved isabella  and her dear family, who, she had reason to believe, were in a shop hard  by. she reached the house without any impediment, looked at the number,  knocked at the door, and inquired for miss tilney. the man believed miss  tilney to be at home, but was not quite certain. would she be pleased  to send up her name? she gave her card. in a few minutes the servant  returned, and with a look which did not quite confirm his words, said he  had been mistaken, for that miss tilney was walked out. catherine, with  a blush of mortification, left the house. she felt almost persuaded that  miss tilney was at home, and too much offended to admit her; and as  she retired down the street, could not withhold one glance at the drawing- room windows, in expectation of seeing her there, but no one appeared  at them. at the bottom of the street, however, she looked back again,  and then, not at a window, but issuing from the door, she saw miss tilney  herself. she was followed by a gentleman, whom catherine believed to  be her father, and they turned up towards edgar\u2019s-buildings. catherine,  in deep mortification, proceeded on her way. she could almost be angry  herself at such angry incivility; but she checked the resentful sensation;  she remembered her own ignorance. she knew not how such an offence  as her\u2019s might be classed by the laws of worldly politeness, to what a  degree of unforgivingness it might with propriety lead, nor to what rigours  of rudeness in return it might justly make her amenable. dejected and humbled, she had even some thoughts of not going with  the others to the theatre that night; but it must be confessed that they were  not of long continuance: for she soon recollected, in the first place, that  she was without any excuse for staying at home; and, in the second, that  it was a play she wanted very much to see. to the theatre accordingly they  all went; no tilneys appeared to plague or please her; she feared that,  amongst the many perfections of the family, a fondness for plays was not  to be ranked; but perhaps it was because they were habituated to the finer  performances of the london stage, which she knew, on isabella\u2019s authority,  rendered every thing else of the kind \u2018quite horrid.\u2019 she was not deceived  in her own expectation of pleasure; the comedy so well suspended her  care, that no one, observing her during the first four acts, would have  supposed she had any wretchedness about her. on the beginning of the  fifth, however, the sudden view of mr. henry tilney and his father, joining  a party in the opposite box, recalled her to anxiety and distress. the stage  could no longer excite genuine merriment\u2014no longer keep her whole  attention. every other look upon an average was directed towards the  opposite box; and, for the space of two entire scenes, did she thus watch 5 10 15 20 25 30 35 40 45",
            "13": "13 0486/12/f/m/16 \u00a9 ucles 2016 [turn over henry tilney, without being once able to catch his eye. no longer could  he be suspected of indifference for a play; his notice was never withdrawn  from the stage during two whole scenes. at length, however, he did look  towards her, and he bowed\u2014but such a bow! no smile, no continued  observance attended it; his eyes were immediately returned to their former  direction. catherine was restlessly miserable; she could almost have run  round to the box in which he sat, and forced him to hear her explanation.  feelings rather natural than heroic possessed her; instead of considering  her own dignity injured by this ready condemnation\u2014instead of proudly  resolving, in conscious innocence, to shew her resentment towards him  who could harbour a doubt of it, to leave to him all the trouble of seeking  an explanation, and to enlighten him on the past only by avoiding his  sight, or flirting with somebody else, she took to herself all the shame  of misconduct, or at least of its appearance, and was only eager for an  opportunity of explaining its cause. the play concluded\u2014the curtain fell\u2014henry tilney was no longer to  be seen where he had hitherto sat, but his father remained, and perhaps he  might be now coming round to their box. she was right; in a few minutes he  appeared, and, making his way through the then thinning rows, spoke with  like calm politeness to mrs. allen and her friend.\u2014not with such calmness  was he answered by the latter: \u2018oh! mr. tilney, i have been quite wild to  speak to you, and make my apologies. you must have thought me so rude;  but indeed it was not my own fault,\u2014was it, mrs. allen? did not they tell  me that mr. tilney and his sister were gone out in a phaeton together? and  then what could i do? but i had ten thousand times rather have been with  you; now had not i, mrs. allen?\u2019 [from chapter 12\u200a]   in what ways does austen vividly convey catherine\u2019s feelings at this moment in the  novel? or 10 how does austen vividly portray the greed of isabella and john thorpe?50 55 60 65 70",
            "14": "14 0486/12/f/m/16 \u00a9 ucles 2016 george eliot: silas marner remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: when the sisters were treading the neatly-swept garden-walks,  between the bright turf that contrasted pleasantly with the dark cones and  arches and wall-like hedges of yew, priscilla said \u2013 \u2018i\u2019m as glad as anything at your husband\u2019s making that exchange o\u2019  land with cousin osgood, and beginning the dairying. it\u2019s a thousand pities  you didn\u2019t do it before; for it\u2019ll give you something to fill your mind. there\u2019s  nothing like a dairy if folks want a bit o\u2019 worrit to make the days pass.  for as for rubbing furniture, when you can once see your face in a table  there\u2019s nothing else to look for; but there\u2019s always something fresh with the  dairy; for even in the depths o\u2019 winter there\u2019s some pleasure in conquering  the butter, and making it come whether or no. my dear,\u2019 added priscilla,  pressing her sister\u2019s hand affectionately as they walked side by side, \u2018you\u2019ll  never be low when you\u2019ve got a dairy.\u2019 \u2018ah, priscilla,\u2019 said nancy, returning the pressure with a grateful  glance of her clear eyes, \u2018but it won\u2019t make up to godfrey: a dairy\u2019s not so  much to a man. and it\u2019s only what he cares for that ever makes me low. i\u2019m  contented with the blessings we have, if he could be contented.\u2019 \u2018it drives me past patience,\u2019 said priscilla, impetuously, \u2018that way o\u2019  the men \u2013 always wanting and wanting, and never easy with what they\u2019ve  got: they can\u2019t sit comfortable in their chairs when they\u2019ve neither ache  nor pain, but either they must stick a pipe in their mouths, to make \u2019em  better than well, or else they must be swallowing something strong, though  they\u2019re forced to make haste before the next meal comes in. but joyful  be it  spoken, our father was never that sort o\u2019 man. and if it had pleased god to  make you ugly, like me, so as the men wouldn\u2019t ha\u2019 run after you, we might  have kept to our own family, and had nothing to do with folks as have got  uneasy blood in their veins.\u2019 \u2018oh don\u2019t say so, priscilla,\u2019 said nancy, repenting that she had   called forth this outburst; \u2018nobody has any occasion to find fault with  godfrey. it\u2019s natural he should be disappointed at not having any children:  every man likes to have somebody to work for and lay by for, and he   always counted so on making a fuss with \u2019em when they were little.  there\u2019s many another man \u2019ud hanker more than he does. he\u2019s the best of  husbands.\u2019 \u2018oh, i know,\u2019 said priscilla, smiling sarcastically, \u2018i know the way o\u2019  wives; they set one on to abuse their husbands, and then they turn round  on one and praise \u2019em as if they wanted to sell \u2019em. but father\u2019ll be waiting  for me; we must turn now.\u2019 the large gig with the steady old grey was at the front door, and mr  lammeter was already on the stone steps, passing the time in recalling to  godfrey what very fine points speckle had when his master used to ride  him. \u2018i always would have a good horse, you know,\u2019 said the old gentleman,  not liking that spirited time to be quite effaced from the memory  of his  juniors. \u2018mind you bring nancy to the warrens before the week\u2019s out, mr  cass,\u2019  was priscilla\u2019s parting injunction, as she took the reins, and shook them  gently, by way of friendly incitement to speckle.5 10 15 20 25 30 35 40 45",
            "15": "15 0486/12/f/m/16 \u00a9 ucles 2016 [turn over \u2018i shall just take a turn to the fields against the stone-pits, nancy, and  look at the draining,\u2019 said godfrey. \u2018you\u2019ll be in again by tea-time, dear?\u2019 \u2018oh yes, i shall be back in an hour.\u2019 it was godfrey\u2019s custom on a sunday afternoon to do a little  contemplative farming in a leisurely walk. nancy seldom accompanied  him; for the women of her generation \u2013 unless, like priscilla, they took to  outdoor management \u2013 were not given to much walking beyond their own  house and garden, finding sufficient exercise in domestic duties. so, when  priscilla was not with her, she usually sat with mant\u2019s bible before her, and  after following the text with her eyes for a little while, she would gradually  permit them to wander as her thoughts had already insisted on wandering. [from chapter 17]   explore the ways in which eliot vividly reveals the characters of priscilla and nancy at  this moment in the novel. or 12 \u2018the novel shows that good always triumphs over evil.\u2019    to what extent does eliot make you agree with this statement?50 55 60",
            "16": "16 0486/12/f/m/16 \u00a9 ucles 2016 michael frayn: spies remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: so, she\u2019s a german spy. content removed due to copyright restrictions.",
            "17": "17 0486/12/f/m/16 \u00a9 ucles 2016 [turn over she has her eye on all of us. [from chapter 3]   how does frayn strikingly convey stephen\u2019s thoughts and feelings to you here? or 14 what does frayn\u2019s writing make you feel about keith\u2019s father?content removed due to copyright restrictions.",
            "18": "18 0486/12/f/m/16 \u00a9 ucles 2016 susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: he had set the alarm for half past five, and then, after some more  thought, moved it forward to five o\u2019clock. it would be light by then, and he  wanted to go as early as he could. he had brought all the things he was  taking, along from the other room, very late the previous evening, while  hooper had been watching \u2018gunlaw\u2019 on the television. now, they were  under his bed. after searching all over the house for days, he had found an old  school  satchel, in a drawer in one of the spare bedrooms. it had no straps, but he  managed to tie it up with lengths of string, so that it would go over his  shoulders. the food had been the most difficult to get. he had taken it from the  kitchen, when his mother was out, and then wondered whether that was  stealing. at school, they said that stealing was one of the worst, worst  things you could ever do, he had been impressed from the very first week  about it. but in the end, he had decided it was not stealing, the food he  was taking would be the food he would have eaten, if he had not been  going away, it was part of what his mother got for working here. he wasn\u2019t  taking very much, in any case. biscuits and two packets of jelly which he  could eat, cube by cube, some potato crisps and half a box of processed  cheeses. he bought chocolate in the village, and some peppermints in a  tube. it looked enough. he had money to buy more, when he got farther  away from derne. water was more difficult. he had nothing to put it in. a glass bottle  would be heavy and might break, and in any case, he couldn\u2019t find one  that  was empty. in the end, he decided to drink a lot before he set out, and then  find a stream, or a shop selling lemonade. he had never been far into the  country before, but he thought there would be streams. besides the food, he packed a torch, and his penknife, some sticking  plaster, a pair of socks and a ball of string. he had not been able to find  a map, only the one mr hooper had in his desk, which he could look at,  but dared not take. there was nothing else he could think of. besides, the  satchel was completely full, though it felt quite light, when he tried it on. he  stood in the room, holding the string straps, thinking, i am going away, i am   going away. there was a queer feeling in his stomach. he woke soon after four o\u2019clock. it was still dark. there was no point  in  going yet. he lay stiffly on his back, eyes open. he was afraid. he had known how it would be. there was no question  of it all being an adventure. that\u2019s what mr hooper would have said.  perhaps other people might do it because of that, for a lark, like peverell  and blakey when they went out and up the mountain, last winter term,  wanting to cause a stir. \u2018adventures are all very well,\u2019 the head had said,  afterwards. but he was the last person to do anything like this unless he had to.  all the time he had been planning the journey, there had been a peculiar  feeling about it, he couldn\u2019t believe it would really happen. he thought,  perhaps hooper will die, or he will have an aunt abroad who will want to  see him, perhaps mr hooper will quarrel with us and we shall be asked  to leave warings, suddenly. they had lived in a house in london for four 5 10 15 20 25 30 35 40 45",
            "19": "19 0486/12/f/m/16 \u00a9 ucles 2016 [turn over weeks, once, and then left very quickly, because of something his mother  did not like, some unpleasantness. it had been christmas, and they had  gone to live in the hotel. he knew that there was no hope, really, that hooper would stay here  and he would go, and that was all. he did not attract luck to himself, he  attracted un-luck. bad things happened, not good things, and it didn\u2019t  make  any difference what he thought or felt or did. he felt more than afraid. he was dull and numb, with the reality of it,  now that the morning had come. his mind kept turning to all the terrible  possibilities, and he had to think of other things, quickly. he knew that what he ought to care about was his mother. he ought  to care what she would feel, he had a sense of there being something  wrong with him, because he did not care. she had brought him here, and  now, she was going to london with mr hooper, she looked at him, and did  not understand. \u2018charles is settling down so happily,\u2019 she had said, and  kingshaw had been appalled, hearing it, though not really surprised. she  had never known anything about him, he had never wanted it. he liked to  keep things inside himself. people never seemed to see as clearly as he  did, and he had grown used to being left to cope alone. he lay until the darkness in the room thinned just perceptibly to grey.  it was twenty minutes to five. he would not go yet, he dared not go in the  dark. but he could not lie still. he got up and dressed and stood beside the  window, forcing himself to count his breaths up to ten, in and out, waiting  for the alarm to ring. [from chapter 5]   how does hill vividly convey kingshaw\u2019s state of mind at this moment in the novel? or 16 what striking impressions does hill\u2019s writing create of kingshaw\u2019s school life?50 55 60 65 70",
            "20": "20 0486/12/f/m/16 \u00a9 ucles 2016 r. k. narayan: the english teacher remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: it was nearly dark when we came to the northern edge of the estate.  it was ineffably lovely\u2014a small pond with blue lotus; a row of stone steps  leading down to the water. tall casuarina trees swayed and murmured   over the banks. a crescent moon peeped behind the foliage. on the bank  on our side stood a small shrine, its concrete walls green with age, and  its little dome showing cracks; it had a small portal, and a flagstaff at the  entrance. there was a small platform on the threshold of the temple. the temple  was locked. we washed our feet and sat on the platform; it appeared an  enchanting place. we squatted on the platform. \u201cshall i have the temple  opened?\u201d he asked. \u201cno, don\u2019t worry about it now,\u201d i said. \u201cthere is  an old priest who occasionally comes here once a month or  so\u2026 . a very fine man, with whom it is a pleasure to talk. a very learned  man. i\u2019m really afraid of him. he is too good for this place; but comes  here  only out of piety, and he is running some charity institution in the town.  he treats this as an opportunity to worship the goddess\u2026 .\u201d he talked, i  listened to him in silence. my mind was trembling with eagerness. i listened  in tense silence. he asked with a smile: \u201cyou think i\u2019m a bore?\u201d \u201coh, no.\u201d \u201cdoubtless, you want to know all about that letter\u2026 .\u201d \u201cof course i\u2019m very eager,\u201d i said, and added with a pathetic  foolishness: \u201cit was so long ago \u2026\u201d  i stopped abruptly not knowing how to  finish the sentence. \u201cnow listen,\u201d he said: \u201cof late i have got into the habit of spending  more and more of my evenings all alone here on this pyol. this casuarina  and the setting sun and the river create a sort of peace to which i\u2019ve  become more and more addicted. i spend long hours here, and desire  nothing better than to be left here to this peace. it gives one the feeling  that it is a place which belongs to eternity, and that it will not be touched  by  time or disease or decay. one day before starting for this place i felt a  great   urge to bring writing materials with me. since the morning it had hung on  my mind.  i felt that an old sin of my undergraduate days of writing prose- poems was returning, but there was no harm in succumbing to it. i slipped  a pad and a pencil into my pocket when i started out in the evening on my  rounds. i sat down on this pyol with the pencil and pad. for some time i  could write nothing; it seemed that a hundred ideas were clamouring to  express themselves, crowding into my head. it was a lovely sky. i felt i  must   write something of this great beauty in my  lines. let me assure you that  i\u2019m  by no means a poetical-minded fellow. i\u2019m a dead sober farmer \u2026 but  what  was this thing within? i felt a queer change taking place within me. \u201cit was dusk when i sat down with the pad and pencil. before the  light  should be fully gone i wanted to write down my verse or drama or whatever  it was that was troubling me. \u201ci poised the pencil over the paper. presently  the pencil moved\u2026  . i  was struck with the ease with which it  moved. i was pleased. all the  function  my fingers had was to hold the pencil, nothing more\u2026 . \u2018thank you\u2019 began  the page. \u2018here we are, a band of spirits who\u2019ve been working to bridge the 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/f/m/16 \u00a9 ucles 2016 [turn over gulf between life and after-life. we have been looking about for a medium  through whom we could communicate. there is hardly any personality on  earth who does not obstruct our effort. but we\u2019re glad we\u2019ve found you\u2026 .  please, help us, by literally lending us a hand\u2014your hand, and we will do  the rest.\u2019 i replied, \u2018i\u2019m honoured, i will do whatever i can.\u2019 \u201c\u200a\u2018you need do nothing more than sit here one or two evenings of the  week, relax your mind, and think of us.\u2019 \u2018the pleasure is mine,\u2019 i said. and  then my hand wrote: \u2018here is susila, wife of krishna, but as yet she is  unable to communicate by herself. but by and by she will be an adept in it.  will you kindly send the following as coming from her to her husband.\u2019 and  then i received the message i sent you and they also gave me your name  and address!\u201d [from chapter 5]   explore the ways in which narayan\u2019s writing makes this such a mysterious moment in  the novel. or 18 explore the ways in which narayan memorably conveys krishna\u2019s attitude towards the  teaching at his old college.50 55 60",
            "22": "22 0486/12/f/m/16 \u00a9 ucles 2016 robert louis stevenson: the strange case of  dr jekyll and mr hyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: there he opened his safe, took from the most private part of it a document  endorsed on the envelope as dr jekyll\u2019s will, and sat down with a clouded  brow to study its contents. the will was holograph; for mr utterson,  though he took charge of it now that it was made, had refused to lend  the least assistance in the making of it; it provided not only that, in case  of the decease of henry jekyll, m.d., d.c.l., ll.d., f.r.s., &c., all his  possessions were to pass into the hands of his \u2018friend and benefactor  edward hyde\u2019; but that in case of dr jekyll\u2019s \u2018disappearance or unexplained  absence for any period exceeding three calendar months,\u2019 the said edward  hyde should step into the said henry jekyll\u2019s shoes without further delay,  and free from any burthen or obligation, beyond the payment of a few  small sums to the members of the doctor\u2019s household. this document  had long been the lawyer\u2019s eyesore. it offended him both as a lawyer and  as a lover of the sane and customary sides of life, to whom the fanciful  was the immodest. and hitherto it was his ignorance of mr hyde that had  swelled his indignation; now, by a sudden turn, it was his knowledge. it  was already bad enough when the name was but a name of which he  could learn no more. it was worse when it began to be clothed upon with  detestable attributes; and out of the shifting, insubstantial mists that had  so  long baffled his eye, there leaped up the sudden, definite presentment of  a fiend. \u2018i thought it was madness,\u2019 he said, as he replaced the obnoxious  paper in the safe; \u2018and now i begin to fear it is disgrace.\u2019 with that he blew out his candle, put on a great-coat, and set forth  in the direction of cavendish square, that citadel of medicine, where his  friend, the great dr lanyon, had his house and received his crowding  patients. \u2018if any one knows, it will be lanyon,\u2019 he had thought. the solemn butler knew and welcomed him; he was subjected to no  stage of delay, but ushered direct from the door to the dining-room, where  dr lanyon sat alone over his wine. this was a hearty, healthy, dapper, red- faced gentleman, with a shock of hair prematurely white, and a boisterous  and decided manner. at sight of mr utterson, he sprang up from his chair  and welcomed him with both hands. the geniality, as was the way of the  man, was somewhat theatrical to the eye; but it reposed on genuine feeling.  for these two were old friends, old mates both at school and college, both  thorough respecters of themselves and of each other, and, what does not  always follow, men who thoroughly enjoyed each other\u2019s company. after a little rambling talk, the lawyer led up to the subject which so  disagreeably preoccupied his mind. \u2018i suppose, lanyon,\u2019 he said, \u2018you and i must be the two oldest friends  that henry jekyll has?\u2019 \u2018i wish the friends were younger,\u2019 chuckled dr lanyon. \u2018but i suppose  we are. and what of that? i see little of him now.\u2019 \u2018indeed!\u2019 said utterson. \u2018i thought you had a bond of common interest.\u2019 \u2018we had,\u2019 was his reply. \u2018but it is more than ten years since henry  jekyll became too fanciful for me. he began to go wrong, wrong in mind;  and though, of course, i continue to take an interest in him for old sake\u2019s  sake as they say, i see and i have seen devilish little of the man. such 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/f/m/16 \u00a9 ucles 2016 [turn over unscientific balderdash,\u2019 added the doctor, flushing suddenly purple,  \u2018would  have estranged damon and pythias.\u2019 this little spirt of temper was somewhat of a relief to mr utterson.  \u2018they have only differed on some point of science,\u2019 he thought; and being  a man of no scientific passions (except in the matter of conveyancing),  he even added: \u2018it is nothing worse than that!\u2019 he gave his friend a few  seconds to recover his composure, and then approached the question he  had come to put. \u2018did you ever come across a prot\u00e9g\u00e9 of his \u2013 one hyde?\u2019 he asked. \u2018hyde?\u2019 repeated lanyon. \u2018no. never heard of him. since my time.\u2019 that was the amount of information that the lawyer carried back with  him to the great, dark bed on which he tossed to and fro until the small  hours of the morning began to grow large. it was a night of little ease to his  toiling mind, toiling in mere darkness and besieged by questions. [from chapter 2, \u2018search for mr hyde\u2019]   how does stevenson vividly convey mr utterson\u2019s disturbed state of mind at this moment  in the novel? or 20 does stevenson make you feel any pity for dr jekyll?50 55 60",
            "24": "24 0486/12/f/m/16 \u00a9 ucles 2016 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from of white hairs and cricket (by rohinton mistry) , and then answer  the question that follows it: i waited for at least half an hour. content removed due to copyright restrictions.",
            "25": "25 0486/12/f/m/16 \u00a9 ucles 2016 lost amongst more recent scribbles and abandoned games of  noughts and crosses.   how does mistry make this such a powerful moment in the story? or 22 how does thorpe make the ending of tyres  so sad?content removed due to copyright restrictions.",
            "26": "26 0486/12/f/m/16 \u00a9 ucles 2016 blank page",
            "27": "27 0486/12/f/m/16 \u00a9 ucles 2016 blank page",
            "28": "28 0486/12/f/m/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m16_qp_32.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (kn) 124700 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education * 0 9 6 0 6 9 9 8 3 6 *literature (english)  0486/32 paper 3  drama (open text)  february/march 2016  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/32/f/m/16 \u00a9 ucles 2016arthur miller: all my sons remember to support your ideas with details from the writing. either  1 read this passage carefully, and then answer the question that follows it: mother:  y ou can\u2019t bull yourself through this one, joe, you better be smart now.  this thing\u2014this thing is not over yet. keller\t [indicating \tlighted \twindow \tabove ]: and what is she doing up there? she  don\u2019t come out of the room. mother:  i don\u2019t know, what is she doing? sit down, stop being mad. y ou want to  live? y ou better figure out your life. keller:  she don\u2019t know, does she? mother:  she saw chris storming out of here. it\u2019s one and one\u2014she knows how  to add. keller:  maybe i ought to talk to her? mother:  don\u2019t ask me, joe. keller\t [almost \tan\toutburst  ]: then who do i ask? but i don\u2019t think she\u2019ll do  anything about it. mother:  y ou\u2019re asking me again. keller:  i\u2019m askin\u2019 you. what am i, a stranger? i thought i had a family here.  what happened to my family? mother:\t y ou\u2019ve got a family. i\u2019m simply telling you that i have no strength to think  any more. keller:\t y ou have no strength. the minute there\u2019s trouble you have no strength. mother:  joe, you\u2019re doing the same thing again; all your life whenever there\u2019s  trouble you yell at me and you think that settles it. keller:  then what do i do? tell me, talk to me, what do i do? mother:\t joe \u2026 i\u2019ve been thinking this way. if he comes back \u2026 keller:  what do you mean \u201cif\u201d? \u2026 he\u2019s comin\u2019 back! mother:\t i think if you sit him down and you \u2026 explain yourself. i mean you  ought to make it clear to him that you know you did a terrible thing. [ not\t looking \tinto\this\teyes ]\ti mean if he saw that you realize what you did. y ou  see? keller:\t what ice does that cut? mother\t [a\tlittle\tfearfully  ]: i mean if you told him that you want to pay for what you  did. keller\t [sensing \t\u2026\tquietly  ]: how can i pay? mother:\t tell him \u2026 you\u2019re willing to go to prison. [ pause. ] keller\t [struck, \tamazed  ]: i\u2019m willing to \u2026? mother\t [quickly  ]: y ou wouldn\u2019t go, he wouldn\u2019t ask you to go. but if you told him  you wanted to, if he could feel that you wanted to pay, maybe he would  forgive you. keller:  he would forgive me! for what? mother:\t joe, you know what i mean. keller:  i don\u2019t know what you mean! y ou wanted money, so i made money.  what must i be forgiven? y ou wanted money, didn\u2019t you? mother:  i didn\u2019t want it that way.5 10 15 20 25 30 35 40",
            "3": "3 0486/32/f/m/16 \u00a9 ucles 2016 [turn overkeller:  i didn\u2019t want it that way, either! what difference is it what you want? i  spoiled the both of you. i should\u2019ve put him out when he was ten like i  was put out, and make him earn his keep. then he\u2019d know how a buck  is made in this world. forgiven! i could live on a quarter a day myself,  but i got a family so i \u2026 mother:  joe, joe \u2026 it don\u2019t excuse it that you did it for the family. keller:  it\u2019s got to excuse it! mother:  there\u2019s something bigger than the family to him. keller:\t nothin\u2019 is bigger! mother:\t there is to him. keller:  there\u2019s nothin\u2019 he could do that i wouldn\u2019t forgive. because he\u2019s my son.  because i\u2019m his father and he\u2019s my son. mother:  joe, i tell you \u2026 keller:  nothin\u2019s bigger than that. and you\u2019re goin\u2019 to tell him, you understand?  i\u2019m his father and he\u2019s my son, and if there\u2019s something bigger than that  i\u2019ll put a bullet in my head! mother:  y ou stop that! [from \tact\t3] how does miller make this such a tense and significant moment in the play? or 2  explore the ways in which miller makes george deever contribute so much to the dramatic  impact of the play.45 50 55",
            "4": "4 0486/32/f/m/16 \u00a9 ucles 2016j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either  3 read this passage carefully, and then answer the question that follows it: inspector\t [sternly \tto\tthem \tboth]: y ou see, we have to share something. if  there\u2019s nothing else, we\u2019ll have to share our guilt. sheila\t [staring \tat\thim ]: y es. that\u2019s true. y ou know. [ she\tgoes \tcloser \tto\thim,\t wonderingly .] i don\u2019t understand about you. inspector\t [calmly  ]: there\u2019s no reason why you should.  [he\tregards \ther\tcalmly \twhile \tshe\tstares \tat\thim\twonderingly \tand\t dubiously. \tnow \tmrs birling enters, \tbriskly \tand\tself-confidently, \t quite \tout\tof\tkey\twith\tthe\tlittle\tscene \tthat\thas\tjust\tpassed. \tsheila  feels \tthis\tat\tonce. ] mrs\tbirling\t [smiling, \tsocial  ]: good evening, inspector. inspector:\t good evening, madam. mrs\tbirling\t [same \teasy \ttone]: i\u2019m mrs birling, y\u2019know. my husband has just  explained why you\u2019re here, and while we\u2019ll be glad to tell you  anything you want to know, i don\u2019t think we can help you much. sheila:\t no, mother \u2013 please! mrs\tbirling\t [affecting \tgreat \tsurprise ]: what\u2019s the matter, sheila? sheila\t [hesitantly  ]: i know it sounds silly \u2013 mrs\tbirling:\t what does? sheila:\t y ou see, i feel you\u2019re beginning all wrong. and i\u2019m afraid you\u2019ll say  something or do something that you\u2019ll be sorry for afterwards. mrs\tbirling: \ti don\u2019t know what you\u2019re talking about, sheila. sheila:\t we all started like that \u2013 so confident, so pleased with ourselves  until he began asking us questions.  [mrs birling looks \tfrom \tsheila to\tthe\tinspector.] mrs\tbirling:  y ou seem to have made a great impression on this child, inspector. inspector  [coolly  ]: we often do on the young ones. they\u2019re more impressionable.  [he\tand\tmrs birling look\tat\teach \tother \tfor\ta\tmoment. \tthen \t mrs birling turns to sheila again. ] mrs\tbirling:  y ou\u2019re looking tired, dear. i think you ought to go to bed \u2013 and forget  about this absurd business. y ou\u2019ll feel better in the morning. sheila:  mother, i couldn\u2019t possibly go. nothing could be worse for me. we\u2019ve  settled all that. i\u2019m staying here until i know why that girl killed  herself. mrs\tbirling:\t nothing but morbid curiosity. sheila:\t no it isn\u2019t. mrs\tbirling:\t please don\u2019t contradict me like that. and in any case i don\u2019t suppose  for a moment that we can understand why the girl committed suicide.  girls of that class \u2013 sheila  [urgently, \tcutting \tin]: mother, don\u2019t \u2013 please don\u2019t. for your own sake,  as well as ours, you mustn\u2019t \u2013 mrs\tbirling\t [annoyed  ]: mustn\u2019t \u2013 what? really, sheila! sheila  [slowly, \tcarefully \tnow]: y ou mustn\u2019t try to build up a kind of wall 5 10 15 20 25 30 35 40",
            "5": "5 0486/32/f/m/16 \u00a9 ucles 2016 [turn overbetween us and that girl. if you do, then the inspector will just break  it down. and it\u2019ll be all the worse when he does. mrs\tbirling:  i don\u2019t understand you. [ to\tinspector] do you? inspector:\t y es. and she\u2019s right. mrs\tbirling  [haughtily  ]: i beg your pardon! inspector\t [very\tplainly  ]: i said y es \u2013 i do understand her. and she\u2019s right. mrs\tbirling:  that \u2013 i consider \u2013 is a trifle impertinent, inspector. [sheila gives \t short \thysterical \tlaugh. ]\tnow, what is it, sheila? sheila:  i don\u2019t know. perhaps it\u2019s because impertinent \tis such a silly word. [from \tact\t2] explore how priestley vividly conveys the way sheila and mrs birling respond to the  inspector here. or 4 how does priestley make the inspector such a compelling character?45 50",
            "6": "6 0486/32/f/m/16 \u00a9 ucles 2016william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it: shylock:\t how now, tubal, what news from genoa? hast thou found my  daughter? tubal:\t i often came where i did hear of her, but cannot find her. shylock:\t why there, there, there, there! a diamond gone, cost me two thousand  ducats in frankfort! the curse never fell upon our nation till now; i never  felt it till now. two thousand ducats in that, and other precious, precious  jewels. i would my daughter were dead at my foot, and the jewels in her  ear; would she were hears\u2019d at my foot, and the ducats in her coffin!  no news of them? why, so \u2013 and i know not what\u2019s spent in the search.  why, thou \u2013 loss upon loss! the thief gone with so much, and so much  to find the thief; and no satisfaction, no revenge; nor no ill luck stirring  but what lights o\u2019 my shoulders; no sighs but o\u2019 my breathing; no tears  but o\u2019 my shedding! tubal:\t y es, other men have ill luck too: antonio, as i heard in genoa \u2013 shylock:\t what, what, what? ill luck, ill luck? tubal:\t hath an argosy cast away coming from tripolis. shylock:\t i thank god, i thank god. is it true, is it true? tubal:\t i spoke with some of the sailors that escaped the wreck. shylock:\t i thank thee, good tubal. good news, good news \u2013 ha, ha! \u2013 heard in  genoa. tubal:\t y our daughter spent in genoa, as i heard, one night, fourscore  ducats. shylock:\t thou stick\u2019st a dagger in me \u2013 i shall never see my gold again. fourscore  ducats at a sitting! fourscore ducats! tubal:\t there came divers of antonio\u2019s creditors in my company to venice that  swear he cannot choose but break. shylock:\t i am very glad of it; i\u2019ll plague him, i\u2019ll torture him; i am glad of it. tubal:\t one of them showed me a ring that he had of your daughter for a  monkey. shylock:\t out upon her! thou torturest me, tubal. it was my turquoise; i had it of  leah when i was a bachelor; i would not have given it for a wilderness  of monkeys. tubal:\t but antonio is certainly undone. shylock:\t nay, that\u2019s true; that\u2019s very true. go, tubal, fee me an officer;  bespeak him a fortnight before. i will have the heart of him, if he forfeit;  for, were he out of venice, i can make what merchandise i will. go, tubal,  and meet me at our synagogue; go, good tubal; at our synagogue,  tubal.  [exeunt.  [from \tact\t3\tscene \t1] what does shakespeare\u2019s writing make you feel about shylock at this moment in the play?5 10 15 20 25 30 35",
            "7": "7 0486/32/f/m/16 \u00a9 ucles 2016 [turn overor 6  what makes shakespeare\u2019s portrayal of the love between gratiano and nerissa such a  memorable part of the play?",
            "8": "8 0486/32/f/m/16 \u00a9 ucles 2016william shakespeare: henry v remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it:  the english \tcamp. \t enter \tgloucester ,\tbedford ,\texeter ,\terpingham, with\t all\this\thost; \tsalisbury ,\tand\t\twestmoreland . gloucester:\t where is the king? bedford:\t the king himself is rode to view their battle. westmoreland:\t of fighting men they have full three-score thousand. exeter:\t there\u2019s five to one; besides, they all are fresh. salisbury:\t god\u2019s arm strike with us! \u2019tis a fearful odds.  god bye you, princes all; i\u2019ll to my charge.  if we no more meet till we meet in heaven,  then joyfully, my noble lord of bedford,  my dear lord gloucester, and my good lord exeter,  and my kind kinsman \u2013 warriors all, adieu! bedford:\t farewell, good salisbury; and good luck go with thee! exeter:  farewell, kind lord. fight valiantly to-day;  and yet i do thee wrong to mind thee of it,  for thou art fram\u2019d of the firm truth of valour.  [exit\tsalisbury . bedford:\t he is as full of valour as of kindness;  princely in both. \t enter \tthe\tking . westmoreland:\t \t o that we now had here  but one ten thousand of those men in england  that do no work to-day! king:\t \t what\u2019s he that wishes so?  my cousin westmoreland? no, my fair cousin;  if we are mark\u2019d to die, we are enow  to do our country loss; and if to live,  the fewer men, the greater share of honour.  god\u2019s will! i pray thee, wish not one man more.  by jove, i am not covetous for gold,  nor care i who doth feed upon my cost;  it yearns me not if men my garments wear;  such outward things dwell not in my desires.  but if it be a sin to covet honour,  i am the most offending soul alive.  no, faith, my coz, wish not a man from england.  god\u2019s peace! i would not lose so great an honour  as one man more methinks would share from me  for the best hope i have. o, do not wish one more!  rather proclaim it, westmoreland, through my host,  that he which hath no stomach to this fight,  let him depart; his passport shall be made,  and crowns for convoy put into his purse;5 10 15 20 25 30 35 40",
            "9": "9 0486/32/f/m/16 \u00a9 ucles 2016 [turn over we would not die in that man\u2019s company  that fears his fellowship to die with us.  [from \tact\t4\tscene \t3] in what ways does shakespeare make this moment in the play so striking? or 8 what does shakespeare\u2019s use of the chorus add to your enjoyment of the play?45",
            "10": "10 0486/32/f/m/16 \u00a9 ucles 2016j. lawrence & r. e. lee: inherit the wind remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: \t \t the \tschoolboy \thoward \tis\ton\tthe\twitness \tstand. \the\tis\twretched \t in\ta\tstarched \tcollar \tand\tsunday \tsuit.\tthe\tweather \tis\tas\trelentlessly \t hot\tas\tbefore. \tbrady \tis\texamining \tthe\tboy,\twho\tis\ta\twitness \tfor\tthe\t prosecution. brady:\t go on, howard. tell them what else mr. cates told you in the  classroom. howard:\t well, he said at first the earth was too hot for any life. then it cooled  off a mite, and cells and things begun to live. brady:\t cells? howard:\t little bugs, like, in the water. after that, the little bugs got to be bigger  bugs, and sprouted legs and crawled up on the land. brady:\t how long did this take, according to mr. cates? howard:\t couple million years. maybe longer. then comes the fishes and the  reptiles and the mammals. man\u2019s a mammal. brady:\t along with the dogs and the cattle in the field: did he say that? howard:\t y es, sir. [d rummond \tis\tabout \tto\tprotest \tagainst \tprompting \tthe\t witness, \tthen\the\tdecides \tit\tisn\u2019t\tworth \tthe\ttrouble. ] brady:\t now, howard, how did man\tcome out of this slimy, mess of bugs  and serpents, according to your \u2014 \u201cprofessor\u201d? howard:\t man was sort of evoluted. from the \u201cold world monkeys.\u201d [b rady \t slaps \this\tthigh. ] brady:\t [crossing \tto\tjury.]\tdid you hear that, my friends? \u201cold world  monkeys\u201d! according to mr. cates, you and i aren\u2019t even descended  from good american monkeys! [ there \tis\tlaughter \tfrom \tspectators. \t brady \tturns \tback \tto\thoward .]\thoward, listen carefully. in all this  talk of bugs and \u201cevil-ution,\u201d of slime and ooze, did mr. cates ever  make any reference to god? howard:\t not as i remember. brady:\t or the miracle he achieved in seven days as described in the  beautiful book of genesis? howard:\t no, sir. [brady \tstretches \tout\this\tarms \tin\tan\tall-embracing \tgesture. ] brady:\t ladies and gentlemen \u2014 drummond:  objection! [ rising. ]\ti\task that the court remind the learned counsel  that this is not a chautauqua tent. he is supposed to be submitting  evidence to a jury. there are no ladies on the jury. [ he\tsits.\tthere \tis\t a\tlow\tmutter \tfrom \tthe\tspectators. ] brady:\t y our honor, i have no intention of making a speech. there is no  need. i am sure that everyone on the jury, everyone within the sound  of this boy\u2019s voice, is moved by this tragic confusion. he has been  taught that he wriggled up like an animal from the filth and the muck  below! [ continuing \tfervently, \tthe\tspirit \tis\tupon \thim.]\ti say that the  bible-haters, these \u201cevil-utionists,\u201d are brewers of poison! and the  legislature of this sovereign state has had the wisdom to demand  that the peddlers of poison \u2014 in bottles \u2014 [ turns \tand\tpoints \tto\t cates .]\tor in books \u2014 clearly label the products they attempt to 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/32/f/m/16 \u00a9 ucles 2016sell! [ there \tis\tan\tapplause \tfrom \tthe\tspectators. \thoward \tgulps. \t brady \tpoints \tat\tthe\tboy.]\ti tell you, if this law is not upheld, this  boy will become one of a generation, shorn of its faith by the  teachings of godless science! but if the full penalty of the law is  meted out to bertram cates, the faithful the whole world over, who  are watching us here, and listening to our every word, will call this  courtroom blessed! [ applause \tfrom \tthe\tspectators. \teven \tone\tof\tthe\t jury\tmembers \tis\tmoved \tto\tapplaud, \tbut\tis\tstopped \tby\this\tneighbors. \t dramatically, \tbrady \tmoves \tto\this\tchair. \tcondescendingly, \the\twaves \t to\tdrummond .] y our \twitness, sir. [brady \tsits.\tdrummond \trises, \t slouches \ttoward \tthe\twitness \tstand. ] \t [from \tact\t2] in what ways do the writers make this such an effective opening to the scene? or 10  how do the writers make the relationship between henry drummond and matthew harrison  brady such a powerful part of the play?50 55",
            "12": "12 0486/32/f/m/16 \u00a9 ucles 2016blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl/km) 91057/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *3083167168*literature (english)  0486/11 paper 1 poetry and prose may/june 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/11/m/j/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/11/m/j/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy:  from selected poems   1, 2 pages 4\u20135 from jo phillips ed: poems deep & dangerous   3, 4 pages 6\u20137 songs of ourselves : from part 4  5, 6 pages 8\u20139 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 10\u201311 tsitsi dangarembga: nervous conditions   9, 10 pages 12\u201313 anita desai: fasting, feasting 11, 12  pages 14\u201315 helen dunmore: the siege 13, 14 pages 16\u201317 george eliot: silas marner 15, 16 pages 18\u201319 susan hill: i\u2019m the king of the castle 17, 18 pages 20\u201321 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/11/m/j/15 \u00a9 ucles 2015 section a: poetry answer one question from this section. thomas hardy:  from  selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: the darkling thrush i leant upon a coppice gate  when frost was spectre-gray,and winter\u2019s dregs made desolate the weakening eye of day.the tangled bine-stems scored the sky like strings of broken lyres,and all mankind that haunted nigh had sought their household fires. the land\u2019s sharp features seemed to be  the century\u2019s corpse outleant,his crypt the cloudy canopy, the wind his death-lament.the ancient pulse of germ and birth was shrunken hard and dry,and every spirit upon earth seemed fervourless as i. at once a voice arose among  the bleak twigs overheadin a full-hearted evensong of joy illimited;an aged thrush, frail, gaunt, and small, in blast-beruffled plume,had chosen thus to fling his soul upon the growing gloom. so little cause for carolings  of such ecstatic soundwas written on terrestrial things afar or nigh around,that i could think there trembled through his happy good-night airsome blessed hope, whereof he knew and i was unaware.   explore the ways in which hardy\u2019s words and images create feelings of sadness in the  darkling thrush.5 10 15 2025 30",
            "5": "5 0486/11/m/j/15 \u00a9 ucles 2015 [turn overor 2 how does hardy make memories so vivid in the going ? the going why did you give no hint that night that quickly after the morrow\u2019s dawn,and calmly, as if indifferent quite,y ou would close your term here, up and be gone where i could not follow with wing of swallowto gain one glimpse of you ever anon!  never to bid good-bye,  or lip me the softest call,or utter a wish for a word, while isaw morning harden upon the wall, unmoved, unknowing that your great goinghad place that moment, and altered all. why do you make me leave the house and think for a breath it is you i seeat the end of the alley of bending boughswhere so often at dusk you used to be; till in darkening dankness the yawning blanknessof the perspective sickens me!  y ou were she who abode  by those red-veined rocks far west,y ou were the swan-necked one who rodealong the beetling beeny crest, and, reining nigh me, would muse and eye me,while life unrolled us its very best. why, then, latterly did we not speak, did we not think of those days long dead,and ere your vanishing strive to seekthat time\u2019s renewal? we might have said, \u2018in this bright spring weather we\u2019ll visit togetherthose places that once we visited.\u2019  well, well! all\u2019s past amend,  unchangeable. it must go.i seem but a dead man held on endto sink down soon \u2026 o you could not know that such swift fleeing no soul foreseeing \u2013not even i \u2013 would undo me so!5 1015 20 2530 35 40",
            "6": "6 0486/11/m/j/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it:  shall i compare thee \u2026? shall i compare thee to a summer\u2019s day? thou art more lovely and more temperate:rough winds do shake the darling buds of may,and summer\u2019s lease hath all too short a date:sometime too hot the eye of heaven shines,and often is his gold complexion dimm\u2019d;and every fair from fair sometime declines,by chance, or nature\u2019s changing course, untrimm\u2019d;but thy eternal summer shall not fade,nor lose possession of that fair thou owest;nor shall death brag thou wander\u2019st in his shade,when in eternal lines to time thou growest; so long as men can breathe, or eyes can see, so long lives this, and this gives life to thee. (william shakespeare )   in what ways does shakespeare\u2019s writing make shall i compare thee \u2026?  such a  powerful love poem?5 10",
            "7": "7 0486/11/m/j/15 \u00a9 ucles 2015 [turn overor 4 how does heaney make this memory of childhood in follower  so vivid for you? follower my father worked with a horse-plough, his shoulders globed like a full sail strungbetween the shafts and the furrow.the horses strained at his clicking tongue. an expert. he would set the wing and fit the bright steel-pointed sock.the sod rolled over without breaking.at the headrig, with a single pluck of reins, the sweating team turned round and back into the land. his eyenarrowed and angled at the ground,mapping the furrow exactly. i stumbled in his hob-nailed wake, fell sometimes on the polished sod;sometimes he rode me on his backdipping and rising to his plod. i wanted to grow up and plough, to close one eye, stiffen my arm.all i ever did was followin his broad shadow round the farm. i was a nuisance, tripping, falling, y apping always. but todayit is my father who keeps stumblingbehind me, and will not go away. (seamus heaney )5 101520",
            "8": "8 0486/11/m/j/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it:  horses those lumbering horses in the steady plough, on the bare field \u2013 i wonder why, just now,they seemed terrible, so wild and strange,like magic power on the stony grange. perhaps some childish hour has come again, when i watched fearful, through the blackening rain,their hooves like pistons in an ancient millmove up and down, yet seem as standing still. their conquering hooves which trod the stubble down were ritual that turned the field to brown,and their great hulks were seraphim of gold,or mute ecstatic monsters on the mould. and oh the rapture, when, one furrow done, they marched broad-breasted to the sinking sun!the light flowed off their bossy sides in flakes;the furrows rolled behind like struggling snakes. but when at dusk with steaming nostrils home they came, they seemed gigantic in the gloam,and warm and glowing with mysterious firethat lit their smouldering bodies in the mire. their eyes as brilliant and as wide as night gleamed with a cruel apocalyptic light.their manes the leaping ire of the windlifted with rage invisible and blind. ah, now it fades! it fades! and i must pine again for that dread country crystalline,where the black field and the still-standing treewere bright and fearful presences to me. (edwin muir )   explore the ways in which muir vividly conveys a sense of mystery in horses .5 101520 25",
            "9": "9 0486/11/m/j/15 \u00a9 ucles 2015 [turn overor 6 how does rossetti strikingly create a sense of wonder in a birthday ? a birthday my heart is like a singing bird  whose nest is in a watered shoot;my heart is like an apple-tree whose boughs are bent with thickset fruit;my heart is like a rainbow shell that paddles in a halcyon sea;my heart is gladder than all these because my love is come to me. raise me a dais of silk and down;  hang it with vair and purple dyes;carve it in doves and pomegranates, and peacocks with a hundred eyes;work it in gold and silver grapes, in leaves and silver fleurs-de-lys;because the birthday of my life is come, my love is come to me. (christina rossetti )5 10 15",
            "10": "10 0486/11/m/j/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: this was the first time of her brother\u2019s openly siding against her, and  anxious to avoid his displeasure, she proposed a compromise. if they would only put off their scheme till tuesday, which they might easily do, as it depended only on themselves, she could go with them, and everybody might then be satisfied. but \u2018no, no, no!\u2019 was the immediate answer; \u2018that could not be, for thorpe did not know that he might not go to town on tuesday.\u2019 catherine was sorry, but could do no more; and a short silence ensued, which was broken by isabella; who in a voice of cold resentment said, \u2018very well, then there is an end of the party. if catherine does not go, i cannot. i cannot be the only woman. i would not, upon any account in the world, do so improper a thing.\u2019 \u2018catherine, you must go,\u2019 said james.\u2018but why cannot mr thorpe drive one of his other sisters? i dare say  either of them would like to go.\u2019 \u2018thank ye,\u2019 cried thorpe, \u2018but i did not come to bath to drive my sisters  about, and look like a fool. no, if you do not go, d\u2014 me if i do. i only go for the sake of driving you.\u2019 \u2018that is a compliment which gives me no pleasure.\u2019 but her words were  lost on thorpe, who had turned abruptly away. the three others still continued together, walking in a most uncomfortable  manner to poor catherine; sometimes not a word was said, sometimes she was again attacked with supplications or reproaches, and her arm was still linked within isabella\u2019s, though their hearts were at war. at one moment she was softened, at another irritated; always distressed, but always steady. \u2018i did not think you had been so obstinate, catherine,\u2019 said james; \u2018you  were not used to be so hard to persuade; you once were the kindest, best-tempered of my sisters.\u2019 \u2018i hope i am not less so now,\u2019 she replied, very feelingly; \u2018but indeed i  cannot go. if i am wrong, i am doing what i believe to be right.\u2019 \u2018i suspect,\u2019 said isabella, in a low voice, \u2018there is no great struggle.\u2019catherine\u2019s heart swelled; she drew away her arm, and isabella made  no opposition. thus passed a long ten minutes, till they were again joined by thorpe, who coming to them with a gayer look, said, \u2018well, i have settled the matter, and now we may all go tomorrow with a safe conscience. i have been to miss tilney, and made your excuses.\u2019 \u2018y ou have not!\u2019 cried catherine.\u2018i have, upon my soul. left her this moment. told her you had sent me  to say, that having just recollected a prior engagement of going to clifton with us tomorrow, you could not have the pleasure of walking with her till tuesday. she said very well, tuesday was just as convenient to her; so there is an end of all our difficulties. \u2013 a pretty good thought of mine \u2013 hey?\u2019 isabella\u2019s countenance was once more all smiles and good-humour, and  james too looked happy again.  [from chapter 13]5 10152025303540",
            "11": "11 0486/11/m/j/15 \u00a9 ucles 2015 [turn over  how does austen make you feel about the way james, isabella and john behave towards  catherine at this moment in the novel? or 8 in what ways does austen strikingly portray the desire for wealth in the novel?",
            "12": "12 0486/11/m/j/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: slowly the cavalcade progressed towards the yard, which by now was  full of rejoicing relatives. my father jumped out of babamukuru\u2019s car and, brandishing a staff like a victory spear, bounded over the bumpy road, leaping into the air and landing on one knee, to get up and leap again and pose like a warrior inflicting a death wound. \u2018 hezvo !\u2019 he cried \u2018do you  see him? our returning prince. do you see him? observe him well. he has returned. our father and benefactor has returned appeased, having devoured english letters with a ferocious appetite! did you think degrees were indigestible? if so, look at my brother. he has digested them! if you want to see an educated man, look at my brother, big brother to us all!\u2019 the spear aimed high and low, thrust to the right, to the left. all was conquered. the cars rolled to a stop beneath the mango trees. tete gladys  disembarked with difficulty, with false starts and strenuous breathing; because she was so large, it was not altogether clear how she had managed to insert herself into her car in the first place. but her mass was not frivolous. it had a ponderous presence which rendered any situation, even her attempts to remove herself from her car, weighty and serious. we did not giggle, did not think of it. on her feet at last, tete straightened herself, planted herself firmly, feet astride, in the dust. clenched fists settling on hips, elbows jutting aggressively, she defied any contradiction of my father\u2019s eulogy. \u2018do you hear?\u2019 she demanded, \u2018what jeremiah is saying? if you have not heard, listen well. it is the truth he is speaking! truly our prince has returned today! full of knowledge. knowledge that will benefit us all! purururu!\u2019 she ululated, shuffling with small gracious jumps to embrace my mother. \u2018purururu!\u2019 they ululated. \u2018he has returned. our prince has returned!\u2019 babamukuru stepped out of his car, paused behind its open door,  removed his hat to smile graciously, joyfully, at us all. indeed, my babamukuru had returned. i saw him only for a moment. the next minute he was drowned in a sea of bodies belonging to uncles, aunts and nephews; grandmothers, grandfathers and nieces; brothers and sisters of the womb and not of the womb. the clan had gathered to welcome its returning hero. his hand was shaken, his head was rubbed, his legs were embraced. i was there too, wanting to touch babamukuru, to talk, to tell him i was glad that he had returned. babamukuru made his fair-sized form as expansive as possible, holding his arms out and bending low so that we all could be embraced, could embrace him. he was happy. he was smiling. \u2018y es, yes,\u2019 he kept saying. \u2018it is good, it is good.\u2019 we moved, dancing and ululating and kicking up a fine dust-storm from our stamping feet, to the house. babamukuru stepped inside, followed by a retinue of grandfathers,  uncles and brothers. various paternal aunts, who could join them by virtue of their patriarchal status and were not too shy to do so, mingled with the men. behind them danced female relatives of the lower strata. maiguru entered last and alone, except for her two children, smiling quietly and inconspicuously. dressed in flat brown shoes and a pleated polyester dress very much like the one babamukuru bought for my mother the christmas before he left, she did not look as though she had been to england. my cousin nyasha, pretty bright nyasha, on the other hand, obviously had. 5 1015202530354045",
            "13": "13 0486/11/m/j/15 \u00a9 ucles 2015 [turn overthere was no other explanation for the tiny little dress she wore, hardly  enough of it to cover her thighs. she was self-conscious though, constantly clasping her hands behind her buttocks to prevent her dress from riding up, and observing everybody through veiled vigilant eyes to see what we were thinking. catching me examining her, she smiled slightly and shrugged. \u2018i shouldn\u2019t have worn it,\u2019 her eyes seemed to say. unfortunately, she had worn it. i could not condone her lack of decorum. i would not give my approval. i turned away.  [from chapter 3]   how does dangarembga make this an amusing and revealing moment in the novel? or 10 explore the ways in which dangarembga shows the importance of food in the novel.50 55",
            "14": "14 0486/11/m/j/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: it is summer. arun makes his way slowly through the abundant green of  edge hill as if he were moving cautiously through massed waves of water under which unknown objects lurked. greenness hangs, drips and sways from every branch and twig and frond in the surging luxuriance of july. in such profusion, the houses seem as lost, as stranded, as they might have been when this was primeval forest. white clapboard is most prominent but there are houses painted dark with red oxide, some a military grey with white trim, and a few have yellow doors and shutters, or blue. these touches of colour seem both brave and forlorn, picturebook dreams pitted against the wilderness, without conviction. outside many of them the starred and striped american flag flies on a  post with all the bravado of a new frontier. in direct contradiction, there are the more domestic signs of habitation that imply settlement by generations \u2013 the rubber paddling pools left outdoors by children who have gone in, moulded plastic tricycles and steel bicycles, go-carts and skateboards. there is garden furniture and garden statuary \u2013 pink plastic flamingoes poised beside a birdbath, spotted deer or hatted gnomes crouched amongst the rhododendrons like decoys set out by homesteaders, conveying some message to the threatening hinterland. arun keeps his chin lowered, as nervous as someone venturing alone  across the border, but his eyes glance from side to side into all the windows. none of them are curtained. most are very large. he can look in directly at the kitchen sinks, the pots of busily flowering busy-lizzies, the lamps and the dangling glass decorations. there are so many objects, so rarely any people. only occasionally a woman crosses one of these illuminated rooms, withdraws. there seems to be more happening in the darkened rooms where the uncertain light of television sets flickers. here he might see undefined shapes huddled upon a couch, sprawled on the floor. and there is the multicoloured life of the screen, jigging and jumping with a mechanical animation that has no natural equivalent. the windows are shut, he cannot hear a sound. now and then a car turns into the road, very slowly because it is a  residential area and there are mountainous speedbreakers, then turns into its assigned driveway. a garage door slides up with an obedient, even obsequious murmur, and the car disappears. where? arun knows nothing. he peers around him for footprints, for signs, for  markers. he studies the mailboxes that line the drive, leaning into each other, for some indications or evidence. he notes which ones have names written upon them, which ones only numbers. if the mail has not been collected, he squints to find the name on the newspapers and the mail order catalogues stuffed into them. shambling along, he notes which house has a large clutter of children\u2019s  toys \u2013 spades, buckets, bats, balls \u2013 and which have carefully constructed gardens: the small beds of bright flowers, stone-edged and stranded in huge stretches of immaculate lawn, the clipped hedges, the bird-feeders watched over by murderously patient cats that seem painted onto the scene in black and white. tucking his chin into his collar, he ponders these omens and indicators.5 1015202530354045",
            "15": "15 0486/11/m/j/15 \u00a9 ucles 2015 [turn overa car drives up suddenly behind him, very close, as if with intention. he  climbs hastily onto a grass verge. it passes. why had it done that? are pedestrians against the law in this land of the four-wheeled? he turns into bayberry lane and walks past more trimmed lawns, more  swept drives, till the road slopes down to the last house in the lane, on the edge of the woods below the hill. here, too, a red-white-and-blue flag flies upon its pole, its rope slack in the summer stillness, and the mailbox holds its measure of junk mail, too voluminous to merit collection. here, too, the big picture-windows are lit, and the rooms empty, like stage sets before the play begins: is there or is there not to be a play? he walks around to the side of the house where a basketball hoop holds  its ring over his head in speechless invitation to play. as he slouches past the manicured shrubs, he glances into the kitchen window and sees the aluminium sink, the wall cupboards, the tea towels on their rack. mrs patton is there. [from chapter 14]   how does desai vividly convey arun\u2019s thoughts and feelings to you at this moment in the  novel? or 12 how does desai make the suffering of women in their marriages so vivid in the indian  part (part one) of the novel?50 5560",
            "16": "16 0486/11/m/j/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: anna takes the two children by the hands. girls aged three and five, they  were pushed into her arms by their mother. \u2018i can\u2019t go with them, i\u2019m an essential worker. here, take them.  remember, nyusha, keep a hold of her hand, don\u2019t let her run around or gobble up all her sandwiches before you even get on the train. do what the lady tells you and you\u2019ll soon be back home again. quick now.\u2019 y ou would have thought she felt nothing, but for the staring pallor of her  face. the children, too, seemed numb. they were stuffed into their winter coats, as round as little cabbages. the little one held a bit of grey cloth, and stroked its silky edge against her face. \u2018put that back in your pocket. only when you\u2019re in bed , remember, or  they\u2019ll take it off you.\u2019 the little girl whipped the cloth into her pocket, and huddled against  nyusha. \u2018what\u2019s this lady going to think of you, carrying round a bit of dirty old  rag?\u2019 the mother spat on her handkerchief, bent down, and briskly polished  her daughters\u2019 faces. \u2018there. there\u2019s good girls. now then \u2013\u2019 but as she straightened up, anna saw her face, tight with anguish.she whispered, \u2018is it true what they say, that they\u2019re bombing the railways  the kids are going on?\u2019 \u2018i don\u2019t know. we haven\u2019t heard anything.\u2019\u2018but our kids\u2019ll get out safe, won\u2019t they? i mean, you won\u2019t be sending  them anywhere there\u2019s bombs?\u2019 \u2018they\u2019ll be safer out of the city, away from air-raids.\u2019the mother nodded convulsively, putting her hand up to her throat.\u2018please, don\u2019t worry. we\u2019ll look after them.\u2019the mother seemed about to speak again, but instead she made  a gesture with her hand, as if pushing something away, grabbed both children in a clumsy hug that knocked their heads together, then turned and rushed out of the room. the little one began to wail. her sister scrabbled in the child\u2019s pocket,  and fetched out the rag. flushing, she explained to anna, \u2018mum lets her have it when she cries.\u2019 \u2018it\u2019s the best thing, nyusha. y our mother wouldn\u2019t want her to be crying  all the time. give her the rag whenever she wants it.\u2019 the little girl had stopped crying. she was rubbing the silky edge  rhythmically over her lips, slipping away into safety, her eyes wide, dark and unfocused. \u2018now, let\u2019s get you two sorted out. y ou\u2019ll be going into that room first, with  all the others, so you can be divided into groups for the journey. we\u2019ll make sure you stay together. y ou\u2019ll be going on a train, you know that, and we\u2019re sending plenty of food with you, so you don\u2019t need to worry.\u2019 \u2018mum\u2019s made our sandwiches.\u2019\u2018i know. but maybe there are children who haven\u2019t brought anything. we  have to look after everyone. what\u2019s your little sister\u2019s name?\u2019 \u2018olenka. she doesn\u2019t talk.\u20195 1015202530354045",
            "17": "17 0486/11/m/j/15 \u00a9 ucles 2015 [turn over\u2018but you can tell when she\u2019s hungry and when she wants to go to the  toilet?\u2019 nyusha nods importantly. \u2018y eah, i can tell. she sort of pulls me when she  wants things.\u2019 \u2018that\u2019s good. now, in here, just wait on these benches and we\u2019ll be as  quick as we can. move up a bit, the rest of you, there are two more here who want to sit down.\u2019  [from chapter 11]   how does dunmore\u2019s writing make this moment in the novel so sad? or 14 how, in your view, does dunmore make andrei such an admirable character?50",
            "18": "18 0486/11/m/j/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: dunstan cass, setting off in the raw morning, at the judiciously quiet pace  of a man who is obliged to ride to cover on his hunter, had to take his way along the lane, which, at its farther extremity, passed by the piece of unenclosed ground called the stonepit, where stood the cottage, once a stone-cutter\u2019s shed, now for fifteen years inhabited by silas marner. the spot looked very dreary at this season, with the moist trodden clay about it, and the red, muddy water high up in the deserted quarry. that was dunstan\u2019s first thought as he approached it; the second was, that the old fool of a weaver, whose loom he heard rattling already, had a great deal of money hidden somewhere. how was it that he, dunstan cass, who had often heard talk of marner\u2019s miserliness, had never thought of suggesting to godfrey that he should frighten or persuade the old fellow into lending the money on the excellent security of the young squire\u2019s prospects? the resource occurred to him now as so easy and agreeable, especially as marner\u2019s hoard was likely to be large enough to leave godfrey a handsome surplus beyond his immediate needs, and enable him to accommodate his faithful brother, that he had almost turned the horse\u2019s head towards home again. godfrey would be ready enough to accept the suggestion: he would snatch eagerly at a plan that might save him from parting with wildfire. but when dunstan\u2019s meditation reached this point, the inclination to go on grew strong and prevailed. he didn\u2019t want to give godfrey that pleasure: he preferred that master godfrey should be vexed. moreover, dunstan enjoyed the self-important consciousness of having a horse to sell, and the opportunity of driving a bargain, swaggering, and, possibly, taking somebody in. he might have all the satisfaction attendant on selling his brother\u2019s horse, and not the less have the further satisfaction of setting godfrey to borrow marner\u2019s money. so he rode on to cover. bryce and keating were there, as dunstan was quite sure they would be  \u2013 he was such a lucky fellow. \u2018hey-day,\u2019 said bryce, who had long had his eye on wildfire, \u2018you\u2019re on  your brother\u2019s horse today: how\u2019s that?\u2019 \u2018o, i\u2019ve swopped with him,\u2019 said dunstan, whose delight in lying, grandly  independent of utility, was not to be diminished by the likelihood that his hearer would not believe him \u2013 \u2018wildfire\u2019s mine now.\u2019 \u2018what! has he swopped with you for that big-boned hack of yours?\u2019 said  bryce, quite aware that he should get another lie in answer. \u2018o, there was a little account between us,\u2019 said dunsey, carelessly, \u2018and  wildfire made it even. i accommodated him by taking the horse, though it was against my will, for i\u2019d got an itch for a mare o\u2019 jortin\u2019s \u2013 as rare a bit o\u2019 blood as ever you threw your leg across. but i shall keep wildfire, now i\u2019ve got him; though i\u2019d a bid of a hundred and fifty for him the other day, from a man over at flitton \u2013 he\u2019s buying for lord cromleck \u2013 a fellow with a cast in his eye, and a green waistcoat. but i mean to stick to wildfire: i shan\u2019t get a better at a fence in a hurry. the mare\u2019s got more blood, but she\u2019s a bit too weak in the hind-quarters.\u2019 bryce of course divined that dunstan wanted to sell the horse, and  dunstan knew that he divined it (horse-dealing is only one of many human transactions carried on in this ingenious manner); and they both considered 5 1015202530354045",
            "19": "19 0486/11/m/j/15 \u00a9 ucles 2015 [turn overthat the bargain was in its first stage, when bryce replied ironically \u2013  \u2018i wonder at that now; i wonder you mean to keep him; for i never heard of a man who didn\u2019t want to sell his horse getting a bid of half as much again as the horse was worth. y ou\u2019ll be lucky if you get a hundred.\u2019 keating rode up now, and the transaction became more complicated.  it ended in the purchase of the horse by bryce for a hundred and twenty, to be paid on the delivery of wildfire, safe and sound, at the batherley stables. it did occur to dunsey that it might be wise for him to give up the day\u2019s hunting, proceed at once to batherley, and, having waited for bryce\u2019s return, hire a horse to carry him home with the money in his pocket. but the inclination for a run, encouraged by confidence in his luck, and by a draught of brandy from his pocket-pistol at the conclusion of the bargain, was not easy to overcome, especially with a horse under him that would take the fences to the admiration of the field.  [from chapter 4]   how does eliot vividly reveal dunstan\u2019s character to you at this moment in the novel? or 16 explore two moments in the novel which eliot\u2019s writing makes particularly moving for  you.50 5560",
            "20": "20 0486/11/m/j/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: hooper was standing a couple of yards away, scraping at the leaf mould  with his toe. \u2018come on, kingshaw.\u2019 \u2018i don\u2019t want to play this game now.\u2019hooper\u2019s face puckered with scorn. \u2018what game ? we\u2019re tracking deer,  aren\u2019t we? i am, anyway. y ou can do what you like.\u2019 \u2018i want to go. it\u2019s about time i was getting out.\u2019\u2018out where?\u2019\u2018of here. i\u2019m going through the fields behind the wood, and then \u2026\u2019\u2018then what?\u2019\u2018never mind. nowhere. y ou\u2019ll have to go back, though.\u2019hooper shook his head.\u2018i\u2019m off.\u2019kingshaw had stuffed his sweater inside the satchel. behind him were  the bushes, through which they had just come. he went straight on. \u2018where are you going?\u2019\u2018i told you, i\u2019ve got to go out of here now.\u2019\u2018home?\u2019\u2018mind your own business. no.\u2019\u2018out the other side of the wood, then?\u2019\u2018y es.\u2019\u2018that\u2019s not the way.\u2019\u2018it is.\u2019\u2018it\u2019s not, we were over there. we turned round.\u2019kingshaw hesitated. there were clumps of undergrowth all round. he  tried to get his bearings. if he went into that clearing to his left, then he would be heading out of hang wood. he must be almost on the edge, by now. he walked on, for some way. after a bit, he heard hooper coming behind him. the clearing narrowed, but there were none of the tangled bushes here,  it was possible to walk upright. the branches of the trees locked closely together, overhead. it was very dim. kingshaw stopped. it went on being dark for as far as he could see. if it were near the edge of the wood, it would be getting light. he turned round slowly. but it was the same. everywhere looked the  same. \u2018what\u2019s the matter now?\u2019kingshaw heard, for the first time, a note of fear in hooper\u2019s voice, and  knew that he was leader, again, now. \u2018what have you stopped for?\u2019very deliberately, kingshaw inserted his forefingers under the string,  and pulled the satchel off his back. he untied his anorak from it, and spread it out on the ground, and then sat down. hooper stood above him, his eyes flicking about nervously, his face as pale as his limbs in the dim light. kingshaw said, \u2018we\u2019re lost. we\u2019d better stay here and think what to do.\u2019hooper crumpled. he knelt down on the ground some way off, and  began to poke restlessly about among the foliage, his head bent. \u2018it\u2019s your 5 1015202530354045",
            "21": "21 0486/11/m/j/15 \u00a9 ucles 2015 [turn overfault,\u2019 he said, \u2018your bloody stupid fault, kingshaw. y ou should have done  what i said.\u2019 \u2018oh, shut up.\u2019there was a sudden screeching cry, and a great flapping of wings,  like wooden clappers. kingshaw looked up. two jays came flying straight through the wood, their wings whirring on the air. when they had gone, it went very still again at once, and it seemed darker, too. then, a faint breeze came through the wood towards them, and passed, just stirring the warm air. silence again. a blackbird began to sing, a loud, bright, warning song. hooper looked up in alarm. from somewhere, far away, came the first rumble of thunder.  [from chapter 6]   how does hill strikingly convey the emotions of the two boys at this moment in the novel? or 18 explore the ways in which hill shows how the relationship between mr hooper and mrs  kingshaw makes matters worse for charles kingshaw.50 55",
            "22": "22 0486/11/m/j/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: on the 8th of january utterson had dined at the doctor\u2019s with a small  party; lanyon had been there; and the face of the host had looked from one to the other as in the old days when the trio were inseparable friends. on the 12th, and again on the 14th, the door was shut against the lawyer. \u2018the doctor was confined to the house,\u2019 poole said, \u2018and saw no one.\u2019 on the 15th, he tried again, and was again refused; and having now been used for the last two months to see his friend almost daily, he found this return of solitude to weigh upon his spirits. the fifth night, he had in guest to dine with him; and the sixth he betook himself to doctor lanyon\u2019s. there at least he was not denied admittance; but when he came in,  he was shocked at the change which had taken place in the doctor\u2019s appearance. he had his death-warrant written legibly upon his face. the rosy man had grown pale; his flesh had fallen away; he was visibly balder and older; and yet it was not so much these tokens of a swift physical decay that arrested the lawyer\u2019s notice, as a look in the eye and quality of manner that seemed to testify to some deep-seated terror of the mind. it was unlikely that the doctor should fear death; and yet that was what utterson was tempted to suspect. \u2018y es,\u2019 he thought; \u2018he is a doctor, he must know his own state and that his days are counted; and the knowledge is more than he can bear.\u2019 and yet when utterson remarked on his ill-looks, it was with an air of great firmness that lanyon declared himself a doomed man. \u2018i have had a shock,\u2019 he said, \u2018and i shall never recover. it is a question  of weeks. well, life has been pleasant; i liked it; yes, sir, i used to like it. i sometimes think if we knew all, we should be more glad to get away.\u2019 \u2018jekyll is ill, too,\u2019 observed utterson. \u2018have you seen him?\u2019but lanyon\u2019s face changed, and he held up a trembling hand. \u2018i wish to  see or hear no more of doctor jekyll,\u2019 he said in a loud, unsteady voice. \u2018i am quite done with that person; and i beg that you will spare me any allusion to one whom i regard as dead.\u2019 \u2018tut-tut,\u2019 said mr utterson; and then after a considerable pause, \u2018can\u2019t i  do anything?\u2019 he inquired. \u2018we are three very old friends, lanyon; we shall not live to make others.\u2019 \u2018nothing can be done,\u2019 returned lanyon; \u2018ask himself.\u2019\u2018he will not see me,\u2019 said the lawyer.\u2018i am not surprised at that,\u2019 was the reply. \u2018some day, utterson, after i  am dead, you may perhaps come to learn the right and wrong of this. i cannot tell you. and in the meantime, if you can sit and talk with me of other things, for god\u2019s sake, stay and do so; but if you cannot keep clear of this accursed topic, then, in god\u2019s name, go, for i cannot bear it.\u2019 as soon as he got home, utterson sat down and wrote to jekyll,  complaining of his exclusion from the house, and asking the cause of this unhappy break with lanyon; and the next day brought him a long answer, often very pathetically worded, and sometimes darkly mysterious in drift. the quarrel with lanyon was incurable. \u2018i do not blame our old friend,\u2019 jekyll wrote, \u2018but i share his view that we must never meet. i mean from henceforth to lead a life of extreme seclusion; you must not be surprised, nor must you doubt my friendship, if my door is often shut even to you. 5 1015202530354045",
            "23": "23 0486/11/m/j/15 \u00a9 ucles 2015 [turn overy ou must suffer me to go my own dark way. i have brought on myself a  punishment and a danger that i cannot name. if i am the chief of sinners, i am the chief of sufferers also. i could not think that this earth contained a place for sufferings and terrors so unmanning; and you can do but one thing, utterson, to lighten this destiny, and that is to respect my silence.\u2019  [from chapter 6, \u2018remarkable incident of doctor lanyon\u2019]   how does stevenson\u2019s writing create suspense here? or 20 explore the ways in which stevenson\u2019s writing makes two violent moments in the novel  particularly gripping.50",
            "24": "24 0486/11/m/j/15 \u00a9 ucles 2015from  stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the destructors  (by graham greene), and then answer the  question that follows it: \u2018at old misery\u2019s?\u2019 blackie said. there was nothing in the rules against  it, but he had a sensation that t. was treading on dangerous ground. he asked hopefully, \u2018did you break in?\u2019 \u2018no. i rang the bell.\u2019\u2018and what did you say?\u2019\u2018i said i wanted to see his house.\u2019\u2018what did he do?\u2019\u2018he showed it me.\u2019\u2018pinch anything?\u2019\u2018no.\u2019\u2018what did you do it for then?\u2019the gang had gathered round: it was as though an impromptu court  were about to form and to try some case of deviation. t. said, \u2018it\u2019s a beautiful house,\u2019 and still watching the ground, meeting no one\u2019s eyes, he licked his lips first one way, then the other. \u2018what do you mean, a beautiful house?\u2019 blackie asked with scorn.\u2018it\u2019s got a staircase two hundred years old like a corkscrew. nothing  holds it up.\u2019 \u2018what do you mean, nothing holds it up. does it float?\u2019\u2018it\u2019s to do with opposite forces, old misery said.\u2019\u2018what else?\u2019\u2018there\u2019s panelling.\u2019\u2018like in the blue boar?\u2019\u2018two hundred years old.\u2019\u2018is old misery two hundred years old?\u2019mike laughed suddenly and then was quiet again. the meeting was in  a serious mood. for the first time since t. had strolled into the car-park on the first day of the holidays his position was in danger. it only needed a single use of his real name and the gang would be at his heels. \u2018what did you do it for?\u2019 blackie asked. he was just, he had no jealousy,  he was anxious to retain t. in the gang if he could. it was the word \u2018beautiful\u2019 that worried him \u2013 that belonged to a class world that you could still see parodied at the wormsley common empire by a man wearing a top hat and a monocle, with a haw-haw accent. he was tempted to say, \u2018my dear trevor, old chap,\u2019 and unleash his hell hounds. \u2018if you\u2019d broken in,\u2019 he said sadly \u2013 that indeed would have been an exploit worthy of the gang. \u2018this was better,\u2019 t. said, \u2018i found out things.\u2019 he continued to stare at his  feet, not meeting anybody\u2019s eye, as though he were absorbed in some dream he was unwilling \u2013 or ashamed \u2013 to share. \u2018what things?\u2019\u2018old misery\u2019s going to be away all tomorrow and bank holiday.\u2019blackie said with relief, \u2018y ou mean we could break in?\u2019\u2018and pinch things?\u2019 somebody asked.blackie said, \u2018nobody\u2019s going to pinch things. breaking in \u2013 that\u2019s good  enough, isn\u2019t it? we don\u2019t want any court stuff.\u2019 \u2018i don\u2019t want to pinch anything,\u2019 t. said. \u2018i\u2019ve got a better idea.\u20195 1015202530354045",
            "25": "25 0486/11/m/j/15 \u00a9 ucles 2015\u2018what is it?\u2019 t. raised eyes, as grey and disturbed as the drab august day. \u2018we\u2019ll pull it  down,\u2019 he said. \u2018we\u2019ll destroy it.\u2019 blackie gave a single hoot of laughter and then, like mike, fell quiet,  daunted by the serious implacable gaze. \u2018what\u2019d the police be doing all the time?\u2019 he said. \u2018they\u2019d never know. we\u2019d do it from inside. i\u2019ve found a way in.\u2019 he said  with a sort of intensity, \u2018we\u2019d be like worms, don\u2019t you see, in an apple.\u2019   how does greene make t. such a compelling character at this moment in the story? or 22 explore the ways in which the writer makes either  my greatest ambition  (by morris  lurie) or a horse and two goats  (by r. k. narayan) so entertaining.50 55",
            "26": "26 0486/11/m/j/15 \u00a9 ucles 2015blank page",
            "27": "27 0486/11/m/j/15 \u00a9 ucles 2015blank page",
            "28": "28 0486/11/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rcl/km) 91056/3 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *6634497062*literature (english)  0486/12 paper 1 poetry and prose may/june 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/12/m/j/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/12/m/j/15 \u00a9 ucles 2015 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy:  from selected poems   1, 2 pages 4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages 8\u20139 songs of ourselves : from part 4  5, 6 pages 10\u201311 section b: prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 12\u201313 tsitsi dangarembga:  nervous conditions   9, 10 pages 14\u201315 anita desai:  fasting, feasting  11, 12 pages 16\u201317 helen dunmore:  the siege  13, 14 pages 18\u201319 george eliot:  silas marner  15, 16 pages 20\u201321 susan hill:  i\u2019m the king of the castle  17, 18 pages 22\u201323 robert louis stevenson:  the strange case of dr jekyll and mr hyde  19, 20 page  24 from stories of ourselves  21, 22 pages 26\u201327",
            "4": "4 0486/12/m/j/15 \u00a9 ucles 2015section a: poetry   answer one question from this section. thomas hardy: from selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: the pine planters (marty south\u2019s reverie ) i we work here together in blast and breeze;he fills the earth in, i hold the trees. he does not notice  that what i dokeeps me from moving and chills me through. he has seen one fairer  i feel by his eye,which skims me as though i were not by. and since she passed here  he scarce has knownbut that the woodland holds him alone. i have worked here with him  since morning shine,he busy with his thoughts and i with mine. i have helped him so many,  so many days,but never win any small word of praise! shall i not sigh to him  that i work onglad to be nigh to him though hope is gone? nay, though he never  knew love like mine,i\u2019ll bear it ever and make no sign!5 101520 25 30",
            "5": "5 0486/12/m/j/15 \u00a9 ucles 2015 [turn overii from the bundle at hand here i take each tree,and set it to stand, here always to be;when, in a second, as if from fearof life unreckoned beginning here,it starts a sighing through day and night,though while there lying \u2019twas voiceless quite. it will sigh in the morning,  will sigh at noon,at the winter\u2019s warning, in wafts of june;grieving that never kind fate decreedit should for ever remain a seed,and shun the welter of things without,unneeding shelter from storm and drought. thus, all unknowing  for whom or whatwe set it growing in this bleak spot,it still will grieve here throughout its time,unable to leave here, or change its clime;or tell the story of us to-daywhen, halt and hoary, we pass away.   explore the ways in which hardy creates such moving impressions of marty south and  the man she loves in the pine planters .35 40 45 5055 60 65",
            "6": "6 0486/12/m/j/15 \u00a9 ucles 2015or 2 how do hardy\u2019s words and images make a memorable moment so vivid in neutral  tones ? neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god,and a few leaves lay on the starving sod; \u2013 they had fallen from an ash, and were gray. y our eyes on me were as eyes that rove over tedious riddles of years ago;and some words played between us to and fro on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die;and a grin of bitterness swept thereby like an ominous bird a-wing \u2026 since then, keen lessons that love deceives, and wrings with wrong, have shaped to mey our face, and the god-curst sun, and a tree, and a pond edged with grayish leaves.5 1015",
            "7": "7 0486/12/m/j/15 \u00a9 ucles 2015 [turn overturn to page 8 for question 3.",
            "8": "8 0486/12/m/j/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3  read this poem, and then answer the question that follows it: registers out of the warm primordial cave of our conversations, jack\u2019s gone.no more chit-chat under the blanketspegged over chairs and nipped in drawers. throughout his first five years an ear always open, at worst ajar,i catch myself still listening outfor sounds of him in the sensible house where nothing stirs but the washing machine which clicks and churns. i\u2019m loosening his armsclasped round my neck, detaching myselffrom his soft protracted kiss goodbye. good boy, diminishing down the long corridors into the huge unknownassembly hall, each word strange,even his name on miss cracknell\u2019s tongue. (michael laskey )   how does laskey make registers  so moving?5 1015",
            "9": "9 0486/12/m/j/15 \u00a9 ucles 2015 [turn overor 4 in what ways does clare convey to you the powerful emotions of the speaker in first  love ? first love i ne\u2019er was struck before that hour  with love so sudden and so sweet.her face it bloomed like a sweet flower and stole my heart away complete.my face turned pale as deadly pale, my legs refused to walk away,and when she looked \u2018what could i ail?\u2019 my life and all seemed turned to clay. and then my blood rushed to my face  and took my sight away.the trees and bushes round the place seemed midnight at noonday.i could not see a single thing, words from my eyes did start;they spoke as chords do from the string and blood burnt round my heart. are flowers the winter\u2019s choice?  is love\u2019s bed always snow?she seemed to hear my silent voice and love\u2019s appeal to know.i never saw so sweet a face as that i stood before:my heart has left its dwelling-place and can return no more. (john clare )5 10 15 20",
            "10": "10 0486/12/m/j/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it: the city planners cruising these residential sunday streets in dry august sunlight:what offends us isthe sanities:the houses in pedantic rows, the plantedsanitary trees, assertlevelness of surface like a rebuketo the dent in our car door.no shouting here, orshatter of glass; nothing more abruptthan the rational whine of a power mowercutting a straight swath in the discouraged grass. but though the driveways neatly sidestep hysteriaby being even, the roofs all displaythe same slant of avoidance to the hot sky,certain things:the smell of spilt oil a faintsickness lingering in the garages,a splash of paint on brick surprising as a bruise,a plastic hose poised in a viciouscoil; even the too-fixed stare of the wide windows give momentary access to the landscape behind or underthe future cracks in the plasterwhen the houses, capsized, will slideobliquely into the clay seas, gradual as glaciersthat right now nobody notices. that is where the city planners with the insane faces of political conspiratorsare scattered over unsurveyedterritories, concealed from each other,each in his own private blizzard; guessing directions, they sketch transitory lines rigid as wooden borderson a wall in the white vanishing air tracing the panic of suburb order in a bland madness of snows. (margaret atwood )   to what extent does atwood make you feel that human activities are pointless in the city  planners ?5 10 15 20 253035",
            "11": "11 0486/12/m/j/15 \u00a9 ucles 2015 [turn overor 6 how does rossetti create a sense of extreme emotion in the woodspurge ? the woodspurge the wind flapped loose, the wind was still, shaken out dead from tree and hill:i had walked on at the wind\u2019s will, \u2013i sat now, for the wind was still. between my knees my forehead was, \u2013 my lips, drawn in, said not alas!my hair was over in the grass,my naked ears heard the day pass. my eyes, wide open, had the run of some ten weeds to fix upon;among those few, out of the sun,the woodspurge flowered, three cups in one. from perfect grief there need not be wisdom or even memory:one thing then learnt remains to me, \u2013the woodspurge has a cup of three. (dante gabriel rossetti )5 1015",
            "12": "12 0486/12/m/j/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: the marriage of eleanor tilney, her removal from all the evils of such a  home as northanger had been made by henry\u2019s banishment, to the home of her choice and the man of her choice, is an event which i expect to give general satisfaction among all her acquaintance. my own joy on the occasion is very sincere. i know no one more entitled, by unpretending merit, or better prepared by habitual suffering, to receive and enjoy felicity. her partiality for this gentleman was not of recent origin; and he had been long withheld only by inferiority of situation from addressing her. his unexpected accession to title and fortune had removed all his difficulties; and never had the general loved his daughter so well in all her hours of companionship, utility, and patient endurance, as when he first hailed her, \u2018y our ladyship!\u2019 her husband was really deserving of her; independent of his peerage, his wealth, and his attachment, being to a precision the most charming young man in the world. any further definition of his merits must be unnecessary; the most charming young man in the world is instantly before the imagination of us all. concerning the one in question therefore i have only to add \u2013 (aware that the rules of composition forbid the introduction of a character not connected with my fable) \u2013 that this was the very gentleman whose negligent servant left behind him that collection of washing-bills, resulting from a long visit at northanger, by which my heroine was involved in one of her most alarming adventures. the influence of the viscount and viscountess in their brother\u2019s behalf  was assisted by that right understanding of mr morland\u2019s circumstances which, as soon as the general would allow himself to be informed, they were qualified to give. it taught him that he had been scarcely more misled by thorpe\u2019s first boast of the family wealth, than by his subsequent malicious overthrow of it; that in no sense of the word were they necessitous or poor, and that catherine would have three thousand pounds. this was so material an amendment of his late expectations, that it greatly contributed to smooth the descent of his pride; and by no means without its effect was the private intelligence, which he was at some pains to procure, that the fullerton estate, being entirely at the disposal of its present proprietor, was consequently open to every greedy speculation. on the strength of this, the general, soon after eleanor\u2019s marriage,  permitted his son to return to northanger, and thence made him the bearer of his consent, very courteously worded in a page full of empty professions to mr morland. the event which it authorised soon followed: henry and catherine were married, the bells rang and everybody smiled; and, as this took place within a twelve-month from the first day of their meeting, it will not appear, after all the dreadful delays occasioned by the general\u2019s cruelty, that they were essentially hurt by it. to begin perfect happiness at the respective ages of twenty-six and eighteen, is to do pretty well; and professing myself moreover convinced, that the general\u2019s unjust interference, so far from being really injurious to their felicity, was perhaps 5 10152025303540",
            "13": "13 0486/12/m/j/15 \u00a9 ucles 2015 [turn overrather conducive to it, by improving their knowledge of each other, and  adding strength to their attachment, i leave it to be settled by whomsoever it may concern, whether the tendency of this work be altogether to recommend parental tyranny, or reward filial disobedience.  [from chapter 31]   how does austen\u2019s writing make this ending of the novel satisfying for you? or 8 in what ways does austen strikingly contrast john thorpe and henry tilney?45",
            "14": "14 0486/12/m/j/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: \u2018maiguru,\u2019 my mother asked, suckling my little brother, \u2018do you think we  will go home tonight?\u2019 \u2018how should i know what you and your babamukuru have planned?\u2019  laughed maiguru. \u2018we shall see when he comes.\u2019 babamukuru did not come until we had all gone to bed. he did not take  my mother home that day, or the next, or the next. \u2018mainini has been wondering when they will go home,\u2019 maiguru probed  on the fourth day. \u2018oh yes! i said i would take them,\u2019 remembered my uncle.at lunchtime the day after he came home looking very pleased with  himself. something very wonderful indeed must have happened for us to be able to see it, because babamukuru\u2019s face did not usually reflect his moods. so we waited and hoped he would share the occasion with us. \u2018have you packed, mainini?\u2019 he asked my mother when we were half- way into the meal. \u2018i think i can take you home this afternoon.\u2019 \u2018but what about the shopping?\u2019 objected maiguru. \u2018will there be time to  do both?\u2019 \u2018we\u2019ll see to that later,\u2019 babamukuru dismissed my aunt, and he told my  mother to get ready since he wanted to leave straight after lunch. but when lucia rose too, babamukuru stopped her. \u2018lucia,\u2019 he said indifferently, \u2018er \u2013 if you are going to help mainini, that is  all right. but you yourself will not be going. i have found something for you to do. not much. a little job. at the girls\u2019 hostel. y ou will help to cook the food there at the hostel. i will take you there today.\u2019 \u2018purururu!\u2019 ululated lucia loud and long, although i do not know how  she managed it with such a broad grin on her face. \u2018purururu!\u2019 she shrilled, her hand to her mouth. \u2018did you hear that, sisi, did you hear that, sisi?\u2019 she crowed at my mother with a little jump to emphasise each word. \u2018babamukuru has found me a job. he has found me a job!\u2019 she knelt in front of babamukuru, energetically clapping her hands. \u2018thank you, samusha, thank you, chihwa. y ou have done a great deed. truly, we could not survive without you. those foreign places, those places you went, did not make you forget us. no! they enabled you to come back and perform miracles!\u2019 my mother came hurrying with her own shrill ululations. \u2018that is why they  say education is life,\u2019 she cried. \u2018aren\u2019t we all benefiting from babamukuru\u2019s education?\u2019 and she knelt worshipping beside lucia. then it was maiguru\u2019s turn to take her place on the floor. \u2018thank you, baba, thank you for finding mainini lucia a job.\u2019it was an intoxicating occasion. my first instinct was to join the adoring  women \u2013 my mouth had already pursed itself for a loud ululation. \u2018don\u2019t you dare,\u2019 nyasha hissed, kicking me under the table. i unpursed  my mouth, but the urge to extol babamukuru\u2019s magnanimity was implacable. \u2018thank you, babamukuru,\u2019 i said as calmly as i could so as not to  disappoint nyasha, \u2018for finding lucia a job.\u2019 i was mesmerised by the sleight of hand that had lifted lucia out of her  misery, and even more seductive was the power that this sleight of hand 5 1015202530354045",
            "15": "15 0486/12/m/j/15 \u00a9 ucles 2015 [turn overrepresented. with the crescendos of praise, babamukuru grew modest  and egalitarian. \u2018stand up, stand up. do not thank me. lucia is the one who will be doing  the work!\u2019 he exclaimed. so lucia never went back to the homestead to live, although she did go  with my mother that afternoon to collect her spare dress and her few other possessions. in the excitement, my mother left behind at the mission a lime-green bonnet and a bright pink bootee which she had received at my brother\u2019s birth.  [from chapter 8]   how does dangarembga vividly convey the reactions of the characters at this moment in  the novel? or 10 \u2018babamukuru has his family\u2019s best interests at heart.\u2019    how far does dangarembga\u2019s writing persuade you that this is true?    d o  not use the extract printed in question 9 in your answer.50 55",
            "16": "16 0486/12/m/j/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: arun stands looking at his shoes, dusty from the long walk out of town,  and carefully refrains from informing him that melanie is indoors, gorging on peanuts. he waits for the dreaded moment when he will have to confess what he wishes he did not have to confess \u2013 again. will mrs patton make the confession for him? will mrs patton be brave and make it unnecessary for him to speak, publicly reveal himself as unworthy, unfit to take the wafer upon his tongue, the wine into his throat? \u2018come on, bring me your plates,\u2019 mr patton tells his foot-dragging  communicants, trying to sound jovial and only managing to sound impatient. mrs patton advances, holding her plate before her. she stands very  upright before the grill, trying not to flinch but evidently fully aware of the gravity of the ceremony. \u2018thank you, dear,\u2019 she says as she receives the slab of charred meat on her plate, making it dip a little with its weight so that grease and blood run across it and spread. \u2018and now you, aaroon,\u2019 commands mr patton, sliding the spatula under  another slab that is blackening upon the coals. \u2018this here should be just right for you, red,\u2019 he jollies the nervous newcomer to his congregation, not yet saved but surely on his way. arun has made the mistake of telling the pattons once that his name means \u2018red\u2019 in hindi, and mr patton has seized upon this as a good joke, particularly in conjunction with his son\u2019s name, rod. fortunately arun has not elaborated that it means, specifically, the red sky at sunrise or mr patton might now be calling him \u2018dawn\u2019. instinctively, then, arun steps backwards and even puts his hands behind  his back. some stubborn adherence to his own tribe asserts itself and prevents him from converting. \u2018oh, i\u2019ll just have the \u2013 the bun and \u2013 then salad,\u2019 he stammers and his hair falls over his forehead in embarrassment. mr patton raises an eyebrow \u2013 slowly, significantly \u2013 holding the spatula  in the air while the steak sputters in indignation at this denial. mrs patton rushes in hurriedly, but too late. \u2018ahroon\u2019s a vegetarian,  dear \u2013\u2019 and then her voice drops to a whisper \u2018\u2013 like me.\u2019 mr patton either does not hear the whisper, or does but ignores it. he  responds only to the first half of the statement. \u2018okay, now i remember,\u2019 he says at last. \u2018y eah, you told me once. just can\u2019t see how anyone would refuse a good piece of meat, that\u2019s all. it\u2019s not natural. and it costs \u2013\u2019 mrs patton begins to play the role of a distracting decoy. she flutters  about the patio, helping herself to bread and mustard, pattering rapidly, \u2018ahroon explained it all to us, dear \u2013 you know, about the hindoo religion, and the cows \u2013\u2019 mr patton gives his head a shake, sadly disappointed in such moral  feebleness, and turns the slab of meat over and over. \u2018y eah, how they let them out on the streets because they can\u2019t kill \u2019em and don\u2019t know what to do with \u2019em. i could show \u2019em. a cow is a cow, and good red meat as far as i\u2019m concerned.\u2019 \u2018y es, dear,\u2019 mrs patton coos consolingly.\u2018and here it\u2019s all turning to coal,\u2019 mr patton mourns, patting the scorched  slice. arun follows mrs patton to a table set with platters and bowls of lettuce 5 1015202530354045",
            "17": "17 0486/12/m/j/15 \u00a9 ucles 2015 [turn overand rolls. sadly he resigns himself to the despised foods, wondering once  again how he has let himself be drawn into this repetitious farce \u2013 the ceremonies of other tribes must seem either farcical or outrageous always \u2013 as bad as anything he remembers at home. thinking of his father\u2019s stolid face and frown at the table, grave and disapproving, he feels he must assure mrs patton as he would his mother, \u2018i will eat the bun and salad.\u2019 mr patton says nothing. he is prying the scorched shreds of meat off the  grill with his spatula and scraping them onto his plate, grievously aware of the failure of this summer night\u2019s sacrament. mrs patton settles onto a canvas chair and pantomimes the eating of a  meal while playing with it with her fork. \u2018mmm, it\u2019s real good,\u2019 she murmurs. \u2018rod and melanie just don\u2019t know what they\u2019re missing.\u2019  [from chapter 15]   how does desai make this such a memorable moment in the novel? or 12 explore the ways in which desai persuades you that there are similarities between papa  and mr patton.50 5560",
            "18": "18 0486/12/m/j/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: anna and the sledge. little anna on her sledge, long ago. mammy loved  sledging as much as anna did. they would go out, the two of them, while anna\u2019s father worked. he would have liked to come with them but he had a deadline to meet. walking through snow, with the red sledge bumping along behind them,  anna wished that everyone she knew was there to see what a beautiful sledge she had. there were curls of green and gold on the smart, bright red. the rope was new and anna was allowed to pull the sledge herself. her mother swooped down to pick up anna when snow went over the top of her boots. when she set her down again, anna took up the thick, new rope. a bit farther on, near the park, someone stopped them. she stood so close that anna smelt her smoky perfume. her boots had shiny silver buckles on the side, and anna wanted to touch them. \u2018hasn\u2019t she grown! how are you all, vera?\u2019\u2018we\u2019re well,\u2019 said vera. her hand squeezed anna\u2019s tightly. there was a  silence, but vera didn\u2019t put any more words into it. \u2018i haven\u2019t seen misha for weeks \u2013 he\u2019s not ill, i hope?\u2019her mother\u2019s voice was steady. \u2018he\u2019s perfectly well, marina petrovna. we  are all perfectly well. and now, if you\u2019ll excuse me, anna mustn\u2019t stand in the cold \u2026\u2019 \u2018of course \u2013\u2019when anna looked back she was still standing there. she didn\u2019t move,  and no one said goodbye. when they had turned the corner, her mother stopped and placed anna  carefully on the sledge. she wrapped the shawl around anna in the usual way, making sure that her chest was covered. but suddenly she changed and did something new. she dropped on her  knees in the snow in front of the sledge. she grasped anna and pulled her close. she pressed her tight, tight, so that anna felt the cold of her mother\u2019s cheeks burning her. \u2018mammy, you\u2019re hurting me.\u2019her mother moved back. anna saw her face close-up.\u2018mammy, are you all right?\u2019her mother stood up, brushing snow off her coat. \u2018i\u2019m fine. don\u2019t worry,  anna.\u2019 anna said nothing. carefully, she tucked in the ends of the shawl which  her mother had forgotten. she looked up and she saw that her mother\u2019s face was stiff with anger. she was drumming her fingers on the rope, staring up the street as if she\u2019d forgotten about anna. \u2018mammy?\u2019\u2018what?\u2019\u2018can we go?\u2019\u2018y ou want to go back home?\u2019\u2018i\u2019m cold, mammy.\u2019\u2018i\u2019m sorry. i was thinking about some things at work. let\u2019s go. hold on  tight now, anna.\u2019 how old was she then? five, six? all through that spring and summer  there was trouble hanging in the air like thunder. at night anna woke up 5 1015202530354045",
            "19": "19 0486/12/m/j/15 \u00a9 ucles 2015 [turn overand there were voices slashing the dark. when holiday time came her  mother took anna away to the dacha, but her father didn\u2019t come with them. he had things to do in leningrad. \u2018too much work to do, anna. i want to come, but \u2013\u2019  [from chapter 1]   how does dunmore\u2019s writing make this such a dramatic and significant moment in the  novel? or 14 explore two memorable moments in the novel where dunmore portrays the impact of  war on people\u2019s lives.50",
            "20": "20 0486/12/m/j/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: while godfrey cass was taking draughts of forgetfulness from the sweet  presence of nancy, willingly losing all sense of that hidden bond which at other moments galled and fretted him so as to mingle irritation with the very sunshine, godfrey\u2019s wife was walking with slow uncertain steps through the snow-covered raveloe lanes, carrying her child in her arms. this journey on new y ear\u2019s eve was a pre-meditated act of vengeance  which she had kept in her heart ever since godfrey, in a fit of passion, had told her he would sooner die than acknowledge her as his wife. there would be a great party at the red house on new y ear\u2019s eve, she knew: her husband would be smiling and smiled upon, hiding her existence  in the darkest corner of his heart. but she would mar his pleasure: she would go in her dingy rags, with her faded face, once as handsome as the best, with her little child that had its father\u2019s hair and eyes, and disclose herself to the squire as his eldest son\u2019s wife. it is seldom that the miserable can help regarding their misery as a wrong inflicted by those who are less miserable. molly knew that the cause of her dingy rags was not her husband\u2019s neglect, but the demon opium to whom she was enslaved, body and soul, except in the lingering mother\u2019s tenderness that refused to give him her hungry child. she knew this well; and yet, in the moments of wretched unbenumbed consciousness, the sense of her want and degradation transformed itself continually into bitterness towards godfrey. he was well off; and if she had her rights she would be well off too. the  belief that he repented his marriage, and suffered from it, only aggravated her vindictiveness. just and self-reproving thoughts do not come to us too thickly, even in the purest air, and with the best lessons of heaven and earth; how should those white-winged delicate messengers make their way to molly\u2019s poisoned chamber, inhabited by no higher memories than those of a bar-maid\u2019s paradise of pink ribbons and gentlemen\u2019s jokes? she had set out at an early hour, but had lingered on the road, inclined  by her indolence to believe that if she waited under a warm shed the snow would cease to fall. she had waited longer than she knew, and now that she found herself belated in the snow-hidden ruggedness of the long lanes, even the animation of a vindictive purpose could not keep her spirit from failing. it was seven o\u2019clock, and by this time she was not very far from raveloe, but she was not familiar enough with those monotonous lanes to know how near she was to her journey\u2019s end. she needed comfort, and she knew but one comforter \u2013 the familiar demon in her bosom; but she hesitated a moment, after drawing out the black remnant, before she raised it to her lips. in that moment the mother\u2019s love pleaded for painful consciousness rather than oblivion \u2013 pleaded to be left in aching weariness, rather than to have the encircling arms benumbed so that they could not feel the dear burden. in another moment molly had flung something away, but it was not the black remnant \u2013 it was an empty phial. and she walked on again under the breaking cloud, from which there came now and then the light of a quickly-veiled star, for a freezing wind had sprung up since the snowing had ceased. but she walked always more and more drowsily, and clutched more and more automatically the sleeping child at her bosom.  [from chapter 12]5 1015202530354045",
            "21": "21 0486/12/m/j/15 \u00a9 ucles 2015 [turn over  how does eliot make this moment in the novel so disturbing? or 16 to what extent does eliot\u2019s writing make you feel sympathy for nancy?",
            "22": "22 0486/12/m/j/15 \u00a9 ucles 2015susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: kingshaw ignored him. he picked up the rabbit cautiously. it felt quite  heavy, and rather loose, as though there were nothing holding its limbs together, inside. \u2018haven\u2019t you ever touched a dead thing before?\u2019\u2018no. well \u2013 only birds. nothing big.\u2019\u2018that isn\u2019t big!\u2019\u2018it is. i mean, i\u2019ve never touched an animal  that was dead.\u2019 \u2018haven\u2019t you ever seen a dead person, either?\u2019kingshaw looked up nervously. \u2018no.\u2019\u2018not even your father? didn\u2019t they take you to look at him in his coffin?\u2019\u2018no.\u2019\u2018i saw my grandfather dead. that wasn\u2019t long ago.\u2019\u2018oh.\u2019 kingshaw had no way of telling if this were true. he moved his  fingers about in the rabbit\u2019s wet fur. \u2018oh, chuck it away, kingshaw.\u2019but he was reluctant. he liked the feel of it. he had not known how it  would be to hold a dead thing. now he knew. he nursed it to him. hooper said, \u2018it\u2019s only dead. dead things are finished, they don\u2019t matter.\u2019 \u2018y es, they do. well \u2013 dead people do, anyway.\u2019\u2018of course they don\u2019t. there\u2019s no difference.\u2019\u2018there is, there is.\u2019\u2018how is there?\u2019 \u2018because \u2026 because it\u2019s human bodies.\u2019\u2018humans are only animals.\u2019\u2018y es \u2013 only \u2026 only they\u2019re not. they\u2019re different.\u2019hooper sighed. \u2018look, when you\u2019re breathing, you\u2019re alive aren\u2019t you?  everything is. and when you stop breathing, your heart stops, and then you\u2019re dead.\u2019 kingshaw hesitated, worried about it, uncertain how to argue. hooper\u2019s  eyes opened very wide. \u2018i suppose you don\u2019t believe all that guff about souls and ghosts and everything, do you?\u2019 \u2018not ghosts \u2026\u2019\u2018when you\u2019re dead you\u2019re dead, you\u2019re finished.\u2019\u2018no.\u2019\u2018look \u2026 you can see.\u2019 hooper poked his finger at the rabbit. its head  flopped heavily sideways. \u2018it\u2019s dead,\u2019 he said.kingshaw stared at it miserably. he could not think clearly. what hooper  said must be true, and yet he knew that it was not true. \u2018if you believe all that about souls, you believe in ghosts and spooks.\u2019\u2018no, i don\u2019t.\u2019\u2018ghosts are supposed to be people, after they\u2019re dead, aren\u2019t they?\u2019\u2018i don\u2019t know.\u2019\u2018well, they are.\u2019\u2018y ou just said that when you were dead you were finished.\u2019\u2018oh, i don\u2019t believe in any old ghosts. but you do. y ou\u2019ve got to, if you  believe that other.\u20195 1015202530354045",
            "23": "23 0486/12/m/j/15 \u00a9 ucles 2015 [turn overkingshaw said nothing. but he was still anxious about it. \u2018so you\u2019d better watch out, hadn\u2019t you? but it\u2019s all guff, really.\u2019  [from chapter 7]   how does hill\u2019s writing make this moment in the novel revealing and significant? or 18 explore the ways in which hill memorably presents kingshaw\u2019s relationship with fielding.",
            "24": "24 0486/12/m/j/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: \u2018did you ever come across a prot\u00e9g\u00e9 of his\u2014one hyde?\u2019 he asked. \u2018hyde?\u2019 repeated lanyon. \u2018no. never heard of him. since my time.\u2019that was the amount of information that the lawyer carried back with  him to the great, dark bed on which he tossed to and fro, until the small hours of the morning began to grow large. it was a night of little ease to his toiling mind, toiling in mere darkness and besieged by questions. six o\u2019clock struck on the bells of the church that was so conveniently near  to mr utterson\u2019s dwelling, and still he was digging at the problem. hitherto it had touched him on the intellectual side alone; but now his imagination also was engaged or rather enslaved; and as he lay and tossed in the gross darkness of the night and the curtained room, mr enfield\u2019s tale went by before his mind in a scroll of lighted pictures. he would be aware of the great field of lamps of a nocturnal city; then of the figure of a man walking swiftly; then of a child running from the doctor\u2019s; and then these met, and that human juggernaut trod the child down and passed on regardless of her screams. or else he would see a room in a rich house, where his friend lay asleep, dreaming and smiling at his dreams; and then the door of that room would be opened, the curtains of the bed plucked apart, the sleeper recalled, and lo! there would stand by his side a figure to whom power was given, and even at that dead hour, he must rise and do its bidding. the figure in these two phases haunted the lawyer all night; and if at any time he dozed over, it was but to see it glide more stealthily through sleeping houses, or move the more swiftly and still the more swiftly, even to dizziness, through wider labyrinths of lamplighted city, and at every street corner crush a child and leave her screaming. and still the figure had no face by which he might know it; even in his dreams, it had no face, or one that baffled him and melted before his eyes; and thus it was that there sprang up and grew apace in the lawyer\u2019s mind a singularly strong, almost an inordinate, curiosity to behold the features of the real mr hyde. if he could but once set eyes on him, he thought the mystery would lighten and perhaps roll altogether away, as was the habit of mysterious things when well examined. he might see a reason for his friend\u2019s strange preference or bondage (call it which you please) and even for the startling clauses of the will. and at least it would be a face worth seeing: the face of a man who was without bowels of mercy: a face which had but to show itself to raise up, in the mind of the unimpressionable enfield, a spirit of enduring hatred. from that time forward, mr utterson began to haunt the door in the  by-street of shops. in the morning before office hours, at noon when business was plenty and time scarce, at night under the face of the fogged city moon, by all lights and at all hours of solitude or concourse, the lawyer was to be found on his chosen post.  [from chapter 2, \u2018search for mr hyde\u2019]   in what ways does stevenson\u2019s writing vividly convey mr utterson\u2019s disturbed state of  mind at this moment in the novel? or 20 how does stevenson make dr jekyll\u2019s relationship with mr hyde so fascinating?5 10152025303540",
            "25": "25 0486/12/m/j/15 \u00a9 ucles 2015 [turn overturn to page 26 for question 21.",
            "26": "26 0486/12/m/j/15 \u00a9 ucles 2015from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the fly in the ointment  (by v. s. pritchett), and then answer the  question that follows it: the old man turned his head away. he actually wiped a tear from his  eye. a glow of sympathy transported the younger man. he felt as though a sun had risen. \u2018y ou know \u2013\u2019 the father said uneasily, flitting a glance at the fly on the  ceiling as if he wanted the fly as well as his son to listen to what he was going to say \u2013 \u2018you know,\u2019 he said, \u2018the world\u2019s all wrong. i\u2019ve made my mistakes. i was thinking about it before you came. y ou know where i went wrong? y ou know where i made my mistake?\u2019 the son\u2019s heart started to a panic of embarrassment. for heaven\u2019s sake,  he wanted to shout, don\u2019t! don\u2019t stir up the whole business. don\u2019t humiliate yourself before me. don\u2019t start telling the truth. don\u2019t oblige me to say we know all about it, that we have known for years the mess you\u2019ve been in, that we\u2019ve seen through the plausible stories you\u2019ve spread, that we\u2019ve known the people you\u2019ve swindled. \u2018money\u2019s been my trouble,\u2019 said the old man. \u2018i thought i needed money.  that\u2019s one thing it\u2019s taught me. i\u2019ve done with money. absolutely done and finished with it. i never want to see another penny as long as i live. i don\u2019t want to see or hear of it. if you came in now and offered me a thousand pounds i should laugh at you. we deceive ourselves. we don\u2019t want the stuff. all i want now is just to go to a nice little cottage by the sea,\u2019 the old man said. \u2018i feel i need air, sun, life.\u2019 the son was appalled.\u2018y ou want money even for that,\u2019 the son said irritably. \u2018y ou want quite a lot  of money to do that.\u2019 \u2018don\u2019t say i want money,\u2019 the old man said vehemently. \u2018don\u2019t say it. when  i walk out of this place tonight i\u2019m going to walk into freedom. i am not going to think of money. y ou never know where it will come from. y ou may see something. y ou may meet a man. y ou never know. did the children of israel worry about money? no, they just went out and collected the manna. that\u2019s what i want to do.\u2019 the son was about to speak. the father stopped him.\u2018money,\u2019 the father said, \u2018isn\u2019t necessary at all.\u2019now, like the harvest moon in full glow, the father\u2019s face shone up at his  son. \u2018what i came round about was this,\u2019 said the son awkwardly and dryly.  \u2018i\u2019m not rich. none of us is. in fact, with things as they are we\u2019re all pretty shaky and we can\u2019t do anything. i wish i could, but i can\u2019t. but\u2019 \u2013 after the assured beginning he began to stammer and to crinkle his eyes timidly \u2013 \u2018but the idea of your being \u2013 you know, well short of some immediate necessity, i mean \u2013 well, if it is ever a question of \u2013 well, to be frank, cash ,  i\u2019d raise it somehow.\u2019 he coloured. he hated to admit his own poverty, he hated to offer charity  to his father. he hated to sit there knowing the things he knew about him. he was ashamed to think how he, how they all dreaded having the gregarious, optimistic, extravagant, uncontrollable, disingenuous old man on their hands. the son hated to feel he was being in some peculiar way which he could not understand, mean, cowardly and dishonest.5 1015202530354045",
            "27": "27 0486/12/m/j/15 \u00a9 ucles 2015the father\u2019s sailing eyes came down and looked at his son\u2019s nervous,  frowning face and slowly the dreaming look went from the father\u2019s face. slowly the harvest moon came down from its rosy voyage. the little face suddenly became dominant within the outer folds of skin like a fox looking out of a hole of clay. he leaned forward brusquely on the table and somehow a silver-topped pencil was in his hand preparing to note something briskly on a writing-pad. \u2018raise it?\u2019 said the old man sharply. \u2018why didn\u2019t you tell me before you  could raise money? how can you raise it? where? by when?\u2019   how does pritchett make this such a powerful ending to the story? or 22 explore the ways in which the writer makes either  the custody of the pumpkin   (by p .g. wodehouse) or at hiruharama  (by penelope fitzgerald) particularly amusing.50 55",
            "28": "28 0486/12/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl/km) 91055/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *6698120226*literature (english)  0486/13 paper 1 poetry and prose may/june 2015  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/13/m/j/15 \u00a9 ucles 2015blank page",
            "3": "3 0486/13/m/j/15 \u00a9 ucles 2015 [turn overcontents section a: poetry   text question numbers page[s] thomas hardy: from  selected poems   1, 2 pages 4\u20135 from jo phillips ed:  poems deep & dangerous   3, 4 pages 6\u20137 songs of ourselves : from part 4  5, 6 pages 8\u20139 section b:  prose text question  numbers page[s] jane austen: northanger abbey   7, 8 pages 10\u201311 tsitsi dangarembga: nervous conditions   9, 10 pages 12\u201313 anita desai: fasting, feasting  11, 12 pages 14\u201315 helen dunmore: the siege  13, 14 pages 16\u201317 george eliot: silas marner  15, 16 pages 18\u201319 susan hill: i\u2019m the king of the castle 17, 18 pages 20\u201321 robert louis stevenson: the strange case of dr jekyll and mr hyde 19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/13/m/j/15 \u00a9 ucles 2015 section a: poetry answer one question from this section. thomas hardy: from  selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: during wind and rain they sing their dearest songs \u2013 he, she, all of them \u2013 yea,treble and tenor and bass, and one to play; with the candles mooning each face \u2026 ah, no; the years o! how the sick leaves reel down in throngs! they clear the creeping moss \u2013 elders and juniors \u2013 aye,making the pathways neat and the garden gay; and they build a shady seat \u2026 ah, no; the years, the years; see, the white storm-birds wing across! they are blithely breakfasting all \u2013 men and maidens \u2013 yea,under the summer tree, with a glimpse of the bay, while pet fowl come to the knee \u2026 ah, no; the years o! and the rotten rose is ript from the wall. they change to a high new house, he, she, all of them \u2013 aye,clocks and carpets and chairs on the lawn all day, and brightest things that are theirs \u2026 ah, no; the years, the years; down their carved names the rain-drop ploughs.   how do hardy\u2019s words create strong feelings about the passage of time in during wind  and rain ?5 1015 20 25",
            "5": "5 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 2 explore the ways in which hardy makes the poem drummer hodge  so moving for you. drummer hodge i they throw in drummer hodge, to rest uncoffined \u2013 just as found:his landmark is a kopje-crest that breaks the veldt around;and foreign constellations west each night above his mound. ii y oung hodge the drummer never knew \u2013 fresh from his wessex home \u2013the meaning of the broad karoo, the bush, the dusty loam,and why uprose to nightly view strange stars amid the gloam. iii y et portion of that unknown plain will hodge for ever be;his homely northern breast and brain grow to some southern tree,and strange-eyed constellations reign his stars eternally.5 1015",
            "6": "6 0486/13/m/j/15 \u00a9 ucles 2015from jo phillips ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: the gift after the accident, the hospital, they brought me aching homemouth pumped up like a tyreblack stitches tracking the woundover my lip, the red slit signallingthe broken place. and my sonmy tall, cool son of sixteenkissed the top of my headand over the curve of my shoulderlaid his arm, like the broad wingof a mother bird guarding its young. anyone who has known tenderness thrown like a lifeline into the heart of painanyone who has known pain bleed into tendernessknows how the power of the two combine.and if i am a fool to give thanksfor pain as well as tendernessand even if, as some would saythere are no accidents \u2013 still. i am grateful for the gift. (chris banks )   how does banks movingly convey the effect of her accident on both herself and her son  in the gift ?5 10 1520",
            "7": "7 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 4 how does lochhead use words and images to striking effect in laundrette ? laundrette we sit nebulous in steam. it calms the air and makes the windows streamrippling the hinterland\u2019s big houses to a blurof bedsits \u2013 not a patch on what they were before. we stuff the tub, jam money in the slot, sit back on rickle chairs notreading. the paperbacks in our pockets curl.our eyes are riveted. our own colours whirl. we pour in smithereens of soap. the machine sobs through its cycle. the rhythm throbsand changes. suds drool and slobber in the churn.our duds don\u2019t know which way to turn. the dark shoves one man in, lugging a bundle like a wandering jew. linenwashed in public here.we let out of the bag who we are. this youngwife has a fine stack of sheets, each pair a present. she admires their clean cut airof colourschemes and being chosen. are the dyes fast?this christening lather will be the first test. this woman is deadpan before the rinse and sluice of the family in a bagwash. let them stew in their juiceto a final fankle, twisted, wrung out into rope,hard to unravel. she sees a kaleidoscope for her to narrow her eyes and blow smoke at, his overalls and pants ballooning, tangling with her smallsand the teeshirts skinned from her wriggling son.she has a weather eye for what might shrink or run. this dour man does for himself. before him, half lost, his small possessions swim.cast off, randomthey nose and nudge the porthole glass like flotsam. (liz lochhead )5 101520 25 30",
            "8": "8 0486/13/m/j/15 \u00a9 ucles 2015songs of ourselves : from part 4 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it:  a different history great pan is not dead; he simply emigrated to india.here, the gods roam freely,disguised as snakes or monkeys;every tree is sacredand it is a sinto be rude to a book.it is a sin to shove a book aside  with your foot,a sin to slam books down hard on a table,a sin to toss one carelessly across a room.y ou must learn how to turn the pages gentlywithout disturbing sarasvati,without offending the treefrom whose wood the paper was made.  which language  has not been the oppressor\u2019s tongue? which language truly meant to murder someone? and how does it happen that after the torture, after the soul has been cropped with a long scythe swooping out of the conqueror\u2019s face \u2013 the unborn grandchildren grow to love that strange language. (sujata bhatt )   explore the ways in which bhatt uses powerful words and images in a different history.5 1015 20 25",
            "9": "9 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 6 how does maccaig create a sense of the unexpected in summer farm ? summer farm straws like tame lightnings lie about the grass and hang zigzag on hedges. green as glassthe water in the horse-trough shines.nine ducks go wobbling by in two straight lines. a hen stares at nothing with one eye, then picks it up. out of an empty skya swallow falls and, flickering throughthe barn, dives up again into the dizzy blue. i lie, not thinking, in the cool, soft grass, afraid of where a thought might take me \u2013 asthis grasshopper with plated faceunfolds his legs and finds himself in space. self under self, a pile of selves i stand threaded on time, and with metaphysic handlift the farm like a lid and seefarm within farm, and in the centre, me. (norman maccaig )5 1015",
            "10": "10 0486/13/m/j/15 \u00a9 ucles 2015section b: prose answer one question from this section. jane austen: northanger abbey remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: the dancing began within a few minutes after they were seated;  and james, who had been engaged quite as long as his sister, was very importunate with isabella to stand up; but john was gone into the cardroom to speak to a friend, and nothing, she declared, should induce her to join the set before her dear catherine could join it too: \u2018i assure you,\u2019 said she, \u2018i would not stand up without your dear sister for all the world; for if i did we should certainly be separated the whole evening.\u2019 catherine accepted this kindness with gratitude, and they continued as they were for three minutes longer, when isabella, who had been talking to james on the other side of her, turned again to his sister and whispered, \u2018my dear creature, i am afraid i must leave you, your brother is so amazingly impatient to begin; i know you will not mind my going away, and i dare say john will be back in a moment, and then you may easily find me out.\u2019 catherine, though a little disappointed, had too much good-nature to make any opposition, and the others rising up, isabella had only time to press her friend\u2019s hand and say, \u2018good-bye, my dear love,\u2019 before they hurried off. the younger miss thorpes being also dancing, catherine was left to the mercy of mrs thorpe and mrs allen, between whom she now remained. she could not help being vexed at the non-appearance of mr thorpe, for she not only longed to be dancing, but was likewise aware that, as the real dignity of her situation could not be known, she was sharing with the scores of other young ladies still sitting down all the discredit of wanting a partner. to be disgraced in the eye of the world, to wear the appearance of infamy while her heart is all purity, her actions all innocence, and the misconduct of another the true source of her debasement, is one of those circumstances which peculiarly belong to the heroine\u2019s life, and her fortitude under it what particularly dignifies her character. catherine had fortitude too; she suffered, but no murmur passed her lips. from this state of humiliation, she was roused, at the end of ten  minutes, to a pleasanter feeling, by seeing, not mr thorpe, but mr tilney, within three yards of the place where they sat; he seemed to be moving that way, but he did not see her, and therefore the smile and the blush, which his sudden reappearance raised in catherine, passed away without sullying her heroic importance. he looked as handsome and as lively as ever, and was talking with interest to a fashionable and pleasing-looking young woman, who leant on his arm, and whom catherine immediately guessed to be his sister; thus unthinkingly throwing away a fair opportunity of considering him lost to her for ever, by being married already. but guided only by what was simple and probable, it had never entered her head that mr tilney could be married; he had not behaved, he had not talked, like the married men to whom she had been used; he had never mentioned a wife, and he had acknowledged a sister. from these circumstances sprang the instant conclusion of his sister\u2019s now being by his side; and therefore, instead of turning of a death-like paleness, and falling in a fit on mrs allen\u2019s 5 10152025303540",
            "11": "11 0486/13/m/j/15 \u00a9 ucles 2015 [turn overbosom, catherine sat erect, in the perfect use of her senses, and with  cheeks only a little redder than usual.  [from chapter 8]   in what ways does austen make this moment in the novel so entertaining? or 8 mr and mrs allen are supposed to be looking after catherine in bath. to what extent  does austen\u2019s writing persuade you that they do this successfully?45",
            "12": "12 0486/13/m/j/15 \u00a9 ucles 2015tsitsi dangarembga: nervous conditions remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: \u2018switch the light off when you\u2019ve finished, tambu,\u2019 nyasha told me  sleepily. she was in the mood for bedtime talk, telling me that she could not sleep with the light on but had left it on for me so that i would not bump my toe against a bed-leg or some other piece of furniture in the unfamiliar room. i was not impressed with her light-induced insomnia, which i thought was only to be expected in a person as frivolous and shallow as my anglicised cousin. nor was i impressed with her consideration for me, steeped as i was in the greater virtue that i believed was mine; a virtue which her behaviour had instigated and which babamukuru\u2019s homily had nourished. i pulled off my dress and jumped into bed in silence. \u2018what about the light?\u2019 nyasha reminded me.what about the light? where was the switch and how did you work it?  should i admit my ignorance to nyasha, to whom i was feeling so superior, or should i ignore her? it was good to be feeling superior for a change, for the first time since i entered my uncle\u2019s house, so i ignored my cousin. nyasha climbed out of bed, advising me to make an effort to stop being a peasant, which distressed me no end. i knew what the word meant because we had come across it one day in a poem in an english lesson and our teacher had explained that a peasant was a land-fowl which looked something like a guinea fowl. nyasha must have been very annoyed, i thought, to be so rude and i was on the verge of apologising and confessing my ignorance, but stopped myself by remembering that she was always rude, if not to me then to her parents. i decided she expected too much of people so i kept quiet. i would have liked to have turned to the wall to emphasise my disapproval, but since i could not confess my ignorance about the lights, i had to watch nyasha closely. nyasha was perceptive. i had admired this about her when we talked  earlier that evening, but now it annoyed me, made me feel silly. \u2018this is it,\u2019 she said, pointing to a black patch in the wall beside the door.  \u2018it\u2019s down now, which means it\u2019s on. it\u2019s off when it\u2019s up.\u2019 she switched the light off and on again to demonstrate. \u2018switch it off,\u2019 i told her nastily, \u2018otherwise you won\u2019t sleep.\u2019she switched the light off and climbed back into bed. typically she had  the last word: \u2018y ou haven\u2019t put your bedclothes on. y ou\u2019ll have to do it in the dark.\u2019 i did not ask what bedclothes were since we were quarrelling. instead the  smug determination that babamukuru\u2019s talk had instilled in me evaporated. i began to feel inferior again. i was a bit masochistic at that age, wallowing in my imagined inadequacy until i was in real danger of feeling sorry for myself. then i reprimanded myself for this self-indulgence by thinking of my mother, who suffered from being female and poor and uneducated and black so stoically that i was ashamed of my weakness in succumbing so flabbily to the strangeness of my new circumstances. this gave me the fine lash of guilt to whip myself on with. i reaffirmed my vow to use the opportunity my uncle had given me to maximum advantage. a lot of my reactions were of this complicated kind in those days,  requiring a lot of thought to sort them out into organised parts. but the activity and excitement of that day\u2019s events had exhausted me: i fell asleep 5 1015202530354045",
            "13": "13 0486/13/m/j/15 \u00a9 ucles 2015 [turn overbefore i could order my thoughts neatly. i think this is why i dreamt of my  brother.  [from chapter 5]   how does dangarembga make this such an amusing and revealing moment in the novel? or 10 does dangarembga\u2019s writing make you feel respect or pity for nyasha \u2013 or both?50",
            "14": "14 0486/13/m/j/15 \u00a9 ucles 2015anita desai: fasting, feasting remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: \u2018didn\u2019t you hear? didn\u2019t you hear what dr dutt was saying?\u2019 papa asked  irritably. \u2018no,\u2019 said uma, and dr dutt again rattled through the sequence of events  that had left the medical institute with a new dormitory and new nurses and no one to take care of them while they were in training. \u2018so, you see, i thought of you, uma. a young woman with no employment,  who has been running the house for her parents for so long. i feel sure you would be right for the job.\u2019 \u2018job?\u2019 gulped uma, never having aspired so high in her life, and found  the idea as novel as that of being launched into space. papa looked incredulous and mama outraged. dr dutt still clasped  uma\u2019s arm. \u2018don\u2019t look so frightened,\u2019 she urged. \u2018i know how well you look after your parents. i know how much you helped mrs o\u2019henry with her work. i am confident you can do it.\u2019 but uma was not confident. \u2018i have no degree,\u2019 she faltered, \u2018or training.\u2019\u2018this kind of work does not require training, uma,\u2019 dr dutt assured her,  \u2018or degrees. just leave that to me. i will deal with it if the authorities ask. y ou will agree, sir?\u2019 she turned to papa, smiling, as if she knew how much he adored being called sir. but papa did not appear to have noticed the honour this time. he was  locking his face up into a frown of great degree. the frown was filled with everything he thought of working women, of women who dared presume to step into the world he occupied. uma knew that, and cringed. \u2018papa,\u2019 she said pleadingly.it was mama who spoke, however. as usual, for papa. very clearly and  decisively. \u2018our daughter does not need to go out to work, dr dutt,\u2019 she said. \u2018as long as we are here to provide for her, she will never need to go to work.\u2019 \u2018but she works all the time!\u2019 dr dutt exclaimed on a rather sharp note. \u2018at  home. now you must give her a chance to work outside \u2013\u2019 \u2018there is no need,\u2019 papa supported mama\u2019s view. in double strength, it  grew formidable. \u2018where is the need?\u2019 dr dutt persisted. \u2018shouldn\u2019t we ask uma for her view? perhaps she  would like to go out and work? after all, it is at my own institute, in a women\u2019s dormitory, with other women. i can vouch for the conditions, they are perfectly decent, sir. y ou may come and inspect the dormitory, meet the nurses, see for yourself. would you like to pay us a visit, uma?\u2019 uma bobbed her head rapidly up and down. she worked hard at  controlling her expression; she knew her face was twitching in every direction. she knew her parents were watching. she tried to say yes, please, yes please, yespleaseyes \u2013 \u2018go and take the tray away,\u2019 mama said.uma\u2019s head was bobbing, her lips were fluttering: yes, yespleaseyes.\u2018uma,\u2019 mama repeated, and her voice brought uma to her feet. she  took up the tray and went into the kitchen. she stood there, wrapping her hands into her sari, saying into the corner behind the ice-box: pleasepleaseplease \u2013 then she went back to the veranda \u2013 warily, warily. dr dutt was sitting 5 1015202530354045",
            "15": "15 0486/13/m/j/15 \u00a9 ucles 2015 [turn oververy upright in her basket chair. she looked directly at uma. \u2018i am sorry,\u2019  she said, \u2018i am very sorry to hear that.\u2019 hear what? what?mama was getting to her feet. she walked dr dutt down the veranda  steps to her waiting bicycle. \u2018isn\u2019t it difficult to cycle in a sari?\u2019 she asked with a little laugh, and looked pointedly at the frayed and oily hem of dr dutt\u2019s sari. dr dutt did not answer but tucked it up at her waist and stood steadying  the bicycle. she did not look back at uma but uma heard her say to mama, \u2018if you have that problem, you must come to the hospital for tests. if you need the hysterectomy, it is better to get it done soon. there is no need to live like an invalid.\u2019 she mounted the small, hard leather seat and bicycled away, the wheels crushing the gravel and making it spurt up in a reddish spray. uma stopped twitching her hands in a fold of her sari and looked towards  mama. hysterectomy \u2013 what was that? mama came up the steps and linked arms with uma, giving her an  affectionate little squeeze. \u2018and so my madcap wanted to run away and leave her mama? what will my madcap do next?\u2019  [from chapter 12]   how does desai make you strongly sympathise with uma at this moment in the novel? or 12 explore the ways in which desai makes mira-masi a memorable character.50 556065",
            "16": "16 0486/13/m/j/15 \u00a9 ucles 2015helen dunmore: the siege remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: kolya\u2019s birth was easy, and immediately afterwards everything seemed  fine. he was a big baby, a strong, fine child they said to her, slapping the soles of his feet to make him cry. vera sat up and took the baby. a nurse told anna about it afterwards. \u2018i want to know everything that happened,\u2019  said anna.  \u2018don\u2019t leave  anything out because you think it will upset me.\u2019 the nurse looked at her, frightened.\u2018what is it?\u2019\u2018it\u2019s only \u2013 it\u2019s just that you sound exactly like your mother.\u2019anna brushed that away. don\u2019t think of it now, think of it later.\u2018go on, please. tell me what happened.\u2019the delivery of the placenta was difficult. immediately afterwards, before  vera\u2019s uterus had contracted fully, there was an emergency in the next ward. a prolapsed cord, it was. they had to leave vera alone for a few minutes,  \u2018it was only a few minutes, anna mikhailovna, no more than  seven. i swear it.\u2019 vera would not have been frightened when she lifted her sheet and saw  blood, even though she\u2019d have known what the bleeding meant. this was her world, the hospital world. she\u2019d have guessed what had happened. part of the placenta had not been expelled. now she would continue to haemorrhage until it could be removed. the situation was urgent, but not yet dangerous. she rang a bell beside the bed. a nurse came. vera said calmly, \u2018i think  i\u2019m bleeding.\u2019 \u2018is that exactly what she said?\u2019\u2018y es, it was me who came, you see. those were her words.\u2019so vera was frightened. she said \u2018i think\u2019 when she knew. or perhaps  she didn\u2019t want to frighten the nurse. the nurse lifted the sheet. she looked and then she said, \u2018it\u2019s all right. y ou\u2019re fine,\u2019 and then she ran, her feet striking the hard floor all the way down the ward. next, there was a metal trolley and porters lifting vera on to it. the nurse ran alongside the trolley as it clattered down the corridor to the lift. vera said she felt faint, then closed her eyes. and then what? then the clean, shabby hospital wall, and the shut door.  anna can\u2019t go any farther with her mother. and then there was her father, kneeling by vera\u2019s bed with his hands over his face. anna touched her mother\u2019s soft, warm cheek, but the gaping face belonged to someone else. all the sense had gone out of it. vera was forty-one.\u2018there\u2019s always a greater risk, you understand,\u2019  someone said. but how could it be vera who had died in this way? it wasn\u2019t like her at all.  she knew about bodies, and hospitals. she understood the limits of what should happen to people. health was her job and her life. she knew what anna should eat, and how many hours she should study. she\u2019d talked to anna about her periods before they started, telling her just enough and not too much. \u2018when you have children,\u2019 she\u2019d said. not \u2018when i have children.\u2019 vera\u2019s days of children were over, it went without saying. she had anna. but she died at forty-one. she left her child to anna. in the end, instead 5 1015202530354045",
            "17": "17 0486/13/m/j/15 \u00a9 ucles 2015 [turn overof freeing her daughter, she put a child into her arms. that red, squirming  thing they were swaddling in the next room. kolya.  [from chapter 1]   how does dunmore\u2019s writing movingly portray vera\u2019s death in this passage? or 14 explore the ways in which dunmore vividly conveys to you the importance of food in the  novel.50",
            "18": "18 0486/13/m/j/15 \u00a9 ucles 2015george eliot: silas marner remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: the landlord forced marner to take off his coat, and then to sit down on a  chair aloof from every one else, in the centre of the circle, and in the direct rays of the fire. the weaver, too feeble to have any distinct purpose beyond that of getting help to recover his money, submitted unresistingly. the transient fears of the company were now forgotten in their strong curiosity, and all faces were turned towards silas, when the landlord, having seated himself again, said; \u2018now then, master marner, what\u2019s this you\u2019ve got to say, as you\u2019ve been robbed? speak out.\u2019 \u2018he\u2019d better not say again as it was me robbed him,\u2019 cried jem rodney,  hastily. \u2018what could i ha\u2019 done with his money? i could as easy steal the parson\u2019s surplice, and wear it.\u2019 \u2018hold your tongue, jem, and let\u2019s hear what he\u2019s got to say,\u2019 said the  landlord. \u2018now then, master marner.\u2019 silas now told his story under frequent questioning, as the mysterious  character of the robbery became evident. this strangely novel situation of opening his trouble to his raveloe  neighbours, of sitting in the warmth of a hearth not his own, and feeling the presence of faces and voices which were his nearest promise of help, had doubtless its influence on marner, in spite of his passionate preoccupation with his loss. our consciousness rarely registers the beginning of a growth within us any more than without us: there have been many circulations of the sap before we detect the smallest sign of the bud. the slight suspicion with which his hearers at first listened to him,  gradually melted away before the convincing simplicity of his distress: it was impossible for the neighbours to doubt that marner was telling the truth, not because they were capable of arguing at once from the nature of his statements to the absence of any motive for making them falsely, but because, as mr macey observed, \u2018folks as had the devil to back \u2019em were not likely to be so mushed\u2019 as poor silas was. rather, from the strange fact that the robber had left no traces, and had happened to know the nick of time, utterly incalculable by mortal agents, when silas would go away from home without locking his door, the more probable conclusion seemed to be, that his disreputable intimacy in that quarter, if it ever existed, had been broken up, and that, in consequence, this ill turn had been done to marner by somebody it was quite in vain to set the constable after. why this preternatural felon should be obliged to wait till the door was left unlocked, was a question which did not present itself. \u2018it isn\u2019t jem rodney as has done this work, master marner,\u2019 said the  landlord. \u2018y ou mustn\u2019t be a-casting your eye at poor jem. there may be a bit of a reckoning against jem for the matter of a hare or so, if anybody was bound to keep their eyes staring open, and niver to wink \u2013 but jem\u2019s been a-sitting here drinking his can, like the decentest man i\u2019 the parish, since before you left your house, master marner, by your own account.\u2019 \u2018ay, ay,\u2019 said mr macey; \u2018let\u2019s have no accusing o\u2019 the innicent. that isn\u2019t  the law. there must be folks to swear again\u2019 a man before he can be ta\u2019en up. let\u2019s have no accusing o\u2019 the innicent, master marner.\u2019 memory was not so utterly torpid in silas that it could not be wakened  by these words. with a movement of compunction, as new and strange to 5 1015202530354045",
            "19": "19 0486/13/m/j/15 \u00a9 ucles 2015 [turn overhim as everything else within the last hour, he started from his chair and  went close up to jem, looking at him as if he wanted to assure himself of the expression in his face. \u2018i was wrong,\u2019 he said \u2013 \u2018yes, yes \u2013 i ought to have thought. there\u2019s  nothing to witness against you, jem. only you\u2019d been into my house oftener than anybody else, and so you came into my head. i don\u2019t accuse you \u2013 i won\u2019t accuse anybody \u2013 only,\u2019 he added, lifting up his hands to his head, and turning away with bewildered misery, \u2018i try \u2013 i try to think where my money can be.\u2019  [from chapter 7]   how does eliot vividly convey to you the significance of this moment for silas? or 16 how does eliot\u2019s writing make dunstan (dunsey) cass such a dislikeable character?50 55",
            "20": "20 0486/13/m/j/15 \u00a9 ucles 2015susan hill:  i\u2019m the king of the castle remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: mr hooper said, \u2018this is the strand, this is trafalgar square, this is the  mall, there is buckingham palace \u2026\u2019 \u2018i know.\u2019but the taxi skidded in and out of the traffic, and mr hooper did not  listen, he recited the names of streets and buildings because of his belief in the usefulness and fascination of such facts. kingshaw said, \u2018we lived in london.\u2019 \u2018ah, yes! now that is st george\u2019s hospital \u2026\u2019he did not like being here with mr hooper. it was like being with a  stranger, one of the masters from school, perhaps, it felt odd. he could think of nothing at all to say, except in answer to questions. they walked very quietly across the grey carpets of the department store, towards school outfitting, and the rooms smelled of perfume and new cloth. he thought, i could run away. i could get into the lift and go down the other staircase, and out into the street, i would be lost. but he would not do it. it would be worse, alone in the city streets,  full of strange people, than it had been alone in hang wood. the noise confused him, the way everybody pushed about. he had forgotten london. mr hooper said, \u2018well, now \u2026\u2019 there was a man with striped trousers and a tape-measure. kingshaw had never been shopping with anyone except his mother. he was measured and pushed in and out of the sleeves of blazers and the legs of shorts, and mr hooper and the man talked about him over the top of his head, he felt as though he was not really here, not really himself. he said nothing. but when he looked in the tall glass, and saw himself like hooper, in the black and gold uniform, looked into his own eyes, he knew that there was no more hope for him, that it had all begun. hooper was playing with the silver cardboard model of the fort, rolling  the marble down and letting it drop through the chute, over and over again. kingshaw watched him for a moment, his fury rising, and then began to run, down the corridor and the staircase, across the hall and into the sitting room, clenching and unclenching his hands. mr hooper was pouring out two glasses of sherry from a bottle. the  windows of the sitting room were open onto the silent lawn. kingshaw shouted, \u2018it\u2019s my model, you gave him my model, the one i  made, and you didn\u2019t even ask. i didn\u2019t want him to have that, you shouldn\u2019t give him any of my things.\u2019 he saw the look that passed between his mother and mr hooper, knew  what they were thinking of him, and it made him want to strike out at them, in rage, he felt misjudged by them. he thought, they don\u2019t want me, they don\u2019t want anything to do with me here, they want themselves and hooper, there is no place for me. \u2018y ou\u2019ve got to make him give it back. he\u2019s got plenty of things, he\u2019s got  everything. he\u2019s got to give me back my model.\u2019 \u2018charles \u2026\u2019\u2018it\u2019s mine, mine, mine , he isn\u2019t to have anything  of mine.\u2019 when mr hooper stepped forward quickly, and struck him across  the cheek, he heard the sound of it sharply, through his own head, and 5 10152025 30 354045",
            "21": "21 0486/13/m/j/15 \u00a9 ucles 2015 [turn overout in the room, too, saw his mother\u2019s face, full of relief and shock, and  mr hooper\u2019s, as he stood over him. and then the silence. none of them moved. silence and silence. the telephone rang. mr hooper went out of the door and into the hall.\u2018i think you had better go quietly upstairs, charles. i\u2019m sure you can  understand why. and perhaps you will also try and understand how very much you have upset me.\u2019 he did not look at her.  [from chapter 15]   how does hill vividly convey the unfairness which charles kingshaw experiences at this  point in the novel? or 18 does hill\u2019s writing make it possible for you to feel any sympathy for hooper?50 55",
            "22": "22 0486/13/m/j/15 \u00a9 ucles 2015robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: mr utterson reflected; and then, raising his head, \u2018if you will come with  me in my cab,\u2019 he said, \u2018i think i can take you to his house.\u2019 it was by this time about nine in the morning, and the first fog of the  season. a great chocolate-coloured pall lowered over heaven, but the wind was continually charging and routing these embattled vapours; so that as the cab crawled from street to street, mr utterson beheld a marvellous number of degrees and hues of twilight; for here it would be dark like the back-end of evening; and there would be a glow of a rich, lurid brown, like the light of some strange conflagration; and here, for a moment, the fog would be quite broken up, and a haggard shaft of daylight would glance in between the swirling wreaths. the dismal quarter of soho seen under these changing glimpses, with its muddy ways, and slatternly passengers, and its lamps, which had never been extinguished or had been kindled afresh to combat this mournful reinvasion of darkness, seemed, in the lawyer\u2019s eyes, like a district of some city in a nightmare. the thoughts of his mind, besides, were of the gloomiest dye; and when he glanced at the companion of his drive, he was conscious of some touch of that terror of the law and the law\u2019s officers, which may at times assail the most honest. as the cab drew up before the address indicated, the fog lifted a little  and showed him a dingy street, a gin palace, a low french eating house, a shop for the retail of penny numbers and twopenny salads, many ragged children huddled in the doorways, and many women of many different nationalities passing out, key in hand, to have a morning glass; and the next moment the fog settled down again upon that part, as brown as umber, and cut him off from his blackguardly surroundings. this was the home of henry jekyll\u2019s favourite; of a man who was heir to a quarter of a million sterling. an ivory-faced and silvery-haired old woman opened the door. she had  an evil face, smoothed by hypocrisy; but her manners were excellent. y es, she said, this was mr hyde\u2019s, but he was not at home; he had been in that night very late, but had gone away again in less than an hour; there was nothing strange in that; his habits were very irregular, and he was often absent; for instance, it was nearly two months since she had seen him till yesterday. \u2018very well then, we wish to see his rooms,\u2019 said the lawyer; and when the  woman began to declare it was impossible, \u2018i had better tell you who this person is,\u2019 he added. \u2018this is inspector newcomen of scotland y ard.\u2019 a flash of odious joy appeared upon the woman\u2019s face. \u2018ah!\u2019 said she, \u2018he  is in trouble! what has he done?\u2019 mr utterson and the inspector exchanged glances. \u2018he don\u2019t seem a  very popular character,\u2019 observed the latter. \u2018and now, my good woman, just let me and this gentleman have a look about us.\u2019  [from chapter 4, \u2018the carew murder case\u2019]   in what ways does stevenson\u2019s writing make this moment in the novel so disturbing?5 10152025303540",
            "23": "23 0486/13/m/j/15 \u00a9 ucles 2015 [turn overor 20 how does stevenson strikingly portray the friendship between mr utterson and dr jekyll  in the novel?",
            "24": "24 0486/13/m/j/15 \u00a9 ucles 2015from  stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the rain horse  (by ted hughes), and then answer the question  that follows it: he came out at the woodside, in open battle now, still searching for the  right stones. there were plenty here, piled and scattered where they had been ploughed out of the field. he selected two, then straightened and saw the horse twenty yards off in the middle of the steep field, watching him calmly. they looked at each other. \u2018out of it!\u2019 he shouted, brandishing his arm. \u2018out of it! go on!\u2019 the horse  twitched its pricked ears. with all his force he threw. the stone soared and landed beyond with a soft thud. he re-armed and threw again. for several minutes he kept up his bombardment without a single hit, working himself up into a despair and throwing more and more wildly, till his arm began to ache with the unaccustomed exercise. throughout the performance the horse watched him fixedly. finally he had to stop and ease his shoulder muscles. as if the horse had been waiting for just this, it dipped its head twice and came at him. he snatched up two stones and roaring with all his strength flung the  one in his right hand. he was astonished at the crack of the impact. it was as if he had struck a tile \u2013 and the horse actually stumbled. with another roar he jumped forward and hurled his other stone. his aim seemed to be under superior guidance. the stone struck and rebounded straight up into the air, spinning fiercely, as the horse swirled away and went careering down towards the far bottom corner of the field, at first with great, swinging leaps, then at a canter, leaving deep churned holes in the soil. it turned up the far side of the field, climbing till it was level with him. he  felt a little surprise of pity to see it shaking its head, and once it paused to lower its head and paw over its ear with its forehoof as a cat does. \u2018y ou stay there!\u2019 he shouted. \u2018keep your distance and you\u2019ll not get hurt.\u2019and indeed the horse did stop at that moment, almost obediently. it  watched him as he climbed to the crest. the rain swept into his face and he realised that he was freezing, as if  his very flesh were sodden. the farm seemed miles away over the dreary fields. without another glance at the horse \u2013 he felt too exhausted to care now what it did \u2013 he loaded the crook of his left arm with stones and plunged out on to the waste of mud. he was halfway to the first hedge before the horse appeared, silhouetted  against the sky at the corner of the wood, head high and attentive, watching his laborious retreat over the three fields. the ankle-deep clay dragged at him. every stride was a separate,  deliberate effort, forcing him up and out of the sucking earth, burdened as he was by his sogged clothes and load of stones and limbs that seemed themselves to be turning to mud. he fought to keep his breathing even, two strides in, two strides out, the air ripping his lungs. in the middle of the last field he stopped and looked around. the horse, tiny on the skyline, had not moved. at the corner of the field he unlocked his clasped arms and dumped  the stones by the gatepost, then leaned on the gate. the farm was in front of him. he became conscious of the rain again and suddenly longed to stretch out full-length under it, to take the cooling, healing drops all over 5 1015202530354045",
            "25": "25 0486/13/m/j/15 \u00a9 ucles 2015his body and forget himself in the last wretchedness of the mud. making an  effort, he heaved his weight over the gate-top. he leaned again, looking up at the hill. rain was dissolving land and sky together like a wet watercolour as  the afternoon darkened. he concentrated, raising his head, searching the skyline from end to end. the horse had vanished. the hill looked lifeless and desolate, an island lifting out of the sea, awash with every tide. under the long shed where the tractors, plough, binders and the rest  were drawn up, waiting for their seasons, he sat on a sack thrown over a petrol drum, trembling, his lungs heaving. the mingled smell of paraffin, creosote, fertiliser, dust \u2013 all was exactly as he had left it twelve years ago. the ragged swallows\u2019 nests were still there tucked in the angles of the rafters. he remembered three dead foxes hanging in a row from one of the  beams, their teeth bloody. the ordeal with the horse had already sunk from reality. it hung under  the surface of his mind, an obscure confusion of fright and shame, as after a narrowly escaped street accident. there was a solid pain in his chest, like a spike of bone stabbing, that made him wonder if he had strained his heart on that last stupid burdened run. piece by piece he began to take off his clothes, wringing the grey water out of them, but soon he stopped that and just sat staring at the ground, as if some important part had been cut out of his brain.   how does hughes make this such a powerful ending to the story? or 22 what does the writer make you feel about either  mr twycott in  the son\u2019s veto  (by  thomas hardy) or the husband in sandpiper  (by ahdaf soueif)?50 556065",
            "26": "26 0486/13/m/j/15 \u00a9 ucles 2015blank page",
            "27": "27 0486/13/m/j/15 \u00a9 ucles 2015blank page",
            "28": "28 0486/13/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_21.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/21 literature (english) may/june 2015paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer  two questions. you must  answer  one passage -based  question  (marked  *) and one essay  question  (marked  \u2020).  your questions  must  be on two different  plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 13printed pages and 3blank pages. [turn /g82ver06_0486_21_2015_1.13   \u00a9 ucles  2015 *3560420035*",
            "2": "06_0486_21_2015_1.13 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either * 1read this passage, and then answer the question that follows it: sue: is my husband \u2013 ? content removed due to copyright restrictions",
            "3": "06_0486_21_2015_1.13 \u00a9 ucles 2015 [turn over3  he meets a man and makes a statue out of him. explore the ways in which miller makes this such a dramatic and revealing moment in the play.or \u2020 2 how does miller make kate\u2019s self-deception such a memorable feature of the play?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either * 3 read this passage, and then answer the question that follows it: how could i know what would happen afterwards? if she\u2019d been some miserable plain little creature, i don\u2019t suppose i\u2019d have done it. but she was very pretty and looked asif she could take care of herself. i couldn\u2019t be sorry for her.sheila: in fact, in a kind of way, you might be said to have been jealous of her. inspector: yes, i suppose so. sheila: and so you used the power you had, as a daughter of a good customer and also of a man well-known in the town, to punish the girl just because she made you feel likethat?inspector: yes, but it didn\u2019t seem to be anything very terrible at the time. don\u2019t you understand? and if i could help her now, i would \u2013sheila: [harshly ] yes, but you can\u2019t. it\u2019s too late. she\u2019s dead. inspector: my god, it\u2019s a bit thick, when you come to think of it \u2013 eric: [stormily ] oh shut up, eric. i know, i know. it\u2019s the only time i\u2019ve ever done anything like that, and i\u2019ll never, never do it again to anybody. i\u2019ve noticed them giving me asheila: sort of look sometimes at milwards \u2013 i noticed it even this afternoon \u2013 and i suppose some of them remember. i feel now i can never go there again. oh \u2013 why had this tohappen? [sternly ] that\u2019s what i asked myself tonight when i was looking at that dead girl. and then i said to myself: \u2018well, we\u2019ll try to understand why it had to happen?\u2019 and that\u2019sinspector: why i\u2019m here, and why i\u2019m not going until i know allthat happened. eva smith lost her job with birling and company because the strike failed and they were determined notto have another one. at last she found another job \u2013 under what name i don\u2019t know\u2013 in a big shop, and had to leave there because you were annoyed with yourself andpassed the annoyance on to her. now she had to try something else. so first shechanged her name to daisy renton \u2013 [startled ] what? gerald: [steadily ] i said she changed her name to daisy renton. inspector: [pulling himself together ] d\u2019you mind if i give myself a drink, sheila? gerald: sheila merely nods, still staring at him, and he goes across to the tantalus on the sideboard for a whisky. where is your father, miss birling? inspector: he went into the drawing-room, to tell my mother what was happening here. eric, take the inspector along to the drawing-room.sheila: as eric moves, the inspector looks from sheila to gerald, then goes out with eric. well, gerald? [trying to smile ] well what, sheila? gerald: how did you come to know this girl \u2013 eva smith? sheila: 06_0486_21_2015_1.13 \u00a9 ucles 20154",
            "5": "656055504540i didn\u2019t. gerald: daisy renton then \u2013 it\u2019s the same thing. sheila: why should i have known her? gerald: oh don\u2019t be stupid. we haven\u2019t much time. you gave yourself away as soon as he mentioned her other name.sheila: all right, i knew her. let\u2019s leave it at that. gerald: we can\u2019t leave it at that. sheila: [approaching he r] now listen, darling \u2013 gerald: no, that\u2019s no use. you not only knew her but you knew her very well. otherwise, you wouldn\u2019t look so guilty about it. when did you first get to know her?sheila: he does not reply. was it after she left milwards? when she changed her name, as he said, and began to lead a different sort of life? were you seeing her last spring and summer, duringthat time when you hardly came near me and said you were so busy? were you? he does not reply but looks at her. yes, of course you were.i\u2019m sorry, sheila. but it was all over and done with, last summer. i hadn\u2019t set eyes on the girl for at least six months. i don\u2019t come into this suicide business.gerald: i thought i didn\u2019t, half an hour ago. sheila: you don\u2019t. neither of us does. so \u2013 for god\u2019s sake \u2013 don\u2019t say anything to the inspector. gerald: about you and this girl? sheila: yes. we can keep it from him. gerald: [laughs rather hysterically ] why \u2013 you fool \u2013 he know s.of course he knows. and i hate to think how much he knows that we don\u2019t know yet. you\u2019ll see, you\u2019ll see.sheila: she looks at him almost in triumph. he looks crushed. the door slowly opens and the inspector appears, looking steadily and searchingly at them. well? inspector: end of act one [from act 1 ] how does priestley make this such a powerful ending to act 1? or \u2020 4 mrs birling says that eric is \u2018only a boy\u2019. to what extent does priestley make you agree with her? [turn /g82ver06_0486_21_2015_1.13 \u00a9 ucles 20155",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either * 5read this passage, and then answer the question that follows it: make room, and let him stand before our face. shylock, the world thinks, and i think so too,that thou but leadest this fashion of thy maliceto the last hour of act; and then, \u2019tis thought,thou\u2019lt show thy mercy and remorse, more strangethan is thy strange apparent cruelty;and where thou now exacts the penalty,which is a pound of this poor merchant\u2019s flesh,thou wilt not only loose the forfeiture,but, touch\u2019d with human gentleness and love,forgive a moiety of the principal,glancing an eye of pity on his losses,that have of late so huddled on his back \u2013enow to press a royal merchant down,and pluck commiseration of his statefrom brassy bosoms and rough hearts of flint,from stubborn turks and tartars, never train\u2019dto offices of tender courtesy.we all expect a gentle answer, jew.duke: i have  possess\u2019d  your grace  of what  i purpose,   and by our holy sabbath  have  i sworn to have  the due and forfeit  of my bond. if you deny  it, let the danger  light upon  your charter  and your city\u2019s  freedom.   you\u2019ll  ask me why i  rather  choose  to have a weight  of carrion  flesh  than to receive three  thousand  ducats.  i\u2019ll not answer  that,  but say it is my humour  \u2013 is it answer\u2019d? what  if my house  be troubled  with a rat, and i be pleas\u2019d  to give ten thousand  ducats   to have  it ban\u2019d?  what,  are you answer\u2019d  yet? some  men there  are love not a gaping  pig;  some  that are mad if they behold  a cat; and others,  when  the bagpipe  sings  i\u2019 th\u2019 nose,   cannot  contain  their urine;  for affection,   mistress  of passion,  sways  it to the mood of what  it likes or loathes.  now,  for your answer:   as there  is no firm reason  to be rend\u2019red why he cannot  abide  a gaping  pig; why he, a harmless  necessary  cat; why he, a woollen  bagpipe,  but of force must  yield to such  inevitable  shame as to offend,  himself  being  offended;shylock: 06_0486_21_2015_1.13 \u00a9 ucles 20156",
            "7": "5045so can i give no reason, nor i will not, more than a lodg\u2019d hate and a certain loathingi bear antonio, that i follow thusa losing suit against him. are you answered? this is no answer, thou unfeeling man, to excuse the current of thy cruelty.bassanio: i am not bound to please thee with my answers. shylock: do all men kill the things they do not love? bassanio: hates any man the thing he would not kill? shylock: every offence is not a hate at first. bassanio: what, wouldst thou have a serpent sting thee twice? shylock: [from act 4 scene 1 ] does shakespeare make it possible for you to have any sympathy for shylock at this moment in the play? or \u2020 6 explore the ways in which shakespeare makes you admire portia. [turn /g82ver 06_0486_21_2015_1.13 \u00a9 ucles 20157",
            "8": "3530252015105william shakespeare: a/g3midsummer /g3night /g182s/g3dream /g3 remember to support your ideas with details from the text. either * 7read this passage, and then answer the question that follows it: enter quince, snug, bottom, flute, snout and starveling . is all our company here? quince: you were best to call them generally, man by man, according to the scrip. bottom: here is the scroll of every man\u2019s name which is thought fit, through all athens, to play in our interlude before the duke and the duchess on his wedding-day at night.quince: first, good peter quince, say what the play treats on; then read the names of the actors; and so grow to a point.bottom: marry, our play is \u2018the most lamentable comedy and most cruel death of pyramus and thisby\u2019.quince: a very good piece of work, i assure you, and a merry. now, good peter quince, call forth your actors by the scroll. masters, spread yourselves.bottom: answer, as i call you. nick bottom, the weaver. quince: ready. name what part i am for, and proceed. bottom: you, nick bottom, are set down for pyramus. quince: what is pyramus? a lover, or a tyrant? bottom: a lover, that kills himself most gallant for love. quince: that will ask some tears in the true performing of it. if i do it, let the audience look to their eyes; i will move storms; i will condole in some measure. to the rest \u2013 yet mybottom: chief humour is for a tyrant. i could play ercles rarely, or a part to tear a cat in, to make all split. \u2018the raging rocksand shivering shocksshall break the locks of prison gates; and phibbus\u2019 carshall shine from far,and make and mar the foolish fates.\u2019 this was lofty. now name the rest of the players. this is ercles\u2019 vein, a tyrant\u2019s vein:a lover is more condoling. francis flute, the bellows-mender. quince: here, peter quince. flute: flute, you must take thisby on you. quince: what is thisby? a wand\u2019ring knight? flute: it is the lady that pyramus must love. quince: nay, faith, let not me play a woman; i have a beard coming. flute: that\u2019s all one; you shall play it in a mask, and you may speak as small as you will. quince: 06_0486_21_2015_1.13 \u00a9 ucles 20158",
            "9": "55504540an i may hide my face, let me play thisby too. i\u2019ll speak in a monstrous little voice: \u2018thisne, thisne!\u2019 [ then speaking small ] \u2018ah pyramus, my lover dear! thy thisby dear, and lady dear!\u2019bottom: no, no, you must play pyramus; and, flute, you thisby. quince: well; proceed. bottom: robin starveling, the tailor. quince: here, peter quince. starveling: robin starveling, you must play thisby\u2019s mother. tom snout, the tinker. quince: here, peter quince. snout: you, pyramus\u2019 father; myself, thisby\u2019s father; snug, the joiner, you, the lion\u2019s part. and, i hope, here is a play fitted.quince: have you the lion\u2019s part written? pray you, if it be, give it me, for i am slow of study. snug: you may do it extempore, for it is nothing but roaring. quince: let me play the lion too. i will roar that i will do any man\u2019s heart good to hear me; i will roar that i will make the duke say \u2018let him roar again, let him roar again\u2019.bottom: an you should do it too terribly, you would fright the duchess and the ladies, that they would shriek; and that were enough to hang us all.quince: that would hang us, every mother\u2019s son. all: [from act 1 scene  2/g64  how does  shakespeare  make  this such  an entertaining  introduction  to bottom  and the mechanicals? or \u2020 8 puck  says \u2018what  fools  these  mortals  be\u2019. to what  extent  does  shakespeare  make  you share  puck/g182s  view of human  characters  in the play? [turn /g82ver06_0486_21_2015_1.13 \u00a9 ucles 20159",
            "10": "403530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either * 9read this passage, and then answer the question that follows it: if by your art, my dearest father, you have put the wild waters in this roar, allay them.the sky, it seems, would pour down stinking pitch,but that the sea, mounting to th\u2019 welkin\u2019s cheek,dashes the fire out. o, i have sufferedwith those that i saw suffer! a brave vessel,who had no doubt some noble creature in her,dash\u2019d all to pieces! o, the cry did knockagainst my very heart! poor souls, they perish\u2019d.had i been any god of power, i wouldhave sunk the sea within the earth or ereit should the good ship so have swallow\u2019d andthe fraughting souls within her.miranda: be collected; no more amazement; tell your piteous heartthere\u2019s no harm done.prospero: o, woe the day! miranda: no harm. i have done nothing but in care of thee,of thee, my dear one, thee, my daughter, whoart ignorant of what thou art, nought knowingof whence i am, nor that i am more betterthan prospero, master of a full poor cell,and thy no greater father.prospero: more to know did never meddle with my thoughts.miranda: /g182tis time i should  inform  thee farther.  lend  thy hand, and pluck  my magic  garment  from me. so, /g62lays  down  his mantle /g64  lie there  my art. wipe  thou thine  eyes;  have  comfort. the direful  spectacle  of the wreck,   which  touch\u2019d the very virtue  of compassion  in thee, i have  with such  provision  in mine  art so safely  ordered  that there  is no soul \u2013 no, not so much  perdition  as an hair betid  to any creature  in the vessel which  thou heard\u2019st  cry, which  thou saw\u2019st  sink. sit down, for thou must  now know  farther.prospero: you have often begun to tell me what i am; but stopp\u2019d,and left me to a bootless inquisition,concluding \u2018stay; not yet\u2019.miranda: 06_0486_21_2015_1.13 \u00a9 ucles 201510",
            "11": "75706560555045the hour\u2019s now come; the very minute bids thee ope thine ear.obey, and be attentive. canst thou remembera time before we came unto this cell?i do not think thou canst; for then thou wast notout three years old.prospero: certainly, sir, i can. miranda: by what? by any other house, or person? of any thing the image, tell me, thathath kept with thy remembrance?prospero: \u2019tis far off, and rather like a dream than an assurancethat my remembrance warrants. had i notfour, or five, women once, that tended me?miranda: thou hadst, and more, miranda. but how is it that this lives in thy mind? what seest thou elsein the dark backward and abysm of time?if thou rememb\u2019rest aught, ere thou cam\u2019st here,how thou cam\u2019st here thou mayst.prospero: but that i do not. miranda: twelve year since, miranda, twelve year since, thy father was the duke of milan, anda prince of power.prospero: sir, are not you my father? miranda: thy mother was a piece of virtue, and she said thou wast my daughter; and thy fatherwas duke of milan, and his only heirand princess no worse issued.prospero: o, the heavens! what foul play had we that we came from thence?or blessed was\u2019t we did?miranda: both, both, my girl. by foul play, as thou say\u2019st, were we heav\u2019d thence;but blessedly holp hither.prospero: o, my heart bleeds to think o\u2019 th\u2019 teen that i have turn\u2019d you to,which is from my remembrance.miranda: [from act 1 scene 2 ] how does shakespeare make this such a striking introduction to prospero and miranda? or \u2020 10 to what extent do you think shakespeare suggests that antonio gets what he deserves at the end of the play? [turn /g82ver 06_0486_21_2015_1.13 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either * 11read this passage, and then answer the question that follows it: cecily cardew? [ moving to her and shaking hands .] what a very sweet name! something tells me that we are going to be great friends. i like you already morethan i can say. my first impressions of people are never wrong.gwendolen: how nice of you to like me so much after we have known each other such a comparatively short time. pray sit down.cecily: [still standing up ]: i may call you cecily, may i not? gwendolen with pleasure! cecily: and you will always call me gwendolen, won\u2019t you? gwendolen: if you wish. cecily: then that is all quite settled, is it not? gwendolen: i hope so. [ a pause. they both sit down together. ] cecily: perhaps this might be a favourable opportunity for my mentioning who i am. my father is lord bracknell. you have never heard of papa, i suppose?gwendolen: i don\u2019t think so. cecily: outside the family circle, papa, i am glad to say, is entirely unknown. i think that is quite as it should be. the home seems to me to be the proper sphere for the man.gwendolen: and certainly once a man begins to neglect his domestic duties he becomes painfully effeminate, does he not? and i don\u2019t like that. it makes men so very attractive.cecily, mamma, whose views on education are remarkably strict, has brought meup to be extremely short-sighted; it is part of her system; so do you mind my lookingat you through my glasses? oh! not at all, gwendolen. i am very fond of being looked at. cecily: [after examining cecily carefully through a lorgnette ]:you are here on a short visit, i suppose.gwendolen oh no! i live here. cecily: [severely ]: really? your mother, no doubt, or some female relative of advanced years, resides here also?gwendolen oh no! i have no mother, nor, in fact, any relations. cecily: indeed? gwendolen: my dear guardian, with the assistance of miss prism, has the arduous task of looking after me.cecily: your guardian? gwendolen: yes, i am mr worthing\u2019s ward. cecily: oh! it is strange he never mentioned to me that he had a ward. how secretive of him! he grows more interesting hourly. i am not sure, however, that the news inspiresgwendolen: me with feelings of unmixed delight. [ rising and going to her. ] i am very fond of you, cecily; i have liked you ever since i met you! but i am bound to state that now 06_0486_21_2015_1.13 \u00a9 ucles 201512",
            "13": "6055504540that i know that you are mr worthing\u2019s ward, i cannot help expressing a wish you were \u2013 well, just a little older than you seem to be \u2013 and not quite so very alluringin appearance. in fact, if i may speak candidly \u2013 pray do! i think that whenever one has anything unpleasant to say, one should always be quite candid.cecily: well, to speak with perfect candour, cecily, i wish that you were fully forty-two, and more than usually plain for your age. ernest has a strong upright nature. he is thegwendolen: very soul of truth and honour. disloyalty would be as impossible to him as deception. but even men of the noblest possible moral character are extremely susceptible tothe influence of the physical charms of others. modern, no less than ancient history,supplies us with many most painful examples of what i refer to. if it were not so,indeed, history would be quite unreadable. i beg your pardon, gwendolen, did you say ernest? cecily: yes. gwendolen: oh, but it is not mr ernest worthing who is my guardian. it is his brother \u2013 his elder brother.cecily: [sitting down again ]: ernest never mentioned to me that he had a brother. gwendolen i am very sorry to say they have not been on good terms for a long time. cecily: ah! that accounts for it. and now that i think of it i have never heard any man mention his brother. the subject seems distasteful to most men. cecily, you havegwendolen: lifted a load from my mind. i was growing almost anxious. it would have been terrible if any cloud had come across a friendship like ours, would it not? of course you arequite, quite sure that it is not mr ernest worthing who is your guardian? quite sure. [ ap a u s e .] in fact, i am going to be his. cecily: [from act 2 ] how does wilde make this such an entertaining moment in the play? or \u2020 12 in what ways do you think wilde is making criticisms of society through the comedy of the play? 06_0486_21_2015_1.13 \u00a9 ucles 201513",
            "14": "blank page 06_0486_21_2015_1.13 \u00a9 ucles 201514",
            "15": "blank page 06_0486_21_2015_1.13 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_21_2015_1.13 \u00a9 ucles 201516"
        },
        "0486_s15_qp_22.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/22 literature (english) may/june 2015paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer twoquestions. you must answer onepassage-based question (marked *) and oneessay question (marked \u2020). your questions must be on twodifferent plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 13printed pages and 3blank pages. [turn /g3/g82ver06_0486_22_2015_1.1/g21/g3 \u00a9/g3ucles/g3201/g24 *5359377494*",
            "2": "06_0486_22_2015_1.12 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either * 1read this passage, and then answer the question that follows it: [ jim bayliss rounds corner of driveway, walking rapidly. content removed due to copyright restrictions",
            "3": "06_0486_22_2015_1.12 \u00a9 ucles 2015 [turn over3 george:  why, afraid you\u2019ll forget him? how does miller make this such a powerfully dramatic moment in the play?or \u2020 2 the stage directions at the beginning of act 1 describe joe keller as \u2018a man amoung men\u2019.how far does miller make you agree with this description of joe?",
            "4": "403530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either * 3read this passage, and then answer the question that follows it: [who has put ring on, admiringly ] i think it\u2019s perfect. now i really feel engaged. sheila: so you ought, darling. it\u2019s a lovely ring. be careful with it. mrs birling: careful! i\u2019ll never let it out of my sight for an instant. sheila: [smiling ] well, it came just at the right moment. that was clever of you, gerald. now, arthur, if you\u2019ve got no more to say, i think sheila and i had better go in thedrawing-room and leave you men \u2013mrs birling: [rather heavily ] i just want to say this. [ noticing that sheila is still admiring her ring. ] are you listening, sheila? this concerns you too. and after all i don\u2019t often makespeeches at you \u2013birling: i\u2019m sorry, daddy. actually i was listening. sheila: she looks attentive, as they all do. he holds them for a moment before continuing. i\u2019m delighted about this engagement and i hope it won\u2019t be too long before you\u2019re married. and i want to say this. there\u2019s a good deal of silly talk about these days \u2013birling: but\u2013 and i speak as a hard-headed business man, who has to take risks and know what he\u2019s about \u2013 i say, you can ignore all this silly pessimistic talk. when you marry,you\u2019ll be marrying at a very good time. yes, a very good time \u2013 and soon it\u2019ll be aneven better time. last month, just because the miners came out on strike, there\u2019s alot of wild talk about possible labour trouble in the near future. don\u2019t worry. we\u2019vepassed the worst of it. we employers at last are coming together to see that ourinterests \u2013 and the interests of capital \u2013 are properly protected. and we\u2019re in for atime of steadily increasing prosperity. i believe you\u2019re right, sir. gerald: what about war? eric: glad you mentioned it, eric. i\u2019m coming to that. just because the kaiser makes a speech or two, or a few german officers have too much to drink and begin talkingbirling: nonsense, you\u2019ll hear some people say that war\u2019s inevitable. and to that i say \u2013 fiddlesticks! the germans don\u2019t want war. nobody wants war, except somehalf-civilised folks in the balkans. and why? there\u2019s too much at stake these days.everything to lose and nothing to gain by war. yes, i know \u2013 but still \u2013 eric: just let me finish, eric. you\u2019ve a lot to learn yet. and i\u2019m talking as a hard-headed, practical man of business. and i say there isn\u2019t a chance of war. the world\u2019sbirling: developing so fast that it\u2019ll make war impossible. look at the progress we\u2019re making. in a year or two we\u2019ll have aeroplanes that will be able to go anywhere. and look atthe way the automobile\u2019s making headway \u2013 bigger and faster all the time. and then ships. why, a friend of mine went over this new liner last week \u2013 the titanic \u2013s h e sails next week \u2013 forty-six thousand eight hundred tons \u2013 forty-six thousand eighthundred tons \u2013 new york in five days \u2013 and every luxury \u2013 and unsinkable, absolutelyunsinkable. that\u2019s what you\u2019ve got to keep your eye on, facts like that, progress likethat \u2013 and not a few german officers talking nonsense and a few scaremongers here 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g244",
            "5": "555045making a fuss about nothing. now you three young people, just listen to this \u2013 and remember what i\u2019m telling you now. in twenty or thirty years\u2019 time \u2013 let\u2019s say, in 1940\u2013 you may be giving a little party like this \u2013 your son or daughter might be gettingengaged \u2013 and i tell you, by that time you\u2019ll be living in a world that\u2019ll have forgottenall these capital versus labour agitations and all these silly little war scares. there\u2019llbe peace and prosperity and rapid progress everywhere \u2013 except of course in russia,which will always be behindhand naturally. arthur! mrs birling: as mrs birling shows signs of interrupting. yes, my dear, i know \u2013 i\u2019m talking too much. but you youngsters just remember what i said. we can\u2019t let these bernard shaws and h.g. wellses do all the talking. webirling: hard-headed practical business men must say something sometime. and we don\u2019t guess \u2013 we\u2019ve had experience \u2013 and we know . [rising. the others rise ] yes, of course, dear. well \u2013 don\u2019t keep gerald in here too long. eric \u2013 i want you a minute.mrs birling: [from act 1 ] how does priestley strikingly portray mr birling at this moment in the play? or \u2020 4 explore the ways in which priestley makes the inspector such a memorably mysterious figure. [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g245",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either * 5read this passage, and then answer the question that follows it: i pray you tarry; pause a day or two before/g3you/g3hazard;/g3for,/g3in/g3choosing/g3wrong,i/g3lose/g3your/g3company;/g3therefore/g3forbear/g3awhile./g3there/g182s/g3something/g3tells/g3me/g3\u2013/g3but/g3it/g3is/g3not/g3love/g3\u2013i/g3would/g3not/g3lose/g3you;/g3and/g3you/g3know/g3yourself/g3hate/g3counsels/g3not/g3in/g3such/g3a/g3quality.but/g3lest/g3you/g3should/g3not/g3understand/g3me/g3well/g3\u2013and/g3yet/g3a/g3maiden/g3hath/g3no/g3tongue/g3but/g3thought/g3\u2013i/g3would/g3detain/g3you/g3here/g3some/g3month/g3or/g3two/g3before/g3you/g3venture/g3for/g3me./g3i/g3could/g3teach/g3you/g3how/g3to/g3choose/g3right,/g3but/g3then/g3i/g3am/g3forsworn;/g3so/g3will/g3i/g3never/g3be;/g3so/g3may/g3you/g3miss/g3me;but/g3if/g3you/g3do,/g3you'll/g3make/g3me/g3wish/g3a/g3sin,that/g3i/g3had/g3been/g3forsworn./g3beshrew/g3your/g3eyes!they/g3have/g3o/g182erlook/g182d/g3me/g3and/g3divided/g3me;/g3one/g3half/g3of/g3me/g3is/g3yours,/g3the/g3other/g3half/g3yours/g3\u2013mine/g3own,/g3i/g3would/g3say;/g3but/g3if/g3mine,/g3then/g3yours,/g3and/g3so/g3all/g3yours./g3o!/g3these/g3naughty/g3times/g3puts/g3bars/g3between/g3the/g3owners/g3and/g3their/g3rights;/g3and/g3so,/g3though/g3yours,/g3not/g3yours./g3prove/g3it/g3so,/g3let/g3fortune/g3go/g3to/g3hell/g3for/g3it,/g3not/g3i.i/g3speak/g3too/g3long,/g3but/g3/g182tis/g3to/g3peize/g3the/g3time,to/g3eke/g3it,/g3and/g3to/g3draw/g3it/g3out/g3in/g3length,to/g3stay/g3you/g3from/g3election.portia: let me choose; for as i am, i live upon the rack.bassanio: upon the rack, bassanio? then confess what treason there is mingled with your love.portia: none/g3but/g3that/g3ugly/g3treason/g3of/g3mistrust,/g3 which/g3makes/g3me/g3fear/g3th\u2019/g3enjoying/g3of/g3my/g3love;/g3there/g3may/g3as/g3well/g3be/g3amity/g3and/g3life/g182tween/g3snow/g3and/g3fire/g3as/g3treason/g3and/g3my/g3love.bassanio: ay, but i fear you speak upon the rack, where men enforced do speak anything.portia: bassanio: /g3promise/g3me/g3life,/g3and/g3i/g182ll/g3confess/g3the/g3truth. well then, confess and live. portia: /g181confess/g182/g3and/g3/g181love/g182/g3 had/g3been/g3the/g3very/g3sum/g3of/g3my/g3confession.o/g3happy/g3torment,/g3when/g3my/g3torturerdoth/g3teach/g3me/g3answers/g3for/g3deliverance!but/g3let/g3me/g3to/g3my/g3fortune/g3and/g3the/g3caskets.bassanio: 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g246",
            "7": "60555045away,/g3then;/g3i/g3am/g3lock/g182d/g3in/g3one/g3of/g3them. if/g3you/g3do/g3love/g3me,/g3you/g3will/g3find/g3me/g3out.nerissa/g3and/g3the/g3rest,/g3stand/g3all/g3aloof;let/g3music/g3sound/g3while/g3he/g3doth/g3make/g3his/g3choice;/g3then,/g3if/g3he/g3lose,/g3he/g3makes/g3a/g3swan-like/g3end,/g3fading/g3in/g3music./g3that/g3the/g3comparisonmay/g3stand/g3more/g3proper,/g3my/g3eye/g3shall/g3be/g3the/g3stream/g3and/g3wat/g182ry/g3death-bed/g3for/g3him./g3he/g3may/g3win;and/g3what/g3is/g3music/g3then?/g3then/g3music/g3iseven/g3as/g3the/g3flourish/g3when/g3true/g3subjects/g3bowto/g3a/g3new-crowned/g3monarch;/g3such/g3it/g3isas/g3are/g3those/g3dulcet/g3sounds/g3in/g3break/g3of/g3daythat/g3creep/g3into/g3the/g3dreaming/g3bridegroom/g182s/g3ear,/g3and/g3summon/g3him/g3to/g3marriage./g3now/g3he/g3goes,/g3with/g3no/g3less/g3presence,/g3but/g3with/g3much/g3more/g3love,/g3than/g3young/g3alcides,/g3when/g3he/g3did/g3redeemthe/g3virgin/g3tribute/g3paid/g3by/g3howling/g3troyto/g3the/g3sea-monster./g3i/g3stand/g3for/g3sacrifice;the/g3rest/g3aloof/g3are/g3the/g3dardanian/g3wives,with/g3bleared/g3visages/g3come/g3forth/g3to/g3viewthe/g3issue/g3of/g3th\u2019/g3exploit./g3go,/g3hercules!live/g3thou,/g3i/g3live./g3with/g3much/g3much/g3more/g3dismayi/g3view/g3the/g3fight/g3than/g3thou/g3that/g3mak\u2019st/g3the/g3fray.portia: [from act 3 scene 2 ] how does shakespeare make this such a memorably dramatic moment in the play? or \u2020 6 how far does shakespeare persuade you that shylock deserves his punishment? [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g247",
            "8": "403530252015105william /g3shakespeare: /g3a/g3midsummer /g3night /g182s/g3dream /g3 remember /g3to/g3support /g3your /g3ideas /g3with /g3details /g3from /g3the/g3text. either * 7read this passage, and then answer the question that follows it: this falls out better than i could devise. but hast thou yet latch\u2019d the athenian\u2019s eyeswith the love-juice, as i did bid thee do?oberon: i took him sleeping \u2013 that is finish\u2019d too \u2013 and the athenian woman by his side;that, when he wak\u2019d, of force she must be ey\u2019d.puck: enter demetrius and hermia. stand close; this is the same athenian. oberon: this is the woman, but not this the man. puck: o, why rebuke you him that loves you so? lay breath so bitter on your bitter foe.demetrius: 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\u2019er shoes in blood, plunge in the deep,and kill me too.the sun was not so true unto the dayas he to me. would he have stolen awayfrom sleeping hermia? i\u2019ll believe as soonthis whole earth may be bor\u2019d and that the moonmay through the centre creep and so displeaseher brother\u2019s noontide with th\u2019 antipodes.it cannot be but thou hast murd\u2019red him;so should a murderer look \u2013 so dead, so grim.hermia: so should the murdered look; and so should i, pierc\u2019d through the heart with your stern cruelty;yet you, the murderer, look as bright, as clear,as yonder venus in her glimmering sphere.demetrius: what\u2019s this to my lysander? where is he? ah, good demetrius, wilt thou give him me?hermia: i had rather give his carcass to my hounds. demetrius: out, dog! out, cur! thou driv\u2019st me past the bounds of maiden\u2019s patience. hast thou slain him, then?henceforth be never numb\u2019red among men!o, once tell true; tell true, even for my sake!durst thou have look\u2019d upon him being awake,and hast thou kill\u2019d him sleeping? o brave touch!could not a worm, an adder, do so much?an adder did it; for with doubler tonguethan thine, thou serpent, never adder stung.hermia: 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g248",
            "9": "555045you spend your passion on a mispris\u2019d mood: i am not guilty of lysander\u2019s blood;nor is he dead, for aught that i can tell.demetrius: i pray thee, tell me then that he is well. hermia: and if i could, what should i get therefore? demetrius: a privilege never to see me more. and from thy hated presence part i so;see me no more whether he be dead or no.hermia: /g62exit. there is no following her in this fierce vein; here, therefore, for a while i will remain.so sorrow\u2019s heaviness doth heavier growfor debt that bankrupt sleep doth sorrow owe;which now in some slight measure it will pay,if for his tender here i make some stay.demetrius: /g62lies /g3down. what hast thou done? oberon: [from act 3 scene 2 ] how/g3does/g3shakespeare/g182s/g3writing/g3make/g3this/g3moment/g3in/g3the/g3play/g3so/g3dramatic? or/g3\u2020/g38 explore/g3the/g3ways/g3in/g3which/g3shakespeare/g3makes/g3 two /g3moments/g3in/g3the/g3play/g3 a/g3midsummer /g3night /g182s/g3dream /g3 disturbing/g3for/g3you. [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g249",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either * 9read this passage, and then answer the question that follows it: here prospero discovers ferdinand and miranda playing at chess. sweet lord, you play me false. miranda: no, my dearest love, i would not for the world.ferdinand: yes, for a score of kingdoms you should wrangle, and i would call it fair play.miranda: if this prove a vision of the island, one dear sonshall i twice lose.alonso: a most high miracle! sebastian: though the seas threaten, they are merciful; i have curs\u2019d them without cause. [kneels]ferdinand: now all the blessings of a glad father compass thee about!arise, and say how thou cam\u2019st here.alonso: o, wonder! how many goodly creatures are there here!how beauteous mankind is! o brave new worldthat has such people in\u2019t!miranda: \u2019tis new to thee. prospero: what is this maid with whom thou wast at play? your eld\u2019st acquaintance cannot be three hours;is she the goddess that hath sever\u2019d us,and brought us thus together?alonso: sir, she is mortal; but by immortal providence she\u2019s mine.i chose her when i could not ask my fatherfor his advice, nor thought i had one. sheis daughter to this famous duke of milan,of whom so often i have heard renownbut never saw before; of whom i havereceiv\u2019d a second life; and second fatherthis lady makes him to me.ferdinand: i am hers. but, o, how oddly will it sound that imust ask my child forgiveness!alonso: there, sir, stop; let us not burden our remembrances witha heaviness that\u2019s gone.prospero: 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2410 [kneels ]",
            "11": "656055504540 i have inly wept, or should have spoke ere this. look down, you gods,and on this couple drop a blessed crown;for it is you that have chalk\u2019d forth the waywhich brought us hither.gonzalo: i say, amen, gonzalo! alonso: was milan thrust from milan, that his issue should become kings of naples? o, rejoicebeyond a common joy, and set it downwith gold on lasting pillars: in one voyagedid claribel her husband find at tunis;and ferdinand, her brother, found a wifewhere he himself was lost; prospero his dukedomin a poor isle; and all of us ourselveswhen no man was his own.gonzalo: /g62to/g3f/g40/g53/g39/g44/g49/g36/g49/g39/g3 and/g3m/g44/g53/g36/g49/g39/g36 /g64/g3give /g3me /g3your /g3hands. /g3 let /g3grief /g3and /g3sorrow /g3still /g3embrace /g3his /g3heart /g3 that /g3doth /g3not /g3wish /g3you /g3joy.alonso: be it so. amen! gonzalo: re-enter ariel, with the master and boatswain amazedly following. o look, sir; look, sir! here is more of us! i prophesied, if a gallows were on land,this fellow could not drown. now, blasphemy,that swear\u2019st grace o\u2019erboard, not an oath on shore?hast thou no mouth by land? what is the news? the best news is that we have safely found our king and company; the next, our ship \u2013which but three glasses since we gave out split \u2013is tight and yare, and bravely rigg\u2019d, as whenwe first put out to sea.boatswain: [from act 5 scene 1 ] how does shakespeare make this such a moving and dramatic moment in the play? or \u2020 10 how does shakespeare make magic so memorable and significant in the play? [turn /g3/g82ver 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2411",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either * 11read this passage, and then answer the question that follows it: algernon :/g3[raising /g3his/g3hat]/g3you /g3are /g3my /g3little /g3cousin /g3cecily, /g3i\u2019m /g3sure /g17 you are under some strange mistake. i am not little. in fact, i believe i am more than usually tall for my age. [ algernon is rather taken aback .] but i am your cousincecily: cecily. you, i see from your card, are uncle jack\u2019s brother, my cousin ernest, my wicked cousin ernest. oh! i am not really wicked at all, cousin cecily. you mustn\u2019t think that i am wicked. algernon : if you are not, then you have certainly been deceiving us all in a very inexcusable manner. i hope you have not been leading a double life, pretending to be wicked andbeing really good all the time. that would be hypocrisy.cecily: [looks at her in amazement ] oh! of course i have been rather reckless. algernon : i am glad to hear it. cecily: in fact, now you mention the subject, i have been very bad in my own small way. algernon : i don\u2019t think you should be so proud of that, though i am sure it must have been very pleasant.cecily: it is much pleasanter being here with you. algernon : i can\u2019t understand how you are here at all. uncle jack won\u2019t be back till monday afternoon.cecily: that is a great disappointment. i am obliged to go up by the first train on monday morning. i have a business appointment that i am anxious\u2026.to miss!algernon : couldn\u2019t you miss it anywhere but in london? cecily: no: the appointment is in london. algernon : well, i know, of course, how important it is not to keep a business engagement, if one wants to retain any sense of the beauty of life, but i still think you had better wait tilluncle jack arrives. i know he wants to speak to you about your emigrating.cecily: about my what? algernon: your emigrating. he has gone up to buy your outfit. cecily: i certainly wouldn\u2019t let jack buy my outfit. he has no taste in neckties at all. algernon : i don\u2019t think you will require neckties. uncle jack is sending you to australia. cecily: australia! i\u2019d sooner die. algernon : well, he said at dinner on wednesday night, that you would have to choose between this world, the next world, and australia.cecily: oh, well! the accounts i have received of australia and the next world are not particularly encouraging. this world is good enough for me, cousin cecily.algernon : yes, but are you good enough for it? cecily: i\u2019m afraid i\u2019m not that. that is why i want you to reform me. you might make that your mission, if you don\u2019t mind, cousin cecily.algernon : 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2412",
            "13": "55504540i\u2019m afraid i\u2019ve no time, this afternoon. cecily: well, would you mind my reforming myself this afternoon? algernon : it is rather quixotic of you. but i think you should try. cecily: i will. i feel better already. algernon : you are looking a little worse. cecily: that is because i am hungry. algernon : how thoughtless of me. i should have remembered that when one is going to lead an entirely new life, one requires regular and wholesome meals. won\u2019t you come in?cecily: thank you. might i have a buttonhole first? i have never any appetite unless i have a buttonhole first.algernon : a mar\u00e9chal niel? [ picks up scissors. ] cecily: no, i\u2019d sooner have a pink rose. algernon : why? [ cuts a flower. ] cecily: because you are like a pink rose, cousin cecily. algernon : i don\u2019t think it can be right for you to talk to me like that. miss prism never says such things to me.cecily: then miss prism is a short-sighted old lady. [ cecily puts the rose in his buttonhole .] you are the prettiest girl i ever saw.algernon : miss prism says that all good looks are a snare. cecily: they are a snare that every sensible man would like to be caught in. algernon : oh, i don\u2019t think i would care to catch a sensible man. i shouldn\u2019t know what to talk to him about.cecily: [from act 2 ] how does wilde make this first meeting between algernon and cecily so entertaining? or /g3\u2020/g312 \u2018a/g3girl /g3with /g3a/g3simple, /g3unspoilt /g3nature /g17\u2019 how /g3does /g3wilde /g3vividly /g3convey /g3to/g3you /g3that /g3this /g3is/g3not/g3an /g3accurate /g3view /g3of/g3gwendolen? 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2413",
            "14": "blank page 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2414",
            "15": "blank page 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2415",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_22_2015_1.1/g21 \u00a9/g3ucles/g3201/g2416"
        },
        "0486_s15_qp_23.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/23 literature (english) may/june 2015paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer  booklet  is provided  inside  this question  paper.  you should  follow  the instructions  on the front cover   of the answer  booklet.  if you need  additional  answer  paper  ask the invigilator  for a continuation  booklet. answer twoquestions. you must answer onepassage-based question (marked *) and oneessay question (marked \u2020). your questions must be on twodifferent plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 13printed pages and 3blank pages. [turn over06_0486_23_2015_1.13   \u00a9 ucles  2015 *8919178229*",
            "2": "06_0486_23_2015_1.13 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either * 1read this passage, and then answer the question that follows it:keller:  what\u2019s she going to say? maybe we ought to tell her before she sees it. content removed due to copyright restrictions",
            "3": "06_0486_23_2015_1.13 \u00a9 ucles 2015 [turn over3 chris:   sometimes you infuriate me, you know that? isn\u2019t it your business, too, if i tell this to  mother and she throws a fit about it? you have such a talent for ignoring things. how does miller vividly reveal the tensions in the keller family at this moment in the play.or \u2020 2 to what extent does miller make keller\u2019s suicide shocking for you?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either * 3read this passage, and then answer the question that follows it: [coolly ] at the end of january, last year, this girl eva smith had to leave milwards, because miss birling compelled them to discharge her, and then she stopped beinginspector: eva smith, looking for a job, and became daisy renton, with other ideas. [ sharply turning on him. ] mr croft, when did you first get to know her? an exclamation  of surprise  from birling and mrs birling .  where  did you get the idea that i did know  her? gerald: it\u2019s no use, gerald. you\u2019re wasting time. sheila: as soon as i mentioned the name daisy renton, it was obvious you\u2019d known her. you gave yourself away at once.inspector: [bitterly ] of course he did. sheila: and anyhow i knew already. when and where did you first meet her? inspector: all right, if you must have it. i met her first, sometime in march last year, in the stalls bar at the palace. i mean the palace music hall here in brumley \u2013gerald: well, we didn\u2019t think you meant buckingham palace. sheila: [to sheila ] thanks. you\u2019re going to be a great help, i can see. you\u2019ve said your piece, and you\u2019re obviously going to hate this, so why on earth don\u2019t you leave usto it?gerald: nothing would induce me. i want to understand exactly what happens when a man says he\u2019s so busy at the works that he can hardly ever find time to come and seethe girl he\u2019s supposed to be in love with. i wouldn\u2019t miss it for worlds \u2013sheila: [with authority ] yes, mr croft \u2013 in the stalls bar at the palace variety theatre \u2026 inspector: i happened to look in, one night, after a rather long dull day, and as the show wasn\u2019t very bright, i went down into the bar for a drink. it\u2019s a favourite haunt of women ofthe town \u2013gerald: women of the town? mrs birling: yes, yes. but i see no point in mentioning the subject \u2013 especially \u2013 [ indicating sheila .]birling: it would be much better if sheila didn\u2019t listen to this story at all. mrs birling: but you\u2019re forgetting i\u2019m supposed to be engaged to the hero of it. go on, gerald. you went down into the bar, which is a favourite haunt of women of the town.sheila: i\u2019m glad i amuse you \u2013 gerald: [sharply ] come along, mr croft. what happened? inspector: i didn\u2019t propose to stay long down there. i hate those hard-eyed dough-faced women. but then i noticed a girl who looked quite different. she was very pretty \u2013 soft brown hair and big dark eyes \u2013 [ breaks off ]. my god!gerald: what\u2019s the matter? inspector: 06_0486_23_2015_1.13 \u00a9 ucles 20154",
            "5": "55504540[distressed ] sorry \u2013 i \u2013 well, i\u2019ve suddenly realized \u2013 taken it in properly \u2013 that she\u2019s dead \u2013gerald: [harshly ] yes, she\u2019s dead. inspector: and probably between us we killed her. sheila: [sharply ] sheila, don\u2019t talk nonsense. mrs birling: you wait, mother. sheila: [to gerald ]g oo n . inspector: she looked young and fresh and charming and altogether out of place down there. and obviously she wasn\u2019t enjoying herself. old joe meggarty, half-drunk andgoggle-eyed, had wedged her into a corner with that obscene fat carcase of his \u2013gerald: [cutting in ] there\u2019s no need to be disgusting. and surely you don\u2019t mean alderman meggarty?mrs birling: of course i do. he\u2019s a notorious womanizer as well as being one of the worst sots and rogues in brumley \u2013gerald: quite right. inspector: [staggered ] well, really! alderman meggarty! i must say, we arelearning something tonight.mrs birling: [coolly ] of course we are. but everybody knows about that horrible old meggarty. a girl i know had to see him at the town hall one afternoon and she only escaped witha torn blouse \u2013sheila: [sharply, shocked ] sheila! birling: [from act 2 ] how does priestley make this such a tense and dramatic moment in the play? o r\u20204 how far does priestley convince you that, by the end of the play, mr and mrs birling have learnt anything? [turn over 06_0486_23_2015_1.13 \u00a9 ucles 20155",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either * 5read this passage, and then answer the question that follows it: [to nerissa ] by yonder moon i swear you do me wrong; in faith, i gave it to the judge\u2019s clerk.would he were gelt that had it, for my part,since you do take it, love, so much at heart.gratiano: a quarrel, ho, already! what\u2019s the matter? portia: about a hoop of gold, a paltry ring that she did give me, whose posy wasfor all the world like cutler\u2019s poetryupon a knife, \u2018love me, and leave me not\u2019.gratiano: what talk you of the posy or the value? you swore to me, when i did give it you,that you would wear it till your hour of death,and that it should lie with you in your grave;though not for me, yet for your vehement oaths,you should have been respective and have kept it.gave it a judge\u2019s clerk! no, god\u2019s my judge,the clerk will ne\u2019er wear hair on\u2019s face that had it.nerissa: he will, an if he live to be a man. gratiano: ay, if a woman live to be a man. nerissa: now by this hand i gave it to a youth, a kind of boy, a little scrubbed boyno higher than thyself, the judge\u2019s clerk;a prating boy that begg\u2019d it as a fee;i could not for my heart deny it him.gratiano: you were  to blame,  i must  be plain  with you,  to part so slightly  with your wife\u2019s  first gift, a thing  stuck  on with oaths  upon  your finger   and so riveted  with faith unto your flesh. i  gave  my love a ring, and made  him swear   never  to part with it, and here he stands; i dare be sworn  for him he would  not leave  it  nor pluck  it from his finger  for the wealth   that the world  masters.  now,  in faith gratiano,   you give your wife too unkind  a cause  of grief;   an \u2019twere  to me, i should  be mad at it.portia: [aside ] why, i were best to cut my left hand off, and swear i lost the ring defending it.bassanio: 06_0486_23_2015_1.13 \u00a9 ucles 20156",
            "7": "70656055504540my lord bassanio gave his ring away unto the judge that begg\u2019d it, and indeeddeserv\u2019d it too; and then the boy, his clerk,that took some pains in writing, he begg\u2019d mine;and neither man nor master would take aughtbut the two rings.gratiano: what ring gave you, my lord? not that, i hope, which you receiv\u2019d of me.portia: if i could add a lie unto a fault, i would deny it; but you see my fingerhath not the ring upon it; it is gone.bassanio: even so void is your false heart of truth; by heaven, i will ne\u2019er come in your beduntil i see the ring.portia: nor i in yours till i again see mine.nerissa: sweet portia, if you did know to whom i gave the ring,if you did know for whom i gave the ring,and would conceive for what i gave the ring,and how unwillingly i left the ring.when nought would be accepted but the ring,you would abate the strength of your displeasure.bassanio: if you had known the virtue of the ring, or half her worthiness that gave the ring,or your own honour to contain the ring,you would not then have parted with the ring,what man is there so much unreasonable,if you had pleas\u2019d to have defended itwith any terms of zeal, wanted the modestyto urge the thing held as a ceremony?nerissa teaches me what to believe:i\u2019ll die for\u2019t but some woman had the ring.portia: [from act 5 scene1 ] how does shakespeare make this such an entertaining and satisfying moment in the play? or \u2020 6 \u2018a kinder  gentleman  treads  not the earth. \u2019 to what  extent  does  shakespeare \u2019s portrayal  of antonio  persuade  you that this opinion  of him is true? [turn over 06_0486_23_2015_1.13 \u00a9 ucles 20157",
            "8": "403530252015105william shakespeare: a midsummer  night \u2019s dream   remember to support your ideas with details from the text . either * 7read this passage, and then answer the question that follows it: dark night, that from the eye his function takes, the ear more quick of apprehension makes;wherein it doth impair the seeing sense,it pays the hearing double recompense.thou art not by mine eye, lysander, found;mine ear, i thank it, brought me to thy sound.but why unkindly didst thou leave me so?hermia: why should he stay whom love doth press to go? lysander: what love could press lysander from my side? hermia: lysander\u2019s love, that would not let him bide \u2013 fair helena, who more engilds the nightthan all yon fiery oes and eyes of light.why seek\u2019st thou me? could not this make thee knowthe hate i bare thee made me leave thee so?lysander: you speak not as you think; it cannot be. hermia: lo, she is one of this confederacy! now i perceive they have conjoin\u2019d all threeto fashion this false sport in spite of me.injurious hermia! most ungrateful maid!have you conspir\u2019d, have you with these contriv\u2019d,to bait me with this foul derision?is all the counsel that we two have shar\u2019d,the sisters\u2019 vows, the hours that we have spent,when we have chid the hasty-footed timefor parting us \u2013 o, is all forgot?all school-days\u2019 friendship, childhood innocence?we, hermia, like two artificial gods,have with our needles created both one flower,both on one sampler, sitting on one cushion,both warbling of one song, both in one key;as if our hands, our sides, voices, and minds,had been incorporate. so we grew together.like to a double cherry, seeming parted,but yet an union in partition,two lovely berries moulded on one stem;so, with two seeming bodies, but one heart;two of the first, like coats in heraldry,due but to one, and crowned with one crest.and will you rent our ancient love asunder,to join with men in scorning your poor friend?it is not friendly,\u2019tis not maidenly;our sex, as well as i, may chide you for it,though i alone do feel the injury.helena: 06_0486_23_2015_1.13 \u00a9 ucles 20158",
            "9": "706560555045i am amazed at your passionate words; i scorn you not; it seems that you scorn me.hermia: have you not set lysander, as in scorn, to follow me and praise my eyes and face?and made your other love, demetrius,who even but now did spurn me with his foot,to call me goddess, nymph, divine, and rare,precious, celestial? wherefore speaks he thisto her he hates? and wherefore doth lysanderdeny your love, so rich within his soul,and tender me, forsooth, affection,but by your setting on, by your consent?what though i be not so in grace as you,so hung upon with love, so fortunate,but miserable most, to love unlov\u2019d?this you should pity rather than despise.helena: i understand not what you mean by this. hermia: ay, do \u2013 persever, counterfeit sad looks, make mouths upon me when i turn my back,wink each at other; hold the sweet jest up;this sport, well carried, shall be chronicled.if you have any pity, grace, or manners,you would not make me such an argument.but fare ye well; \u2019tis partly my own fault,which death, or absence, soon shall remedy.helena: stay, gentle helena; hear my excuse; my love, my life, my soul, fair helena!lysander: o excellent! helena: [from act 3 scene 2 ] in what ways does shakespeare make this such an emotional and dramatic moment in the play? o r\u20208 to what extent do you think that shakespeare suggests that \u2018love is blind\u2019 in the play? [turn over 06_0486_23_2015_1.13 \u00a9 ucles 20159",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either * 9read this passage, and then answer the question that follows it: prospero and ariel remain, invisible. enter caliban, stephano, and trinculo, all wet. pray you, tread softly, that the blind mole may not hear a foot fall; we now are near his cell.caliban: monster, your fairy, which you say is a harmless fairy, has done little better than play\u2019d the jack with us.stephano: monster, i do smell all horse-piss at which my nose is in great indignation. trinculo : so is mine. do you hear, monster? if i should take a displeasure against you, look you \u2013stephano: thou wert but a lost monster. trinculo: good my lord, give me thy favour still. be patient, for the prize i\u2019ll bring thee toshall hoodwink this mischance; therefore speak softly.all\u2019s hush\u2019d as midnight yet.caliban: ay, but to lose our bottles in the pool! trinculo : there is not only disgrace and dishonour in that, monster, but an infinite loss. stephano: that\u2019s more to me than my wetting; yet this is your harmless fairy, monster. trinculo: stephano:  i will fetch  off my bottle,  though  i be o\u2019er ears for my labour. prithee, my king, be quiet. seest thou here, this is the mouth o\u2019 th\u2019 cell; no noise, and enter.do that good mischief which may make this island,thine own for ever, and i, thy caliban,for aye thy foot-licker.caliban: give me thy hand. i do begin to have bloody thoughts. stephano: o king stephano! o peer! o worthy stephano! look what a wardrobe here is for thee! trinculo: let it alone, thou fool; it is but trash. caliban: o, ho, monster; we know what belongs to a frippery. o king stephano! trinculo : put off that gown, trinculo; by this hand, i\u2019ll have that gown. stephano: thy grace shall have it. trinculo : the dropsy drown this fool! what do you mean to dote thus on such luggage? let\u2019t alone,and do the murder first. if he awakefrom toe to crown he\u2019ll fill our skins with pinches;make us strange stuff.caliban: be you quiet, monster. mistress line, is not this my jerkin? now is the jerkin under the line; now, jerkin, you are like to lose your hair, and prove a bald jerkin.stephano: do, do. we steal by line and level, an\u2019t like your grace. trinculo: 06_0486_23_2015_1.13 \u00a9 ucles 201510",
            "11": "6055504540i thank thee for that jest; here\u2019s a garment for\u2019t. wit shall not go unrewarded while i am king of this country. \u2018steal by line and level\u2019 is an excellent pass of pate; there\u2019sanother garment for\u2019t.stephano: monster, come, put some lime upon your fingers, and away with the rest. trinculo : i will have none on\u2019t. we shall lose our time, and all be turn\u2019d to barnacles, or to apeswith foreheads villainous low.caliban: monster, lay-to your fingers; help to bear this away where my hogshead of wine is, or i\u2019ll turn you out of my kingdom. go to, carry this.stephano: and this. trinculo : ay, and this. stephano: a noise of hunters heard. enter divers spirits, in shape of dogs and hounds, hunting them about; prospero and ariel setting them on. hey, mountain, hey! prospero: silver! there it goes, silver! ariel: fury, fury! there, tyrant, there! hark, hark! [caliban, stephano, and trinculo are driven out ] go charge my goblins that they grind their jointswith dry convulsions, shorten up their sinewswith aged cramps, and more pinch-spotted make themthan pard or cat o\u2019 mountain.prospero: hark, they roar. ariel: let them be hunted soundly. at this hour lies at my mercy all mine enemies.shortly shall all my labours end, and thoushalt have the air at freedom; for a littlefollow, and do me service.prospero: [from act 4 scene 1 ] how does shakespeare make this moment in the play so entertaining and yet serious at the same time? o r\u20201 0 explore the ways in which shakespeare memorably portrays the relationship between prospero and ariel. [turn over 06_0486_23_2015_1.13 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either * 11read this passage, and then answer the question that follows it: charming day it has been, miss fairfax. jack: pray don\u2019t talk to me about the weather, mr worthing. whenever people talk to me about the weather, i always feel quite certain that they mean something else. andthat makes me so nervous.gwendolen: i do mean something else. jack: i thought so. in fact, i am never wrong. gwendolen: and i would like to be allowed to take advantage of lady bracknell\u2019s temporary absence. . . .jack: i would certainly advise you to do so. mamma has a way of coming back suddenly into a room that i have often had to speak to her about.gwendolen: [nervously ] miss fairfax, ever since i met you i have admired you more than any g i r l...i have ever met sinc e...im e t you.jack: yes, i am quite well aware of the fact. and i often wish that in public, at any rate, you had been more demonstrative. for me you have always had an irresistiblegwendolen: fascination. even before i met you i was far from indifferent to you. [jack looks at her in amazement .] we live, as i hope you know, mr worthing, in an age of ideals. the fact is constantly mentioned in the more expensive monthly magazines, andhas reached the provincial pulpits, i am told; and my ideal has always been to lovesomeone of the name of ernest. there is something in that name that inspiresabsolute confidence. the moment algernon first mentioned to me that he had afriend called ernest, i knew i was destined to love you. you really love me, gwendolen? jack: passionately! gwendolen: darling! you don\u2019t know how happy you\u2019ve made me. jack: my own ernest! gwendolen: but you don\u2019t really mean to say that you couldn\u2019t love me if my name wasn\u2019t ernest? jack: but your name is ernest. gwendolen: yes, i know it is. but supposing it was something else? do you mean to say you couldn\u2019t love me then?jack: [glibly ] ah! that is clearly a metaphysical speculation, and like most metaphysical speculations has very little reference at all to the actual facts of real life, as we knowthem.gwendolen: personally, darling, to speak quite candidly, i don\u2019t much care about the name of e r n e s t i don\u2019t think the name suits me at all.jack: it suits you perfectly. it is a divine name. it has music of its own. it produces vibrations.gwendolen: well, really, gwendolen, i must say that i think there are lots of other much nicer names. i think jack, for instance, a charming name.jack: 06_0486_23_2015_1.13 \u00a9 ucles 201512",
            "13": "656055504540jack? . . . no, there is very little music in the name jack, if any at all, indeed. it does not thrill. it produces absolutely no vibrations. ...i have known several jacks, andgwendolen: they all, without exception, were more than usually plain. besides, jack is a notorious domesticity for john! and i pity any woman who is married to a man called john.she would probably never be allowed to know the entrancing pleasure of a singlemoment\u2019s solitude. the only really safe name is ernest. gwendolen, i must get christened at once \u2013 i mean we must get married at once. there is no time to be lost.jack: married, mr worthing? gwendolen: [astounded ]w e l l...s u r e l y .y o uk n o wt h a til o v ey o u ,a n dy o ul e dm et o believe, miss fairfax, that you were not absolutely indifferent to me.jack: i adore you. but you haven\u2019t proposed to me yet. nothing has been said at all about marriage. the subject has not even been touched on.gwendolen: w e l l...m a yip r opose to you now? jack: i think it would be an admirable opportunity. and to spare you any possible disappointment, mr worthing, i think it only fair to tell you quite frankly beforehandthat i am fully determined to accept you.gwendolen: gwendolen! jack: yes, mr worthing, what have you got to say to me? gwendolen: you know what i have got to say to you. jack: yes, but you don\u2019t say it. gwendolen: gwendolen, will you marry me? [ goes on his knees. ] jack: of course i will, darling. how long you have been about it! i am afraid you have had very little experience in how to propose.gwendolen: my own one, i have never loved anyone in the world but you. jack: yes, but men often propose for practice. i know my brother gerald does. all my girl-friends tell me so. what wonderfully blue eyes you have, ernest! they are quite,gwendolen: quite blue. i hope you will always look at me just like that, especially when there are other people present. [from act 1 ] how does wilde amusingly make it clear to you at this moment in the play that gwendolen is the more powerful partner in her relationship with jack? o r\u20201 2 jack describes lady bracknell as \u2018a monster\u2019. how far does wilde convince you that this is a fair description of her? 06_0486_23_2015_1.13 \u00a9 ucles 201513",
            "14": "blank page 06_0486_23_2015_1.13 \u00a9 ucles 201514",
            "15": "blank page 06_0486_23_2015_1.13 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_23_2015_1.13 \u00a9 ucles 201516"
        },
        "0486_s15_qp_31.pdf": {
            "1": "th/g72 syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.  this document consists of 13 printed pages, 3 blank pages and 1 insert.  06_0486_31_2015_1. 2   \u00a9 ucles 2015 [turn over *7010296440*cambridge international examinations  cambridge international general certificate of secondary education  literature (english) 0486/31    paper 3 drama (open text) may/june 2015 45 minutes  texts studied should be taken into the examination.  read these instructions first  an answer booklet is provided inside this question paper. you should follow the instructions on the front  cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet.  answer one question.  all questions in this paper carry equal marks. ",
            "2": "06_0486_31_2015_1.2 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either 1read this passage, and then answer the question that follows it:sue: is my husband \u2013 ? content removed due to copyright restrictions",
            "3": "06_0486_31_2015_1.2 \u00a9 ucles 2015 [turn over3  he meets a man and makes a statue out of him. explore the ways in which miller makes this such a dramatic and revealing moment in the play.or 2 how does miller make kate\u2019s self-deception such a memorable feature of the play?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read  this passage,  and then  answer  the question  that follows  it: how could i know what would happen afterwards? if she\u2019d been some miserable plain little creature, i don\u2019t suppose i\u2019d have done it. but she was very pretty and looked asif she could take care of herself. i couldn\u2019t be sorry for her.sheila: in fact, in a kind of way, you might be said to have been jealous of her. inspector: yes, i suppose so. sheila: and so you used the power you had, as a daughter of a good customer and also of a man well-known in the town, to punish the girl just because she made you feel likethat?inspector: yes, but it didn\u2019t seem to be anything very terrible at the time. don\u2019t you understand? and if i could help her now, i would \u2013sheila: [harshly ] yes, but you can\u2019t. it\u2019s too late. she\u2019s dead. inspector: my god, it\u2019s a bit thick, when you come to think of it \u2013 eric: [stormily ] oh shut up, eric. i know, i know. it\u2019s the only time i\u2019ve ever done anything like that, and i\u2019ll never, never do it again to anybody. i\u2019ve noticed them giving me asheila: sort of look sometimes at milwards \u2013 i noticed it even this afternoon \u2013 and i suppose some of them remember. i feel now i can never go there again. oh \u2013 why had this tohappen? [sternly ] that\u2019s what i asked myself tonight when i was looking at that dead girl. and then i said to myself: \u2018well, we\u2019ll try to understand why it had to happen?\u2019 and that\u2019sinspector: why i\u2019m here, and why i\u2019m not going until i know allthat happened. eva smith lost her job with birling and company because the strike failed and they were determined notto have another one. at last she found another job \u2013 under what name i don\u2019t know\u2013 in a big shop, and had to leave there because you were annoyed with yourself andpassed the annoyance on to her. now she had to try something else. so first shechanged her name to daisy renton \u2013 [startled ] what? gerald: [steadily ] i said she changed her name to daisy renton. inspector: [pulling himself together ] d\u2019you mind if i give myself a drink, sheila? gerald: sheila merely nods, still staring at him, and he goes across to the tantalus on the sideboard for a whisky. where is your father, miss birling? inspector: he went into the drawing-room, to tell my mother what was happening here. eric, take the inspector along to the drawing-room.sheila: as eric moves, the inspector looks from sheila to gerald, then goes out with eric. well, gerald? [trying to smile ] well what, sheila? gerald: how did you come to know this girl \u2013 eva smith? sheila: 06_0486_ 31_2015_1. 2 \u00a9 ucles 20154",
            "5": "656055504540i didn\u2019t. gerald: daisy renton then \u2013 it\u2019s the same thing. sheila: why should i have known her? gerald: oh don\u2019t be stupid. we haven\u2019t much time. you gave yourself away as soon as he mentioned her other name.sheila: all right, i knew her. let\u2019s leave it at that. gerald: we can\u2019t leave it at that. sheila: [approaching he r] now listen, darling \u2013 gerald: no, that\u2019s no use. you not only knew her but you knew her very well. otherwise, you wouldn\u2019t look so guilty about it. when did you first get to know her?sheila: he does not reply. was it after she left milwards? when she changed her name, as he said, and began to lead a different sort of life? were you seeing her last spring and summer, duringthat time when you hardly came near me and said you were so busy? were you? he does not reply but looks at her. yes, of course you were.i\u2019m sorry, sheila. but it was all over and done with, last summer. i hadn\u2019t set eyes on the girl for at least six months. i don\u2019t come into this suicide business.gerald: i thought i didn\u2019t, half an hour ago. sheila: you don\u2019t. neither of us does. so \u2013 for god\u2019s sake \u2013 don\u2019t say anything to the inspector. gerald: about you and this girl? sheila: yes. we can keep it from him. gerald: [laughs rather hysterically ] why \u2013 you fool \u2013 he know s.of course he knows. and i hate to think how much he knows that we don\u2019t know yet. you\u2019ll see, you\u2019ll see.sheila: she looks at him almost in triumph. he looks crushed. the door slowly opens and the inspector appears, looking steadily and searchingly at them. well? inspector: end of act one [from act 1 ] how does priestley make this such a powerful ending to act 1? or 4 mrs birling  says  that eric  is \u2018only  a boy\u2019. to what  extent  does  priestley  make  you agree  with  her? [turn  /g82ver06_0486_ 31_2015_1. 2 \u00a9 ucles 20155",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read this passage, and then answer the question that follows it: make room, and let him stand before our face. shylock, the world thinks, and i think so too,that thou but leadest this fashion of thy maliceto the last hour of act; and then, \u2019tis thought,thou\u2019lt show thy mercy and remorse, more strangethan is thy strange apparent cruelty;and where thou now exacts the penalty,which is a pound of this poor merchant\u2019s flesh,thou wilt not only loose the forfeiture,but, touch\u2019d with human gentleness and love,forgive a moiety of the principal,glancing an eye of pity on his losses,that have of late so huddled on his back \u2013enow to press a royal merchant down,and pluck commiseration of his statefrom brassy bosoms and rough hearts of flint,from stubborn turks and tartars, never train\u2019dto offices of tender courtesy.we all expect a gentle answer, jew.duke: i have  possess\u2019d  your grace  of what  i purpose,   and by our holy sabbath  have  i sworn to have  the due and forfeit  of my bond. if you deny  it, let the danger  light upon  your charter  and your city\u2019s  freedom.   you\u2019ll  ask me why  i rather  choose  to have a weight  of carrion  flesh  than to receive three  thousand  ducats.  i\u2019ll not answer  that,  but say it is my humour  \u2013 is it answer\u2019d? what  if my house  be troubled  with a rat, and i be pleas\u2019d  to give ten thousand  ducats   to have  it ban\u2019d?  what,  are you answer\u2019d  yet? some  men there  are love not a gaping  pig;  some  that are mad if they behold  a cat; and others,  when  the bagpipe  sings  i\u2019 th\u2019 nose,   cannot  contain  their urine;  for affection,   mistress  of passion,  sways  it to the mood of what  it likes or loathes.  now,  for your answer:   as there  is no firm reason  to be rend\u2019red why he cannot  abide  a gaping  pig; why he, a harmless  necessary  cat; why he, a woollen  bagpipe,  but of force must  yield to such  inevitable  shame as to offend,  himself  being  offended;shylock: 06_0486_ 31_2015_1. 2 \u00a9 ucles 20156",
            "7": "5045so can i give no reason, nor i will not, more than a lodg\u2019d hate and a certain loathingi bear antonio, that i follow thusa losing suit against him. are you answered? this is no answer, thou unfeeling man, to excuse the current of thy cruelty.bassanio: i am not bound to please thee with my answers. shylock: do all men kill the things they do not love? bassanio: hates any man the thing he would not kill? shylock: every offence is not a hate at first. bassanio: what, wouldst thou have a serpent sting thee twice? shylock: [from act 4 scene 1 ] does shakespeare make it possible for you to have any sympathy for shylock at this moment in the play? or 6 explore  the ways  in which  shakespeare  makes  you admire  portia. [turn  /g82ver 06_0486_ 31_2015_1. 2 \u00a9 ucles 20157",
            "8": "3530252015105william  shakespeare:  a/g3midsummer /g3night /g182s/g3dream /g3 remember  to support  your  ideas  with details  from  the text. either  7 read this passage, and then answer the question that follows it: enter quince, snug, bottom, flute, snout and starveling . is all our company here? quince: you were best to call them generally, man by man, according to the scrip. bottom: here is the scroll of every man\u2019s name which is thought fit, through all athens, to play in our interlude before the duke and the duchess on his wedding-day at night.quince: first, good peter quince, say what the play treats on; then read the names of the actors; and so grow to a point.bottom: marry, our play is \u2018the most lamentable comedy and most cruel death of pyramus and thisby\u2019.quince: a very good piece of work, i assure you, and a merry. now, good peter quince, call forth your actors by the scroll. masters, spread yourselves.bottom: answer, as i call you. nick bottom, the weaver. quince: ready. name what part i am for, and proceed. bottom: you, nick bottom, are set down for pyramus. quince: what is pyramus? a lover, or a tyrant? bottom: a lover, that kills himself most gallant for love. quince: that will ask some tears in the true performing of it. if i do it, let the audience look to their eyes; i will move storms; i will condole in some measure. to the rest \u2013 yet mybottom: chief humour is for a tyrant. i could play ercles rarely, or a part to tear a cat in, to make all split. \u2018the raging rocksand shivering shocksshall break the locks of prison gates; and phibbus\u2019 carshall shine from far,and make and mar the foolish fates.\u2019 this was lofty. now name the rest of the players. this is ercles\u2019 vein, a tyrant\u2019s vein:a lover is more condoling. francis flute, the bellows-mender. quince: here, peter quince. flute: flute, you must take thisby on you. quince: what is thisby? a wand\u2019ring knight? flute: it is the lady that pyramus must love. quince: nay, faith, let not me play a woman; i have a beard coming. flute: that\u2019s all one; you shall play it in a mask, and you may speak as small as you will. quince: 06_0486_ 31_2015_1. 2 \u00a9 ucles 20158",
            "9": "55504540an i may hide my face, let me play thisby too. i\u2019ll speak in a monstrous little voice: \u2018thisne, thisne!\u2019 [ then speaking small ] \u2018ah pyramus, my lover dear! thy thisby dear, and lady dear!\u2019bottom: no, no, you must play pyramus; and, flute, you thisby. quince: well; proceed. bottom: robin starveling, the tailor. quince: here, peter quince. starveling: robin starveling, you must play thisby\u2019s mother. tom snout, the tinker. quince: here, peter quince. snout: you, pyramus\u2019 father; myself, thisby\u2019s father; snug, the joiner, you, the lion\u2019s part. and, i hope, here is a play fitted.quince: have you the lion\u2019s part written? pray you, if it be, give it me, for i am slow of study. snug: you may do it extempore, for it is nothing but roaring. quince: let me play the lion too. i will roar that i will do any man\u2019s heart good to hear me; i will roar that i will make the duke say \u2018let him roar again, let him roar again\u2019.bottom: an you should do it too terribly, you would fright the duchess and the ladies, that they would shriek; and that were enough to hang us all.quince: that would hang us, every mother\u2019s son. all: [from act 1 scene  2/g64  how does  shakespeare  make  this such  an entertaining  introduction  to bottom  and the mechanicals? or 8 puck  says \u2018what  fools  these  mortals  be\u2019. to what  extent  does  shakespeare  make  you share  puck /g182s view of human  characters  in the play? [turn  /g82ver06_0486_ 31_2015_1. 2 \u00a9 ucles 20159",
            "10": "403530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read  this passage,  and then  answer  the question  that follows  it: if by your art, my dearest father, you have put the wild waters in this roar, allay them.the sky, it seems, would pour down stinking pitch,but that the sea, mounting to th\u2019 welkin\u2019s cheek,dashes the fire out. o, i have sufferedwith those that i saw suffer! a brave vessel,who had no doubt some noble creature in her,dash\u2019d all to pieces! o, the cry did knockagainst my very heart! poor souls, they perish\u2019d.had i been any god of power, i wouldhave sunk the sea within the earth or ereit should the good ship so have swallow\u2019d andthe fraughting souls within her.miranda: be collected; no more amazement; tell your piteous heartthere\u2019s no harm done.prospero: o, woe the day! miranda: no harm. i have done nothing but in care of thee,of thee, my dear one, thee, my daughter, whoart ignorant of what thou art, nought knowingof whence i am, nor that i am more betterthan prospero, master of a full poor cell,and thy no greater father.prospero: more to know did never meddle with my thoughts.miranda: /g182tis time i should  inform  thee farther.  lend  thy hand, and pluck  my magic  garment  from me. so, /g62lays  down  his mantle /g64  lie there  my art. wipe  thou thine  eyes;  have  comfort. the direful  spectacle  of the wreck,  which  touch\u2019d the very virtue  of compassion  in thee, i have  with such  provision  in mine  art so safely  ordered  that there  is no soul \u2013 no, not so much  perdition  as an hair betid  to any creature  in the vessel which  thou heard\u2019st  cry, which  thou saw\u2019st  sink. sit down, for thou must  now know  farther.prospero: you have often begun to tell me what i am; but stopp\u2019d,and left me to a bootless inquisition,concluding \u2018stay; not yet\u2019.miranda: 06_0486_ 31_2015_1. 2 \u00a9 ucles 201510",
            "11": "75706560555045the hour\u2019s now come; the very minute bids thee ope thine ear.obey, and be attentive. canst thou remembera time before we came unto this cell?i do not think thou canst; for then thou wast notout three years old.prospero: certainly, sir, i can. miranda: by what? by any other house, or person? of any thing the image, tell me, thathath kept with thy remembrance?prospero: \u2019tis far off, and rather like a dream than an assurancethat my remembrance warrants. had i notfour, or five, women once, that tended me?miranda: thou hadst, and more, miranda. but how is it that this lives in thy mind? what seest thou elsein the dark backward and abysm of time?if thou rememb\u2019rest aught, ere thou cam\u2019st here,how thou cam\u2019st here thou mayst.prospero: but that i do not. miranda: twelve year since, miranda, twelve year since, thy father was the duke of milan, anda prince of power.prospero: sir, are not you my father? miranda: thy mother was a piece of virtue, and she said thou wast my daughter; and thy fatherwas duke of milan, and his only heirand princess no worse issued.prospero: o, the heavens! what foul play had we that we came from thence?or blessed was\u2019t we did?miranda: both, both, my girl. by foul play, as thou say\u2019st, were we heav\u2019d thence;but blessedly holp hither.prospero: o, my heart bleeds to think o\u2019 th\u2019 teen that i have turn\u2019d you to,which is from my remembrance.miranda: [from act 1 scene 2 ] how does shakespeare make this such a striking introduction to prospero and miranda? or 10 to what  extent  do you think  shakespeare  suggests  that antonio  gets  what  he deserves  at the end of  the play? [turn  /g82ver 06_0486_ 31_2015_1. 2 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read  this passage,  and then  answer  the question  that follows  it: cecily cardew? [ moving to her and shaking hands .] what a very sweet name! something tells me that we are going to be great friends. i like you already morethan i can say. my first impressions of people are never wrong.gwendolen: how nice of you to like me so much after we have known each other such a comparatively short time. pray sit down.cecily: [still standing up ]: i may call you cecily, may i not? gwendolen with pleasure! cecily: and you will always call me gwendolen, won\u2019t you? gwendolen: if you wish. cecily: then that is all quite settled, is it not? gwendolen: i hope so. [ a pause. they both sit down together. ] cecily: perhaps this might be a favourable opportunity for my mentioning who i am. my father is lord bracknell. you have never heard of papa, i suppose?gwendolen: i don\u2019t think so. cecily: outside the family circle, papa, i am glad to say, is entirely unknown. i think that is quite as it should be. the home seems to me to be the proper sphere for the man.gwendolen: and certainly once a man begins to neglect his domestic duties he becomes painfully effeminate, does he not? and i don\u2019t like that. it makes men so very attractive.cecily, mamma, whose views on education are remarkably strict, has brought meup to be extremely short-sighted; it is part of her system; so do you mind my lookingat you through my glasses? oh! not at all, gwendolen. i am very fond of being looked at. cecily: [after examining cecily carefully through a lorgnette ]:you are here on a short visit, i suppose.gwendolen oh no! i live here. cecily: [severely ]: really? your mother, no doubt, or some female relative of advanced years, resides here also?gwendolen oh no! i have no mother, nor, in fact, any relations. cecily: indeed? gwendolen: my dear guardian, with the assistance of miss prism, has the arduous task of looking after me.cecily: your guardian? gwendolen: yes, i am mr worthing\u2019s ward. cecily: oh! it is strange he never mentioned to me that he had a ward. how secretive of him! he grows more interesting hourly. i am not sure, however, that the news inspiresgwendolen: me with feelings of unmixed delight. [ rising and going to her. ]ia mv e r yf o n do f you, cecily; i have liked you ever since i met you! but i am bound to state that now 06_0486_ 31_2015_1. 2 \u00a9 ucles 201512",
            "13": "6055504540that i know that you are mr worthing\u2019s ward, i cannot help expressing a wish you were \u2013 well, just a little older than you seem to be \u2013 and not quite so very alluringin appearance. in fact, if i may speak candidly \u2013 pray do! i think that whenever one has anything unpleasant to say, one should always be quite candid.cecily: well, to speak with perfect candour, cecily, i wish that you were fully forty-two, and more than usually plain for your age. ernest has a strong upright nature. he is thegwendolen: very soul of truth and honour. disloyalty would be as impossible to him as deception. but even men of the noblest possible moral character are extremely susceptible tothe influence of the physical charms of others. modern, no less than ancient history,supplies us with many most painful examples of what i refer to. if it were not so,indeed, history would be quite unreadable. i beg your pardon, gwendolen, did you say ernest? cecily: yes. gwendolen: oh, but it is not mr ernest worthing who is my guardian. it is his brother \u2013 his elder brother.cecily: [sitting down again ]: ernest never mentioned to me that he had a brother. gwendolen i am very sorry to say they have not been on good terms for a long time. cecily: ah! that accounts for it. and now that i think of it i have never heard any man mention his brother. the subject seems distasteful to most men. cecily, you havegwendolen: lifted a load from my mind. i was growing almost anxious. it would have been terrible if any cloud had come across a friendship like ours, would it not? of course you arequite, quite sure that it is not mr ernest worthing who is your guardian? quite sure. [ ap a u s e .] in fact, i am going to be his. cecily: [from act 2 ] how does wilde make this such an entertaining moment in the play? or 12 in what  ways  do you think  wilde  is making  criticisms  of society  through  the comedy  of the play? 06_0486_ 31_2015_1. 2 \u00a9 ucles 201513",
            "14": "blank page 06_0486_ 31_2015_1. 2 \u00a9 ucles 201514",
            "15": "blank page 06_0486_ 31_2015_1. 2 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_ 31_2015_1. 2 \u00a9 ucles 201516"
        },
        "0486_s15_qp_32.pdf": {
            "1": "th/g72 syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.  this document consists of 13 printed pages, 3 blank pages and 1 insert.  06_0486_32_2015_1. 2   \u00a9 ucles 2015 [turn over *4940784481*cambridge international examinations  cambridge international general certificate of secondary education  literature (english) 0486/32    paper 3 drama (open text) may/june 2015 45 minutes  texts studied should be taken into the examination.  read these instructions first  an answer booklet is provided inside this question paper. you should follow the instructions on the front  cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet.  answer one question.  all questions in this paper carry equal marks. ",
            "2": "06_0486_32_2015_1.2 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either 1read this passage, and then answer the question that follows it: [ jim bayliss rounds corner of driveway, walking rapidly. content removed due to copyright restrictions",
            "3": "06_0486_32_2015_1.2 \u00a9 ucles 2015 [turn over3 george:  why, afraid you\u2019ll forget him? how does miller make this such a powerfully dramatic moment in the play?or 2 the stage directions at the beginning of act 1 describe joe keller as \u2018a man amoung men\u2019.how far does miller make you agree with this description of joe?",
            "4": "403530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read this passage, and then answer the question that follows it: [who has put ring on, admiringly ] i think it\u2019s perfect. now i really feel engaged. sheila: so you ought, darling. it\u2019s a lovely ring. be careful with it. mrs birling: careful! i\u2019ll never let it out of my sight for an instant. sheila: [smiling ] well, it came just at the right moment. that was clever of you, gerald. now, arthur, if you\u2019ve got no more to say, i think sheila and i had better go in thedrawing-room and leave you men \u2013mrs birling: [rather heavily ] i just want to say this. [ noticing that sheila is still admiring her ring. ] are you listening, sheila? this concerns you too. and after all i don\u2019t often makespeeches at you \u2013birling: i\u2019m sorry, daddy. actually i was listening. sheila: she looks attentive, as they all do. he holds them for a moment before continuing. i\u2019m delighted about this engagement and i hope it won\u2019t be too long before you\u2019re married. and i want to say this. there\u2019s a good deal of silly talk about these days \u2013birling: but\u2013 and i speak as a hard-headed business man, who has to take risks and know what he\u2019s about \u2013 i say, you can ignore all this silly pessimistic talk. when you marry,you\u2019ll be marrying at a very good time. yes, a very good time \u2013 and soon it\u2019ll be aneven better time. last month, just because the miners came out on strike, there\u2019s alot of wild talk about possible labour trouble in the near future. don\u2019t worry. we\u2019vepassed the worst of it. we employers at last are coming together to see that ourinterests \u2013 and the interests of capital \u2013 are properly protected. and we\u2019re in for atime of steadily increasing prosperity. i believe you\u2019re right, sir. gerald: what about war? eric: glad you mentioned it, eric. i\u2019m coming to that. just because the kaiser makes a speech or two, or a few german officers have too much to drink and begin talkingbirling: nonsense, you\u2019ll hear some people say that war\u2019s inevitable. and to that i say \u2013 fiddlesticks! the germans don\u2019t want war. nobody wants war, except somehalf-civilised folks in the balkans. and why? there\u2019s too much at stake these days.everything to lose and nothing to gain by war. yes, i know \u2013 but still \u2013 eric: just let me finish, eric. you\u2019ve a lot to learn yet. and i\u2019m talking as a hard-headed, practical man of business. and i say there isn\u2019t a chance of war. the world\u2019sbirling: developing so fast that it\u2019ll make war impossible. look at the progress we\u2019re making. in a year or two we\u2019ll have aeroplanes that will be able to go anywhere. and look atthe way the automobile\u2019s making headway \u2013 bigger and faster all the time. and then ships. why, a friend of mine went over this new liner last week \u2013 the titanic \u2013s h e sails next week \u2013 forty-six thousand eight hundred tons \u2013 forty-six thousand eighthundred tons \u2013 new york in five days \u2013 and every luxury \u2013 and unsinkable, absolutelyunsinkable. that\u2019s what you\u2019ve got to keep your eye on, facts like that, progress likethat \u2013 and not a few german officers talking nonsense and a few scaremongers here 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g244",
            "5": "555045making a fuss about nothing. now you three young people, just listen to this \u2013 and remember what i\u2019m telling you now. in twenty or thirty years\u2019 time \u2013 let\u2019s say, in 1940\u2013 you may be giving a little party like this \u2013 your son or daughter might be gettingengaged \u2013 and i tell you, by that time you\u2019ll be living in a world that\u2019ll have forgottenall these capital versus labour agitations and all these silly little war scares. there\u2019llbe peace and prosperity and rapid progress everywhere \u2013 except of course in russia,which will always be behindhand naturally. arthur! mrs birling: as mrs birling shows signs of interrupting. yes, my dear, i know \u2013 i\u2019m talking too much. but you youngsters just remember what i said. we can\u2019t let these bernard shaws and h.g. wellses do all the talking. webirling: hard-headed practical business men must say something sometime. and we don\u2019t guess \u2013 we\u2019ve had experience \u2013 and we know. [rising. the others rise ] yes, of course, dear. well \u2013 don\u2019t keep gerald in here too long. eric \u2013 i want you a minute.mrs birling: [from act 1 ] how does priestley strikingly portray mr birling at this moment in the play? or 4 explore  the ways  in which  priestley  makes  the inspector  such  a memorably  mysterious  figure. [turn /g3/g82ver 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g245",
            "6": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read  this passage,  and then  answer  the question  that follows  it: i pray you tarry; pause a day or two before /g3you/g3hazard; /g3for,/g3in/g3choosing /g3wrong, i/g3lose/g3your/g3company; /g3therefore /g3forbear /g3awhile. /g3 there /g182s/g3something /g3tells/g3me/g3\u2013/g3but/g3it/g3is/g3not/g3love/g3\u2013 i/g3would /g3not/g3lose/g3you;/g3and/g3you/g3know /g3yourself/g3 hate /g3counsels /g3not/g3in/g3such /g3a/g3quality. but/g3lest/g3you/g3should /g3not/g3understand /g3me/g3well/g3\u2013 and/g3yet/g3a/g3maiden /g3hath/g3no/g3tongue /g3but/g3thought /g3\u2013 i/g3would /g3detain /g3you/g3here/g3some /g3month /g3or/g3two/g3 before /g3you/g3venture /g3for/g3me./g3i/g3could /g3teach /g3you/g3 how/g3to/g3choose /g3right, /g3but/g3then/g3i/g3am/g3forsworn; /g3 so/g3will/g3i/g3never /g3be;/g3so/g3may/g3you/g3miss/g3me; but/g3if/g3you/g3do,/g3you'll /g3make /g3me/g3wish/g3a/g3sin, that/g3i/g3had/g3been /g3forsworn. /g3beshrew /g3your/g3eyes! they /g3have /g3o/g182erlook /g182d/g3me/g3and/g3divided /g3me;/g3 one/g3half/g3of/g3me/g3is/g3yours, /g3the/g3other /g3half/g3yours /g3\u2013 mine /g3own, /g3i/g3would /g3say;/g3but/g3if/g3mine, /g3then/g3yours, /g3 and/g3so/g3all/g3yours. /g3o!/g3these /g3naughty /g3times /g3 puts/g3bars/g3between /g3the/g3owners /g3and/g3their/g3rights; /g3 and/g3so,/g3though /g3yours, /g3not/g3yours. /g3prove /g3it/g3so,/g3 let/g3fortune /g3go/g3to/g3hell/g3for/g3it,/g3not/g3i. i/g3speak /g3too/g3long, /g3but/g3/g182tis/g3to/g3peize /g3the/g3time, to/g3eke/g3it,/g3and/g3to/g3draw /g3it/g3out/g3in/g3length, to/g3stay/g3you/g3from/g3election.portia: let me choose; for as i am, i live upon the rack.bassanio: upon the rack, bassanio? then confess what treason there is mingled with your love.portia: none /g3but/g3that/g3ugly/g3treason /g3of/g3mistrust, /g3 which /g3makes /g3me/g3fear/g3th\u2019/g3enjoying /g3of/g3my/g3love; /g3 there /g3may/g3as/g3well/g3be/g3amity /g3and/g3life /g182tween /g3snow /g3and/g3fire/g3as/g3treason /g3and/g3my/g3love.bassanio: ay, but i fear you speak upon the rack, where men enforced do speak anything.portia: bassanio:/g3promise /g3me/g3life,/g3and/g3i/g182ll/g3confess /g3the/g3truth. well then, confess and live. portia: /g181confess /g182/g3and/g3/g181love/g182/g3 had/g3been /g3the/g3very/g3sum/g3of/g3my/g3confession. o/g3happy /g3torment, /g3when /g3my/g3torturer doth /g3teach /g3me/g3answers /g3for/g3deliverance! but/g3let/g3me/g3to/g3my/g3fortune /g3and/g3the/g3caskets.bassanio: 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g246",
            "7": "60555045away, /g3then; /g3i/g3am/g3lock/g182d/g3in/g3one/g3of/g3them. if/g3you/g3do/g3love/g3me,/g3you/g3will/g3find/g3me/g3out. nerissa /g3and/g3the/g3rest,/g3stand /g3all/g3aloof; let/g3music /g3sound /g3while /g3he/g3doth/g3make /g3his/g3choice; /g3 then, /g3if/g3he/g3lose, /g3he/g3makes /g3a/g3swan-like /g3end,/g3 fading /g3in/g3music. /g3that/g3the/g3comparison may/g3stand /g3more /g3proper, /g3my/g3eye/g3shall/g3be/g3the/g3stream /g3 and/g3wat/g182ry/g3death-bed /g3for/g3him./g3he/g3may/g3win; and/g3what /g3is/g3music /g3then? /g3then /g3music /g3is even /g3as/g3the/g3flourish /g3when /g3true/g3subjects /g3bow to/g3a/g3new-crowned /g3monarch; /g3such /g3it/g3is as/g3are/g3those /g3dulcet /g3sounds /g3in/g3break /g3of/g3day that/g3creep /g3into/g3the/g3dreaming /g3bridegroom /g182s/g3ear,/g3 and/g3summon /g3him/g3to/g3marriage. /g3now/g3he/g3goes, /g3 with/g3no/g3less/g3presence, /g3but/g3with/g3much /g3more /g3love, /g3 than /g3young /g3alcides, /g3when /g3he/g3did/g3redeem the/g3virgin /g3tribute /g3paid/g3by/g3howling /g3troy to/g3the/g3sea-monster. /g3i/g3stand /g3for/g3sacrifice; the/g3rest/g3aloof /g3are/g3the/g3dardanian /g3wives, with/g3bleared /g3visages /g3come /g3forth/g3to/g3view the/g3issue /g3of/g3th\u2019/g3exploit. /g3go,/g3hercules! live/g3thou, /g3i/g3live./g3with/g3much /g3much /g3more /g3dismay i/g3view/g3the/g3fight/g3than/g3thou/g3that/g3mak\u2019st /g3the/g3fray.portia: [from act 3 scene 2 ] how does shakespeare make this such a memorably dramatic moment in the play? or 6 how  far does  shakespeare  persuade  you that shylock  deserves  his punishment? [turn /g3/g82ver06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g247",
            "8": "403530252015105william /g3shakespeare: /g3a/g3midsummer /g3night /g182s/g3dream /g3 remember /g3to/g3support /g3your /g3ideas /g3with /g3details /g3from /g3the/g3text. either  7 read  this passage,  and then  answer  the question  that follows  it: this falls out better than i could devise. but hast thou yet latch\u2019d the athenian\u2019s eyeswith the love-juice, as i did bid thee do?oberon: i took him sleeping \u2013 that is finish\u2019d too \u2013 and the athenian woman by his side;that, when he wak\u2019d, of force she must be ey\u2019d.puck: enter demetrius and hermia. stand close; this is the same athenian. oberon: this is the woman, but not this the man. puck: o, why rebuke you him that loves you so? lay breath so bitter on your bitter foe.demetrius: 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\u2019er shoes in blood, plunge in the deep,and kill me too.the sun was not so true unto the dayas he to me. would he have stolen awayfrom sleeping hermia? i\u2019ll believe as soonthis whole earth may be bor\u2019d and that the moonmay through the centre creep and so displeaseher brother\u2019s noontide with th\u2019 antipodes.it cannot be but thou hast murd\u2019red him;so should a murderer look \u2013 so dead, so grim.hermia: so should the murdered look; and so should i, pierc\u2019d through the heart with your stern cruelty;yet you, the murderer, look as bright, as clear,as yonder venus in her glimmering sphere.demetrius: what\u2019s this to my lysander? where is he? ah, good demetrius, wilt thou give him me?hermia: i had rather give his carcass to my hounds. demetrius: out, dog! out, cur! thou driv\u2019st me past the bounds of maiden\u2019s patience. hast thou slain him, then?henceforth be never numb\u2019red among men!o, once tell true; tell true, even for my sake!durst thou have look\u2019d upon him being awake,and hast thou kill\u2019d him sleeping? o brave touch!could not a worm, an adder, do so much?an adder did it; for with doubler tonguethan thine, thou serpent, never adder stung.hermia: 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g248",
            "9": "555045you spend your passion on a mispris\u2019d mood: i am not guilty of lysander\u2019s blood;nor is he dead, for aught that i can tell.demetrius: i pray thee, tell me then that he is well. hermia: and if i could, what should i get therefore? demetrius: a privilege never to see me more. and from thy hated presence part i so;see me no more whether he be dead or no.hermia: /g62exit. there is no following her in this fierce vein; here, therefore, for a while i will remain.so sorrow\u2019s heaviness doth heavier growfor debt that bankrupt sleep doth sorrow owe;which now in some slight measure it will pay,if for his tender here i make some stay.demetrius: /g62lies/g3down. what hast thou done? oberon: [from act 3 scene 2 ] how/g3does /g3shakespeare /g182s/g3writing /g3make /g3this/g3moment /g3in/g3the/g3play/g3so/g3dramatic? or/g38 explore /g3the/g3ways /g3in/g3which /g3shakespeare /g3makes /g3two /g3moments /g3in/g3the/g3play/g3a/g3midsummer/g3night/g182s/g3dream/g3  disturbing /g3for/g3you. [turn /g3/g82ver 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g249",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read  this passage,  and then  answer  the question  that follows  it: here prospero discovers ferdinand and miranda playing at chess. sweet lord, you play me false. miranda: no, my dearest love, i would not for the world.ferdinand: yes, for a score of kingdoms you should wrangle, and i would call it fair play.miranda: if this prove a vision of the island, one dear sonshall i twice lose.alonso: a most high miracle! sebastian: though the seas threaten, they are merciful; i have curs\u2019d them without cause. [kneels]ferdinand: now all the blessings of a glad father compass thee about!arise, and say how thou cam\u2019st here.alonso: o, wonder! how many goodly creatures are there here!how beauteous mankind is! o brave new worldthat has such people in\u2019t!miranda: \u2019tis new to thee. prospero: what is this maid with whom thou wast at play? your eld\u2019st acquaintance cannot be three hours;is she the goddess that hath sever\u2019d us,and brought us thus together?alonso: sir, she is mortal; but by immortal providence she\u2019s mine.i chose her when i could not ask my fatherfor his advice, nor thought i had one. sheis daughter to this famous duke of milan,of whom so often i have heard renownbut never saw before; of whom i havereceiv\u2019d a second life; and second fatherthis lady makes him to me.ferdinand: i am hers. but, o, how oddly will it sound that imust ask my child forgiveness!alonso: there, sir, stop; let us not burden our remembrances witha heaviness that\u2019s gone.prospero: 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2410 [kneels ]",
            "11": "656055504540 i have inly wept, or should have spoke ere this. look down, you gods,and on this couple drop a blessed crown;for it is you that have chalk\u2019d forth the waywhich brought us hither.gonzalo: i say, amen, gonzalo! alonso: was milan thrust from milan, that his issue should become kings of naples? o, rejoicebeyond a common joy, and set it downwith gold on lasting pillars: in one voyagedid claribel her husband find at tunis;and ferdinand, her brother, found a wifewhere he himself was lost; prospero his dukedomin a poor isle; and all of us ourselveswhen no man was his own.gonzalo: [to/g3f/g40/g53/g39/g44/g49/g36/g49/g39/g3 and/g3m/g44/g53/g36/g49/g39/g36 ]/g3give/g3me/g3your/g3hands. /g3 let/g3grief/g3and/g3sorrow /g3still/g3embrace /g3his/g3heart /g3 that/g3doth/g3not/g3wish/g3you/g3joy.alonso: be it so. amen! gonzalo: re-enter ariel, with the master and boatswain amazedly following. o look, sir; look, sir! here is more of us! i prophesied, if a gallows were on land,this fellow could not drown. now, blasphemy,that swear\u2019st grace o\u2019erboard, not an oath on shore?hast thou no mouth by land? what is the news? the best news is that we have safely found our king and company; the next, our ship \u2013which but three glasses since we gave out split \u2013is tight and yare, and bravely rigg\u2019d, as whenwe first put out to sea.boatswain: [from act 5 scene 1 ] how does shakespeare make this such a moving and dramatic moment in the play? or 10 how  does  shakespeare  make  magic  so memorable  and significant  in the play? [turn /g3/g82ver 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2411",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read  this passage,  and then  answer  the question  that follows  it: algernon :/g3[raising/g3his/g3hat]/g3you/g3are/g3my/g3little/g3cousin /g3cecily, /g3i\u2019m/g3sure/g17 you are under some strange mistake. i am not little. in fact, i believe i am more than usually tall for my age. [ algernon is rather taken aback .] but i am your cousincecily: cecily. you, i see from your card, are uncle jack\u2019s brother, my cousin ernest, my wicked cousin ernest. oh! i am not really wicked at all, cousin cecily. you mustn\u2019t think that i am wicked. algernon : if you are not, then you have certainly been deceiving us all in a very inexcusable manner. i hope you have not been leading a double life, pretending to be wicked andbeing really good all the time. that would be hypocrisy.cecily: [looks at her in amazement ] oh! of course i have been rather reckless. algernon : i am glad to hear it. cecily: in fact, now you mention the subject, i have been very bad in my own small way. algernon : i don\u2019t think you should be so proud of that, though i am sure it must have been very pleasant.cecily: it is much pleasanter being here with you. algernon : i can\u2019t understand how you are here at all. uncle jack won\u2019t be back till monday afternoon.cecily: that is a great disappointment. i am obliged to go up by the first train on monday morning. i have a business appointment that i am anxious\u2026.to miss!algernon : couldn\u2019t you miss it anywhere but in london? cecily: no: the appointment is in london. algernon : well, i know, of course, how important it is not to keep a business engagement, if one wants to retain any sense of the beauty of life, but i still think you had better wait tilluncle jack arrives. i know he wants to speak to you about your emigrating.cecily: about my what? algernon: your emigrating. he has gone up to buy your outfit. cecily: i certainly wouldn\u2019t let jack buy my outfit. he has no taste in neckties at all. algernon : i don\u2019t think you will require neckties. uncle jack is sending you to australia. cecily: australia! i\u2019d sooner die. algernon : well, he said at dinner on wednesday night, that you would have to choose between this world, the next world, and australia.cecily: oh, well! the accounts i have received of australia and the next world are not particularly encouraging. this world is good enough for me, cousin cecily.algernon : yes, but are you good enough for it? cecily: i\u2019m afraid i\u2019m not that. that is why i want you to reform me. you might make that your mission, if you don\u2019t mind, cousin cecily.algernon : 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2412",
            "13": "55504540i\u2019m afraid i\u2019ve no time, this afternoon. cecily: well, would you mind my reforming myself this afternoon? algernon : it is rather quixotic of you. but i think you should try. cecily: i will. i feel better already. algernon : you are looking a little worse. cecily: that is because i am hungry. algernon : how thoughtless of me. i should have remembered that when one is going to lead an entirely new life, one requires regular and wholesome meals. won\u2019t you come in?cecily: thank you. might i have a buttonhole first? i have never any appetite unless i have a buttonhole first.algernon : a mar\u00e9chal niel? [ picks up scissors. ] cecily: no, i\u2019d sooner have a pink rose. algernon : why? [ cuts a flower. ] cecily: because you are like a pink rose, cousin cecily. algernon : i don\u2019t think it can be right for you to talk to me like that. miss prism never says such things to me.cecily: then miss prism is a short-sighted old lady. [ cecily puts the rose in his buttonhole .] you are the prettiest girl i ever saw.algernon : miss prism says that all good looks are a snare. cecily: they are a snare that every sensible man would like to be caught in. algernon : oh, i don\u2019t think i would care to catch a sensible man. i shouldn\u2019t know what to talk to him about.cecily: [from act 2 ] how does wilde make this first meeting between algernon and cecily so entertaining? or/g312 \u2018a/g3girl/g3with/g3a/g3simple, /g3unspoilt /g3nature /g17\u2019 how/g3does /g3wilde /g3vividly /g3convey /g3to/g3you/g3that/g3this/g3is/g3not/g3an/g3accurate /g3view/g3of/g3gwendolen? 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2413",
            "14": "blank page 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2414",
            "15": "blank page 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2415",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www .cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_ 32_2015_1. 2 \u00a9/g3ucles /g3201/g2416"
        },
        "0486_s15_qp_33.pdf": {
            "1": "th/g72 syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.  this document consists of 13 printed pages, 3 blank pages and 1 insert.  06_0486_33_2015_1. 2   \u00a9 ucles 2015 [turn over *2825410216*cambridge international examinations  cambridge international general certificate of secondary education  literature (english) 0486/33    paper 3 drama (open text) may/june 2015 45 minutes  texts studied should be taken into the examination.  read these instructions first  an answer booklet is provided inside this question paper. you should follow the instructions on the front  cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet.  answer one question.  all questions in this paper carry equal marks. ",
            "2": "06_0486_33_2015_1.2 \u00a9 ucles 20152 arthur miller: all my sons remember to support your ideas with details from the text. either 1read this passage, and then answer the question that follows it:keller:  what\u2019s she going to say? maybe we ought to tell her before she sees it. content removed due to copyright restrictions",
            "3": "06_0486_33_2015_1.2 \u00a9 ucles 2015 [turn over3 chris:   sometimes you infuriate me, you know that? isn\u2019t it your business, too, if i tell this to  mother and she throws a fit about it? you have such a talent for ignoring things. how does miller vividly reveal the tensions in the keller family at this moment in the play.or 2 to what extent does miller make keller\u2019s suicide shocking for you?",
            "4": "3530252015105j. b. priestley: an inspector calls remember to support your ideas with details from the text. either  3 read  this passage,  and then  answer  the question  that follows  it: [coolly ] at the end of january, last year, this girl eva smith had to leave milwards, because miss birling compelled them to discharge her, and then she stopped beinginspector: eva smith, looking for a job, and became daisy renton, with other ideas. [ sharply turning on him. ] mr croft, when did you first get to know her? an exclamation  of surprise  from birling and mrs birling .  where  did you get the idea that i did know  her? gerald: it\u2019s no use, gerald. you\u2019re wasting time. sheila: as soon as i mentioned the name daisy renton, it was obvious you\u2019d known her. you gave yourself away at once.inspector: [bitterly ] of course he did. sheila: and anyhow i knew already. when and where did you first meet her? inspector: all right, if you must have it. i met her first, sometime in march last year, in the stalls bar at the palace. i mean the palace music hall here in brumley \u2013gerald: well, we didn\u2019t think you meant buckingham palace. sheila: [to sheila ] thanks. you\u2019re going to be a great help, i can see. you\u2019ve said your piece, and you\u2019re obviously going to hate this, so why on earth don\u2019t you leave usto it?gerald: nothing would induce me. i want to understand exactly what happens when a man says he\u2019s so busy at the works that he can hardly ever find time to come and seethe girl he\u2019s supposed to be in love with. i wouldn\u2019t miss it for worlds \u2013sheila: [with authority ] yes, mr croft \u2013 in the stalls bar at the palace variety theatre \u2026 inspector: i happened to look in, one night, after a rather long dull day, and as the show wasn\u2019t very bright, i went down into the bar for a drink. it\u2019s a favourite haunt of women ofthe town \u2013gerald: women of the town? mrs birling: yes, yes. but i see no point in mentioning the subject \u2013 especially \u2013 [ indicating sheila .]birling: it would be much better if sheila didn\u2019t listen to this story at all. mrs birling: but you\u2019re forgetting i\u2019m supposed to be engaged to the hero of it. go on, gerald. you went down into the bar, which is a favourite haunt of women of the town.sheila: i\u2019m glad i amuse you \u2013 gerald: [sharply ] come along, mr croft. what happened? inspector: i didn\u2019t propose to stay long down there. i hate those hard-eyed dough-faced women. but then i noticed a girl who looked quite different. she was very pretty \u2013 soft brown hair and big dark eyes \u2013 [ breaks off ]. my god!gerald: what\u2019s the matter? inspector: 06_0486_ 33_2015_1. 2 \u00a9 ucles 20154",
            "5": "55504540[distressed ] sorry \u2013 i \u2013 well, i\u2019ve suddenly realized \u2013 taken it in properly \u2013 that she\u2019s dead \u2013gerald: [harshly ] yes, she\u2019s dead. inspector: and probably between us we killed her. sheila: [sharply ] sheila, don\u2019t talk nonsense. mrs birling: you wait, mother. sheila: [to gerald ] go on. inspector: she looked young and fresh and charming and altogether out of place down there. and obviously she wasn\u2019t enjoying herself. old joe meggarty, half-drunk andgoggle-eyed, had wedged her into a corner with that obscene fat carcase of his \u2013gerald: [cutting in ] there\u2019s no need to be disgusting. and surely you don\u2019t mean alderman meggarty?mrs birling: of course i do. he\u2019s a notorious womanizer as well as being one of the worst sots and rogues in brumley \u2013gerald: quite right. inspector: [staggered ] well, really! alderman meggarty! i must say, we arelearning something tonight.mrs birling: [coolly ] of course we are. but everybody knows about that horrible old meggarty. a girl i know had to see him at the town hall one afternoon and she only escaped witha torn blouse \u2013sheila: [sharply, shocked ] sheila! birling: [from act 2 ] how does priestley make this such a tense and dramatic moment in the play? or 4 how  far does  priestley  convince  you that,  by the end of the play,  mr and mrs birling  have  learnt  anything? [turn  over06_0486_ 33_2015_1. 2 \u00a9 ucles 20155",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the text. either  5 read  this passage,  and then  answer  the question  that follows  it: [to nerissa ] by yonder moon i swear you do me wrong; in faith, i gave it to the judge\u2019s clerk.would he were gelt that had it, for my part,since you do take it, love, so much at heart.gratiano: a quarrel, ho, already! what\u2019s the matter? portia: about a hoop of gold, a paltry ring that she did give me, whose posy wasfor all the world like cutler\u2019s poetryupon a knife, \u2018love me, and leave me not\u2019.gratiano: what talk you of the posy or the value? you swore to me, when i did give it you,that you would wear it till your hour of death,and that it should lie with you in your grave;though not for me, yet for your vehement oaths,you should have been respective and have kept it.gave it a judge\u2019s clerk! no, god\u2019s my judge,the clerk will ne\u2019er wear hair on\u2019s face that had it.nerissa: he will, an if he live to be a man. gratiano: ay, if a woman live to be a man. nerissa: now by this hand i gave it to a youth, a kind of boy, a little scrubbed boyno higher than thyself, the judge\u2019s clerk;a prating boy that begg\u2019d it as a fee;i could not for my heart deny it him.gratiano: you were  to blame,  i must  be plain  with you,  to part so slightly  with your wife\u2019s  first gift, a thing  stuck  on with oaths  upon  your finger   and so riveted  with faith unto your flesh. i gave  my love a ring, and made  him swear   never  to part with it, and here he stands; i dare be sworn  for him he would  not leave  it  nor pluck  it from his finger  for the wealth   that the world  masters.  now,  in faith gratiano,   you give your wife too unkind  a cause  of grief;   an \u2019twere  to me, i should  be mad at it.portia: [aside ] why, i were best to cut my left hand off, and swear i lost the ring defending it.bassanio: 06_0486_ 33_2015_1. 2 \u00a9 ucles 20156",
            "7": "70656055504540my lord bassanio gave his ring away unto the judge that begg\u2019d it, and indeeddeserv\u2019d it too; and then the boy, his clerk,that took some pains in writing, he begg\u2019d mine;and neither man nor master would take aughtbut the two rings.gratiano: what ring gave you, my lord? not that, i hope, which you receiv\u2019d of me.portia: if i could add a lie unto a fault, i would deny it; but you see my fingerhath not the ring upon it; it is gone.bassanio: even so void is your false heart of truth; by heaven, i will ne\u2019er come in your beduntil i see the ring.portia: nor i in yours till i again see mine.nerissa: sweet portia, if you did know to whom i gave the ring,if you did know for whom i gave the ring,and would conceive for what i gave the ring,and how unwillingly i left the ring.when nought would be accepted but the ring,you would abate the strength of your displeasure.bassanio: if you had known the virtue of the ring, or half her worthiness that gave the ring,or your own honour to contain the ring,you would not then have parted with the ring,what man is there so much unreasonable,if you had pleas\u2019d to have defended itwith any terms of zeal, wanted the modestyto urge the thing held as a ceremony?nerissa teaches me what to believe:i\u2019ll die for\u2019t but some woman had the ring.portia: [from act 5 scene1 ] how does shakespeare make this such an entertaining and satisfying moment in the play? or 6 \u2018a kinder  gentleman  treads  not the earth. \u2019 to what  extent  does  shakespeare \u2019s portrayal  of antonio  persuade  you that this opinion  of him is true? [turn  over 06_0486_ 33_2015_1. 2 \u00a9 ucles 20157",
            "8": "403530252015105william  shakespeare:  a midsummer  night \u2019s dream   remember  to support  your  ideas  with details  from  the text. either  7 read  this passage,  and then  answer  the question  that follows  it: dark night, that from the eye his function takes, the ear more quick of apprehension makes;wherein it doth impair the seeing sense,it pays the hearing double recompense.thou art not by mine eye, lysander, found;mine ear, i thank it, brought me to thy sound.but why unkindly didst thou leave me so?hermia: why should he stay whom love doth press to go? lysander: what love could press lysander from my side? hermia: lysander\u2019s love, that would not let him bide \u2013 fair helena, who more engilds the nightthan all yon fiery oes and eyes of light.why seek\u2019st thou me? could not this make thee knowthe hate i bare thee made me leave thee so?lysander: you speak not as you think; it cannot be. hermia: lo, she is one of this confederacy! now i perceive they have conjoin\u2019d all threeto fashion this false sport in spite of me.injurious hermia! most ungrateful maid!have you conspir\u2019d, have you with these contriv\u2019d,to bait me with this foul derision?is all the counsel that we two have shar\u2019d,the sisters\u2019 vows, the hours that we have spent,when we have chid the hasty-footed timefor parting us \u2013 o, is all forgot?all school-days\u2019 friendship, childhood innocence?we, hermia, like two artificial gods,have with our needles created both one flower,both on one sampler, sitting on one cushion,both warbling of one song, both in one key;as if our hands, our sides, voices, and minds,had been incorporate. so we grew together.like to a double cherry, seeming parted,but yet an union in partition,two lovely berries moulded on one stem;so, with two seeming bodies, but one heart;two of the first, like coats in heraldry,due but to one, and crowned with one crest.and will you rent our ancient love asunder,to join with men in scorning your poor friend?it is not friendly,\u2019tis not maidenly;our sex, as well as i, may chide you for it,though i alone do feel the injury.helena: 06_0486_ 33_2015_1. 2 \u00a9 ucles 20158",
            "9": "706560555045i am amazed at your passionate words; i scorn you not; it seems that you scorn me.hermia: have you not set lysander, as in scorn, to follow me and praise my eyes and face?and made your other love, demetrius,who even but now did spurn me with his foot,to call me goddess, nymph, divine, and rare,precious, celestial? wherefore speaks he thisto her he hates? and wherefore doth lysanderdeny your love, so rich within his soul,and tender me, forsooth, affection,but by your setting on, by your consent?what though i be not so in grace as you,so hung upon with love, so fortunate,but miserable most, to love unlov\u2019d?this you should pity rather than despise.helena: i understand not what you mean by this. hermia: ay, do \u2013 persever, counterfeit sad looks, make mouths upon me when i turn my back,wink each at other; hold the sweet jest up;this sport, well carried, shall be chronicled.if you have any pity, grace, or manners,you would not make me such an argument.but fare ye well; \u2019tis partly my own fault,which death, or absence, soon shall remedy.helena: stay, gentle helena; hear my excuse; my love, my life, my soul, fair helena!lysander: o excellent! helena: [from act 3 scene 2 ] in what ways does shakespeare make this such an emotional and dramatic moment in the play? or 8 to what  extent  do you think  that shakespeare  suggests  that \u2018love  is blind\u2019  in the play? [turn  over 06_0486_ 33_2015_1. 2 \u00a9 ucles 20159",
            "10": "3530252015105william shakespeare: the tempest remember to support your ideas with details from the text. either  9 read this passage, and then answer the question that follows it: prospero and ariel remain, invisible. enter caliban, stephano, and trinculo, all wet. pray you, tread softly, that the blind mole may not hear a foot fall; we now are near his cell.caliban: monster, your fairy, which you say is a harmless fairy, has done little better than play\u2019d the jack with us.stephano: monster, i do smell all horse-piss at which my nose is in great indignation. trinculo : so is mine. do you hear, monster? if i should take a displeasure against you, look you \u2013stephano: thou wert but a lost monster. trinculo: good my lord, give me thy favour still. be patient, for the prize i\u2019ll bring thee toshall hoodwink this mischance; therefore speak softly.all\u2019s hush\u2019d as midnight yet.caliban: ay, but to lose our bottles in the pool! trinculo : there is not only disgrace and dishonour in that, monster, but an infinite loss. stephano: that\u2019s more to me than my wetting; yet this is your harmless fairy, monster. trinculo: stephano:  i will fetch  off my bottle,  though  i be o\u2019er ears for my labour. prithee, my king, be quiet. seest thou here, this is the mouth o\u2019 th\u2019 cell; no noise, and enter.do that good mischief which may make this island,thine own for ever, and i, thy caliban,for aye thy foot-licker.caliban: give me thy hand. i do begin to have bloody thoughts. stephano: o king stephano! o peer! o worthy stephano! look what a wardrobe here is for thee! trinculo: let it alone, thou fool; it is but trash. caliban: o, ho, monster; we know what belongs to a frippery. o king stephano! trinculo : put off that gown, trinculo; by this hand, i\u2019ll have that gown. stephano: thy grace shall have it. trinculo : the dropsy drown this fool! what do you mean to dote thus on such luggage? let\u2019t alone,and do the murder first. if he awakefrom toe to crown he\u2019ll fill our skins with pinches;make us strange stuff.caliban: be you quiet, monster. mistress line, is not this my jerkin? now is the jerkin under the line; now, jerkin, you are like to lose your hair, and prove a bald jerkin.stephano: do, do. we steal by line and level, an\u2019t like your grace. trinculo: 06_0486_ 33_2015_1. 2 \u00a9 ucles 201510",
            "11": "6055504540i thank thee for that jest; here\u2019s a garment for\u2019t. wit shall not go unrewarded while i am king of this country. \u2018steal by line and level\u2019 is an excellent pass of pate; there\u2019sanother garment for\u2019t.stephano: monster, come, put some lime upon your fingers, and away with the rest. trinculo : i will have none on\u2019t. we shall lose our time, and all be turn\u2019d to barnacles, or to apeswith foreheads villainous low.caliban: monster, lay-to your fingers; help to bear this away where my hogshead of wine is, or i\u2019ll turn you out of my kingdom. go to, carry this.stephano: and this. trinculo : ay, and this. stephano: a noise of hunters heard. enter divers spirits, in shape of dogs and hounds, hunting them about; prospero and ariel setting them on. hey, mountain, hey! prospero: silver! there it goes, silver! ariel: fury, fury! there, tyrant, there! hark, hark! [caliban, stephano, and trinculo are driven out ] go charge my goblins that they grind their jointswith dry convulsions, shorten up their sinewswith aged cramps, and more pinch-spotted make themthan pard or cat o\u2019 mountain.prospero: hark, they roar. ariel: let them be hunted soundly. at this hour lies at my mercy all mine enemies.shortly shall all my labours end, and thoushalt have the air at freedom; for a littlefollow, and do me service.prospero: [from act 4 scene 1 ] how does shakespeare make this moment in the play so entertaining and yet serious at the same time? or 10 explore  the ways  in which  shakespeare  memorably  portrays  the relationship  between  prospero  and  ariel. [turn  over 06_0486_ 33_2015_1. 2 \u00a9 ucles 201511",
            "12": "3530252015105oscar wilde: the importance of being earnest remember to support your ideas with details from the text. either  11 read  this passage,  and then  answer  the question  that follows  it: charming day it has been, miss fairfax. jack: pray don\u2019t talk to me about the weather, mr worthing. whenever people talk to me about the weather, i always feel quite certain that they mean something else. andthat makes me so nervous.gwendolen: i do mean something else. jack: i thought so. in fact, i am never wrong. gwendolen: and i would like to be allowed to take advantage of lady bracknell\u2019s temporary absence. . . .jack: i would certainly advise you to do so. mamma has a way of coming back suddenly into a room that i have often had to speak to her about.gwendolen: [nervously ] miss fairfax, ever since i met you i have admired you more than any g i r l...ih a v ee v e rm e ts i n c e...im e ty o u .jack: yes, i am quite well aware of the fact. and i often wish that in public, at any rate, you had been more demonstrative. for me you have always had an irresistiblegwendolen: fascination. even before i met you i was far from indifferent to you. [jack looks at her in amazement .] we live, as i hope you know, mr worthing, in an age of ideals. the fact is constantly mentioned in the more expensive monthly magazines, andhas reached the provincial pulpits, i am told; and my ideal has always been to lovesomeone of the name of ernest. there is something in that name that inspiresabsolute confidence. the moment algernon first mentioned to me that he had afriend called ernest, i knew i was destined to love you. you really love me, gwendolen? jack: passionately! gwendolen: darling! you don\u2019t know how happy you\u2019ve made me. jack: my own ernest! gwendolen: but you don\u2019t really mean to say that you couldn\u2019t love me if my name wasn\u2019t ernest? jack: but your name is ernest. gwendolen: yes, i know it is. but supposing it was something else? do you mean to say you couldn\u2019t love me then?jack: [glibly] ah! that is clearly a metaphysical speculation, and like most metaphysical speculations has very little reference at all to the actual facts of real life, as we knowthem.gwendolen: personally, darling, to speak quite candidly, i don\u2019t much care about the name of e r n e s t i don\u2019t think the name suits me at all.jack: it suits you perfectly. it is a divine name. it has music of its own. it produces vibrations.gwendolen: well, really, gwendolen, i must say that i think there are lots of other much nicer names. i think jack, for instance, a charming name.jack: 06_0486_ 33_2015_1. 2 \u00a9 ucles 201512",
            "13": "656055504540jack? . . . no, there is very little music in the name jack, if any at all, indeed. it does not thrill. it produces absolutely no vibrations. ...ih a v ek nown several jacks, andgwendolen: they all, without exception, were more than usually plain. besides, jack is a notorious domesticity for john! and i pity any woman who is married to a man called john.she would probably never be allowed to know the entrancing pleasure of a singlemoment\u2019s solitude. the only really safe name is ernest. gwendolen, i must get christened at once \u2013 i mean we must get married at once. there is no time to be lost.jack: married, mr worthing? gwendolen: [astounded ]w e l l...s u r e l y .y o uk n o wt h a til o v ey o u ,a n dy o ul e dm et ob elieve, miss fairfax, that you were not absolutely indifferent to me.jack: i adore you. but you haven\u2019t proposed to me yet. nothing has been said at all about marriage. the subject has not even been touched on.gwendolen: w e l l...m a yip r opose to you now? jack: i think it would be an admirable opportunity. and to spare you any possible disappointment, mr worthing, i think it only fair to tell you quite frankly beforehandthat i am fully determined to accept you.gwendolen: gwendolen! jack: yes, mr worthing, what have you got to say to me? gwendolen: you know what i have got to say to you. jack: yes, but you don\u2019t say it. gwendolen: gwendolen, will you marry me? [ goes on his knees. ] jack: of course i will, darling. how long you have been about it! i am afraid you have had very little experience in how to propose.gwendolen: my own one, i have never loved anyone in the world but you. jack: yes, but men often propose for practice. i know my brother gerald does. all my girl-friends tell me so. what wonderfully blue eyes you have, ernest! they are quite,gwendolen: quite blue. i hope you will always look at me just like that, especially when there are other people present. [from act 1 ] how does wilde amusingly make it clear to you at this moment in the play that gwendolen is the more powerful partner in her relationship with jack? or 12 jack  describes  lady  bracknell  as \u2018a monster\u2019. how  far does  wilde  convince  you that this is a fair description   of her? 06_0486_ 33_2015_1. 2 \u00a9 ucles 201513",
            "14": "blank page 06_0486_ 33_2015_1. 2 \u00a9 ucles 201514",
            "15": "blank page 06_0486_ 33_2015_1. 2 \u00a9 ucles 201515",
            "16": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_ 33_2015_1. 2 \u00a9 ucles 201516"
        },
        "0486_s15_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages, and 1 insert. dc rcl (km) 96900/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *9280964180*literature (english)  0486/41 paper 4 unseen may/june 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/41/m/j/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. the poet is explaining to his young son why he stays up late at  night writing his poems.  how does the poet\u2019s writing make his thoughts and feelings so vivid for you? to help you answer this question, you might consider:  \u0081 how the poet describes his son\u2019s experiences at the rockpool  \u0081 how he explains to his son his experience of writing  \u0081 how he connects the nature of the two experiences.",
            "3": "3 0486/41/m/j/15 \u00a9 ucles 2015 [turn overwhy do y ou stay up so late? i\u2019ll tell you, if you really want to know: remember that day you lost two years agoat the rockpool where you sat and played the jewellerwith all those stones you\u2019d stolen from the shore?most of them went dark and nothing more,but sometimes one would blink the secret colourit had locked up somewhere in its stony sleep.this is how you knew the ones to keep. so i collect the dull things of the day in which i see some possibilitybut which are dead and which have the surprisei don\u2019t know, and i\u2019ve no pool to help me tell \u2013so i look at them and look at them untilone thing makes a mirror in my eyesthen i paint it with the tear to make it bright.this is why i sit up through the night.",
            "4": "4 0486/41/m/j/15 \u00a9 ucles 2015or 2 read carefully the following extract from a short story. before this extract, walter henderson, an  office worker in new y ork, has been worried that he might lose his job. his boss, george crowell, calls him into his office.  how does the writer make this moment so memorable for you? to help you answer this question, you might consider:  \u0081 how the writer builds tension between walter and crowell  \u0081 how he describes walter\u2019s return to his desk  \u0081 how he strikingly reveals walter\u2019s feelings. \u201cpull up a chair, walt,\u201d he said. \u201csmoke?\u201d \u201cno thanks.\u201d walter sat down and laced his fingers tight between his  knees. crowell shut the cigarette box without taking one for himself, pushed  it aside and leaned forward, both hands spread flat on the plate-glass top of the desk. \u201cwalt, i might as well give you this straight from the shoulder,\u201d he said, and the last shred of hope slipped away. the funny part was that it came as a shock, even so. \u201cmr. harvey and i have felt for some time that you haven\u2019t quite caught on to the work here, and we\u2019ve both very reluctantly come to the conclusion that the best thing to do, in your own best interests as well as ours, is to let you go. now,\u201d he added quickly, \u201cthis is no reflection on you personally, walt. we do a highly specialized kind of work here and we can\u2019t expect everybody to stay on top of the job. in your case particularly, we really feel you\u2019d be happier in some organization better suited to your\u2014abilities.\u201d crowell leaned back, and when he raised his hands their moisture left  two gray, perfect prints on the glass, like the hands of a skeleton. walter stared at them, fascinated, while they shriveled and disappeared. \u201cwell,\u201d he said, and looked up. \u201cy ou put that very nicely, george.  thanks.\u201d crowell\u2019s lips worked into an apologetic, regular guy\u2019s smile. \u201cawfully  sorry,\u201d he said. \u201cthese things just happen.\u201d and he began to fumble with the knobs of his desk drawers, visibly relieved that the worst was over. \u201cnow,\u201d he said, \u201cwe\u2019ve made out a check here covering your salary through the end of next month. that\u2019ll give you something in the way of\u2014severance pay, so to speak\u2014to tide you over until you find something.\u201d he held out a long envelope. \u201cthat\u2019s very generous,\u201d walter said. then there was a silence, and  walter realized it was up to him to break it. he got to his feet. \u201call right, george. i won\u2019t keep you.\u201d crowell got up quickly and came around the desk with both hands  held out\u2014one to shake walter\u2019s hand, the other to put on his shoulder as they walked to the door. the gesture, at once friendly and humiliating, brought a quick rush of blood to walter\u2019s throat, and for a terrible second he thought he might be going to cry. \u201cwell, boy,\u201d crowell said, \u201cgood luck to you.\u201d \u201cthanks,\u201d he said, and he was so relieved to find his voice steady that  he said it again, smiling. \u201cthanks. so long, george.\u201d there was a distance of some fifty feet to be crossed on the way back  to his cubicle, and walter henderson accomplished it with style. he was aware of how trim and straight his departing shoulders looked to crowell; ",
            "5": "5 0486/41/m/j/15 \u00a9 ucles 2015he was aware too, as he threaded his way among desks whose occupants  either glanced up shyly at him or looked as if they\u2019d like to, of every subtle play of well-controlled emotion in his face. it was as if the whole thing were a scene in a movie. the camera had opened the action from crowell\u2019s viewpoint and dollied back 1 to take the entire office as a frame for walter\u2019s  figure in lonely, stately passage; now it came in for a long-held close-up of walter\u2019s face, switched to other brief views of his colleagues\u2019 turning heads (joe collins looking worried, fred holmes trying to keep from looking pleased), and switched again to walter\u2019s viewpoint as it discovered the plain, unsuspecting face of mary, his secretary, who was waiting for him at his desk with a report he had given her to type. \u201ci hope this is all right, mr. henderson.\u201dwalter took it and dropped it on the desk. \u201cforget it, mary,\u201d he said.  \u201clook, you might as well take the rest of the day off, and go see the personnel manager in the morning. y ou\u2019ll be getting a new job. i\u2019ve just been fired.\u201d 1 dollied back : moved along a track (cinema term)",
            "6": "6 0486/41/m/j/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/41/m/j/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/41/m/j/15 \u00a9 ucles 2015permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s15_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages, and 1 insert. dc (rcl (km)) 96905/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *9240781196*literature (english)  0486/42 paper 4 unseen may/june 2015  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/42/m/j/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. at first the poet seems to be waiting for a postal delivery, but as  the poem continues he reflects on the whole experience of waiting.  how does the poet memorably portray his experience of waiting? to help you answer this question, you might consider:  \u0081 how the poet creates a sense of time passing  \u0081 the ways in which he portrays his frustration  \u0081 how his thoughts and feelings develop in the final seven lines.",
            "3": "3 0486/42/m/j/15 \u00a9 ucles 2015 [turn overwaiting in they promised to deliver. so i wait all day, and listen for the bell. the hoursgo by from morning until noon, and lateinto the afternoon. nothing arrives.the time drifts off in bits like vanished lives.the windows show dark clouds like distant towers. a bruised june sky. my birthday came and went. now i wait in, have nothing else to doexcept to wait and let the time be spentin counting minutes, restless, fidgeting,unable to get on with anything,watching the traffic down the avenue. now it\u2019s too late. nothing will come today. a waste of time, a whole day gone like this,emptily, with such trivial delaynagging at age and irritation. wheni draw the heavy curtains, restless, thenthe waiting-in slips into sleeplessness, and a whole day of waiting starts again.",
            "4": "4 0486/42/m/j/15 \u00a9 ucles 2015or 2 read carefully the following extract from a novel. a farmer, brangwen, takes his young daughter to  see the cattle feeding at night. he does this to distract the child who has been crying hysterically. tilly is the family\u2019s servant.  how does the writer strikingly convey to you the atmosphere of this moment?  to help you answer this question, you might consider:  \u0081 how the writer contrasts the night outside with the atmosphere inside the barn  \u0081 how he portrays the child\u2019s responses  \u0081 the effect of this moment on the farmer\u2019s thoughts and feelings. he took a big shawl, folded her round, and went out into the kitchen  for a lantern. \u201cy ou\u2019re never taking the child out, of a night like this,\u201d said tilly.\u201cay 1, it\u2019ll quieten her,\u201d he answered. it was raining. the child was suddenly still, shocked, finding the rain  on its face, the darkness. \u201cwe\u2019ll just give the cows their something-to-eat, afore2 they go to bed,\u201d  brangwen was saying to her, holding her close and sure. there was a trickling of water into the butt, a burst of rain-drops  sputtering on to her shawl, and the light of the lantern swinging, flashing on a wet pavement and the base of a wet wall. otherwise it was black darkness: one breathed darkness. he opened the doors, upper and lower, and they entered into the high,  dry barn, that smelled warm even if it were not warm. he hung the lantern on the nail and shut the door. they were in another world now. the light shed softly on the timbered barn, on the whitewashed walls,  and the great heap of hay; instruments cast their shadows largely, a ladder rose to the dark arch of a loft. outside there was the driving rain, inside, the softly-illuminated stillness and calmness of the barn. holding the child on one arm, he set about preparing the food for the  cows, filling a pan with chopped hay and brewer\u2019s grains and a little meal. the child, all wonder, watched what he did. a new being was created in her for the new conditions. sometimes, a little spasm, eddying from the bygone storm of sobbing, shook her small body. her eyes were wide and wondering, pathetic. she was silent, quite still. in a sort of dream, his heart sunk to the bottom, leaving the surface of  him still, quite still, he rose with the panful of food, carefully balancing the child on one arm, the pan in the other hand. the silky fringe of the shawl swayed softly, grains and hay trickled to the floor; he went along a dimly-lit passage behind the mangers 3, where the horns of the cows pricked out  of the obscurity. the child shrank, he balanced stiffly, rested the pan on the manger wall, and tipped out the food, half to this cow, half to the next. there was a noise of chains running, as the cows lifted or dropped their heads sharply; then a contented, soothing sound, a long snuffing as the beasts ate in silence. the journey had to be performed several times. there was the  rhythmic sound of the shovel in the barn, then the man returned walking stiffly between the two weights, the face of the child peering out from the shawl. then the next time, as he stooped, she freed her arm and put it round his neck, clinging soft and warm, making all easier.",
            "5": "5 0486/42/m/j/15 \u00a9 ucles 2015the beasts fed, he dropped the pan and sat down on a box, to arrange  the child. \u201cwill the cows go to sleep now?\u201d she said, catching her breath as she  spoke. \u201cy es.\u201d\u201cwill they eat all their stuff up first?\u201d\u201cy es. hark at them 4.\u201d and the two sat still listening to the snuffing and breathing of cows  feeding in the sheds communicating with this small barn. the lantern shed a soft, steady light from one wall. all outside was still in the rain. he looked down at the silky folds of the paisley shawl 5. it reminded him of his mother.  she used to go to church in it. he was back again in the old irresponsibility and security, a boy at home. the two sat very quiet. his mind, in a sort of trance, seemed to  become more and more vague. he held the child close to him. a quivering little shudder, re-echoing from her sobbing, went down her limbs. he held her closer. gradually she relaxed, the eyelids began to sink over her dark, watchful eyes. as she sank to sleep, his mind became blank. 1 ay : yes (dialect) 2 afore : before (dialect) 3 mangers : feeding troughs 4 hark at them : listen to them 5 paisley shawl : soft wool shawl with bright design",
            "6": "6 0486/42/m/j/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/42/m/j/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/42/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s15_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages, and 1 insert. dc (km) 96907/2 \u00a9 ucles 2015 [turn overcambridge international examinations cambridge international general certificate of secondary education *1844555085*literature (english)  0486/43 paper 4 unseen may/june 2015  1 hour 15 minutes no additional materials required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/43/m/j/15 \u00a9 ucles 2015answer either question 1 or question 2. either1 read carefully the following poem. in it the poet writes about an albino blackbird a friend had seen.  blackbirds are usually black birds with yellow beaks and yellow rings round their eyes. \u201calbino\u201d means abnormally white.  how does the poet\u2019s writing convey to you her fascination with the albino blackbird? to help you answer this question, you might consider:  \u0081 how the poet imagines the bird at first  \u0081 how her images of the bird change and develop \u0081 the overall impact the bird makes on her.",
            "3": "3 0486/43/m/j/15 \u00a9 ucles 2015 [turn overalbino the truth is, it was only part white; the albino blackbird that came to your gardentwo winters ago \u2013 but into my headcomes this ghost of a bird, shadowless,a white absence, blind negative 1 in the snow. no reflection glidesover the lake where he flies, light and boneless,no sound from his throat. and though you say they never survive; the rare or different, destroyed by their own kindi see how he speeds out of the distance,gathers weight, and darkens, over the milestill he meets his own blackness, grows into lustre; blackbryd, ouzel, merle 2 who quickens the heart as he sings each night from our gate-post;his mouth\u2019s open crocus 3, his eye ringed with gold. 1  negative : photographic image in which black and  white are reversed 2  blackbryd, ouzel, merle : all old names for a  blackbird 3 crocus : small beak-shaped flower",
            "4": "4 0486/43/m/j/15 \u00a9 ucles 2015or 2 read carefully the following extract  from an autobiography. the writer describes a boyhood trip  with his father to the local park. the father swims in the lake, while the boy, who is afraid of water, watches him.  how does the writer vividly convey to you his feelings about this event? to help you answer this question, you might consider:  \u0081 the writer\u2019s descriptions of the lake and the swans  \u0081 his descriptions of his father swimming  \u0081 how his thoughts and feelings about his father develop. instead of walking in the direction of the waterworks, we walked quietly  towards the lake in the centre of the park. swimming here was forbidden. the lake was surrounded by a low iron fence which was only three feet high. so it was not meant to keep people away from the deep water, only to emphasise the prohibition. i had never seen anyone swim here, except a family of swans. i had heard that the lake was maybe forty feet deep. the banks down to the water\u2019s edge were steep and overgrown with tall weeds. one reason i think dad liked this park was its informality. it was more like the countryside than the term \u2018park\u2019 suggested. \u2018y ou wait here and mind this stuff. i won\u2019t be long,\u2019 he said without  looking at me. i was immediately relieved and immediately apprehensive. the edges of the lake had swathes of water reed growing and beyond that a film of algae that looked like green confetti 1. only at the centre could  you see the still black sheen of unmoving water. it looked pretty at first glance, especially when the swans moved across it. but the thought of it was ominous, and the swans scared me. they were not like the birds in the reservoir lakes who were used to the proximity of people with their toy boats and the fishermen and families who often fed them bait or breadcrumbs. the lake swans never got close to human beings because of the fence, the bank and the reeds. the lake was their home and they patrolled it with austere 2 assurance. dad stepped over the fence with the rolled-up towel and swimming  trunks he had brought in the small haversack3. within minutes, he had  changed and was descending the bank. \u2018daddy, daddy, what about the swans?\u2019 i asked, becoming more fearful by the second. i had seen the waterworks swans hissing and charging at dogs they thought were too near their nests. i had watched them stand up and spread their wings, flapping furiously. \u2018the swans won\u2019t come near me,\u2019 dad assured me calmly as he slid down through the waist-high weeds and entered the water like a sea snake. he breasted the reeds and the water without a sound. a few water hens scurried out and skimmed to the far side of the lake. other birds called out their warning at his alien presence in the water. everywhere else around us was complete silence. but dad was no alien here. he swam on through the algae into the  middle of the lake. i saw his head and face crusted with the green scum and his black shiny hair sitting on top of the water. he looked like a seal that had suddenly emerged out of the black depths. then he disappeared again, only to reappear a few seconds later. i watched him intensely and felt lonely and afraid. he moved across the water as if his head was fixed to a submerged stick and an invisible hand was moving it under the surface. he wasn\u2019t himself. there were no signs of movement of a body beneath ",
            "5": "5 0486/43/m/j/15 \u00a9 ucles 2015the dull water. for a moment i hardly recognised the thing in the water. all  i knew was an overwhelming sense of distance between him and me. his hand came up out of the water and made a slight wave. and then he was swallowed up by the lake again. i knew the wave was an encouragement for me to be unafraid; but it was a passing gesture, as if he was only half conscious of me or anything else. there in the middle of the lake he hardly made a splash or a ripple. he seemed so content. water was his element and he melted into it. i didn\u2019t know him. i only knew the man who made aeroplanes and who brought home animals. this aquatic beast who looked back at me like a ponderous seal, rolled languorously 4 as a beaver, shook  his wet hair and snorted like a water buffalo, was from another world. 1 confetti : small pieces of coloured paper thrown in celebration 2 austere : stern or severe 3 haversack : backpack or rucksack 4 languorously : lazily and gracefully",
            "6": "6 0486/43/m/j/15 \u00a9 ucles 2015blank page",
            "7": "7 0486/43/m/j/15 \u00a9 ucles 2015blank page",
            "8": "8 0486/43/m/j/15 \u00a9 ucles 2015blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s16_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (km)) 113909/4 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *3284768983*literature (english)  0486/11 paper 1 poetry and prose may/june 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/11/m/j/16 \u00a9 ucles 2016blank page",
            "3": "3 0486/11/m/j/16 \u00a9 ucles 2016 [turn overcontents section a: poetry text question  numbers page[s] thomas hardy:  from selected poems   1, 2 pages 4\u20135 from jo phillips ed: poems deep & dangerous   3, 4 pages 6\u20137 songs of ourselves volume 2  : from part 1  5, 6 pages 8\u20139 section b: prose text question  numbers page[s] chinua achebe: no longer at ease   7, 8 pages 10\u201311 jane austen: northanger abbey   9, 10 pages 12\u201313 george eliot: silas marner 11, 12  pages 14\u201315 michael frayn: spies 13, 14 pages 16\u201317 susan hill: i\u2019m the king of the castle 15, 16 pages 18\u201319 r. k. narayan: the english teacher 17, 18 pages 20\u201321 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/11/m/j/16 \u00a9 ucles 2016section a: poetry answer one question from this section. thomas hardy: from selected poems remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it:  on the departure platform we kissed at the barrier; and passing through she left me, and moment by moment gotsmaller and smaller, until to my view    she was but a spot; a wee white spot of muslin fluff that down the diminishing platform borethrough hustling crowds of gentle and rough    to the carriage door. under the lamplight\u2019s fitful glowers, behind dark groups from far and near,whose interests were apart from ours,    she would disappear, then show again, till i ceased to see that flexible form, that nebulous white;and she who was more than my life to me    had vanished quite \u2026  we have penned new plans since that fair fond day, and in season she will appear again \u2013perhaps in the same soft white array \u2013    but never as then! \u2013 \u2018and why, young man, must eternally fly a joy you\u2019ll repeat, if you love her well?\u2019\u2013 o friend, nought happens twice thus; why,    i cannot tell!   how does hardy movingly capture a moment in time in on the departure platform ?5 101520",
            "5": "5 0486/11/m/j/16 \u00a9 ucles 2016 [turn overor 2 explore the ways in which hardy vividly conveys the bitter feelings of the speaker in  neutral tones. neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god,and a few leaves lay on the starving sod; \u2013 they had fallen from an ash, and were gray. y our eyes on me were as eyes that rove over tedious riddles of years ago;and some words played between us to and fro on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die;and a grin of bitterness swept thereby like an ominous bird a-wing \u2026  since then, keen lessons that love deceives, and wrings with wrong, have shaped to mey our face, and the god-curst sun, and a tree, and a pond edged with grayish leaves.5 1015",
            "6": "6 0486/11/m/j/16 \u00a9 ucles 2016from jo phillips  ed: poems deep & dangerous remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: first love i ne\u2019er was struck before that hour  with love so sudden and so sweet.her face it bloomed like a sweet flower and stole my heart away complete.my face turned pale as deadly pale, my legs refused to walk away,and when she looked \u2018what could i ail?\u2019 my life and all seemed turned to clay. and then my blood rushed to my face  and took my sight away.the trees and bushes round the place seemed midnight at noonday.i could not see a single thing, words from my eyes did start;they spoke as chords do from the string and blood burnt round my heart. are flowers the winter\u2019s choice?  is love\u2019s bed always snow?she seemed to hear my silent voice and love\u2019s appeal to know.i never saw so sweet a face as that i stood before:my heart has left its dwelling-place and can return no more. (john clare )   how does clare make first love  such a moving poem?5 10 15 20",
            "7": "7 0486/11/m/j/16 \u00a9 ucles 2016 [turn overor 4 how does laskey vividly convey the feelings of the speaker for his son in registers ? registers out of the warm primordial cave of our conversations, jack\u2019s gone.no more chit-chat under the blanketspegged over chairs and nipped in drawers. throughout his first five years an ear always open, at worst ajar,i catch myself still listening outfor sounds of him in the sensible house where nothing stirs but the washing machine which clicks and churns. i\u2019m loosening his armsclasped round my neck, detaching myselffrom his soft protracted kiss goodbye. good boy, diminishing down the long corridors into the huge unknownassembly hall, each word strange,even his name on miss cracknell\u2019s tongue. (michael laskey )5 1015",
            "8": "8 0486/11/m/j/16 \u00a9 ucles 2016songs of ourselves volume 2 : from part 1 remember to support your ideas with details from the writing. either 5 read this poem, and then answer the question that follows it: for my grandmother knitting there is no need they say but the needles still movetheir rhythms in the working of your handsas easilyas if your handswere once again those sure and skilful handsof the fisher-girl. y ou are old now and your grasp of things is not so goodbut master of your moments thendeft and swiftyou slit the still-ticking quick silver fish.hard work it was tooof necessity. but now they say there is no need as the needles movein the working of your handsonce the hands of the bridewith the hand-span waistonce the hands of the miner\u2019s wifewho scrubbed his backin a tin bath by the coal fireonce the hands of the motherof six who made do and mendedscraped and slaved slapped sometimeswhen necessary. but now they say there is no need the kids they say grandmahave too much alreadymore than they can weartoo many scarves and cardigans \u2013gran you do too muchthere\u2019s no necessity. (liz lochhead )   how does lochhead create a moving and affectionate portrait of her grandmother in for  my grandmother knitting ?5 1015 2025 30",
            "9": "9 0486/11/m/j/16 \u00a9 ucles 2016 [turn overor 6 explore the ways in which wordsworth uses imagery to striking effect in \u2018 she was a  phantom of delight\u2019. \u2018she was a phantom of delight\u2019 she was a phantom of delight when first she gleamed upon my sight;a lovely apparition, sentto be a moment\u2019s ornament;her eyes as stars of twilight fair;like twilight\u2019s, too, her dusky hair;but all things else about her drawnfrom may-time and the chearful dawn;a dancing shape, an image gay,to haunt, to startle, and way-lay. i saw her upon nearer view, a spirit, yet a woman too!her household motions light and free,and steps of virgin liberty;a countenance in which did meetsweet records, promises as sweet;a creature not too bright or goodfor human nature\u2019s daily food;for transient sorrows, simple wiles,praise, blame, love, kisses, tears, and smiles. and now i see with eye serene the very pulse of the machine;a being breathing thoughtful breath;a traveller betwixt life and death;the reason firm, the temperate will,endurance, foresight, strength and skill;a perfect woman; nobly planned,to warn, to comfort, and command;and yet a spirit still, and brightwith something of an angel light. (william wordsworth )5 10 15 20 25 30",
            "10": "10 0486/11/m/j/16 \u00a9 ucles 2016section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: obi seemed to look over the shoulders of everyone who came out to  welcome him home. \u2018where is mother?\u2019 his eyes kept asking. he did not know whether she  was still in hospital or at home, and he was afraid to ask. \u2018y our mother returned from hospital last week,\u2019 said his father as they  entered the house. \u2018where is she?\u2019\u2018in her room,\u2019 said eunice, his youngest sister.mother\u2019s room was the most distinctive in the whole house, except  perhaps for father\u2019s. the difficulty in deciding arose from the fact that one could not compare incomparable things. mr okonkwo believed utterly and completely in the things of the white man. and the symbol of the white man\u2019s power was the written word, or better still, the printed word. once before he went to england, obi heard his father talk with deep feeling about the mystery of the written word to an illiterate kinsman: \u2018our women made black patterns on their bodies with the juice of the  uli tree. it was beautiful, but it soon faded. if it lasted two market weeks it  lasted a long time. but sometimes our elders spoke about uli that never  faded, although no one had ever seen it. we see it today in the writing of the white man. if you go to the native court and look at the books which clerks wrote twenty years ago or more, they are still as they wrote them. they do not say one thing today and another tomorrow, or one thing this year and another next year. okoye in the book today cannot become okonkwo tomorrow. in the bible pilate said: \u201cwhat is written is written.\u201d it is uli that never fades.\u2019 the kinsman had nodded his head in approval and snapped his fingers.the result of okonkwo\u2019s mystic regard for the written word was that his  room was full of old books and papers \u2013 from blackie\u2019s arithmetic which he used in 1908 to obi\u2019s durrell, from obsolete cockroach-eaten translations of the bible into the onitsha dialect to yellowed scripture union cards of 1920 and earlier. okonkwo never destroyed a piece of paper. he had two boxes full of them. the rest were preserved on top of his enormous cupboard, on tables, on boxes and on one corner of the floor. mother\u2019s room, on the other hand, was full of mundane things. she  had her box of clothes on a stool. on the other side of the room were pots of solid palm-oil with which she made black soap. the palm-oil was separated from the clothes by the whole length of the room, because, as she always said, clothes and oil were not kinsmen, and just as it was the duty of clothes to try and avoid oil it was also the duty of the oil to do everything to avoid clothes. apart from these two, mother\u2019s room also had such things as last year\u2019s  coco yams, kola nuts preserved with banana leaves in empty oil pots, palm-ash preserved in an old cylindrical vessel which, as the older children told obi, had once contained biscuits. in the second stage of its life it had 5 10152025303540",
            "11": "11 0486/11/m/j/16 \u00a9 ucles 2016 [turn overserved as a water vessel until it sprang about five leaks which had to be  carefully covered with paper before it got its present job. as he looked at his mother on her bed, tears stood in obi\u2019s eyes. she  held out her hand to him and he took it \u2013 all bone and skin like a bat\u2019s wing. \u2018y ou did not see me when i was ill,\u2019 she said. \u2018now i am as healthy as  a young girl.\u2019 she laughed without mirth. \u2018y ou should have seen me three weeks ago. how is your work? are umuofia people in lagos all well? how is joseph? his mother came to see me yesterday and i told her we were expecting you \u2026 \u2019 obi answered: \u2018they are well, yes, yes and yes.\u2019 but his heart all the  while was bursting with grief. [from chapter 13]   how does achebe\u2019s writing make this moment in the novel so moving? or 8 explore the ways in which achebe portrays the relationship between obi and miss marie  tomlinson.45 5055",
            "12": "12 0486/11/m/j/16 \u00a9 ucles 2016jane austen: northanger abbey remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: they passed briskly down pulteney-street, and through laura-place,  without the exchange of many words. thorpe talked to his horse, and she meditated, by turns, on broken promises and broken arches, phaetons and false hangings, tilneys and trap-doors. as they entered argyle-buildings, however, she was roused by this address from her companion, \u2018who is that girl who looked at you so hard as she went by?\u2019 \u2018who?\u2014where?\u2019\u2018on the right-hand pavement\u2014she must be almost out of sight now.\u2019  catherine looked round and saw miss tilney leaning on her brother\u2019s arm, walking slowly down the street. she saw them both looking back at her. \u2018stop, stop, mr. thorpe, she impatiently cried, it is miss tilney; it is indeed.\u2014how could you tell me they were gone?\u2014stop, stop, i will get out this moment and go to them.\u2019 but to what purpose did she speak?\u2014thorpe only lashed his horse into a brisker trot; the tilneys, who had soon ceased to look after her, were in a moment out of sight round the corner of laura-place, and in another moment she was herself whisked into the marketplace. still, however, and during the length of another street, she intreated him to stop. \u2018pray, pray stop, mr. thorpe.\u2014i cannot go on.\u2014i will not go on.\u2014i must go back to miss tilney.\u2019 but mr. thorpe only laughed, smacked his whip, encouraged his horse, made odd noises, and drove on; and catherine, angry and vexed as she was, having no power of getting away, was obliged to give up the point and submit. her reproaches, however, were not spared. \u2018how could you deceive me so, mr. thorpe?\u2014how could you say, that you saw them driving up the lansdown-road?\u2014i would not have had it happen so for the world.\u2014they must think it so strange; so rude of me! to go by them, too, without saying a word! y ou do not know how vexed i am.\u2014i shall have no pleasure at clifton, nor in any thing else. i had rather, ten  thousand times rather get out now, and walk  back to them. how could you say, you saw them driving out in a phaeton?\u2019 thorpe defended himself very stoutly, declared he had never seen two men so much alike in his life, and would hardly give up the point of its having been tilney himself. their drive, even when this subject was over, was not likely to be very  agreeable. catherine\u2019s complaisance was no longer what it had been in their former airing. she listened reluctantly, and her replies were short. blaize castle remained her only comfort; towards that, she still looked  at intervals with pleasure; though rather than be disappointed of the promised walk, and especially rather than be thought ill of by the tilneys, she would willingly have given up all the happiness which its walls could supply\u2014the happiness of a progress through a long suite of lofty rooms, exhibiting the remains of magnificent furniture, though now for many years deserted\u2014the happiness of being stopped in their way along narrow, winding vaults, by a low, grated door; or even of having their lamp, their only lamp, extinguished by a sudden gust of wind, and of being left in total darkness. in the meanwhile, they proceeded on their journey without any mischance; and were within view of the town of keynsham, when a halloo from morland, who was behind them, made his friend pull up, to know what was the matter. the others then came close enough for conversation, and 5 1015202530354045",
            "13": "13 0486/11/m/j/16 \u00a9 ucles 2016 [turn overmorland said, \u2018we had better go back, thorpe; it is too late to go on to-day;  your sister thinks so as well as i. we have been exactly an hour coming from pulteney-street, very little more than seven miles; and, i suppose, we have at least eight more to go. it will never do. we set out a great deal too late. we had much better put it off till another day, and turn round.\u2019 \u2018it is all one to me,\u2019 replied thorpe rather angrily; and instantly turning his  horse, they were on their way back to bath. \u2018if your brother had not got such a d\u2014\u2014beast to drive,\u2019 said he soon  afterwards, \u2018we might have done it very well. my horse would have trotted to clifton within the hour, if left to himself, and i have almost broke my arm with pulling him in to that cursed broken-winded jade\u2019s pace. morland is a fool for not keeping a horse and gig of his own.\u2019 \u2018no, he is not,\u2019 said catherine warmly, \u2018for i am sure he could not afford  it.\u2019 \u2018and why cannot he afford it?\u2019\u2018because he has not money enough.\u2019\u2018and whose fault is that?\u2019\u2018nobody\u2019s, that i know of.\u2019 thorpe then said something in the loud,  incoherent way to which he had often recourse, about its being a d\u2014\u2014thing to be miserly; and that if people who rolled in money could not afford things, he did not know who could; which catherine did not even endeavour to understand. disappointed of what was to have been the consolation for her first disappointment, she was less and less disposed either to be agreeable herself, or to find her companion so; and they returned to pulteney-street without her speaking twenty words. [from chapter 11]   how does austen make you feel sorry for catherine at this moment in the novel? or 10 does austen make it possible for you to have any respect for general tilney as a father?50 55606570",
            "14": "14 0486/11/m/j/16 \u00a9 ucles 2016george eliot: silas marner remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: \u2018sit down, nancy \u2013 there,\u2019 he said, pointing to a chair opposite him. \u2018i  came back as soon as i could, to hinder anybody\u2019s telling you but me. i\u2019ve had a great shock \u2013 but i care most about the shock it\u2019ll be to you.\u2019 \u2018it isn\u2019t father and priscilla?\u2019 said nancy, with quivering lips, clasping her  hands together tightly on her lap. \u2018no, it\u2019s nobody living,\u2019 said godfrey, unequal to the considerate skill with  which he would have wished to make his revelation. \u2018it\u2019s dunstan \u2013 my brother dunstan, that we lost sight of sixteen years ago. we\u2019ve found him \u2013 found his body \u2013 his skeleton.\u2019 the deep dread godfrey\u2019s look had created in nancy made her feel  these words a relief. she sat in comparative calmness to hear what else he had to tell. he went on: \u2018the stone-pit has gone dry suddenly \u2013 from the draining, i suppose;  and there he lies \u2013 has lain for sixteen years, wedged between two great stones. there\u2019s his watch and seals, and there\u2019s my gold-handled hunting-whip, with my name on: he took it away, without my knowing, the day he went hunting on wildfire, the last time he was seen.\u2019 godfrey paused: it was not so easy to say what came next. \u2018do you think  he drowned himself?\u2019 said nancy, almost wondering that her husband should be so deeply shaken by what had happened all those years ago to an unloved brother, of whom worse things had been augured. \u2018no, he fell in,\u2019 said godfrey, in a low but distinct voice, as if he felt some  deep meaning in the fact. presently he added: \u2018dunstan was the man that robbed silas marner.\u2019 the blood rushed to nancy\u2019s face and neck at this surprise and shame,  for she had been bred up to regard even a distant kinship with crime as a dishonour. \u2018oh godfrey!\u2019 she said, with compassion in her tone, for she had  immediately reflected that the dishonour must be felt still more keenly by her husband. \u2018there was the money in the pit,\u2019 he continued \u2013 \u2018all the weaver\u2019s money.  everything\u2019s been gathered up, and they\u2019re taking the skeleton to the rainbow. but i came back to tell you: there was no hindering it; you must know.\u2019 he was silent, looking on the ground for two long minutes. nancy would  have said some words of comfort under this disgrace, but she refrained, from an instinctive sense that there was something behind \u2013 that godfrey had something else to tell her. presently he lifted his eyes  to her face, and  kept them fixed on her, as he said \u2013 \u2018everything comes to light, nancy, sooner or later. when god almighty  wills it, our secrets are found out. i\u2019ve lived with a secret on my mind, but i\u2019ll keep it from you no longer. i wouldn\u2019t have you know it by somebody else, and not by me \u2013 i wouldn\u2019t have you find it out after i\u2019m dead. i\u2019ll tell you now. it\u2019s been \u201ci will\u201d and \u201ci won\u2019t\u201d with me all my life \u2013 i\u2019ll make sure of myself now.\u2019 nancy\u2019s utmost dread had returned. the eyes of the husband and wife  met with awe in them, as at a crisis which suspended affection.5 1015202530354045",
            "15": "15 0486/11/m/j/16 \u00a9 ucles 2016 [turn over\u2018nancy,\u2019 said godfrey, slowly, \u2018when i married you, i hid something from  you \u2013 something i ought to have told you. that woman marner found dead in the snow \u2013 eppie\u2019s mother \u2013 that wretched woman \u2013 was my wife: eppie is my child.\u2019 he paused, dreading the effect of his confession. but nancy sat quite  still, only that her eyes dropped and ceased to meet his. she was pale and quiet as a meditative statue, clasping her hands on her lap. \u2018y ou\u2019ll never think the same of me again,\u2019 said godfrey, after a little while,  with some tremor in his voice. she was silent.\u2018i oughtn\u2019t to have left the child unowned: i oughtn\u2019t to have kept it from  you. but i couldn\u2019t bear to give you up, nancy. i was led away into marrying her \u2013 i suffered for it.\u2019 still nancy was silent, looking down; and he almost expected that she  would presently get up and say she would go to her father\u2019s. how could she have any mercy for faults that must seem so black to her, with her simple severe notions? but at last she lifted up her eyes to his again and spoke. there was no  indignation in her voice \u2013 only deep regret. \u2018godfrey, if you had but told me this six years ago, we could have done  some of our duty by the child. do you think i\u2019d have refused to take her in, if i\u2019d known she was yours?\u2019 at that moment godfrey felt all the bitterness of an error that was not  simply futile, but had defeated its own end. he had not measured this wife with whom he had lived so long.  [from chapter 18]   how does eliot make this moment in the novel so powerful? or 12 explore the ways in which eliot makes the relationship between silas and dolly so  moving.50 55606570",
            "16": "16 0486/11/m/j/16 \u00a9 ucles 2016michael frayn: spies remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: the sound of the train has died away.                                                           content removed due to copyright restrictions.",
            "17": "17 0486/11/m/j/16 \u00a9 ucles 2016 [turn over      we walk on past the mouldering boot, past the nettles and the  little field of dock and sorrel, past the sycamore with the rope hanging from  it, until at last we are out of that skulking, ancient land beyond the tunnel. [from chapter 6]   how does frayn make this such a tense moment in the novel? or 14 how does frayn make barbara such a memorable character? content removed due to copyright restrictions.",
            "18": "18 0486/11/m/j/16 \u00a9 ucles 2016susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: at once, kingshaw went to the window, averting his eyes from the moths.  the rain was driving across the lawn now, into the yew trees, battering against the window. it was gone nine o\u2019clock, and already dusk, because of the heavy clouds. the windows were bolted. it took him a long time to ram back the stiff  metal, and he split his thumbnail down one side. the window-ledges were filthy. he dared not turn round and look back into the room, at the stiff, animal bodies and the dead fish, and the rows of outstretched moths underneath their glass lids. he tugged and heaved at both the tall windows, until his arms felt wrenched from their sockets, and his chest ached. he could not move them, nobody had opened them for years. he went on trying, though, long after he knew that it was useless, because, as long as he pulled desperately at the windows, he was not having to turn and face the silent room. but in the end, he let go, and began to cry with frustration. after a time he thought, it\u2019s only about eight o\u2019clock, everybody\u2019s up,  if i shout and shout they\u2019ll come for me. but he knew that he would not shout, he would not do anything to make hooper feel that he had won. eventually, his mother would go up to bed, and then he could bang on the door, someone would come to him. he just had to wait, that was all. he sat on the window ledge. if hooper had come back now, he would  have \u2026 but he could not imagine what he might do. the fight with hooper on the first day had shocked him, though he had not been hurt himself. a burst of rain spattered against the window.looking out onto the lawn, he could see the shadows of the yew trees,  tossing in the wind. he thought suddenly of the figures of men, hiding out there, watching him, lying in wait. the rhododendrons were bunched together in peculiar shapes, on either side of the long drive. he dared not go on looking, he turned his back on the garden and walked forward a little way, into the room. he thought, i ought to switch on the standard lamp and look in the  cupboards for a book to read, i ought not to be a baby. when they come past, i shall call out, that\u2019s all. he would not tell them about hooper. he knew that the lamp would cast shadows, but only in this one small  corner, by the bookcases, the rest of the room would be in darkness. he did not think he would mind, if he sat up close to the books, in the circle of the lamp \u2026  it was very important to stand up to hooper, even if only he himself knew  that he had done so. it was the most important thing of all. kingshaw lifted his arm up to the standard lamp. as the light came on, a  moth emerged from inside the shade, brushing against his hand as it flew, and began to beat about the glow. in the end, they did come, through the hall on their way upstairs, laughing  together. he called out. they opened the door. he said stiffly, \u2018i got locked in.\u2019his mother stood, frowning, looking to mr hooper for guidance. mr  hooper took a few steps nearer to kingshaw. \u2018i\u2019m all right,\u2019 he said. \u2018it\u2019s o.k. i just got locked in. goodnight,\u2019 and raced 5 1015202530354045",
            "19": "19 0486/11/m/j/16 \u00a9 ucles 2016 [turn overfor the stairs, before the questions could begin. in the lavatory he was  violently sick. hooper said the next morning, \u2018he\u2019s stupid. why didn\u2019t he shout, then? i  didn\u2019t know he was in there, i never know what kingshaw does.\u2019  [from chapter 3]   how does hill\u2019s writing vividly convey kingshaw\u2019s state of mind at this moment in the  novel? or 16 explore the ways in which hill makes the visit to leydell castle so memorable and  significant.50",
            "20": "20 0486/11/m/j/16 \u00a9 ucles 2016r. k. narayan: the english teacher remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: the first thing that woke me in the morning was the cold hands of  my daughter placed on my forehead and the shout \u201cappa\u201d (father), or sometimes she just sat, with her elbows on the ground and her chin between her palms, gazing into my face as i lay asleep. whenever i opened my eyes in  the morning, i saw her face close to mine, and her eyes  scrutinizing my face. i do not know what she found so fascinating there. her eyes looked like a pair of dark butterflies dancing with independent life, at such close quarters. \u201coh, father has woken up!\u201d she cried happily. i looked at her with  suspicion and asked: \u201cwhat have you been trying to do so close to me?\u201d \u201ci only wanted to watch, that is  all. i didn\u2019t wake you up.\u201d \u201cwatch what?\u201d\u201ci wanted to watch if  any ant or fly was going to get into you through your  nose, that is all\u2026 .\u201d \u201cdid any get in?\u201d\u201cno. because i was watching.\u201d there was a hint in her tone as if a sentry  had mounted guard against a formidable enemy. \u201cwhat do you do when you sleep, father?\u201d once again a question that  could not be answered by an adult; perhaps only another child could find an answer for it. \u201ci was saying something close to you and yet you didn\u2019t reply.\u201d \u201cwhat were you saying?\u201d\u201ci said: there is a peppermint, open your mouth!\u201dafter these preambles we left the bed. i rolled her about a little on  the mattress and then she sat up and picked a book from my table and commanded: \u201cread this story.\u201d i had no story book on my table. she usually picked up some heavy critical work and brought it to me. when i put it   back on the table, she brought out her usual catalogue of the calcutta mail order firm, and asked me to read out of it. this happened almost every morning. i had to put away the book gently and say to her: \u201cnot now. we must first wash.\u201d \u201cwhy?\u201d\u201cthat is  how it must be done.\u201d \u201cno. we must first read stories,\u201d she corrected me.\u201cwe must first wash, and then read stories,\u201d i persisted.\u201cwhy?\u201d\u201cbecause it is goddess saraswathi and we must never touch her without  washing.\u201d \u201cwhat will she do if we touch her without washing?\u201d\u201cshe will be very unhappy, and she is the goddess of learning, you see,  and if you please her by washing and being clean, she will make you very learned.\u201d \u201cwhy should i be learned?\u201d\u201cy ou can read a lot of stories yourself without my help.\u201d\u201coh! what will you do then?\u201d she asked, as if pitying a man who would  lose his only employment in life.5 1015202530354045",
            "21": "21 0486/11/m/j/16 \u00a9 ucles 2016 [turn overit was as a matter of fact my chief occupation in life. i cared for little  else. i felt a thrill of pride whenever i had to work and look after the child. it seemed a noble and exciting occupation\u2014the sole responsibility for a growing creature. [from chapter 4]   explore the ways in which narayan vividly portrays the relationship between father and  daughter at this moment in the novel. or 18 how far does narayan persuade you that the headmaster whose school leela attends is  an admirable character?50",
            "22": "22 0486/11/m/j/16 \u00a9 ucles 2016robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: as bradshaw left, the lawyer looked at his watch. \u2018and now, poole, let us  get to ours,\u2019 he said; and taking the poker under his arm, he led the way into the yard. the scud had banked over the moon, and it was now quite dark. the wind, which only broke in puffs and draughts into that deep well of building, tossed the light of the candle to and fro about their steps, until they came into the shelter of the theatre, where they sat down silently to wait. london hummed solemnly all around; but nearer at hand, the stillness was only broken by the sound of a footfall moving to and fro along the cabinet floor. \u2018so it will walk all day, sir,\u2019 whispered poole; \u2018ay, and the better part of the  night. only when a new sample comes from the chemist, there\u2019s a bit of a break. ah, it\u2019s an ill conscience that\u2019s such an enemy to rest! ah, sir, there\u2019s blood foully shed in every step of it! but hark again, a little closer \u2013 put your heart in your ears, mr utterson, and tell me, is that the doctor\u2019s foot?\u2019 the steps fell lightly and oddly, with a certain swing, for all they went  so slowly; it was different indeed from the heavy creaking tread of henry jekyll. utterson sighed. \u2018is there never anything else?\u2019 he asked. poole nodded. \u2018once,\u2019 he said. \u2018once i heard it weeping!\u2019\u2018weeping? how that?\u2019 said the lawyer, conscious of a sudden chill of  horror. \u2018weeping like a woman or a lost soul,\u2019 said the butler. \u2018i came away with  that upon my heart, that i could have wept too.\u2019 but now the ten minutes drew to an end. poole disinterred the axe from  under a stack of packing straw; the candle was set upon the nearest table to light them to the attack; and they drew near with bated breath to where that patient foot was still going up and down, up and down in the quiet of the night. \u2018jekyll,\u2019 cried utterson, with a loud voice, \u2018i demand to see you.\u2019 he  paused a moment, but there came no reply. \u2018i give you fair warning, our suspicions are aroused, and i must and shall see you,\u2019 he resumed; \u2018if not by fair means, then by foul \u2013 if not of your consent, then by brute force!\u2019 \u2018utterson,\u2019 said the voice, \u2018for god\u2019s sake, have mercy!\u2019\u2018ah, that\u2019s not jekyll\u2019s voice \u2013 it\u2019s hyde\u2019s!\u2019 cried utterson. \u2018down with the  door, poole!\u2019 poole swung the axe over his shoulder; the blow shook the building, and  the red baize door leaped against the lock and hinges. a dismal screech, as of mere animal terror, rang from the cabinet. up went the axe again, and again the panels crashed and the frame bounded; four times the blow fell; but the wood was tough and the fittings were of excellent workmanship; and it was not until the fifth that the lock burst in sunder, and the wreck of the door fell inwards on the carpet. the besiegers, appalled by their own riot and the stillness that had  succeeded, stood back a little and peered in. there lay the cabinet before their eyes in the quiet lamplight, a good fire glowing and chattering on the hearth, the kettle singing its thin strain, a drawer or two open, papers neatly set forth on the business table, and nearer the fire, the  things laid  out for tea; the quietest room, you would have said, and, but for the glazed presses full of chemicals, the most commonplace that night in london.5 1015202530354045",
            "23": "23 0486/11/m/j/16 \u00a9 ucles 2016 [turn overright in the midst there lay the body of a man sorely contorted and still  twitching. they drew near on tiptoe, turned it on its back, and beheld the face of edward hyde. he was dressed in clothes far too large for him, clothes of the doctor\u2019s bigness; the cords of his face still moved with a semblance of life, but life was quite gone; and by the crushed phial in the hand and the strong smell of kernels that hung upon the air, utterson knew that he was looking on the body of a self-destroyer. [from chapter 8, \u2018the last night\u2019]   how does stevenson make this such a powerful moment in the novel? or 20 explore the ways in which stevenson makes hyde such a hateful character.50 55",
            "24": "24 0486/11/m/j/16 \u00a9 ucles 2016from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the prison (by bernard malamud), and then answer the question  that follows it: he cursed the candy store and rosa, and cursed, from its beginning, his  unhappy life. it was on one of these bad mornings that a ten-year-old girl from around  the block came in and asked for two rolls of colored tissue paper, one red and one yellow. he wanted to tell her to go to hell and stop bothering, but instead went with bad grace to the rear, where rosa, whose bright idea it was to keep the stuff, had put it. he went from force of habit, for the girl had been coming in every monday since the summer for the same thing, because her rock-faced mother, who looked as if she arranged her own widowhood, took care of some small kids after school and gave them the paper to cut out dolls and such things. the girl, whose name he didn\u2019t know, resembled her mother, except her features were not quite so sharp and she had very light skin with dark eyes; but she was a plain kid and would be more so at twenty. he had noticed, when he went to get the paper, that she always hung back as if afraid to go where it was dark, though he kept the comics there and most of the other kids had to be slapped away from them; and that when he brought her the tissue paper her skin seemed to grow whiter and her eyes shone. she always handed him two hot dimes and went out without glancing back. it happened that rosa, who trusted nobody, had just hung a mirror on  the back wall, and as tommy opened the drawer to get the girl her paper this monday morning that he felt so bad, he looked up and saw in the glass something that made it seem as if he were dreaming. the girl had disappeared, but he saw a white hand reach into the candy case for a chocolate bar and for another, then she came forth from behind the counter and stood there, innocently waiting for him. he felt at first like grabbing her by the neck and socking till she threw up, but he had been caught, as he sometimes was, by this thought of how his uncle dom, years ago before he went away, used to take with him tony alone of all the kids, when he went crabbing to sheepshead bay. once they went at night and threw the baited wire traps into the water and after a while pulled them up and they had this green lobster in one, and just then this fat-faced cop came along and said they had to throw it back unless it was nine inches. dom said it was nine inches, but the cop said not to be a wise guy so dom measured it and it was ten, and they laughed about that lobster all night. then he remembered how he had felt after dom was gone, and tears filled his eyes. he found himself thinking about the way his life had turned out, and then about this girl, moved that she was so young and a thief. he felt he ought to do something for her, warn her to cut it out before she got trapped and fouled up her life before it got started. his urge to do this was strong, but when he went forward she looked up frightened because he had taken so long. the fear in her eyes bothered him and he didn\u2019t say anything. she thrust out the dimes, grabbed at the tissue rolls and ran out of the store. he had to sit down. he kept trying to make the desire to speak to her  go away, but it came back stronger than ever. he asked himself what difference does it make if she swipes candy \u2013 so she swipes it; and the role of reformer was strange and distasteful to him, yet he could not convince 5 1015202530354045",
            "25": "25 0486/11/m/j/16 \u00a9 ucles 2016himself that what he felt he must do was unimportant. but he worried he  would not know what to say to her. always he had trouble speaking right, stumbled over words, especially in new situations. he was afraid he would sound like a jerk and she would not take him seriously. he had to tell her in a sure way so that even if it scared her, she would understand he had done it to set her straight. he mentioned her to no one but often thought about her, always looking around whenever he went outside to raise the awning or wash the window, to see if any of the girls playing in the street was her, but they never were. the following monday, an hour after opening the store he had smoked a full pack of butts. he thought he had found what he wanted to say but was afraid for some reason she wouldn\u2019t come in, or if she did, this time she would be afraid to take the candy. he wasn\u2019t sure he wanted that to happen until he had said what he had to say. but at about eleven, while he was reading the news, she appeared, asking for  the tissue paper, her eyes shining so he had to look away. he knew she meant to steal. going to the rear he slowly opened the drawer, keeping his head lowered as he sneaked a look into the glass and saw her slide behind the counter. his heart beat hard and his feet felt nailed to the floor. he tried to remember what he had intended to do, but his mind was like a dark, empty room so he let her, in the end, slip away and stood tongue-tied, the dimes burning his palm.   in what ways does malamud\u2019s writing make you feel sympathy for tommy here? or 22 how does ballard create such a horrifying vision of the future in billennium ?50 556065",
            "26": "26 0486/11/m/j/16 \u00a9 ucles 2016blank page",
            "27": "27 0486/11/m/j/16 \u00a9 ucles 2016blank page",
            "28": "28 0486/11/m/j/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s16_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rcl (km)) 113911/4 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education * 8 9 6 9 3 6 4 9 8 0 *literature (english)  0486/12 paper 1  poetry and prose  may/june 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/12/m/j/16 \u00a9 ucles 2016blank page",
            "3": "3 0486/12/m/j/16 \u00a9 ucles 2016 [turn overcontents section a: poetry text\t question \t numbers\t page[s] thomas hardy: from  selected poems   1, 2 pages  4\u20135 from jo phillips ed: poems deep & dangerous   3, 4 pages  6\u20137 songs of ourselves volume 2    : from  part 1   5, 6 pages  8\u201310 section b: prose text\t question \t numbers\t page[s] chinua achebe: no longer at ease   7, 8 pages  12\u201313 jane austen:  northanger abbey   9, 10  pages  14\u201315 george eliot:  silas marner  11, 12  pages  16\u201317 michael frayn:  spies  13, 14  pages  18\u201319 susan hill:  i\u2019m the king of the castle  15, 16  pages  20\u201321 r. k. narayan:  the english teacher  17, 18  pages  22\u201323 robert louis stevenson:  the strange case of dr jekyll and mr hyde  19, 20  pages  24\u201325 from stories of ourselves  21, 22  pages  26\u201327",
            "4": "4 0486/12/m/j/16 \u00a9 ucles 2016section a: poetry answer one question from this section. thomas hardy: from selected \tpoems remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it:  the darkling thrush i leant upon a coppice gate  when frost was spectre-gray, and winter\u2019s dregs made desolate  the weakening eye of day. the tangled bine-stems scored the sky  like strings of broken lyres, and all mankind that haunted nigh  had sought their household fires. the land\u2019s sharp features seemed to be  the century\u2019s corpse outleant, his crypt the cloudy canopy,  the wind his death-lament. the ancient pulse of germ and birth  was shrunken hard and dry, and every spirit upon earth  seemed fervourless as i. at once a voice arose among  the bleak twigs overhead in a full-hearted evensong  of joy illimited; an aged thrush, frail, gaunt, and small,  in blast-beruffled plume, had chosen thus to fling his soul  upon the growing gloom. so little cause for carolings  of such ecstatic sound was written on terrestrial things  afar or nigh around, that i could think there trembled through  his happy good-night air some blessed hope, whereof he knew  and i was unaware.   how does hardy vividly depict the harshness of winter in the darkling thrush ?5 10 15 20 25 30",
            "5": "5 0486/12/m/j/16 \u00a9 ucles 2016 [turn overor 2 explore the ways in which hardy movingly conveys the feelings of the speaker in at the  word \u2018farewell\u2019 . at the word \u2018farewell\u2019 she looked like a bird from a cloud    on the clammy lawn, moving alone, bare-browed    in the dim of dawn. the candles alight in the room    for my parting meal made all things withoutdoors loom    strange, ghostly, unreal. the hour itself was a ghost,    and it seemed to me then as of chances the chance furthermost    i should see her again. i beheld not where all was so fleet    that a plan of the past which had ruled us from birthtime to meet    was in working at last: no prelude did i there perceive    to a drama at all, or foreshadow what fortune might weave    from beginnings so small; but i rose as if quicked by a spur    i was bound to obey, and stepped through the casement to her    still alone in the gray. \u2018i am leaving you \u2026 farewell!\u2019 i said    as i followed her on by an alley bare boughs overspread;    \u2018i soon must be gone!\u2019 even then the scale might have been turned    against love by a feather, \u2013 but crimson one cheek of hers burned    when we came in together.5 10 15 20 25 30",
            "6": "6 0486/12/m/j/16 \u00a9 ucles 2016from jo phillips \ted:\tpoems \tdeep \t&\tdangerous remember to support your ideas with details from the writing. either  3  read this poem, and then answer the question that follows it:  football after school (to kerry ) y ou\u2019ll be one of them in a few years, warpaint slicked over your face \u2013 your common language jeers, dribbling the sun about the place with the premature swagger of manhood, butting it with your head: your school tie a stiff striped dagger. y es, soon you\u2019ll be picking scabs of kisses off your skin as each kick makes you dwarf a tree, and stab a flower; the unset homework between margins of this makeshift pitch teaching you more than a textbook how to survive any monster\u2019s switch. y et as i look at your porcelain skin, their granite jowls, i wonder if you\u2019ll ever know how to dodge bruises on your shins from studded boots, be clever enough to tackle fouls with something more than inkstained fists and feet. perhaps you\u2019ll be too vulnerable for living \u2013 not hooligan enough to trample into the sod your shadow that grows twice as fast as yourself, to sample punches below the belt from one you know without flinching. i can\u2019t prevent crossbones on your knees turn bullies into cement \u2013 or confiscate the sun they\u2019ll puncture and put out. in their robust world i\u2019m no amazon. i can only scream inside without a shout for you not to inherit my fragility: never to love too much or be aged as i was by youth\u2019s anxiety. (patricia mccarthy )   how does mccarthy movingly depict the mother\u2019s feelings for her son in football after  school ?5 10 15 20 25 30 35",
            "7": "7 0486/12/m/j/16 \u00a9 ucles 2016 [turn overor 4 explore the ways in which shakespeare makes the sonnet the marriage of true minds   such a powerful expression of what love means. the marriage of true minds let me not to the marriage of true minds admit impediments. love is not love which alters when it alteration finds, or bends with the remover to remove: o, no! it is an ever-fix\u00e8d mark, that looks on tempests and is never shaken; it is the star to every wandering bark, whose worth\u2019s unknown, although his height be taken. love\u2019s not time\u2019s fool, though rosy lips and cheeks within his bending sickle\u2019s compass come; love alters not with his brief hours and weeks, but bears it out even to the edge of doom. if this be error, and upon me prov\u2019d, i never writ, nor no man ever lov\u2019d. (william shakespeare )5 10",
            "8": "8 0486/12/m/j/16 \u00a9 ucles 2016songs \tof\tourselves \tvolume \t2: from part 1 remember to support your ideas with details from the writing. either  5 how do the poets write memorably about love in the clod and the pebble (by william  blake) and song (by lady mary wroth)? the clod and the pebble \u2018love seeketh not itself to please, nor for itself hath any care, but for another gives its ease, and builds a heaven in hell\u2019s despair.\u2019 so sung a little clod of clay trodden with the cattle\u2019s feet, but a pebble of the brook warbled out these metres meet: \u2018love seeketh only self to please, to bind another to its delight, joys in another\u2019s loss of ease, and builds a hell in heaven\u2019s despite.\u2019 (william blake )5 10",
            "9": "9 0486/12/m/j/16 \u00a9 ucles 2016 [turn oversong love a child is ever crying;  please him, and he straight is flying;  give him he the more is craving,  never satisfied with having. his desires have no measure;  endless folly is his treasure;  what he promiseth he breaketh.  trust not one word that he speaketh. he vows nothing but false matter,  and to cozen you he\u2019ll flatter.  let him gain the hand, he\u2019ll leave you,  and still glory to deceive you. he will triumph in your wailing,  and yet cause be of your failing.  these his virtues are, and slighter  are his gifts, his favours lighter. feathers are as firm in staying,  wolves no fiercer in their preying.  as a child then leave him crying,  nor seek him so given to flying. (lady mary wroth )5 10 15 20",
            "10": "10 0486/12/m/j/16 \u00a9 ucles 2016or 6 read this poem, and then answer the question that follows it:  tiger in the menagerie no one could say how the tiger got into the menagerie. when the tiger came inside to wait. (emma jones)   explore the ways in which jones creates a sense of mystery in tiger in the menagerie. content removed due to copyright restrictions.",
            "11": "11 0486/12/m/j/16 \u00a9 ucles 2016 [turn overturn to page 12 for section b.",
            "12": "12 0486/12/m/j/16 \u00a9 ucles 2016section  b: p rose answer one question from this section. chinua achebe: no\tlonger \tat\tease remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: some years later as obi, newly returned from england, stood beside his  car at night in one of the less formidable of lagos slum areas waiting for  clara to take yards of material to her seamstress, his mind went over his  earlier impressions of the city. he had not thought places like this stood  side by side with the cars, electric lights and brightly dressed girls. his car was parked close to a wide-open storm drain from which came a  very strong smell of rotting flesh. it was the remains of a dog which had no  doubt been run over by a taxi. obi used to wonder why so many dogs were  killed by cars in lagos, until one day the driver he had engaged to teach  him driving went out of his way to run over one. in shocked amazement  obi asked why he had done it. \u2018na good luck,\u2019 said the man. \u2018dog bring  good luck for new car. but duck be different. if you kill duck you go get  accident or kill man.\u2019 beyond the storm drain there was a meat-stall. it was quite empty of  meat or meat-sellers. but a man was working a little machine on one   of the tables. it looked like a sewing-machine except that it ground maize.  a woman stood by watching the man turn the machine to grind her   maize. on the other side of the road a little boy wrapped in a cloth was selling  bean cakes or akara under a lamp-post. his bowl of akara was lying in the  dust and he seemed half asleep. but he really wasn\u2019t, for as soon as the  night-soilman passed swinging his broom and hurricane lamp and trailing  clouds of putrefaction the boy quickly sprang to his feet and began calling  him names. the man made for him with his broom but the boy was already  in flight, his bowl of akara on his head. the man grinding maize burst into  laughter, and the woman joined in. the night-soilman smiled and went his  way, having said something very rude about the boy\u2019s mother. here was lagos, thought obi, the real lagos he hadn\u2019t imagined  existed until now. during his first winter in england he had written a callow,  nostalgic poem about nigeria. it wasn\u2019t about lagos in particular, but  lagos was part of the nigeria he had in mind. \u2018how sweet it is to lie beneath a tree at eventime and share the ecstasy of jocund birds and flimsy butterflies; how sweet to leave our earthbound body in its mud, and rise towards the music of the spheres, descending softly with the wind, and the tender glow of the fading sun.\u2019 he recalled this poem, and then turned and looked at the rotting dog in  the storm drain and smiled. \u2018i have tasted putrid flesh in the spoon,\u2019 he said  through clenched teeth. \u2018far more apt.\u2019 at last clara emerged from the side  street and they drove away.5 10 15 20 25 30 35 40",
            "13": "13 0486/12/m/j/16 \u00a9 ucles 2016 [turn overthey drove for a while in silence through narrow overcrowded streets. \u2018i  can\u2019t understand why you should choose your dressmaker from the slums.\u2019  clara did not reply. instead she started humming \u2018 che sar\u00e0 sar\u00e0. \u2019 the streets were now quite noisy and crowded, which was to be  expected on a saturday night at nine o\u2019clock. every few yards one met bands of dancers often wearing identical dress  or \u2018aso ebi  \u2019. gay temporary sheds were erected in front of derelict houses  and lit with brilliant fluorescent tubes for the celebration of an engagement  or marriage or birth or promotion or success in business or the death of an  old relative. obi slowed down as he approached three drummers and a large  group of young women in damask and velvet swivelling their waists as  effortlessly as oiled ball-bearings. a taxi driver hooted impatiently and  overtook him, leaning out at the same time to shout: \u2018 ori oda, your head  no correct!\u2019 \u2018 ori oda \u2013 bloody fool!\u2019 replied obi. almost immediately a cyclist  crossed the road without looking back or giving any signal. obi jammed  on his brakes and his tyres screamed on the tarmac. clara let out a little  scream and gripped his left arm. the cyclist looked back once and rode  away, his ambition written for all to see on his black bicycle-bag \u2013 future  minister. [from chapter 2]    explore the ways in which achebe creates vivid impressions of life in lagos here. or 8 how does achebe make obi\u2019s meetings with mr mark and his sister so significant?45 50 55 60",
            "14": "14 0486/12/m/j/16 \u00a9 ucles 2016jane austen: northanger \tabbey remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: my mother\u2019s room is very commodious, is it not? large and cheerful- looking, and the dressing closets so well disposed! it always strikes me  as the most comfortable apartment in the house, and i rather wonder  that eleanor should not take it for her own. she sent you to look at it, i  suppose?\u2019 \u2018no.\u2019 \u2018it has been your own doing entirely?\u2019\u2014catherine said nothing\u2014after  a short silence, during which he had closely observed her, he added,  \u2018as there is nothing in the room in itself to raise curiosity, this must have  proceeded from a sentiment of respect for my mother\u2019s character, as  described by eleanor, which does honour to her memory. the world,  i believe, never saw a better woman. but it is not often that virtue can  boast an interest such as this. the domestic, unpretending merits of a  person never known, do not often create that kind of fervent, venerating  tenderness which would prompt a visit like yours. eleanor, i suppose, has  talked of her a great deal?\u2019 \u2018y es, a great deal. that is\u2014no, not much, but what she did say, was  very interesting. her dying so suddenly,\u2019 (slowly, and with hesitation it  was spoken,) \u2018and you\u2014none of you being at home\u2014and your father, i  thought\u2014perhaps had not been very fond of her.\u2019 \u2018and from these circumstances,\u2019 he replied, (his quick eye fixed on  her\u2019s,) \u2018you infer perhaps the probability of some negligence\u2014some\u2014 (involuntarily she shook her head)\u2014or it may be\u2014of something still   less pardonable.\u2019 she raised her eyes towards him more fully than she   had ever done before. \u2018my mother\u2019s illness,\u2019 he continued, \u2018the seizure  which ended in her death was sudden. the malady itself, one from which  she had often suffered, a bilious fever\u2014its cause therefore constitutional.  on the third day, in short as soon as she could be prevailed on, a physician  attended her, a very respectable man, and one in whom she had always  placed great confidence. upon his opinion of her danger, two others were  called in the next day, and remained in almost constant attendance for  four-and-twenty hours. on the fifth day she died. during the progress of  her disorder, frederick and i ( we were both at home) saw her repeatedly;  and from our own observation can bear witness to her having received  every possible attention which could spring from the affection of those  about her, or which her situation in life could command. poor eleanor   was absent, and at such a distance as to return only to see her mother in  her coffin.\u2019 \u2018but your father,\u2019 said catherine, \u2018was he afflicted?\u2019 \u2018for a time, greatly so. y ou have erred in supposing him not attached  to her. he loved her, i am persuaded, as well as it was possible for him  to\u2014we have not all, you know, the same tenderness of disposition\u2014and  i will not pretend to say that while she lived, she might not often have had  much to bear, but though his temper injured her, his judgment never did.  his value of her was sincere; and, if not permanently, he was truly afflicted  by her death.\u2019 \u2018i am very glad of it,\u2019 said catherine, \u2018it would have been very  shocking!\u2019\u2014\u20145 10 15 20 25 30 35 40 45",
            "15": "15 0486/12/m/j/16 \u00a9 ucles 2016 [turn over\u2018if i understand you rightly, you had formed a surmise of such horror as i  have hardly words to\u2014\u2014dear miss morland, consider the dreadful nature  of the suspicions you have entertained. what have you been judging from?  remember the country and the age in which we live. remember that we  are english, that we are christians. consult your own understanding,  your own sense of the probable, your own observation of what is passing  around you\u2014does our education prepare us for such atrocities? do our  laws connive at them? could they be perpetrated without being known,  in a country like this, where social and literary intercourse is on such a  footing; where every man is surrounded by a neighbourhood of voluntary  spies, and where roads and newspapers lay every thing open? dearest  miss morland, what ideas have you been admitting?\u2019 they had reached the end of the gallery; and with tears of shame she  ran off to her own room. [from chapter 24]   how does austen make this such a dramatic moment in the novel?  or 10 how does austen vividly portray a character behaving foolishly on two occasions in the  novel? it could be the same character or two different ones.    do not use the extract printed in question 9 when answering this question.50 55 60",
            "16": "16 0486/12/m/j/16 \u00a9 ucles 2016george eliot: silas \tmarner remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: \u2018what do you think o\u2019 these gowns, aunt osgood?\u2019 said priscilla, while  nancy helped her to unrobe. \u2018very handsome indeed, niece,\u2019 said mrs osgood, with a slight increase  of formality. she always thought niece priscilla too rough. \u2018i\u2019m obliged to have the same as nancy, you know, for all i\u2019m five years  older, and it makes me look yallow; for she never will have anything without  i have mine just like it, because she wants us to look like sisters. and i   tell her, folks \u2019ull think it\u2019s my weakness makes me fancy as i shall look  pretty in what she looks pretty in. for i am ugly \u2013 there\u2019s no denying that:  i feature my father\u2019s family. but, law! i don\u2019t mind, do you?\u2019 priscilla here  turned to the miss gunns, rattling on in too much preoccupation with the  delight of talking, to notice that her candour was not appreciated. \u2018the  pretty uns do for flycatchers \u2013 they keep the men off us. i\u2019ve no opinion  o\u2019 the men, miss gunn \u2013 i don\u2019t know what you have. and as for fretting  and stewing about what they\u2019ll think of you from morning till night, and  making your life uneasy about what they\u2019re doing when they\u2019re out o\u2019 your  sight \u2013 as i tell nancy, it\u2019s a folly no woman need be guilty of, if she\u2019s got   a good father and a good home: let her leave it to them as have got no  fortin, and can\u2019t help themselves. as i say, mr have-your-own-way is the  best husband, and the only one i\u2019d ever promise to obey. i know it isn\u2019t  pleasant, when you\u2019ve been used to living in a big way, and managing  hogsheads and all that, to go and put your nose in by somebody else\u2019s  fireside, or to sit down by yourself to a scrag or a knuckle; but, thank god!  my father\u2019s a sober man and likely to live; and if you\u2019ve got a man by the  chimney-corner, it doesn\u2019t matter if he\u2019s childish \u2013 the business needn\u2019t be  broke up.\u2019 the delicate process of getting her narrow gown over her head without  injury to her smooth curls, obliged miss priscilla to pause in this rapid  survey of life, and mrs osgood seized the opportunity of rising and   saying \u2013 \u2018well, niece, you\u2019ll follow us. the miss gunns will like to go down.\u2019 \u2018sister,\u2019 said nancy, when they were alone, \u2018you\u2019ve offended the miss  gunns, i\u2019m sure.\u2019 \u2018what have i done, child?\u2019 said priscilla, in some alarm. \u2018why, you asked them if they minded about being ugly \u2013 you\u2019re so very  blunt.\u2019 \u2018law, did i? well, it popped out: it\u2019s a mercy i said no more, for i\u2019m a bad  un to live with folks when they don\u2019t like the truth. but as for being ugly, look  at me, child, in this silver-coloured silk \u2013 i told you how it \u2019ud be \u2013 i look as  yallow as a daffadil. anybody \u2019ud say you wanted to make a mawkin of me.\u2019 \u2018no, priscy, don\u2019t say so. i begged and prayed of you not to let us have  this silk if you\u2019d like another better. i was willing to have your choice, you  know i was,\u2019 said nancy, in anxious self-vindication. \u2018nonsense, child! you know you\u2019d set your heart on this; and reason  good, for you\u2019re the colour o\u2019 cream. it \u2019ud be fine doings for you to dress  yourself to suit my skin. what i find fault with, is that notion o\u2019 yours as  i must dress myself just like you. but you do as you like with me \u2013 you  always did, from when first you begun to walk. if you wanted to go the 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/m/j/16 \u00a9 ucles 2016 [turn overfield\u2019s length, the field\u2019s length you\u2019d go; and there was no whipping you,  for you looked as prim and innicent as a daisy all the while.\u2019 \u2018priscy,\u2019 said nancy, gently, as she fastened a coral necklace, exactly like  her own, round priscilla\u2019s neck, which was very far from being like her own,  \u2018i\u2019m sure i\u2019m  willing to give way as far as is right, but who shouldn\u2019t dress  alike if it isn\u2019t sisters? would you have us go about looking as if we were no  kin to one another \u2013 us that have got no mother and not another sister in  the world? i\u2019d do what was right, if i dressed in a gown dyed with cheese- colouring; and i\u2019d rather you\u2019d choose, and let me wear what pleases you.\u2019 \u2018there you go again! y ou\u2019d come round to the same thing if one talked  to you from saturday night till saturday morning. it\u2019ll be fine fun to see how  you\u2019ll master your husband and never raise your voice above the singing o\u2019  the kettle all the while. i like to see the men mastered!\u2019 \u2018don\u2019t talk so, priscy,\u2019 said nancy, blushing. \u2018y ou know i don\u2019t mean ever  to be married.\u2019 \u2018oh, you never mean a fiddlestick\u2019s end!\u2019 said priscilla, as she arranged  her discarded dress, and closed her bandbox. \u2018who shall i have to work  for when father\u2019s gone, if you are to go and take notions in your head and  be an old maid, because some folks are no better than they should be? i  haven\u2019t a bit o\u2019 patience with you \u2013 sitting on an addled egg for ever, as if  there was never a fresh un in the world. one old maid\u2019s enough out o\u2019 two  sisters; and i shall do credit to a single life, for god a\u2019mighty meant me for  it. come, we can go down now. i\u2019m as ready as a mawkin can be \u2013 there\u2019s  nothing awanting to frighten the crows, now i\u2019ve got my ear-droppers in.\u2019 [from chapter 11]   how does eliot\u2019s writing make priscilla such an entertaining character at this moment in  the novel? or 12 explore the ways in which eliot creates such a striking contrast between godfrey and  dunstan cass.50 55 60 65 70",
            "18": "18 0486/12/m/j/16 \u00a9 ucles 2016michael frayn: spies remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: she\u2019s not carrying a basket, though; she\u2019s holding a plate.                                                              content removed due to copyright restrictions.",
            "19": "19 0486/12/m/j/16 \u00a9 ucles 2016 [turn over                  simple words like \u2018yes\u2019 and \u2018no\u2019 seem to be  superimposed upon my tongue so that they cancel each other out. [from chapter 5]   how does frayn vividly convey stephen\u2019s feelings at this moment in the novel? or 14 stephen describes his family as \u2018unsatisfactory\u2019. to what extent does frayn make you  agree with stephen? content removed due to copyright restrictions.",
            "20": "20 0486/12/m/j/16 \u00a9 ucles 2016susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: kingshaw stood about in the hall. hooper did not come. perhaps it was  all right, and he had forgotten or changed his mind, perhaps he would not  come. kingshaw turned away. \u2018i\u2019ve got the key now,\u2019 hooper said, coming up behind him. it was very dark inside the red room. beyond the windows, the sky was  steely grey, the rain teemed down. the branches of the yew trees were  bent against them. kingshaw went only a little way into the room, and then stopped. he had  known that it would be like this, that he would not like it. there was a dead  smell and his shoes screeched faintly on the polished wood floor. hooper  stayed beside the doors, the keys in his hand. \u2018go on then,\u2019 he said in a soft voice, \u2018you\u2019ve got to look now. y ou should  just think yourself lucky i\u2019ve brought you. go on.\u2019 kingshaw stiffened and moved slowly towards the first of the glass  cases. he drew in his breath sharply. \u2018moths.\u2019 \u2018y es, every sort of moth in the world.\u2019 \u2018who \u2026 where did they come from?\u2019 \u2018my grandfather. haven\u2019t you ever heard of him? y ou\u2019re thick, aren\u2019t you?  my grandfather was the most famous collector in the whole world. he wrote  all sorts of books about moths.\u2019 kingshaw did not know which were worse, moths alive, with their  whirring, pattering wings, or these moths, flattened and pinned and dead.  y ou could see the way their eyes stuck out, and the thin veins along their  wings. the skin prickled across the back of his neck. since he was very  young, he had been terrified of moths. they used to come into his bedroom  at night, when they lived in their own house and his father had always  made him have a window open, and he had lain in bed, in the darkness,  hearing the soft flap of wings against the walls and the furniture, and then  silence, waiting, dreading that they were coming near him and would land  on his face. moths. hooper came up behind him. \u2018open one of the cases, then,\u2019 he said. \u2018i\u2019ll  let you.\u2019 he held out a small key. \u2018no.\u2019 \u2018why not?\u2019 \u2018i \u2013 i can see them all right, can\u2019t i?\u2019 \u2018y es, but you can\u2019t touch them, can you. y ou\u2019ve got to touch them.\u2019 \u2018no.\u2019 \u2018why not? scaredy-baby, scared of a moth!\u2019 kingshaw was silent. hooper moved forward, inserted the key and  pushed the heavy lid up. \u2018pick one up.\u2019 kingshaw backed away. he could not have touched one for anything,  and he did not want to watch hooper do it. \u2018what\u2019s the matter, baby?\u2019 \u2018nothing. i don\u2019t want to touch one, that\u2019s all.\u2019 \u2018they won\u2019t hurt you.\u2019 \u2018no.\u20195 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/m/j/16 \u00a9 ucles 2016 [turn over\u2018they\u2019re dead, aren\u2019t they? they\u2019ve been dead for years and years.\u2019 \u2018y es.\u2019 \u2018what are you scared of? are you scared of dead things?\u2019 \u2018no.\u2019 kingshaw went on moving backwards. he only wanted to get out of the  room. if hooper tried to grab him and force his hand down on to one of the  moths, he would fight, he didn\u2019t care how much he fought. \u2018come here and look, kingshaw.\u2019 \u2018i don\u2019t want to.\u2019 \u2018well i dare touch it, i\u2019ll pick one up and hold it. i dare do anything.\u2019 \u2018y ou\u2019d better not.\u2019 \u2018why?\u2019 hooper was peering curiously into his face. \u2018why?\u2019 \u2018y ou might damage it. if they\u2019re valuable you\u2019ll get into trouble, won\u2019t  you?\u2019 he imagined the furry body of the moth against the pads of hooper\u2019s  fingers. he was ashamed of being so afraid, and could not help it, he only  wanted to get out, to stop having to see the terrible moths. hooper watched  him. there was a moment when they both stood, quite still, waiting. then,  hooper whipped around and pushed past kingshaw without warning, he  was out of the door, turning the key sharply in the lock. after a moment, his  footsteps went away down the hall. a door closed somewhere. [from chapter 3]   how does hill\u2019s writing convey kingshaw\u2019s increasing sense of unease here? or 16 how does hill make fielding such a memorable character?50 55 60 65 70",
            "22": "22 0486/12/m/j/16 \u00a9 ucles 2016r. k. narayan: the\tenglish \tteacher remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: it was nearing six. i looked over the wall of our next house, and saw my  child playing with half a dozen children. i asked: \u201ccome on, child, are you  coming out with us for a walk.\u201d she hesitated. her friend suggested: \u201clet us  play here. let father go out and return.\u201d she accepted the advice and said:  \u201ci am not coming, father, you may go.\u201d i and the headmaster walked down to the river bank, sat on the sand,  and watched the sunset. he told me: \u201csome twenty years ago when i  passed my b.a. at the university, they wanted me to take law; and then  wanted to rush me into an office chair, but i resisted. i loved children and  wanted to start the school. how can anyone prevent me from doing what i  want? i had been hustled into a marriage which did not interest me, and i  was not going to be hustled into a profession i did not care for. \u201ci was the only son of my father, but he said such bitter things that i left  home. we had a fine house in lawley extension, you wouldn\u2019t believe it. i  was brought up there, it is the memory of those days which is rankling in  my wife\u2019s heart and has made her so bad and mad. i walked out over the  question of employment; and went back home only on the day he died.  and then my wife thought i would occupy that house after his death, but  not i. i don\u2019t know what he has done with it. he had married a second time  after my mother died and i think she and her children or his brothers must  be fighting for it. i don\u2019t want that house, i have no use for it, i don\u2019t want  any of his money either. but my wife expects me to be fighting for these  rights. i can\u2019t enjoy these rights even if i get them, and i think it is waste of  one\u2019s precious hours of living to be engaged in a contest.\u201d \u201cbut your wife and children could be in better circumstances\u2026 .\u201d \u201cy ou think so? no chance of it, my friend. she will create just those  surroundings for herself even in a palace.\u201d \u201cbut you have not put her in a very happy locality\u2026 .\u201d \u201cperhaps not. but i chose it deliberately. it is where god resides. it is  where we should live. and if we have any worth in us the place will change  through our presence. but my wife does not believe in anything like it. she  thinks my school a fool\u2019s idea; won\u2019t send the children there. i did my best.  but it is no use. she has a right to send them where she likes. i think she  sends them to the gutter and pig-sty: you saw what they are like. she is  an impossible type. but my only hope is that there may be a miraculous  transformation some day and that she may change. we should not despair  for even the worst on earth.\u201d \u201ctill then don\u2019t you think you should concede to her wishes and move to  a better place?\u201d \u201cno. first because it is a duty for me, and secondly because she will  carry the same surroundings wherever she goes. y ou see, the trouble is  not external.\u201d the river flowed on against the night. i listened to him; he appeared to  me a man who had strayed into a wrong world. \u201chow did you get this idea of a school for children?\u201d i asked. \u201cthe memory of my own young days. most of us forget that grand  period. but with me it has always been there. a time at which the colours  of things are different, their depths greater, their magnitude greater, a most 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/m/j/16 \u00a9 ucles 2016 [turn overbalanced and joyous condition of life; there was a natural state of joy over  nothing in particular. and then our own schooling which put blinkers on to  us; which persistently ruined this vision of things and made us into adults.  it has always seemed to me that our teachers helped us to take a wrong  turn. and i have always felt that for the future of mankind we should retain  the original vision, and i\u2019m trying a system of children\u2019s education. just  leave them alone and they will be all right. the leave alone system, which  will make them wholesome human beings, and also help us, those who  work along with them, to work off the curse of adulthood.\u201d he was seized  with a fit of coughing. he recovered from it,  paused, and said: \u201ci will tell you  a secret now. i strictly want to live according to my own plan of living  and  not subordinate it  for anybody\u2019s sake, because the time  at my disposal is  very short. i know exactly when i am going to die. an astrologer, who has  noted down every minute detail of my life, has fixed that for me. i know the  exact hour when i shall be \u2026 that lady will have the surprise of her life,\u201d he  said and chuckled. \u201cthat\u2019s why i\u2019m so patient with her.\u201d we walked back home. i invited him in: \u201cno, no, not fair. but be assured  i shall make myself completely at home whenever i like. i hope you won\u2019t  mind.\u201d \u201cnot at all, i replied. \u201ctreat this as your own home.\u201d \u201cgood lord! no. let it always  be your home,\u201d he said with a smile and  bade me good night. [from chapter 6]   how does narayan\u2019s writing make this conversation between krishna and the headmaster  so revealing? or 18 how does narayan make susila\u2019s illness and death so moving?50 55 60 65 70",
            "24": "24 0486/12/m/j/16 \u00a9 ucles 2016robert louis stevenson: the\tstrange \tcase \tof\tdr\tjekyll \tand\tmr\thyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: where  utterson was liked, he was liked well. hosts loved to detain the dry  lawyer, when the light-hearted and the loose-tongued had already their  foot on the threshold; they liked to sit awhile in his unobtrusive company,  practising for solitude, sobering their minds in the man\u2019s rich silence, after  the expense and strain of gaiety. to this rule dr jekyll was no  exception;  and as he now sat on the opposite side of the fire \u2013 a large, well-made,  smooth-faced man of fifty, with something of a slyish cast perhaps, but  every  mark of capacity and kindness \u2013 you could see by his looks that he  cherished for mr utterson a sincere and warm affection. \u2018i have been wanting to speak to you, jekyll,\u2019 began the latter. \u2018y ou know  that will of yours?\u2019 a close observer might have gathered that the topic was distasteful;  but the doctor carried it off gaily. \u2018my poor utterson,\u2019 said he, \u2018you are  unfortunate in such a client. i never saw a man so distressed as you were  by my will; unless it were that hide-bound pedant, lanyon, at what he  called my scientific heresies. o, i know he\u2019s a good fellow \u2013 you needn\u2019t  frown \u2013 an excellent fellow, and i always mean to see more of him; but  a hide-bound pedant for all that; an ignorant, blatant pedant. i was never  more disappointed in any man than lanyon.\u2019 \u2018y ou know i never approved of it,\u2019 pursued utterson, ruthlessly  disregarding the fresh topic. \u2018my will? y es, certainly, i know that,\u2019 said the doctor, a trifle sharply. \u2018y ou  have told me so.\u2019 \u2018well, i tell you so again,\u2019 continued the lawyer. \u2018i have been learning   something of young hyde.\u2019 the large handsome face of dr jekyll grew pale to the very lips, and  there came a blackness about his eyes. \u2018i do not care to hear more,\u2019 said  he. \u2018this is a matter i thought we had agreed to drop.\u2019 \u2018what i heard was abominable,\u2019 said utterson. \u2018it can make no change. y ou do not understand my position,\u2019 returned  the doctor, with a certain incoherency of manner. \u2018i am painfully situated,  utterson; my position is a very strange \u2013 a very strange one. it is one of  those affairs that cannot be mended by talking.\u2019 \u2018jekyll,\u2019 said utterson, \u2018you know me: i am a man to be trusted. make a  clean breast of this in confidence, and i make no doubt i can get you out  of it.\u2019 \u2018my good utterson,\u2019 said the doctor, \u2018this is very good of you, this is  downright good of you, and i cannot find words to thank you in. i believe  you fully; i would trust you before any man alive, ay, before myself, if i could  make the choice; but indeed it isn\u2019t what you fancy; it is not so bad as that;  and just to put your good heart at rest, i will tell you one thing: the moment  i choose, i can be rid of mr hyde. i give you my hand upon that; and i thank  you again and again; and i will just add one little word, utterson, that i\u2019m  sure you\u2019ll take in good part: this is a private matter, and i beg  of you to let  it sleep.\u2019 utterson reflected a little, looking in the fire. \u2018i have no doubt you are perfectly right,\u2019 he said at last, getting to his feet. \u2018well, but since we have touched upon this business, and for the last 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/12/m/j/16 \u00a9 ucles 2016 [turn overtime, i hope,\u2019 continued the doctor, \u2018there is one point i should like you to  understand. i have really a very great interest in poor hyde. i know you  have seen him; he told me so; and i fear he was rude. but i do sincerely  take a great, a very great interest in that young man; and if i am taken  away, utterson, i wish you to promise me that you will bear with him and  get his rights for him. i think you would, if you knew all; and it would be a  weight off my mind if you would promise.\u2019 \u2018i can\u2019t pretend that i shall ever like him,\u2019 said the lawyer. \u2018i don\u2019t ask that,\u2019 pleaded jekyll, laying his hand upon the other\u2019s arm; \u2018i  only ask for justice; i only ask you to help him for my sake, when i am no  longer here.\u2019 utterson heaved an irrepressible sigh. \u2018well,\u2019 said he, \u2018i promise.\u2019 [from chapter 3, \u2018dr jekyll was quite at ease\u2019]   how does stevenson make this conversation between dr jekyll and mr utterson so  intriguing? or 20 what does stevenson\u2019s writing make you feel towards dr jekyll at the end of the novel?50 55 60",
            "26": "26 0486/12/m/j/16 \u00a9 ucles 2016from stories \tof\tourselves remember to support your ideas with details from the writing. either  21 read this extract from to da-duh, in memoriam (by paule marshall), and then answer  the question that follows it: all the fight went out of her at that. the hand poised to strike me fell limp  to her side, and as she stared at me, seeing not me but the building that  was taller than the highest hill she knew, the small stubborn light in her  eyes (it was the same amber as the flame in the kerosene lamp she lit at  dusk) began to fail. finally, with a vague gesture that even in the midst of  her defeat still tried to dismiss me and my world, she turned and started  back through the gully, walking slowly, her steps groping and uncertain, as  if she were suddenly no longer sure of the way, while i followed triumphant  yet strangely saddened behind. the next morning i found her dressed for our morning walk but stretched  out on the berbice chair in the tiny drawing room where she sometimes  napped during the afternoon heat, her face turned to the window beside  her. she appeared thinner and suddenly indescribably old. \u2018my da-duh,\u2019 i said. \u2018y es, nuh,\u2019 she said. her voice was listless and the face she slowly turned  my way was, now that i think back on it, like a benin mask, the features  drawn and almost distorted by an ancient abstract sorrow. \u2018don\u2019t you feel well?\u2019 i asked. \u2018girl, i don\u2019t know.\u2019 \u2018my da-duh, i goin\u2019 boil you some bush tea,\u2019 my aunt, da-duh\u2019s youngest  child, who lived with her, called from the shed roof kitchen. \u2018who tell you i need bush tea?\u2019 she cried, her voice assuming for a  moment its old authority. \u2018y ou can\u2019t even rest nowadays without some  malicious person looking for you to be dead. come girl,\u2019 she motioned me  to a place beside her on the old-fashioned lounge chair, \u2018give us a tune.\u2019 i sang for her until breakfast at eleven, all my brash irreverent tin pan  alley songs, and then just before noon we went out into the ground. but it  was a short, dispirited walk. da-duh didn\u2019t even notice that the mangoes  were beginning to ripen and would have to be picked before the village  boys got to them. and when she paused occasionally and looked out  across the canes or up at her trees it wasn\u2019t as if she were seeing them  but something else. some huge, monolithic shape had imposed itself, it  seemed, between her and the land, obstructing her vision. returning to  the house she slept the entire afternoon on the berbice chair. she remained like this until we left, languishing away the mornings  on the chair at the window gazing out at the land as if it  were already  doomed; then, at noon, taking the brief stroll with me through the ground  during which she seldom spoke, and afterwards returning home to sleep  till almost dusk sometimes. on the day of our departure she put on the austere, ankle length white  dress, the black shoes and brown felt hat (her town clothes she called  them), but she did not go with us to town. she saw us off on the road  outside her house and in  the midst of my mother\u2019s tearful protracted  farewell, she leaned down and whispered in my ear, \u2018girl, you\u2019re not to  forget now to send me the picture of that building, you hear.\u2019 by the time i mailed her the large colored picture postcard of the empire  state building she was dead. she died during the famous \u201937 strike which 5 10 15 20 25 30 35 40 45",
            "27": "27 0486/12/m/j/16 \u00a9 ucles 2016began shortly after we left. on the day of her death england sent planes  flying low over the island in a show of force \u2013 so low, according to my  aunt\u2019s letter, that the downdraft from them shook the ripened mangoes  from the trees in da-duh\u2019s orchard. frightened, everyone in the village fled  into the canes. except da-duh. she remained in the house at the window  so my aunt said, watching as the planes came swooping and screaming  like monstrous birds down over the village, over her house, rattling her  trees and flattening the young canes in her field. it must have seemed to  her lying there that they did not intend pulling out of their dive, but like  the hard-back beetles which hurled themselves with suicidal force against  the walls of the house at night, those menacing silver shapes would hurl  themselves in an ecstasy of self-immolation onto the land, destroying it  utterly. when the planes finally left and the villagers returned they found her  dead on the berbice chair at the window. she died and i lived, but always, to this day even, within the shadow  of her death. for a brief period after i was grown i went to live alone, like  one doing penance, in a loft above a noisy factory in downtown new y ork  and there painted seas of sugar cane and huge swirling van gogh suns  and palm trees striding like brightly plumed tutsi warriors across a tropical  landscape, while the thunderous tread of the machines downstairs jarred  the floor beneath my easel, mocking my efforts.   how does marshall make this such a moving ending to the story? or 22 how does saki make sredni vashtar both amusing and serious at the same time?50 55 60 65",
            "28": "28 0486/12/m/j/16 \u00a9 ucles 2016blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s16_qp_13.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rcl (km)) 114793/3 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education * 5 2 8 7 8 3 6 0 9 9 *literature (english)  0486/13 paper 1  poetry and prose  may/june 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/13/m/j/16 \u00a9 ucles 2016blank page",
            "3": "3 0486/13/m/j/16 \u00a9 ucles 2016 [turn overcontents section a: poetry text\t question \t numbers\t page[s] thomas hardy:  from  selected poems   1, 2 pages  4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages  8\u20139 songs of ourselves volume 2: from part 1   5, 6 pages  10\u201311 section b: prose text\t question \t numbers\t page[s] chinua achebe: no longer at ease   7, 8 pages  12\u201313 jane austen: northanger abbey   9, 10  pages  14\u201315 george eliot: silas marner  11, 12  pages  16\u201317 michael frayn: spies  13, 14  pages  18\u201319 susan hill: i\u2019m the king of the castle  15, 16  pages  20\u201321 r. k. narayan: the english teacher  17, 18  pages  22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20  pages  24\u201325 from stories of ourselves  21, 22  pages  26\u201327",
            "4": "4 0486/13/m/j/16 \u00a9 ucles 2016section  a: p oetr y answer one question from this section. thomas hard y: selected \tpoems remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: the convergence of the twain (lines on the loss of the \u2018titanic\u2019) i     in a solitude of the sea     deep from human vanity, and the pride of life that planned her, stilly couches she. ii     steel chambers, late the pyres     of her salamandrine fires, cold currents thrid, and turn to rhythmic tidal lyres. iii     over the mirrors meant     to glass the opulent the sea-worm crawls \u2013 grotesque, slimed, dumb, indifferent. iv     jewels in joy designed     to ravish the sensuous mind lie lightless, all their sparkles bleared and black and blind. v     dim moon-eyed fishes near     gaze at the gilded gear and query: \u2018what does this vaingloriousness down here?\u2019 \u2026 vi     well: while was fashioning     this creature of cleaving wing, the immanent will that stirs and urges everything vii     prepared a sinister mate     for her \u2013 so gaily great \u2013 a shape of ice, for the time far and dissociate. viii     and as the smart ship grew     in stature, grace, and hue, in shadowy silent distance grew the iceberg too.5 10 15 20",
            "5": "5 0486/13/m/j/16 \u00a9 ucles 2016 [turn overix     alien they seemed to be:     no mortal eye could see the intimate welding of their later history, x     or sign that they were bent     by paths coincident on being anon twin halves of one august event, xi     till the spinner of the y ears     said \u2018now!\u2019 and each one hears, and consummation comes, and jars two hemispheres.   how does hardy powerfully depict the loss of the titanic  in the convergence of the  twain ?25 30",
            "6": "6 0486/13/m/j/16 \u00a9 ucles 2016or 2 how does hardy make you feel sympathy for the speakers in \u2018i look into my glass\u2019 and  nobody comes ? \u2018i look into my glass\u2019 i look into my glass, and view my wasting skin, and say, \u2018would god it came to pass my heart had shrunk as thin!\u2019 for then, i, undistrest by hearts grown cold to me, could lonely wait my endless rest with equanimity. but time, to make me grieve, part steals, lets part abide; and shakes this fragile frame at eve with throbbings of noontide. nobody comes   tree-leaves labour up and down,      and through them the fainting light      succumbs to the crawl of night.   outside in the road the telegraph wire      to the town from the darkening land intones to travellers like a spectral lyre      swept by a spectral hand.   a car comes up, with lamps full-glare,      that flash upon a tree:      it has nothing to do with me,   and whangs along in a world of its own,      leaving a blacker air; and mute by the gate i stand again alone,      and nobody pulls up there.5 10 5 10",
            "7": "7 0486/13/m/j/16 \u00a9 ucles 2016 [turn overturn to page 8 for question 3.",
            "8": "8 0486/13/m/j/16 \u00a9 ucles 2016from jo phillips\ted: poems\tdeep\t&\tdangerous remember to support your ideas with details from the writing. either 3  read this poem, and then answer the question that follows it: in our tenth y ear this book, this page, this harebell laid to rest here, take it from my hand. now, let it go. (simon armitage)   how does armitage strikingly portray the speaker\u2019s relationship with his wife in in our  tenth y ear ? content removed due to copyright restrictions.",
            "9": "9 0486/13/m/j/16 \u00a9 ucles 2016 [turn overor 4 how does heaney make follower such a moving poem? follower my father worked with a horse-plough, behind me, and will not go away. (seamus heaney  ) content removed due to copyright restrictions.",
            "10": "10 0486/13/m/j/16 \u00a9 ucles 2016songs \tof\tourselves \tvolume \t2:\tfrom \tpart 1 remember to support your ideas with details from the writing. either  5  read this poem, and then answer the question that follows it: lion heart y ou came out of the sea, skin dappled scales of sunlight; riding crests, waves of fish in your fists. washed up, your gills snapped shut. water whipped the first breath of your lungs, y our lips\u2019 bud teased by morning mists. y ou conquered the shore, its ivory coast. y our legs still rocked with the memory of waves. sinews of sand ran across your back\u2013 rising runes of your oceanic origins. y our heart thumped\u2013 an animal skin drum heralding the coming of a prince. in the jungle, amid rasping branches, trees loosened their shadows to shroud you. the prince beheld you then, a golden sheen. y our eyes, two flickers; emerald blaze y ou settled back on fluent haunches; the squall of a beast, your roar, your call. in crackling boats, seeds arrived, wind-blown, y ou summoned their colours to the palm of your hand, folded them snugly into loam, watched saplings swaddled in green, as they sunk roots, spawned shade, and embraced the land that embraced them. centuries, by the sea\u2019s pulmonary, a vein throbbing humming bumboats\u2013 your trees rise as skyscrapers. their ankles lost in swilling water, as they heave themselves higher above the mirrored surface. remember your self: your raw lion heart, each beat a stony echo that washes through ribbed vaults of buildings. remember your keris, iron lightning ripping through tentacles of waves, double-edged, curved to a point\u2013 flung high and caught unsheathed, scattering five stars in the red tapestry of your sky. (amanda chong )5 10 15 20 25 30 35",
            "11": "11 0486/13/m/j/16 \u00a9 ucles 2016 [turn over  explore some of the ways in which chong creates a sense of admiration in this poem. or 6 how does wroth strikingly convey her attitude to love in this poem? song love a child is ever crying;  please him, and he straight is flying;  give him he the more is craving,  never satisfied with having. his desires have no measure;  endless folly is his treasure;  what he promiseth he breaketh.  trust not one word that he speaketh. he vows nothing but false matter,  and to cozen you he\u2019ll flatter.  let him gain the hand, he\u2019ll leave you,  and still glory to deceive you. he will triumph in your wailing,  and yet cause be of your failing.  these his virtues are, and slighter  are his gifts, his favours lighter. feathers are as firm in staying,  wolves no fiercer in their preying.  as a child then leave him crying,  nor seek him so given to flying. (lady mary wroth )5 10 15 20",
            "12": "12 0486/13/m/j/16 \u00a9 ucles 2016section b: prose answer one question from this section. chinua achebe: no\tlonger \tat\tease remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: the telephone rang and miss tomlinson answered it. \u2018mr okonkwo? right. hold on for him. for you, mr okonkwo.\u2019 obi\u2019s telephone was in parallel with hers. he thought it was clara, but it  was only the receptionist downstairs. \u2018a gentleman? send him up, please. he want speak to me there? all  right, i de come down. now now.\u2019 the gentleman was in a three-piece suit and carried a rolled umbrella.  obviously a new arrival from england. \u2018good morning. my name is okonkwo.\u2019 \u2018mark is mine. how do you do?\u2019 they shook hands. \u2018i\u2019ve come to consult you about something \u2013 semi-official and semi- private.\u2019 \u2018let\u2019s go up to my office, shall we?\u2019 \u2018thank you very much.\u2019 obi led the way. \u2018y ou have just come back to nigeria?\u2019 he asked as they mounted the  stairs. \u2018i\u2019ve been back now six months.\u2019 \u2018i see.\u2019 he opened the door. \u2018after you.\u2019 mr mark stepped in, and then pulled up suddenly as if he had seen   a snake across his path. but he recovered quickly enough and walked   in. \u2018good morning,\u2019 he said to miss tomlinson, all smiles. obi dragged  another chair to his table and mr mark sat down. \u2018and what can i do for you?\u2019 to his amazement mr mark replied in ibo: \u2018if you don\u2019t mind, shall we talk in ibo? i didn\u2019t know you had a european  here.\u2019 \u2018just as you like. actually i didn\u2019t think you were ibo. what is your  problem?\u2019 he tried to sound casual. \u2018well, it is like this. i have a sister who has just passed her school  certificate in grade one. she wants to apply for a federal scholarship to  study in england.\u2019 although he spoke in ibo, there were some words that he had to say in  english. words like \u2018school certificate\u2019 and \u2018scholarship\u2019. he lowered his  voice to a whisper when he came to them. \u2018y ou want application forms?\u2019 asked obi. \u2018no, no, no. i have got those. but it is like this. i was told that you are the  secretary of the scholarship commission and i thought that i should see  you. we are both ibos and i cannot hide anything from you. it is all very  well sending in forms, but you know what our country is. unless you see  people \u2026 \u2019 \u2018in this case it is not necessary to see anybody. the only \u2026 \u20195 10 15 20 25 30 35 40",
            "13": "13 0486/13/m/j/16 \u00a9 ucles 2016 [turn over\u2018i was actually thinking of coming round to your house, but the man who  told me about you did not know where you lived.\u2019 \u2018i\u2019m sorry, mr mark, but i really don\u2019t understand what you are driving at.\u2019  he said this in english, much to mr mark\u2019s consternation. miss tomlinson  pricked up her ears like a dog that is not quite sure whether someone has  mentioned bones. \u2018i\u2019m sorry \u2013 er \u2013 mr okonkwo. but don\u2019t get me wrong. i know this is the  wrong place to \u2013 er \u2026\u2019 \u2018i don\u2019t think there is any point in continuing this discussion,\u2019 obi said  again in english. \u2018if you don\u2019t mind, i\u2019m rather busy.\u2019 he rose to his feet. mr  mark also rose, muttered a few apologies and made for the door. \u2018he\u2019s forgotten his umbrella,\u2019 remarked miss tomlinson as obi returned  to his seat. \u2018oh dear!\u2019 he took the umbrella and rushed out. miss tomlinson was eagerly waiting to hear what he would say when he  came back, but he simply sat down as if nothing had happened and opened  a file. he knew she was watching him, and he wrinkled his forehead in  pretended concentration. \u2018that was short and sweet,\u2019 she said. \u2018oh yes. he is a nuisance.\u2019 he did not look up and the conversation  lapsed. [from chapter 9]   explore the ways in which achebe makes this moment dramatic and revealing. or 8 how does achebe vividly convey obi\u2019s changing feelings towards nigeria in the novel?45 50 55 60 65",
            "14": "14 0486/13/m/j/16 \u00a9 ucles 2016jane austen: northanger \tabbey remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: the next morning brought the following very unexpected letter from  isabella:\u2014 bath, april\u2014\u2014 my dearest catherine, i received your two kind letters with the greatest delight, and have a  thousand apologies to make for not answering them sooner. i really am  quite ashamed of my idleness; but in this horrid place one can find time for  nothing. i have had my pen in my hand to begin a letter to you almost every  day since you left bath, but have always been prevented by some silly  trifler or other. pray write to me soon, and direct to my own home. thank  god! we leave this vile place to-morrow. since you went away, i have had  no pleasure in it\u2014the dust is beyond any thing; and every body one cares  for is gone. i believe if i could see you i should not mind the rest, for you  are dearer to me than any body can conceive. i am quite uneasy about  your dear brother, not having heard from him since he went to oxford; and  am fearful of some misunderstanding. y our kind offices will set all right:\u2014 he is the only man i ever did or could love, and i trust you will convince him  of it. the spring fashions are partly down; and the hats the most frightful  you can imagine. i hope you spend your time pleasantly, but am afraid  you never think of me. i will not say all that i could of the family you are  with, because i would not be ungenerous, or set you against those you  esteem; but it is very difficult to know whom to trust, and young men never  know their minds two days together. i rejoice to say, that the young man  whom, of all others, i particularly abhor, has left bath. y ou will know, from  this description, i must mean captain tilney, who, as you may remember,  was amazingly disposed to follow and tease me, before you went away.  afterwards he got worse, and became quite my shadow. many girls might  have been taken in, for never were such attentions; but i knew the fickle  sex too well. he went away to his regiment two days ago, and i trust i shall  never be plagued with him again. he is the greatest coxcomb i ever saw,  and amazingly disagreeable. the last two days he was always by the side  of charlotte davis: i pitied his taste, but took no notice of him. the last time  we met was in bath-street, and i turned directly into a shop that he might  not speak to me;\u2014i would not even look at him. he went into the pump- room afterwards; but i would not have followed him for all the world. such a  contrast between him and your brother!\u2014pray send me some news of the  latter\u2014i am quite unhappy about him, he seemed so uncomfortable when  he went away, with a cold, or something that affected his spirits. i would  write to him myself, but have mislaid his direction; and, as i hinted above,  am afraid he took something in my conduct amiss. pray explain every thing  to his satisfaction; or, if he still harbours any doubt, a line from himself to  me, or a call at putney when next in town, might set all to rights. i have  not been to the rooms this age, nor to the play, except going in last night  with the hodges\u2019s, for a frolic, at half-price: they teased me into it; and i  was determined they should not say i shut myself up because tilney was  gone. we happened to sit by the mitchells, and they pretended to be quite  surprized to see me out. i knew their spite:\u2014at one time they could not be 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/13/m/j/16 \u00a9 ucles 2016 [turn overcivil to me, but now they are all friendship; but i am not such a fool as to  be taken in by them. y ou know i have a pretty good spirit of my own. anne  mitchell had tried to put on a turban like mine, as i wore it the week before  at the concert, but made wretched work of it\u2014it happened to become my  odd face i believe, at least tilney told me so at the time, and said every  eye was upon me; but he is the last man whose word i would take. i wear  nothing but purple now: i know i look hideous in it, but no matter\u2014it is  your dear brother\u2019s favourite colour. lose no time, my dearest, sweetest  catherine, in writing to him and to me. who ever am, &c. such a strain of shallow artifice could not impose even upon catherine.  its inconsistencies, contradictions, and falsehood, struck her from the very  first. she was ashamed of isabella, and ashamed of having ever loved her.  her professions of attachment were now as disgusting as her excuses  were empty, and her demands impudent. \u2018write to james on her behalf!\u2014 no, james should never hear isabella\u2019s name mentioned by her again.\u2019 [from chapter 22]   how does austen\u2019s writing make you agree with catherine\u2019s opinion of isabella at this  moment in the novel? or 10 how does austen make the goodness of the morland family vivid for you?50 55 60",
            "16": "16 0486/13/m/j/16 \u00a9 ucles 2016george eliot: silas \tmarner remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: she looked at silas pityingly as she went on. \u2018but you didn\u2019t hear the  church-bells this morning, master marner? i doubt you didn\u2019t know it was  sunday. living so lone here, you lose your count, i daresay; and then,  when your loom makes a noise, you can\u2019t hear the bells, more partic\u2019lar  now the frost kills the sound.\u2019 \u2018y es, i did; i heard \u2019em,\u2019 said silas, to whom sunday bells were a mere  accident of the day, and not part of its sacredness. there had been no  bells in lantern y ard. \u2018dear heart!\u2019 said dolly, pausing before she spoke again. \u2018but what a  pity it is you should work of a sunday, and not clean yourself \u2013 if you didn\u2019t  go to church; for if you\u2019d a roasting bit, it might be as you couldn\u2019t leave  it, being a lone man. but there\u2019s the bakehus, if you could make up your  mind to spend a twopence on the oven now and then, \u2013 not every week,  in course \u2013 i shouldn\u2019t like to do that myself, \u2013 you might carry your bit  o\u2019 dinner there, for it\u2019s nothing but right to have a bit o\u2019 summat hot of a  sunday, and not to make it as you can\u2019t know your dinner from saturday.  but now, upo\u2019 christmas-day, this blessed christmas as is ever coming,  if you was to  take your dinner to the bakehus, and go to church, and see  the holly and the yew, and hear the anthim, and then take the sacramen\u2019,  you\u2019d be a deal the better, and you\u2019d know which end you stood on, and  you could put your trust i\u2019 them as knows better nor we do, seein\u2019 you\u2019d ha\u2019  done what it lies on us all to do.\u2019 dolly\u2019s exhortation, which was an unusually long effort of speech for her,  was uttered in the soothing persuasive tone with which she would have  tried to prevail on a sick man to take his medicine, or a basin of gruel for  which he had no appetite. silas had never before been closely urged on  the point of his absence from church, which had only been thought of as a  part of his general queerness; and he was too direct and simple to evade  dolly\u2019s appeal. \u2018nay, nay,\u2019 he said, \u2018i know nothing o\u2019 church. i\u2019ve never been to church.\u2019 \u2018no!\u2019 said dolly, in a low tone of wonderment. then bethinking herself  of silas\u2019s advent from an unknown country, she said, \u2018could it ha\u2019 been as  they\u2019d no church where you was born?\u2019 \u2018oh yes,\u2019 said silas, meditatively, sitting in his usual posture of leaning  on his knees, and supporting his head. \u2018there was churches \u2013 a many \u2013 it  was a big town. but i knew nothing of \u2019em \u2013 i went to chapel.\u2019 dolly was much puzzled at this new  word, but she was rather afraid of  inquiring further, lest \u2018chapel\u2019 might mean some haunt of wickedness. after  a little thought, she said \u2013 \u2018well, master marner, it\u2019s niver too late to turn over a new leaf, and if  you\u2019ve niver had no church, there\u2019s no telling the good it\u2019ll do you. for i  feel so set up and comfortable as niver was, when i\u2019ve been and heard  the prayers, and the singing to the praise and glory o\u2019 god, as mr macey  gives out \u2013 and mr crackenthorp saying good words, and more partic\u2019lar  on sacramen\u2019 day; and if a bit o\u2019 trouble comes, i feel as i can put up wi\u2019 it,  for i\u2019ve looked for help i\u2019 the right quarter, and gev myself up to them as we  must all give ourselves up to at the last; and if we \u2019n done our part, it isn\u2019t to 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/13/m/j/16 \u00a9 ucles 2016 [turn overbe believed as them as are above us \u2019ull be worse nor we are, and come  short o\u2019 their\u2019n.\u2019 poor dolly\u2019s exposition of her simple raveloe theology fell rather  unmeaningly on silas\u2019s ears, for there was no word in it that could rouse  a memory of what he had known as religion, and his comprehension was  quite baffled by the plural pronoun, which was no heresy of dolly\u2019s, but  only her way of avoiding a presumptuous familiarity. he remained silent,  not feeling inclined to assent to the part of dolly\u2019s speech which he fully  understood \u2013 her recommendation that he should go to church. indeed,  silas was so unaccustomed to talk beyond the brief questions and answers  necessary for the transaction of his simple business, that words did not  easily come to him without the urgency of a distinct purpose. but now, little aaron, having become used to the weaver\u2019s awful  presence, had advanced to his mother\u2019s side, and silas, seeming to notice  him for the first time, tried to return dolly\u2019s signs of goodwill by offering  the lad a bit of lard-cake. aaron shrank back a little, and rubbed his head  against his mother\u2019s shoulder, but still thought the piece of cake worth the  risk of putting his hand out for it. \u2018oh, for shame, aaron,\u2019 said his mother, taking him on her lap, however;  \u2018why, you don\u2019t want cake again yet awhile. he\u2019s wonderful hearty,\u2019 she  went on, with a little sigh \u2013 \u2018that he is, god knows. he\u2019s my youngest, and  we spoil him sadly, for either me or the father must allays hev him in our  sight \u2013 that we must.\u2019 [from chapter 10  ]   how does eliot make this such a moving portrayal of dolly? or 12 explore the ways in which eliot makes william dane\u2019s betrayal of silas such a powerful  and significant part of the novel.50 55 60 65 70",
            "18": "18 0486/13/m/j/16 \u00a9 ucles 2016michael frayn: spies remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: i\u2019m still looking for the two-colour pencil, though, when i hear the  reassuringly familiar sounds of keith crawling in along the passageway.                                             content removed due to copyright restrictions.",
            "19": "19 0486/13/m/j/16 \u00a9 ucles 2016 [turn over                  i think  of the sharpened bayonet, locked away inside the trunk beside me, waiting  for keith to draw it across my throat to punish any breach of my oath of secrecy. [from chapter 5 ]   how does frayn make this conversation between stephen and barbara such an amusing moment in the novel? or 14 explore two moments in the novel which frayn makes particularly shocking for you. content removed due to copyright restrictions.",
            "20": "20 0486/13/m/j/16 \u00a9 ucles 2016susan hill: i\u2019m\tthe\tking \tof\tthe\tcastle remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: so he was proud of himself, now, that he had reached the edge of hang  wood, and everything had gone right, proud of the way he had thought  things out, proud of the neatly packed satchel, and of what was inside it. everything was all right, then. but, when he was tying the satchel up again, he noticed a wart on the  back of his middle finger. it hadn\u2019t been there before. his stomach turned  over in fear. it had happened, it was true. they had told him it would. broughton-smith had had the warts, dozens of them, on his knees. they  were so bad, he was being sent to the doctor. casey said, \u2018they inject you.\u2019 \u2018they stick a hot needle into the middle of every one. that\u2019s what they  do.\u2019 \u2018it hurts like hell.\u2019 broughton-smith had stared down miserably at his warty knees. he had  been the one who cried all night, after he\u2019d had a tooth out. fenwick had  laughed at him. in the end, gough had gone to fetch his brother. \u2018y ou won\u2019t  have to have the doctor,\u2019 he said, \u2018because my brother knows about black  magic, there\u2019s something he can do with warts, and then they go away.\u2019 gough\u2019s brother had taken broughton-smith into the fifth form labs,  on corridor two, one evening before supper. the rest of them had waited  outside on the landing, in the dark. nobody said anything, nor even dared  to look through the glass door of the lab. kingshaw remembered the smell  of them all as they stood close together. he had been afraid. anything  might happen. in the end, broughton-smith had come out, smiling a secret smile. \u2018what did he do?\u2019 \u2018what happened?\u2019 \u2018is it a spell?\u2019 \u2018y ou\u2019re not allowed to do black magic, it\u2019s a terrible sin.\u2019 \u2018y ou\u2019ll probably die, now.\u2019 \u2018y es, he\u2019s poisoned you, i bet, you\u2019ll die in the night.\u2019 \u2018let\u2019s have a look.\u2019 but broughton-smith had slipped out of their circle, in the darkness, and  run away down the stone stairs. the prep bell had rung. the next morning, all his warts had turned a brownish-black colour.  broughton-smith had kept moving his knee out from under the desk, to  stare at them. he looked afraid. two days afterwards, they were all gone.  he\u2019d showed them his leg, stretching it out on the bed in dorm, and letting  everyone peer at the puckered, wartless skin of his knees. when the lights  were out, they\u2019d talked about it. it was clarke who had said, \u2018they go on to someone else. it\u2019s part of the  spell. to get them away, you have to wish them on to somebody else.\u2019 \u2018who?\u2019 \u2018anybody?\u2019 \u2018no, you do it to somebody you don\u2019t like.\u2019 kingshaw lay and thought, they will come on to me. it was inevitable.  broughton-smith had never liked him. he told himself he didn\u2019t believe in  any of it, but he had to, because broughton-smith\u2019s warts were gone, and 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/13/m/j/16 \u00a9 ucles 2016 [turn overbecause the next morning, kingshaw saw him, looking and looking at him.  that was the way things happened. now, he stared down at his wart for a long time. he wondered if he could  make it turn black and go off to somebody else. on to hooper. or whether  he ought to try. but he was afraid, he didn\u2019t like having it on his own hand. by the time he had found the gap, right down at the far end of the wood,  the sun had come right out, the sky was clear. there was a space in the  hedge, and here, the trees were different, a  separate group of them,  inside the main wood. kingshaw thought they were larches. the sun was  shining directly into them, so that he could see for a long way inside. there  was bracken, and curled foliage on the ground, and the light coming out  between the branches was a queer coppery green, like the light under the  sea. it looked all right, he thought. safe. he straddled the ditch for a moment, feeling the sun on his back, though  the air ahead of him was very cold. there was a lot of dew, his jeans were  very wet, now. then, he jumped forward across the ditch, and took a dozen paces  quickly forward, eyes closed. when he opened them, he was inside hang  wood. [from chapter 5  ]   how does hill\u2019s writing vividly convey kingshaw\u2019s thoughts and feelings at this point in  the novel? or 16 who does hill\u2019s writing suggest is most to blame for kingshaw\u2019s death at the end of the  novel?50 55 60 65",
            "22": "22 0486/13/m/j/16 \u00a9 ucles 2016r. k. nara yan: the\tenglish \tteacher remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: on the following friday, i was pacing the little malgudi railway station in  great agitation. i had never known such suspense before. she was certain  to arrive with a lot of luggage, and the little child. how was all this to be  transferred from the train to the platform? and the child must not be hurt.  i made a mental note, \u2018must shout as soon as the train stops: \u201cbe careful  with the baby\u201d.\u2019 this seemed to my fevered imagination the all-important  thing to say on arrival, as otherwise i fancied the child\u2019s head was sure to  be banged against the doorway. \u2026 and how many infants were damaged  and destroyed by careless mothers in the process of coming out of trains!  why couldn\u2019t they make these railway carriages of safer dimensions? it  ought to be done in the interests of baby welfare in india. \u2018mind the baby  and the door\u2019. and then the luggage! susila was sure to bring with her a  huge amount of luggage. she required four trunks for her sarees alone!  women never understood the importance of travelling light. why should  they? as long as there were men to bear all the anxieties and bother and  see them through their travails! it would teach them a lesson to be left to  shift for themselves. then they would know the value of economy in these  matters. i wrung my hands in despair. how was she going to get out with  the child and all that luggage! the train stopped for just seven minutes. i  would help her down first and then throw the things out, and if there were  any boxes left over they would have to be lost with the train, that was all. no  one could help it. i turned to the gnarled blue-uniformed man behind me.  he was known as number five and i had known him for several years now.  whatever had to be done on the railway platform was done with his help. i  had offered him three times his usual wages to help me today. i turned to  him and asked: \u2018can you manage even if there is too much luggage?\u2019 \u2018y es, master, no difficulty. the train stops for seven minutes.\u2019 he seemed  to have a grand notion of seven minutes; a miserable flash it seemed to  me. \u2018we unload whole waggons within that time.\u2019 \u2018i will tell the pointsman to stop it at the outer signal, if necessary,\u2019 he  added. it was a very strength-giving statement to me. i felt relieved. but i  think i lost my head once again. i believe, in this needless anxiety, i became  slightly demented. otherwise i would not have rushed at the stationmaster  the moment i set eyes on him. i saw him come out of his room and move  down the platform to gaze on a far off signal post. i ran behind him, panting:  \u2018good morning stationmaster!\u2019 he bestowed an official smile and moved  off to the end of the platform and looked up. i felt i had a lot of doubts to  clear on railway matters and asked inanely: \u2018looking at the signals?\u2019 \u2018y es,\u2019 he replied, and took his eyes down, and turned to go back to his  room. i asked: \u2018can\u2019t they arrange to stop this train a little longer here?\u2019  \u2018what for? isn\u2019t there enough trouble as it is?\u2019 i laughed sympathetically  and said: \u2018i said so because it may not be possible for passengers to  unload all their trunks.\u2019 \u2018i should like to see a passenger who carries luggage that will take more  than six minutes. i have been here thirty years.\u2019 i said: \u2018my wife is arriving today with the infant. i thought she would  require a lot of time in order to get down carefully. and then she is bound to  have numerous boxes. these women, you know,\u2019 i said laughing artificially, 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/13/m/j/16 \u00a9 ucles 2016 [turn overseeking his indulgence. he was a good man and laughed with me. \u2018well,  sometimes it has happened that the train was held up for the convenience  of a second-class passenger. are your people travelling second?\u2019 \u2018i can\u2019t  say,\u2019 i said. i knew well she wouldn\u2019t travel second, although i implored  her in every letter to do so. she wrote rather diplomatically: \u2018y es, don\u2019t be  anxious, i and the baby will travel down quite safely.\u2019 i even wrote to my  father-in-law, but that gentleman preserved a discreet silence on the matter.  i knew by temperament he disliked the extravagance of travelling second,  although he could afford it and in other ways had proved himself no miser.  i felt furious at the thought of him and told the stationmaster. \u2018some people  are born niggards \u2026 would put up with any trouble rather than \u2026\u2019 but  before i could finish my sentence a bell rang inside the station office and  the stationmaster ran in, leaving me to face my travail and anguish alone.  i turned and saw my porter standing away from me, borrowing a piece of  tobacco from someone. \u2018here, number five, don\u2019t get lost.\u2019 a small crowd  was gathering unobtrusively on the platform. i feared he might get lost at  the critical moment. a bell sounded. people moved about. we heard the  distant puffing and whistling. the engine appeared around the bend. [from chapter 2]   how does narayan vividly convey krishna\u2019s state of mind at this moment in the novel? or 18 how far does narayan make you sympathise with the headmaster\u2019s wife in the novel?50 55 60 65",
            "24": "24 0486/13/m/j/16 \u00a9 ucles 2016robert louis stevenson: the\tstrange \tcase \tof\tdr\tjekyll \tand\tmr\thyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: poole felt in his pocket and handed out a crumpled note, which the  lawyer, bending nearer to the candle, carefully examined. its contents ran  thus: \u2018dr jekyll presents his compliments to messrs. maw. he assures them  that their last sample is impure and quite useless for his present purpose.  in the year 18\u2014, dr j. purchased a somewhat large quantity from messrs.  m. he now begs them to search with the most sedulous care, and should  any of the same quality be left, to forward it to him at once. expense is no  consideration. the importance of this to dr j. can hardly be exaggerated.\u2019  so far the letter had run composedly enough; but here, with a sudden  splutter of the pen, the writer\u2019s emotion had broken loose. \u2018for god\u2019s sake,\u2019  he had added, \u2018find me some of the old.\u2019 \u2018this is a strange note,\u2019 said mr utterson; and then sharply, \u2018how do you  come to have it open?\u2019 \u2018the man at maw\u2019s was main angry, sir, and he threw it back to me like  so much dirt,\u2019 returned poole. \u2018this is unquestionably the doctor\u2019s hand, do you know?\u2019 resumed the  lawyer. \u2018i thought it looked like it,\u2019 said the servant, rather sulkily; and then, with  another voice, \u2018but what matters hand of write?\u2019 he said. \u2018i\u2019ve seen him!\u2019 \u2018seen him?\u2019 repeated mr utterson. \u2018well?\u2019 \u2018that\u2019s it!\u2019 said poole. \u2018it was this way. i came suddenly into the theatre  from the garden. it seems he had slipped out to look for this drug, or  whatever it is; for the cabinet door was open, and there he was at the far  end of the room, digging among the crates. he looked up when i came  in, gave a kind of cry, and whipped upstairs into the cabinet. it was but  for one minute that i saw him, but the hair stood upon my head like quills.  sir, if that was my master, why had he a mask upon his face? if it was my  master, why did he cry out like a rat and run from me? i have served him  long enough. and then \u2026\u2019 the man paused, and passed his hand over his  face. \u2018these are all very strange circumstances,\u2019 said mr utterson, \u2018but i think  i begin to see daylight. y our master, poole, is plainly seized with one of  those maladies that both torture and deform the sufferer; hence, for aught  i know, the alteration of his voice; hence the mask and his avoidance of  his friends; hence his eagerness to find this drug, by means of which the  poor soul retains some hope of ultimate recovery \u2013 god grant that he be  not deceived! there is my explanation; it is sad enough, poole, ay, and  appalling to consider; but it is plain and natural, hangs well together, and  delivers us from all exorbitant alarms.\u2019 \u2018sir,\u2019 said the butler, turning to a sort of mottled pallor, \u2018that thing was not  my master, and there\u2019s the truth. my master\u2019 \u2013 here he looked round him,  and began to whisper \u2013 \u2018is a tall fine build of a man, and this was more of a  dwarf.\u2019 utterson attempted to protest. \u2018o, sir,\u2019 cried poole, \u2018do you think i do  not know my master after twenty years? do you think i do not know where  his head comes to in the cabinet door, where i saw him every morning of  my life? no, sir, that thing in the mask was never dr jekyll \u2013 god knows  what it was, but it was never dr jekyll; and it is the belief of my heart that  there was murder done.\u20195 10 15 20 25 30 35 40 45",
            "25": "25 0486/13/m/j/16 \u00a9 ucles 2016 [turn over\u2018poole,\u2019 replied the lawyer, \u2018if you say that, it will become my duty to make  certain. much as i desire to spare your master\u2019s feelings, much as i am  puzzled about this note, which seems to prove him to be still alive, i shall  consider it my duty to break in that door.\u2019 \u2018ah, mr utterson, that\u2019s talking!\u2019 cried the butler. \u2018and now comes the second question,\u2019 resumed utterson: \u2018who is going  to do it?\u2019 \u2018why, you and me, sir,\u2019 was the undaunted reply. \u2018that is very well said,\u2019 returned the lawyer; \u2018and whatever comes of it, i  shall make it my business to see you are no loser.\u2019 \u2018there is an axe in the theatre,\u2019 continued poole; \u2018and you might take the  kitchen poker for yourself.\u2019 the lawyer took that rude but weighty instrument into his hand, and  balanced it. \u2018do you know, poole,\u2019 he said, looking up, \u2018that you and i are  about to place ourselves in a position of some peril?\u2019 \u2018y ou may say so, sir, indeed,\u2019 returned the butler. \u2018it is well, then, that we should be frank,\u2019 said the other. \u2018we both think  more than we have said; let us make a clean breast. this masked figure  that you saw, did you recognise it?\u2019 \u2018well, sir, it went so quick, and the creature was so doubled up, that i  could hardly swear to that,\u2019 was the answer. \u2018but if you mean, was it mr  hyde? \u2013 why, yes, i think it was! y ou see, it was much of the same bigness;  and it had the  same quick light way with it; and then who else could have  got in by the laboratory door? y ou have not forgot, sir, that at the time of  the murder he had still the key with him? but that\u2019s not all. i don\u2019t know, mr  utterson, if ever you met this mr hyde?\u2019 \u2018y es,\u2019 said the lawyer, \u2018i once spoke with him.\u2019 \u2018then you must know, as well as the rest of us, that there was something  queer about that gentleman \u2013 something that gave a man a turn \u2013 i don\u2019t  know rightly how to say it, sir beyond this: that you felt it in your marrow \u2013  kind of cold and thin.\u2019 [from chapter 8, \u2018dr lanyon\u2019s narrative\u2019]   how does stevenson make this such a dramatic and significant moment in the novel? or 20 explore the ways in which  stevenson hints that jekyll and hyde are the same person as  the novel progresses.50 55 60 65 70 75",
            "26": "26 0486/13/m/j/16 \u00a9 ucles 2016from stories \tof\tourselves remember to support your ideas with details from the writing. either  21 read this extract from the people before (by maurice shadbolt), and then answer the  question that follows it: \u2018we\u2019ve come a long way,\u2019 tom said. \u2018nearly a hundred miles, from up the  coast. that\u2019s where we live now.\u2019 \u2018all this way. just so\u2014\u2019 \u2018y es,\u2019 tom said. \u2018that\u2019s right.\u2019 \u2018well,\u2019 said my father. \u2018what do you know? what do you know about  that?\u2019 baffled, he looked at me, at my mother, and even finally at jim. none  of us had anything to say. \u2018i hope we\u2019re not troubling you,\u2019 tom said politely. \u2018we don\u2019t want to be  any trouble. we just want to go across your land, if that\u2019s all right. we got  our own tucker and everything.\u2019 we saw this was true. the two old women had large flax kits of food. \u2018no liquor?\u2019 my father said suspiciously. \u2018i don\u2019t want any drinking round  my place.\u2019 \u2018no,\u2019 tom replied. his face was still patient. \u2018no liquor. we don\u2019t plan on  any drinking.\u2019 the other young men shyly agreed in the background. it was not, they  seemed to say, an occasion for drinking. \u2018well,\u2019 said my father stiffly, \u2018i suppose it\u2019s all right. where are you going  to take him?\u2019 he nodded towards the old sleeping man. \u2018just across your land. and up to the old pa.\u2019 \u2018i didn\u2019t know there used to be any pa round here.\u2019 \u2018well,\u2019 said tom. \u2018it used to be up there.\u2019 he pointed out the largest hill  behind our farm, one that stood well apart and above the others. we called  it craggy hill, because of limestone outcrops. its flanks and summit were  patchy with tall scrub. we seldom went near it, except perhaps when out  shooting; then we circled its steep slopes rather than climbed it. \u2018y ou\u2019d see  the terraces,\u2019 tom said, \u2018if it wasn\u2019t for the scrub. it\u2019s all hidden now.\u2019 now my father looked strangely at tom. \u2018hey,\u2019 he said, \u2018y ou sure you  aren\u2019t having me on? how come you know that hill straight off? y ou ever  been here before?\u2019 \u2018no,\u2019 tom said. his face shone as he sweated with the effort of trying to  explain everything. \u2018i never been here before. i never been in this part of  the country before.\u2019 \u2018then how do you know that\u2019s the hill, eh?\u2019 \u2018because,\u2019 tom said simply, \u2018the old men told me. they described it so  well i could find the place blindfold. all the stories of our tribe are connected  with that hill. that\u2019s where we lived, up there, for hundreds of years.\u2019 \u2018well, i\u2019ll be damned. what do you know about that?\u2019 my father blinked,  and looked up at the hill again. \u2018just up there, eh? and for hundreds of years.\u2019 \u2018that\u2019s right.\u2019 \u2018and i never knew. well, i\u2019ll be damned.\u2019 \u2018there\u2019s lots of stories about that hill,\u2019 tom said. \u2018and a lot of battles  fought round here. over your place.\u2019 \u2018right over my land?\u2019 \u2018that\u2019s right. up and down here, along the river.\u2019 my father was so astonished he forgot to be aloof. he was trying to fit  everything into his mind at once \u2013 the hill where they\u2019d lived hundreds of 5 10 15 20 25 30 35 40 45",
            "27": "27 0486/13/m/j/16 \u00a9 ucles 2016years, the battles fought across his land \u2013 and it was too much. \u2018the war canoes would come up here,\u2019 tom went on. \u2018i reckon they\u2019d  drag them up somewhere here\u2019 \u2013 he indicated the grassy bank on which  we were standing \u2013 \u2018in the night, and go on up to attack the pa before  sunrise. that\u2019s if we hadn\u2019t sprung a trap for them down here. there\u2019d be a  lot of blood soaked into this soil.\u2019 he kicked at the earth beneath our feet.  \u2018we had to fight a long while to keep this land here, a lot of battles. until  there was a day when it was no use fighting any more. that was when we  left.\u2019 we knew, without him having to say it, what he meant. he meant the day  when the european took the land. so we all stood quietly for a moment.  then my mother spoke. \u2018y ou\u2019d better come up to the house,\u2019 she said. \u2018i\u2019ll make you all a cup of  tea.\u2019 a cup of tea was her solution to most problems. we went up to the house slowly. the young men followed behind,  carrying the litter. they put the old man in the shade of a tree, outside the  house. since it seemed the best thing to do, we all sat around him; there  wouldn\u2019t have been room for everyone in our small kitchen anyway. we  waited for my mother to bring out the tea.   how does shadbolt make this conversation between the narrator\u2019s father and tom so  revealing and significant? or 22 how does townsend warner create such a memorable portrait of an animal in the  phoenix  ?50 55 60 65",
            "28": "28 0486/13/m/j/16 \u00a9 ucles 2016blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s16_qp_21.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/21 may/june 2016 1 hour 30 minutesliterature (english) paper 2 drama additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for acontinuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 11printed pages and 1blank page. [turn over06_0486_21_2016_1.14 \u00a9 ucles 2016 *5011703713*",
            "2": "arthur miller: all my sons remember to support your ideas with details from the writing. either * 1read this passage, and then answer the question that follows it: two\u0003o\u2019clock\u0003the\u0003following \u0003morning, \u0003mother \u0003is\u0003discovered \u0003on\u0003the\u0003rise,\u0003rocking\u0003 ceaselessly \u0003in\u0003a\u0003chair,\u0003staring\u0003at\u0003her\u0003thoughts. \u0003 06_0486_21_2016_1.14 \u00a9 ucles 20162 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "3": "jim: i\u2019m\u0003a\u0003good\u0003husband; \u0003chris\u0003is\u0003a\u0003good\u0003son\u0003\u2014\u0003he\u2019ll\u0003come\u0003back. [from act 3 ] explore the ways in which miller makes this such an effective opening to act 3. or \u2020 2 how does miller make steve deever have such an impact in the play despite the fact that he never appears on stage? [turn over06_0486_21_2016_1.14 \u00a9 ucles 20163 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "4": "j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either * 3read this passage, and then answer the question that follows it: birling:\u0003cigar? 06_0486_21_2016_1.14 \u00a9 ucles 20164 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "5": "gerald\u0003[amused ]:\u0003sounds\u0003a\u0003bit\u0003fishy\u0003to\u0003me. [from act 1 ] how does priestley make this moment in the play so revealing? or \u2020 4 in what ways does priestley make the conflict between the inspector and mrs birling such a striking part of the play? [turn over06_0486_21_2016_1.14 \u00a9 ucles 20165 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "6": "30252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either * 5read this passage, and then answer the question that follows it: what say you then to falconbridge, the young baron of england? nerissa: you know i say nothing to him, for he understands not me, nor i him: he hath neither latin, french, nor italian, and you will come into the court and swear that i have a poorportia: pennyworth in the english. he is a proper man\u2019s picture; but, alas, who can converse with a dumb-show? how oddly he is suited! i think he bought his doublet in italy, hisround hose in france, his bonnet in germany, and his behaviour everywhere. what think you of the scottish lord, his neighbour? nerissa: that he hath a neighbourly charity in him, for he borrowed a box of the ear of the englishman, and swore he would pay him again when he was able; i think the frenchmanbecame his surety, and seal\u2019d under for another.portia: how like you the young german, the duke of saxony\u2019s nephew? nerissa: very vilely in the morning when he is sober; and most vilely in the afternoon when he is drunk. when he is best, he is a little worse than a man, and when he is worst, he isportia: little better than a beast. an the worst fall that ever fell, i hope i shall make shift to go without him. if he should offer to choose, and choose the right casket, you should refuse to perform your father\u2019s will, if you should refuse to accept him.nerissa: therefore, for fear of the worst, i pray thee set a deep glass of rhenish wine on the contrary casket; for if the devil be within and that temptation without, i know he willchoose it. i will do anything, nerissa, ere i will be married to a sponge.portia: you need not fear, lady, the having any of these lords; they have acquainted me with their determinations, which is indeed to return to their home, and to trouble you with nonerissa: more suit, unless you may be won by some other sort than your father\u2019s imposition, depending on the caskets. if i live to be as old as sibylla, i will die as chaste as diana, unless i be obtained by the manner of my father\u2019s will. i am glad this parcel of wooers are so reasonable; for thereportia: is not one among them but i dote on his very absence, and i pray god grant them a fair departure. do you not remember, lady, in your father\u2019s time, a venetian, a scholar and a soldier, that came hither in company of the marquis of montferrat?nerissa: yes, yes, it was bassanio; as i think, so was he call\u2019d. portia: true, madam; he, of all the men that ever my foolish eyes look\u2019d upon, was the best deserving a fair lady.nerissa: i remember him well, and i remember him worthy of thy praise. portia: [from act 1 scene 2 ] how does shakespeare make this moment in the play so entertaining? 06_0486_21_2016_1.14 \u00a9 ucles 20166",
            "7": "or \u2020 6 in what ways does shakespeare make the relationship between antonio and bassanio so significant? [turn over06_0486_21_2016_1.14 \u00a9 ucles 20167",
            "8": "403530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either * 7read this passage, and then answer the question that follows it: what treasure, uncle? king: tennis-balls, my liege. exeter: we are glad the dauphin is so pleasant with us; his present and your pains we thank you for.when we have match\u2019d our rackets to these balls,we will in france, by god\u2019s grace, play a setshall strike his father\u2019s crown into the hazard.tell him he hath made a match with such a wranglerthat all the courts of france will be disturb\u2019dwith chaces. and we understand him well,how he comes o\u2019er us with our wilder days,not measuring what use we made of them.we never valu\u2019d this poor seat of england;and therefore, living hence, did give ourselfto barbarous licence; as \u2019tis ever commonthat men are merriest when they are from home.but tell the dauphin i will keep my state,be like a king, and show my sail of greatness,when i do rouse me in my throne of france;for that i have laid by my majestyand plodded like a man for working-days;but i will rise there with so full a glorythat i will dazzle all the eyes of france,yea, strike the dauphin blind to look on us.and tell the pleasant prince this mock of hishath turn\u2019d his balls to gun-stones, and his soulshall stand sore charged for the wasteful vengeancethat shall fly with them; for many a thousand widowsshall this his mock mock out of their dear husbands;mock mothers from their sons, mock castles down;and some are yet ungotten and unbornthat shall have cause to curse the dauphin\u2019s scorn.but this lies all within the will of god,to whom i do appeal; and in whose name,tell you the dauphin, i am coming on,to venge me as i may and to put forthmy rightful hand in a well-hallow\u2019d cause.so get you hence in peace; and tell the dauphinhis jest will savour but of shallow wit,when thousands weep more than did laugh at it.convey them with safe conduct. fare you well. [exeunt ambassadors ]king: [from act 1 scene 2 ] 06_0486_21_2016_1.14 \u00a9 ucles 20168",
            "9": "what striking impressions of king henry does shakespeare create for you at this moment in the play? or \u2020 8 to what extent do you think shakespeare portrays war as glorious in henry v ? [turn over06_0486_21_2016_1.14 \u00a9 ucles 20169",
            "10": "3530252015105j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either * 9read this passage, and then answer the question that follows it: i...s hall...m a k e...m e...a... man!\u201d [the crowd bursts out into an orgy of hosannahs and waving arms. ]brown: glory! hosannah! bless the lord who created us! all: [throwing herself to the ground. shouting out .]: bow down! bow down before the lord!mrs krebs are we good, lord? tell us! are we good? elijah : [answering triumphantly. ]: the lord said, \u201cyea, thou art good! for i have created ye in my image, after my likeness! be fruitful, and multiply, and replenish the earth,and subdue it!\u201dbrown [deep-voiced, singing. ]: the lord made man master of the earth. . .! elijah glory, glory! bless the lord! all: [whipping \u2019em up. ]: do we believe? brown [in chorus. ]: yes! all do we believe the word? brown: [coming back like a whip-crack. ]: yes! all do we believe the truth of the word? brown: yes! all: [pointing a finger toward the jail. ]: do we curse the man who denies the word? brown [crescendo, each answer mightier than the one before. ]: yes! all do we cast out this sinner in our midst? brown: yes! [ each crash of sound from the crowd seems to strike rachel physically, and shake her. the prayer meeting has passed beyond the familiar bounds into an area of orgiastic anger. ]all: do we call down hellfire on the man who has sinned against the word? brown: [roaring. ]: yes! all [deliberately shattering the rhythm, to go into a frenzied prayer, hands clasped together and lifted heavenward. ]: o lord of the tempest and the thunder! o lordbrown of righteousness and wrath! we pray that thou wilt make a sign unto us! strike down this sinner, as thou didst thine enemies of old, in the days of the pharaohs! [all lean forward, almost expecting the heavens to open with a thunderbolt. rachel is white. brady shifts uncomfortably in his chair, this is pretty strong stuff, even for him.] let him feel the terror of thy sword! for all eternity, let his soul writhe in anguish and damnation \u2013 no![she rushes to the platform. ] no, father. don\u2019t pray to destroy bert! [ as she falls to her knees in front of the platform. ] no, no, no . . .!rachel: 06_0486_21_2016_1.14 \u00a9 ucles 201610",
            "11": "6055504540lord, we call down the same curse on those who ask grace for this sinner \u2013 though they be blood of my blood, and flesh of my flesh!brown: [rising, grasping brown\u2019s arm. ]: reverend brown, i know it is the great zeal of your faith which makes you utter this prayer! but it is possible to be overzealous, tobrady destroy that which you hope to save \u2013 so that nothing is left but emptiness. [brown turns. ] remember the wisdom of solomon in the book of proverbs \u2013 [ softly. ]\u201c h e that troubleth his own house ...s hall inherit the wind.\u201d [ he makes a gesture with his open hand to indicate nothingness: the empty air, the brief and unrememberedwind. brady leads brown to chair on platform and sits him down. brown seems dazed, shaken. benignly, brady turns to the townspeople. ] the bible also tells us that god forgives his children. and we, the children of god, should forgive each other. [rachel s lips off. ] my good friends, return to your homes. the blessings of the lord be with you all. [ slowly the townspeople move off, singing and humming \u201cgo, tell it on the mountain.\u201d when the crowd has almost cleared, rev. brown steps off platform to mrs. brady .brady moves off platform, motions them off. brady anddrummond are left alone on stage. as brady crosses to drummond .] we were good friends once. i was always glad of your support. what happened between us? there used to be a mutuality of understanding and admiration. why is it, my old friend, that you have moved so far away from me? [ a pause. they study each other. ] [slowly. ]: all motion is relative. perhaps it is youwho have moved away \u2013 by standing still. [ the words have a sharp impact on brady . for a moment, he stands still, hisdrummond mouth open, staring at drummond . then he takes two faltering steps backward, looks at drummond again, then moves off. drummond stands alone. slowly the lights fade on the silent man. ] [from act 1 scene 3 ] in what ways do the writers make this such a powerful moment in the play? or \u2020 10 how do the writers make henry drummond such a fascinating character? 06_0486_21_2016_1.14 \u00a9 ucles 201611",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_21_2016_1.14 \u00a9 ucles 201612"
        },
        "0486_s16_qp_22.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/22 may/june 2016 1 hour 30 minutesliterature (english) paper 2 drama additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 11printed pages and 1blank page. [turn over06_0486_22_2016_1.8 \u00a9 ucles 2016 *1872212318*",
            "2": "arthur miller: all my sons remember to support your ideas with details from the writing. either * 1read this passage, and then answer the question that follows it: [ann\u0003enters\u0003from\u0003house.\u0003they\u0003say\u0003nothing,\u0003waiting\u0003for\u0003her\u0003to\u0003speak. ]\u0003 06_0486_22_2016_1.8 \u00a9 ucles 20162 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "3": "i\u0003told\u0003you\u0003a\u0003hundred\u0003times,\u0003why\u0003wouldn\u2019t\u0003you\u0003believe\u0003me! [from act 3 ] how does miller make this such a powerful moment in the play? or \u2020 2 in what ways does miller make you sympathise with chris keller during the play? [turn over06_0486_22_2016_1.8 \u00a9 ucles 20163 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "4": "j .b. priestley: an inspector calls remember to support your ideas with details from the writing. either * 3read this passage, and then answer the question that follows it: [bursting\u0003out]:\u0003what\u2019s\u0003the\u0003use\u0003of\u0003talking\u0003about\u0003behaving \u0003sensibly? \u0003 eric: 06_0486_22_2016_1.8 \u00a9 ucles 20164 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "5": "but how do you know it\u2019s the same girl? gerald: [from act 3 ] how does priestley vividly convey the characters \u078cresponses here, following the inspector\u2019s departure? or \u2020 4 explore two moments in the play where priestley vividly creates suspense for the audience. [turn over06_0486_22_2016_1.8 \u00a9 ucles 20165 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either * 5read this passage, and then answer the question that follows it: enter salerio andsolanio why, man, i saw bassanio under sail; with him is gratiano gone along;and in their ship i am sure lorenzo is not.salerio: the villain jew with outcries rais\u2019d the duke, who went with him to search bassanio\u2019s ship.solanio: he came too late, the ship was under sail; but there the duke was given to understandthat in a gondola were seen togetherlorenzo and his amorous jessica;besides, antonio certified the dukethey were not with bassanio in his ship.salerio: i never heard a passion so confus\u2019d, so strange, outrageous, and so variable,as the dog jew did utter in the streets.\u2018my daughter! o my ducats! o my daughter!fled with a christian! o my christian ducats!justice! the law! my ducats and my daughter!a sealed bag, two sealed bags of ducats,of double ducats, stol\u2019n from me by my daughter!and jewels \u2013 two stones, two rich and precious stones,stol\u2019n by my daughter! justice! find the girl;she hath the stones upon her and the ducats.\u2019solanio: why all the boys in venice follow him, crying, his stones, his daughter, and his ducats.salerio: let good antonio look he keep his day, or he shall pay for this.solanio: marry, well rememb\u2019red; i reason\u2019d with a frenchman yesterday,who told me, in the narrow seas that partthe french and english, there miscarrieda vessel of our country richly fraught.i thought upon antonio when he told me,and wish\u2019d in silence that it were not his.salerio: you were best to tell antonio what you hear; yet do not suddenly, for it may grieve him.solanio: 06_0486_22_2016_1.8 \u00a9 ucles 20166",
            "7": "55504540a kinder gentleman treads not the earth. i saw bassanio and antonio part.bassanio told him he would make some speedof his return. he answered \u2018do not so;slubber not business for my sake, bassanio,but stay the very riping of the time;and for the jew\u2019s bond which he hath of me,let it not enter in your mind of love;be merry, and employ your chiefest thoughtsto courtship, and such fair ostents of loveas shall conveniently become you there\u2019.and even there, his eye being big with tears,turning his face, he put his hand behind him,and with affection wondrous sensiblehe wrung bassanio\u2019s hand; and so they parted.salerio: i think he only loves the world for him. i pray thee, let us go and find him out,and quicken his embraced heavinesswith some delight or other.solanio: do we so. salerio: [from act 2 scene 8 ] how does shakespeare make this such a dramatic moment in the play? or \u2020 6 in what striking ways does shakespeare make revenge so significant in the play? [turn over 06_0486_22_2016_1.8 \u00a9 ucles 20167",
            "8": "30252015105william shakespeare: henry v remember to support your ideas with details from the writing. either * 7read this passage, and then answer the question that follows it: enter pistol ,hostess ,nym ,bardolph , and boy . prithee, honey-sweet husband, let me bring thee to staines. hostess: no; for my manly heart doth earn. bardolph, be blithe; nym, rouse thy vaunting veins;boy, bristle thy courage up. for falstaff he is dead,and we must earn therefore.pistol: would i were with him, wheresome\u2019er he is, either in heaven or in hell! bardolph: nay, sure, he \u078cs not in hell: he \u078cs in arthur \u078cs bosom, if ever man went to arthur \u078cs bosom. \u078ca made a finer end, and went away an it had been any christom child; \u078ca parted ev \u078cnhostess: just between twelve and one, ev \u078cn at the turning o \u078cth\u078ctide; for after i saw him fumble with the sheets, and play with flowers, and smile upon his fingers \u078cend, i knew there was but one way; for his nose was as sharp as a pen, and \u078ca babbl\u078cd of green fields. \u2018how now, sir john!\u2019 quoth i \u2018what, man, be o\u2019good cheer.\u2019 so \u2018a cried out \u2019god, god,god!\u2019 three or four times. now i, to comfort him, bid him \u2019a should not think of god; ihop\u2019d there was no need to trouble himself with any such thoughts yet. so \u2019a bade melay more clothes on his feet; i put my hand into the bed and felt them, and they wereas cold as any stone; then i felt to his knees, and so upward and upward, and all wasas cold as any stone. they say he cried out of sack. nym: ay, that\u2019a did. hostess: and of women. bardolph: nay, that \u2019a did not. hostess: yes, that \u2019a did, and said they were devils incarnate. boy: \u2019a could never abide carnation; \u2019twas a colour he never lik\u2019d. hostess: \u2019a said once the devil would have him about women. boy: \u2019a did in some sort, indeed, handle women; but then he was rheumatic, and talk\u2019d of the whore of babylon.hostess: do you not remember \u2019a saw a flea stick upon bardolph\u2019s nose, and \u2019a said it was a black soul burning in hell?boy: well, the fuel is gone that maintain\u2019d that fire: that\u2019s all the riches i got in his service. bardolph: shall we shog? the king will be gone from southampton. nym: 06_0486_22_2016_1.8 \u00a9 ucles 20168",
            "9": "454035come, let\u2019s away. my love, give me thy lips. look to my chattels and my moveables;let senses rule. the word is \u2018pitch and pay\u2019.trust none;for oaths are straws, men\u2019s faiths are wafer-cakes,and holdfast is the only dog, my duck.therefore, caveto be thy counsellor.go, clear thy crystals. yoke-fellows in arms,let us to france, like horse-leeches, my boys,to suck, to suck, the very blood to suck.pistol: and that\u2019s but unwholesome food, they say. boy: touch her soft mouth and march. pistol: farewell, hostess. [ kissing her. ] bardolph: i cannot kiss, that is the humour of it; but, adieu. nym: let housewifery appear; keep close, i thee command. pistol: farewell; adieu. hostess: [from act 2 scene 3 ] how does shakespeare make this moment in the play both moving and amusing? or \u2020 8 what do you find particularly memorable about shakespeare\u2019s portrayal of the french in the play? [turn over 06_0486_22_2016_1.8 \u00a9 ucles 20169",
            "10": "3530252015105j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either * 9read this passage, and then answer the question that follows it: [in a shrill, screeching voice. ]: buy a bible! your guidebook to eternal life! [e.k. hornbeck wanders on, carrying a suitcase. he is a newspaperman in his middleelijah thirties, who sneers politely at everything, including himself. his clothes \u2013 those of a sophisticated city-dweller \u2013 contrast sharply with the attire of the townspeople.he uses his \u201cboater\u201d straw-hat throughout as kind of an impertinent prop. stillunnoticed by most of the townspeople, hornbeck looks around with wonderful contempt. ] [tohornbeck .]: want a fan? compliments of maley\u2019s funeral home \u2013 thirty-five cents!mrs mclain i\u2019d die first. hornbeck: [unctuously, to hornbeck .]: you\u2019re a stranger, aren\u2019t you, mister? want a nice clean place to stay?mrs krebs i had a nice clean place to stay, madame. and i left it to come here. hornbeck: [undaunted. ]: you\u2019re gonna need a room. mrs krebs i have a reservation at the mansion house. hornbeck: oh? [ she sniffs. ] that\u2019s all right, i suppose, for them as likes having a privy practically in the bedroom. [ she turns away from him. he tips his straw hat to her .]mrs krebs: the unplumbed and plumbing-less depths. ahhh, hillsboro, heavenly hillsboro, the buckle on the bible belt. [ the hot dog man andelijah converge on hornbeck from opposite sides. ]hornbeck: hot dog? hot dog man: buy a bible? elijah: [up ends his suitcase and sits on it. ]: now that poses a pretty problem. which is hungrier \u2013 my stomach or my soul? [ buys hot dog. ] my stomach. [hot dog man accepts money from hornbeck and moves off. ]hornbeck [miffed .]: what are you? an evolutionist? an infidel? a sinner? elijah [munching on hot dog. ]: the worst kind. i write for a newspaper. [hornbeck offers his hand. ] i\u2019m e.k. hornbeck, baltimore herald . i don\u2019t believe i caught your name.hornbeck [impressively, not taking his hand. ] :t h e yc a l lm e...e lijah. elijah [pleased.]: elijah. yes. why, i had no idea you were still around. i\u2019ve read some of your stuff.hornbeck [haughtily .]: i neither read nor write. elijah oh. excuse me. i must be thinking of another elijah. [ an organ grinder enters, with a live monkey on a string. hornbeck spies the monkey gleefully; he greetshornbeck: the monk with arms outstretched. ] grandpa! [ crosses to the monkey, bends down and shakes the monkey\u2019s hand. ] welcome to hillsboro, sir! have you come to testify for the defense? or for the prosecution? [ the monkey, oddly enough, 06_0486_22_2016_1.8 \u00a9 ucles 201610",
            "11": "6055504540doesn\u2019t answer .] no comment? that\u2019s fairly safe. but i warn you, sir. you can\u2019t compete with all these monkeyshines. [melinda hands the monkey a penny. ] look! he took my penny! melinda: how could you ask for better proof than that? there\u2019s the father of the human race!hornbeck: [running on breathlessly. ]: train\u2019s coming! i seen the smoke \u2019way up the track! timmy all the members of the bible league, get ready. let us show mr. brady the spirit with which we welcome him to hillsboro! [ the crowd lets out a mighty cheer. mrs. blair blows a note on her pitch-pipe and sings the first line of \u201cmarching to zion.\u201d ]brown: [singing. ]: \u201cwe\u2019re marching to zion\u201d mrs blair [taking up the song. ]: \u2014 beautiful, beautiful zion. [mrs. blair waves the crowd to follow her. the crowd marches off singing .] we\u2019re marching upwards to zion,the beautiful city of god. [hornbeck turns to watch the last of the crowd disappear. even the organ grinder leaves his monkey tied to the hurdy-gurdy and joins the departing crow d.]all amen! [ to the monkey. ] shield your eyes, monk, you are about to meet the mightiest of your descendants. a man who wears a cathedral for a cloak and ahornbeck: church spire for a hat. whose tread has the thunder of the legions of the lion hearted. [from act 1 scene 1 ] how do the writers make this such a striking introduction to hornbeck? or \u2020 10 explore how the writers vividly portray the ways in which rachel changes during the play. 06_0486_22_2016_1.8 \u00a9 ucles 201611",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_22_2016_1.8 \u00a9 ucles 201612"
        },
        "0486_s16_qp_23.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/23 may/june 2016 1 hour 30 minutesliterature (english) paper 2 drama additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 11printed pages and 1blank page. [turn over06_0486_23_2016_1.5 \u00a9 ucles 2016 *8362488802*",
            "2": "arthur miller: all my sons remember to support your ideas with details from the writing. either * 1read this passage, and then answer the question that follows it: [angering ]:\u0003we\u0003rushed\u0003into\u0003it.\u0003 mother 06_0486_23_2016_1.5 \u00a9 ucles 20162 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "3": "in\u0003my\u0003worst\u0003moments, \u0003i\u0003think\u0003of\u0003her\u0003waiting,\u0003and\u0003i\u0003know\u0003again\u0003that\u0003i\u2019m\u0003right. [from act 1 ] how does miller strikingly convey the thoughts and feelings of the characters in this scene? or \u2020 2 in what ways does miller make self-deception so significant in the play? [turn over06_0486_23_2016_1.5 \u00a9 ucles 20163",
            "4": "j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either * 3read this passage, and then answer the question that follows it: inspector: \u0003who\u0003is\u0003to\u0003blame\u0003then? 06_0486_23_2016_1.5 \u00a9 ucles 20164 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "5": "[inspector holds up a hand. we hear the front door. they wait, looking towards door. eric enters, looking extremely pale and distressed. he meets their inquiring stares. curtain falls quickly. ] e n do fa c tt w o [from act 2 ] how does priestley make this such a striking ending to act 2? or \u2020 4 how does priestley memorably depict the relationship between gerald and sheila? [turn over06_0486_23_2016_1.5 \u00a9 ucles 20165 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either * 5read this passage, and then answer the question that follows it: signior antonio, many a time and oft in the rialto you have rated meabout my moneys and my usances;still have i borne it with a patient shrug,for suff'rance is the badge of all our tribe;you call me misbeliever, cut-throat dog,and spit upon my jewish gaberdine,and all for use of that which is mine own.well then, it now appears you need my help;go to, then; you come to me, and you say\u2018shylock, we would have moneys\u2019. you say so \u2013you that did void your rheum upon my beardand foot me as you spurn a stranger curover your threshold; moneys is your suit.what should i say to you? should i not say\u2018hath a dog money? is it possiblea cur can lend three thousand ducats?\u2019 orshall i bend low and, in a bondman\u2019s key,with bated breath, and whisp\u2019ring humbleness,say this:\u2018fair sir, you spit on me on wednesday last,you spurn'd me such a day; another timeyou call\u2019d me dog; and for these courtesiesi\u2019ll lend you thus much moneys\u2019?shylock: i am as like to call thee so again, to spit on thee again, to spurn thee too.if thou wilt lend this money, lend it notas to thy friends \u2013 for when did friendship takea breed for barren metal of his friend? \u2013but lend it rather to thine enemy,who if he break thou mayst with better faceexact the penalty.antonio: why, look you, how you storm! i would be friends with you, and have your love,forget the shames that you have stain\u2019d me with,supply your present wants, and take no doitof usance for my moneys, and you\u2019ll not hear me.this is kind i offer.shylock: this were kindness. bassanio: 06_0486_23_2016_1.5 \u00a9 ucles 20166",
            "7": "4540 this kindness will i show. go with me to a notary, seal me thereyour single bond, and, in a merry sport,if you repay me not on such a day,in such a place, such sum or sums as areexpress\u2019d in the condition, let the forfeitbe nominated for an equal poundof your fair flesh, to be cut off and takenin what part of your body pleaseth me.shylock: [from act 1 scene 3 ] what does shakespeare\u2019s writing make you feel about shylock at this moment in the play? or \u2020 6 to what extent does shakespeare persuade you that portia and bassanio will have a happy marriage? [turn over 06_0486_23_2016_1.5 \u00a9 ucles 20167",
            "8": "403530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either * 7read this passage, and then answer the question that follows it: enter the king of france ,t h e dauphin ,duke of britaine ,t h e constable of france , and others . 'tis certain he hath pass\u2019d the river somme. king of france: and if he be not fought withal, my lord, let us not live in france; let us quit all,and give our vineyards to a barbarous people.constable: o dieu vivant! shall a few sprays of us, the emptying of our fathers\u2019 luxury,our scions, put in wild and savage stock,spirt up so suddenly into the clouds,and overlook their grafters?dauphin: normans, but bastard normans, norman bastards! mort dieu, ma vie! if they march alongunfought withal, but i will sell my dukedomto buy a slobb\u2019ry and a dirty farmin that nook-shotten isle of albion.britaine: dieu de batailles! where have they this mettle? is not their climate foggy, raw, and dull;on whom, as in despite, the sun looks pale,killing their fruit with frowns? can sodden water,a drench for sur-rein'd jades, their barley-broth,decoct their cold blood to such valiant heat?and shall our quick blood, spirited with wine,seem frosty? o, for honour of our land,let us not hang like roping iciclesupon our houses\u2019 thatch, whiles a more frosty peoplesweat drops of gallant youth in our rich fields \u2013poor we call them in their native lords!constable: by faith and honour, our madams mock at us, and plainly sayour mettle is bred out, and they will givetheir bodies to the lust of english youthto new-store france with bastard warriors.dauphin: they bid us to the english dancing-schools and teach lavoltas high and swift corantos,saying our grace is only in our heelsand that we are most lofty runaways.britaine: where is montjoy the herald? speed him hence; let him greet england with our sharp defiance.up, princes, and, with spirit of honour edgedmore sharper than your swords, hie to the field... [from act 3 scene 5 ]king of france: 06_0486_23_2016_1.5 \u00a9 ucles 20168",
            "9": "in what ways does shakespeare make this a strikingly dramatic moment in the play? or \u2020 8 what do you think shakespeare's portrayal of pistol contributes to the play? [turn over06_0486_23_2016_1.5 \u00a9 ucles 20169",
            "10": "3530252015105j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either * 9read this passage, and then answer the question that follows it: [as he crosses to meeker over the above. ]: i don\u2019t think i have a correct copy of the indictment. [rachel moves to cates.]drummond lemme see. [drummond hands meeker indictment. ] oh, you have the old one. meeker: well, let me have a new one. drummond: here. [ he gives drummond a new indictment. suddenly, rachel darts to drummond atjudge\u2019s bench. cates opens his mouth to stop her, but she speaks rapidly, with pent-up tension. ]meeker: mr. drummond. you\u2019ve got to call the whole thing off. it\u2019s not too late. bert knows he did wrong. he didn\u2019t mean to. and he\u2019s sorry. now why can\u2019t he just stand uprachel: and say to everybody: \u2018i did wrong. i broke the law. i admit it. i won\u2019t do it again.\u2019 then they\u2019d stop all this fuss, and \u2013 everything would be like it was. [drummondlooks at rachel , not unkindly. ] who are you? drummond: [backing down to brady\u2019s table. ]: i\u2019m \u2013 a friend of bert\u2019s. rachel how about it, boy? getting cold feet? drummond: i never thought it would be like this. like barnum and bailey coming to town. cates: [easily. ]: we can call it off. you want to quit? drummond yes! rachel: people look at me as if i was a murderer. worse than a murderer! that fella from minnesota who killed his wife \u2013 remember, rache? \u2013 half the town turned out tocates: watch \u2019em put him on the train. they just stared at him as if he was a curiosity \u2013 not like they hated him! not like he\u2019d done anything really wrong! just different! there\u2019s nothing very original about murdering your wife. drummond: people i thought were my friends look at me now as if i had horns growing out of my head.cates: you murder a wife, it isn\u2019t nearly as bad as murdering an old wives\u2019 tale. kill one of their fairy-tale notions, and they call down the wrath of god, brady, and the statelegislature.drummond: you make a joke out of everything. you seem to think it\u2019s all so funny! rachel: lady, when you lose your power to laugh, you lose your power to think straight. drummond: mr drummond, i can\u2019t laugh. i\u2019m scared. cates: good. you\u2019d be a damned fool if you weren\u2019t. drummond: [bitterly .]: you\u2019re supposed to be helping bert, and every time you swear you make it worse for him. [ she moves to bert . he comforts her. ]rachel [honestly. ]: i\u2019m sorry if i offend you. but i don\u2019t swear just for the hell of it. you see, i figure that language is a poor enough means of communication as it is. so wedrummond 06_0486_23_2016_1.5 \u00a9 ucles 201610",
            "11": "55504540ought to use all the words we\u2019ve got. besides, there are damned few words that everybody understands. you don\u2019t care anything about bert! you just want a chance to make speeches against the bible!rachel: i care a great deal about bert. i care a great deal about what bert thinks. drummond: well, i care about what the people in this town think of him. rachel: [quietly. ]: can you buy back his respectability by making him a coward? [ he spades his hands in his hip pockets .] i understand what bert\u2019s going through. it\u2019s the loneliestdrummond feeling in the world \u2013 to find yourself standing up when everybody else is sitting down. to have everybody look at you and say, \u2018what\u2019s the matter with him?\u2019 i know.i know what it feels like. walking down an empty street, listening to the sound ofyour own footsteps. shutters closed, blinds drawn, doors locked against you. andyou aren\u2019t sure whether you\u2019re walking towards something \u2013 or just walking away. . . [he takes a deep breath, then turns abruptly. ] cates, i\u2019ll change your plea and we\u2019ll call off the whole business \u2013 on one condition. if you honestly believe that youcommitted a criminal act against the citizens of this state and the minds of theirchildren. if you honestly believe that you\u2019re wrong and the law\u2019s right. then the hellwith it. i\u2019ll pack my grip and go back to chicago, where it\u2019s a cool hundred in theshade. [from act 1 scene 2 ] explore how the writers make this moment in the play so tense. or \u2020 10 how do the writers make the trial of bert cates both serious and entertaining? 06_0486_23_2016_1.5 \u00a9 ucles 201611",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_23_2016_1.5 \u00a9 ucles 201612"
        },
        "0486_s16_qp_31.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/31 literature (english) may/june 2016 paper 3 drama (open text) 45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 11printed pages and 1blank page. [turn over06_0486_31_2016_1.5 \u00a9 ucles 2016 *9290506349*",
            "2": "arthur miller: all my sons remember to support your ideas with details from the writing. either 1read this passage, and then answer the question that follows it: two\u0003o\u2019clock\u0003the\u0003following \u0003morning, \u0003mother \u0003is\u0003discovered \u0003on\u0003the\u0003rise,\u0003rocking\u0003 ceaselessly \u0003in\u0003a\u0003chair,\u0003staring\u0003at\u0003her\u0003thoughts. 06_0486_31_2016_1.5 \u00a9 ucles 20162 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw uhvwulfwlrqv\u0011",
            "3": "jim: i\u2019m\u0003a\u0003good\u0003husband; \u0003chris\u0003is\u0003a\u0003good\u0003son\u0003\u2014\u0003he\u2019ll\u0003come\u0003back. [from act 3 ] explore the ways in which miller makes this such an effective opening to act 3. or 2 how does miller make steve deever have such an impact in the play despite the fact that he never appears on stage? [turn over06_0486_31_2016_1.5 \u00a9 ucles 20163 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "4": "j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either 3read this passage, and then answer the question that follows it: birling:\u0003cigar? \u2013 06_0486_31_2016_1.5 \u00a9 ucles 20164 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "5": "gerald\u0003[amused ]:\u0003sounds\u0003a\u0003bit\u0003fishy\u0003to\u0003me. [from act 1 ] how does priestley make this moment in the play so revealing? or 4 in what ways does priestley make the conflict between the inspector and mrs birling such a striking part of the play? [turn over06_0486_31_2016_1.5 \u00a9 ucles 20165 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "6": "30252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either 5read this passage, and then answer the question that follows it: what say you then to falconbridge, the young baron of england? nerissa: you know i say nothing to him, for he understands not me, nor i him: he hath neither latin, french, nor italian, and you will come into the court and swear that i have a poorportia: pennyworth in the english. he is a proper man\u2019s picture; but, alas, who can converse with a dumb-show? how oddly he is suited! i think he bought his doublet in italy, hisround hose in france, his bonnet in germany, and his behaviour everywhere. what think you of the scottish lord, his neighbour? nerissa: that he hath a neighbourly charity in him, for he borrowed a box of the ear of the englishman, and swore he would pay him again when he was able; i think the frenchmanbecame his surety, and seal\u2019d under for another.portia: how like you the young german, the duke of saxony\u2019s nephew? nerissa: very vilely in the morning when he is sober; and most vilely in the afternoon when he is drunk. when he is best, he is a little worse than a man, and when he is worst, he isportia: little better than a beast. an the worst fall that ever fell, i hope i shall make shift to go without him. if he should offer to choose, and choose the right casket, you should refuse to perform your father\u2019s will, if you should refuse to accept him.nerissa: therefore, for fear of the worst, i pray thee set a deep glass of rhenish wine on the contrary casket; for if the devil be within and that temptation without, i know he willchoose it. i will do anything, nerissa, ere i will be married to a sponge.portia: you need not fear, lady, the having any of these lords; they have acquainted me with their determinations, which is indeed to return to their home, and to trouble you with nonerissa: more suit, unless you may be won by some other sort than your father\u2019s imposition, depending on the caskets. if i live to be as old as sibylla, i will die as chaste as diana, unless i be obtained by the manner of my father\u2019s will. i am glad this parcel of wooers are so reasonable; for thereportia: is not one among them but i dote on his very absence, and i pray god grant them a fair departure. do you not remember, lady, in your father\u2019s time, a venetian, a scholar and a soldier, that came hither in company of the marquis of montferrat?nerissa: yes, yes, it was bassanio; as i think, so was he call\u2019d. portia: true, madam; he, of all the men that ever my foolish eyes look\u2019d upon, was the best deserving a fair lady.nerissa: i remember him well, and i remember him worthy of thy praise. portia: [from act 1 scene 2 ] how does shakespeare make this moment in the play so entertaining? 06_0486_31_2016_1.5 \u00a9 ucles 20166",
            "7": "or 6 in what ways does shakespeare make the relationship between antonio and bassanio so significant? [turn over06_0486_31_2016_1.5 \u00a9 ucles 20167",
            "8": "403530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either 7read this passage, and then answer the question that follows it: what treasure, uncle? king: tennis-balls, my liege. exeter: we are glad the dauphin is so pleasant with us; his present and your pains we thank you for.when we have match\u2019d our rackets to these balls,we will in france, by god\u2019s grace, play a setshall strike his father\u2019s crown into the hazard.tell him he hath made a match with such a wranglerthat all the courts of france will be disturb\u2019dwith chaces. and we understand him well,how he comes o\u2019er us with our wilder days,not measuring what use we made of them.we never valu\u2019d this poor seat of england;and therefore, living hence, did give ourselfto barbarous licence; as \u2019tis ever commonthat men are merriest when they are from home.but tell the dauphin i will keep my state,be like a king, and show my sail of greatness,when i do rouse me in my throne of france;for that i have laid by my majestyand plodded like a man for working-days;but i will rise there with so full a glorythat i will dazzle all the eyes of france,yea, strike the dauphin blind to look on us.and tell the pleasant prince this mock of hishath turn\u2019d his balls to gun-stones, and his soulshall stand sore charged for the wasteful vengeancethat shall fly with them; for many a thousand widowsshall this his mock mock out of their dear husbands;mock mothers from their sons, mock castles down;and some are yet ungotten and unbornthat shall have cause to curse the dauphin\u2019s scorn.but this lies all within the will of god,to whom i do appeal; and in whose name,tell you the dauphin, i am coming on,to venge me as i may and to put forthmy rightful hand in a well-hallow\u2019d cause.so get you hence in peace; and tell the dauphinhis jest will savour but of shallow wit,when thousands weep more than did laugh at it.convey them with safe conduct. fare you well. [exeunt ambassadors ]king: [from act 1 scene 2 ] 06_0486_31_2016_1.5 \u00a9 ucles 20168",
            "9": "what striking impressions of king henry does shakespeare create for you at this moment in the play? or 8 to what extent do you think shakespeare portrays war as glorious in henry v ? [turn over06_0486_31_2016_1.5 \u00a9 ucles 20169",
            "10": "3530252015105j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either 9read this passage, and then answer the question that follows it: i...s hall...m a k e...m e...a... man!\u201d [the crowd bursts out into an orgy of hosannahs and waving arms. ]brown: glory! hosannah! bless the lord who created us! all: [throwing herself to the ground. shouting out .]: bow down! bow down before the lord!mrs krebs are we good, lord? tell us! are we good? elijah : [answering triumphantly. ]: the lord said, \u201cyea, thou art good! for i have created ye in my image, after my likeness! be fruitful, and multiply, and replenish the earth,and subdue it!\u201dbrown [deep-voiced, singing. ]: the lord made man master of the earth. . .! elijah glory, glory! bless the lord! all: [whipping \u2019em up. ]: do we believe? brown [in chorus. ]: yes! all do we believe the word? brown: [coming back like a whip-crack. ]: yes! all do we believe the truth of the word? brown: yes! all: [pointing a finger toward the jail. ]: do we curse the man who denies the word? brown [crescendo, each answer mightier than the one before. ]: yes! all do we cast out this sinner in our midst? brown: yes! [ each crash of sound from the crowd seems to strike rachel physically, and shake her. the prayer meeting has passed beyond the familiar bounds into an area of orgiastic anger. ]all: do we call down hellfire on the man who has sinned against the word? brown: [roaring. ]: yes! all [deliberately shattering the rhythm, to go into a frenzied prayer, hands clasped together and lifted heavenward. ]: o lord of the tempest and the thunder! o lordbrown of righteousness and wrath! we pray that thou wilt make a sign unto us! strike down this sinner, as thou didst thine enemies of old, in the days of the pharaohs! [all lean forward, almost expecting the heavens to open with a thunderbolt. rachel is white. brady shifts uncomfortably in his chair, this is pretty strong stuff, even for him.] let him feel the terror of thy sword! for all eternity, let his soul writhe in anguish and damnation \u2013 no![she rushes to the platform. ] no, father. don\u2019t pray to destroy bert! [ as she falls to her knees in front of the platform. ] no, no, no . . .!rachel: 06_0486_31_2016_1.5 \u00a9 ucles 201610",
            "11": "6055504540lord, we call down the same curse on those who ask grace for this sinner \u2013 though they be blood of my blood, and flesh of my flesh!brown: [rising, grasping brown\u2019s arm. ]: reverend brown, i know it is the great zeal of your faith which makes you utter this prayer! but it is possible to be overzealous, tobrady destroy that which you hope to save \u2013 so that nothing is left but emptiness. [brown turns. ] remember the wisdom of solomon in the book of proverbs \u2013 [ softly. ]\u201c h e that troubleth his own house ...s hall inherit the wind.\u201d [ he makes a gesture with his open hand to indicate nothingness: the empty air, the brief and unrememberedwind. brady leads brown to chair on platform and sits him down. brown seems dazed, shaken. benignly, brady turns to the townspeople. ] the bible also tells us that god forgives his children. and we, the children of god, should forgive each other. [rachel s lips off. ] my good friends, return to your homes. the blessings of the lord be with you all. [ slowly the townspeople move off, singing and humming \u201cgo, tell it on the mountain.\u201d when the crowd has almost cleared, rev. brown steps off platform to mrs. brady .brady moves off platform, motions them off. brady anddrummond are left alone on stage. as brady crosses to drummond .] we were good friends once. i was always glad of your support. what happened between us? there used to be a mutuality of understanding and admiration. why is it, my old friend, that you have moved so far away from me? [ a pause. they study each other. ] [slowly. ]: all motion is relative. perhaps it is youwho have moved away \u2013 by standing still. [ the words have a sharp impact on brady . for a moment, he stands still, hisdrummond mouth open, staring at drummond . then he takes two faltering steps backward, looks at drummond again, then moves off. drummond stands alone. slowly the lights fade on the silent man. ] [from act 1 scene 3 ] in what ways do the writers make this such a powerful moment in the play? or 10 how do the writers make henry drummond such a fascinating character? 06_0486_31_2016_1.5 \u00a9 ucles 201611",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_31_2016_1.5 \u00a9 ucles 201612"
        },
        "0486_s16_qp_32.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/32 literature (english) may/june 2016 paper 3 drama (open text) 45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer onequestion. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 11printed pages and 1blank page. [turn over06_0486_32_2016_1.6 \u00a9 ucles 2016 *7173313888*",
            "2": "arthur miller: all my sons remember to support your ideas with details from the writing. either 1read this passage, and then answer the question that follows it: [ann\u0003enters\u0003from\u0003house.\u0003they\u0003say\u0003nothing,\u0003waiting\u0003for\u0003her\u0003to\u0003speak. ]\u0003 06_0486_32_2016_1.6 \u00a9 ucles 20162 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw uhvwulfwlrqv\u0011",
            "3": "i\u0003told\u0003you\u0003a\u0003hundred\u0003times,\u0003why\u0003wouldn\u2019t\u0003you\u0003believe\u0003me! [from act 3 ] how does miller make this such a powerful moment in the play? or 2 in what ways does miller make you sympathise with chris keller during the play? [turn over06_0486_32_2016_1.6 \u00a9 ucles 20163 &rqwhqw\u0003uhpryhg gxh\u0003wr\u0003frs\\uljkw uhvwulfwlrqv\u0011",
            "4": "j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either 3read this passage, and then answer the question that follows it: [bursting\u0003out]:\u0003what\u2019s\u0003the\u0003use\u0003of\u0003talking\u0003about\u0003behaving \u0003sensibly? \u0003 eric: 06_0486_32_2016_1.6 \u00a9 ucles 20164 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "5": "but how do you know it\u2019s the same girl? gerald: [from act 3 ] how does priestley vividly convey the characters\u2019 responses here, following the inspector\u2019s departure? or 4 explore twomoments in the play where priestley vividly creates suspense for the audience. [turn over06_0486_32_2016_1.6 \u00a9 ucles 20165 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either 5read this passage, and then answer the question that follows it: enter salerio andsolanio why, man, i saw bassanio under sail; with him is gratiano gone along;and in their ship i am sure lorenzo is not.salerio: the villain jew with outcries rais\u2019d the duke, who went with him to search bassanio\u2019s ship.solanio: he came too late, the ship was under sail; but there the duke was given to understandthat in a gondola were seen togetherlorenzo and his amorous jessica;besides, antonio certified the dukethey were not with bassanio in his ship.salerio: i never heard a passion so confus\u2019d, so strange, outrageous, and so variable,as the dog jew did utter in the streets.\u2018my daughter! o my ducats! o my daughter!fled with a christian! o my christian ducats!justice! the law! my ducats and my daughter!a sealed bag, two sealed bags of ducats,of double ducats, stol\u2019n from me by my daughter!and jewels \u2013 two stones, two rich and precious stones,stol\u2019n by my daughter! justice! find the girl;she hath the stones upon her and the ducats.\u2019solanio: why all the boys in venice follow him, crying, his stones, his daughter, and his ducats.salerio: let good antonio look he keep his day, or he shall pay for this.solanio: marry, well rememb\u2019red; i reason\u2019d with a frenchman yesterday,who told me, in the narrow seas that partthe french and english, there miscarrieda vessel of our country richly fraught.i thought upon antonio when he told me,and wish\u2019d in silence that it were not his.salerio: you were best to tell antonio what you hear; yet do not suddenly, for it may grieve him.solanio: 06_0486_32_2016_1.6 \u00a9 ucles 20166",
            "7": "55504540a kinder gentleman treads not the earth. i saw bassanio and antonio part.bassanio told him he would make some speedof his return. he answered \u2018do not so;slubber not business for my sake, bassanio,but stay the very riping of the time;and for the jew\u2019s bond which he hath of me,let it not enter in your mind of love;be merry, and employ your chiefest thoughtsto courtship, and such fair ostents of loveas shall conveniently become you there\u2019.and even there, his eye being big with tears,turning his face, he put his hand behind him,and with affection wondrous sensiblehe wrung bassanio\u2019s hand; and so they parted.salerio: i think he only loves the world for him. i pray thee, let us go and find him out,and quicken his embraced heavinesswith some delight or other.solanio: do we so. salerio: [from act 2 scene 8 ] how does shakespeare make this such a dramatic moment in the play? or 6 in what striking ways does shakespeare make revenge so significant in the play? [turn over 06_0486_32_2016_1.6 \u00a9 ucles 20167",
            "8": "30252015105william shakespeare: henry v remember to support your ideas with details from the writing. either 7read this passage, and then answer the question that follows it: enter pistol ,hostess ,nym ,bardolph , and boy . prithee, honey-sweet husband, let me bring thee to staines. hostess: no; for my manly heart doth earn. bardolph, be blithe; nym, rouse thy vaunting veins;boy, bristle thy courage up. for falstaff he is dead,and we must earn therefore.pistol: would i were with him, wheresome\u2019er he is, either in heaven or in hell! bardolph: nay, sure, he\u2019s not in hell: he\u2019s in arthur\u2019s bosom, if ever man went to arthur\u2019s bosom. \u2019a made a finer end, and went away an it had been any christom child; \u2019a parted ev\u2019nhostess: just between twelve and one, ev\u2019n at the turning o\u2019 th tide; for after i saw him fumble with the sheets, and play with flowers, and smile upon his fingers\u2019 end, i knew therewas but one way; for his nose was as sharp as a pen, and \u2019a babbl\u2019d of green fields.\u2018how now, sir john!\u2019 quoth i \u2018what, man, be o\u2019good cheer.\u2019 so \u2018a cried out \u2019god, god,god!\u2019 three or four times. now i, to comfort him, bid him \u2019a should not think of god; ihop\u2019d there was no need to trouble himself with any such thoughts yet. so \u2019a bade melay more clothes on his feet; i put my hand into the bed and felt them, and they wereas cold as any stone; then i felt to his knees, and so upward and upward, and all wasas cold as any stone. they say he cried out of sack. nym: ay, that\u2019a did. hostess: and of women. bardolph: nay, that \u2019a did not. hostess: yes, that \u2019a did, and said they were devils incarnate. boy: \u2019a could never abide carnation; \u2019twas a colour he never lik\u2019d. hostess: \u2019a said once the devil would have him about women. boy: \u2019a did in some sort, indeed, handle women; but then he was rheumatic, and talk\u2019d of the whore of babylon.hostess: do you not remember \u2019a saw a flea stick upon bardolph\u2019s nose, and \u2019a said it was a black soul burning in hell?boy: well, the fuel is gone that maintain\u2019d that fire: that\u2019s all the riches i got in his service. bardolph: shall we shog? the king will be gone from southampton. nym: 06_0486_32_2016_1.6 \u00a9 ucles 20168",
            "9": "454035come, let\u2019s away. my love, give me thy lips. look to my chattels and my moveables;let senses rule. the word is \u2018pitch and pay\u2019.trust none;for oaths are straws, men\u2019s faiths are wafer-cakes,and holdfast is the only dog, my duck.therefore, caveto be thy counsellor.go, clear thy crystals. yoke-fellows in arms,let us to france, like horse-leeches, my boys,to suck, to suck, the very blood to suck.pistol: and that\u2019s but unwholesome food, they say. boy: touch her soft mouth and march. pistol: farewell, hostess. [ kissing her. ] bardolph: i cannot kiss, that is the humour of it; but, adieu. nym: let housewifery appear; keep close, i thee command. pistol: farewell; adieu. hostess: [from act 2 scene 3 ] how does shakespeare make this moment in the play both moving and amusing? or 8 what do you find particularly memorable about shakespeare\u2019s portrayal of the french in the play? [turn over 06_0486_32_2016_1.6 \u00a9 ucles 20169",
            "10": "3530252015105j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either 9read this passage, and then answer the question that follows it: [in a shrill, screeching voice. ]: buy a bible! your guidebook to eternal life! [e.k. hornbeck wanders on, carrying a suitcase. he is a newspaperman in his middleelijah thirties, who sneers politely at everything, including himself. his clothes \u2013 those of a sophisticated city-dweller \u2013 contrast sharply with the attire of the townspeople.he uses his \u201cboater\u201d straw-hat throughout as kind of an impertinent prop. stillunnoticed by most of the townspeople, hornbeck looks around with wonderful contempt. ] [tohornbeck .]: want a fan? compliments of maley\u2019s funeral home \u2013 thirty-five cents!mrs mclain i\u2019d die first. hornbeck: [unctuously, to hornbeck .]: you\u2019re a stranger, aren\u2019t you, mister? want a nice clean place to stay?mrs krebs i had a nice clean place to stay, madame. and i left it to come here. hornbeck: [undaunted. ]: you\u2019re gonna need a room. mrs krebs i have a reservation at the mansion house. hornbeck: oh? [ she sniffs. ] that\u2019s all right, i suppose, for them as likes having a privy practically in the bedroom. [ she turns away from him. he tips his straw hat to her .]mrs krebs: the unplumbed and plumbing-less depths. ahhh, hillsboro, heavenly hillsboro, the buckle on the bible belt. [ thehot dog man andelijah converge on hornbeck from opposite sides. ]hornbeck: hot dog? hot dog man: buy a bible? elijah: [up ends his suitcase and sits on it. ]: now that poses a pretty problem. which is hungrier \u2013 my stomach or my soul? [ buys hot dog. ] my stomach. [hot dog man accepts money from hornbeck and moves off. ]hornbeck [miffed .]: what are you? an evolutionist? an infidel? a sinner? elijah [munching on hot dog. ]: the worst kind. i write for a newspaper. [hornbeck offers his hand. ] i\u2019m e.k. hornbeck, baltimore herald . i don\u2019t believe i caught your name.hornbeck [impressively, not taking his hand. ] :t h e yc a l lm e...e lijah. elijah [pleased.]: elijah. yes. why, i had no idea you were still around. i\u2019ve read some of your stuff.hornbeck [haughtily .]: i neither read nor write. elijah oh. excuse me. i must be thinking of another elijah. [ an organ grinder enters, with a live monkey on a string. hornbeck spies the monkey gleefully; he greetshornbeck: the monk with arms outstretched. ] grandpa! [ crosses to the monkey, bends down and shakes the monkey\u2019s hand. ] welcome to hillsboro, sir! have you come to testify for the defense? or for the prosecution? [ the monkey, oddly enough, 06_0486_32_2016_1.6 \u00a9 ucles 201610",
            "11": "6055504540doesn\u2019t answer .] no comment? that\u2019s fairly safe. but i warn you, sir. you can\u2019t compete with all these monkeyshines. [melinda hands the monkey a penny. ] look! he took my penny! melinda: how could you ask for better proof than that? there\u2019s the father of the human race!hornbeck: [running on breathlessly. ]: train\u2019s coming! i seen the smoke \u2019way up the track! timmy all the members of the bible league, get ready. let us show mr. brady the spirit with which we welcome him to hillsboro! [ the crowd lets out a mighty cheer. mrs. blair blows a note on her pitch-pipe and sings the first line of \u201cmarching to zion.\u201d ]brown: [singing. ]: \u201cwe\u2019re marching to zion\u201d mrs blair [taking up the song. ]: \u2014 beautiful, beautiful zion. [mrs. blair waves the crowd to follow her. the crowd marches off singing .] we\u2019re marching upwards to zion,the beautiful city of god. [hornbeck turns to watch the last of the crowd disappear. even the organ grinder leaves his monkey tied to the hurdy-gurdy and joins the departing crow d.]all amen! [ to the monkey. ] shield your eyes, monk, you are about to meet the mightiest of your descendants. a man who wears a cathedral for a cloak and ahornbeck: church spire for a hat. whose tread has the thunder of the legions of the lion hearted. [from act 1 scene 1 ] how do the writers make this such a striking introduction to hornbeck? or 10 explore how the writers vividly portray the ways in which rachel changes during the play. 06_0486_32_2016_1.6 \u00a9 ucles 201611",
            "12": "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 pub lisher 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 international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge  international  examinations  is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate  (ucles), which  is itself a department of the university of cambridge. 06_0486_32_2016_1.6 \u00a9 ucles 201612"
        },
        "0486_s16_qp_33.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/33 may/june 2016 45 minutesliterature (english) paper 3 drama (open text) texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate. this document consists of 11printed pages and 1blank page. [turn over06_0486_33_2016_1.3 \u00a9 ucles 2016 *2774136312*",
            "2": "arthur miller: all my sons remember to support your ideas with details from the writing. either 1read this passage, and then answer the question that follows it: [angering ]:\u0003we\u0003rushed\u0003into\u0003it.\u0003 mother 06_0486_33_2016_1.3 \u00a9 ucles 20162 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "3": "in\u0003my\u0003worst\u0003moments, \u0003i\u0003think\u0003of\u0003her\u0003waiting,\u0003and\u0003i\u0003know\u0003again\u0003that\u0003i\u2019m\u0003right. [from act 1 ] how does miller strikingly convey the thoughts and feelings of the characters in this scene? or 2 in what ways does miller make self-deception so significant in the play? [turn over06_0486_33_2016_1.3 \u00a9 ucles 20163",
            "4": "j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either 3read this passage, and then answer the question that follows it: inspector: \u0003who\u0003is\u0003to\u0003blame\u0003then? 06_0486_33_2016_1.3 \u00a9 ucles 20164 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "5": "[inspector holds up a hand. we hear the front door. they wait, looking towards door. eric enters, looking extremely pale and distressed. he meets their inquiring stares. curtain falls quickly. ] e n do fa c tt w o [from act 2 ] how does priestley make this such a striking ending to act 2? or 4 how does priestley memorably depict the relationship between gerald and sheila? [turn over06_0486_33_2016_1.3 \u00a9 ucles 20165 &rqwhqw\u0003uhpryhg\u0003 gxh\u0003wr\u0003frs\\uljkw\u0003 uhvwulfwlrqv\u0011",
            "6": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either 5read this passage, and then answer the question that follows it: signior antonio, many a time and oft in the rialto you have rated meabout my moneys and my usances;still have i borne it with a patient shrug,for suff'rance is the badge of all our tribe;you call me misbeliever, cut-throat dog,and spit upon my jewish gaberdine,and all for use of that which is mine own.well then, it now appears you need my help;go to, then; you come to me, and you say\u2018shylock, we would have moneys\u2019. you say so \u2013you that did void your rheum upon my beardand foot me as you spurn a stranger curover your threshold; moneys is your suit.what should i say to you? should i not say\u2018hath a dog money? is it possiblea cur can lend three thousand ducats?\u2019 orshall i bend low and, in a bondman\u2019s key,with bated breath, and whisp\u2019ring humbleness,say this:\u2018fair sir, you spit on me on wednesday last,you spurn'd me such a day; another timeyou call\u2019d me dog; and for these courtesiesi\u2019ll lend you thus much moneys\u2019?shylock: i am as like to call thee so again, to spit on thee again, to spurn thee too.if thou wilt lend this money, lend it notas to thy friends \u2013 for when did friendship takea breed for barren metal of his friend? \u2013but lend it rather to thine enemy,who if he break thou mayst with better faceexact the penalty.antonio: why, look you, how you storm! i would be friends with you, and have your love,forget the shames that you have stain\u2019d me with,supply your present wants, and take no doitof usance for my moneys, and you\u2019ll not hear me.this is kind i offer.shylock: this were kindness. bassanio: 06_0486_33_2016_1.3 \u00a9 ucles 20166",
            "7": "4540 this kindness will i show. go with me to a notary, seal me thereyour single bond, and, in a merry sport,if you repay me not on such a day,in such a place, such sum or sums as areexpress\u2019d in the condition, let the forfeitbe nominated for an equal poundof your fair flesh, to be cut off and takenin what part of your body pleaseth me.shylock: [from act 1 scene 3 ] what does shakespeare\u2019s writing make you feel about shylock at this moment in the play? or 6 to what extent does shakespeare persuade you that portia and bassanio will have a happy marriage? [turn over 06_0486_33_2016_1.3 \u00a9 ucles 20167",
            "8": "403530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either 7read this passage, and then answer the question that follows it: enter the king of france ,t h e dauphin ,duke of britaine ,t h e constable of france , and others . 'tis certain he hath pass\u2019d the river somme. king of france: and if he be not fought withal, my lord, let us not live in france; let us quit all,and give our vineyards to a barbarous people.constable: o dieu vivant! shall a few sprays of us, the emptying of our fathers\u2019 luxury,our scions, put in wild and savage stock,spirt up so suddenly into the clouds,and overlook their grafters?dauphin: normans, but bastard normans, norman bastards! mort dieu, ma vie! if they march alongunfought withal, but i will sell my dukedomto buy a slobb\u2019ry and a dirty farmin that nook-shotten isle of albion.britaine: dieu de batailles! where have they this mettle? is not their climate foggy, raw, and dull;on whom, as in despite, the sun looks pale,killing their fruit with frowns? can sodden water,a drench for sur-rein'd jades, their barley-broth,decoct their cold blood to such valiant heat?and shall our quick blood, spirited with wine,seem frosty? o, for honour of our land,let us not hang like roping iciclesupon our houses\u2019 thatch, whiles a more frosty peoplesweat drops of gallant youth in our rich fields \u2013poor we call them in their native lords!constable: by faith and honour, our madams mock at us, and plainly sayour mettle is bred out, and they will givetheir bodies to the lust of english youthto new-store france with bastard warriors.dauphin: they bid us to the english dancing-schools and teach lavoltas high and swift corantos,saying our grace is only in our heelsand that we are most lofty runaways.britaine: where is montjoy the herald? speed him hence; let him greet england with our sharp defiance.up, princes, and, with spirit of honour edgedmore sharper than your swords, hie to the field... [from act 3 scene 5 ]king of france: 06_0486_33_2016_1.3 \u00a9 ucles 20168",
            "9": "in what ways does shakespeare make this a strikingly dramatic moment in the play? or 8 what do you think shakespeare's portrayal of pistol contributes to the play? [turn over06_0486_33_2016_1.3 \u00a9 ucles 20169",
            "10": "3530252015105j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either 9read this passage, and then answer the question that follows it: [as he crosses to meeker over the above. ]: i don\u2019t think i have a correct copy of the indictment. [rachel moves to cates.]drummond lemme see. [drummond hands meeker indictment. ] oh, you have the old one. meeker: well, let me have a new one. drummond: here. [ he gives drummond a new indictment. suddenly, rachel darts to drummond atjudge\u2019s bench. cates opens his mouth to stop her, but she speaks rapidly, with pent-up tension. ]meeker: mr. drummond. you\u2019ve got to call the whole thing off. it\u2019s not too late. bert knows he did wrong. he didn\u2019t mean to. and he\u2019s sorry. now why can\u2019t he just stand uprachel: and say to everybody: \u2018i did wrong. i broke the law. i admit it. i won\u2019t do it again.\u2019 then they\u2019d stop all this fuss, and \u2013 everything would be like it was. [drummondlooks at rachel , not unkindly. ] who are you? drummond: [backing down to brady\u2019s table. ]: i\u2019m \u2013 a friend of bert\u2019s. rachel how about it, boy? getting cold feet? drummond: i never thought it would be like this. like barnum and bailey coming to town. cates: [easily. ]: we can call it off. you want to quit? drummond yes! rachel: people look at me as if i was a murderer. worse than a murderer! that fella from minnesota who killed his wife \u2013 remember, rache? \u2013 half the town turned out tocates: watch \u2019em put him on the train. they just stared at him as if he was a curiosity \u2013 not like they hated him! not like he\u2019d done anything really wrong! just different! there\u2019s nothing very original about murdering your wife. drummond: people i thought were my friends look at me now as if i had horns growing out of my head.cates: you murder a wife, it isn\u2019t nearly as bad as murdering an old wives\u2019 tale. kill one of their fairy-tale notions, and they call down the wrath of god, brady, and the statelegislature.drummond: you make a joke out of everything. you seem to think it\u2019s all so funny! rachel: lady, when you lose your power to laugh, you lose your power to think straight. drummond: mr drummond, i can\u2019t laugh. i\u2019m scared. cates: good. you\u2019d be a damned fool if you weren\u2019t. drummond: [bitterly .]: you\u2019re supposed to be helping bert, and every time you swear you make it worse for him. [ she moves to bert . he comforts her. ]rachel [honestly. ]: i\u2019m sorry if i offend you. but i don\u2019t swear just for the hell of it. you see, i figure that language is a poor enough means of communication as it is. so wedrummond 06_0486_33_2016_1.3 \u00a9 ucles 201610",
            "11": "55504540ought to use all the words we\u2019ve got. besides, there are damned few words that everybody understands. you don\u2019t care anything about bert! you just want a chance to make speeches against the bible!rachel: i care a great deal about bert. i care a great deal about what bert thinks. drummond: well, i care about what the people in this town think of him. rachel: [quietly. ]: can you buy back his respectability by making him a coward? [ he spades his hands in his hip pockets .] i understand what bert\u2019s going through. it\u2019s the loneliestdrummond feeling in the world \u2013 to find yourself standing up when everybody else is sitting down. to have everybody look at you and say, \u2018what\u2019s the matter with him?\u2019 i know.i know what it feels like. walking down an empty street, listening to the sound ofyour own footsteps. shutters closed, blinds drawn, doors locked against you. andyou aren\u2019t sure whether you\u2019re walking towards something \u2013 or just walking away. . . [he takes a deep breath, then turns abruptly. ] cates, i\u2019ll change your plea and we\u2019ll call off the whole business \u2013 on one condition. if you honestly believe that youcommitted a criminal act against the citizens of this state and the minds of theirchildren. if you honestly believe that you\u2019re wrong and the law\u2019s right. then the hellwith it. i\u2019ll pack my grip and go back to chicago, where it\u2019s a cool hundred in theshade. [from act 1 scene 2 ] explore how the writers make this moment in the play so tense. or 10 how do the writers make the trial of bert cates both serious and entertaining? 06_0486_33_2016_1.3 \u00a9 ucles 201611",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_33_2016_1.3 \u00a9 ucles 201612"
        },
        "0486_s16_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (km)) 115910/2 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *1885429941*literature (english)  0486/41 paper 4 unseen may/june 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/41/m/j/16 \u00a9 ucles 2016answer either question 1 or question 2. either1 read carefully the poem opposite. a man, his wife and baby are driving to a new house in the west  of england. on the way they stop in a small town to buy a cooking pan.  how does the poet\u2019s writing make this experience so striking? to help you answer this question, you might consider:   \u0081 the way the poet describes the family\u2019s arrival in the town   \u0081 his descriptions of the man and woman on the pavement  \u0081 the effect of the poem\u2019s ending.",
            "3": "3 0486/41/m/j/16 \u00a9 ucles 2016 [turn overthe pan when he stopped at last in the long main street and helpless to w ar n them. 1 extricated : removed (with difficulty) 2 the ironmonger\u2019s : a shop selling household items 3 morris traveller  : a family car content removed due to copyright restrictions.",
            "4": "4 0486/41/m/j/16 \u00a9 ucles 2016or 2 read carefully the extract from a short story opposite. the two girls, penny and primrose, who  have not met before, are being evacuated to the countryside on a steam train. this is to escape the bombing of their city during a war.  how does the writer vividly convey to you the experiences of the girls? to help you answer this question, you might consider:   \u0081 how the writer conveys the girls\u2019 feelings through their conversations   \u0081 how she describes their impressions of the train and the journey   \u0081 how she develops tension and a sense of unease in the passage as a whole.",
            "5": "5 0486/41/m/j/16 \u00a9 ucles 2016the girls discussed on the train whether it was a sort of holiday or a sort of  punishment, or a bit of both. penny had read a book about boy scouts, but the children on the train did not appear to be brownies or wolf cubs, 1 only a mongrel  battalion of the lost. both little girls had the idea that these were all perhaps not very  good children , possibly being sent away for that reason. they were pleased to be  able to define each other as \u2018nice\u2019. they would stick together, they agreed. try to sit together, and things. the train crawled sluggishly further and further away from the city and their homes.  it was not a clean train \u2013 the upholstery of their carriage had the dank smell of unwashed trousers, and the gusts of hot steam rolling backwards past their windows were full of specks of flimsy ash, and sharp grit, and occasional fiery sparks that pricked face and fingers like hot needles if you opened the window. it was very noisy too, whenever it picked up a little speed. the engine gave great bellowing sighs, and the invisible wheels underneath clicked rhythmically and monotonously, tap-tap-tap-crash, tap-tap-tap-crash. the window-panes were both grimy and misted up. the train stopped frequently, and when it stopped, they used their gloves to wipe rounds, through which they peered out at flooded fields, furrowed hillsides and tiny stations, whose names were carefully blacked out, whose platforms were empty of life. the children did not know that the namelessness was meant to baffle or delude  an invading army. they felt \u2013 they did not think it out, but somewhere inside them the idea sprouted \u2013 that the erasure was because of them, because they were not meant to know where they were going or, like hansel and gretel, 2 to find the way back.  they did not speak to each other of this anxiety, but began the kind of conversation children have about things they really disliked, things that upset, or disgusted, or frightened them. semolina pudding with its grainy texture, mushy peas, fat on roast meat. listening to the stairs and the window-sashes creaking in the dark or the wind. having your head held roughly back over the basin to have your hair washed, with cold water running down inside your liberty bodice. 3 gangs in playgrounds. they felt  the pressure of all the other alien children in all the other carriages as a potential gang. they shared another square of chocolate, and licked their fingers, and looked out at a great white goose flapping its wings beside an inky pond. the sky grew dark grey and in the end the train halted. the children got out, and  lined up in a crocodile, 4 and were led to a mud-coloured bus. penny and primrose  managed to get a seat together, although it was over the wheel, and both of them began to feel sick as the bus bumped along snaking country lanes, under whipping branches, dark leaves on dark wooden arms on a dark sky, with torn strips of thin cloud streaming across a full moon, visible occasionally between them. 1 brownies or wolf cubs : organisations for young children 2 hansel and gretel : lost children from a fairy tale 3 liberty bodice : vest 4 lined up in a crocodile : lined up in pairs",
            "6": "6 0486/41/m/j/16 \u00a9 ucles 2016blank page",
            "7": "7 0486/41/m/j/16 \u00a9 ucles 2016blank page",
            "8": "8 0486/41/m/j/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s16_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (jda)) 115909/2 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *4882494695*literature (english)  0486/42 paper 4 unseen may/june 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/42/m/j/16 \u00a9 ucles 2016answer either  question 1 or question 2 either1 read carefully the poem opposite in which the poet visits her father\u2019s grave with her daughter.  how does the poet\u2019s writing movingly portray this event? to help you answer this question, you might consider:   \u0081 the way the poet describes her daughter\u2019s preparations   \u0081 her descriptions of what her daughter does at the graveside   \u0081 how she shows their different responses to the visit.",
            "3": "3 0486/42/m/j/16 \u00a9 ucles 2016 [turn overthe flowers after lunch my daughter picked handfuls of the wild flowersshe knew her grandfather liked bestand piled them in the basket of her bicycle,beside an empty jam-jar and a trowel;then, swaying like a candle-bearer,she rode off to the churchand, like a little dog, i followed her. she cleared the grave of nettles and wild parsley, 1 and dug a shallow hole to put the jam-jar in. she arrangedthe flowers to look their bestand scraped the moss from the stone,so you could see whose graveshe had been caring for.it didn\u2019t take her long \u2013 no longerthan making his bed in the morningwhen he had got too old to help her. not knowing how to leave him, how to say good-bye, i hesitatedby the rounded grave. come on , my daughter said, it\u2019s finished now . and so we got our bicycles and rode homedown the lane, moving apartand coming together again,in and out of the ruts. 1 nettles and wild parsley  : weeds",
            "4": "4 0486/42/m/j/16 \u00a9 ucles 2016or 2 read carefully the extract opposite which is the beginning of a novel set in the past. peter claire,  a young englishman who plays the lute (a stringed instrument like a guitar), has just arrived in denmark. he has been summoned to play for the king in his palace.  how does the writing vividly convey peter\u2019s thoughts and feelings to you? to help you answer this question, you might consider:   \u0081 how the writer portrays peter\u2019s growing anxiety   \u0081 her descriptions of what peter sees in the darkness   \u0081 what is unusual and disturbing about the scene which develops in the palace.",
            "5": "5 0486/42/m/j/16 \u00a9 ucles 2016a lamp is lit. until this moment, when the flame of the lamp flares blue, then settles to steady  yellow inside its ornate globe, the young man had been impressed by the profound darkness into which, upon his late-night arrival at the palace of rosenborg, he had suddenly stepped. tired from his long sea journey, his eyes stinging, his walk unsteady, he had been questioning the nature of this darkness. for it seemed to him not merely an external phenomenon, having to do with an actual absence of light, but rather as though it emanated from within him, as if he had finally crossed the threshold of his own absence of hope. now, he is relieved to see the walls of a panelled room take shape around him.  a voice says: \u2018this is the vinterstue . the winter room.\u2019 the lamp is lifted up. held high, it burns more brightly, as though sustained by  purer air, and the young man sees a shadow cast onto the wall. it is a long, slanting shadow and so he knows it is his own. it appears to have a deformity, a hump, occurring along its spine from below the shoulder-blades to just above the waist. but this is the shadow\u2019s trickery. the young man is peter claire, the lutenist, and the curvature on his back is his lute. he is standing near a pair of lions, made of silver. their eyes seem to watch  him in the flickering gloom. beyond them he can see a table and some tall chairs. but peter claire is separate from everything, cannot lean on any object, cannot rest. and now, the lamp moves and he must follow. \u2018it may be\u2019, says a tall gentleman, who hurries on, carrying the light, \u2018that his  majesty, king christian, will command you to play for him tonight. he is not well and his physicians 1 have prescribed music. therefore, members of the royal orchestra  must be ready to perform at all times, day and night. i thought it best to advise you of this straight away.\u2019 peter claire\u2019s feelings of dismay increase. he begins to curse himself, to  berate 2 his own ambition for bringing him here to denmark, for taking him so far  from the places and people he had loved. he is at the end of his journey and yet he feels lost. within this arrival some terrifying departure lies concealed. and suddenly, with peculiar speed, the lamp moves and everything in the room seems to rearrange itself. peter claire sees his shadow on the wall become elongated, stretching upwards for a few seconds towards the ceiling before being swallowed by the darkness, with no trace of it remaining. then the end of a corridor is reached and the gentleman stops before a door.  he knocks and waits, putting a finger to his lips and leaning close against the door to listen for the command from within. it comes at last, a voice deep and slow, and peter claire finds himself, in the next minute, standing before king christian, who is sitting in a chair in his night-shirt. before him, on a small table, is a pair of scales and by these a clutch of silver coins. 1 physicians : doctors 2 berate : scold angrily",
            "6": "6 0486/42/m/j/16 \u00a9 ucles 2016blank page",
            "7": "7 0486/42/m/j/16 \u00a9 ucles 2016blank page",
            "8": "8 0486/42/m/j/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s16_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl/km) 117786/2 \u00a9 ucles 2016  [turn over * 5 8 0 7 4 1 3 9 9 9 *literature (english)  0486/43 paper 4  unseen  may/june 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.cambridge international examinations cambridge international general certificate of secondary education",
            "2": "2 0486/43/m/j/16 \u00a9 ucles 2016answer either question 1 or question 2. either 1 read carefully the poem opposite in which the poet is rowing out at sea. he comes across a  basking shark, a very large but harmless shark which feeds close to the surface.  how does the poet powerfully convey to you the effect of this incident upon him?  to help you answer this question, you might consider:   \u2022 how the poet describes the shark and their meeting   \u2022 how the experience affects his view of himself   \u2022 how he makes the final stanza so memorable.",
            "3": "3 0486/43/m/j/16 \u00a9 ucles 2016 [turn overbasking shark to stub an oar on a rock where none should be, to have it rise with a slounge1 out of the sea is a thing that happened once (too often) to me. but not too often \u2013 though enough. i count as gain that once i met, on a sea tin-tacked with rain, that roomsized monster with a matchbox brain. he displaced more than water. he shoggled2 me centuries back \u2013 this decadent townee3 shook on a wrong branch of his family tree. swish up the dirt and, when it settles, a spring is all the clearer. i saw me, in one fling, emerging from the slime of everything. so who\u2019s the monster? the thought made me grow pale for twenty seconds while, sail after sail, the tall fin slid away and then the tail. 1 slounge  : scots dialect for slouch 2 shoggled    : scots dialect for shook 3 townee  : town dweller",
            "4": "4 0486/43/m/j/16 \u00a9 ucles 2016or 2 read carefully the following extract from a novel set in the united states. it is the introduction to  a main character called beloved. beloved appears near house number 124. the residents of the  house are the mother sethe, her partner paul d and sethe\u2019s daughter denver. they have just  returned from a carnival.  how does the writer create such an intriguing introduction to the character of beloved?  to help you answer this question, you might consider:   \u2022 how the writer describes beloved\u2019s arrival and appearance   \u2022 how she portrays the family\u2019s reaction to beloved   \u2022 how the writer makes the character of beloved so mysterious. a fully dressed woman walked out of the water. she barely gained the dry bank of  the stream before she sat down and leaned against a mulberry tree. all day and all  night she sat there, her head resting on the trunk in a position abandoned enough  to crack the brim in her straw hat. everything hurt but her lungs most of all. sopping  wet and breathing shallow she spent those hours trying to negotiate the weight of  her eyelids. the day breeze blew her dress dry; the night wind wrinkled it. nobody  saw her emerge or came accidentally by. if they had, chances are they would have  hesitated before approaching her. not because she was wet, or dozing or had what  sounded like asthma, but because amid all that she was smiling. it took her the  whole of the next morning to lift herself from the ground and make her way through  the woods past a giant temple of boxwood to the field and then the yard of the  slate-gray house. exhausted again, she sat down on the first handy place\u2014a stump  not far from the steps of 124. by then keeping her eyes open was less of an effort.  she could manage it for a full two minutes or more. her neck, its circumference no  wider than a parlor-service saucer, kept bending and her chin brushed the bit of lace  edging her dress. women who drink champagne when there is nothing to celebrate can look like  that: their straw hats with broken brims are often askew; they nod in public places;  their shoes are undone. but their skin is not like that of the woman breathing near  the steps of 124. she had new skin, lineless and smooth, including the knuckles of  her hands. by late afternoon when the carnival was over, and the locals were hitching rides  home if they were lucky\u2014walking if they were not\u2014the woman had fallen asleep  again. the rays of the sun struck her full in the face, so that when sethe, denver and  paul d rounded the curve in the road all they saw was a black dress, two unlaced  shoes below it. \u201clook,\u201d said denver. \u201cwhat is that?\u201d the woman gulped water from a speckled tin cup and held it out for more. four  times denver filled it, and four times the woman drank as though she had crossed a  desert. when she was finished a little water was on her chin, but she did not wipe it  away. instead she gazed at sethe with sleepy eyes. poorly fed, thought sethe, and  younger than her clothes suggested\u2014good lace at the throat, and a rich woman\u2019s  hat. her skin was flawless except for three vertical scratches on her forehead so fine  and thin they seemed at first like hair, baby hair before it bloomed and roped into the  masses of black yarn under her hat. \u201cy ou from around here?\u201d sethe asked her. she shook her head no and reached down to take off her shoes. she pulled her  dress up to the knees and rolled down her stockings. when the hosiery was tucked  into the shoes, sethe saw that her feet were like her hands, soft and new. she must ",
            "5": "5 0486/43/m/j/16 \u00a9 ucles 2016have hitched a wagon ride, thought sethe. probably one of those west virginia girls  looking for something to beat a life of tobacco and sorghum1. sethe bent to pick up  the shoes. \u201cwhat might your name be?\u201d asked paul d. \u201cbeloved,\u201d she said, and her voice was so low and rough each one looked at  the other two. they heard the voice first\u2014later the name. \u201cbeloved. y ou use a last name, beloved?\u201d paul d asked her. \u201clast?\u201d she seemed puzzled. then \u201cno,\u201d and she spelled it for them, slowly as  though the letters were being formed as she spoke them. \u00b9 sorghum : cheap grain used as animal feed",
            "6": "6 0486/43/m/j/16 \u00a9 ucles 2016blank page",
            "7": "7 0486/43/m/j/16 \u00a9 ucles 2016blank page",
            "8": "8 0486/43/m/j/16 \u00a9 ucles 2016blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_11.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rcl/km) 113952/4 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *8452989183*literature (english)  0486/11 paper 1  poetry and prose  october/november 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/11/o/n/16 \u00a9 ucles 2016 blank page",
            "3": "3 0486/11/o/n/16 \u00a9 ucles 2016 [turn over contents section a: poetry text question  numbers  page[s] thomas hardy:  from selected poems   1, 2 pages  4\u20136 from jo phillips ed: poems deep & dangerous   3, 4 pages  7\u20138 songs of ourselves volume 2  : from part 1   5, 6 pages  9\u201310 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages 12\u201313 jane austen: northanger abbey   9, 10  pages 14\u201315 george eliot: silas marner  11, 12  pages 16\u201317 michael frayn: spies  13, 14  pages 18\u201319 susan hill: i\u2019m the king of the castle  15, 16  pages 20\u201321 r. k. narayan: the english teacher  17, 18  pages 22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20  pages 24\u201325 from stories of ourselves  21, 22  pages 26\u201327",
            "4": "4 0486/11/o/n/16 \u00a9 ucles 2016 section a: poetry answer one question from this section. thomas hardy: selected poems remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: the pine planters (marty south\u2019s reverie) i we work here together  in blast and breeze; he fills the earth in,  i hold the trees. he does not notice  that what i do keeps me from moving  and chills me through. he has seen one fairer  i feel by his eye, which skims me as though  i were not by. and since she passed here  he scarce has known but that the woodland  holds him alone. i have worked here with him  since morning shine, he busy with his thoughts  and i with mine. i have helped him so many,  so many days, but never win any  small word of praise! shall i not sigh to him  that i work on glad to be nigh to him  though hope is gone? nay, though he never  knew love like mine, i\u2019ll bear it ever  and make no sign!5 10 15 20 25 30",
            "5": "5 0486/11/o/n/16 \u00a9 ucles 2016 [turn over ii from the bundle at hand here  i take each tree, and set it to stand, here  always to be; when, in a second,  as if from fear of life unreckoned  beginning here, it starts a sighing  through day and night, though while there lying  \u2019twas voiceless quite. it will sigh in the morning,  will sigh at noon, at the winter\u2019s warning,  in wafts of june; grieving that never  kind fate decreed it should for ever  remain a seed, and shun the welter  of things without, unneeding shelter  from storm and drought. thus, all unknowing  for whom or what we set it growing  in this bleak spot, it still will grieve here  throughout its time, unable to leave here,  or change its clime; or tell the story  of us to-day when, halt and hoary,  we pass away.   explore the ways in which hardy\u2019s writing creates such moving effects in the pine  planters .35 40 45 50 55 60 65",
            "6": "6 0486/11/o/n/16 \u00a9 ucles 2016 or  2 explore the ways in which hardy makes neutral tones  such a sad poem. neutral tones we stood by a pond that winter day, and the sun was white, as though chidden of god, and a few leaves lay on the starving sod;  \u2013 they had fallen from an ash, and were gray. your eyes on me were as eyes that rove over tedious riddles of years ago; and some words played between us to and fro  on which lost the more by our love. the smile on your mouth was the deadest thing alive enough to have strength to die; and a grin of bitterness swept thereby  like an ominous bird a-wing \u2026 since then, keen lessons that love deceives, and wrings with wrong, have shaped to me your face, and the god-curst sun, and a tree,  and a pond edged with grayish leaves.5 10 15",
            "7": "7 0486/11/o/n/16 \u00a9 ucles 2016 [turn over from jo phillips  ed: poems deep & dangerous remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: poem for my sister my little sister likes to try my shoes, to strut in them, admire her spindle-thin twelve-year-old legs in this season\u2019s styles. she says they fit her perfectly, but wobbles on their high heels, they\u2019re hard to balance. i like to watch my little sister playing hopscotch, admire the neat hops-and-skips of her, their quick peck, never-missing their mark, not over-stepping the line. she is competent at peever. i try to warn my little sister about unsuitable shoes, point out my own distorted feet, the callouses, odd patches of hard skin. i should not like to see her in my shoes. i wish she could stay sure footed,    sensibly shod. (by liz lochhead  )   how does lochhead create vivid impressions of the speaker and her sister in poem for  my sister  ?5 10 15 20",
            "8": "8 0486/11/o/n/16 \u00a9 ucles 2016 or 4 in what ways does arnold movingly convey the speaker\u2019s sadness in to marguerite ? to marguerite yes! in the sea of life enisled, with echoing straits between us thrown, dotting the shoreless watery wild, we mortal millions live alone . the islands feel the enclasping flow, and then their endless bounds they know. but when the moon their hollows lights, and they are swept by balms of spring, and in their glens, on starry nights, the nightingales divinely sing; and lovely notes, from shore to shore, across the sounds and channels pour \u2013 oh! then a longing like despair is to their farthest caverns sent; for surely once, they feel, we were parts of a single continent! now round us spreads the watery plain \u2013 oh might our marges meet again! who order\u2019d, that their longing\u2019s fire should be, as soon as kindled, cool\u2019d? who renders vain their deep desire? \u2013 a god, a god their severance ruled; and bade betwixt their shores to be the unplumb\u2019d, salt, estranging sea. (by matthew arnold  )5 10 15 20",
            "9": "9 0486/11/o/n/16 \u00a9 ucles 2016 [turn over songs of ourselves volume 2  : from part 1 remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: passion full of desire i lay, the sky wounding me, each cloud a ship without me sailing, each tree possessing what my soul lacked, tranquillity. waiting for the longed-for voice to speak through the mute telephone, my body grew weak with the well-known and mortal death, heartbreak. the language i knew best, my human speech forsook my fingers, and out of reach were homer\u2019s ghosts, the savage conches of the beach. then the sky spoke to me in language clear, familiar as the heart, than love more near. the sky said to my soul, \u2018you have what you desire. \u2018know now that you are born along with these clouds, winds, and stars, and ever-moving seas and forest dwellers. this your nature is. lift up your heart again without fear, sleep in the tomb, or breathe the living air, this world you with the flower and with the tiger share.\u2019 then i saw every visible substance turn into immortal, every cell new born burned with the holy fire of passion. this world i saw as on her judgment day when the war ends, and the sky rolls away, and all is light, love and eternity. (by kathleen raine )   how does raine vividly convey the speaker\u2019s changing feelings in passion ?5 10 15 20",
            "10": "10 0486/11/o/n/16 \u00a9 ucles 2016 or 6 how does chitre create a moving portrayal of old age in father returning home ? father returning home my father travels on the late evening train standing among silent commuters in the yellow light suburbs slide past his unseeing eyes his shirt and pants are soggy and his black raincoat stained with mud and his bag stuffed with books is falling apart. his eyes dimmed by age fade homeward through the humid monsoon night. now i can see him getting off the train like a word dropped from a long sentence. he hurries across the length of the grey platform, crosses the railway line, enters the lane, his chappals are sticky with mud, but he hurries onward. home again, i see him drinking weak tea, eating a stale chapati, reading a book. he goes into the toilet to contemplate man\u2019s estrangement from a man-made world. coming out he trembles at the sink, the cold water running over his brown hands, a few droplets cling to the greying hairs on his wrists. his sullen children have often refused to share jokes and secrets with him. he will now go to sleep listening to the static on the radio, dreaming of his ancestors and grandchildren, thinking of nomads entering a subcontinent through a narrow pass. (by dilip chitre )5 10 15 20",
            "11": "11 0486/11/o/n/16 \u00a9 ucles 2016 [turn over turn to page 12 for question 7.",
            "12": "12 0486/11/o/n/16 \u00a9 ucles 2016 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: \u2018please, mr okonkwo, you must help me. i\u2019ll do whatever you ask.\u2019  she avoided his eyes. her voice was a little unsteady, and obi thought he  saw a hint of tears in her eyes. \u2018i\u2019m sorry, terribly sorry, but i don\u2019t see that i can make any promises.\u2019 another car drew up outside with a screech of brakes, and clara  rushed in, as was her fashion, humming a popular song. she stopped  abruptly on seeing the girl. \u2018hello, clara. this is miss mark.\u2019 \u2018how do you do?\u2019 she said stiffly, with a slight nod of the head. she  did not offer her hand. \u2018how did you like the soup?\u2019 she asked obi. \u2018i\u2019m  afraid i prepared it in a hurry.\u2019 in those two short sentences she sought to  establish one or two facts for the benefit of the strange girl. first, by her sophisticated un-nigerian accent she showed that she  was a been-to. you could tell a been-to not only by her phonetics, but  by her walk \u2013 quick, short steps instead of the normal leisurely gait. in  company of her less fortunate sisters she always found an excuse for  saying: \u2018when i was in england \u2026\u2019 secondly, her proprietary air seemed  to tell the girl: \u2018you had better try elsewhere.\u2019 \u2018i thought you were on this afternoon.\u2019 \u2018it was a mistake. i\u2019m off today.\u2019 \u2018why did you have to go away then, after making the soup?\u2019 \u2018oh, i had such a lot of washing to do. aren\u2019t you offering me anything  to drink? o.k., i\u2019ll serve myself.\u2019 \u2018i\u2019m terribly sorry, dear. sit down. i\u2019ll get it for you.\u2019 \u2018no. too late.\u2019 she went to the fridge and took out a bottle of ginger- beer. \u2018what\u2019s happened to the other ginger-beer?\u2019 she asked. \u2018there were  two.\u2019 \u2018i think you had one yesterday.\u2019 \u2018did i? oh yes, i remember.\u2019 she came back and sank heavily into the  sofa beside obi. \u2018gosh, it\u2019s hot!\u2019 \u2018i think i must be going,\u2019 said miss mark. \u2018i\u2019m sorry i can\u2019t promise anything definite,\u2019 said obi, getting up. she  did not answer, only smiled sadly. \u2018how are you getting back to town?\u2019 \u2018perhaps i will see a taxi.\u2019 \u2018i\u2019ll run you down to tinubu square. taxis are very rare here. come  along, clara, let\u2019s take her down to tinubu.\u2019 \u2018i\u2019m sorry i came at such an awkward time,\u2019 said clara as they drove  back to ikoyi from tinubu square. \u2018don\u2019t be ridiculous. what do you mean awkward time?\u2019 \u2018you thought i was on duty.\u2019 she laughed. \u2018i\u2019m sorry about that. who is  she, anyway? i must say she is very good-looking. and i went and poured  sand into your garri. i\u2019m sorry, my dear.\u20195 10 15 20 25 30 35 40",
            "13": "13 0486/11/o/n/16 \u00a9 ucles 2016 [turn over obi told her not to behave like a silly little girl. \u2018i won\u2019t say another  word to you if you don\u2019t shut up,\u2019 he said. \u2018you needn\u2019t say anything if you don\u2019t want to. shall we call and say  hello to sam?\u2019 the minister was not in when they got to his house. it appeared there  was a cabinet meeting. \u2018wetin master and madam go drink?\u2019 asked his steward. \u2018make you no worry, samson. just tell minister say we call.\u2019 \u2018you go return again?\u2019 asked samson. \u2018not today.\u2019 \u2018you say you no go drink small sometin?\u2019 \u2018no, thank you. we go drink when we come again. bye-bye.\u2019 when they got back to obi\u2019s flat he said: \u2018i had a very interesting  experience today.\u2019 and he told her of mr mark\u2019s visit to his office and gave  her a detailed account of all that transpired between miss mark and himself  before her arrival. when he finished, clara said nothing for a little while. \u2018are you satisfied?\u2019 asked obi. \u2018i think you were too severe on the man,\u2019 she said. \u2018you think i should have encouraged him to talk about bribing me?\u2019 \u2018after all, offering money is not as bad as offering one\u2019s body. and  yet you gave her a drink and a lift back to town.\u2019 she laughed. \u2018na so this  world be.\u2019 obi wondered. [from chapter 9]   how does achebe vividly convey the tensions between the characters at this moment in  the novel? or 8 to what extent does achebe\u2019s writing make you feel that mr green is an admirable  character?45 50 55 60 65",
            "14": "14 0486/11/o/n/16 \u00a9 ucles 2016 jane austen: northanger abbey remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: scarcely had they worked themselves into the quiet possession of  a place, however, when her attention was claimed by john thorpe, who  stood behind her. \u2018hey-day, miss morland!\u2019 said he, \u2018what is the meaning  of this?\u2014i thought you and i were to dance together.\u2019 \u2018i wonder you should think so, for you never asked me.\u2019 \u2018that is a good  one, by jove!\u2014i asked you as soon as i came into the room, and i was  just going to ask you again, but when i turned round, you were gone!\u2014this  is a cursed shabby trick! i only came for the sake of dancing with you,  and i firmly believe you were engaged to me ever since monday. yes; i  remember, i asked you while you were waiting in the lobby for your cloak.  and here have i been telling all my acquaintance that i was going to dance  with the prettiest girl in the room; and when they see you standing up with  somebody else, they will quiz me famously.\u2019 \u2018oh, no; they will never think of me, after such a description as that.\u2019 \u2018by heavens, if they do not, i will kick them out of the room for  blockheads. what chap have you there?\u2019 catherine satisfied his curiosity.  \u2018tilney,\u2019 he repeated, \u2018hum\u2014i do not know him. a good figure of a man;  well put together.\u2014does he want a horse?\u2014here is a friend of mine, sam  fletcher, has got one to sell that would suit any body. a famous clever  animal for the road\u2014only forty guineas. i had fifty minds to buy it myself,  for it is one of my maxims always to buy a good horse when i meet with  one; but it would not answer my purpose, it would not do for the field. i  would give any money for a real good hunter. i have three now, the best  that ever were back\u2019d. i would not take eight hundred guineas for them.  fletcher and i mean to get a house in leicestershire, against the next  season. it is so d\u2014 \u2014 uncomfortable, living at an inn.\u2019 this was the last sentence by which he could weary catherine\u2019s  attention, for he was just then born off by the resistless pressure of a  long string of passing ladies. her partner now drew near, and said, \u2018that  gentleman would have put me out of patience, had he staid with you half a  minute longer. he has no business to withdraw the attention of my partner  from me. we have entered into a contract of mutual agreeableness for the  space of an evening, and all our agreeableness belongs solely to each  other for that time. nobody can fasten themselves on the notice of one,  without injuring the rights of the other. i consider a country-dance as an  emblem of marriage. fidelity and complaisance are the principal duties  of both; and those men who do not chuse to dance or marry themselves,  have no business with the partners or wives of their neighbours.\u2019 \u2018but they are such very different things!\u2014\u2019 \u2018\u2014that you think they cannot be compared together.\u2019 \u2018to be sure not. people that marry can never part, but must go and  keep house together. people that dance, only stand opposite each other in  a long room for half an hour.\u2019 \u2018and such is your definition of matrimony and dancing. taken in  that light certainly, their resemblance is not striking; but i think i could  place them in such a view.\u2014you will allow, that in both, man has the  advantage of choice, woman only the power of refusal; that in both, it is an  engagement between man and woman, formed for the advantage of each; 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/11/o/n/16 \u00a9 ucles 2016 [turn over and that when once entered into, they belong exclusively to each other till  the moment of its dissolution; that it is their duty, each to endeavour to give  the other no cause for wishing that he or she had bestowed themselves  elsewhere, and their best interest to keep their own imaginations from  wandering towards the perfections of their neighbours, or fancying that  they should have been better off with any one else. you will allow all this?\u2019 \u2018yes, to be sure, as you state it, all this sounds very well; but still they  are so very different.\u2014i cannot look upon them at all in the same light, nor  think the same duties belong to them.\u2019 \u2018in one respect, there certainly is a difference. in marriage, the man  is supposed to provide for the support of the woman; the woman to make  the home agreeable to the man; he is to purvey, and she is to smile.  but in dancing, their duties are exactly changed; the agreeableness, the  compliance are expected from him, while she furnishes the fan and the  lavender water. that, i suppose, was the difference of duties which struck  you, as rendering the conditions incapable of comparison.\u2019 [from chapter 10]   how does austen strikingly portray the contrast between john thorpe and henry tilney  at this moment in the novel? or 10 explore one moment in the novel where austen\u2019s writing makes a character\u2019s actions  particularly shocking for you.50 55 60",
            "16": "16 0486/11/o/n/16 \u00a9 ucles 2016 george eliot: silas marner remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: he reached his door in much satisfaction that his errand was done:  he opened it, and to his short-sighted eyes everything remained as he had  left it, except that the fire sent out a welcome increase of heat. he trod  about the floor while putting by his lantern and throwing aside his hat and  sack, so as to merge the marks of dunstan\u2019s feet on the sand in the marks  of his own nailed boots. then he moved his pork nearer to the fire, and sat  down to the agreeable business of tending the meat and warming himself  at the same time. any one who had looked at him as the red light shone upon his  pale face, strange straining eyes, and meagre form, would perhaps have  understood the mixture of contemptuous pity, dread, and suspicion with  which he was regarded by his neighbours in raveloe. yet few men could  be more harmless than poor marner. in his truthful simple soul, not even  the growing greed and worship of gold could beget any vice directly  injurious to others. the light of his faith quite put out, and his affections  made desolate, he had clung with all the force of his nature to his work  and his money; and like all objects to which a man devotes himself, they  had fashioned him into correspondence with themselves. his loom, as he  wrought in it without ceasing, had in its turn wrought on him, and confirmed  more and more the monotonous craving for its monotonous response. his  gold, as he hung over it and saw it grow, gathered his power of loving  together into a hard isolation like its own. as soon as he was warm he began to think it would be a long while  to wait till after supper before he drew out his guineas, and it would be  pleasant to see them on the table before him as he ate his unwonted feast.  for joy is the best of wine, and silas\u2019s guineas were a golden wine of that  sort. he rose and placed his candle unsuspectingly on the floor near his  loom, swept away the sand without noticing any change, and removed the  bricks. the sight of the empty hole made his heart leap violently, but the  belief that his gold was gone could not come at once \u2013 only terror, and the  eager effort to put an end to the terror. he passed his trembling hand all  about the hole, trying to think it possible that his eyes had deceived him;  then he held the candle in the hole and examined it curiously, trembling  more and more. at last he shook so violently that he let fall the candle, and  lifted his hands to his head, trying to steady himself, that he might think.  had he put his gold somewhere else, by a sudden resolution last night,  and then forgotten it? a man falling into dark waters seeks a momentary  footing even on sliding stones; and silas, by acting as if he believed in  false hopes, warded off the moment of despair. he searched in every  corner, he turned his bed over, and shook it, and kneaded it; he looked  in his brick oven where he laid his sticks. when there was no other place  to be searched, he kneeled down again and felt once more all round the  hole. there was no untried refuge left for a moment\u2019s shelter from the  terrible truth. yes, there was a sort of refuge which always comes with the prostration  of thought under an overpowering passion: it was that expectation of  impossibilities, that belief in contradictory images, which is still distinct  from madness, because it is capable of being dissipated by the external 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/11/o/n/16 \u00a9 ucles 2016 [turn over fact. silas got up from his knees trembling, and looked round at the table:  didn\u2019t the gold lie there after all? the table was bare. then he turned and  looked behind him \u2013 looked all round his dwelling, seeming to strain his  brown eyes after some possible appearance of the bags where he had  already sought them in vain. he could see every object in his cottage \u2013  and his gold was not there. again he put his trembling hands to his head, and gave a wild  ringing scream, the cry of desolation. for a few moments after, he stood  motionless; but the cry had relieved him from the first maddening pressure  of the truth. he turned, and tottered towards his loom, and got into the seat  where he worked, instinctively seeking this as the strongest assurance of  reality. [from chapter 5]   how does eliot vividly portray silas\u2019s feelings at this moment in the novel? or 12 \u2018too perfect.\u2019   to what extent does eliot make you agree with this description of nancy?50 55 60",
            "18": "18 0486/11/o/n/16 \u00a9 ucles 2016 michael frayn: spies remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: keith\u2019s father, on the other hand, spent the day working. not in some  unseen office, like stephen\u2019s father and everybody else\u2019s father who  wasn\u2019t away in the services, but in the garden and the kitchen garden,  and around the house, for ever digging and dunging, and trimming and  pruning, for ever undercoating and painting, and wiring and rewiring, for  ever making perfection yet more perfect. even the chickens at the bottom  of the garden lived irreproachably elegant lives, parading haughtily about a  spacious kingdom defined by rectilinear walls of gleaming wire mesh, and  retiring to lay clean brown eggs in a hen house where the familiar smells  of feed and droppings mingled tastefully with the scent of fresh creosote  without and fresh whitewash within. the headquarters of keith\u2019s father\u2019s operations, though, were the  garage. the double doors at the front were never opened, but there  was a small door in the side, just across the yard from the kitchen, and  occasionally, standing behind keith when he had to go and ask his father  for permission to walk on the lawn, or lay out railway track on the paths,  stephen would catch a glimpse of the wonderful private kingdom inside.  keith\u2019s father would be intent upon some piece of wood or metal held fast  in the great vice on his workbench, dextrously filing or sawing or planing; or  sharpening his great range of chisels on a rotary grindstone; or searching  in the hundred tidy drawers and pigeonholes above and around the bench  for exactly the right grade of glass paper, exactly the right gauge of screw.  a characteristic scent hung in the air. what was it? sawdust, certainly, and  machine oil. swept concrete, perhaps. and car. the car was another perfection \u2013 a small family saloon with  constellations of chromium-plated fitments glittering in the darkness of  the garage, its bodywork and engine spotlessly maintained in constant  readiness for the end of the war, when there would be petrol to run it again.  sometimes the only part of keith\u2019s father to be seen was his legs, projecting  from a pool of light underneath the car, as he carried out the full regular  schedule of checks and oil changes. all it was missing was its wheels. it  stood in perfect immobility on four carefully carpentered wooden chocks,  to prevent its being commandeered, as keith explained, by invading  germans. the wheels themselves were hung neatly on the wall, alongside  a picnic hamper, tennis rackets in wooden presses, deflated airbeds and  rubber rings \u2013 all the apparatus of a forgotten life of leisure which had been  suspended, like so many things, for the duration, that great overarching  condition shaping all their lives in so many different ways. stephen once plucked up courage to ask keith privately if the  germans, with the evil ingenuity for which they were notorious, might not  take the wheels down from the wall and put them back on the car. keith  explained to him that the wheel nuts which secured them were locked  away in a secret drawer by his father\u2019s bedside, together with the revolver  with which he\u2019d been armed when he was an officer in the great war, and  with which he was going to give any invading germans this time a nasty  surprise. keith\u2019s father worked and worked \u2013 and as he worked he whistled.  he whistled as richly and effortlessly as a songbird, an infinitely complex, 5 10 15 20 25 30 35 40 45",
            "19": "19 0486/11/o/n/16 \u00a9 ucles 2016 [turn over meandering tune that never reached a resting place any more than his  work did. he rarely found a moment to speak. when he did, the words  were quick and dry and impatient. \u2018door \u2013 paint \u2013 wet,\u2019  he\u2019d inform keith\u2019s  mother. if he was in a good mood he\u2019d address keith as \u2018old chap\u2019.  sometimes this would become \u2018old boy\u2019, which had imperative overtones:  \u2018bike away in the shed, old boy.\u2019 occasionally, though, his lips drew back to  form what appeared to be a smile, and he\u2019d call keith \u2018old bean\u2019. \u2018if that toy  aeroplane of yours touches the greenhouse, old bean,\u2019 he\u2019d smile, \u2018i\u2019ll cane  you.\u2019 keith evidently believed him. so did stephen; there was a selection  of canes waiting among the sticks and umbrellas on the rack in the hall.  stephen he never addressed at all \u2013 never so much as looked at. even if it  was stephen who was threatening the damage to the greenhouse, it was  keith who was \u2018old bean\u2019 and keith who\u2019d get caned, because stephen  didn\u2019t exist. but then stephen never spoke to him either, or even looked  directly at him, whether he was smiling or not; perhaps because he was  too frightened to, or perhaps because if you\u2019re non-existent you can\u2019t. there were other reasons why keith\u2019s father inspired respect. he\u2019d won  a medal in the great war, keith had told stephen, for killing five germans.  he\u2019d run them through with a bayonet, though exactly how his father had  managed to attach a bayonet to the famous revolver stephen didn\u2019t have  the courage to ask. there the bayonet still was, though, chillingly bouncing  on keith\u2019s father\u2019s khaki-trousered buttock every weekend as he marched  off in his home guard uniform; though it wasn\u2019t really the home guard that  he was going to, as keith had explained \u2013 it was to special undercover  work for the secret service. [from chapter 2]   how does frayn create such striking impressions of keith\u2019s father at this moment in the  novel? or 14 \u2018he was the leader and i was the led,\u2019 says stephen.   to what extent does frayn convince you that keith is the leader of the two boys?50 55 60 65 70",
            "20": "20 0486/11/o/n/16 \u00a9 ucles 2016 susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: there was a great crash of thunder almost overhead, and a tearing  noise, as though the sky had been ripped open. hooper leaped to his feet,  and looked about him, wild with terror. \u2018come on,\u2019 kingshaw said, matter-of-factly, \u2018we\u2019d better make a  shelter.\u2019 he unzipped his anorak, and carried it over to one of the bushes.  hooper watched it, trembling slightly, rooted where he stood. lightning  came, now, making the tree trunks white as it forked down. kingshaw draped his anorak carefully over the top of the bushes,  spreading it out as much as possible. the bushes were very thick. he got  down and crawled underneath. \u2018come on,\u2019 he said, \u2018it\u2019s all right here, we might stay dry.\u2019 hooper hesitated, and then came in beside him, crawling on his  hands and knees. he went right back into the farthest corner, where it was  dark, and curled up tightly, his hands held up towards his face. when the  thunder boomed through the wood again, he stuffed his fingers in his ears,  and ducked down. \u2018it\u2019s o.k.,\u2019 kingshaw said, \u2018it\u2019s only a din.\u2019 lightning flickered on the eyes of a bird, perched up somewhere in the  branches ahead, and for a second, they shone yellow-green, like torches.  the thunder came right on top of the lightning. \u2018oh god, oh god.\u2019 hooper was completely beside himself, wrapped up in his fear,  oblivious of everything except the storm, and his terror of it. kingshaw  remembered how he himself had been, the day the crow had come after  him. it must feel like that. he had wanted to tear his way out of himself, he  had been so afraid. \u2018look, it won\u2019t last long, it\u2019ll go in a bit,\u2019 he said, in a rush of  embarrassed kindness. but hooper could not hear him, he was hunched  forward, his neck bent over, and his face buried in his knees. the rain came down slowly at first, in great, flat drops on to the leaves.  but then it was a violent downpour, kingshaw felt it coming through the  bush. the anorak covered hardly any space at all. he looked out and saw  the water in a great, silvery sheet, making huge puddles on the floor of the  clearing. after a long time, it began to steady, and fell like needles, but the  thunder and lightning came simultaneously again, so loudly that kingshaw  himself jumped in alarm. it sounded like a bomb landing just behind the  bush, and the whole wood lit up for a long, slow second, in green-white  light. hooper whimpered, and rocked himself a little, backwards and  forwards. kingshaw began to wonder what would happen afterwards, and  whether hooper would be ashamed. he thought, now he won\u2019t be able to  frighten me, he won\u2019t be  leader any more. it seemed a long time before the light came creeping back into the  wood. the thunder continued to roll slowly, on and on, in the distance.  kingshaw put a hand up to his hair. it was very wet. his clothes were wet,  too. then, abruptly, sun filled the clearing, it was like a curtain being drawn 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/11/o/n/16 \u00a9 ucles 2016 [turn over back in front of a brightly lit stage. fine steam began to rise up from the  sodden ground, and the tree trunks, and the smell of it came thickly into  kingshaw\u2019s nostrils. beads of rain glittered on the bushes. he crawled out and examined the anorak. it was sagging down in the  middle with a great pool of water. he turned it up, and some of the water  spilled through the bushes, on to hooper. \u2018it\u2019s stopped,\u2019 kingshaw said. he walked off a little way. the ground was spongy, and the wet foliage  soaked the bottoms of his jeans again. he stood in the sunlight. high up,  small chinks of blue sky showed between the leaves. \u2018come on, hooper, it\u2019s o.k.\u2019 [from chapter 7]   how does hill make this a surprising and revealing moment in the novel? or 16 what impressions does hill create for you of kingshaw\u2019s life before he moved to  warings?50 55",
            "22": "22 0486/11/o/n/16 \u00a9 ucles 2016 r. k. narayan: the english teacher remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: i walked into brown\u2019s room that afternoon with this envelope in my  hand. he was in a leisurely mood sitting back in his swivel chair, reading a  book. i placed the envelope before him. \u201cwhat is  this? applying for leave?\u201d he said, a smile spreading on  his aged handsome face. \u2026 \u201cbe seated. \u2026\u201d he read the letter. his face  turned slightly red. he looked at me and said: \u201cwhat is the matter?\u201d he lit  a cigarette, blew out a ring of smoke and waited for my answer, looking at  me with his greenish eyes. i merely replied: \u201ci can\u2019t go on with this work  any longer, sir. \u2026\u201d \u201cany special reason?\u201d i remained silent. i didn\u2019t know what to say. i  replied: \u201ci am taking up work in a children\u2019s school.\u201d \u201coh!\u201d he said. \u2026 \u201cbut i  didn\u2019t know you had primary school training. \u2026\u201d he replied. i looked at him  in despair; his western mind, classifying, labelling, departmentalizing.  \u2026  i merely replied: \u201ci am beginning a new experiment in education, with  another friend.\u201d \u201coh, that is interesting,\u201d he replied. \u201cbut look here, must  you resign? couldn\u2019t you keep it on as an extra interest. \u2026 we do want  a lot of experimenting in education, but you could always \u2026\u201d he went on  suggesting it as a hobby. i replied: \u201csir, what i am doing in the college  hardly seems to me work. i mug up and repeat and they mug up and  repeat in examinations. \u2026 this hardly seems to me work, mr. brown. it is  a fraud i am practising for a consideration of a hundred rupees a month. \u2026  it doesn\u2019t please my innermost self. \u2026\u201d thus i rambled on. \u201ci do not know,\u201d he said scratching his head. \u201cit seems to me unfortunate.  however, i wouldn\u2019t make up my mind in a hurry if i were you. \u2026\u201d \u201ci have thought it over deeply, sir.\u201d i replied, \u201cmy mind is made up.\u201d he asked: \u201cwhat does it mean to you financially?\u201d \u201cabout twenty-five rupees a month. \u2026\u201d i replied. \u201cthat means a cutting down. \u2026\u201d \u201cthat is so. i have no use for money. i have no family. my child is  being looked after by others and they have provided for her future too.  i have a few savings. i have no use for a hundred rupees a month. \u2026\u201d  brown looked quite baffled. i added: \u201cof all persons on earth, i can afford  to do what seems to me work, something which satisfies my  innermost  aspiration. i will write poetry and live  and work with children and watch  their minds unfold. \u2026\u201d \u201cquite,\u201d he replied. \u201ca man like you ought to derive equal delight in  teaching literature. you have done admirably as a teacher of literature. \u2026\u201d i shook my head. \u201ci don\u2019t feel i have done anything of the kind. \u2026\u201d \u201cdo you mean to say that all those poets and dramatists have meant  nothing to you?\u201d i was in danger of repeating the letter i had torn up. \u201cit is not that. i  revere them. and i hope to give them to these children for their delight  and enlightenment, but in a different measure and in a different manner.\u201d  i rambled on thus. i could not speak clearly. brown bore with me patiently.  our interview lasted an hour. at the end of it  he said: \u201ctake another week,  if you like, to consider. i do wish you wouldn\u2019t leave us.\u201d he held out his  hand. i gripped his large warm palm, and walked out of the room. [from chapter 8\u200a]5 10 15 20 25 30 35 40 45",
            "23": "23 0486/11/o/n/16 \u00a9 ucles 2016 [turn over   how does narayan make this conversation so memorable? or 18 what impressions does narayan\u2019s writing give you of the relationship between krishna  and susila before her illness?",
            "24": "24 0486/11/o/n/16 \u00a9 ucles 2016 robert louis stevenson:  the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: \u2018have you the envelope?\u2019 he asked. \u2018i burned it,\u2019 replied jekyll, \u2018before i thought what i was about. but it  bore no postmark. the note was handed in.\u2019 \u2018shall i keep this and sleep upon it?\u2019 asked utterson. \u2018i wish you to judge for me entirely,\u2019 was the reply. \u2018i have lost  confidence in myself.\u2019 \u2018well, i shall consider,\u2019 returned the lawyer. \u2018and now one word more:  it was hyde who dictated the terms in your will about that disappearance?\u2019 the doctor seemed seized with a qualm of faintness; he shut his  mouth tight and nodded. \u2018i knew it,\u2019 said utterson. \u2018he meant to murder you. you have had a  fine escape.\u2019 \u2018i have had what is far more to the purpose,\u2019 returned the doctor  solemnly: \u2018i have had a lesson \u2013 o god, utterson, what a lesson i have  had!\u2019 and he covered his face for a moment with his hands. on his way out, the lawyer stopped and had a word or two with poole.  \u2018by the by,\u2019 said he, \u2018there was a letter handed in today: what was the  messenger like?\u2019 but poole was positive nothing had come except by post;  \u2018and only circulars by that,\u2019 he added. this news sent off the visitor with his fears renewed. plainly the letter  had come by the laboratory door; possibly, indeed, it had been written in  the cabinet; and, if that were so, it must be differently judged, and handled  with the more caution. the news-boys, as he went, were crying themselves  hoarse along the footways: \u2018special edition. shocking murder of an m.p.\u2019  that was the funeral oration of one friend and client; and he could not help  a certain apprehension lest the good name of another should be sucked  down in the eddy of the scandal. it was, at least, a ticklish decision that he  had to make; and, self-reliant as he was by habit, he began to cherish a  longing for advice. it was not to be had directly; but perhaps, he thought, it  might be fished for. presently after, he sat on one side of his own hearth, with mr guest,  his head clerk, upon the other, and midway between, at a nicely calculated  distance from the fire, a bottle of a particular old wine that had long dwelt  unsunned in the foundations of his house. the fog still slept on the wing  above the drowned city, where the lamps glimmered like carbuncles; and  through the muffle and smother of these fallen clouds, the procession of  the town\u2019s life was still rolling in through the great arteries with a sound  as of a mighty wind. but the room was gay with firelight. in the bottle the  acids were long ago resolved; the imperial dye had softened with time, as  the colour grows richer in stained windows; and the glow of hot autumn  afternoons on hillside vineyards was ready to be set free and to disperse  the fogs of london. insensibly the lawyer melted. there was no man from  whom he kept fewer secrets than mr guest; and he was not always sure  that he kept as many as he meant. guest had often been on business to  the doctor\u2019s: he knew poole; he could scarce have failed to hear of mr  hyde\u2019s familiarity about the house; he might draw conclusions: was it not  as well, then, that he should see a letter which put that mystery to rights?  and, above all, since guest, being a great student and critic of handwriting, 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/11/o/n/16 \u00a9 ucles 2016 [turn over would consider the step natural and obliging? the clerk, besides, was  a man of counsel; he would scarce read so strange a document without  dropping a remark; and by that remark mr utterson might shape his future  course. \u2018this is a sad business about sir danvers,\u2019 he said. \u2018yes, sir, indeed. it has elicited a great deal of public feeling,\u2019 returned  guest. \u2018the man, of course, was mad.\u2019 \u2018i should like to hear your views on that,\u2019 replied utterson. \u2018i have a  document here in his handwriting; it is between ourselves, for i scarce  know what to do about it; it is an ugly business at the best. but there it is;  quite in your way: a murderer\u2019s autograph.\u2019 guest\u2019s eyes brightened, and he sat down at once and studied it with  passion. \u2018no, sir,\u2019 he said; \u2018not mad; but it is an odd hand.\u2019 \u2018and by all accounts a very odd writer,\u2019 added the lawyer. just then the servant entered with a note. \u2018is that from dr jekyll, sir?\u2019 inquired the clerk. \u2018i thought i knew the  writing. anything private, mr utterson?\u2019 \u2018only an invitation to dinner. why? do you want to see it?\u2019 \u2018one moment. i thank you, sir\u2019; and the clerk laid the two sheets of  paper alongside and sedulously compared their contents. \u2018thank you, sir,\u2019  he said at last, returning both; \u2018it\u2019s a very interesting autograph.\u2019 there was a pause, during which mr utterson struggled with himself.  \u2018why did you compare them, guest?\u2019 he inquired suddenly. \u2018well, sir,\u2019 returned the clerk, \u2018there\u2019s a rather singular resemblance;  the two hands are in many points identical; only differently sloped.\u2019 \u2018rather quaint,\u2019 said utterson. \u2018it is, as you say, rather quaint,\u2019 returned guest. \u2018i wouldn\u2019t speak of this note, you know,\u2019 said the master. \u2018no, sir,\u2019 said the clerk. \u2018i understand.\u2019 but no sooner was mr utterson alone that night than he locked the  note into his safe, where it reposed from that time forward. \u2018what!\u2019 he  thought. \u2018henry jekyll forge for a murderer!\u2019 and his blood ran cold in his  veins. [from chapter 5, \u2018incident of the letter\u2019]   explore the ways in which stevenson conveys utterson\u2019s changing emotions at this  moment in the novel. or 20 how does stevenson make the effect of hyde on dr lanyon such a powerful part of the  novel?50 55 60 65 70 75 80",
            "26": "26 0486/11/o/n/16 \u00a9 ucles 2016 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from games at twilight  (by anita desai), and then answer the question  that follows it: the children, too, felt released. they too began tumbling, shoving,  pushing against each other, frantic to start. start what? start their business.  the business of the children\u2019s day which is \u2013 play. \u2018let\u2019s play hide-and-seek.\u2019 \u2018who\u2019ll be it?\u2019 \u2018you be it.\u2019 \u2018why should i? you be\u2014\u2019 \u2018you\u2019re the eldest\u2014\u2019 \u2018that doesn\u2019t mean\u2014\u2019 the shoves became harder. some kicked out. the motherly mira  intervened. she pulled the boys roughly apart. there was a tearing sound  of cloth but it was lost in the heavy panting and angry grumbling and no  one paid attention to the small sleeve hanging loosely off a shoulder. \u2018make a circle, make a circle!\u2019 she shouted, firmly pulling and pushing  till a kind of vague circle was formed. \u2018now clap!\u2019 she roared and, clapping,  they all chanted in melancholy unison: \u2018dip, dip, dip \u2013 my blue ship\u2014\u2019 and  every now and then one or the other saw he was safe by the way his hands  fell at the crucial moment \u2013 palm on palm, or back of hand on palm \u2013 and  dropped out of the circle with a yell and a jump of relief and jubilation. raghu was it. he started to protest, to cry \u2018you cheated \u2013 mira cheated  \u2013 anu cheated\u2014\u2019 but it was too late, the others had all already streaked  away. there was no one to hear when he called out, \u2018only in the veranda \u2013  the porch \u2013 ma said \u2013 ma said to stay in the porch!\u2019 no one had stopped to  listen, all he saw were their brown legs flashing through the dusty shrubs,  scrambling up brick walls, leaping over compost heaps and hedges, and  then the porch stood empty in the purple shade of the bougainvillea and  the garden was as empty as before; even the limp squirrels had whisked  away, leaving everything gleaming, brassy and bare. only small manu suddenly reappeared, as if he had dropped out of an  invisible cloud or from a bird\u2019s claws, and stood for a moment in the centre  of the yellow lawn, chewing his finger and near to tears as he heard raghu  shouting, with his head pressed against the veranda wall, \u2018eighty-three,  eighty-five, eighty-nine, ninety \u2026\u2019 and then made off in a panic, half of him  wanting to fly north, the other half counselling south. raghu turned just in  time to see the flash of his white shorts and the uncertain skittering of his  red sandals, and charged after him with such a blood-curdling yell that  manu stumbled over the hosepipe, fell into its rubber coils and lay there  weeping, \u2018i won\u2019t be it \u2013 you have to find them all \u2013 all \u2013 all!\u2019 \u2018i know i have to, idiot,\u2019 raghu said, superciliously kicking him with his  toe. \u2018you\u2019re dead,\u2019 he said with satisfaction, licking the beads of perspiration  off his upper lip, and then stalked off in search of worthier prey, whistling  spiritedly so that the hiders should hear and tremble. ravi heard the whistling and picked his nose in a panic, trying to find  comfort by burrowing the finger deep-deep into that soft tunnel. he felt  himself too exposed, sitting on an upturned flower pot behind the garage.  where could he burrow? he could run around the garage if he heard  raghu come \u2013 around and around and around \u2013 but he hadn\u2019t much faith 5 10 15 20 25 30 35 40 45",
            "27": "27 0486/11/o/n/16 \u00a9 ucles 2016 in his short legs when matched against raghu\u2019s long, hefty, hairy footballer  legs. ravi had a frightening glimpse of them as raghu combed the hedge  of crotons and hibiscus, trampling delicate ferns underfoot as he did so.  ravi looked about him desperately, swallowing a small ball of snot in his  fear.   how does desai vividly portray the way in which the children think and behave in this  extract? or 22 explore the ways in which thorpe makes you sympathise with the narrator in tyres.50",
            "28": "28 0486/11/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl/km) 114791/4 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *2701526495*literature (english)  0486/12 paper 1  poetry and prose  october/november 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/12/o/n/16 \u00a9 ucles 2016 blank page",
            "3": "3 0486/12/o/n/16 \u00a9 ucles 2016 [turn over contents section a: poetry text question  numbers  page[s] thomas hardy: from  selected poems   1, 2 pages  4\u20135 from jo phillips ed: poems deep & dangerous   3, 4 pages  6\u20137 songs of ourselves volume 2:  from part 1   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages  10\u201311 jane austen: northanger abbey   9, 10  pages  12\u201313 george eliot: silas marner  11, 12  pages  14\u201315 michael frayn: spies  13, 14  pages  16\u201317 susan hill: i\u2019m the king of the castle  15, 16  pages  18\u201319 r. k. narayan: the english teacher  17, 18  pages  20\u201321 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20  pages  22\u201323 from stories of ourselves  21, 22  pages  24\u201325",
            "4": "4 0486/12/o/n/16 \u00a9 ucles 2016 section a: poetry answer one question from this section. thomas hardy: from selected poems remember to support your ideas with details from the writing. either  1 read these poems, and then answer the question that follows them: \u2018\u200ai look into my glass\u2019 i look into my glass, and view my wasting skin, and say, \u2018would god it came to pass my heart had shrunk as thin!\u2019 for then, i, undistrest by hearts grown cold to me, could lonely wait my endless rest with equanimity. but time, to make me grieve, part steals, lets part abide; and shakes this fragile frame at eve with throbbings of noontide. nobody comes tree-leaves labour up and down, and through them the fainting light succumbs to the crawl of night. outside in the road the telegraph wire to the town from the darkening land intones to travellers like a spectral lyre swept by a spectral hand. a car comes up, with lamps full-glare, that flash upon a tree: it has nothing to do with me, and whangs along in a world of its own, leaving a blacker air; and mute by the gate i stand again alone, and nobody pulls up there.   how does hardy movingly convey the feelings of the speakers in \u2018i look into my glass\u2019  and nobody comes\u200a ?5 10 5 10",
            "5": "5 0486/12/o/n/16 \u00a9 ucles 2016 [turn over or 2 explore the ways in which hardy movingly conveys the grief of the speaker in the voice. the voice woman much missed, how you call to me, call to me, saying that now you are not as you were when you had changed from the one who was all to me, but as at first, when our day was fair. can it be you that i hear? let me view you, then, standing as when i drew near to the town where you would wait for me: yes, as i knew you then, even to the original air-blue gown! or is it only the breeze, in its listlessness travelling across the wet mead to me here, you being ever dissolved to wan wistlessness, heard no more again far or near? thus i; faltering forward, leaves around me falling, wind oozing thin through the thorn from norward, and the woman calling.5 10 15",
            "6": "6 0486/12/o/n/16 \u00a9 ucles 2016 from jo phillips  ed: poems deep & dangerous remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: the gift after the accident, the hospital, they brought me aching home mouth pumped up like a tyre black stitches tracking the wound over my lip, the red slit signalling the broken place. and my son my tall, cool son of sixteen kissed the top of my head and over the curve of my shoulder laid his arm, like the broad wing of a mother bird guarding its young. anyone who has known tenderness thrown like a  lifeline into the heart of pain anyone who has known pain bleed into tenderness knows how the power of the two combine. and if i am a fool to give thanks for pain as well as tenderness and even if, as some would say there are no accidents \u2013 still. i am grateful for the gift. (chris banks )   explore the ways in which banks powerfully portrays the relationship between mother  and son in the gift.5 10 15 20",
            "7": "7 0486/12/o/n/16 \u00a9 ucles 2016 [turn over or 4 how does lochhead vividly depict the atmosphere of the laundrette in laundrette\u200a ? laundrette we sit nebulous in steam. it calms the air and makes the windows stream rippling the hinterland\u2019s big houses to a blur of bedsits \u2013 not a patch on what they were before. we stuff the tub, jam money in the slot, sit back on rickle chairs not reading. the paperbacks in our pockets curl. our eyes are riveted. our own colours whirl. we pour in smithereens of soap. the machine sobs through its cycle. the rhythm throbs and changes. suds drool and slobber in the churn. our duds don\u2019t know which way to turn. the dark shoves one man in, lugging a bundle like a wandering jew. linen washed in public here. we let out of the bag who we are. this youngwife has a fine  stack of sheets, each pair a present. she admires their clean cut air of colourschemes and being chosen. are the dyes fast? this christening lather will be the first test. this woman is deadpan before the rinse and sluice of the family in a bagwash. let them stew in their juice to a final fankle, twisted, wrung out into rope, hard to unravel. she sees a kaleidoscope for her to narrow her eyes and blow smoke at, his overalls and pants ballooning, tangling with her smalls and the teeshirts skinned from her wriggling son. she has a weather eye for what might shrink or run. this dour man does for himself. before him, half lost, his small possessions swim. cast off, random they nose and nudge the porthole glass like flotsam. (liz lochhead  )5 10 15 20 25 30",
            "8": "8 0486/12/o/n/16 \u00a9 ucles 2016 songs of ourselves volume 2:  from part 1 remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: the lost woman\u2026 my mother went with no more warning than a bright voice and a bad pain home from school on a june morning and where the brook goes under the lane i saw the back of a shocking white ambulance drawing away from the gate. she never returned and i never saw her buried. so a romance began. the ivy-mother turned into a tree that still hops away like a rainbow down the avenue as i approach. my tendrils are the ones that clutch. i made a life for her over the years. frustrated no more by a dull marriage she ran a canteen through several wars. the wit of a clich\u00e9-ridden village she met her match at an extra-mural class and the ou summer school. many a hero in his time and every poet has acquired a lost woman to haunt the home, to be compensated and desired, who will not alter, who will not grow a corpse they need never get to know. she is nearly always benign. her habit is not to stride at dead of night. soft and crepuscular in rabbit- light she comes out. hear how they hate themselves for losing her as they did. her country is bland and she does not chide. but my lost woman evermore snaps from somewhere else: \u2018you did not love me. i sacrificed too much perhaps, i showed you the way to rise above me and you took it. you are the ghost with the bat-voice, my dear. i am not lost.\u2019 (patricia beer )   how does beer strikingly convey the complex relationship the speaker has with her  mother in the lost woman\u2026 ?5 10 15 20 25 30 35",
            "9": "9 0486/12/o/n/16 \u00a9 ucles 2016 [turn over or 6 how does wordsworth vividly communicate feelings of joy in \u2018she was a phantom of  delight\u2019   ? \u2018she was a phantom of delight\u2019 she was a phantom of delight when first she gleamed upon my sight; a lovely apparition, sent to be a moment\u2019s ornament; her eyes as stars of twilight fair; like twilight\u2019s, too, her dusky hair; but all things else about her drawn from may-time and the chearful dawn; a dancing shape, an image gay, to haunt, to startle, and way-lay. i saw her upon nearer view, a spirit, yet a woman too! her household motions light and free, and steps of virgin liberty; a countenance in which did meet sweet records, promises as sweet; a creature not too bright or good for human nature\u2019s daily food; for transient sorrows, simple wiles, praise, blame, love, kisses, tears, and smiles. and now i see with eye serene the very pulse of the machine; a being breathing thoughtful breath; a traveller betwixt life and death; the reason firm, the temperate will, endurance, foresight, strength and skill; a perfect woman; nobly planned, to warn, to comfort, and command; and yet a spirit still, and bright with something of an angel light. (william wordsworth )5 10 15 20 25 30",
            "10": "10 0486/12/o/n/16 \u00a9 ucles 2016 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: the rest of the journey had passed without incident. it was getting dark  when obi arrived in lagos. the big signboard which welcomes motorists  to the federal territory of lagos woke in him a feeling of panic. during the  last night he spent at home he had worked out how he was going to tell  clara. he would not go to his flat first and then return to tell her. it would be  better to stop on his way and take her with him. but when he got to yaba  where she lived he decided that it was better to get home first and then  return. so he passed. he had a wash and changed his clothes. then he sat down on the sofa  and for the first time felt really tired. another thought occurred to him.  christopher might be able to give him useful advice. he got into the car and  drove off, not knowing definitely whether he was going to christopher\u2019s or  clara\u2019s. but in the end it was to clara that he went. on his way he ran into a long procession of men, women and children in  white flowing gowns gathered at the waist with red and yellow sashes. the  women, who were in the majority, wore white head-ties that descended  to their back. they sang and clapped their hands and danced. one of the  men kept beat with a hand-bell. they held up all traffic, for which obi was  inwardly grateful. but impatient taxi-drivers serenaded them with long and  deafening blasts of their horns as they slowly parted for them to pass. in  front two white-clad boys carried a banner which proclaimed the eternal  sacred order of cherubim and seraphim. obi had done his best to make the whole thing sound unimportant. just  a temporary set-back and no more. everything would work out nicely in  the end. his mother\u2019s mind had been affected by her long illness but she  would soon get over it. as for his father, he was as good as won over. \u2018all  we need do is lie quiet for a little while,\u2019 he said. clara had listened in silence, rubbing her engagement ring with her right  fingers. when he stopped talking, she looked up at him and asked if he  had finished. he did not answer. \u2018have you finished?\u2019 she asked again. \u2018finished what?\u2019 \u2018your story.\u2019 obi drew a deep breath by way of answer. \u2018don\u2019t you think \u2026 anyway, it doesn\u2019t matter. there is only one thing i  regret. i should have known better anyway. it doesn\u2019t really matter.\u2019 \u2018what are you talking about, clara? \u2026 oh, don\u2019t be silly,\u2019 he said as she  pulled off her ring and held it out to him. \u2018if you don\u2019t take it, i shall throw it out of the window.\u2019 \u2018please do.\u2019 she didn\u2019t throw it away, but went outside to his car and dropped  it in the glove-box. she came back and, holding out her hand in mock  facetiousness, said: \u2018thank you very much for everything.\u20195 10 15 20 25 30 35 40",
            "11": "11 0486/12/o/n/16 \u00a9 ucles 2016 [turn over \u2018come and sit down, clara. let\u2019s not be childish. and please don\u2019t make  things more difficult for me.\u2019 \u2018you are making things difficult for yourself. how many times did i tell  you that we were deceiving ourselves? but i was always told i was being  childish. anyway, it doesn\u2019t matter. there is no need for long talk.\u2019 obi sat down again. clara went to lean on the window and look outside.  once obi began to say something, but gave it up after the first three words  or so. after another ten minutes of silence clara asked, hadn\u2019t he better be  going? \u2018yes,\u2019 he said, and got up. \u2018good night.\u2019 she did not turn from her position. she had her back to him. \u2018good night,\u2019 he said. \u2018there was something i wanted to tell you, but it doesn\u2019t matter. i ought  to have been able to take care of myself.\u2019 obi\u2019s heart flew into his mouth. \u2018what is it?\u2019 he asked in great alarm. \u2018oh, nothing. forget about it. i\u2019ll find a way out.\u2019 [from chapter 15]   how does achebe make this moment in the novel so dramatic? or 8 to what extent does achebe\u2019s writing suggest that obi is responsible for his own  downfall?45 50 55",
            "12": "12 0486/12/o/n/16 \u00a9 ucles 2016 jane austen: northanger abbey remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: they made their appearance in the lower rooms; and here fortune  was more favourable to our heroine. the master of the ceremonies  introduced to her a very gentlemanlike young man as a partner;\u2014his  name was tilney. he seemed to be about four or five and twenty, was  rather tall, had a pleasing countenance, a very intelligent and lively eye,  and, if not quite handsome, was very near it. his address was good, and  catherine felt herself in high luck. there was little leisure for speaking  while they danced; but when they were seated at tea, she found him  as agreeable as she had already given him credit for being. he talked  with fluency and spirit\u2014and there was an archness and pleasantry in  his manner which interested, though it was hardly understood by her.  after chatting some time on such matters as naturally arose from the  objects around them, he suddenly addressed her with\u2014\u2018i have hitherto  been very remiss, madam, in the proper attentions of a partner here; i  have not yet asked you how long you have been in bath; whether you  were ever here before; whether you have been at the upper rooms, the  theatre, and the concert; and how you like the place altogether. i have  been very negligent\u2014but are you now at leisure to satisfy me in these  particulars? if you are i will begin directly.\u2019 \u2018you need not give yourself that trouble, sir.\u2019 \u2018no trouble i assure you, madam.\u2019 then forming his features into a set  smile, and affectedly softening his voice, he added, with a simpering air,  \u2018have you been long in bath, madam?\u2019 \u2018about a week, sir,\u2019 replied catherine, trying not to laugh. \u2018really!\u2019 with affected astonishment. \u2018why should you be surprized, sir?\u2019 \u2018why, indeed!\u2019 said he, in his natural tone\u2014\u2018but some emotion must  appear to be raised by your reply, and surprize is more easily assumed,  and not less reasonable than any other.\u2014now let us go on. were you  never here before, madam?\u2019 \u2018never, sir.\u2019 \u2018indeed! have you yet honoured the upper rooms?\u2019 \u2018yes, sir, i was there last monday.\u2019 \u2018have you been to the theatre?\u2019 \u2018yes, sir, i was at the play on tuesday.\u2019 \u2018to the concert?\u2019 \u2018yes, sir, on wednesday.\u2019 \u2018and are you altogether pleased with bath?\u2019 \u2018yes\u2014i like it very well.\u2019 \u2018now i must give one smirk, and then we may be rational again.\u2019 catherine turned away her head, not knowing whether she might  venture to laugh. \u2018i see what you think of me,\u2019 said he gravely\u2014\u2018i shall make but a poor  figure in your journal to-morrow.\u2019 \u2018my journal!\u2019 \u2018yes, i know exactly what you will say: friday, went to the lower rooms;  wore my sprigged muslin robe with blue trimmings\u2014plain black shoes\u2014 appeared to much advantage; but was strangely harassed by a queer,  5 10 15 20 25 30 35 40 45",
            "13": "13 0486/12/o/n/16 \u00a9 ucles 2016 [turn over half-witted man, who would make me dance with him, and distressed me  by his nonsense.\u2019 \u2018indeed i shall say no such thing.\u2019 \u2018shall i tell you what you ought to say?\u2019 \u2018if you please.\u2019 \u2018i danced with a very agreeable young man, introduced by mr. king;  had a great deal of conversation with him\u2014seems a most extraordinary  genius\u2014hope i may know more of him. that, madam, is what i wish you  to say.\u2019 \u2018but, perhaps, i keep no journal.\u2019 \u2018perhaps you are not sitting in this room, and i am not sitting by you.  these are points in which a doubt is equally possible. not keep a journal! \u2026\u2019 [from chapter 3]   how does austen\u2019s writing make this such an entertaining introduction to henry tilney? or 10 how does austen make catherine\u2019s obsession with gothic novels such a memorable  and significant part of the novel?50 55 60",
            "14": "14 0486/12/o/n/16 \u00a9 ucles 2016 george eliot: silas marner remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: it was clear that eppie, with her short toddling steps, must lead father   silas a pretty dance on any fine morning when circumstances favoured  mischief. for example. he had wisely chosen a broad strip of linen as a means of  fastening her to his loom when he was busy: it made a broad belt round her  waist, and was long enough to allow of her reaching the truckle-bed and  sitting down on it, but not long enough for her to attempt any dangerous  climbing. one bright summer\u2019s morning silas had been more engrossed  than usual in \u2018setting up\u2019 a new piece of work, an occasion on which his  scissors were in requisition. these scissors, owing to an especial warning  of dolly\u2019s, had been kept carefully out of eppie\u2019s reach; but the click of  them had had a peculiar attraction for her ear, and watching the results  of that click, she had derived the philosophic lesson that the same cause  would produce the same effect. silas had seated himself in his loom, and  the noise of weaving had begun; but he had left his scissors on a ledge  which eppie\u2019s arm was long enough to reach; and now, like a small mouse,  watching her opportunity, she stole quietly from her corner, secured the  scissors, and toddled to the bed again, setting up her back as a mode  of concealing the fact. she had a distinct intention as to the use of the  scissors; and having cut the linen strip in a jagged but effectual manner,  in two moments she had run out at the open door where the sunshine  was inviting her, while poor silas believed her to be a better child than  usual. it was not until he happened to need his scissors that the terrible  fact burst upon him: eppie had run out by herself \u2013 had perhaps fallen into  the stone-pit. silas, shaken by the worst fear that could have befallen him,  rushed out, calling \u2018eppie!\u2019 and ran eagerly about the unenclosed space,  exploring the dry cavities into which she might have fallen, and then gazing  with questioning dread at the smooth red surface of the water. the cold  drops stood on his brow. how long had she been out? there was one  hope \u2013 that she had crept through the stile and got into the fields, where  he habitually took her to stroll. but the grass was high in the meadow, and  there was no descrying her, if she were there, except by a close search  that would be a trespass on mr osgood\u2019s crop. still, that misdemeanour  must be committed; and poor silas, after peering all round the hedgerows,  traversed the grass, beginning with perturbed vision to see eppie behind  every group of red sorrel, and to see her moving always farther off as he  approached. the meadow was searched in vain; and he got over the stile  into the next field, looking with dying hope towards a small pond which  was now reduced to its summer shallowness, so as to leave a wide margin  of good adhesive mud. here, however, sat eppie, discoursing cheerfully to  her own small boot, which she was using as a bucket to convey the water  into a deep hoofmark, while her little naked foot was planted comfortably  on a cushion of olive-green mud. a red-headed calf was observing her with  alarmed doubt through the opposite hedge. here was clearly a case of aberration in a christened child which  demanded severe treatment; but silas, overcome with convulsive joy at  finding his treasure again, could do nothing but snatch her up, and cover  her with half-sobbing kisses. it was not until he had carried her home, and 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/12/o/n/16 \u00a9 ucles 2016 [turn over had begun to think of the necessary washing, that he recollected the need  that he should punish eppie, and \u2018make her remember.\u2019 the idea that she  might run away again and come to harm, gave him unusual resolution,  and for the first time be determined to try the coal-hole \u2013 a small closet  near the hearth. \u2018naughty, naughty eppie,\u2019 he suddenly began, holding her on his knee,  and pointing to her muddy feet and clothes \u2013 \u2018naughty to cut with the  scissors and run away. eppie must go into the coal-hole for being naughty.  daddy must put her in the coal-hole.\u2019 he half-expected that this would be shock enough, and that eppie  would begin to cry. but instead of that, she began to shake herself on his  knee, as if the proposition opened a pleasing novelty. seeing that he must  proceed to extremities, he put her into the coal-hole, and held the door  closed, with a trembling sense that he was using a strong measure. for a  moment there was silence, but then came a little cry, \u2018opy, opy!\u2019 and silas  let her out again, saying, \u2018now eppie \u2019ull never be naughty again, else she  must go in the coal-hole \u2013 a black naughty place.\u2019 the weaving must stand still a long while this morning, for now eppie  must be washed, and have clean clothes on; but it was to be hoped that  this punishment would have a lasting effect, and save time in future \u2013  though, perhaps, it would have been better if eppie had cried more. [from chapter 14]   how does eliot\u2019s writing make this such an entertaining moment in the novel? or\t 12\t \u2018 godfrey deserves to be unhappy.\u2019   to what extent does eliot make you agree with this judgement?50 55 60 65",
            "16": "16 0486/12/o/n/16 \u00a9 ucles 2016 michael frayn: spies remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: he suddenly raises the bayonet, and holds it in front of my face. he looks  straight into my eyes, no longer smiling or nodding. \u2018swear again,\u2019 he says. i place my hand on the flat of the blade as i did before. and as i did  before, i feel in my skin the electric sharpness that surrounds it. \u2018i swear,\u2019  i say. \u2018that i didn\u2019t break the solemn oath i swore never to reveal our secret  things.\u2019 i drop my eyes as i repeat the words. but i didn\u2019t break the oath! i didn\u2019t  reveal our things! \u2018so help me god,\u2019 i repeat after him, still not looking at him. \u2018or cut my  throat and hope to die.\u2019 i manage to raise my eyes at last, and find that he\u2019s taking something  out of the trunk and holding it up for me to see. it\u2019s the flattened players  cigarette packet. his eyes are still fixed on me. my face is burning with the  heat of my shame. \u2018it wasn\u2019t \u2026 i didn\u2019t \u2026\u2019 i stammer. \u2018she must have found the key.\u2019 suddenly his face is just in front of mine, though, smiling again, and i can  feel the point of the bayonet against my throat. \u2018you swore,\u2019 he whispers.  \u2018you double-swore.\u2019 i can\u2019t speak. something, either terror or the pressure of the blade on  my windpipe, seems to be constricting my voice. i try to move my head  back a little. the bayonet follows the movement, and presses harder. \u2018you said, \u201cso help me god,\u201d  \u2019 he whispers. \u2018you said \u201ccut my throat and  hope to die.\u201d\u2019 i can\u2019t speak. i can\u2019t move. all i can do is to remain frozen with fear as  the pressure of the blade against my windpipe gradually increases. he\u2019s  not actually going to cut my throat, i understand that. he\u2019s going to go on  until he breaks the skin, though, and lets the germs on the blade into my  bloodstream. i can\u2019t take my eyes off that smile six inches in front of my  face. it comes slowly closer and closer, as barbara berrill\u2019s face did when  she kissed me. his eyes look into mine. they\u2019re the eyes of a stranger. the blade presses slowly harder. and now suddenly i\u2019m not sure after  all that it is ever going to stop. \u2018and then you showed her,\u2019 he whispers. i know my eyes are filling  with tears of pain and humiliation, and i can feel another little source  of wetness around the point of the bayonet, as the blood wells out and  mingles with the germs. and now i\u2019m beginning to think it\u2019s true, that i did  show her our secret things, though i suddenly wonder if it\u2019s really barbara  berrill he means or if it isn\u2019t perhaps his mother. i have the odd idea that in  some strange way we\u2019re talking about both of them \u2013 that the crime he\u2019s  punishing in me is not mine at all, but one that\u2019s being committed inside  his own house. and even in the extremity of my terror i suddenly realise  where he learnt to practise this particular form of torture with this particular  instrument, and why his mother, in the heat of summer, has taken to  wearing that cravat pinned high around her neck. slowly, slowly the pressure on my throat increases. all i have to do is  take out the scarf and give it him, as i gave his father the basket \u2026 i can\u2019t do it, though. i can\u2019t let keith\u2019s eye fall upon those rawly private 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/o/n/16 \u00a9 ucles 2016 [turn over words, sent on silk by that living ghost in the barns to keith\u2019s own mother.  chemnitz  \u2026 leipzig \u2026  zwickau \u2026 they can\u2019t be revealed! for keith\u2019s  own sake as much as for hers. i can\u2019t show him what spying actually  means \u2013 the fear, the tears, the silken, whispered words.  [from chapter 10]   how does frayn make this such a disturbing moment in the novel? or 14 explore the ways in which frayn makes auntie dee a memorable character in the novel.50",
            "18": "18 0486/12/o/n/16 \u00a9 ucles 2016 susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: he made plans for a long time, almost a week. everything was worked  out, except the time. he had to find the right day. but, to begin with, it  was harder than he had anticipated to get the things together. he was a  methodical planner, but he was feeling his way. just because it was not the sort of thing he had ever done before, or  would be expected to do, kingshaw knew that he would be taken seriously.  though he was doing it for himself, only, he did not care what any of the  others thought about it. it did not occur to him that he might fail, though he  failed regularly at other things. for, at the very least, it would be a gesture,  and they would understand it as such. it did not seem to him a strange, or  ridiculous thing to be planning, and certainly not a lark. it was necessary,  that was all. he was neither courageous nor frivolous. when he got hold of the things, he took them along to the room with  the dolls, locking it behind him and removing the key, whenever he left.  though he was certain, now, that hooper had discovered it. it had only  been a question of time. one day, it rained without stopping, and mr hooper caught him, on a  bend in the main staircase. \u2018ah now, i have been looking for you!\u2019 kingshaw stopped. his mother had said, \u2018you should be very, very polite  to mr hooper. he has been so very kind to us already. he is anxious to  take an interest in you, charles, already he has been talking to me about  your schooling and your future.\u2019 her eyes had been very bright, and the  bracelets went sliding up and down her arm. do not spoil everything for  me, she wanted to say, do not take away my chance. kingshaw did not  like this new eagerness and hopefulness about her, now that she was at  warings. she had changed a good deal. \u2018you are to be polite to mr hooper.\u2019 but there was never anything he  could think of to say. \u2018where is edmund?\u2019 \u2018he might \u2026 i don\u2019t know, i haven\u2019t seen him.\u2019 mr hooper stooped a little, and wore a very dark blue suit, and kept  smoothing his hand back over the receding hair. he had a small, pursed  mouth. \u2018now i have found two things for you, this morning. i have found the  draughts and a bagatelle board. the draughts are very unusual ones, very  valuable, they were \u2026 but i daresay you will not be interested in that kind  of thing, you had better find edmund and then i will bring the things to you.  there is a table in the front sitting room, you can go there.\u2019 kingshaw went slowly on, up the stairs. he thought, mr hooper can tell  us to do what he pleases, because my mother is paid to work for him, and  this is not our house. i shall have to go into the sitting room with hooper  and play draughts. \u2018oh, how kind of you! what a good idea!\u2019 said mrs helena kingshaw,  smiling eagerly, in the breakfast room. \u2018that is just right for a rainy morning.  they have been so very unresourceful, these last few days, i cannot think  \u2026 but now they can get together over these games, and then we shall 5 10 15 20 25 30 35 40 45",
            "19": "19 0486/12/o/n/16 \u00a9 ucles 2016 [turn over really see the friendship cemented. that is a clever suggestion of yours!\u2019 joseph hooper smoothed back the receding hair and felt more than  ever satisfied with mrs helena kingshaw. [from chapter 4]   how does hill vividly portray kingshaw\u2019s relationship with the adults at this moment in  the novel? or 16 to what extent does hill\u2019s writing make you feel that edmund hooper and his father are  similar?50",
            "20": "20 0486/12/o/n/16 \u00a9 ucles 2016 r. k. narayan: the english teacher remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: the eldest asked: \u201chave you had your food?\u201d \u201cyes.\u201d they looked at each other and said: \u201cmother went away thinking that  you wouldn\u2019t have eaten, and that you would come and ask for it.\u201d \u201cnot i,\u201d he said. \u201ci know your mother\u2014well, children you may all go  away now \u2026 or take this baby with you and play with her.\u201d there was  consternation in my daughter\u2019s face and she muttered: \u201cfather, don\u2019t let  them call me.\u201d he saw this and said: \u201cyou don\u2019t want to go with them? then  don\u2019t. now you may all leave us.\u201d with a great shout they ran towards the  street and vanished. i couldn\u2019t help asking: \u201cwhere are they going?\u201d \u201ci don\u2019t know. i can\u2019t say\u2014perhaps to the gutter, or to some low-class  den in the neighbourhood. i\u2019ve no control over them. they are their  mother\u2019s special care, you know.\u201d there was a hint of a  terrible domestic  condition. i did not wish to pursue it. but i blundered into it. \u201cdon\u2019t they  attend your school?\u201d \u201cthey!\u201d he repeated: \u201ci could sooner get the emperor\u2019s children. my  school is for all the children in the world except my own.\u201d \u201cwhere do they study?\u201d \u201cyou may know better\u2026 .\u201d at this point a fat woman of about thirty-five,  with sparse hair tied into a knot at the back of her head, her face shining  with oil and perspiration, strode up the steps of the house. she threw a look  at him and did  not seem in the least to notice me sitting in the passage,  though striding past us. she walked into the house, muttering: \u201cso you  have found the way home after all!\u201d gritting her teeth. he didn\u2019t reply but  merely looked at me sadly. she stood in the doorway of the house and  said: \u201chow long must i keep dinner waiting? do you think i\u2019m made of  stone?\u201d \u201cnobody asked you to wait.\u201d \u201cyou are not to decide who should wait and who should not. you and  your school! you don\u2019t know the way back from your school, i suppose.\u201d \u201cdon\u2019t speak rubbish. here is a cultured visitor, who will laugh at us.\u201d \u201clet him, what do i care? if he is  big, he is a big man to you. he is  not a  big man to me. what do i care? answer me first. where were you all the  time? do you think i\u2019m a paid watch-keeper for this house?\u201d i could not watch this scene any longer. i got up and said: \u201cwe will be  going.\u201d he looked at his wife and said: \u201ci can\u2019t bring a gentleman to visit  me without your driving him away with your fine behaviour.\u201d \u201coh, no, it is not \u2026\u201d i began. she replied: \u201cah, what a fine sermon. i\u2019m not going to be another woman  than myself even if the king is here. what did i do to him?\u201d \u201cdon\u2019t take it \u2026\u201d i began, starting up. my daughter said: \u201cthe cat. he  hasn\u2019t given me the cat.\u201d he said: \u201cright. i never meant to  forget.\u201d he  looked at his wife and asked: \u201cwhere is that kitten? is it inside?\u201d \u201ci don\u2019t know,\u201d the wife said. \u201ci  have too much to do to be keeping count  of the cats and dogs that pass this way.\u201d he smiled at me weakly and said:  \u201ccan\u2019t get a straight answer from her, at any time of the day! there are  people in this world who have rough tongues but who are soft at heart\u2014 but this lady! i look ridiculous, speaking of my wife in this manner. but why 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/o/n/16 \u00a9 ucles 2016 [turn over should i not? children have taught me to speak plainly, without the varnish  of the adult world. i don\u2019t care if it strikes anyone as odd.\u201d my daughter  punctuated his narration with \u201cwhere is the  cat?\u201d i had the feeling that  i ought to run away. so i said: \u201cperhaps it has gone out, he will bring it  when it  comes back home.\u201d he said, \u201cwait,\u201d and went in and looked about  and returned shaking his head. \u201cit used to be in the store behind that tin.  forgive me, baby. i will positively get you a cat soon.\u201d my daughter looked  very disappointed. so  i cheered her up with a joke or two and  walked out.  he followed us back to our house. he seemed to feel more at home in my  house than in his. [from chapter 6]   how does narayan\u2019s writing strikingly portray the home life of the headmaster and his  family at this point in the novel? or 18 how does narayan make dr sankar such a memorable character?50 55",
            "22": "22 0486/12/o/n/16 \u00a9 ucles 2016 robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: \u2018i gave in the cheque myself, and said i had every reason to believe it was  a forgery. not a bit of it. the cheque was genuine.\u2019 \u2018tut-tut!\u2019 said mr utterson. \u2018i see you feel as i do,\u2019 said mr enfield. \u2018yes, it\u2019s a bad story. for my man  was a fellow that nobody could have to do with, a really damnable man;  and the person that drew the cheque is the very pink of the proprieties,  celebrated too, and (what makes it worse) one of your fellows who do what  they call good. blackmail, i suppose; an honest man paying through the  nose for some of the capers of his youth. blackmail house is what i call that  place with the door, in consequence. though even that, you know, is far  from explaining all,\u2019 he added; and with the words fell into a vein of musing. from this he was recalled by mr utterson asking rather suddenly: \u2018and  you don\u2019t know if the drawer of the cheque lives there?\u2019 \u2018a likely place, isn\u2019t it?\u2019 returned mr enfield. \u2018but i happen to have noticed  his address; he lives in some square or other.\u2019 \u2018and you never asked about \u2013 the place with the door?\u2019 said mr utterson. \u2018no, sir: i had a delicacy,\u2019 was the reply. \u2018i feel very strongly about putting  questions; it partakes too much of the style of the day of judgment. you  start a question, and it\u2019s like starting a stone. you sit quietly on the top of  a hill; and away the stone goes, starting others; and presently some bland  old bird (the last you would have thought of) is knocked on the head in  his own back garden, and the family have to change their name. no, sir, i  make it a rule of mine: the more it looks like queer street, the less i ask.\u2019 \u2018a very good rule, too,\u2019 said the lawyer. \u2018but i have studied the place for myself,\u2019 continued mr enfield. \u2018it seems  scarcely a house. there is no other door, and nobody goes in or out of  that one, but, once in a great while, the gentleman of my adventure. there  are three windows looking on the court on the first floor; none below; the  windows are always shut, but they\u2019re clean. and then there is a chimney,  which is generally smoking; so somebody must live there. and yet it\u2019s not  so sure; for the buildings are so packed together about that court, that it\u2019s  hard to say where one ends and another begins.\u2019 the pair walked on again for a while in silence; and then \u2013 \u2018enfield,\u2019 said  mr utterson, \u2018that\u2019s a good rule of yours.\u2019 \u2018yes, i think it is,\u2019 returned enfield. \u2018but for all that,\u2019 continued the lawyer, \u2018there\u2019s one point i want to ask: i  want to ask the name of that man who walked over the child.\u2019 \u2018well,\u2019 said mr enfield, \u2018i can\u2019t see what harm it would do. it was a man  of the name of hyde.\u2019 \u2018hm,\u2019 said mr utterson. \u2018what sort of a man is he to see?\u2019 \u2018he is not easy to describe. there is something wrong with his  appearance; something displeasing, something downright detestable. i  never saw a man i so disliked, and yet i scarce know why. he must be  deformed somewhere; he gives a strong feeling of deformity, although i  couldn\u2019t specify the  point. he\u2019s an extraordinary-looking man, and yet i  really can name nothing out of the way. no, sir; i can make no hand of it; i  can\u2019t describe him. and it\u2019s not want of memory; for i declare i can see him  this moment.\u20195 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/o/n/16 \u00a9 ucles 2016 [turn over mr utterson again walked some way in silence, and obviously under a  weight of consideration. \u2018you are sure he used a key?\u2019 he inquired at last. \u2018my dear sir \u2026\u2019 began enfield, surprised out of himself. \u2018yes, i know,\u2019 said utterson; \u2018i know it must seem strange. the fact is, if i  do not ask you the name of the other party, it is because i know it already.  you see, richard, your tale has gone home. if you have been inexact in  any point, you had better correct it.\u2019 \u2018i think you might have warned me,\u2019 returned the other, with a touch of  sullenness. \u2018but i have been pedantically exact, as you call it. the fellow  had a key; and, what\u2019s more, he has it still. i saw him use it, not a week  ago.\u2019 mr utterson sighed deeply, but said never a word; and the young man  presently resumed. \u2018here is another lesson to say nothing,\u2019 said he. \u2018i am  ashamed of my long tongue. let us make a bargain never to refer to this  again.\u2019 \u2018with all my heart,\u2019 said the lawyer. \u2018i shake hands on that, richard.\u2019 [from chapter 1, \u2018story of the door\u2019]   how does stevenson create a sense of mystery at this early moment in the novel? or 20 explore the ways in which stevenson makes the relationship between dr lanyon and   mr utterson such a significant part of the novel.50 55 60",
            "24": "24 0486/12/o/n/16 \u00a9 ucles 2016 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from ming\u2019s biggest prey  (by patricia highsmith) , and then answer the  question that follows it: ming took the nearest exit, which was down the outside steps that led to  the garden. the man started down the steps after him. without reflecting, ming  dashed back up the few steps he had come, keeping close to the wall  which was in shadow. the man hadn\u2019t seen him, ming knew. ming leapt to  the terrace parapet, sat down and licked a paw once to recover and collect  himself. his heart beat fast as if he were in the middle of a fight. and hatred  ran in his veins. hatred burned his eyes as he crouched and listened to the  man uncertainly climbing the steps below him. the man came into view. ming tensed himself for a jump, then jumped as hard as he could,  landing with all four feet on the man\u2019s right arm near the shoulder. ming  clung to the cloth of the man\u2019s white jacket, but they were both falling.  the man groaned. ming hung on. branches crackled. ming could not tell  up from down. ming jumped off the man, became aware of direction and  of the earth too late and landed on his side. almost at the same time, he  heard the thud of the man hitting the ground, then of his body rolling a little  way, then there was silence. ming had to breathe fast with his mouth open  until his chest stopped hurting. from the direction of the man, he could  smell drink, cigar, and the sharp odour that meant fear. but the man was  not moving. ming could now see quite well. there was even a bit of moonlight. ming  headed for the steps again, had to go a long way through the bush, over  stones and sand, to where the steps began. then he glided up and arrived  once more upon the terrace. elaine was just coming onto the terrace. \u2018teddie?\u2019 she called. then she went back into the bedroom where she  turned on a lamp. she went into the kitchen. ming followed her. concha  had left the light on, but concha was now in her own room, where the  radio played. elaine opened the front door. the man\u2019s car was still in the driveway, ming saw. now ming\u2019s hip had  begun to hurt, or now he had begun to notice it. it caused him to limp a  little. elaine noticed this, touched his back, and asked him what was the  matter. ming only purred. \u2018teddie? \u2013 where are you?\u2019 elaine called. she took a torch and shone it down into the garden, down among the  great trunks of the avocado trees, among the orchids and the lavender  and pink blossoms of the bougainvilleas. ming, safe beside her on the  terrace parapet, followed the beam of the torch with his eyes and purred  with content. the man was not below here, but below and to the right.  elaine went to the terrace steps and carefully, because there was no rail  here, only broad steps, pointed the beam of the light downward. ming did  not bother looking. he sat on the terrace where the steps began. \u2018teddie!\u2019 she said. \u2018 teddie!  \u2019 then she ran down the steps. ming still did not follow her. he heard her draw in her breath. then she  cried: \u2018concha!  \u20195 10 15 20 25 30 35 40 45",
            "25": "25 0486/12/o/n/16 \u00a9 ucles 2016 elaine ran back up the steps. concha had come out of her room. elaine spoke to concha. then  concha became excited. elaine went to the telephone, and spoke for a  short while, then she and concha went down the steps together. ming  settled himself with his paws tucked under him on the terrace, which was  still faintly warm from the day\u2019s sun. a car arrived. elaine came up the  steps, and went and opened the front door. ming kept out of the way on  the terrace, in a shadowy corner, as three or four strange men came out  on the terrace and tramped down the steps. there was a great deal of talk  below, noises of feet, breaking of bushes, and then the smell of all of them  mounted the steps, the smell of tobacco, sweat, and the familiar smell of  blood. the man\u2019s blood. ming was pleased, as he was pleased when he  killed a bird and created this smell of blood under his own teeth. this was  big prey. ming, unnoticed by any of the others, stood up to his full height  as the group passed with the corpse, and inhaled the aroma of his victory  with a lifted nose. then suddenly the house was empty. everyone had gone, even  concha. ming drank a little water from his bowl in the kitchen, then went  to his mistress\u2019 bed, curled against the slope of the pillows, and fell fast  asleep. he was awakened by the rr-rr-r of an unfamiliar car. then the front  door opened, and he recognised the step of elaine and then concha. ming  stayed where he was. elaine and concha talked softly for a few minutes.  then elaine came into the bedroom. the lamp was still on. ming watched  her slowly open the box on her dressing-table, and into it she let fall the  white necklace that made a little clatter. then she closed the box. she  began to unbutton her shirt, but before she had finished, she flung herself  on the bed and stroked ming\u2019s head, lifted his left paw and pressed it  gently so that the claws came forth. \u2018oh ming \u2013 ming,\u2019 she said. ming recognised the tones of love.   how does highsmith make this such a satisfying ending to the story? or 22 explore the ways in which malamud makes the prison such an appropriate title for his  story.50 55 60 65 70 75",
            "26": "26 0486/12/o/n/16 \u00a9 ucles 2016 blank page",
            "27": "27 0486/12/o/n/16 \u00a9 ucles 2016 blank page",
            "28": "28 0486/12/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_13.pdf": {
            "1": "this document consists of 25 printed pages, 3 blank pages and 1 insert. dc (rcl (jda)) 114797/4 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *8602242636*literature (english)  0486/13 paper 1  poetry and prose  october/november 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.  the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/13/o/n/16 \u00a9 ucles 2016 blank page",
            "3": "3 0486/13/o/n/16 \u00a9 ucles 2016 [turn over contents section a: poetry text question  numbers  page[s] thomas hardy:  from selected poems   1, 2 pages  5\u20137 from jo phillips ed: poems deep & dangerous   3, 4 pages  8\u20139 songs of ourselves volume 2  : from part 1   5, 6 pages  10\u201311 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages 12\u201313 jane austen: northanger abbey   9, 10  pages 14\u201315 george eliot: silas marner  11, 12  pages 16\u201317 michael frayn: spies  13, 14  pages 18\u201319 susan hill: i\u2019m the king of the castle  15, 16  pages 20\u201321 r. k. narayan: the english teacher  17, 18  pages 22\u201323 robert louis stevenson: the strange case of dr jekyll and mr hyde  19, 20  pages 24\u201325 from stories of ourselves  21, 22  pages 26\u201327",
            "4": "4 0486/13/o/n/16 \u00a9 ucles 2016 blank page",
            "5": "5 0486/13/o/n/16 \u00a9 ucles 2016 [turn over section a: poetry answer one question from this section. thomas hardy: from selected poems remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: at the word \u2018farewell\u2019 she looked like a bird from a cloud on the clammy lawn, moving alone, bare-browed in the dim of dawn. the candles alight in the room for my parting meal made all things withoutdoors loom strange, ghostly, unreal. the hour itself was a ghost, and it seemed to me then as of chances the chance furthermost i should see her again. i beheld not where all was so fleet that a plan of the past which had ruled us from birthtime to meet was in working at last: no prelude did i there perceive to a drama at all, or foreshadow what fortune might weave from beginnings so small; but i rose as if quicked by a spur i was bound to obey, and stepped through the casement to her still alone in the gray. \u2018i am leaving you \u2026 farewell!\u2019 i said as i followed her on by an alley bare boughs overspread; \u2018i soon must be gone!\u2019 even then the scale might have been turned against love by a feather, \u2013 but crimson one cheek of hers burned when we came in together.   how does hardy vividly convey powerful emotions in at the word \u2018farewell  \u2019 ?5 10 15 20 25 30",
            "6": "6 0486/13/o/n/16 \u00a9 ucles 2016 or 2 explore the ways in which hardy uses language to create striking effects in the  convergence of the twain . the convergence of the twain (lines on the loss of the \u2018titanic\u2019  ) i in a solitude of the sea deep from human vanity, and the pride of life that planned her, stilly couches she. ii steel chambers, late the pyres of her salamandrine fires, cold currents thrid, and turn to rhythmic tidal lyres. iii over the mirrors meant to glass the opulent the sea-worm crawls \u2013 grotesque, slimed, dumb, indifferent. iv jewels in joy designed to ravish the sensuous mind lie lightless, all their sparkles bleared and black and blind. v dim moon-eyed fishes near gaze at the gilded gear and query: \u2018what does this vaingloriousness down here?\u2019 \u2026 vi well: while was fashioning this creature of cleaving wing, the immanent will that stirs and urges everything vii prepared a sinister mate for her \u2013 so gaily great \u2013 a shape of ice, for the time far and dissociate. viii and as the smart ship grew in stature, grace, and hue, in shadowy silent distance grew the iceberg too. ix alien they seemed to be: no mortal eye could see the intimate welding of their later history,5 10 15 20 25",
            "7": "7 0486/13/o/n/16 \u00a9 ucles 2016 [turn over x or sign that they were bent by paths coincident on being anon twin halves of one august event, xi till the spinner of the yearssaid \u2018now!\u2019 and each one hears, and consummation comes, and jars two hemispheres.30",
            "8": "8 0486/13/o/n/16 \u00a9 ucles 2016 from jo phillips  ed: poems deep & dangerous remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: shall i compare thee\u2026? shall i compare thee to a summer\u2019s day? thou art more lovely and more temperate: rough winds do shake the darling buds of may, and summer\u2019s lease hath all too short a date: sometime too hot the eye of heaven shines, and often is his gold complexion dimm\u2019d; and every fair from fair sometime declines, by chance, or nature\u2019s changing course, untrimm\u2019d; but thy eternal summer shall not fade, nor lose possession of that fair thou owest; nor shall death brag thou wander\u2019st in his shade, when in eternal lines to time thou growest;  so long as men can breathe, or eyes can see,  so long lives this, and this gives life to thee.  (william shakespeare )   how does shakespeare make the sonnet shall i compare thee\u2026? such a moving  expression of love?5 10",
            "9": "9 0486/13/o/n/16 \u00a9 ucles 2016 [turn over or 4 explore the ways in which  clare vividly conveys the strength of the speaker\u2019s feelings in  first love . first love i ne\u2019er was struck before that hour  with love so sudden and so sweet. her face it bloomed like a sweet flower  and stole my heart away complete. my face turned pale as deadly pale,  my legs refused to walk away, and when she looked \u2018what could i ail?\u2019  my life and all seemed turned to clay. and then my blood rushed to my face  and took my sight away. the trees and bushes round the place  seemed midnight at noonday. i could not see a single thing,  words from my eyes did start; they spoke as chords do from the string  and blood burnt round my heart. are flowers the winter\u2019s choice?  is love\u2019s bed always snow? she seemed to hear my silent voice  and love\u2019s appeal to know. i never saw so sweet a face  as that i stood before: my heart has left its dwelling-place  and can return no more.  (john clare )5 10 15 20",
            "10": "10 0486/13/o/n/16 \u00a9 ucles 2016 songs of ourselves volume 2: from part 1 remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: lovers\u2019 infiniteness if yet i have not all thy love, dear, i shall never have it all, i cannot breathe one other sigh, to move, nor can entreat one other tear to fall. all my treasure, which should purchase thee, sighs, tears, and oaths, and letters i have spent, yet no more can be due to me, than at the bargain made was meant. if then thy gift of love were partial, that some to me, some should to others fall,  dear, i shall never have thee all. or if then thou gavest me all, all was but all, which thou hadst then; but if in thy heart, since, there be or shall new love created be, by other men, which have their stocks entire, and can in tears, in sighs, in oaths, and letters outbid me, this new love may beget new fears, for, this love was not vowed by thee. and yet it was, thy gift being general, the ground, thy heart is mine; whatever shall  grow there, dear, i should have it all. yet i would not have all yet, he that hath all can have no more, and since my love doth every day admit new growth, thou shouldst have new rewards in store; thou canst not every day give me thy heart, if thou canst give it, then thou never gav\u2019st it: love\u2019s riddles are, that though thy heart depart, it stays at home, and thou with losing sav\u2019st it: but we will have a way more liberal, than changing hearts, to join them, so we shall  be one, and one another\u2019s all.  (john donne )   how does donne strikingly convey the thoughts and feelings of the speaker in lovers\u2019  infiniteness ?5 10 15 20 25 30",
            "11": "11 0486/13/o/n/16 \u00a9 ucles 2016 [turn over or 6 how does jones create a sense of menace in tiger in the menagerie  ? tiger in the menagerie no one could say how the tiger got into the menagerie. it was too flash, too blue, too much like the painting of a tiger. at night the bars of the cage and the stripes of the tiger looked into each other so long that when it was time for those eyes to rock shut the bars were the lashes of the stripes the stripes were the lashes of the bars and they walked together in their dreams so long through the long colonnade that shed its fretwork to the indian main that when the sun rose they\u2019d gone and the tiger was one clear orange eye that walked into the menagerie. no one could say how the tiger got out in the menagerie. it was too bright, too bare. if the menagerie could, it would say \u2018tiger\u2019. if the aviary could, it would lock its door. its heart began to beat in rows of rising birds when the tiger came inside to wait.  (emma jones\u200a )5 10 15",
            "12": "12 0486/13/o/n/16 \u00a9 ucles 2016 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: if obi had returned by mail-boat, the umuofia progressive union (lagos  branch) would have given him a royal welcome at the harbour. anyhow,  it was decided at their meeting that a big reception should be arranged to  which press reporters and photographers should be invited. an invitation was also sent to the nigerian broadcasting service to cover  the occasion and to record the umuofia ladies\u2019 vocal orchestra which  had been learning a number of new songs. the reception took place on saturday afternoon at 4 p.m. on moloney  street, where the president had two rooms. everybody was properly dressed in agbada or european suit except the  guest of honour, who appeared in his shirtsleeves because of the heat.  that was obi\u2019s mistake number one. everybody expected a young man  from england to be impressively turned out. after prayers the secretary of the union read the welcome address. he  rose, cleared his throat and began to intone from an enormous sheet of  paper. \u2018welcome address presented to michael obi okonkwo, b.a. (hons),  london, by the officers and members of the umuofia progressive union  on the occasion of his return from the united kingdom in quest of the  golden fleece. \u2018sir, we the officers and members of the above-named union present with  humility and gratitude this token of our appreciation of your unprecedented  academic brilliance \u2026\u2019 he spoke of the great honour obi had brought to the ancient town of  umuofia which could now join the comity of other towns in their march  towards political irredentism, social equality and economic emancipation. \u2018the importance of having one of our sons in the vanguard of this march  of progress is nothing short of axiomatic. our people have a saying:  \u201cours is ours, but mine is mine.\u201d every town and village struggles at this  momentous epoch in our political evolution to possess that of which it can  say: \u201cthis is mine.\u201d we are happy that today we have such an invaluable  possession in the person of our illustrious son and guest of honour .\u2019 he traced the history of the umuofia scholarship scheme which had  made it possible for obi to study overseas, and called it an investment  which must yield heavy dividends. he then referred (quite obliquely, of  course) to the arrangement whereby the beneficiary from this scheme was  expected to repay his debt over four years so that \u2018an endless stream of  students will be enabled to drink deep at the pierian spring of knowledge\u2019. needless to say, this address was repeatedly interrupted by cheers  and the clapping of hands. what a sharp young man their secretary  was, all said. he deserved to go to england himself. he wrote the kind  of english they admired if not understood: the kind that filled the mouth,  like the proverbial dry meat. obi\u2019s english, on the other hand, was most  unimpressive.5 10 15 20 25 30 35 40",
            "13": "13 0486/13/o/n/16 \u00a9 ucles 2016 [turn over he spoke \u2018is\u2019 and \u2018was\u2019. he told them about the value of education.  \u2018education for service, not for white-collar jobs and comfortable salaries.  with our great country on the threshold of independence, we need men  who are prepared to serve her well and truly.\u2019 when he sat down the audience clapped from politeness. mistake  number two. cold beer, minerals, palm-wine and biscuits were then served, and the  women began to sing about umuofia and about obi okonkwo nwa jelu  oyibo \u2013 obi who had been to the land of the whites. the refrain said over  and over again that the power of the leopard resided in its claws. \u2018have they given you a job yet?\u2019 the chairman asked obi over the music.  in nigeria the government was \u2018they\u2019. it had nothing to do with you or me.  it was an alien institution and people\u2019s business was to get as much from it  as they could without getting into trouble. \u2018not yet. i\u2019m attending an interview on monday.\u2019 \u2018of course those of you who know book will not have any difficulty,\u2019 said  the vice-president on obi\u2019s left. \u2018otherwise i would have suggested seeing  some of the men beforehand.\u2019 \u2018it would not be necessary,\u2019 said the president, \u2018since they would be  mostly white men.\u2019 \u2018you think white men don\u2019t eat bribe? come to our department. they eat  more than black men nowadays.\u2019  [from chapter 4]   how does achebe make this moment in the novel so memorable? or 8 to what extent does achebe\u2019s writing make you sympathise with clara?45 50 55 60 65",
            "14": "14 0486/13/o/n/16 \u00a9 ucles 2016 jane austen: northanger abbey remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: the two dances were scarcely concluded before catherine found her  arm gently seized by her faithful isabella, who in great spirits exclaimed\u2014 \u2018at last i have got you. my dearest creature, i have been looking for you  this hour. what could induce you to come into this set, when you knew i  was in the other? i have been quite wretched without you.\u2019 \u2018my dear isabella, how was it possible for me to get at you? i could not  even see where you were.\u2019 \u2018so i told your brother all the time\u2014but he would not believe me. do go  and see for her, mr. morland, said i\u2014but all in vain\u2014he would not stir an  inch. was not it so, mr. morland? but you men are all so immoderately  lazy! i have been scolding him to such a degree, my dear catherine, you  would be quite amazed.\u2014you know i never stand upon ceremony with  such people.\u2019 \u2018look at that young lady with the white beads round her head,\u2019 whispered  catherine, detaching her friend from james\u2014\u2018it is mr. tilney\u2019s sister.\u2019 \u2018oh! heavens! you don\u2019t say so! let me look at her this moment. what a  delightful girl! i never saw any thing half so beautiful! but where is her all- conquering brother? is he in the room? point him out to me this instant, if  he is. i die to see him. mr. morland, you are not to listen. we are not talking  about you.\u2019 \u2018but what is all this whispering about? what is going on?\u2019 \u2018there now, i knew how it would be. you men have such restless  curiosity! talk of the curiosity of women, indeed!\u2014\u2019tis nothing. but be  satisfied, for you are not to know any thing at all of the matter .\u2019 \u2018and is that likely to satisfy me, do you think?\u2019 \u2018well, i declare i never knew any thing like you. what can it signify to  you, what we are talking of? perhaps we are talking about you, therefore i  would advise you not to listen, or you may happen to hear something not  very agreeable.\u2019 in this common-place chatter, which lasted some time, the original  subject seemed entirely forgotten; and though catherine was very well  pleased to have it dropped for a while, she could not avoid a little suspicion  at the total suspension of all isabella\u2019s impatient desire to see mr. tilney.  when the orchestra struck up a fresh dance, james would have led his  fair partner away, but she resisted. \u2018i tell you, mr. morland,\u2019 she cried,   \u2018i would not do such a thing for all the world. how can you be so teasing;  only conceive, my dear catherine, what your brother wants me to do.  he wants me to dance with him again, though i tell him that it is a most  improper thing, and entirely against the rules. it would make us the talk of  the place, if we were not to change partners.\u2019 \u2018upon my honour,\u2019 said james, \u2018in these public assemblies, it is as often  done as not.\u2019 \u2018nonsense, how can you say so? but when you men have a point to  carry, you never stick at any thing. my sweet catherine, do support me,  persuade your brother how impossible it is. tell him, that it would quite  shock you to see me do such a thing; now would not it?\u2019 \u2018no, not at all; but if you think it wrong, you had much better change.\u2019 \u2018there,\u2019 cried isabella, \u2018you hear what your sister says, and yet you  5 10 15 20 25 30 35 40 45",
            "15": "15 0486/13/o/n/16 \u00a9 ucles 2016 [turn over will not mind her. well, remember that it is not my fault, if we set all the   old ladies in bath in a bustle. come along, my dearest catherine, for  heaven\u2019s sake, and stand by me.\u2019 and off they went, to regain their former  place.  [from chapter 8]   how does austen\u2019s writing give a vivid impression of isabella at this moment in the  novel? or 10 does austen portray john thorpe as a bad man \u2013 or just as a fool?50",
            "16": "16 0486/13/o/n/16 \u00a9 ucles 2016 george eliot: silas marner remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: but when godfrey was lifting his eyes from one of those long glances,  they encountered an object as startling to him at that moment as if it had  been an apparition from the dead. it was an apparition from that hidden  life which lies, like a dark by-street, behind the goodly ornamented fa\u00e7ade  that meets the sunlight and the gaze of respectable admirers. it was his  own child carried in silas marner\u2019s arms. that was his instantaneous  impression, unaccompanied by doubt, though he had not seen the child  for months past; and when the hope was rising that he might possibly  be mistaken, mr crackenthorp and mr lammeter had already advanced  to silas, in astonishment at this strange advent. godfrey joined them  immediately, unable to rest without hearing every word \u2013 trying to control  himself, but conscious that if any one noticed him, they must see that he  was white-lipped and trembling. but now all eyes at that end of the room were bent on silas marner; the  squire himself had risen, and asked angrily, \u2018how\u2019s this? \u2013 what\u2019s this? \u2013  what do you do coming in here in this way?\u2019 \u2018i\u2019m come for the doctor \u2013 i want the doctor,\u2019 silas had said, in the first  moment, to mr crackenthorp. \u2018why, what\u2019s the matter, marner?\u2019 said the rector. \u2018the doctor\u2019s here; but  say quietly what you want him for.\u2019 \u2018it\u2019s a woman,\u2019 said silas, speaking low, and half-breathlessly, just as  godfrey came up. \u2018she\u2019s dead, i think \u2013 dead in the snow at the stone-pits  \u2013 not far from my door.\u2019 godfrey felt a great throb: there was one terror in his mind at that  moment: it was, that the woman might not be dead. that was an evil  terror \u2013 an ugly inmate to have found a nestling-place in godfrey\u2019s kindly  disposition; but no disposition is a security from evil wishes to a man  whose happiness hangs on duplicity. \u2018hush, hush!\u2019 said mr crackenthorp. \u2018go out into the hall there. i\u2019ll fetch  the doctor to you. found a woman in the snow \u2013 and thinks she\u2019s dead,\u2019 he  added, speaking low, to the squire. \u2018better say as little about it as possible:  it will shock the ladies. just tell them a poor woman is ill from cold and  hunger. i\u2019ll go and fetch kimble.\u2019 by this time, however, the ladies had pressed forward, curious to know  what could have brought the solitary linen-weaver there under such strange  circumstances, and interested in the pretty child, who, half alarmed and  half attracted by the brightness and the numerous company, now frowned  and hid her face, now lifted up her head again and looked round placably,  until a touch or a coaxing word brought back the frown, and made her bury  her face with new determination. \u2018what child is it?\u2019 said several ladies at once, and, among the rest,  nancy lammeter, addressing godfrey. \u2018i don\u2019t know \u2013 some poor woman\u2019s who has been found in the snow, i  believe,\u2019 was the answer godfrey wrung from himself with a terrible effort.  (\u2018after all, am i certain?\u2019 he hastened to add, in anticipation of his own  conscience.) \u2018why, you\u2019d better leave the child here, then, master marner,\u2019 said good- natured mrs kimble, hesitating, however, to take those dingy clothes into 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/13/o/n/16 \u00a9 ucles 2016 [turn over contact with her own ornamented satin boddice. \u2018i\u2019ll tell one o\u2019 the girls to  fetch it.\u2019 \u2018no \u2013 no \u2013 i can\u2019t part with it, i can\u2019t let it go,\u2019 said silas, abruptly. \u2018it\u2019s  come to me \u2013 i\u2019ve a right to keep it.\u2019 the proposition to take the child from him had come to silas quite  unexpectedly, and his speech, uttered under a strong sudden impulse,  was almost like a revelation to himself: a minute before, he had no distinct  intention about the child. \u2018did you ever hear the like?\u2019 said mrs kimble, in mild surprise, to her  neighbour.  [from chapter 13]   how does eliot\u2019s writing make this moment in the novel so dramatic? or 12 how far does eliot portray silas as heroic?50 55",
            "18": "18 0486/13/o/n/16 \u00a9 ucles 2016 michael frayn: spies remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: out of the trunk he takes our most secret and sacred possession \u2013 the  bayonet with which his father killed the five germans. this simple description, though, doesn\u2019t do justice to the metaphysical  complexity of the object that keith\u2019s now holding. it both is and is not the  sacred bayonet, just as the wafer and the wine both are and are not the  body and blood of a being who both is and is not a god. in its physical  nature it\u2019s a long straight carving knife, which we found like so much else  in the ruins of miss durrant\u2019s house. its bone handle is  missing, and keith  has sharpened the blade with the grindstone on his father\u2019s workbench so  that it has an edge at the back as well as the front, and a point like a rapier.  in its inward nature, though, it possesses the identity of the bayonet that  goes off with his father to the secret service every weekend, with all its  sacred attributes. keith holds it out towards me. i place my hand on the flat of the blade,  tinglingly conscious of the sharpness on either side. he looks straight into  my eyes. \u2018i swear,\u2019 he says. \u2018i swear,\u2019 i repeat. \u2018never to reveal anything about all this to anyone, except as and when  allowed.\u2019 \u2018never to reveal anything about all this to anyone, except as and when  allowed,\u2019 i intone solemnly. not solemnly enough though, evidently, to set  keith\u2019s mind completely at rest. he goes on holding out the blade, looking  me straight in the eye. \u2018allowed by me, keith hayward.\u2019 \u2013 \u2018by you, keith hayward.\u2019 \u2018so help me god, or cut my throat and hope to die.\u2019 i recite the words  back to him as best i can, my voice subdued by their seriousness. \u2018stephen wheatley,\u2019 he concludes. \u2018stephen wheatley,\u2019 i  agree. he puts the bayonet carefully down on top of the trunk. \u2018this will be our lookout,\u2019 he announces. \u2018we\u2019ll keep watch on the house  from here, and when we see her go out we\u2019ll follow her. we\u2019ll make a map  of everywhere she goes.\u2019 we prepare for the task by clearing discreet windows in the greenery,  through which we can see everything that goes on in the close, and most  particularly keith\u2019s house, a little further up on the other side of the street. a practical difficulty occurs to me. \u2018what about school?\u2019 i ask. \u2018we\u2019ll do it after school.\u2019 \u2018what about when it\u2019s tea or supper?\u2019 \u2018we can take turns.\u2019 the time we really need to follow her, of course, is in the darkness at the  end of the month, when she goes to her rendezvous. \u2018what if it\u2019s the night?\u2019 i ask him. \u2018we\u2019re not allowed to go out when it\u2019s  night.\u2019 \u2018we\u2019ll hide knotted ropes in our rooms. we\u2019ll climb out of our bedroom  windows and meet here. we\u2019ll get some more candles out of the air-raid  shelter.\u2019 i shiver. already i can feel the rough knots of the rope under my hands  and the eerie chill of the night air. i can see the candles flickering, and the 5 10 15 20 25 30 35 40 45",
            "19": "19 0486/13/o/n/16 \u00a9 ucles 2016 [turn over deep darkness of the night outside. i  can hear her soft steps ahead of us  as we follow her down towards the shops \u2013 past the station \u2013 through the  bushes above the quarries \u2013 out on to the open fairway \u2026 \u2018but then what are we going to do?\u2019 i ask. at some point, it seems to me,  there will come a moment when this great programme has to lead to some  action by the authorities in the grown-up world. keith silently picks up the bayonet and looks at me. what does he mean? that we\u2019re going to arrest her ourselves at  bayonet point? or that we\u2019re going to follow his father\u2019s example and stick  it into the ribs of the courier she\u2019s meeting? not, presumably, that we\u2019re going to \u2026? not his own mother  \u2026! keith\u2019s eyelids have come down. his face is set and pitiless. he looks  like his father. he looks as his father must have looked one grey dawn in  the great war when he fixed his bayonet to the end of his revolver for the  battle that lay ahead. i shiver again. the dark of the moon \u2026 i can feel it surrounding me,  pressing against my eyes \u2026 keith opens the trunk again. he takes out a plain white bathroom tile that  we found in the rubble of the house, and the stub of the coloured pencil.  with the red end he neatly prints a single word on the tile, and wedges it in  the fork of a bush at the entrance to the passageway. privet, it says. i don\u2019t like to query this, now that he\u2019s written it so neatly and  authoritatively. in any case, the sense of it is plain enough \u2013 that we\u2019re  commencing a long journey on a lonely road where no one else can follow.  [from chapter 3]   how does frayn amusingly convey the way in which the children think and behave at  this moment in the novel? or 14 how does frayn make keith\u2019s mother such a memorable character?50 55 60 65 70",
            "20": "20 0486/13/o/n/16 \u00a9 ucles 2016 susan hill: i\u2019m the king of the castle remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: kingshaw held his breath. there was a continual soughing movement  inside the wood, and the leaves rustled together like silk, directly overhead.  they were very pale green, and almost transparent where the sun shone  through, he could see all the veins. at his feet, in between the creeping  foliage, were dead leaves, rusty-coloured and dry on top, but packed to a  damp mould just below the surface. immediately ahead of him there was the trunk of a fallen tree. he sat  down on it. the bark was covered with greenish-grey moss. it felt like  moleskin under his fingers. there was fungus, too, issuing out of the  cracks, and in the groin of a branch, in weird, spongy shapes. he liked it here. he had never been anywhere like it, and it was not  remotely what he had expected. he liked the smell, and the sense of being  completely hidden. everything around him seemed innocent, and he could  see for some way ahead, it was all quite all right. the sun made even  the dense holly and hawthorn bushes on the edge of the clearing look  harmless. different birds kept on singing, though not very near to him, and   he did not see any of them, except, now and again, a darting brown   shape in the branches. there was a cooing from pigeons, right inside   the wood. he saw a rabbit. it came out of the undergrowth, not far  away from him, with an odd, bumping movement, and then sat down in   a shaft of sunlight, and began to wash itself like a cat. kingshaw held   his breath. they had rabbits at school, in cages, fat, and white, with pink, vacant  eyes. but this was different, it quivered and twitched with life. he watched  it for ages. but when he moved, to unhitch the satchel and get out some  food, the rabbit bumped away. before leaving the house, he had gone down into the kitchen, and  cut one thick slice of bread and butter, and he ate that, now, with one  of the cheese triangles. as soon as he had finished, he wanted a drink.  he had been stupid not to find some sort of bottle. well, there was no  drink, it would be better to try and not think about it. instead, he got up and  crossed to the other side of the clearing. there was a narrow path, but it  was very overgrown. low branches and bushes were spread out on either  side, and he had to climb over and under them, lifting briars and brambles  out of his way. there was a holly bush, too. he stuck the pad of his thumb  accidentally on to a thorn. when he sucked up the great bead of blood, it  tasted sweet, and metallic. then a briar scratched his face. he found he  was having to bend lower and lower. but eventually, there was another  clearing. he stood upright again. it was darker here, he could tell that he had come a good way into the  wood. the leaves locked together more tightly overhead, and the sun  could not get through. he could see birds flitting away in alarm, through  the trees ahead of him. he wiped his arm across his nose and upper lip. then he heard the sound. at once, he knew that it had come before,  seconds ago, but he had taken no notice, mistaking it for a part of the  noise he was making himself. now it came again. it was some distance  back, on the edge of the wood. he heard himself breathing. that was all. 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/13/o/n/16 \u00a9 ucles 2016 [turn over but the birds had gone quiet. he waited. nothing. still nothing. then, a  soft, slithering noise in the bracken. there was a thick holly bush just beside the path. kingshaw bent down  low and began to creep towards it. he tried to move only on the balls of  his feet, but the leaves made sounds. he had no idea what he was hiding  from. it might be an animal. he didn\u2019t know what there was in here, except  for the rabbit he had seen. and whatever it was had eaten away the corn.  he thought it could not be one of them from the house. they would have  come shouting and shouting across the fields, plunging heavily into the  wood. these sounds were stealthy. perhaps people came shooting here,  or else there was a gamekeeper. he supposed he might be trespassing. he crouched low down behind the holly bush. a small, rust-coloured  insect ran over his feet. the dark inside of the holly bush smelled bitter.  from deep in  the wood, some bird made a screeching sound, and then  again, after a pause. it was like a mad person laughing. then, nothing, not  even the crack of a twig. just as he was going to get up and come out from behind the bush, the  tree branches parted, and there was hooper.  [from chapter 6]   how does hill\u2019s writing create suspense at this moment in the novel? or 16 how far does hill\u2019s portrayal of mrs kingshaw make you feel angry towards her?50 55 60 65",
            "22": "22 0486/13/o/n/16 \u00a9 ucles 2016 r. k. narayan: the english teacher remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: i made my way into the common room, to put away the books in my  locker, pick up my umbrella, and go out. as i was closing my locker, the  servant came up and said: \u201cthere is someone asking for you, master.\u201d   i looked out. he was a stranger, a young boy about fifteen years old. he  was standing on the path below the veranda, a thin young man with a tuft  behind, and wearing a small cap\u2014a poor boy, i felt, by the look of him; out  to ask for a donation for his school fee or something of the kind. \u201cfather  seriously ill, money for his medicines.\u201d one or other of the numerous sad  excuses for begging. of late they were on the increase.\u2026 formerly i used  to investigate and preach to them and so on, but now i felt too weary  to exert myself and paid out change as far as possible. i saw his hand,  bringing out an envelope, and i put my hand in my pocket for my purse.  \u201cthe usual typewritten petition addressed to all whom it may concern,\u201d   i said to myself. \u201cwhat is it?\u201d i asked. \u201care you krishna of the english section?\u201d \u201cyes.\u201d \u201chere is a letter for you.\u201d \u201cfrom whom?\u201d \u201cmy father has sent it.\u2026\u201d \u201cwho is your father?\u201d \u201cyou\u2019ll find it all in that letter,\u201d he replied. it was a bulky envelope. i tore  it open. there was a long sheet of paper, wrapped around which was a  small note on which was written: \u201cdear sir,  \u201ci received this message last evening, while i was busy writing  something else. i didn\u2019t understand what it meant. but the directions,  address and name given in it are clear and so i have sent my son to  find out if the address and name are of a real person, and to deliver it.  if this letter reaches you, (that is, if you are a real person) please read  it, and if it means anything to you keep it. otherwise you may just tear  it up and throw it away; and forgive this intrusion.\u201d he had given his  name and address. i opened the other large sheet. the handwriting on  it seemed to be different. it began: \u201cthis is a message for krishna from  his wife susila who recently passed over.\u2026 she has been seeking all  these months some means of expressing herself to her husband, but  the opportunity has occurred only to-day, when she found the present  gentleman a very suitable medium of expression. through him she is  happy to communicate. she wants her husband to know that she is  quite happy in another region, and wants him also to eradicate the grief  in his mind. we are nearer each other than you understand. and i\u2019m  always watching him and the child.\u2026\u201d it was very baffling. i stared at the boy. i made nothing of it. \u201cboy, what is  this?\u201d \u201ci don\u2019t know, sir. my father has been trying to send that for a week  and could do it only to-day. i was searching everywhere; and i couldn\u2019t get  away from my class,\u2026\u201d \u201coh, stop, stop all that, boy. why has your father sent this letter to me?\u201d5 10 15 20 25 30 35 40 45",
            "23": "23 0486/13/o/n/16 \u00a9 ucles 2016 [turn over \u201ci don\u2019t know, sir.\u201d i stood there and read it again and again and as my  head cooled i was seized with elation. \u201ctake me to your house,\u201d i cried. \u201cit\u2019s far off, sir. in the village tayur.\u2026\u201d it was on the other side of the  river, a couple of miles off. \u201cno matter, i will come with you. what is your father?\u201d \u201che looks after his garden and lands in the village, sir. i read in the board  high school. i had leave to-day in the last period and so could bring you  this letter.\u201d \u201cgood boy, good boy, take me to your father.\u201d i walked beside him. the  child would be waiting at home. \u201cone minute, will you come with me to my  house? i will give you coffee and sweets. we will go\u2026\u201d  [from chapter 5]   how does narayan\u2019s writing movingly convey krishna\u2019s thoughts and feelings at this  moment in the novel? or 18 in what ways does narayan\u2019s portrayal of leela contribute to your enjoyment of the  novel?50 55",
            "24": "24 0486/13/o/n/16 \u00a9 ucles 2016 robert louis stevenson: the strange case of dr jekyll and mr hyde remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: there at least he was not denied admittance; but when he came in,  he was shocked at the change which had taken place in the doctor\u2019s  appearance. he had his death-warrant written legibly upon his face. the  rosy man had grown pale; his flesh had fallen away; he was visibly balder  and older; and yet it was not so much these tokens of a swift physical  decay that arrested the lawyer\u2019s notice, as a look in the eye and quality  of manner that seemed to testify to some deep-seated terror of the mind.  it was unlikely that the doctor should fear death; and yet that was what  utterson was tempted to suspect. \u2018yes,\u2019 he thought; \u2018he is a doctor, he must  know his own state and that his days are counted; and the knowledge is  more than he can bear.\u2019 and yet when utterson remarked on his ill looks, it  was with an air of great firmness that lanyon declared himself a doomed  man. \u2018i have had a shock,\u2019 he said, \u2018and i shall never recover. it is a question  of weeks. well, life has been pleasant; i liked it; yes, sir, i used to like it.   i sometimes think if we knew all, we should be more glad to get away .\u2019 \u2018jekyll is ill, too,\u2019 observed utterson. \u2018have you seen him?\u2019 but lanyon\u2019s face changed, and he held up a trembling hand. \u2018i wish to  see or hear no more of dr jekyll,\u2019 he said, in a loud, unsteady voice. \u2018i am  quite done with that person; and i beg that you will spare me any allusion  to one whom i regard as dead.\u2019 \u2018tut, tut!\u2019 said mr utterson; and then, after a considerable pause, \u2018can\u2019t i  do anything?\u2019 he inquired. \u2018we are three very old friends, lanyon; we shall  not live to make others.\u2019 \u2018nothing can be done,\u2019 returned lanyon; \u2018ask himself.\u2019 \u2018he will not see me,\u2019 said the lawyer. \u2018i am not surprised at that,\u2019 was the reply. \u2018some day, utterson, after  i am dead, you may perhaps come to learn the right and wrong of this.   i cannot tell you. and in the meantime, if you can sit and talk with me of  other things, for god\u2019s sake, stay and do so; but if you cannot keep clear  of this accursed topic, then, in god\u2019s name, go, for i cannot bear it.\u2019 as soon as he got home, utterson sat down and wrote to jekyll,  complaining of his exclusion from the house, and asking the cause of this  unhappy break with lanyon; and the next day brought him a long answer,  often very pathetically worded, and sometimes darkly mysterious in drift.  the quarrel with lanyon was incurable. \u2018i do not blame our old friend,\u2019  jekyll wrote, \u2018but i share his view that we must never meet. i mean from  henceforth to lead a life of extreme seclusion; you must not be surprised,  nor must you doubt my friendship, if my door is often shut even to you.  you must suffer me to go my own dark way. i have brought on myself a  punishment and a danger that i cannot name. if i am the chief of sinners,  i am the chief of sufferers also. i could not think that this earth contained  a place for sufferings and terrors so unmanning; and you can do but one  thing, utterson, to lighten this destiny, and that is to respect my silence.\u2019  utterson was amazed; the dark influence of hyde had been withdrawn,  the doctor had returned to his old tasks and amities; a week ago, the  prospect had smiled with every promise of a cheerful and an honoured  age; and now in a moment, friendship and peace of mind and the whole 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/13/o/n/16 \u00a9 ucles 2016 [turn over tenor of his life were wrecked. so great and unprepared a change pointed  to madness; but in view of lanyon\u2019s manner and words, there must lie for  it some deeper ground. a week afterwards dr lanyon took to his bed, and in something less  than a fortnight he was dead.  [from chapter 6, \u2018remarkable incident of dr lanyon\u2019]   in what ways does stevenson make you sympathise with both dr lanyon and mr  utterson  at this moment in the novel? or 20 explore two moments in the novel which stevenson makes particularly shocking for you.50",
            "26": "26 0486/13/o/n/16 \u00a9 ucles 2016 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from billennium (by j. g. ballard) , and then answer the question that  follows it: all day long, and often into the early hours of the morning, the tramp of  feet sounded up and down the stairs outside ward\u2019s cubicle. built into a  narrow alcove in a bend of the staircase between the fourth and fifth floors,  its plywood walls flexed and creaked with every footstep like the timbers of  a rotting windmill. over a hundred people lived in the top three floors of the  old rooming house, and sometimes ward would lie awake on his narrow  bunk until 2 or 3 a.m., mechanically counting the last residents returning  from the all-night movies in the stadium half a mile away. through the  window he could hear giant fragments of the amplified dialogue booming  among the rooftops. the stadium was never empty. during the day the  huge four-sided screen was raised on its davit and athletics meetings or  football matches ran continuously. for the people in the houses abutting  the stadium the noise must have been unbearable. ward, at least, had a certain degree of privacy. two months earlier,  before he came to live on the staircase, he had shared a room with seven  others on the ground floor of a house in 755th street, and the ceaseless  press of people jostling past the window had reduced him to a state of  exhaustion. the street was always full, an endless clamour of voices and  shuffling feet. by 6.30, when he woke, hurrying to take his place in the  bathroom queue, the crowds already jammed it from sidewalk to sidewalk,  the din punctuated every half minute by the roar of the elevated trains  running over the shops on the opposite side of the road. as soon as he  saw the advertisement describing the staircase cubicle he had left (like  everyone else, he spent most of his spare time scanning the classifieds  in the newspapers, moving his lodgings an average of once every two  months) despite the higher rental. a cubicle on a staircase would almost  certainly be on its own. however, this had its drawbacks. most evenings his friends from the  library would call in, eager to rest their elbows after the bruising crush of  the public reading room. the cubicle was slightly more than four and a  half square metres in floor area, half a square metre over the statutory  maximum for a single person, the carpenters having taken advantage,  illegally, of a recess beside a nearby chimney breast. consequently   ward had been able to fit a small straight-backed chair into the interval  between the bed and the door, so that only one person at a time needed  to sit on the bed \u2013 in most single cubicles host and guest had to sit   side by side on the bed, conversing over their shoulders and changing  places periodically to avoid neck-strain. \u2018you were lucky to find this place,\u2019 rossiter, the most regular visitor,  never tired of telling him. he reclined back on the bed, gesturing at the  cubicle. \u2018it\u2019s enormous, the perspectives really zoom. i\u2019d be surprised if  you haven\u2019t got at least five metres here, perhaps six.\u2019 ward shook his head categorically. rossiter was his closest friend, but  the quest for living space had forged powerful reflexes. \u2018just over four and  a half, i\u2019ve measured it carefully. there\u2019s no doubt about it.\u2019 rossiter lifted one eyebrow. \u2018i\u2019m amazed. it must be the ceiling then.\u20195 10 15 20 25 30 35 40 45",
            "27": "27 0486/13/o/n/16 \u00a9 ucles 2016 manipulating the ceiling was a favourite trick of unscrupulous landlords \u2013  most assessments of area were made upon the ceiling, out of convenience,  and by tilting back the plywood partitions the rated area of a cubicle could  be either increased, for the benefit of a prospective tenant (many married  couples were thus bamboozled into taking a single cubicle), or decreased  temporarily on the visits of the housing inspectors. ceilings were criss- crossed with pencil marks staking out the rival claims of tenants on  opposite sides of a party wall. someone timid of his rights could be literally  squeezed out of existence \u2013 in fact, the advertisement \u2018quiet clientele\u2019 was  usually a tacit invitation to this sort of piracy. \u2018the wall does tilt a little,\u2019 ward admitted. \u2018actually, it\u2019s about four  degrees out \u2013 i used a plumb-line. but there\u2019s still plenty of room on the  stairs for people to get by.\u2019 rossiter grinned. \u2018of course, john. i\u2019m just envious, that\u2019s all. my room  is driving me crazy.\u2019 like everyone, he used the term \u2018room\u2019 to describe his  tiny cubicle, a hangover from the days fifty years earlier when people had  indeed lived one to a room, sometimes, unbelievably, one to an apartment  or house. the microfilms in the architecture catalogues at the library  showed scenes of museums, concert halls and other public buildings in  what appeared to be everyday settings, often virtually empty, two or three  people wandering down an enormous gallery or staircase. traffic moved  freely along the centre of streets, and in the quieter districts sections of  sidewalk would be deserted for fifty yards or more.   in what ways does ballard make this such a depressing opening to the story? or 22 how does mistry vividly portray the relationships between fathers and sons in of white  hairs and cricket  ?50 55 60 65",
            "28": "28 0486/13/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_21.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl (km)) 114800/4 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *5791575479*literature (english)  0486/21 paper 2  drama  october/november 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/21/o/n/16 \u00a9 ucles 2016 arthur miller: all my sons remember to support your ideas with details from the writing. either *1 read this passage carefully, and then answer the question that follows it: sue: and he\u2019s got money.                                                               content removed due to copyright restrictions.",
            "3": "3 0486/21/o/n/16 \u00a9 ucles 2016 [turn over                           he\u2019s driving my  husband crazy with that phony idealism of his, and i\u2019m at the  end of my rope on it! [from act 2 ]    how does miller make this moment in the play so tense? or  \u20202 to what extent does miller make you sympathise with kate keller? content removed due to copyright restrictions.",
            "4": "4 0486/21/o/n/16 \u00a9 ucles 2016 j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: inspector: there are a lot of young women living that sort of existence  in every city and big town in this country, miss birling.  content removed due to copyright restrictions.",
            "5": "5 0486/21/o/n/16 \u00a9 ucles 2016 [turn over  a nice little promising life there, i thought, and  a nasty mess somebody\u2019 s made of it. [from act 1\u200a]    how does priestley\u2019s writing create suspense at this moment in the play? or  \u20204  in what ways does priestley use the contrast between the older and younger generations  to dramatic effect in the play? content removed due to copyright restrictions.",
            "6": "6 0486/21/o/n/16 \u00a9 ucles 2016 william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  *5 read this passage carefully, and then answer the question that follows it:  belmont. the garden  before portia\u2019s house.  enter lorenzo  and  jessica . lorenzo:  the moon shines bright. in such a night as this,  when the sweet wind did gently kiss the trees,  and they did make no noise \u2013 in such a night,  troilus methinks mounted the troyan walls,  and sigh\u2019d his soul toward the grecian tents,  where cressid lay that night. jessica:   in such a night  did thisby fearfully o\u2019ertrip the dew,  and saw the lion\u2019s shadow ere himself,  and ran dismayed away. lorenzo:   in such a night  stood dido with a willow in her hand  upon the wild sea-banks, and waft her love  to come again to carthage. jessica:   in such a night  medea gathered the enchanted herbs  that did renew old aeson. lorenzo:   in such a night  did jessica steal from the wealthy jew,  and with an unthrift love did run from venice  as far as belmont. jessica:   in such a night  did young lorenzo swear he lov\u2019d her well,  stealing her soul with many vows of faith,  and ne\u2019er a true one. lorenzo:   in such a night  did pretty jessica, like a little shrew,  slander her love, and he forgave it her. jessica:  i would out-night you, did no body come;  but, hark, i hear the footing of a man.  enter stephano . lorenzo:  who comes so fast in silence of the night? stephano:  a friend. lorenzo:  a friend! what friend? your name, i pray you, friend? stephano:  stephano is my name, and i bring word  my mistress will before the break of day  be here at belmont; she doth stray about  by holy crosses, where she kneels and prays  for happy wedlock hours. lorenzo:   who comes with her? stephano:  none but a holy hermit and her maid.  i pray you, is my master yet return\u2019d? lorenzo:  he is not, nor we have not heard from him.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/21/o/n/16 \u00a9 ucles 2016 [turn over  but go we in, i pray thee, jessica,  and ceremoniously let us prepare  some welcome for the mistress of the house.  enter launcelot . launcelot:  sola, sola! wo ha, ho! sola, sola! lorenzo:  who calls? launcelot:  sola! did you see master lorenzo? master lorenzo! sola,  sola! lorenzo:  leave holloaing, man. here! launcelot:  sola! where, where? lorenzo:  here! launcelot:  tell him there\u2019s a post come from my master with his horn full  of good news; my master will be here ere morning.  [exit. lorenzo:  sweet soul, let\u2019s in, and there expect their coming.  and yet no matter \u2013 why should we go in?  my friend stephano, signify, i pray you,  within the house, your mistress is at hand;  and bring your music forth into the air.   [exit stephano. [from act 5 scene 1 ]    in what ways does shakespeare make this an effective opening to act 5? or   \u20206  how does shakespeare make the testing of portia\u2019s suitors so entertaining and significant  in the play?50 55 60",
            "8": "8 0486/21/o/n/16 \u00a9 ucles 2016 william shakespeare: henry v remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it: orleans:  the dauphin longs for morning. rambures:  he longs to eat the english. constable:  i think he will eat all he kills. orleans:  by the white hand of my lady, he\u2019s a gallant prince. constable:  swear by her foot, that she may tread out the oath. orleans:  he is simply the most active gentleman of france. constable:  doing is activity, and he will still be doing. orleans:  he never did harm that i heard of. constable:  nor will do none to-morrow: he will keep that good name   still. orleans:  i know him to be valiant. constable:  i was told that by one that knows him better than you. orleans:  what\u2019s he? constable:  marry, he told me so himself; and he said he car\u2019d not who  knew it. orleans:  he needs not; it is no hidden virtue in him. constable:  by my faith, sir, but it is; never anybody saw it but his lackey.  \u2019tis a hooded valour, and when it appears it will bate. orleans:  ill-will never said well. constable:  i will cap that proverb with \u2018there is flattery in friendship\u2019. orleans:  and i will take up that with \u2018give the devil his due\u2019. constable:  well plac\u2019d! there stands your friend for the devil; have at  the very eye of that proverb with \u2018a pox of the devil!\u2019 orleans:  you are the better at proverbs by how much \u2018a fool\u2019s bolt is  soon shot\u2019. constable:  you have shot over. orleans:  \u2019tis not the first time you were overshot.  enter a messenger . messenger:  my lord high constable, the english lie within fifteen hundred  paces of your tents. constable:  who hath measur\u2019d the ground? messenger:  the lord grandpr\u00e9. constable:  a valiant and most expert gentleman. would it were day!  alas, poor harry of england! he longs not for the dawning as  we do. orleans:  what a wretched and peevish fellow is this king of england,  to mope with his fat-brain\u2019d followers so far out of his  knowledge! constable:  if the english had any apprehension, they would run away. orleans:  that they lack; for if their heads had any intellectual armour,  they could never wear such heavy head-pieces.5 10 15 20 25 30 35 40",
            "9": "9 0486/21/o/n/16 \u00a9 ucles 2016 [turn over rambures:  that island of england breeds very valiant creatures; their  mastiffs are of unmatchable courage. orleans:  foolish curs, that run winking into the mouth of a russian  bear, and have their heads crush\u2019d like rotten apples! you  may as well say that\u2019s a valiant flea that dare eat his breakfast  on the lip of a lion. constable:  just, just! and the men do sympathise with the mastiffs in  robustious and rough coming on, leaving their wits with their  wives; and then give them great meals of beef and iron and  steel; they will eat like wolves and fight like devils. orleans:  ay, but these english are shrewdly out of beef. constable:  then shall we find to-morrow they have only stomachs to  eat, and none to fight. now is it time to arm. come, shall we  about it? orleans:  it is now two o\u2019clock; but let me see \u2013 by ten  we shall have each a hundred englishmen.  [exeunt. [from act 3 scene 7  \u200a]   how does shakespeare vividly portray the french lords at this moment in the play? or \u20208 in what ways does shakespeare make the conspiracy to betray henry such a dramatic  part of the play?45 50 55",
            "10": "10 0486/21/o/n/16 \u00a9 ucles 2016 j. lawrence & r. e. lee: inherit the wind remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: all: [singing ]  it is good enough for brady,  it is good enough for brady,  and it\u2019s good enough for me!  [cheers and applause. brady  seems to carry with him a  built-in spotlight. so mrs. brady \u2500 pretty, fashionably  dressed, a proper \u201csecond lady\u201d to the nation\u2019s \u201csecond  man\u201d \u2500 seems always to be in his shadow. this does  not annoy her. sarah brady  is content that all her  thoughts and emotions should gain the name of action  through her husband. brady  removes his hat and  raises his hand. obediently the  crowd falls to a hushed  anticipatory silence .] brady:  friends \u2500 and i can see most of you are my friends,  from the way you have decked out your beautiful city of  hillsboro. [ there is a pleased reaction, and a spattering  of applause. when brady  speaks, there can be no  doubt of his personal magnetism. even hornbeck,  who slouches contemptuously, is impressed with the  speaker\u2019s power, for here is a man to be reckoned with. ]  mrs. brady and i are delighted to be among you! [ brady   takes his wife\u2019s hand and draws her to his side, then  mops his brow. ] i could only wish one thing: that you had  not given us quite so warm a welcome! [ brady  removes  his alpaca coat. goodfellow takes it. the crowd laughs.  brady  beams. mrs. mclain hands him a frond fan.  brady  takes it. ] bless you. [ he fans himself vigorously. ]  my friends of hillsboro, you know why i have come here.  not merely to prosecute a lawbreaker, an arrogant youth  who has spoken out against the revealed word, but to  defend that which is most precious in the hearts of all  of us: the living truth of the scriptures! [ applause and  cheering. ] photographer  [topping the cheer. ]: mr. brady. a picture, mr. brady? brady:  i shall be happy to oblige! [ to his wife. ] sarah \u2026 mrs. brady  [moving out of camera range. ]: no, matt. just you and  the dignitaries. brady:  you are the mayor, are you not, sir? mayor  [stepping forward, awkwardly. ]: i am, sir. brady  [extending his hand. ]: my name is matthew harrison  brady. mayor:  oh, i know. everybody knows that. i had a little speech of  welcome ready, but somehow it didn\u2019t seem  necessary. brady:  i shall be honored to hear your greeting, sir. [ the mayor   clears his throat and takes his speech from his pocket. ] mayor  [sincerely. ]: mr. matthew harrison brady, this municipality 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/21/o/n/16 \u00a9 ucles 2016 is proud to have within its city limits the warrior who has  always fought for us ordinary people. the lady folks  of this town wouldn\u2019t have the vote if it wasn\u2019t for you,  fightin\u2019 to give \u2019em all that suffrage. mr. president wilson  wouldn\u2019t never have got to the white house and  won the  war if it wasn\u2019t for you supportin\u2019 him. and, in conclusion,  the governor of our state \u2026 [ his hand is raised. ] photographer:  hold it! [ the camera clicks. ] thank you. [mrs. brady   is disturbed by the informality of the pose. ] mrs. brady:  matt \u2500 you didn\u2019t have your coat on. brady  [to the photographer .]: perhaps we should have a  more formal pose. [ as mrs. brady  helps him on with  his coat. ] who  is the spiritual leader of the community? mayor:  that would be the reverend jeremiah brown.  [reverend brown  steps forward. ] brown:  your servant, and the lord\u2019s. [brady  and brown   shake hands. ] brady:  the reverend at my left, the mayor at my right. [ stiffly,  they face the camera. ] we must look grave, gentlemen,  but not too serious. hopeful, i think is the word. we must  look hopeful. [brady  assumes the familiar oratorical  pose. the camera clicks. unnoticed, howard has stuck  his head, mouth agape, into the picture. the mayor   refers to the last page of his undelivered speech. ] mayor:  in conclusion, the governor of our state has vested in  me the authority to confer upon you a commission as  honorary colonel in the state militia. [ applause. ] brady  [savoring it  ]: \u201ccolonel brady.\u201d i like the sound of that! [from act 1 scene 1 ]    how do the writers make this such a dramatic introduction to matthew harrison brady? or \u202010 \u2018heavenly hillsboro, the buckle on the bible belt.\u2019   how does the writers\u2019 portrayal of the community of hillsboro contribute to the dramatic  impact of the play?50 55 60 65 70",
            "12": "12 0486/21/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_22.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (jda) 113996/3 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *6043689914*literature (english)  0486/22 paper 2 drama october/november 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. y ou must answer one passage-based question (marked *) and one essay question (marked \u2020). y our questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/22/o/n/16 \u00a9 ucles 2016arthur miller: all my sons remember to support your ideas with details from the writing. either *1 read this passage carefully, and then answer the question that follows it: keller: oh, little of everything.  content removed due to copyright restrictions.",
            "3": "3 0486/22/o/n/16 \u00a9 ucles 2016 [turn over [they stand facing each other, george  trying to judge him.]  [from act 2] what does miller\u2019s portrayal make you feel about joe at this moment in the play? or  \u20202  in what ways does miller make the relationship between kate and ann such a powerful  part of the play? ",
            "4": "4 0486/22/o/n/16 \u00a9 ucles 2016j.b. priestley: an inspector calls remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: inspector [ to mrs birling]: and you\u2019ve nothing further to tell  me, eh? content removed due to copyright restrictions.",
            "5": "5 0486/22/o/n/16 \u00a9 ucles 2016 [turn overmrs birling: her story was \u2013 that he\u2019d said something one night,  when he was drunk, that gave her the idea that it wasn\u2019t  his money. [from act 2] how does priestley make the inspector\u2019s questioning of mrs birling here so powerfully dramatic? or  \u20204 what does priestley\u2019s portrayal make you feel about gerald croft? ",
            "6": "6 0486/22/o/n/16 \u00a9 ucles 2016william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either *5 read this passage carefully, and then answer the question that follows it:  enter shylock , solanio , antonio , and gaoler. shylock: gaoler, look to him. tell not me of mercy \u2013  this is the fool that lent out money gratis. gaoler, look to him.antonio:  hear me yet, good shylock. shylock: i\u2019ll have my bond; speak not against my bond.  i have sworn an oath that i will have my bond. thou call\u2019dst me dog before thou hadst a cause, but, since i am a dog, beware my fangs; the duke shall grant me justice. i do wonder, thou naughty gaoler, that thou art so fond to come abroad with him at his request.antonio: i pray thee hear me speak. shylock: i\u2019ll have my bond. i will not hear thee speak;  i\u2019ll have my bond; and therefore speak no more. i\u2019ll not be made a soft and dull-ey\u2019d fool, to shake the head, relent, and sigh, and yield, to christian intercessors. follow not; i\u2019ll have no speaking; i will have my bond.  [ exit. solanio: it is the most impenetrable cur  that ever kept with men.antonio:   let him alone;  i\u2019ll follow him no more with bootless prayers. he seeks my life; his reason well i know: i oft deliver\u2019d from his forfeitures many that have at times made moan to me; therefore he hates me.solanio:   i am sure the duke  will never grant this forfeiture to hold.antonio: the duke cannot deny the course of law;  for the commodity that strangers have with us in venice, if it be denied, will much impeach the justice of the state, since that the trade and profit of the city consisteth of all nations. therefore, go; these griefs and losses have so bated me that i shall hardly spare a pound of flesh to-morrow to my bloody creditor. well, gaoler, on; pray god bassanio come to see me pay his debt, and then i care not. [from act 3 scene 3]5 10152025303540",
            "7": "7 0486/22/o/n/16 \u00a9 ucles 2016 [turn overwhat vivid impressions of shylock and antonio does shakespeare create for you at this  point in the play? or  \u20206  explore two moments in the play where you feel shakespeare powerfully creates  suspense.",
            "8": "8 0486/22/o/n/16 \u00a9 ucles 2016william shakespeare: henry v remember to support your ideas with details from the writing. either *7 read this passage carefully, and then answer the question that follows it: williams: we see yonder the beginning of the day, but i think we  shall never see the end of it. who goes there? king: a friend. williams: under what captain serve you? king: under sir thomas erpingham. williams: a good old commander and a most kind gentleman. i pray  you, what thinks he of our estate? king: even as men wreck\u2019d upon a sand, that look to be wash\u2019d  off the next tide. bates: he hath not told his thought to the king? king: no; nor it is not meet he should. for though i speak  it  to you, i think the king is but a man as i am: the violet smells to him as it doth to me; the element shows to him as it doth to me; all his senses have but human conditions; his ceremonies laid by, in his nakedness he appears but a man; and though his affections are higher mounted than ours, yet, when they stoop, they stoop with the like wing. therefore, when he sees reason of fears, as we do, his fears, out of doubt, be of the same relish as ours are; yet, in reason, no man should possess him with any appearance of fear, lest he, by showing it, should dishearten his army. bates: he may show what outward courage he will; but i believe,  as cold a night as \u2019tis, he could wish himself in thames up to the neck; and so i would he were, and i by him, at all adventures, so we were quit here. king: by my troth, i will speak my conscience of the king: i think  he would not wish himself anywhere but where he is. bates: then i would he were here alone; so should he be sure to  be ransomed, and a many poor men\u2019s lives saved. king: i dare say you love him not so ill to wish him here alone,  howsoever you speak this, to feel other men\u2019s minds; methinks i could not die anywhere so contented as in the king\u2019s company, his cause being just and his quarrel honourable. williams: that\u2019s more than we know. bates: ay, or more than we should seek after; for we know  enough if we know we are the king\u2019s subjects. if his cause be wrong, our obedience to the king wipes the crime of it out of us. williams: but if the cause be not good, the king himself hath a   heavy reckoning to make when all those legs and arms and heads, chopp\u2019d off in a battle, shall join together at the latter day and cry all \u2018we died at such a place\u2019 \u2013 some swearing, some crying for a surgeon, some upon their wives left poor behind them, some upon the debts they owe, some upon their children rawly left. i am afeard there are few die well that die in a battle; for how can they charitably dispose of anything when blood is their argument? now, if these men do not die well, it will be a 5 101520253035404550",
            "9": "9 0486/22/o/n/16 \u00a9 ucles 2016 [turn overblack matter for the king that led them to it; who to disobey  were against all proportion of subjection. [from act 4 scene 1] in what ways does shakespeare make this moment in the play so striking? or  \u20208 explore the ways in which shakespeare makes princess katherine so entertaining.",
            "10": "10 0486/22/o/n/16 \u00a9 ucles 2016j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either *9 read this passage carefully, and then answer the question that follows it:  in and around the hillsboro courthouse. the foreground  is the actual courtroom, with jury box, judge\u2019s bench and a scattering of trial-scarred chairs and counsel tables. the back wall of the courtroom is non-existent. on a raked level above it is the courthouse square, the main street and the converging streets of the town. this is not so much a literal view of hillsboro as it is an impression of a sleepy, obscure country town about to be vigorously awakened.  it is important to the concept of the play that the town is  visible always, looming there, as much on trial as the individual defendant. the crowd is equally important throughout, so that the court becomes an arena, with active spectators on all sides of it. it is an hour after dawn on a july day that promises to be a scorcher. howard, a boy of thirteen, wanders onto the courthouse lawn. he is barefoot, wearing a pair of his pa\u2019s cut-down overalls. he carries an improvised fishing pole and a tin can. he studies the ground carefully, searching for something. a young girl\u2019s voice calls from offstage. melinda: [calling sweetly. ] how-ard \u2026! [howard , annoyed, turns  and looks toward the voice. melinda , a healthy pigtailed  girl of twelve, skips on. ] hello, howard. [howard  is  disinterested, continues to search the ground. ] howard: \u2019lo, melinda. melinda:  [making conversation. ] i think it\u2019s gonna be hotter\u2019n  yesterday. that rain last night didn\u2019t do much good. howard: [professionally. ] it brought up the worms. [ suddenly he  spots one in the lawn. swiftly he grabs for it, and holds it up proudly. ] lookit this fat one! [ he chases her. ] melinda: [shivering. ] how can you touch \u2019em? it makes me all goose- bumpy! [howard  dangles it in front of her face. she backs  away, shuddering. ] howard: what\u2019re yuh skeered of? y ou was a worm once! melinda: [shocked. ] i wasn\u2019t neither! howard: y ou was so! when the whole world was covered with water,  there was nuthin\u2019 but worms and blobs of jelly. and you and your whole family was worms! melinda: we was not! howard: blobs of jelly, then. melinda: howard blair, that\u2019s sinful talk! i\u2019m gonna tell my pa and  he\u2019ll make you wash your mouth out with soap! howard: ahhh, your old man\u2019s a monkey! [melinda  gasps. she  turns indignantly and runs off. howard  shrugs in the  manner of a man-of-the-world .] \u2019bye,  lindy. [rachel   enters. she is 22, pretty, but not beautiful. she wears a cotton summer dress. she carries a small composition paper suitcase. there is a tense, distraught air about her. she may have been crying. she looks about nervously, as 5 10 15 20 2530354045",
            "11": "11 0486/22/o/n/16 \u00a9 ucles 2016if she doesn\u2019t want to be seen. when she sees howard ,  she hesitates, then she scurries downstage into the courthouse area in the hope that the boy will not notice her. but he does see rachel , and watches her with puzzled  curiosity. then as he exits he addresses the worm, dangling it in the air. ] what do you wanta be when you grow up? [ he  goes off. rachel  stands uncertainly in the courthouse  area. unsure, she looks about. ] rachel: [tentatively, calling. ] mr. meeker \u2026? meeker: [a little irritably. from off r.] who is it? [ after a pause,  mr. meeker , the bailiff, enters. there is no collar on his  shirt, his hair is tousled, and there is still a bit of shaving soap on his face, which he is wiping off with a towel as he enters. ] why, hello, rachel. \u2019scuse the way i look. [ he wipes  the soap out of his ear. then he notices her suitcase. ] not  goin\u2019 away are you? excitement\u2019s just startin\u2019. rachel: [earnestly. ] mr. meeker, don\u2019t let my father know i came  here. meeker: [shrugs. ] the reverend don\u2019t tell me his business. don\u2019t  know why i should tell him mine. rachel: i want to see bert cates. is he all right? meeker: don\u2019t know why he shouldn\u2019t be. i always figured the safest  place in the  world is in jail. rachel: can i go down and see him? meeker: ain\u2019t a very proper place for a minister\u2019s daughter. rachel: i only want to see him for a minute. [from act 1 scene 1] how do the writers capture your interest in this opening to the play? or  \u202010  how do the writers make matthew harrison brady\u2019s downfall such a dramatic and  significant part of the play?50 55606570",
            "12": "12 0486/22/o/n/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_23.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl (jda)) 114844/3 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education * 6 0 8 1 1 4 9 5 2 7 *literature (english)  0486/23 paper 2  drama  october/november 2016  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside the question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. y ou must answer one passage-based question (marked *) and one essay question (marked \u2020). y our questions must be on two different plays. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/23/o/n/16 \u00a9 ucles 2016arthur miller: all my sons remember to support your ideas with details from the writing. either *1 read this passage carefully, and then answer the question that follows it: keller: i ignore what i gotta ignore.  content removed due to copyright restrictions.",
            "3": "3 0486/23/o/n/16 \u00a9 ucles 2016 [turn overchris: i am thinking that way. [from act 1]   in what ways does miller make this such an intense moment in the play? or \u20202 how does miller make two moments in the play particularly disturbing for you? content removed due to copyright restrictions.",
            "4": "4 0486/23/o/n/16 \u00a9 ucles 2016j. b. priestley : an inspector calls remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: birling [triumphantly ]: there you are!   content removed due to copyright restrictions.",
            "5": "5 0486/23/o/n/16 \u00a9 ucles 2016 [turn over [as they stare guiltily and dumbfounded, the curtain falls.] end of play [from act 3 ]   in what ways does priestley make this such a powerful ending to the play? or \u20204 what does priestley\u2019s portrayal of the birlings make you feel about them as a family? content removed due to copyright restrictions.",
            "6": "6 0486/23/o/n/16 \u00a9 ucles 2016william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  *5 read this passage carefully, and then answer the question that follows it: bassanio:   ere i ope his letter,  i pray you tell me how my good friend doth. salerio:  not sick, my lord, unless it be in mind;  nor well, unless in mind; his letter there  will show you his estate.   [bassanio  opens the letter. gratiano:  nerissa, cheer yond stranger; bid her welcome.  y our hand, salerio. what\u2019s the news from venice?  how doth that royal merchant, good antonio?  i know he will be glad of our success:  we are the jasons, we have won the fleece. salerio:  i would you had won the fleece that he hath lost. portia:  there are some shrewd contents in yond same paper  that steals the colour from bassanio\u2019s cheek:  some dear friend dead, else nothing in the world  could turn so much the constitution  of any constant man. what, worse and worse!  with leave, bassanio: i am half yourself,  and i must freely have the half of anything  that this same paper brings you. bassanio:   o sweet portia,  here are a few of the unpleasant\u2019st words  that ever blotted paper! gentle lady,  when i did first impart my love to you,  i freely told you all the wealth i had  ran in my veins \u2013 i was a gentleman;  and then i told you true. and yet, dear lady,  rating myself at nothing, you shall see  how much i was a braggart. when i told you  my state was nothing, i should then have told you  that i was worse than nothing; for indeed  i have engag\u2019d myself to a dear friend,  engag\u2019d my friend to his mere enemy,  to feed my means. here is a letter, lady,  the paper as the body of my friend,  and every word in it a gaping wound  issuing life-blood. but it is true, salerio?  hath all his ventures fail\u2019d? what, not one hit?  from tripolis, from mexico, and england,  from lisbon, barbary, and india,  and not one vessel scape the dreadful touch  of merchant-marring rocks? salerio:   not, one, my lord.  besides, it should appear that, if he had  the present money to discharge the jew,  he would not take it. never did i know  a creature that did bear the shape of man  so keen and greedy to confound a man.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/23/o/n/16 \u00a9 ucles 2016 [turn over he plies the duke at morning and at night,  and doth impeach the freedom of the state,  if they deny him justice. twenty merchants,  the duke himself, and the magnificoes  of greatest port, have all persuaded with him;  but none can drive him from the envious plea  of forfeiture, of justice, and his bond. [from act 3 scene 2  ]   how does shakespeare make this such a dramatic moment in the play? or \u20206 how does shakespeare\u2019s portrayal of the two settings, venice and belmont, contribute to  your enjoyment of the play?50 55",
            "8": "8 0486/23/o/n/16 \u00a9 ucles 2016william shakespeare: henry v remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it:  before the gates of harfleur.  enter the governor and some citizens on the walls.  enter the king  and all his train before the gates. king:  how yet resolves the governor of the town?  this is the latest parle we will admit;  therefore to our best mercy give yourselves  or, like to men proud of destruction,  defy us to our worst; for, as i am a soldier,  a name that in my thoughts becomes me best,  if i begin the batt\u2019ry once again,  i will not leave the half-achieved harfleur  till in her ashes she lie buried.  the gates of mercy shall be all shut up,  and the flesh\u2019d soldier, rough and hard of heart,  in liberty of bloody hand shall range  with conscience wide as hell, mowing like grass  y our fresh fair virgins and your flow\u2019ring infants.  what is it then to me if impious war,  array\u2019d in flames, like to the prince of fiends,  do, with his smirch\u2019d complexion, all fell feats  enlink\u2019d to waste and desolation?  what is\u2019t to me when you yourselves are cause,  if your pure maidens fall into the hand  of hot and forcing violation?  what rein can hold licentious wickedness  when down the hill he holds his fierce career?  we may as bootless spend our vain command  upon th\u2019 enraged soldiers in their spoil,  as send precepts to the leviathan  to come ashore. therefore, you men of harfleur,  take pity of your town and of your people  whiles yet my soldiers are in my command;  whiles yet the cool and temperate wind of grace  o\u2019erblows the filthy and contagious clouds  of heady murder, spoil, and villainy.  if not \u2013 why, in a moment look to see  the blind and bloody soldier with foul hand  defile the locks of your shrill-shrieking daughters;  y our fathers taken by the silver beards,  and their most reverend heads dash\u2019d to the walls;  y our naked infants spitted upon pikes,  whiles the mad mothers with their howls confus\u2019d  do break the clouds, as did the wives of jewry  at herod\u2019s bloody-hunting slaughtermen.  what say you? will you yield, and this avoid?  or, guilty in defence, be thus destroy\u2019d? [from act 3 scene 3  ]5 10 15 20 25 30 35 40 45",
            "9": "9 0486/23/o/n/16 \u00a9 ucles 2016 [turn over  in what ways does shakespeare convey vivid impressions of henry at this moment in the  play? or \u20208 explore two moments in the play which shakespeare makes particularly entertaining for  you.",
            "10": "10 0486/23/o/n/16 \u00a9 ucles 2016j. lawrence & r. e. lee: inherit the wind remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: drummond:  look, mr. brady. these are the fossil remains of a pre- historic marine creature, which was found in this very   county \u2014 and which lived here millions of years ago, when  these very mountain ranges were submerged in water. brady  : i know. the bible gives me a fine account of the flood. but  your professor is a little mixed up on his dates. that rock is  not more than six thousand years old. drummond:  how do you know? brady  : a fine biblical scholar, bishop usher, has determined for us  the exact date and hour of the creation. it occurred in the  y ear 4004 b.c. drummond:  that\u2019s bishop usher\u2019s opinion. brady  : it is not an opinion. it is literal fact, which the good bishop  arrived at through careful computation of the ages of the  prophets as set down in the old testament. in fact, he  determined that the lord began the creation on the 23rd of  october in the y ear 4004 b.c. at \u2014 uh, 9 a.m.! drummond:  that eastern standard time? [ laughter. ] or rocky  mountain time? [ more laughter. ] it wasn\u2019t daylight-saving  time, was it? because the lord didn\u2019t make the sun until the  fourth day! brady  : [fidgeting. ] that is correct. drummond:  [sharply. ] that first day. was it a twenty-four-hour day? brady  : the bible says it was a day. drummond:  there wasn\u2019t any sun. how do you know how long it was? brady  : [determined. ] the bible says it was a day. drummond:  a normal day, a literal day, a twenty-four-hour day? [ pause.  brady is unsure. ] brady  : i do not know. drummond:  what do you think? brady  : [floundering. ] i do not think about things that \u2026 i do not  think about! drummond:  do you ever think about things that you do think about?  [there is some laughter. but it is dampened by the  awareness, throughout the courtroom, that the trap is about  to be sprung. ] isn\u2019t it possible that first day was twenty-five  hours long? there was no way to measure it, no way to tell!  could it have been twenty-five hours? [ pause. the entire  courtroom seems to lean forward. ] brady  : [hesitates \u2014 then. ] it is \u2026 possible \u2026  [gasp of shock  from spectators. many spring to their feet. drummond \u2019s  got him. and he knows it! this is the turning point. from  here on, the tempo mounts. drummond  is now fully  in the driver\u2019s seat. he pounds his questions faster and  faster. ]5 10 15 20 25 30 35 40 45",
            "11": "11 0486/23/o/n/16 \u00a9 ucles 2016drummond:  oh. y ou interpret that the first day recorded in the book of  genesis could be of indeterminate length. brady  : [wriggling. ] i mean to state that the day referred to is not  necessarily a twenty-four-hour day. drummond:  it could have been thirty hours! or a month! or a year!  or a hundred years! [ seizing the rock, he brandishes it  underneath brady \u2019s nose. ] or ten million years! [huge  reaction of mixed protest and wonder from spectators.  davenport  is able to restrain himself no longer. he  realizes that drummond  has brady  in his pocket. red- faced, he leaps up. ] davenport:  [shouting through spectator reaction. ] i protest! this is not  only irrelevant, immaterial \u2014 it is illegal! [the courtroom is a  storm of impassioned, arguing voices. the judge pounds for  order, but the emotional tension will not subside. ] i demand  to know the purpose of mr. drummond\u2019s examination! what  is he trying to do? brady  : [rises from the witness chair. ] i\u2019ll tell you what he\u2019s trying to  do. he wants to destroy everybody\u2019s belief in the bible, and  in god! drummond:  y ou know that\u2019s not true. i\u2019m trying to stop you bigots and  ignoramuses from controlling the education of the united  states! and you know it! [from act 2 scene 1  ]   how do the writers make this such a powerful moment in the play? or \u202010 in what ways does the writers\u2019 portrayal of bert cates contribute to the dramatic impact  of the play  ?50 55 60 65",
            "12": "12 0486/23/o/n/16 \u00a9 ucles 2016blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_31.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (al) 135484 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *4795612196*literature (english)  0486/31 paper 3  drama (open text)  october/november 2016  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/31/o/n/16 \u00a9 ucles 2016 arthur miller: all my sons remember to support your ideas with details from the writing. either 1 read this passage carefully, and then answer the question that follows it: sue: and he\u2019s got money. content removed due to copyright restrictions.",
            "3": "3 0486/31/o/n/16 \u00a9 ucles 2016 [turn over  he\u2019s driving my  husband crazy with that phony idealism of his, and i\u2019m at the  end of my rope on it! [from act 2 ]    how does miller make this moment in the play so tense? or  2 to what extent does miller make you sympathise with kate keller? content removed due to copyright restrictions.",
            "4": "4 0486/31/o/n/16 \u00a9 ucles 2016 j. b. priestley: an inspector calls remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: inspector: there are a lot of young women living that sort of existence  in every city and big town in this country, miss birling.  content removed due to copyright restrictions.",
            "5": "5 0486/31/o/n/16 \u00a9 ucles 2016 [turn over  a nice little promising life there, i thought, and  a nasty mess somebody\u2019s made of it. [from act 1\u200a]    how does priestley\u2019s writing create suspense at this moment in the play? or  4  in what ways does priestley use the contrast between the older and younger generations  to dramatic effect in the play? content removed due to copyright restrictions.",
            "6": "6 0486/31/o/n/16 \u00a9 ucles 2016 william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it:  belmont. the garden  before portia\u2019s house.  enter lorenzo  and  jessica . lorenzo:  the moon shines bright. in such a night as this,  when the sweet wind did gently kiss the trees,  and they did make no noise \u2013 in such a night,  troilus methinks mounted the troyan walls,  and sigh\u2019d his soul toward the grecian tents,  where cressid lay that night. jessica:   in such a night  did thisby fearfully o\u2019ertrip the dew,  and saw the lion\u2019s shadow ere himself,  and ran dismayed away. lorenzo:   in such a night  stood dido with a willow in her hand  upon the wild sea-banks, and waft her love  to come again to carthage. jessica:   in such a night  medea gathered the enchanted herbs  that did renew old aeson. lorenzo:   in such a night  did jessica steal from the wealthy jew,  and with an unthrift love did run from venice  as far as belmont. jessica:   in such a night  did young lorenzo swear he lov\u2019d her well,  stealing her soul with many vows of faith,  and ne\u2019er a true one. lorenzo:   in such a night  did pretty jessica, like a little shrew,  slander her love, and he forgave it her. jessica:  i would out-night you, did no body come;  but, hark, i hear the footing of a man.  enter stephano . lorenzo:  who comes so fast in silence of the night? stephano:  a friend. lorenzo:  a friend! what friend? your name, i pray you, friend? stephano:  stephano is my name, and i bring word  my mistress will before the break of day  be here at belmont; she doth stray about  by holy crosses, where she kneels and prays  for happy wedlock hours. lorenzo:   who comes with her? stephano:  none but a holy hermit and her maid.  i pray you, is my master yet return\u2019d? lorenzo:  he is not, nor we have not heard from him.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/31/o/n/16 \u00a9 ucles 2016 [turn over  but go we in, i pray thee, jessica,  and ceremoniously let us prepare  some welcome for the mistress of the house.  enter launcelot . launcelot:  sola, sola! wo ha, ho! sola, sola! lorenzo:  who calls? launcelot:  sola! did you see master lorenzo? master lorenzo! sola,  sola! lorenzo:  leave holloaing, man. here! launcelot:  sola! where, where? lorenzo:  here! launcelot:  tell him there\u2019s a post come from my master with his horn full  of good news; my master will be here ere morning.  [exit. lorenzo:  sweet soul, let\u2019s in, and there expect their coming.  and yet no matter \u2013 why should we go in?  my friend stephano, signify, i pray you,  within the house, your mistress is at hand;  and bring your music forth into the air.   [exit stephano. [from act 5 scene 1 ]    in what ways does shakespeare make this an effective opening to act 5? or   6  how does shakespeare make the testing of portia\u2019s suitors so entertaining and significant  in the play?50 55 60",
            "8": "8 0486/31/o/n/16 \u00a9 ucles 2016 william shakespeare: henry v remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it: orleans:  the dauphin longs for morning. rambures:  he longs to eat the english. constable:  i think he will eat all he kills. orleans:  by the white hand of my lady, he\u2019s a gallant prince. constable:  swear by her foot, that she may tread out the oath. orleans:  he is simply the most active gentleman of france. constable:  doing is activity, and he will still be doing. orleans:  he never did harm that i heard of. constable:  nor will do none to-morrow: he will keep that good name   still. orleans:  i know him to be valiant. constable:  i was told that by one that knows him better than you. orleans:  what\u2019s he? constable:  marry, he told me so himself; and he said he car\u2019d not who  knew it. orleans:  he needs not; it is no hidden virtue in him. constable:  by my faith, sir, but it is; never anybody saw it but his lackey.  \u2019tis a hooded valour, and when it appears it will bate. orleans:  ill-will never said well. constable:  i will cap that proverb with \u2018there is flattery in friendship\u2019. orleans:  and i will take up that with \u2018give the devil his due\u2019. constable:  well plac\u2019d! there stands your friend for the devil; have at  the very eye of that proverb with \u2018a pox of the devil!\u2019 orleans:  you are the better at proverbs by how much \u2018a fool\u2019s bolt is  soon shot\u2019. constable:  you have shot over. orleans:  \u2019tis not the first time you were overshot.  enter a messenger . messenger:  my lord high constable, the english lie within fifteen hundred  paces of your tents. constable:  who hath measur\u2019d the ground? messenger:  the lord grandpr\u00e9. constable:  a valiant and most expert gentleman. would it were day!  alas, poor harry of england! he longs not for the dawning as  we do. orleans:  what a wretched and peevish fellow is this king of england,  to mope with his fat-brain\u2019d followers so far out of his  knowledge! constable:  if the english had any apprehension, they would run away. orleans:  that they lack; for if their heads had any intellectual armour,  they could never wear such heavy head-pieces.5 10 15 20 25 30 35 40",
            "9": "9 0486/31/o/n/16 \u00a9 ucles 2016 [turn over rambures:  that island of england breeds very valiant creatures; their  mastiffs are of unmatchable courage. orleans:  foolish curs, that run winking into the mouth of a russian  bear, and have their heads crush\u2019d like rotten apples! you  may as well say that\u2019s a valiant flea that dare eat his breakfast  on the lip of a lion. constable:  just, just! and the men do sympathise with the mastiffs in  robustious and rough coming on, leaving their wits with their  wives; and then give them great meals of beef and iron and  steel; they will eat like wolves and fight like devils. orleans:  ay, but these english are shrewdly out of beef. constable:  then shall we find to-morrow they have only stomachs to  eat, and none to fight. now is it time to arm. come, shall we  about it? orleans:  it is now two o\u2019clock; but let me see \u2013 by ten  we shall have each a hundred englishmen.  [exeunt. [from act 3 scene 7  \u200a]   how does shakespeare vividly portray the french lords at this moment in the play? or 8 in what ways does shakespeare make the conspiracy to betray henry such a dramatic  part of the play?45 50 55",
            "10": "10 0486/31/o/n/16 \u00a9 ucles 2016 j. lawrence & r. e. lee: inherit the wind remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: all: [singing ]  it is good enough for brady,  it is good enough for brady,  and it\u2019s good enough for me!  [cheers and applause. brady  seems to carry with him a  built-in spotlight. so mrs. brady \u2500 pretty, fashionably  dressed, a proper \u201csecond lady\u201d to the nation\u2019s \u201csecond  man\u201d \u2500 seems always to be in his shadow. this does  not annoy her. sarah brady  is content that all her  thoughts and emotions should gain the name of action  through her husband. brady  removes his hat and  raises his hand. obediently the  crowd falls to a hushed  anticipatory silence .] brady:  friends \u2500 and i can see most of you are my friends,  from the way you have decked out your beautiful city of  hillsboro. [ there is a pleased reaction, and a spattering  of applause. when brady  speaks, there can be no  doubt of his personal magnetism. even hornbeck,  who slouches contemptuously, is impressed with the  speaker\u2019s power, for here is a man to be reckoned with. ]  mrs. brady and i are delighted to be among you! [ brady   takes his wife\u2019s hand and draws her to his side, then  mops his brow. ] i could only wish one thing: that you had  not given us quite so warm a welcome! [ brady  removes  his alpaca coat. goodfellow takes it. the crowd laughs.  brady  beams. mrs. mclain hands him a frond fan.  brady  takes it. ] bless you. [ he fans himself vigorously. ]  my friends of hillsboro, you know why i have come here.  not merely to prosecute a lawbreaker, an arrogant youth  who has spoken out against the revealed word, but to  defend that which is most precious in the hearts of all  of us: the living truth of the scriptures! [ applause and  cheering. ] photographer  [topping the cheer. ]: mr. brady. a picture, mr. brady? brady:  i shall be happy to oblige! [ to his wife. ] sarah \u2026 mrs. brady  [moving out of camera range. ]: no, matt. just you and  the dignitaries. brady:  you are the mayor, are you not, sir? mayor  [stepping forward, awkwardly. ]: i am, sir. brady  [extending his hand. ]: my name is matthew harrison  brady. mayor:  oh, i know. everybody knows that. i had a little speech of  welcome ready, but somehow it didn\u2019t seem  necessary. brady:  i shall be honored to hear your greeting, sir. [ the mayor   clears his throat and takes his speech from his pocket. ] mayor  [sincerely. ]: mr. matthew harrison brady, this municipality 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/31/o/n/16 \u00a9 ucles 2016 is proud to have within its city limits the warrior who has  always fought for us ordinary people. the lady folks  of this town wouldn\u2019t have the vote if it wasn\u2019t for you,  fightin\u2019 to give \u2019em all that suffrage. mr. president wilson  wouldn\u2019t never have got to the white house and  won the  war if it wasn\u2019t for you supportin\u2019 him. and, in conclusion,  the governor of our state \u2026 [ his hand is raised. ] photographer:  hold it! [ the camera clicks. ] thank you. [mrs. brady   is disturbed by the informality of the pose. ] mrs. brady:  matt \u2500 you didn\u2019t have your coat on. brady  [to the photographer .]: perhaps we should have a  more formal pose. [ as mrs. brady  helps him on with  his coat. ] who  is the spiritual leader of the community? mayor:  that would be the reverend jeremiah brown.  [reverend brown  steps forward. ] brown:  your servant, and the lord\u2019s. [brady  and brown   shake hands. ] brady:  the reverend at my left, the mayor at my right. [ stiffly,  they face the camera. ] we must look grave, gentlemen,  but not too serious. hopeful, i think is the word. we must  look hopeful. [brady  assumes the familiar oratorical  pose. the camera clicks. unnoticed, howard has stuck  his head, mouth agape, into the picture. the mayor   refers to the last page of his undelivered speech. ] mayor:  in conclusion, the governor of our state has vested in  me the authority to confer upon you a commission as  honorary colonel in the state militia. [ applause. ] brady  [savoring it  ]: \u201ccolonel brady.\u201d i like the sound of that! [from act 1 scene 1 ]    how do the writers make this such a dramatic introduction to matthew harrison brady? or 10 \u2018heavenly hillsboro, the buckle on the bible belt.\u2019   how does the writers\u2019 portrayal of the community of hillsboro contribute to the dramatic  impact of the play?50 55 60 65 70",
            "12": "12 0486/31/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_32.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (al) 135425 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *1178173246*literature (english)  0486/32 paper 3  drama (open text)  october/november 2016  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/32/o/n/16 \u00a9 ucles 2016 arthur miller: all my sons remember to support your ideas with details from the writing. either 1 read this passage carefully, and then answer the question that follows it: keller: oh, little of everything.   content removed due to copyright restrictions.",
            "3": "3 0486/32/o/n/16 \u00a9 ucles 2016 [turn over  [they stand facing each other, george  trying to judge him. ]  [from act 2] what does miller\u2019s portrayal make you feel about joe at this moment in the play? or  2  in what ways does miller make the relationship between kate and ann such a powerful  part of the play? ",
            "4": "4 0486/32/o/n/16 \u00a9 ucles 2016 j.b. priestley: an inspector calls remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: inspector [to mrs birling]: and you\u2019ve nothing further to tell  me, eh? content removed due to copyright restrictions.",
            "5": "5 0486/32/o/n/16 \u00a9 ucles 2016 [turn over mrs birling: her story was \u2013 that he\u2019d said something one night,  when he was drunk, that gave her the idea that it wasn\u2019t  his money. [from act 2] how does priestley make the inspector\u2019s questioning of mrs birling here so powerfully dramatic? or  4 what does priestley\u2019s portrayal make you feel about gerald croft? ",
            "6": "6 0486/32/o/n/16 \u00a9 ucles 2016 william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it:  enter shylock , solanio , antonio , and gaoler. shylock:  gaoler, look to him. tell not me of mercy \u2013  this is the fool that lent out money gratis.  gaoler, look to him. antonio:   hear me yet, good shylock. shylock:  i\u2019ll have my bond; speak not against my bond.  i have sworn an oath that i will have my bond.  thou call\u2019dst me dog before thou hadst a cause,  but, since i am a dog, beware my fangs;  the duke shall grant me justice. i do wonder,  thou naughty gaoler, that thou art so fond  to come abroad with him at his request. antonio:  i pray thee hear me speak. shylock:  i\u2019ll have my bond. i will not hear thee speak;  i\u2019ll have my bond; and therefore speak no more.  i\u2019ll not be made a soft and dull-ey\u2019d fool,  to shake the head, relent, and sigh, and yield,  to christian intercessors. follow not;  i\u2019ll have no speaking; i will have my bond.   [exit. solanio:  it is the most impenetrable cur  that ever kept with men. antonio:   let him alone;  i\u2019ll follow him no more with bootless prayers.  he seeks my life; his reason well i know:  i oft deliver\u2019d from his forfeitures  many that have at times made moan to me;  therefore he hates me. solanio:   i am sure the duke  will never grant this forfeiture to hold. antonio:  the duke cannot deny the course of law;  for the commodity that strangers have  with us in venice, if it be denied,  will much impeach the justice of the state,  since that the trade and profit of the city  consisteth of all nations. therefore, go;  these griefs and losses have so bated me  that i shall hardly spare a pound of flesh  to-morrow to my bloody creditor.  well, gaoler, on; pray god bassanio come  to see me pay his debt, and then i care not. [from act 3 scene 3]5 10 15 20 25 30 35 40",
            "7": "7 0486/32/o/n/16 \u00a9 ucles 2016 [turn over what vivid impressions of shylock and antonio does shakespeare create for you at this  point in the play? or  6  explore two moments in the play where you feel shakespeare powerfully creates  suspense.",
            "8": "8 0486/32/o/n/16 \u00a9 ucles 2016 william shakespeare: henry v remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it: williams:  we see yonder the beginning of the day, but i think we  shall never see the end of it. who goes there? king:  a friend. williams:  under what captain serve you? king:  under sir thomas erpingham. williams:  a good old commander and a most kind gentleman. i pray  you, what thinks he of our estate? king:  even as men wreck\u2019d upon a sand, that look to be wash\u2019d  off the next tide. bates:  he hath not told his thought to the king? king:  no; nor it is not meet he should. for though i speak  it   to you, i think the king is but a man as i am: the violet  smells to him as it doth to me; the element shows to   him as it doth to me; all his senses have but human  conditions; his ceremonies laid by, in his nakedness he  appears but a man; and though his affections are higher  mounted than ours, yet, when they stoop, they stoop with  the like wing. therefore, when he sees reason of fears,  as we do, his fears, out of doubt, be of the same relish  as ours are; yet, in reason, no man should possess him  with any appearance of fear, lest he, by showing it, should  dishearten his army. bates:  he may show what outward courage he will; but i believe,  as cold a night as \u2019tis, he could wish himself in thames up  to the neck; and so i would he were, and i by him, at all  adventures, so we were quit here. king:  by my troth, i will speak my conscience of the king: i think  he would not wish himself anywhere but where he is. bates:  then i would he were here alone; so should he be sure to  be ransomed, and a many poor men\u2019s lives saved. king:  i dare say you love him not so ill to wish him here alone,  howsoever you speak this, to feel other men\u2019s minds;  methinks i could not die anywhere so contented as in  the king\u2019s company, his cause being just and his quarrel  honourable. williams:  that\u2019s more than we know. bates:  ay, or more than we should seek after; for we know  enough if we know we are the king\u2019s subjects. if his cause  be wrong, our obedience to the king wipes the crime of it  out of us. williams:  but if the cause be not good, the king himself hath a   heavy reckoning to make when all those legs and arms  and heads, chopp\u2019d off in a battle, shall join together  at the latter day and cry all \u2018we died at such a place\u2019 \u2013  some swearing, some crying for a surgeon, some upon  their wives left poor behind them, some upon the debts  they owe, some upon their children rawly left. i am afeard  there are few die well that die in a battle; for how can  they charitably dispose of anything when blood is their  argument? now, if these men do not die well, it will be a 5 10 15 20 25 30 35 40 45 50",
            "9": "9 0486/32/o/n/16 \u00a9 ucles 2016 [turn over black matter for the king that led them to it; who to disobey  were against all proportion of subjection. [from act 4 scene 1] in what ways does shakespeare make this moment in the play so striking? or  8 explore the ways in which shakespeare makes princess katherine so entertaining.",
            "10": "10 0486/32/o/n/16 \u00a9 ucles 2016 j. lawrence & r.e. lee: inherit the wind remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it:  in and around the hillsboro courthouse. the foreground  is the actual courtroom, with jury box, judge\u2019s bench and  a scattering of trial-scarred chairs and counsel tables. the  back wall of the courtroom is non-existent. on a raked level  above it is the courthouse square, the main street and the  converging streets of the town. this is not so much a literal  view of hillsboro as it is an impression of a sleepy, obscure  country town about to be vigorously awakened.  it is important to the concept of the play that the town is  visible always, looming there, as much on trial as the  individual defendant. the crowd is equally important  throughout, so that the court becomes an arena, with active  spectators on all sides of it. it is an hour after dawn on a  july day that promises to be a scorcher. howard, a boy of  thirteen, wanders onto the courthouse lawn. he is barefoot,  wearing a pair of his pa\u2019s cut-down overalls. he carries an  improvised fishing pole and a tin can. he studies the ground  carefully, searching for something. a young girl\u2019s voice calls  from offstage. melinda:  [calling sweetly. ] how-ard \u2026! [howard , annoyed, turns  and looks toward the voice. melinda , a healthy pigtailed  girl of twelve, skips on. ] hello, howard. [howard  is  disinterested, continues to search the ground. ] howard:  \u2019lo, melinda. melinda:  [making conversation. ] i think it\u2019s gonna be hotter\u2019n  yesterday. that rain last night didn\u2019t do much good. howard:  [professionally. ] it brought up the worms. [ suddenly he  spots one in the lawn. swiftly he grabs for it, and holds it up  proudly. ] lookit this fat one! [ he chases her. ] melinda:  [shivering. ] how can you touch \u2019em? it makes me all goose- bumpy! [howard  dangles it in front of her face. she backs  away, shuddering. ] howard:  what\u2019re yuh skeered of? you was a worm once! melinda:  [shocked. ] i wasn\u2019t neither! howard:  you was so! when the whole world was covered with water,  there was nuthin\u2019 but worms and blobs of jelly. and you and  your whole family was worms! melinda:  we was not! howard:  blobs of jelly, then. melinda:  howard blair, that\u2019s sinful talk! i\u2019m gonna tell my pa and  he\u2019ll make you wash your mouth out with soap! howard:  ahhh, your old man\u2019s a monkey! [melinda  gasps. she  turns indignantly and runs off. howard  shrugs in the  manner of a man-of-the-world .] \u2019bye,  lindy. [rachel   enters. she is 22, pretty, but not beautiful. she wears a  cotton summer dress. she carries a small composition  paper suitcase. there is a tense, distraught air about her.  she may have been crying. she looks about nervously, as 5 10 15 20 25 30 35 40 45",
            "11": "11 0486/32/o/n/16 \u00a9 ucles 2016 if she doesn\u2019t want to be seen. when she sees howard ,  she hesitates, then she scurries downstage into the  courthouse area in the hope that the boy will not notice her.  but he does see rachel , and watches her with puzzled  curiosity. then as he exits he addresses the worm, dangling  it in the air. ] what do you wanta be when you grow up? [ he  goes off. rachel  stands uncertainly in the courthouse  area. unsure, she looks about. ] rachel:  [tentatively, calling. ] mr. meeker \u2026? meeker:  [a little irritably. from off r.] who is it? [ after a pause,   mr. meeker , the bailiff, enters. there is no collar on his  shirt, his hair is tousled, and there is still a bit of shaving  soap on his face, which he is wiping off with a towel as he  enters. ] why, hello, rachel. \u2019scuse the way i look. [ he wipes  the soap out of his ear. then he notices her suitcase. ] not  goin\u2019 away are you? excitement\u2019s just startin\u2019. rachel:  [earnestly. ] mr. meeker, don\u2019t let my father know i came  here. meeker:  [shrugs. ] the reverend don\u2019t tell me his business. don\u2019t  know why i should tell him mine. rachel:  i want to see bert cates. is he all right? meeker:  don\u2019t know why he shouldn\u2019t be. i always figured the safest  place in the  world is in jail. rachel:  can i go down and see him? meeker:  ain\u2019t a very proper place for a minister\u2019s daughter. rachel:  i only want to see him for a minute. [from act 1 scene 1] how do the writers capture your interest in this opening to the play? or  10  how do the writers make matthew harrison brady\u2019s downfall such a dramatic and  significant part of the play?50 55 60 65 70",
            "12": "12 0486/32/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_33.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (al) 133089 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education * 5 6 7 3 8 1 1 8 4 8 *literature (english)  0486/33 paper 3  drama (open text)  october/november 2016  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside the question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/33/o/n/16 \u00a9 ucles 2016arthur miller: all my sons remember to support your ideas with details from the writing. either 1 read this passage carefully, and then answer the question that follows it: keller: i ignore what i gotta ignore.  content removed due to copyright restrictions.",
            "3": "3 0486/33/o/n/16 \u00a9 ucles 2016 [turn overchris: i am thinking that way. [from act 1]   in what ways does miller make this such an intense moment in the play? or 2 how does miller make two moments in the play particularly disturbing for you? content removed due to copyright restrictions.",
            "4": "4 0486/33/o/n/16 \u00a9 ucles 2016j. b. priestley : an inspector calls remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: birling [triumphantly ]: there you are!   content removed due to copyright restrictions.",
            "5": "5 0486/33/o/n/16 \u00a9 ucles 2016 [turn over [as they stare guiltily and dumbfounded, the curtain falls.] end of play [from act 3 ]   in what ways does priestley make this such a powerful ending to the play? or 4 what does priestley\u2019s portrayal of the birlings make you feel about them as a family? content removed due to copyright restrictions.",
            "6": "6 0486/33/o/n/16 \u00a9 ucles 2016william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it: bassanio:   ere i ope his letter,  i pray you tell me how my good friend doth. salerio:  not sick, my lord, unless it be in mind;  nor well, unless in mind; his letter there  will show you his estate.   [bassanio  opens the letter. gratiano:  nerissa, cheer yond stranger; bid her welcome.  y our hand, salerio. what\u2019s the news from venice?  how doth that royal merchant, good antonio?  i know he will be glad of our success:  we are the jasons, we have won the fleece. salerio:  i would you had won the fleece that he hath lost. portia:  there are some shrewd contents in yond same paper  that steals the colour from bassanio\u2019s cheek:  some dear friend dead, else nothing in the world  could turn so much the constitution  of any constant man. what, worse and worse!  with leave, bassanio: i am half yourself,  and i must freely have the half of anything  that this same paper brings you. bassanio:   o sweet portia,  here are a few of the unpleasant\u2019st words  that ever blotted paper! gentle lady,  when i did first impart my love to you,  i freely told you all the wealth i had  ran in my veins \u2013 i was a gentleman;  and then i told you true. and yet, dear lady,  rating myself at nothing, you shall see  how much i was a braggart. when i told you  my state was nothing, i should then have told you  that i was worse than nothing; for indeed  i have engag\u2019d myself to a dear friend,  engag\u2019d my friend to his mere enemy,  to feed my means. here is a letter, lady,  the paper as the body of my friend,  and every word in it a gaping wound  issuing life-blood. but it is true, salerio?  hath all his ventures fail\u2019d? what, not one hit?  from tripolis, from mexico, and england,  from lisbon, barbary, and india,  and not one vessel scape the dreadful touch  of merchant-marring rocks? salerio:   not, one, my lord.  besides, it should appear that, if he had  the present money to discharge the jew,  he would not take it. never did i know  a creature that did bear the shape of man  so keen and greedy to confound a man.5 10 15 20 25 30 35 40 45",
            "7": "7 0486/33/o/n/16 \u00a9 ucles 2016 [turn over he plies the duke at morning and at night,  and doth impeach the freedom of the state,  if they deny him justice. twenty merchants,  the duke himself, and the magnificoes  of greatest port, have all persuaded with him;  but none can drive him from the envious plea  of forfeiture, of justice, and his bond. [from act 3 scene 2  ]   how does shakespeare make this such a dramatic moment in the play? or 6 how does shakespeare\u2019s portrayal of the two settings, venice and belmont, contribute to  your enjoyment of the play?50 55",
            "8": "8 0486/33/o/n/16 \u00a9 ucles 2016william shakespeare: henry v remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it:  before the gates of harfleur.  enter the governor and some citizens on the walls.  enter the king  and all his train before the gates. king:  how yet resolves the governor of the town?  this is the latest parle we will admit;  therefore to our best mercy give yourselves  or, like to men proud of destruction,  defy us to our worst; for, as i am a soldier,  a name that in my thoughts becomes me best,  if i begin the batt\u2019ry once again,  i will not leave the half-achieved harfleur  till in her ashes she lie buried.  the gates of mercy shall be all shut up,  and the flesh\u2019d soldier, rough and hard of heart,  in liberty of bloody hand shall range  with conscience wide as hell, mowing like grass  y our fresh fair virgins and your flow\u2019ring infants.  what is it then to me if impious war,  array\u2019d in flames, like to the prince of fiends,  do, with his smirch\u2019d complexion, all fell feats  enlink\u2019d to waste and desolation?  what is\u2019t to me when you yourselves are cause,  if your pure maidens fall into the hand  of hot and forcing violation?  what rein can hold licentious wickedness  when down the hill he holds his fierce career?  we may as bootless spend our vain command  upon th\u2019 enraged soldiers in their spoil,  as send precepts to the leviathan  to come ashore. therefore, you men of harfleur,  take pity of your town and of your people  whiles yet my soldiers are in my command;  whiles yet the cool and temperate wind of grace  o\u2019erblows the filthy and contagious clouds  of heady murder, spoil, and villainy.  if not \u2013 why, in a moment look to see  the blind and bloody soldier with foul hand  defile the locks of your shrill-shrieking daughters;  y our fathers taken by the silver beards,  and their most reverend heads dash\u2019d to the walls;  y our naked infants spitted upon pikes,  whiles the mad mothers with their howls confus\u2019d  do break the clouds, as did the wives of jewry  at herod\u2019s bloody-hunting slaughtermen.  what say you? will you yield, and this avoid?  or, guilty in defence, be thus destroy\u2019d? [from act 3 scene 3  ]5 10 15 20 25 30 35 40 45",
            "9": "9 0486/33/o/n/16 \u00a9 ucles 2016 [turn over  in what ways does shakespeare convey vivid impressions of henry at this moment in the  play? or 8 explore two moments in the play which shakespeare makes particularly entertaining for  you.",
            "10": "10 0486/33/o/n/16 \u00a9 ucles 2016j. lawrence & r. e. lee: inherit the wind remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: drummond:  look, mr. brady. these are the fossil remains of a pre- historic marine creature, which was found in this very   county \u2014 and which lived here millions of years ago, when  these very mountain ranges were submerged in water. brady  : i know. the bible gives me a fine account of the flood. but  your professor is a little mixed up on his dates. that rock is  not more than six thousand years old. drummond:  how do you know? brady  : a fine biblical scholar, bishop usher, has determined for us  the exact date and hour of the creation. it occurred in the  y ear 4004 b.c. drummond:  that\u2019s bishop usher\u2019s opinion. brady  : it is not an opinion. it is literal fact, which the good bishop  arrived at through careful computation of the ages of the  prophets as set down in the old testament. in fact, he  determined that the lord began the creation on the 23rd of  october in the y ear 4004 b.c. at \u2014 uh, 9 a.m.! drummond:  that eastern standard time? [ laughter. ] or rocky  mountain time? [ more laughter. ] it wasn\u2019t daylight-saving  time, was it? because the lord didn\u2019t make the sun until the  fourth day! brady  : [fidgeting. ] that is correct. drummond:  [sharply. ] that first day. was it a twenty-four-hour day? brady  : the bible says it was a day. drummond:  there wasn\u2019t any sun. how do you know how long it was? brady  : [determined. ] the bible says it was a day. drummond:  a normal day, a literal day, a twenty-four-hour day? [ pause.  brady is unsure. ] brady  : i do not know. drummond:  what do you think? brady  : [floundering. ] i do not think about things that \u2026 i do not  think about! drummond:  do you ever think about things that you do think about?  [there is some laughter. but it is dampened by the  awareness, throughout the courtroom, that the trap is about  to be sprung. ] isn\u2019t it possible that first day was twenty-five  hours long? there was no way to measure it, no way to tell!  could it have been twenty-five hours? [ pause. the entire  courtroom seems to lean forward. ] brady  : [hesitates \u2014 then. ] it is \u2026 possible \u2026  [gasp of shock  from spectators. many spring to their feet. drummond \u2019s  got him. and he knows it! this is the turning point. from  here on, the tempo mounts. drummond  is now fully  in the driver\u2019s seat. he pounds his questions faster and  faster. ]5 10 15 20 25 30 35 40 45",
            "11": "11 0486/33/o/n/16 \u00a9 ucles 2016drummond:  oh. y ou interpret that the first day recorded in the book of  genesis could be of indeterminate length. brady  : [wriggling. ] i mean to state that the day referred to is not  necessarily a twenty-four-hour day. drummond:  it could have been thirty hours! or a month! or a year!  or a hundred years! [ seizing the rock, he brandishes it  underneath brady \u2019s nose. ] or ten million years! [huge  reaction of mixed protest and wonder from spectators.  davenport  is able to restrain himself no longer. he  realizes that drummond  has brady  in his pocket. red- faced, he leaps up. ] davenport:  [shouting through spectator reaction. ] i protest! this is not  only irrelevant, immaterial \u2014 it is illegal! [the courtroom is a  storm of impassioned, arguing voices. the judge pounds for  order, but the emotional tension will not subside. ] i demand  to know the purpose of mr. drummond\u2019s examination! what  is he trying to do? brady  : [rises from the witness chair. ] i\u2019ll tell you what he\u2019s trying to  do. he wants to destroy everybody\u2019s belief in the bible, and  in god! drummond:  y ou know that\u2019s not true. i\u2019m trying to stop you bigots and  ignoramuses from controlling the education of the united  states! and you know it! [from act 2 scene 1  ]   how do the writers make this such a powerful moment in the play? or 10 in what ways does the writers\u2019 portrayal of bert cates contribute to the dramatic impact  of the play  ?50 55 60 65",
            "12": "12 0486/33/o/n/16 \u00a9 ucles 2016blank 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc rcl (km) 115912/2 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *7209722218*literature (english)  0486/41 paper 4 unseen october/november 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/41/o/n/16 \u00a9 ucles 2016answer either  question 1 or question 2. either1 read carefully the poem opposite, in which the poet reacts to being rejected by his \u2018baby\u2019, meaning  his lover.  how does the poet\u2019s writing memorably convey his feelings to you? to help you answer this question, you might consider:   \u0081 how the poet portrays his initial reactions to the rejection   \u0081 how he dramatically changes his mind   \u0081 how the tone and structure of the poem are memorable for you.",
            "3": "3 0486/41/o/n/16 \u00a9 ucles 2016 [turn overlife is fine i went down to the river, i set1 down on the bank. i tried to think but couldn\u2019t,so i jumped in and sank. i came up once and hollered 2! i came up twice and cried!if that water hadn\u2019t a-been so coldi might\u2019ve sunk and died.   but it was   cold in that water!   it was cold!i took the elevator sixteen floors above the ground.i thought about my babyand thought i would jump down. i stood there and i hollered! i stood there and i cried!if it hadn\u2019t a-been so highi might\u2019ve jumped and died.   but it was   high up there!   it was high!so since i\u2019m still here livin\u2019, i guess i will live on.i could\u2019ve died for love\u2013but for livin\u2019 i was born though you may hear me holler, and you may see me cry\u2013i\u2019ll be dogged 3, sweet baby, if you gonna see me die.   life is fine!   fine as wine!   life is fine! 1 set : (dialect) sat 2 hollered  : (dialect) shouted in pain 3 dogged  : (dialect) damned",
            "4": "4 0486/41/o/n/16 \u00a9 ucles 2016or 2 read carefully this extract from a novel. the writer\u2019s principal character describes the city she  comes from, and her people.  how does the writing in this passage create a sense of mystery about the city and the  people in it?  to help you answer this question, you might consider:   \u0081 how the writing highlights what is unusual about the city   \u0081 how the narrator uses stories and legends   \u0081 the effect of the last story she tells, and of its final line. there is a city surrounded by water with watery alleys that do for streets and roads  and silted up back ways that only the rats can cross. miss your way, which is easy to do, and you may find yourself staring at a hundred eyes guarding a filthy palace of sacks and bones. find your way, which is easy to do, and you may meet an old woman in a doorway. she will tell your fortune, depending on your face. this is the city of mazes. y ou may set off from the same place to the same  place every day and never go by the same route. if you do so, it will be by mistake. y our bloodhound nose will not serve you here. y our course in compass reading will fail you. y our confident instructions to passers-by will send them to squares they have never heard of, over canals not listed in the notes. although wherever you are going is always in front of you, there is no such thing  as straight ahead. no as the crow flies 1 short cut will help you to reach the caf\u00e9 just  over the water. the short cuts are where the cats go, through the impossible gaps, round corners that seem to take you the opposite way. but here, in this mercurial 2  city, it is required you do awake your faith. with faith, all things are possible.rumour has it that the inhabitants of this city walk on water. that, more bizarre  still, their feet are webbed. not all feet, but the feet of the boatmen whose trade is hereditary. this is the legend.when a boatman\u2019s wife finds herself pregnant she waits until the moon is full  and the night empty of idlers. then she takes her husband\u2019s boat and rows to a terrible island where the dead are buried. she leaves her boat with rosemary 3 in the  bows so that the limbless ones cannot return with her and hurries to the grave of the most recently dead in her family. she has brought her offerings: a flask of wine, a lock of hair from her husband and a silver coin. she must leave the offerings on the grave and beg for a clean heart if her child be a girl and boatman\u2019s feet if her child be a boy. there is no time to lose. she must be home before dawn and the boat must be left for a day and a night covered in salt. in this way, the boatmen keep their secrets and their trade. no newcomer can compete. and no boatman will take off his boots, no matter how you bribe him. i have seen tourists throw diamonds to the fish, but i have never seen a boatman take off his boots. there was once a weak and foolish man whose wife cleaned the boat and sold  the fish and brought up their children and went to the terrible island as she should when her yearly time was due. their house was hot in summer and cold in winter and there was too little food and too many mouths. this boatman, ferrying a tourist from one church to another, happened to fall into conversation with the man and the man brought up the question of the webbed feet. at the same time he drew a purse of gold from his pocket and let it lie quietly in the bottom of the boat. winter was approaching, the boatman was thin and he thought what harm could it do to unlace just one boot and let this visitor see what there was. the next morning, the boat ",
            "5": "5 0486/41/o/n/16 \u00a9 ucles 2016was picked up by a couple of priests on their way to mass. the tourist was babbling  incoherently and pulling at his toes with his fingers. there was no boatman. they took the tourist to the madhouse, san servelo. for all i know, he\u2019s still there. and the boatman?he was my father. 1 as the crow flies : in a straight line 2 mercurial  : constantly changing 3 rosemary  : an aromatic herb",
            "6": "6 0486/41/o/n/16 \u00a9 ucles 2016blank page",
            "7": "7 0486/41/o/n/16 \u00a9 ucles 2016blank page",
            "8": "8 0486/41/o/n/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (km)) 115908/4 \u00a9 ucles 2016  [turn overcambridge international examinations cambridge international general certificate of secondary education *1147575241*literature (english)  0486/42 paper 4  unseen  october/november 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificate.",
            "2": "2 0486/42/o/n/16 \u00a9 ucles 2016 answer either  question 1 or question 2. either 1 read carefully the poem opposite, which describes the poet\u2019s response to moonlight and to  memories of her mother. \t how \tdoes\tthe\tpoet\u2019s\twriting\tcreate\ta\tstriking\timpression \tof\twhat\tthe\tmoon\tmeans\tto\ther?  to help you answer this question, you might consider:   \u2022 how she portrays the effect of moonlight on her room   \u2022 how she imagines the moon as someone who wants to speak to her   \u2022 what the words she addresses to the moon suggest to you.",
            "3": "3 0486/42/o/n/16 \u00a9 ucles 2016 [turn over moon last night, when the moon slipped into my attic room as an oblong of light, i sensed she\u2019d come to commiserate1. it was august. she traveled with a small valise2 of darkness, and the first few stars returning to the northern sky, and my room, it seemed, had missed her. she pretended an interest in the bookcase while other objects stirred, as in a rock pool, with unexpected life: strings of beads in their green bowl gleamed, the paper-crowded desk; the books, too, appeared inclined to open and confess. being sure the moon harbored some intention, i waited; watched for an age her cool gaze shift first toward a flower sketch pinned on the far wall then glide down to recline along the pinewood floor, before i\u2019d had enough. moon , i said, we\u2019re both scarred now . are they quite beyond you, the simple words of love? say them. you are not my mother; with my mother, i waited unto death. 1 commiserate\u200a : express sympathy 2 valise\u200a : suitcase",
            "4": "4 0486/42/o/n/16 \u00a9 ucles 2016 or 2 read carefully the following extract from a short story, which is set during war time. charlie stowe  lives with his parents above a tobacconist\u2019s, a shop selling cigarettes, which is owned and run by  his father. \t how \tdoes\tthe\twriting\tbuild\tsuspense \there?  to help you answer this question, you might consider:   \u2022 how the writer uses setting to create tension   \u2022 how he conveys charlie\u2019s thoughts and feelings   \u2022 the impact of charlie\u2019s reaction to the arrival of his father and the strangers. charlie stowe waited until he heard his mother snore before he got out of bed.  even then he moved with caution and tiptoed to the window. the front of the house  was irregular, so that it was possible to see a light burning in his mother\u2019s room. but  now all the windows were dark. a searchlight passed across the sky, lighting the  banks of cloud and probing the dark deep spaces between, seeking enemy airships.  the wind blew from the sea, and charlie stowe could hear behind his mother\u2019s  snores the beating of the waves. a draught through the cracks in the window-frame  stirred his nightshirt. charlie stowe was frightened. but the thought of the tobacconist\u2019s shop which his father kept down a dozen  wooden stairs drew him on. he was twelve years old, and already boys at the  county school mocked him because he had never smoked a cigarette. the packets  were piled twelve deep below, and the little shop lay under a thin haze of stale  smoke which would completely disguise his crime. that it was a crime to steal some  of his father\u2019s stock charlie stowe had no doubt, but he did not love his father; his  father was unreal to him, a wraith, pale, thin, and indefinite, who noticed him only  spasmodically1 and left even punishment to his mother. for his mother he felt a  passionate demonstrative love; her large boisterous presence and her noisy charity  filled the world for him. but his father\u2019s affection and dislike were as indefinite as his  movements. tonight he had said he would be in norwich, and yet you never knew.  charlie stowe had no sense of safety as he crept down the wooden stairs. when  they creaked he clenched his fingers on the collar of his nightshirt. at the bottom of the stairs he came out quite suddenly into the little shop. it  was too dark to see his way, and he did not dare touch the switch. for half a minute  he sat in despair on the bottom step with his chin cupped in his hands. then the  regular movement of the searchlight was reflected through an upper window and  the boy had time to fix in memory the pile of cigarettes, the counter, and the small  hole under it. the footsteps of a policeman on the pavement made him grab the first  packet to his hand and dive for the hole. a light shone along the floor and a hand  tried the door, then the footsteps passed on, and charlie cowered in the darkness. at last he got his courage back by telling himself in his curiously adult way that  if he were caught now there was nothing to be done about it, and he might as well  have his smoke. he put a cigarette in his mouth and then remembered that he had  no matches. for a while he dared not move. three times the searchlight lit the shop,  while he muttered taunts and encouragements. \u201cmay as well be hung for a sheep,\u201d  \u201ccowardy, cowardy custard,\u201d grown-up and childish exhortations oddly mixed. but as he moved he heard footfalls in the street, the sound of several men  walking rapidly. charlie stowe was old enough to feel surprise that anybody was  about. the footsteps came nearer, stopped; a key was turned in the shop door, a  voice said, \u201clet him in,\u201d and then he heard his father, \u201cif you wouldn\u2019t mind being  quiet, gentlemen. i don\u2019t want to wake up the family.\u201d there was a note unfamiliar  to charlie in the undecided voice. a torch flashed and the electric globe2 burst into ",
            "5": "5 0486/42/o/n/16 \u00a9 ucles 2016 blue light. the boy held his breath; he wondered whether his father would hear his  heart beating, and he clutched his nightshirt tightly and prayed, \u201co god, don\u2019t let me be caught.\u201d through a crack in the counter he could see his father where he stood,  one hand held to his high stiff collar, between two men in bowler hats and belted  mackintoshes 3. they were strangers. 1 only spasmodically\u200a : not very often 2 electric globe\u200a : light bulb 3 mackintoshes\u200a : raincoats",
            "6": "6 0486/42/o/n/16 \u00a9 ucles 2016 blank page",
            "7": "7 0486/42/o/n/16 \u00a9 ucles 2016 blank page",
            "8": "8 0486/42/o/n/16 \u00a9 ucles 2016 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_w16_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (jda)) 116111/2 \u00a9 ucles 2016 [turn overcambridge international examinations cambridge international general certificate of secondary education *8511776018*literature (english)  0486/43 paper 4 unseen october/november 2016  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. y ou should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. y ou are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks. the syllabus is approved for use in england, wales and northern ireland as a cambridge international level 1/level 2 certificat e.",
            "2": "2 0486/43/o/n/16 \u00a9 ucles 2016answer either  question 1 or question 2. either1 read carefully the poem opposite.  how does the poet powerfully convey to you the stories which the immigrant can tell? to help you answer this question, you might consider:   \u0081 how she describes the immigrant\u2019s memories   \u0081 why the immigrant prefers not to remember them in the present   \u0081 the effect created by the return of those memories in the future.",
            "3": "3 0486/43/o/n/16 \u00a9 ucles 2016 [turn overthe immigrant\u2019s song let us not speak of those days when coffee beans filled the morningwith hope, when our mothers\u2019 headscarveshung like white flags on washing lines.let us not speak of the long arms of skythat used to cradle us at dusk.and the baobabs 1\u2014let us not trace the shape of their leaves in our dreams,or yearn for the noise of those nameless birdsthat sang and died in the church\u2019s eaves 2. let us not speak of men,stolen from their beds at night.let us not say the word disappeared . let us not remember the first smell of rain.instead, let us speak of our lives now\u2014the gates and bridges and stores.and when we break breadin caf\u00e9s and at kitchen tableswith our new brothers,let us not burden them with storiesof war or abandonment.let us not name our old friendswho are unravelling like fairy talesin the forests of the dead.naming them will not bring them back.let us stay here, and wait for the futureto arrive, for grandchildren to speakin forked tongues about the countrywe once came from.tell us about it , they might ask. and you might consider telling themof the sky and the coffee beans,the small white houses and dusty streets.y ou might set your memory afloatlike a paper boat down a river.y ou might pray that the paperwhispers your story to the water,that the water sings it to the trees,that the trees howl and howlit to the leaves. if you keep stilland do not speak, you might hearyour whole life fill the worlduntil the wind is the only word. 1 baobabs  : large african trees 2 eaves  : the bottom edges of a roof",
            "4": "4 0486/43/o/n/16 \u00a9 ucles 2016or 2 read carefully this extract from a novel. rachel is an artist who has taken her son, petroc, to a  remote beach to swim on his birthday.  how does the writing in this passage vividly portray rachel\u2019s pleasure in working  creatively?  to help you answer this question, you might consider:   \u0081 how the writer describes the details which rachel observes   \u0081 how he shows her transforming what she sees into sketches   \u0081 how he suggests the importance of her work to her life. she settled herself comfortably in the sand with her back against an  especially flat bit of cliff. this was the risky side of the beach to lie because there were great rocks high above, barely contained in the turf and shale around them, but it caught the sun and gave the best view. she tugged her sketchpad and a pencil case out of the picnic bag and began drawing the archway the sea had hollowed out from the cliff on the beach\u2019s shady side. it was an interesting shape but a challenge to capture with only a  pencil and a few coloured crayons as it presented such extremes of light and shade. but then, working on the planes of water, the utterly still, dark pool in the sand beneath the arch and the dazzlingly white-shot blue of the open sea glimpsed beyond, she grasped an idea for a painting or a series of paintings. layers of finely gradated colour could be built up in bands, like a stack of pyrex 1 saucers that had once held her fascinated in  a hospital canteen. she abandoned the sketch then filled page after page with studies, leaning on her drawn-up knees. she was faintly aware of time passing as she worked. some people  came to the beach with a dog and explored the caves, talking loudly about a bird they thought was roosting there, and passed on. petroc padded around her and helped himself to sandwiches and a pork pie and tomatoes and some apple juice. at one point, when she had fallen back to staring at the arch in the cliff \u2013 seeing it yet not seeing it as the pictures formed and rearranged themselves on the canvas in her mind \u2013 a man walked into her vision and distracted her. he was impossibly tall, thin and old, perhaps seventy, like a mervyn peake 2 illustration. she watched as he half-stripped  until he had nothing on but his khaki trousers then darted like a wading bird in and out of the shallow surf, stamping his feet and stooping to catch the foam in his hands before anointing his face and neck and, strangest of all, the small of his back. she saw that petroc, far up the beach among the high tide of pebbles, was watching too and she grinned at him. then they watched the man stamp his feet dry on his jersey, dress and leave again, clambering back up the boulders and clay with surprising agility. his little visit had taken all of six or seven minutes, like a speeded-up re-enactment of childhood joy amid the mature pleasures of a long clifftop walk. she began to draw a quick cartoony drawing of the man stamping  in the surf but was distracted afresh by the light on the water and the entirely unwatery shapes she could see in it if she stared long enough, a kind of network of dish shapes and bending discs. then she remembered that several of the crayons she was using were water soluble so she experimented with a corner of a handkerchief dipped in apple juice and rubbed selectively across what she had drawn. she was playing and she was working and she was entirely absorbed and happy.",
            "5": "5 0486/43/o/n/16 \u00a9 ucles 2016finally she broke off, when her inability to take the ideas further  without paint and brushes was becoming a kind of pain, and remembered with a spasm of guilt that it was petroc\u2019s birthday and that was why they were there together with no one else. 1 pyrex : brand of glass cookware 2 mervyn peake : a writer and artist well-known for his unusual illustrations",
            "6": "6 0486/43/o/n/16 \u00a9 ucles 2016blank page",
            "7": "7 0486/43/o/n/16 \u00a9 ucles 2016blank page",
            "8": "8 0486/43/o/n/16 \u00a9 ucles 2016blank page permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared w here 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 onl ine in the cambridge international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to do wnload at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of unive rsity of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        }
    },
    "2017": {
        "0486_m17_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (km)) 133324/2 \u00a9 ucles 2017 [turn overcambridge international examinations cambridge international general certificate of secondary education *1913355996*literature (english) 0486/12 paper 1 poetry and prose february/march 2017 1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b.all questions in this paper carry equal marks.",
            "2": "2 0486/12/f/m/17 \u00a9 ucles 2017 blank page",
            "3": "3 0486/12/f/m/17 \u00a9 ucles 2017 [turn over contents section a: poetry text question numbers page[s] songs of ourselves volume 1: from part 5 1, 2 pages 4\u20135 songs of ourselves volume 2: from part 1  3, 4 pages 6\u20137 gillian clarke: from collected poems  5, 6 pages  8\u20139 section b: prose text questionnumbers page[s] chinua achebe: no longer at ease  7, 8 pages 10\u201311 jane austen: mansfield park  9, 10 pages 12\u201313 willa cather: my \u00e1ntonia 11, 12 pages 14\u201315 george eliot: silas marner 13, 14 pages 16\u201317 michael frayn: spies 15, 16 pages 18\u201319 kate grenville: the secret river 17, 18 pages 20\u201321 r k narayan: the english teacher  19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/12/f/m/17 \u00a9 ucles 2017 section a: poetry answer one question from this section. songs of ourselves volume 1: from part 5 remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: my parents my parents kept me from children who were rough who threw words like stones and wore torn clothestheir thighs showed through rags. they ran in the streetand climbed cliffs and tripped by the country streams. i feared more than tigers their muscles like iron their jerking hands and their knees tight on my armsi feared the salt coarse pointing of those boyswho copied my lisp behind me on the road. they were lithe, they sprang out behind hedges like dogs to bark at my world. they threw mudwhile i looked the other way, pretending to smile.i longed to forgive them but they never smiled. (stephen spender\u200a )   explore how spender conveys his feelings about his childhood in this poem.5 10",
            "5": "5 0486/12/f/m/17 \u00a9 ucles 2017 [turn over or 2 how does browning vividly communicate a sense of excitement in meeting at night\u200a\u200a\u200a? meeting at night the grey sea and the long black land; and the yellow half-moon large and low;and the startled little waves that leapin fiery ringlets from their sleep,as i gain the cove with pushing prow,and quench its speed i\u2019 the slushy sand. then a mile of warm sea-scented beach; three fields to cross till a farm appears;a tap at the pane, the quick sharp scratchand blue spurt of a lighted match,and a voice less loud, through its joys and fears,than the two hearts beating each to each! (robert browning )5 10",
            "6": "6 0486/12/f/m/17 \u00a9 ucles 2017 songs of ourselves volume 2: from part 1 remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: for my grandmother knitting there is no need they say but the needles still movetheir rhythms in the working of your handsas easilyas if your handswere once again those sure and skilful handsof the fisher-girl. you are old now and your grasp of things is not so goodbut master of your moments thendeft and swiftyou slit the still-ticking quick silver fish.hard work it was tooof necessity. but now they say there is no need as the needles movein the working of your handsonce the hands of the bridewith the hand-span waistonce the hands of the miner\u2019s wifewho scrubbed his backin a tin bath by the coal fireonce the hands of the motherof six who made do and mendedscraped and slaved slapped sometimeswhen necessary. but now they say there is no need the kids they say grandmahave too much alreadymore than they can weartoo many scarves and cardigans \u2013gran you do too muchthere\u2019s no necessity. (liz lochhead\u200a\u200a\u200a )   how does lochhead\u2019s writing vividly convey her feelings about her grandmother growing old in this poem?5 10 15 2025 30",
            "7": "7 0486/12/f/m/17 \u00a9 ucles 2017 [turn over or 4 explore the ways in which chong uses vivid images in lion heart . lion heart you came out of the sea, skin dappled scales of sunlight;riding crests, waves of fish in your fists.washed up, your gills snapped shut.water whipped the first breath of your lungs,your lips\u2019 bud teased by morning mists. you conquered the shore, its ivory coast. your legs still rocked with the memory of waves.sinews of sand ran across your back\u2013rising runes of your oceanic origins.your heart thumped\u2013 an animal skin drumheralding the coming of a prince. in the jungle, amid rasping branches, trees loosened their shadows to shroud you.the prince beheld you then, a golden sheen.your eyes, two flickers; emerald blazeyou settled back on fluent haunches;the squall of a beast, your roar, your call. in crackling boats, seeds arrived, wind-blown, you summoned their colours to the palmof your hand, folded them snugly into loam,watched saplings swaddled in green,as they sunk roots, spawned shade,and embraced the land that embraced them. centuries, by the sea\u2019s pulmonary, a vein throbbing humming bumboats\u2013your trees rise as skyscrapers.their ankles lost in swilling water,as they heave themselves higherabove the mirrored surface. remember your self: your raw lion heart, each beat a stony echo that washesthrough ribbed vaults of buildings. remember your keris, iron lightning ripping through tentacles of waves,double-edged, curved to a point\u2013 flung high and caught unsheathed, scattering five stars in the red tapestry of your sky. (amanda chong )5 10 152025 30 35",
            "8": "8 0486/12/f/m/17 \u00a9 ucles 2017 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: baby-sitting i am sitting in a strange room listening for the wrong baby. i don\u2019t lovethis baby. she is sleeping a snufflyroseate, bubbling sleep; she is fair;she is a perfectly acceptable child.i am afraid of her. if she wakesshe will hate me. she will shouther hot midnight rage, her nosewill stream disgustingly and the perfumeof her breath will fail to enchant me. to her i will represent absolute abandonment. for her it will be worsethan for the lover cold in lonelysheets; worse than for the woman who waitsa moment to collect her dignitybeside the bleached bone in the terminal ward.as she rises sobbing from the monstrous landstretching for milk-familiar comforting,she will find me and between us twoit will not come. it will not come.   how does clarke vividly convey the feelings of the baby-sitter towards the child in this poem?5 10 15 20",
            "9": "9 0486/12/f/m/17 \u00a9 ucles 2017 [turn over or 6 explore the ways in which clarke strikingly conveys her thoughts about the woman\u2019s  skeleton in lunchtime lecture . lunchtime lecture and this from the second or third millenniumb.c., a female, aged about twenty-two.a white, fine skull, full up with darknessas a shell with sea, drowned in the centuries.small, perfect. the cranium would fit the palmof a man\u2019s hand. some plague or violencedestroyed her, and her whiteness lay safe in a shroudof silence, undisturbed, unrained on, darkfor four thousand years. till a tractor in summerbiting its way through the longcairn for suppliesof stone, broke open the grave and let a crowd of lightstare in at her, and she stared quietly back. as i look at her i feel none of the shock the farmer felt as, unprepared, he found her.here in the museum, like death in hospital,reasons are given, labels, causes, catalogues.the smell of death is done. left, only her bonepurity, the light and shade beauty that her manwas denied sight of, the perfect edge of the placewhere the pieces join, with no mistakes, like boundaries. she\u2019s a tree in winter, stripped white on a black sky, leafless formality, brow, bough in fine relief.i, at some other season, illustrate the treefleshed, with woman\u2019s hair and colours and the rustlingblood, the troubled mind that she has overthrown.we stare at each other, dark into sightlessdark, seeing only ourselves in the black pools,gulping the risen sea that booms in the shell.5 10 15 20 25",
            "10": "10 0486/12/f/m/17 \u00a9 ucles 2017 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: joseph was not very happy when obi told him the story of the  interview.  [from chapter 5]   how does achebe make this a revealing and significant conversation?content removed due to copyright restrictions. \u2018you are not serious,\u2019 said joseph. \u2018unless you are going to be a  reverend father.\u2019",
            "11": "11 0486/12/f/m/17 \u00a9 ucles 2017 [turn over or 8 does achebe\u2019s depiction of lagos persuade you that it is an attractive city \u2013 or a  dangerous one?",
            "12": "12 0486/12/f/m/17 \u00a9 ucles 2017 jane austen: mansfield park remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: it required a longer time, however, than mrs. norris was inclined  to allow, to reconcile fanny to the novelty of mansfield park, and the  separation from everybody she had been used to. her feelings were very acute, and too little understood to be properly attended to. nobody meant to be unkind, but nobody put themselves out of their way to secure her comfort. the holiday allowed to the miss bertrams the next day on purpose  to afford leisure for getting acquainted with, and entertaining their young cousin, produced little union. they could not but hold her cheap on finding that she had but two sashes, and had never learnt french; and when they perceived her to be little struck with the duet they were so good as to play, they could do no more than make her a generous present of some of their least valued toys, and leave her to herself, while they adjourned to whatever might be the favourite holiday-sport of the moment, making artificial flowers or wasting gold paper. fanny, whether near or from her cousins, whether in the school-room,  the drawing-room, or the shrubbery, was equally forlorn, finding something to fear in every person and place. she was disheartened by lady bertram\u2019s silence, awed by sir thomas\u2019s grave looks, and quite overcome by mrs. norris\u2019s admonitions. her elder cousins mortified her by reflections on her size, and abashed her by noticing her shyness; miss lee wondered at her ignorance, and the maid-servants sneered at her clothes; and when to these sorrows was added the idea of the brothers and sisters among whom she had always been important as play-fellow, instructress, and nurse, the despondence that sunk her little heart was severe. the grandeur of the house astonished but could not console her. the  rooms were too large for her to move in with ease; whatever she touched she expected to injure, and she crept about in constant terror of something or other; often retreating towards her own chamber to cry; and the little girl who was spoken of in the drawing-room when she left it at night, as seeming so desirably sensible of her peculiar good fortune, ended every day\u2019s sorrows by sobbing herself to sleep. a week had passed in this way, and no suspicion of it conveyed by her quiet passive manner, when she was found one morning by her cousin edmund, the youngest of the sons, sitting crying on the attic stairs. \u201cmy dear little cousin,\u201d said he with all the gentleness of an excellent  nature, \u201cwhat can be the matter?\u201d and sitting down by her, was at great pains to overcome her shame in being so surprised, and persuade her to speak openly. \u201cwas she ill? or was any body angry with her? or had she quarrelled with maria and julia? or was she puzzled about any thing in her lesson that he could explain? did she, in short, want any thing he could possibly get her, or do for her?\u201d for a long while no answer could be obtained beyond a \u201cno, no\u2014not at all\u2014no, thank you;\u201d but he still persevered, and no sooner had he begun to revert to her own home, than her increased sobs explained to him where the grievance lay. he tried to console her. [from chapter 2]5 10 15202530354045",
            "13": "13 0486/12/f/m/17 \u00a9 ucles 2017 [turn over   how does austen vividly convey fanny\u2019s feelings about her surroundings at mansfield  park at this moment in the novel? or 10 to what extent does austen make you pity mr rushworth?",
            "14": "14 0486/12/f/m/17 \u00a9 ucles 2017 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: we were examining a big hole with two entrances. the burrow sloped  into the ground at a gentle angle, so that we could see where the two  corridors united, and the floor was dusty from use, like a little highway  over which much travel went. i was walking backward, in a crouching position, when i heard \u00e1ntonia scream. she was standing opposite me, pointing behind me and shouting something in bohemian. i whirled round, and there, on one of those dry gravel beds, was the biggest snake i had ever seen. he was sunning himself, after the cold night, and he must have been asleep when \u00e1ntonia screamed. when i turned, he was lying in long loose waves, like a letter \u2018w.\u2019 he twitched and began to coil slowly. he was not merely a big snake, i thought \u2014 he was a circus monstrosity. his abominable muscularity, his loathsome, fluid motion, somehow made me sick. he was as thick as my leg, and looked as if millstones couldn\u2019t crush the disgusting vitality out of him. he lifted his hideous little head, and rattled. i didn\u2019t run because i didn\u2019t think of it \u2014 if my back had been against a stone wall i couldn\u2019t have felt more cornered. i saw his coils tighten \u2014 now he would spring, spring his length, i remembered. i ran up and drove at his head with my spade, struck him fairly across the neck, and in a minute he was all about my feet in wavy loops. i struck now from hate. \u00e1ntonia, barefooted as she was, ran up behind me. even after i had pounded his ugly head flat, his body kept on coiling and winding, doubling and falling back on itself. i walked away and turned my back. i felt seasick. \u00e1ntonia came after me, crying, \u2018o jimmy, he not bite you? you sure?  why you not run when i say?\u2019 \u2018what did you jabber bohunk for? you might have told me there was a  snake behind me!\u2019 i said petulantly. \u2018i know i am just awful, jim, i was so scared.\u2019 she took my handkerchief  from my pocket and tried to wipe my face with it, but i snatched it away from her. i suppose i looked as sick as i felt. \u2018i never know you was so brave, jim,\u2019 she went on comfortingly. \u2018you  is just like big mans; you wait for him lift his head and then you go for him. ain\u2019t you feel scared a bit? now we take that snake home and show everybody. nobody ain\u2019t seen in this kawn-tree so big snake like you kill.\u2019 she went on in this strain until i began to think that i had longed for  this opportunity, and had hailed it with joy. cautiously we went back to the snake; he was still groping with his tail, turning up his ugly belly in the light. a faint, fetid smell came from him, and a thread of green liquid oozed from his crushed head. \u2018look, tony, that\u2019s his poison,\u2019 i said.i took a long piece of string from my pocket, and she lifted his head  with the spade while i tied a noose around it. we pulled him out straight and measured him by my riding-quirt; he was about five and a half feet long. he had twelve rattles, but they were broken off before they began to taper, so i insisted that he must once have had twenty-four. i explained to \u00e1ntonia how this meant that he was twenty-four years old, that he must have been there when white men first came, left on from buffalo and indian times. as i turned him over, i began to feel proud of him, to have a kind of respect for his age and size. he seemed like the ancient, eldest evil. 5 10 15202530354045",
            "15": "15 0486/12/f/m/17 \u00a9 ucles 2017 [turn over certainly his kind have left horrible unconscious memories in all warm- blooded life. when we dragged him down into the draw, dude sprang off to the end of his tether and shivered all over \u2014 wouldn\u2019t let us come near him. [from book 1 chapter 7]   how does cather make this such a vivid and dramatic moment in the novel? or 12 to what extent do you think cather makes jim\u2019s visit to \u00e1ntonia a satisfying way of ending the novel?50",
            "16": "16 0486/12/f/m/17 \u00a9 ucles 2017 george eliot: silas marner remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: in another moment molly had flung something away, but it was not  the black remnant \u2013 it was an empty phial. and she walked on again under  the breaking cloud, from which there came now and then the light of a quickly veiled star, for a freezing wind had sprung up since the snowing had ceased. but she walked always more and more drowsily, and clutched more and more automatically the sleeping child at her bosom. slowly the demon was working his will, and cold and weariness  were his helpers. soon she felt nothing but a supreme immediate longing that curtained off all futurity \u2013 the longing to lie down and sleep. she had arrived at a spot where her footsteps were no longer checked by a hedgerow, and she had wandered vaguely, unable to distinguish any objects, notwithstanding the wide whiteness around her, and the growing starlight. she sank down against a straggling furze bush, an easy pillow enough; and the bed of snow, too, was soft. she did not feel that the bed was cold, and did not heed whether the child would wake and cry for her. but her arms had not yet relaxed their instinctive clutch; and the little one slumbered on as gently as if it had been rocked in a lace-trimmed cradle. but the complete torpor came at last: the fingers lost their tension, the  arms unbent; then the little head fell away from the bosom, and the blue eyes opened wide on the cold starlight. at first there was a little peevish cry of \u2018mammy,\u2019 and an effort to regain the pillowing arm and bosom; but mammy\u2019s ear was deaf, and the pillow seemed to be slipping away backward. suddenly, as the child rolled downward on its mother\u2019s knees, all wet with snow, its eyes were caught by a bright glancing light on the white ground, and, with the ready transition of infancy, it was immediately absorbed in watching the bright living thing running towards it, yet never arriving. that bright living thing must be caught; and in an instant the child had slipped on all fours, and held out one little hand to catch the gleam. but the gleam would not be caught in that way, and now the head was held up to see where the cunning gleam came from. it came from a very bright place; and the little one, rising on its legs, toddled through the snow, the old grimy shawl in which it was wrapped trailing behind it, and the queer little bonnet dangling at its back \u2013 toddled on to the open door of silas marner\u2019s cottage, and right up to the warm hearth, where there was a bright fire of logs and sticks, which had thoroughly warmed the old sack (silas\u2019s greatcoat) spread out on the bricks to dry. the little one, accustomed to be left to itself for long hours without notice from its mother, squatted down on the sack, and spread its tiny hands towards the blaze, in perfect contentment, gurgling and making many inarticulate communications to the cheerful fire, like a new-hatched gosling beginning to find itself comfortable. but presently the warmth had a lulling effect, and the little golden head sank down on the old sack, and the blue eyes were veiled by their delicate half-transparent lids. but where was silas marner while this strange visitor had come to  his hearth? he was in the cottage, but he did not see the child. during the last few weeks, since he had lost his money, he had contracted the habit of opening his door and looking out from time to time, as if he thought that his money might be somehow coming back to him, or that some trace, 5 10 15202530354045",
            "17": "17 0486/12/f/m/17 \u00a9 ucles 2017 [turn over some news of it, might be mysteriously on the road, and be caught by  the listening ear or the straining eye. it was chiefly at night, when he was not occupied in his loom, that he fell into this repetition of an act for which he could have assigned no definite purpose, and which can hardly be understood except by those who have undergone a bewildering separation from a supremely loved object. in the evening twilight, and later whenever the night was not dark, silas looked out on that narrow prospect round the stone-pits, listening and gazing, not with hope, but with mere yearning and unrest. [from part 1 chapter 12]   how does eliot make this such a moving moment in the novel? or 14 in what ways does eliot make the theft of his money such a turning point for silas?50 55",
            "18": "18 0486/12/f/m/17 \u00a9 ucles 2017 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: i say nothing. i\u2019m no more prepared to talk to barbara berrill about  keith than i am about bosoms and privets. content removed due to copyright restrictions.",
            "19": "19 0486/12/f/m/17 \u00a9 ucles 2017 [turn over [from chapter 5] how does frayn make this such an entertaining moment in the novel? or 16 explore the ways in which frayn creates tension in one moment in the novel. do not use the passage printed for question 15 in answering this question.content removed due to copyright restrictions. i\u2019ve been ambushed once again. i\u2019m in the middle of another minefield.",
            "20": "20 0486/12/f/m/17 \u00a9 ucles 2017 kate grenville: the secret river remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: it was dark when he came home, silent and white in the face. the  mixture was safe in his pocket and he did not even take his coat off before  going upstairs to try his wife with a mouthful of it. she smiled her strained smile, lifted her head to take a taste off the spoon, then lay back exhausted and would take no more. sal got him down to the kitchen, got him out of his coat and muffler  at last. he sat passively under her hands, staring into the fire. when she knelt to take off his boots she exclaimed\u2014they were wet through, his feet mottled with the chill of them. he had fallen in a drift of snow, he said, and while he had waited for the apothecary, the snow in them had melted, and stayed melted all the way home. he started to sneeze after supper and next day woke up flushed and  sweating, shivering under four blankets, tossing his head on the pillow. the surgeon came again, for the husband this time. he cupped him and gave him something thick and brown in a small square bottle that made him drift into a kind of sleep from which he called out hoarsely and struggled to escape the bedclothes. in spite of the medicine, the flame of the fever consumed him. his cheeks were scarlet, the skin dry and hot to the touch, his tongue furred and grey, his eyes sunk back into their sockets. within a week he was dead.when they told mrs middleton she cried out once, a terrible hoarse  sound. then she turned her face to the wall and did not speak again. sal sat with her all day and slept at the foot of her bed. the surgeon was called again and again, until the table by the bed bristled with bottles of potions and pills. but mrs middleton\u2019s slide towards death would not be stopped by anything the surgeon could do. with each day that passed she shrank further into the bedclothes, her eyes closed as if she could not bear to see the world any longer, slipping away behind her skin. at last a grey dawn came when she was stiff under the blanket. they  laid her in her box at gilling\u2019s, beside mr middleton\u2019s, waiting for the ground to thaw so they could bury them. it was only after the ice on the river broke up, the hole dug and the  prayers said over the two coffins as they swayed down on the undertaker\u2019s ropes, that the thornhills realised everything was gone. mr middleton had done all that any man could do. he had lived thriftily  and put cash aside. he had put money into well-made boats and kept them in repair, had made sure his apprentice was honest and worked hard. his business had been good, his life cautiously prosperous. but as soon as he was gone it fell into pieces with amazing speed.  in that frozen month his savings were devoured. the surgeon had come every day, and hardly a visit passed when he did not prescribe some new cure that cost a pound the bottle. the uneaten jars of brandied cherries and figs in honey sat on the pantry shelf. even though there was no work for him to do, the apprentice had still to be fed, and with the river frozen, all that coal he had carried up the stairs had cost five pounds the sack. worst of all, the landlord\u2019s man had still come by for the rent every  monday. whether the river was frozen or not, whether a man could work or not, did not matter to the landlord\u2019s man.5 10 15202530354045",
            "21": "21 0486/12/f/m/17 \u00a9 ucles 2017 [turn over to thornhill, the house on swan lane had always seemed a fortress  against want. surely no harm could come to a man who owned such a  thing as a piece of ground with a dwelling on it. if a man had a roof over his head he could batten down, no matter how hard times were, and wait for them to get better. he had taken a long time to understand that the house had not been  owned, only leased. when he did, it was as if some vital part of himself had dropped away, leaving a void. the house on swan lane, always so warm, so safe, was now as cheerless as any of the tenements of his childhood. the rent was in arrears, and the furniture had to be sold to pay it.  sal and thornhill watched even the bed mrs middleton had died in, which seemed scarcely cold, being carted off. when that was not enough, the bailiffs came after the wherries, first the hope that the apprentice worked,  so he had to go and find another master to serve out his time, and then the second-best one too, that thornhill could not prove was a wedding gift. the river had barely melted, thornhill had done just a week\u2019s work, when he watched them take his wherry in tow. his livelihood disappeared away under blackfriars bridge. from now on he would be a journeyman, rowing other men\u2019s boats and never knowing when he would be told there was no work for him. he sat for a long time on the pier at bull wharf watching the red sails  of the sailor-men bellying out as they tacked from reach to reach. the tide was pushing in from the sea. across the surface of the river, pocked, pitted, rough, ran another kind of roughness, a buckle in the water crossing from one bank to the other. behind it pushed water of a different character, barred and furrowed: the sea. he watched the tide, and thought of how the river would go on doing this dance of advance and fall back, long after  william thornhill and the griefs he carried in his heart were dead and forgotten. what point could there be to hoping, when everything could be broken  so easily? [from part one]   how does grenville make this moment in the novel so sad? or 18 how does grenville vividly depict the thornhill family\u2019s experiences when they first settle at thornhill point?50 5560657075",
            "22": "22 0486/12/f/m/17 \u00a9 ucles 2017 r k narayan: the english teacher remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: after dinner my friends in the neighbouring rooms in the hostel dropped  in as usual for light talk. they were my colleagues. one was rangappa  who taught the boys philosophy, and the other gopal of the mathematics section. gopal was sharp as a knife-edge where mathematical matters were concerned, but, poor fellow, he was very dumb and stupid in other matters. as a matter of fact he paid little attention to anything else. we liked him because he was a genius, and in a vague manner we understood that he was doing brilliant things in mathematics. some day he hoped to contribute a paper on his subject which was going to revolutionize human thought and conceptions. but god knew what it was all about. all that i cared for in him was that he was an agreeable friend, who never contradicted and who patiently listened for hours, though without showing any sign of understanding. to-night the talk was all about english spelling and the conference  we had with brown. i was incensed as usual, much to the amazement of rangappa. \u201cbut my dear fellow, what do you think they pay you for unless it is for dotting the i\u2019s and crossing the t\u2019s?\u201d gopal, who had been listening without putting in a word of his own, suddenly became active. \u201ci don\u2019t follow you,\u201d he said.\u201ci said the english department existed solely for dotting the i\u2019s and  crossing the t\u2019s.\u201d \u201coh!\u201d he said, opening wide his eyes. \u201ci never thought so. why  should you do it?\u201d his precise literal brain refused to move where it had no concrete facts or figures to grip. symbols, if they entered his brain at all, entered only as mathematical symbols. rangappa answered: \u201clook here. gopal. you have come across the  expression \u201craining cats and dogs?\u201d \u201cyes.\u201d\u201chave you actually seen cats and dogs falling down from the sky?\u201d\u201cno, no. why?\u201drangappa would have worried him a little longer, but the college clock  struck ten and i said: \u201cfriends, i must bid you good night.\u201d \u201cgood night,\u201d gopal repeated mechanically and rose to go. not so the ever-questioning philosopher. \u201cwhat has come over you?\u201d he asked, without moving. \u201ci want to cultivate new habits\u2026 .\u201d\u201cwhat\u2019s wrong with the present ones?\u201d he asked and i blinked for an  answer. it was a long story and could not stand narration. rangappa did not even stir from his seat; the other stood ready to depart and waited patiently. \u201canswer me,\u201d rangappa persisted. \u201ci want to be up very early to-morrow,\u201d i said.\u201cwhat time?\u201d\u201csome time before five.\u201d\u201cwhat for?\u201d\u201ci want to see the sunrise, and get some exercise before i start work.\u201d\u201cvery good; wake me up too, i shall also go with you\u2014\u201d said rangappa  rising. i saw them off at the door. i had an alarm clock on which i could sometimes depend for giving the alarm at the set time. i had bought it years before at a junk store in madras. it had a reddening face, and had 5 10 15202530354045",
            "23": "23 0486/12/f/m/17 \u00a9 ucles 2017 [turn over been oiled and repaired a score of times. it showed the correct time but  was eccentric with regard to its alarm arrangement. it let out a shattering amount of noise, and it sometimes went off by itself and butted into a conversation, or sometimes when i had locked the room and gone out, it started off and went on ringing till exhaustion overcame it. there was no way of stopping it, by pressing a button or a lever. i don\u2019t know if it had ever had such an arrangement. at first i did not know about its trouble, so that i suffered a great shock and did not know how to silence it, short of dashing it down. but one day i learnt by some sort of instinctive experiment that if i placed a heavy book like taine\u2019s history of english literature on its crest, it stopped shrieking. [from chapter 1]   how does narayan effectively convey krishna\u2019s state of mind at this early moment in the novel? or 20 what impressions does narayan\u2019s writing give you of susila before her illness?50 55",
            "24": "24 0486/12/f/m/17 \u00a9 ucles 2017 from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from the phoenix (by sylvia townsend warner), and then answer the  question that follows it: for quite a while mr poldero considered his phoenix a bargain. it was  a civil and obliging bird, and adapted itself readily to its new surroundings.  it did not cost much to feed, it did not mind children; and though it had no tricks, mr poldero supposed it would soon pick up some. the publicity of the strawberry phoenix fund was now most helpful. almost every contributor now saved up another half-crown in order to see the phoenix. others, who had not contributed to the fund, even paid double to look at it on the five-shilling days. but then business slackened. the phoenix was as handsome as  ever, and as amiable; but, as mr poldero said, it hadn\u2019t got allure. even at popular prices the phoenix was not really popular. it was too quiet, too classical. so people went instead to watch the antics of the baboons, or to admire the crocodile who had eaten the woman. one day mr poldero said to his manager, mr ramkin:\u2018how long since any fool paid to look at the phoenix?\u2019\u2018matter of three weeks,\u2019 replied mr ramkin.\u2018eating his head off,\u2019 said mr poldero. \u2018let alone the insurance. seven  shillings a week it costs me to insure that bird, and i might as well insure the archbishop of canterbury.\u2019 \u2018the public don\u2019t like him. he\u2019s too quiet for them, that\u2019s the trouble.  won\u2019t mate nor nothing. and i\u2019ve tried him with no end of pretty pollies, ospreys, and cochin-chinas, and the lord knows what. but he won\u2019t look at them.\u2019 \u2018wonder if we could swap him for a livelier one,\u2019 said mr poldero.\u2018impossible. there\u2019s only one of him at a time.\u2019\u2018go on!\u2019\u2018i mean it. haven\u2019t you ever read what it says on the label?\u2019they went to the phoenix\u2019 cage. it flapped its wings politely, but they  paid no attention. they read: \u2018pansy. phoenix phoenixissima formosissima arabiana. this rare  and fabulous bird is unique. the world\u2019s old bachelor. has no mate and doesn\u2019t want one. when old, sets fire to itself and emerges miraculously reborn. specially imported from the east.\u2019 \u2018i\u2019ve got an idea.\u2019 said mr poldero. \u2018how old do you suppose that bird  is?\u2019 \u2018looks in its prime to me,\u2019 said mr ramkin.\u2018suppose,\u2019 continued mr poldero, \u2018we could somehow get him alight?  we\u2019d advertise it beforehand, of course, work up interest. then we\u2019d have a new bird, and a bird with some romance about it, a bird with a life-story. we could sell a bird like that.\u2019 mr ramkin nodded.\u2018i\u2019ve read about it in a book,\u2019 he said. \u2018you\u2019ve got to give them scented  woods and whatnot, and they build a nest and sit down on it and catch fire spontaneous. but they won\u2019t do it till they\u2019re old. that\u2019s the snag.\u2019 \u2018leave that to me,\u2019 said mr poldero. \u2018you get those scented woods,  and i\u2019ll do the ageing.\u20195 10 15202530354045",
            "25": "25 0486/12/f/m/17 \u00a9 ucles 2017 it was not easy to age the phoenix. its allowance of food was halved,  and halved again, but though it grew thinner its eyes were undimmed and  its plumage glossy as ever. the heating was turned off; but it puffed out its feathers against the cold, and seemed none the worse. other birds were put into its cage, birds of a peevish and quarrelsome nature. they pecked and chivvied it; but the phoenix was so civil and amiable that after a day or two they lost their animosity. then mr poldero tried alley cats. these could not be won by good manners, but the phoenix darted above their heads and flapped its golden wings in their faces, and daunted them. mr poldero turned to a book on arabia, and read that the climate  was dry. \u2018aha! said he. the phoenix was moved to a small cage that had a sprinkler in the ceiling. every night the sprinkler was turned on. the phoenix began to cough. mr poldero had another good idea. daily he stationed himself in front of the cage to jeer at the bird and abuse it. when spring was come, mr poldero felt justified in beginning a  publicity campaign about the ageing phoenix. the old public favourite, he said, was nearing its end. meanwhile he tested the bird\u2019s reactions every few days by putting a little dirty straw into the cage, to see if it were interested in nesting yet. one day the phoenix began turning over the  straw. mr poldero signed a contract for the film rights.   how does townsend warner amusingly portray human nature here? or 22 how does marshall movingly convey what a life-changing experience the visit to da-duh is for the narrator in to da-duh, in memoriam  (by paule marshall)? 50 556065",
            "26": "26 0486/12/f/m/17 \u00a9 ucles 2017 blank page",
            "27": "27 0486/12/f/m/17 \u00a9 ucles 2017 blank page",
            "28": "28 0486/12/f/m/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m17_qp_22.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl (jda)) 133323/4 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *9547779823*literature (english)  0486/22 paper 2  drama  february/march 2017  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks.",
            "2": "2 0486/22/f/m/17 \u00a9 ucles 2017 j lawrence & r e lee: inherit the wind remember to support your ideas with details from the writing. either *1 read this passage carefully, and then answer the question that follows it: brady [red-faced, his larynx taut, roaring stridently.]: as they would look  to the mountains whence cometh our strength.  content removed due to copyright restrictions.",
            "3": "3 0486/22/f/m/17 \u00a9 ucles 2017 [turn over drummond : you won. [from the final act] how do the writers make this moment towards the end of the play so powerfully dramatic? or \u20202 to what extent do the writers make hornbeck a character who entertains the audience?  do not use the extract printed in question 1 when answering this question.content removed due to copyright restrictions.",
            "4": "4 0486/22/f/m/17 \u00a9 ucles 2017 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: eddie: yeah, it\u2019s nice. and what happened to your hair? content removed due to copyright restrictions.",
            "5": "5 0486/22/f/m/17 \u00a9 ucles 2017 [turn over eddie: her cousins landed. [from act 1] how does miller vividly portray the relationship between eddie and catherine at this early  moment in the play? or \u20204 how far does miller make you sympathise with beatrice?content removed due to copyright restrictions.",
            "6": "6 0486/22/f/m/17 \u00a9 ucles 2017 j b priestley: an inspector calls remember to support your ideas with details from the writing. either *5 read this passage carefully, and then answer the question that follows it: birling [harshly ]: so you had to go to bed with her? content removed due to copyright restrictions.",
            "7": "7 0486/22/f/m/17 \u00a9 ucles 2017 [turn over birling [angrily ]: don\u2019t talk to me like that. your trouble is \u2013 you\u2019ve been  spoilt \u2013 [from act 3] in what ways does priestley make this a dramatic and revealing moment in the play? or \u20206  explore two moments in the play that priestley\u2019s writing makes particularly shocking for  you.content removed due to copyright restrictions.",
            "8": "8 0486/22/f/m/17 \u00a9 ucles 2017 william shakespeare: henry v remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it: gower:  how now, captain fluellen! come you from the bridge? fluellen:  i assure you there is very excellent services committed at the bridge. gower:  is the duke of exeter safe? fluellen:  the duke of exeter is as magnanimous as agamemnon; and a man  that i love and honour with my soul, and my heart, and my duty, and  my live, and my living, and my uttermost power. he is not \u2013 god be  praised and blessed! \u2013 any hurt in the world, but keeps the bridge most  valiantly, with excellent discipline. there is an aunchient lieutenant  there at the bridge \u2013 i think in my very conscience he is as valiant a  man as mark antony; and he is a man of no estimation in the world; but  i did see him do as gallant service. gower:  what do you call him? fluellen:  he is call\u2019d aunchient pistol. gower:  i know him not.  enter pistol . fluellen:  here is the man. pistol:  captain, i thee beseech to do me favours.   the duke of exeter doth love thee well. fluellen:  ay, i praise god; and i have merited some love at his hands. pistol:  bardolph, a soldier, firm and sound of heart,  and of buxom valour, hath by cruel fate  and giddy fortune\u2019s furious fickle wheel,  that goddess blind,  that stands upon the rolling restless stone \u2013 fluellen:  by your patience, aunchient pistol. fortune is painted blind, with a  muffler afore her eyes, to signify to you that fortune is blind; and she  is painted also with a wheel, to signify to you, which is the moral of it,  that she is turning, and inconstant, and mutability, and variation; and  her foot, look you, is fixed upon a spherical stone, which rolls, and rolls,  and rolls. in good truth, the poet makes a most excellent description of  it: fortune is an excellent moral. pistol:  fortune is bardolph\u2019s foe, and frowns on him;  for he hath stol\u2019n a pax, and hanged must \u2019a be \u2013  a damned death!  let gallows gape for dog; let man go free,  and let not hemp his windpipe suffocate.  but exeter hath given the doom of death  for pax of little price.  therefore, go speak \u2013 the duke will hear thy voice;  and let not bardolph\u2019s vital thread be cut  with edge of penny cord and vile reproach.  speak, captain, for his life, and i will thee requite. fluellen:  aunchient pistol, i do partly understand your meaning. pistol:  why then, rejoice therefore.5 10 15 20 25 30 35 40",
            "9": "9 0486/22/f/m/17 \u00a9 ucles 2017 [turn over fluellen:  certainly, aunchient, it is not a thing to rejoice at; for if, look you, he  were my brother, i would desire the duke to use his good pleasure,  and put him to execution; for discipline ought to be used. pistol:  die and be damn\u2019d! and figo for thy friendship! fluellen:  it is well. pistol:  the fig of spain!  [exit. [from act 3 ] explore how shakespeare makes this moment in the play both amusing and serious. or \u20208 the king of france says: \u2018think we king harry strong\u2019. do you agree that shakespeare portrays henry as a strong king?45 50",
            "10": "10 0486/22/f/m/17 \u00a9 ucles 2017 william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: portia:  a pound of that same merchant\u2019s flesh is thine.  the court awards it and the law doth give it. shylock:  most rightful judge! portia:  and you must cut this flesh from off his breast.  the law allows it and the court awards it. shylock:  most learned judge! a sentence! come, prepare. portia:  tarry a little; there is something else.  this bond doth give thee here no jot of blood:  the words expressly are \u2018a pound of flesh\u2019.  take then thy bond, take thou thy pound of flesh;  but, in the cutting it, if thou dost shed  one drop of christian blood, thy lands and goods  are, by the laws of venice, confiscate  unto the state of venice. gratiano:  o upright judge! mark, jew. o learned judge! shylock:  is that the law? portia :  thyself shalt see the act;  for, as thou urgest justice, be assur\u2019d  thou shalt have justice, more than thou desir\u2019st. gratiano:  o learned judge! mark, jew. a learned judge! shylock:  i take this offer then: pay the bond thrice,  and let the christian go. bassanio:   here is the money. portia:  soft!  the jew shall have all justice. soft! no haste.  he shall have nothing but the penalty. gratiano:  o jew! an upright judge, a learned judge! portia:  therefore, prepare thee to cut off the flesh.  shed thou no blood, nor cut thou less nor more  but just a pound of flesh; if thou tak\u2019st more  or less than a just pound \u2013 be it but so much  as makes it light or heavy in the substance,  or the divison of the twentieth part  of one poor scruple; nay, if the scale do turn  but in the estimation of a hair \u2013  thou diest, and all thy goods are confiscate. gratiano:  a second daniel, a daniel, jew!  now, infidel, i have you on the hip. portia:  why doth the jew pause? take thy forfeiture. shylock:  give me my principal, and let me go. bassanio:  i have it ready for thee; here it is. portia:  he hath refus\u2019d it in the open court;  he shall have merely justice, and his bond.5 10 15 20 25 30 35 40",
            "11": "11 0486/22/f/m/17 \u00a9 ucles 2017 gratiano:  a daniel still say i, a second daniel!  i thank thee, jew, for teaching me that word. shylock:  shall i not have barely my principal? portia:  thou shalt have nothing but the forfeiture  to be so taken at thy peril, jew. shylock:  why, then the devil give him good of it!  i\u2019ll stay no longer question. [from act 4 ] in what ways does shakespeare make this such a memorable moment in the play? or \u202010 do you think shakespeare presents money as more important than love in the play?45 50",
            "12": "12 0486/22/f/m/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m17_qp_32.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (st) 142992/1 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *0767478245*literature (english)  0486/32 paper 3  drama (open text)  february/march 2017  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/32/f/m/17 \u00a9 ucles 2017 j lawrence & r e lee: inherit the wind remember to support your ideas with details from the writing. either 1 read this passage carefully, and then answer the question that follows it: brady [red-faced, his larynx taut, roaring stridently.]: as they would look  to the mountains whence cometh our strength.  content removed due to copyright restrictions",
            "3": "3 0486/32/f/m/17 \u00a9 ucles 2017 [turn over drummond : you won. [from the final act] how do the writers make this moment towards the end of the play so powerfully dramatic? or 2 to what extent do the writers make hornbeck a character who entertains the audience?  do not use the extract printed in question 1 when answering this question.content removed due to copyright restrictions.",
            "4": "4 0486/32/f/m/17 \u00a9 ucles 2017 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: eddie: yeah, it\u2019s nice. and what happened to your hair? content removed due to copyright restrictions.",
            "5": "5 0486/32/f/m/17 \u00a9 ucles 2017 [turn over eddie: her cousins landed. [from act 1] how does miller vividly portray the relationship between eddie and catherine at this early  moment in the play? or 4 how far does miller make you sympathise with beatrice?content removed due to copyright restrictions.",
            "6": "6 0486/32/f/m/17 \u00a9 ucles 2017 j b priestley: an inspector calls remember to support your ideas with details from the writing. either 5 read this passage carefully, and then answer the question that follows it: birling [harshly ]: so you had to go to bed with her? content removed due to copyright restrictions.",
            "7": "7 0486/32/f/m/17 \u00a9 ucles 2017 [turn over birling [angrily ]: don\u2019t talk to me like that. your trouble is \u2013 you\u2019ve been  spoilt \u2013 [from act 3] in what ways does priestley make this a dramatic and revealing moment in the play? or 6  explore two moments in the play that priestley\u2019s writing makes particularly shocking for  you.content removed due to copyright restrictions.",
            "8": "8 0486/32/f/m/17 \u00a9 ucles 2017 william shakespeare: henry v remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it: gower:  how now, captain fluellen! come you from the bridge? fluellen:  i assure you there is very excellent services committed at the bridge. gower:  is the duke of exeter safe? fluellen:  the duke of exeter is as magnanimous as agamemnon; and a man  that i love and honour with my soul, and my heart, and my duty, and  my live, and my living, and my uttermost power. he is not \u2013 god be  praised and blessed! \u2013 any hurt in the world, but keeps the bridge most  valiantly, with excellent discipline. there is an aunchient lieutenant  there at the bridge \u2013 i think in my very conscience he is as valiant a  man as mark antony; and he is a man of no estimation in the world; but  i did see him do as gallant service. gower:  what do you call him? fluellen:  he is call\u2019d aunchient pistol. gower:  i know him not.  enter pistol . fluellen:  here is the man. pistol:  captain, i thee beseech to do me favours.   the duke of exeter doth love thee well. fluellen:  ay, i praise god; and i have merited some love at his hands. pistol:  bardolph, a soldier, firm and sound of heart,  and of buxom valour, hath by cruel fate  and giddy fortune\u2019s furious fickle wheel,  that goddess blind,  that stands upon the rolling restless stone \u2013 fluellen:  by your patience, aunchient pistol. fortune is painted blind, with a  muffler afore her eyes, to signify to you that fortune is blind; and she  is painted also with a wheel, to signify to you, which is the moral of it,  that she is turning, and inconstant, and mutability, and variation; and  her foot, look you, is fixed upon a spherical stone, which rolls, and rolls,  and rolls. in good truth, the poet makes a most excellent description of  it: fortune is an excellent moral. pistol:  fortune is bardolph\u2019s foe, and frowns on him;  for he hath stol\u2019n a pax, and hanged must \u2019a be \u2013  a damned death!  let gallows gape for dog; let man go free,  and let not hemp his windpipe suffocate.  but exeter hath given the doom of death  for pax of little price.  therefore, go speak \u2013 the duke will hear thy voice;  and let not bardolph\u2019s vital thread be cut  with edge of penny cord and vile reproach.  speak, captain, for his life, and i will thee requite. fluellen:  aunchient pistol, i do partly understand your meaning. pistol:  why then, rejoice therefore.5 10 15 20 25 30 35 40",
            "9": "9 0486/32/f/m/17 \u00a9 ucles 2017 [turn over fluellen:  certainly, aunchient, it is not a thing to rejoice at; for if, look you, he  were my brother, i would desire the duke to use his good pleasure,  and put him to execution; for discipline ought to be used. pistol:  die and be damn\u2019d! and figo for thy friendship! fluellen:  it is well. pistol:  the fig of spain!  [exit. [from act 3 ] explore how shakespeare makes this moment in the play both amusing and serious. or 8 the king of france says: \u2018think we king harry strong\u2019. do you agree that shakespeare portrays henry as a strong king?45 50",
            "10": "10 0486/32/f/m/17 \u00a9 ucles 2017 william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: portia:  a pound of that same merchant\u2019s flesh is thine.  the court awards it and the law doth give it. shylock:  most rightful judge! portia:  and you must cut this flesh from off his breast.  the law allows it and the court awards it. shylock:  most learned judge! a sentence! come, prepare. portia:  tarry a little; there is something else.  this bond doth give thee here no jot of blood:  the words expressly are \u2018a pound of flesh\u2019.  take then thy bond, take thou thy pound of flesh;  but, in the cutting it, if thou dost shed  one drop of christian blood, thy lands and goods  are, by the laws of venice, confiscate  unto the state of venice. gratiano:  o upright judge! mark, jew. o learned judge! shylock:  is that the law? portia :  thyself shalt see the act;  for, as thou urgest justice, be assur\u2019d  thou shalt have justice, more than thou desir\u2019st. gratiano:  o learned judge! mark, jew. a learned judge! shylock:  i take this offer then: pay the bond thrice,  and let the christian go. bassanio:   here is the money. portia:  soft!  the jew shall have all justice. soft! no haste.  he shall have nothing but the penalty. gratiano:  o jew! an upright judge, a learned judge! portia:  therefore, prepare thee to cut off the flesh.  shed thou no blood, nor cut thou less nor more  but just a pound of flesh; if thou tak\u2019st more  or less than a just pound \u2013 be it but so much  as makes it light or heavy in the substance,  or the divison of the twentieth part  of one poor scruple; nay, if the scale do turn  but in the estimation of a hair \u2013  thou diest, and all thy goods are confiscate. gratiano:  a second daniel, a daniel, jew!  now, infidel, i have you on the hip. portia:  why doth the jew pause? take thy forfeiture. shylock:  give me my principal, and let me go. bassanio:  i have it ready for thee; here it is. portia:  he hath refus\u2019d it in the open court;  he shall have merely justice, and his bond.5 10 15 20 25 30 35 40",
            "11": "11 0486/32/f/m/17 \u00a9 ucles 2017 gratiano:  a daniel still say i, a second daniel!  i thank thee, jew, for teaching me that word. shylock:  shall i not have barely my principal? portia:  thou shalt have nothing but the forfeiture  to be so taken at thy peril, jew. shylock:  why, then the devil give him good of it!  i\u2019ll stay no longer question. [from act 4 ] in what ways does shakespeare make this such a memorable moment in the play? or 10 do you think shakespeare presents money as more important than love in the play?45 50",
            "12": "12 0486/32/f/m/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_m17_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (km)) 133325/3 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *5564771176*literature (english)  0486/42 paper 4  unseen  february/march 2017  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/42/f/m/17 \u00a9 ucles 2017 answer either  question 1 or question 2. either 1 read carefully the poem opposite. the poet is sitting on the beach waiting for her lover to join her.  how does the poet vividly present her thoughts and feelings?  to help you answer this question, you might consider:   \u2022 how the poet creates the mood and atmosphere of the first nine lines   \u2022 how the poet conveys her state of mind   \u2022 the impact that the language of the last five lines has on you.",
            "3": "3 0486/42/f/m/17 \u00a9 ucles 2017 [turn over a walk on the beach nothing but quiet air and the settling, breathing sound of millions of tiny crabs, scattered like seed over miles of puddled sand.soon i\u2019ll hear the scuff and flap of your thongs 1 cantering down the long slope to the beach.as you come to find me here, in the heelof the bay, half-submerged in warmth among littered shells and dry, whiskery weed, my blood will rise to meet you like a wave.if afterwards we walk out hand in handto the pale, flickering margin of the sea,don\u2019t talk today \u2013 today at least \u2013 of the pricethat\u2019s paid for such a simple freedom, of how we could never stroll, leisured, well-fed, in our tee-shirts from taiwan, swinging mywoven filipino 2 beach-bag, unless half the world suffered deprivation.don\u2019t say, if no-one\u2019s to go to bed hungry, all this \u2013 what we have, what we are \u2013 must utterly change.no, not today. let\u2019s walk in the soft airhands laced quietly together, our smooth barearms touching. let\u2019s smile in each other\u2019s eyesas the crabs writhe and splinter underfoot in the long, murderous barrage 3 of our tread. 1 thongs: a type of sandals 2 filipino : from the philippines 3 barrage : continuous attack",
            "4": "4 0486/42/f/m/17 \u00a9 ucles 2017 or 2 read carefully the extract opposite, from a novel set in north africa. port, a tourist, has decided to  go for an evening walk by himself. he finds himself in unfamiliar surroundings at the edge of the  city.  how does the writer convey tension and suspense?  to help you answer this question, you might consider:   \u2022 the effects he creates through the stone throwing incident   \u2022 how the description of port\u2019s surroundings emphasises his isolation   \u2022 how the writer makes the end of the extract so unsettling.",
            "5": "5 0486/42/f/m/17 \u00a9 ucles 2017  the street lights were very far apart now, and the streets had left off being paved.  still there were children in the gutters, playing with the garbage and screeching. a  small stone suddenly hit him in the back. he wheeled about, but it was too dark to  see where it had come from. a few seconds later another stone, coming from in front  of him, landed against his knee. in the dim light, he saw a group of small children  scattering before him. more stones came from the other direction, this time without  hitting him. when he got beyond, to a point where there was a light, he stopped and  tried to watch the two groups in battle, but they all ran off into the dark, and so he  started up again, his gait as mechanical and rhythmical as before. a wind that was  dry and warm, coming up the street out of the blackness before him, met him head  on. he sniffed at the fragments of mystery in it, and again he felt an unaccustomed  exaltation.  even though the street became constantly less urban, it seemed reluctant to  give up; huts continued to line it on both sides. beyond a certain point there were no  more lights, and the dwellings themselves lay in darkness. the wind, straight from  the south, blew across the barren mountains that were invisible ahead of him, over  the vast flat sebkha1 to the edges of the town, raising curtains of dust that climbed  to the crest of the hill and lost themselves in the air above the harbour. he stood  still. the last possible suburb had been strung on the street\u2019s thread. beyond the  final hut the garbage and rubble floor of the road sloped abruptly downward in three  directions. in the dimness below were shallow, crooked canyon-like formations. port  raised his eyes to the sky: the powdery course of the milky way2 was like a giant  rift across the heavens that let the faint white light through. in the distance he heard  a motor-cycle. when its sound was finally gone, there was nothing to hear but an  occasional cock-crow, like the highest part of a repeated melody whose other notes  were inaudible.  he started down the bank to the right, sliding among the fish skeletons and dust.  once below, he felt out a rock that seemed clean and sat down on it. the stench  was overpowering. he lit a match, saw the ground thick with chicken feathers and  decayed melon rinds. as he rose to his feet he heard steps above him at the end  of the street. a figure stood at the top of the embankment. it did not speak, yet port  was certain that it had seen him, had followed him, and knew he was sitting down  there. it lit a cigarette, and for a moment he saw an arab wearing a chechia3 on his  head. the match, thrown into the air, made a fading parabola, the face disappeared,  and only the red point of the cigarette remained. the cock crowed several times.   finally the man cried out. \t \u2018qu\u2019est-ce \tti\tcherches \tl\u00e0?\u2019\t\u200a4  \u2018here\u2019s where the trouble begins,\u2019 thought port. he did not move. 1 sebkha : area of salt-encrusted land 2 the\tmilky\tway\u200a: band of stars 3 chechia : a type of cap 4 qu\u2019est-ce \tti\tcherches \tl\u00e0?\u200a: french dialect for \u201cwhat are you looking for there?\u201d",
            "6": "6 0486/42/f/m/17 \u00a9 ucles 2017 blank page",
            "7": "7 0486/42/f/m/17 \u00a9 ucles 2017 blank page",
            "8": "8 0486/42/f/m/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s17_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (jda)) 133611/3 \u00a9 ucles 2017 [turn overcambridge international examinations cambridge international general certificate of secondary education *2920073150*literature (english) 0486/11 paper 1  poetry and prose may/june 2017 1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b.all questions in this paper carry equal marks.",
            "2": "2 0486/11/m/j/17 \u00a9 ucles 2017 blank page",
            "3": "3 0486/11/m/j/17 \u00a9 ucles 2017 [turn over contents section a: poetry text question numbers page[s] songs of ourselves volume 1: from part 5 1, 2 pages 4\u20135 songs of ourselves volume 2\u200a: from part 1 3, 4 pages 6\u20137 gillian clarke: from collected poems  5, 6 pages 8\u20139 section b: prose text questionnumbers page[s] chinua achebe: no longer at ease  7, 8 pages 10\u201311 jane austen: mansfield park 9, 10 pages 12\u201313 willa cather: my \u00e1ntonia 11, 12 pages 14\u201315 george eliot: silas marner  13, 14 pages 16\u201317 michael frayn:  spies 15, 16 pages 18\u201319 kate grenville:  the secret river 17, 18 pages 20\u201321 r k narayan: the english teacher  19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/11/m/j/17 \u00a9 ucles 2017 section a: poetry answer one question from this section. songs of ourselves volume 1: from part 5 remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: one art the art of losing isn\u2019t hard to master; so many things seem filled with the intentto be lost that their loss is no disaster. lose something every day. accept the fluster of lost door keys, the hour badly spent.the art of losing isn\u2019t hard to master. then practice losing farther, losing faster: places, and names, and where it was you meantto travel. none of these will bring disaster. i lost my mother\u2019s watch. and look! my last, or next-to-last, of three loved houses went.the art of losing isn\u2019t hard to master. i lost two cities, lovely ones. and, vaster, some realms i owned, two rivers, a continent.i miss them, but it wasn\u2019t a disaster. \u2013 even losing you (the joking voice, a gesture i love) i shan\u2019t have lied. it\u2019s evidentthe art of losing\u2019s not too hard to masterthough it may look like ( write it!) like disaster. (elizabeth bishop )   how does bishop create a tone that is both serious and amusing in this poem?5 10 15",
            "5": "5 0486/11/m/j/17 \u00a9 ucles 2017 [turn over or 2 in what ways does nichols use imagery to memorable effect in praise song for my  mother  ? praise song for my mother you were water to me deep and bold and fathoming you were moon\u2019s eye to me pull and grained and mantling you were sunrise to me rise and warm and streaming you were the fishes red gill to me the flame tree\u2019s spread to me the crab\u2019s leg/the fried plantain smell replenishing replenishing go to your wide futures, you said (grace nichols\u200a )5 10 15",
            "6": "6 0486/11/m/j/17 \u00a9 ucles 2017 songs of ourselves volume 2 : from part 1 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: the clod and the pebble \u2018love seeketh not itself to please, nor for itself hath any care, but for another gives its ease, and builds a heaven in hell\u2019s despair.\u2019 so sung a little clod of clay trodden with the cattle\u2019s feet, but a pebble of the brook warbled out these metres meet: \u2018love seeketh only self to please, to bind another to its delight, joys in another\u2019s loss of ease, and builds a hell in heaven\u2019s despite.\u2019 (william blake )   in what ways does blake powerfully present ideas about love in this poem?5 10",
            "7": "7 0486/11/m/j/17 \u00a9 ucles 2017 [turn over or 4 explore how jones uses words and images to striking effect in tiger in the menagerie . tiger in the menagerie no one could say how the tiger got into the menagerie. it was too flash, too blue, too much like the painting of a tiger. at night the bars of the cage and the stripes of the tiger looked into each other so long that when it was time for those eyes to rock shut the bars were the lashes of the stripes the stripes were the lashes of the bars and they walked together in their dreams so long through the long colonnade that shed its fretwork to the indian main that when the sun rose they\u2019d gone and the tiger was one clear orange eye that walked into the menagerie. no one could say how the tiger got out in the menagerie. it was too bright, too bare. if the menagerie could, it would say \u2018tiger\u2019. if the aviary could, it would lock its door. its heart began to beat in rows of rising birds when the tiger came inside to wait. (emma jones )5 10 15",
            "8": "8 0486/11/m/j/17 \u00a9 ucles 2017 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: my box my box is made of golden oak, my lover\u2019s gift to me. he fitted hinges and a lock of brass and a bright key. he made it out of winter nights, sanded and oiled and planed, engraved inside the heavy lid in brass, a golden tree. in my box are twelve black books where i have written down how we have sanded, oiled and planed, planted a garden, built a wall, seen jays and goldcrests, rare red kites, found the wild heartsease, drilled a well, harvested apples and words and days and planted a golden tree. on an open shelf i keep my box. its key is in the lock. i leave it there for you to read, or them, when we are dead, how everything is slowly made, how slowly things made me, a tree, a lover, words, a box, books and a golden tree.   how does clarke\u2019s writing make this poem such a moving expression of love?5 10 15 20",
            "9": "9 0486/11/m/j/17 \u00a9 ucles 2017 [turn over or 6 explore the ways in which clarke makes friesian bull  such a powerful picture of an  animal. friesian bull he blunders through the last dream of the night. i hear him, waking. a brick and concrete stall, narrow as a heifer\u2019s haunches. steel bars between her trap and his small yard. a froth of slobbered hay droops from the stippled muzzle. in the slow rolling mass of his skull his eyes surface like fish bellies. he is chained while they swill his floor. his stall narrows to rage. he knows the sweet smell of a heifer\u2019s fear. remembered summer haysmells reach him, a trace of the herd\u2019s freedom, clover- loaded winds. the thundering speed blows up the dee breathing of plains, of cattle wading in shallows. his crazy eyes churn with their vision.5 10 15",
            "10": "10 0486/11/m/j/17 \u00a9 ucles 2017 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: there were hundreds of people at obi\u2019s reception.  content removed due to copyright restrictions. ",
            "11": "11 0486/11/m/j/17 \u00a9 ucles 2017 [turn over \u2018and we shall  break it in the christian way,\u2019  he said as he fished out a kola nut. [from chapter 5]   how does achebe vividly portray the welcome obi receives at this moment in the novel? or 8 explore the ways in which achebe shows characters behaving hypocritically in this novel. ",
            "12": "12 0486/11/m/j/17 \u00a9 ucles 2017 jane austen: mansfield park remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: sir thomas came towards the table where she sat in trembling  wretchedness, and with a good deal of cold sternness, said, \u201cit is of no  use, i perceive, to talk to you. we had better put an end to this most  mortifying conference. mr. crawford must not be kept longer waiting. i  will, therefore, only add, as thinking it my duty to mark my opinion of your  conduct  \u2014 that you have disappointed every expectation i had formed, and  proved yourself of a character the very reverse of what i had supposed.  for i had, fanny, as i think my behaviour must have shewn, formed a  very favourable opinion of you from the period of my return to england.  i had thought you peculiarly free from wilfulness of temper, self-conceit,  and every tendency to that independence of spirit, which prevails so much  in modern days, even in young women, and which in young women is  offensive and disgusting beyond all common offence. but you have now  shewn me that you can be wilful and perverse, that you can and will decide  for yourself, without any consideration or deference for those who have  surely some right to guide you  \u2014 without even asking their advice. you  have shewn yourself very, very different from anything that i had imagined.  the advantage or disadvantage of your family  \u2014 of your parents  \u2014 your  brothers and sisters  \u2014 never seems to have had a moment\u2019s share in your  thoughts on this occasion. how they might be benefited, how they must  rejoice in such an establishment for you  \u2014 is nothing to you. you think only  of yourself; and because you do not feel for mr. crawford exactly what a  young, heated fancy imagines to be necessary for happiness, you resolve  to refuse him at once, without wishing even for a little time to consider of  it \u2014 a little more time for cool consideration, and for really examining your  own inclinations  \u2014 and are, in a wild fit of folly, throwing away from you such  an opportunity of being settled in life, eligibly, honourably, nobly settled, as  will, probably, never occur to you again. here is a young man of sense, of  character, of temper, of manners, and of fortune, exceedingly attached to  you, and seeking your hand in the most handsome and disinterested way;  and let me tell you, fanny, that you may live eighteen years longer in the  world, without being addressed by a man of half mr. crawford\u2019s estate,  or a tenth part of his merits. gladly would i have bestowed either of my  own daughters on him. maria is nobly married  \u2014 but had mr. crawford  sought julia\u2019s hand, i should have given it to him with superior and more  heartfelt satisfaction than i gave maria\u2019s to mr. rushworth.\u201d after half a  moment\u2019s pause  \u2014 \u201cand i should have been very much surprised had  either of my daughters, on receiving a proposal of marriage at any time,  which might carry with it only half the eligibility of this, immediately and  peremptorily, and without paying my opinion or my regard, the compliment  of any consultation, put a decided negative on it. i should have been much  surprised, and much hurt, by such a proceeding. i should have thought it a  gross violation of duty and respect. you are not to be judged by the same  rule. you do not owe me the duty of a child. but fanny, if your heart can  acquit you of ingratitude  \u2014 \u201d he ceased. fanny was by this time crying so bitterly, that angry as he  was, he would not press that article farther. her heart was almost broke  by such a picture of what she appeared to him; by such accusations, so 5 10 15 20 25 30 35 40 45",
            "13": "13 0486/11/m/j/17 \u00a9 ucles 2017 [turn over heavy, so multiplied, so rising in dreadful gradation! self-willed, obstinate,  selfish, and ungrateful. he thought her all this. she had deceived his  expectations; she had lost his good opinion. what was to become of her? \u201ci am very sorry,\u201d said she inarticulately through her tears, \u201ci am very  sorry indeed.\u201d \u201csorry! yes, i hope you are sorry; and you will probably have reason to  be long sorry for this day\u2019s transactions.\u201d \u201cif it were possible for me to do otherwise,\u201d said she with another strong  effort, \u201cbut i am so perfectly convinced that i could never make him happy,  and that i should be miserable myself.\u201d [from chapter 32]   how does austen make this such a powerful moment in the novel? or 10 in what ways does austen make the visit to sotherton so memorable?50 55",
            "14": "14 0486/11/m/j/17 \u00a9 ucles 2017 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: when pavel and peter were young men, living at home in russia, they  were asked to be groomsmen for a friend who was to marry the belle of  another village. it was in the dead of winter and the groom\u2019s party went over to the wedding in sledges. peter and pavel drove in the groom\u2019s sledge, and six sledges followed with all his relatives and friends. after the ceremony at the church, the party went to a dinner given by  the parents of the bride. the dinner lasted all afternoon; then it became a supper and continued far into the night. there was much dancing and drinking. at midnight the parents of the bride said good-bye to her and blessed her. the groom took her up in his arms and carried her out to his sledge and tucked her under the blankets. he sprang in beside her, and pavel and peter (our pavel and peter!) took the front seat. pavel drove. the party set out with singing and the jingle of sleigh-bells, the groom\u2019s sledge going first. all the drivers were more or less the worse for merry-making, and the groom was absorbed in his bride. the wolves were bad that winter, and everyone knew it, yet when they  heard the first wolf-cry, the drivers were not much alarmed. they had too much good food and drink inside them. the first howls were taken up and echoed and with quickening repetitions. the wolves were coming together. there was no moon, but the starlight was clear on the snow. a black drove came up over the hill behind the wedding party. the wolves ran like streaks of shadow; they looked no bigger than dogs, but there were hundreds of them. something happened to the hindmost sledge: the driver lost control \u2014  he was probably very drunk \u2014 the horses left the road, the sledge was caught in a clump of trees, and overturned. the occupants rolled out over the snow, and the fleetest of the wolves sprang upon them. the shrieks that followed made everybody sober. the drivers stood up and lashed their horses. the groom had the best team and his sledge was lightest \u2014 all the others carried from six to a dozen people. another driver lost control. the screams of the horses were more terrible  to hear than the cries of the men and women. nothing seemed to check the wolves. it was hard to tell what was happening in the rear; the people who were falling behind shrieked as piteously as those who were already lost. the little bride hid her face on the groom\u2019s shoulder and sobbed. pavel sat still and watched his horses. the road was clear and white, and the groom\u2019s three blacks went like the wind. it was only necessary to be calm and to guide them carefully. at length, as they breasted a long hill, peter rose cautiously and looked  back. \u2018there are only three sledges left,\u2019 he whispered. \u2018and the wolves?\u2019 pavel asked.\u2018enough! enough for all of us.\u2019pavel reached the brow of the hill, but only two sledges followed him  down the other side. in that moment on the hilltop, they saw behind them a whirling black group on the snow. presently the groom screamed. he saw his father\u2019s sledge overturned, with his mother and sisters. he sprang up as if he meant to jump, but the girl shrieked and held him back. it was even then too late. the black ground-shadows were already crowding over 5 10 15202530354045",
            "15": "15 0486/11/m/j/17 \u00a9 ucles 2017 [turn over the heap in the road, and one horse ran out across the fields, his harness  hanging to him, wolves at his heels. but the groom\u2019s movement had given  pavel an idea. they were within a few miles of their village now. the only sledge left  out of six was not very far behind them, and pavel\u2019s middle horse was  failing. beside a frozen pond something happened to the other sledge;  peter saw it plainly. three big wolves got abreast of the horses, and the  horses went crazy. they tried to jump over each other, got tangled up in  the harness, and overturned the sledge. when the shrieking behind them died away, pavel realized that he was  alone upon the familiar road. \u2018they still come?\u2019 he asked peter. \u2018yes.\u2019 \u2018how many?\u2019 \u2018twenty, thirty  \u2014 enough.\u2019 now his middle horse was being almost dragged by the other two. pavel  gave peter the reins and stepped carefully into the back of the sledge. he  called to the groom that they must lighten  \u2014 and pointed to the bride. the  young man cursed him and held her tighter. pavel tried to drag her away.  in the struggle, the groom rose. pavel knocked him over the side of the  sledge and threw the girl after him. he said he never remembered exactly  how he did it, or what happened afterward. peter, crouching in the front  seat, saw nothing. the first thing either of  them noticed was a new sound  that broke into the clear air, louder than they had ever heard it before\u2014the  bell of the monastery of their own village, ringing for early prayers. pavel and peter drove into the village alone, and they had been alone  ever since. they were run out of their village. pavel\u2019s own mother would  not look at him. they went away to strange towns, but when people  learned where they came from, they were always asked if they knew  the two men who had fed the bride to the wolves. wherever they went,  the story followed them. it took them five years to save money enough  to come to america. they worked in chicago, des moines, fort wayne,  but they were always unfortunate. when pavel\u2019s health grew so bad, they  decided to try farming. [from book 1 chapter 8]   how does cather make this extract such a dramatic part of the novel? or 12 to what extent does cather make you feel disappointed that jim and \u00e1ntonia do not  marry?50 55 60 65 70 75 80",
            "16": "16 0486/11/m/j/17 \u00a9 ucles 2017 george eliot: silas marner remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: with that, dunstan slammed the door behind him, and left godfrey  to that bitter rumination on his personal circumstances which was now  unbroken from day to day save by the excitement of sporting, drinking,  card-playing, or the rarer and less oblivious pleasure of seeing miss  nancy lammeter. the subtle and varied pains springing from the higher  sensibility that accompanies higher culture, are perhaps less pitiable  than that dreary absence of impersonal enjoyment and consolation which  leaves ruder minds to the perpetual urgent companionship of their own  griefs and discontents. the lives of those rural forefathers, whom we are  apt to think very prosaic figures \u2013 men whose only work was to ride round  their land, getting heavier and heavier in their saddles, and who passed  the rest of their days in the half-listless gratification of senses dulled by  monotony \u2013 had a certain pathos in them nevertheless. calamities came  to them too, and their early errors carried hard consequences: perhaps  the love of some sweet maiden, the image of purity, order, and calm, had  opened their eyes  to the vision of a life in which the days would not seem  too long, even without rioting; but the maiden was lost, and the vision  passed away, and then what was left to them, especially when they had  become too heavy for the hunt, or for carrying a gun over the furrows, but  to drink and get merry, or to drink and get angry, so that they might be  independent of variety, and say over again with eager emphasis the things  they had said already any time that twelve-month? assuredly, among  these flushed and dull-eyed men there were some whom \u2013 thanks to their  native human-kindness \u2013 even riot could never drive into brutality; men  who, when their cheeks were fresh, had felt the keen point of sorrow or  remorse, had been pierced by the reeds they leaned on, or had lightly put  their limbs in fetters from which no struggle could loose them; and under  these sad circumstances, common to us all, their thoughts could find no  resting-place outside the ever-trodden round of their own petty history. that, at least, was the condition of godfrey cass in this six-and- twentieth year of his life. a movement of compunction, helped by those  small indefinable influences which every personal relation exerts on a  pliant nature, had urged him into a secret marriage, which was a blight  on his life. it was an ugly story of low passion, delusion, and waking from  delusion, which needs not to be dragged from the privacy of godfrey\u2019s  bitter memory. he had long known that the delusion was partly due to a  trap laid for him by dunstan, who saw in his brother\u2019s degrading marriage  the means of gratifying at once his jealous hate and his cupidity. and if  godfrey could have felt himself simply a victim, the iron bit that destiny  had put into his mouth would have chafed him less intolerably. if the  curses he muttered half aloud when he was alone had had no other object  than dunstan\u2019s diabolical cunning, he might have shrunk less from the  consequences of avowal. but he had something else to curse \u2013 his own  vicious folly, which now seemed as mad and unaccountable to him as  almost all our follies and vices do when their promptings have long passed  away. for four years he had thought of nancy lammeter, and wooed her  with tacit patient worship as the woman who made him think of the future  with joy: she would be his wife, and would make home lovely to him, as his 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/11/m/j/17 \u00a9 ucles 2017 [turn over father\u2019s home had never been; and it would be easy, when she was always  near, to shake off those foolish habits that were no pleasures, but only a  feverish way of  annulling vacancy. godfrey\u2019s was an essentially domestic  nature, bred up in a home where the hearth had no smiles, and where  the daily habits were not chastised by the presence of household order.  his easy disposition made him fall in unresistingly with the family courses,  but the need of some tender permanent affection, the longing for some  influence that would make the good he preferred easy to pursue, caused  the neatness, purity, and liberal orderliness of the lammeter household,  sunned by the smile of nancy, to seem like those fresh bright hours of  the morning when temptations go to sleep and leave the ear open to the  voice of the good angel, inviting to industry, sobriety, and peace. and yet  the hope of this paradise had not been enough to save him from a course  which shut him out of it for ever. instead of keeping fast hold of the strong  silken rope by which nancy would have drawn him safe to the green banks  where it was easy to step firmly, he had let himself be dragged back into  mud and slime, in which it was useless to struggle. he had made ties for  himself which robbed him of all wholesome motive and were a constant  exasperation. still, there was one position worse than the present: it was the position  he would be in when the ugly secret was disclosed; and the desire that  continually triumphed over every other was that of warding off the evil  day, when he would have to bear the consequences of his father\u2019s violent  resentment for the wound inflicted on his family pride \u2013 would have,  perhaps, to turn his back on that hereditary ease and dignity which, after all,  was a sort of reason for living, and would carry with him the certainty that  he was banished for ever from the sight and esteem of nancy lammeter. [from part 1 chapter 3]   does eliot make you feel any sympathy at all for godfrey at this moment in the novel? or 14 in what ways does eliot make silas\u2019s departure from lantern yard such a powerful part  of the novel?50 55 60 65 70 75",
            "18": "18 0486/11/m/j/17 \u00a9 ucles 2017 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: i\u2019m woken from the depths of a deep and dreamless sleep by the uneasy  feeling that something\u2019s wrong. content removed due to copyright restrictions.",
            "19": "19 0486/11/m/j/17 \u00a9 ucles 2017 [turn over  and once  again i feel the cold prickling in the nape of my neck. [from chapter 10]   how does frayn\u2019s writing convey stephen\u2019 s fear so vividly at this moment in the novel? or 16 what vivid impressions does frayn create for you of the older stephen? content removed due to copyright restrictions.",
            "20": "20 0486/11/m/j/17 \u00a9 ucles 2017 kate grenville: the secret river remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: the shadow slid up the golden cliffs opposite and turned them to lead. as  darkness fell, the distorted trees went on holding the fraction of light in the  air. the thornhills squatted around the fire listening to the night, feeling its  weight at their backs. beyond the circle of light, the darkness was full of  secretive noises, ticks and creaks, sudden rustlings and snappings, an  insistent tweeting. shafts of cold air like the draught from a window stirred  the trees. from the river the frogs popped and ponked. as the night deepened they hunched closer around the fire, feeding it  so that as soon as it began to die it flamed up again and filled the clearing  with jerky light. willie and dick heaped on armful after armful until the light  danced against the underside of the trees. bub squatted close up to one  side, pushing in twigs that flared brilliantly. they were warm, at least on one side, and the fire made them the  centre of a small warm world. but it made them helpless creatures too. the  blackness beyond the reach of the flames was as absolute as blindness. the trees grew huge, hanging over them as if they had pulled up their  roots and crept closer. their shaggy silhouettes leaned down over the  firelit clearing. the gun lay close to thornhill\u2019s hand. by the last of the daylight, out of  sight of sal, he had loaded it. he had checked the flint, had the powder- horn in his coat pocket. he had thought that having a gun would make him feel safe. why did it  not? the damper was burned from being cooked too fast, but the steamy  fragrance under the charred crust was a comfort. the small noises they  made with their food seemed loud in the night. thornhill could hear his tea  travel down his gullet, and the exclamations of his belly as it came to grips  with the damper. he looked up at where even the light of the fire could not dim the stars.  he looked for the southern cross, which he had learned to steer by, but as  it often did it was playing hide-and-seek. might be they watching us, willie said. waiting, like. there was the start  of panic in his voice. shut your trap, willie, we ain\u2019t got nothing to worry  about, thornhill said. in the tent he felt sal squeezed up against him under the blanket. he  had heated a stone in the fire and wrapped it up in his coat to warm her  feet, but she was shivering. she was panting as quick as an animal. he  held her tight, feeling the cold at his back, until at last her breathing slowed  in sleep. a wind had arisen out of the night. he could hear it up on the ridges,  although down in the valley everything was still. it was like the sound of  surf breaking on the shore, the way it swelled and then travelled around  the ridges, its whisper growing and then fading away. the valley was  dwarfed by the ocean of leaves and wind. to be stretched out to sleep on his own earth, feeling his body lie along  ground that was his\u2014he felt he had been hurrying all his life, and had at  last come to a place where he could stop. he could smell the rich damp air 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/11/m/j/17 \u00a9 ucles 2017 [turn over coming in the tent-flap. he could feel the shape of the ground through his  back. my own, he kept saying to himself. my place. thornhill\u2019s place. but the wind in the leaves up on the ridge was saying something else  entirely. [from part 3]   how does grenville create a sense of mystery and suspense at this moment in the  novel? or 18 will talks about \u2018the steel\u2019 in sal. how does grenville make this aspect of her personality  so vivid?50",
            "22": "22 0486/11/m/j/17 \u00a9 ucles 2017 r k narayan: the english teacher remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: my parents were unable to come. my father was down with his annual  rheumatic attack, and my mother was unable to leave his side. they wrote  me frantic letters every day, and it was my duty to drop them a card every day. i wrote a number of cards to others too. my brother at hyderabad, my sister at vellore, and the other sister at delhi, wrote me very encouraging letters, and expected me to drop them postcards every day. they wrote, \u201cnothing to fear in typhoid. it is only a question of nursing.\u201d everybody who met me repeated this like a formula, till i began to listen to it mechanically without following its meaning. numerous people\u2014my friends and colleagues\u2014dropped in all day, some standing aloof fearing infection, and some coming quite close reckless and indifferent. i lost touch with the calendar. in doing the same set of things in the  same place, i lost count of days. hours flew with rapidity. the mixture once in three hours, food every two hours, but two hours and three hours passed with such rapidity that you never felt there was any appreciable gap between doses. but i liked it immensely. it kept me so close to my wife that it produced  an immense satisfaction in my mind. throughout i acted as her nurse. this sickness seemed to bind us together more strongly than ever. i sat in the chair and spoke to her of interesting things i saw in the paper. she spoke in whispers as the weeks advanced. she said: \u201cmy father said he would give me five hundred rupees when i got well again. \u2026\u201d \u201cvery good, very good. hurry up and claim your reward.\u201d\u201ceven without it i want to be well again.\u201d there was a deep stillness  reigning in the house but for the voice of the child as she argued with her grandparents or sang to herself. there was an interlude. the contractor and sastri knocked on my door  one day. \u201coh, come in,\u201d i said and took them to my room, but there was no chair or table there. i said apologetically: \u201cno chair. it is in the other room and also the table, because my wife is down with typhoid.\u201d sastri said promptly, \u201coh, we will sit on the floor.\u201d they squatted down on the floor. and then after the preliminaries, sastri said: \u201cit is about that house\u2014 they are keeping it in abeyance. there is another demand for it. \u2026\u201d i remembered my decision was due long ago. \u201ci\u2019m afraid i can\u2019t think of it.  wait a moment please.\u201d i went up to my wife\u2019s bedside and asked: \u201csusila, what shall i say about that house?\u201d she took time to understand. \u201cdo you like it?\u201d she asked. \u201cyes, it is a fine house\u2014if we are buying a house.\u201d\u201cwhy not think of it when all this is over?\u201d she said.\u201cyes, yes,\u201d i agreed. i ran out and told them: \u201ci have no time to bother  about it now. if it is a loss to you waiting for me \u2026\u201d as i spoke i disliked the house. i remembered the shock susila had received in the backyard. they  went away. before going, they said: \u201cnursing is everything.\u201d \u201cyes, yes, i know,\u201d i said.the contractor said: \u201cmay i say a word about it?\u201d\u201cgo on, by all means.\u201d\u201cnever trust these english doctors. my son had typhoid. the doctors  tried to give this and that and forbade him to eat anything; but he never 5 10 15202530354045",
            "23": "23 0486/11/m/j/17 \u00a9 ucles 2017 [turn over got well though he was in bed  for thirty days. afterwards somebody gave  him a herb, and i gave him whatever he wanted to  eat, and he got well   within two days. the last thing you must heed is  their advice. the english  doctors always try to starve one to death. give the patient plenty of things  to eat and any fever will go down. that is my principle \u2026\u201d [from chapter 3]   how does narayan movingly reveal krishna\u2019s state of mind at this moment in the novel? or 20 how far does narayan\u2019s writing make you approve of mr brown?50",
            "24": "24 0486/11/m/j/17 \u00a9 ucles 2017 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this passage from of white hairs and cricket  (by rohinton mistry), and then  answer the question that follows it: mummy came in from the kitchen with a plateful of toast fresh off the  criterion: unevenly browned, and charred in spots by the vagaries of its  kerosene wick. she cleared the comics to one side and set the plate down. \u2018listen to this,\u2019 daddy said to her, \u2018just found it in the paper: \u201ca growing  concern seeks dynamic young account executive, self-motivated. four- figure salary and provident fund.\u201d i think it\u2019s perfect.\u2019 he waited for  mummy\u2019s reaction. then: \u2018if i can get it, all our troubles will be over.\u2019 mummy listened to such advertisements week after week: harbingers  of hope that ended in disappointment and frustration. but she always  allowed the initial wave of optimism to lift her, riding it with daddy and me,  higher and higher, making plans and dreaming, until it crashed and left  us stranded, awaiting the next advertisement and the next wave. so her  silence was surprising. daddy reached for a toast and dipped it in the tea, wrinkling his nose.  \u2018smells of kerosene again. when i get this job, first thing will be a proper  toaster. no more making burnt toast on top of the criterion.\u2019 \u2018i cannot smell kerosene,\u2019 said mummy. \u2018smell this then,\u2019 he said, thrusting the tea-soaked piece at her nose,  \u2018smell it and tell me,\u2019 irritated by her ready contradiction. \u2018it\u2019s these useless  wicks. the original criterion ones from england used to be so good. one  trim and you had a fine flame for months.\u2019 he bit queasily into the toast.  \u2018well, when i get the job, a bombay gas company stove and cylinder can  replace it.\u2019 he laughed. \u2018why not? the british left seventeen years ago,  time for their stove to go as well.\u2019 he finished chewing and turned to me. \u2018and one day, you must go, too,  to america. no future here.\u2019 his eyes fixed mine, urgently. \u2018somehow we\u2019ll  get the money to send you. i\u2019ll find a way.\u2019 his face filled with love. i felt suddenly like hugging him, but we never  did except on birthdays, and to get rid of the feeling i looked away and  pretended to myself that he was saying it just to humour me, because he  wanted me to finish pulling his white hairs. fortunately, his jovial optimism  returned. \u2018maybe even a fridge is possible, then we will never have to go upstairs  to that woman. no more obligations, no more favours. you won\u2019t have to  kill any more rats for her.\u2019 daddy waited for us to join in. for his sake i  hoped that mummy would. i did not feel like mustering any enthusiasm. but she said sharply. \u2018all your shaik-chullee thoughts are flying again.  nothing happens when you plan too much. leave it in the hands of god.\u2019 daddy was taken aback. he said, summoning bitterness to retaliate,  \u2018you are thinking i will never get a better job? i\u2019ll show all of you.\u2019 he threw  his piece of toast onto the plate and sat back. but he recovered as quickly,  and made it into a joke. he picked up the newspaper. \u2018well, i\u2019ll just have to  surprise you one day when i throw out the kerosene stoves.\u2019 i liked the kerosene stoves and the formidable fifteen-gallon storage  drum that replenished them. the criterion had a little round glass window  in one corner of its black base, and i would peer into the murky depths,  watching the level rise as kerosene poured through the funnel; it was very 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/11/m/j/17 \u00a9 ucles 2017 dark and cool and mysterious in there, then the kerosene floated up and  its surface shone under the light bulb. looking inside was like lying on  chaupatty beach at night and gazing at the stars, in the hot season, while  we stayed out after dinner till the breeze could rise and cool off the walls  baking all day in the sun. when the stove was lit and the kitchen dark, the  soft orange glow through its little mica door reminded me of the glow in the  fire-temple afargaan , when there wasn\u2019t a blazing fire because hardly any  sandalwood offerings had been left in the silver thaali ; most people came  only on the holy days. the primus stove was fun, too, pumped up hot  and roaring, the kerosene emerging under pressure and igniting into sharp  blue flames. daddy was the only one who lit it; every year, many women  died in their kitchens because of explosions, and daddy said that though  many of them were not accidents, especially the dowry cases, it was still a  dangerous stove if handled improperly. mummy went back to the kitchen. i did not mind the kerosene smell,  and ate some toast, trying to imagine the kitchen without the stoves, with  squat red gas cylinders sitting under the table instead. i had seen them in  shop windows, and i thought they were ugly. we would get used to them,  though, like everything else. at night, i stood on the veranda sometimes  to look at the stars. but it was not the same as going to chaupatty and  lying on the sand, quietly, with only the sound of the waves in the dark. on  saturday nights, i would make sure that the stoves were filled, because  mummy made a very early breakfast for daddy and me next morning. the  milk and bread would be arriving in the pre-dawn darkness while the kettle  was boiling and we got ready for cricket with the boys of firozsha baag.   how does mistry create such a vivid picture of the narrator\u2019s parents and of his  relationship with them here? or 22 explore the ending of one story which the writer makes particularly surprising for you.50 55 60 65 70",
            "26": "26 0486/11/m/j/17 \u00a9 ucles 2017 blank page",
            "27": "27 0486/11/m/j/17 \u00a9 ucles 2017 blank page",
            "28": "28 0486/11/m/j/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s17_qp_12.pdf": {
            "1": "this document consists of 26 printed pages, 2 blank pages and 1 insert. dc (rcl (km)) 133610/3 \u00a9 ucles 2017 [turn overcambridge international examinations cambridge international general certificate of secondary education *7634458288*literature (english) 0486/12 paper 1  poetry and prose may/june 2017 1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b.all questions in this paper carry equal marks.",
            "2": "2 0486/12/m/j/17 \u00a9 ucles 2017 blank page",
            "3": "3 0486/12/m/j/17 \u00a9 ucles 2017 [turn over contents section a: poetry text question numbers page[s] songs of ourselves volume 1: from part 5 1, 2 pages 4\u20135 songs of ourselves volume 2: from part 1 3, 4 pages 6\u20137 gillian clarke: from collected poems  5, 6 pages 8\u201310 section b: prose text questionnumbers page[s] chinua achebe: no longer at ease  7, 8 pages 12\u201313 jane austen: mansfield park 9, 10 pages 14\u201315 willa cather: my \u00e1ntonia 11, 12 pages 16\u201317 george eliot: silas marner  13, 14 pages 18\u201319 michael frayn:  spies 15, 16 pages 20\u201321 kate grenville:  the secret river 17, 18 pages 22\u201323 r k narayan: the english teacher  19, 20 pages 24\u201325 from stories of ourselves 21, 22 pages 26\u201327",
            "4": "4 0486/12/m/j/17 \u00a9 ucles 2017 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: for heidi with blue hair when you dyed your hair blue (or, at least, ultramarine for the clipped sides, with a crest of jet-black spikes on top) you were sent home from school because, as the headmistress put it, although dyed hair was not specifically forbidden, yours was, apart from anything else, not done in the school colours. tears in the kitchen, telephone-calls to school from your freedom-loving father: \u2018she\u2019s not a punk in her behaviour; it\u2019s just a style.\u2019 (you wiped your eyes, also not in a school colour.) \u2018she discussed it with me first \u2013 we checked the rules.\u2019 \u2018and anyway, dad, it cost twenty-five dollars. tell them it won\u2019t wash out \u2013 not even if i wanted to try.\u2019 it would have been unfair to mention your mother\u2019s death, but that shimmered behind the arguments. the school had nothing else against you; the teachers twittered and gave in. next day your black friend had hers done in grey, white and flaxen yellow \u2013 the school colours precisely: an act of solidarity, a witty tease. the battle was already won. (fleur adcock )   how does adcock\u2019s writing make this poem both amusing and serious?5 10 15 20 25 30",
            "5": "5 0486/12/m/j/17 \u00a9 ucles 2017 [turn over or 2 explore the ways in which mew movingly writes about her feelings of loss in the trees  are down . the trees are down \u2013 and he cried with a loud voice:hurt not the earth, neither the sea, nor the trees \u2013 (revelation) they are cutting down the great plane-trees at the end of the garden. for days there has been the grate of the saw, the swish of the   branches as they fall. the crash of trunks, the rustle of trodden leaves,with the \u2018whoops\u2019 and the \u2018whoas\u2019, the loud common talk, the loud common laughs of the men, above it all. i remember one evening of a long past springturning in at a gate, getting out of a cart, and finding a large   dead rat in the mud of the drive. i remember thinking: alive or dead, a rat was a god-forsaken thing,but at least, in may, that even a rat should be alive.the week\u2019s work here is as good as done. there is just one bough on the roped bole, in the fine grey rain,  green and high and lonely against the sky. (down now! \u2013 )  and but for that, if an old dead rat did once, for a moment, unmake the spring, i might never have  thought of him again. it is not for a moment the spring is unmade to-day;these were great trees, it was in them from root to stem:when the men with the \u2018whoops\u2019 and the \u2018whoas\u2019 have carted   the whole of the whispering loveliness away half the spring, for me, will have gone with them. it is going now, and my heart has been struck with the hearts of     the planes; half my life it has beat with these, in the sun, in the rains,   in the march wind, the may breeze, in the great gales that came over to them across the roofs from      the great seas. there was only a quiet rain when they were dying;   they must have heard the sparrows flying, and the small creeping creatures in the earth where they were lying \u2013 but i, all day, i heard an angel crying: \u2018hurt not the trees\u2019. (charlotte mew\u200a\u200a)5 10 1520 2530 35",
            "6": "6 0486/12/m/j/17 \u00a9 ucles 2017 songs of ourselves volume 2: from part 1 remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: last sonnet bright star, would i were steadfast as thou art\u2014  not in lone splendour hung aloft the night,and watching, with eternal lids apart, like nature\u2019s patient sleepless eremite,the moving waters at their priest-like task of pure ablution round earth\u2019s human shores,or gazing on the new soft-fallen mask of snow upon the mountains and the moors\u2014no\u2014yet still steadfast, still unchangeable, pillowed upon my fair love\u2019s ripening breast,to feel for ever its soft fall and swell, awake for ever in a sweet unrest, still, still to hear her tender-taken breath, and so live ever\u2014or else swoon to death. (john keats)   how does keats movingly convey powerful emotions in this poem?5 10",
            "7": "7 0486/12/m/j/17 \u00a9 ucles 2017 [turn over or 4 explore the ways in which sitwell uses imagery to powerful effect in heart and mind . heart and mind said the lion to the lioness\u2014\u2018when you are amber dust,\u2014 no more a raging fire like the heat of the sun(no liking but all lust)\u2014remember still the flowering of the amber blood and bone,the rippling of bright muscles like a sea,remember the rose-prickles of bright pawsthough we shall mate no moretill the fire of that sun the heart and the moon-cold bone are one.\u2019 said the skeleton lying upon the sands of time\u2014 \u2018the great gold planet that is the mourning heat of the sunis greater than all gold, more powerfulthan the tawny body of a lion that fire consumeslike all that grows or leaps \u2026 so is the heart more powerful than all dust. once i was hercules or samson, strong as the pillars of the seas:but the flames of the heart consumed me, and the mindis but a foolish wind.\u2019 said the sun to the moon\u2014\u2018when you are but a lonely white crone, and i, a dead king in my golden armour somewhere in a dark wood,remember only this of our hopeless lovethat never till time is donewill the fire of the heart and the fire of the mind be one.\u2019 (edith sitwell )5 10 1520",
            "8": "8 0486/12/m/j/17 \u00a9 ucles 2017 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: miracle on st david\u2019s day \u2018they flash upon that inward eye which is the bliss of solitude\u2019 the daffodils by w. wordsworth an afternoon yellow and open-mouthed with daffodils. the sun treads the path among cedars and enormous oaks. it might be a country house, guests strolling, the rumps of gardeners between nursery shrubs. i am reading poetry to the insane. an old woman, interrupting, offers as many buckets of coal as i need. a beautiful chestnut-haired boy listens entirely absorbed. a schizophrenic on a good day, they tell me later. in a cage of first march sun a woman sits not listening, not seeing, not feeling. in her neat clothes the woman is absent. a big, mild man is tenderly led to his chair. he has never spoken. his labourer\u2019s hands on his knees, he rocks gently to the rhythms of the poems. i read to their presences, absences, to the big, dumb labouring man as he rocks. he is suddenly standing, silently, huge and mild, but i feel afraid. like slow movement of spring water or the first bird of the year in the breaking darkness, the labourer\u2019s voice recites \u2018the daffodils\u2019. the nurses are frozen, alert; the patients seem to listen. he is hoarse but word-perfect. outside the daffodils are still as wax, a thousand, ten thousand, their syllables unspoken, their creams and yellows still.5 10 15 20 25 30",
            "9": "9 0486/12/m/j/17 \u00a9 ucles 2017 [turn over forty years ago, in a valleys school, the class recited poetry by rote. since the dumbness of misery fell he has remembered there was a music of speech and that once he had something to say. when he\u2019s done, before the applause, we observe the flowers\u2019 silence. a thrush sings and the daffodils are flame.   how does clarke movingly convey the impact of her experience in this poem?35",
            "10": "10 0486/12/m/j/17 \u00a9 ucles 2017 or 6 explore the ways in which clarke powerfully depicts the nature of the bird in buzzard . buzzard no sutures in the steep brow of this cranium, as in mine or yours. delicate ellipse as smooth as her own egg or the cleft flesh of a fruit. from the plundered bones on the hill, like a fire in its morning ashes, you guess it\u2019s a buzzard\u2019s skull. you carry it gently home, hoping no last day of the birds will demand assembly of her numerous white parts. in the spaces we can\u2019t see on the other side of walls as fine as paper, brain and eye dry out under the gossamers. between the sky and the mouse that moves at the barley field\u2019s spinning perimeter, only a mile of air and the ganging crows, their cries stones at her head. in death, the last stoop, all\u2019s risked. she scorns the scavengers who feed on death, and never feel the lightning flash of heart dropping on heart, warm fur, blood.5 10 15 20 25",
            "11": "11 0486/12/m/j/17 \u00a9 ucles 2017 [turn over turn to page 12 for section b.",
            "12": "12 0486/12/m/j/17 \u00a9 ucles 2017 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: the doctor counted his wad of notes carefully, folded it and put it in his  pocket.  content removed due to copyright restrictions.",
            "13": "13 0486/12/m/j/17 \u00a9 ucles 2017 [turn over  women are  very funny creatures, you know.\u2019 [from chapter 16]   in what ways does achebe create tension at this moment in the novel? or 8 the men of umuofia describe obi as foolish. how far does achebe lead you to agree  with this description? ",
            "14": "14 0486/12/m/j/17 \u00a9 ucles 2017 jane austen: mansfield park remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: at last the scene was over, and fanny forced herself to add her praise  to the compliments each was giving the other; and when again alone and able to recall the whole, she was inclined to believe their performance would, indeed, have such nature and feeling in it as must ensure their credit, and make it a very suffering exhibition to herself. whatever might be its effect, however, she must stand the brunt of it again that very day. the first regular rehearsal of the three first acts was certainly to take  place in the evening; mrs. grant and the crawfords were engaged to return for that purpose as soon as they could after dinner; and every one concerned was looking forward with eagerness. there seemed a general diffusion of cheerfulness on the occasion; tom was enjoying such an advance towards the end, edmund was in spirits from the morning\u2019s rehearsal, and little vexations seemed every where smoothed away. all were alert and impatient; the ladies moved soon, the gentlemen soon followed them, and with the exception of lady bertram, mrs. norris, and julia, every body was in the theatre at an early hour, and having lighted it up as well as its unfinished state admitted, were waiting only the arrival of mrs. grant and the crawfords to begin. they did not wait long for the crawfords, but there was no mrs. grant.  she could not come. dr. grant, professing an indisposition, for which he had little credit with his fair sister-in-law, could not spare his wife. \u201cdr. grant is ill,\u201d said she, with mock solemnity. \u201che has been ill ever  since; he did not eat any of the pheasant to day. he fancied it tough\u2014sent away his plate\u2014and has been suffering ever since.\u201d here was disappointment! mrs. grant\u2019s non-attendance was sad indeed.  her pleasant manners and cheerful conformity made her always valuable amongst them\u2014but now she was absolutely necessary. they could not  act, they could not rehearse with any satisfaction without her. the comfort of the whole evening was destroyed. what was to be done? tom, as cottager, was in despair. after a pause of perplexity, some eyes began to be turned towards fanny, and a voice or two, to say, \u201cif miss price would be so good as to read the part.\u201d she was immediately surrounded by  supplications, every body asked it, even edmund said, \u201cdo fanny, if it is not very disagreeable to you.\u201d but fanny still hung back. she could not endure the idea of it. why was  not miss crawford to be applied to as well? or why had not she rather gone to her own room, as she had felt to be safest, instead of attending the rehearsal at all? she had known it would irritate and distress her\u2014she had known it her duty to keep away. she was properly punished. \u201cyou have only to read the part,\u201d said henry crawford, with renewed  intreaty. \u201cand i do believe she can say every word of it,\u201d added maria, \u201cfor she  could put mrs. grant right the other day in twenty places. fanny, i am sure you know the part.\u201d fanny could not say she did not\u2014and as they all persevered\u2014as  edmund repeated his wish, and with a look of even fond dependence on her good nature, she must yield. she would do her best. every body was 5 10 15202530354045",
            "15": "15 0486/12/m/j/17 \u00a9 ucles 2017 [turn over satisfied\u2014and she was left to the tremors of a most palpitating heart, while  the others prepared to begin. they did begin\u2014and being too much engaged in their own noise, to be  struck by unusual noise in the other part of the house, had proceeded some  way when the door of the room was thrown open, and julia appearing at  it, with a face all aghast, exclaimed, \u201cmy father is come! he is in the hall at  this moment.\u201d [from chapter 18]   how does austen make this such a memorable moment in the novel? or 10 to what extent does austen persuade you that there is anything to admire about lady  bertram?50 55",
            "16": "16 0486/12/m/j/17 \u00a9 ucles 2017 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: on the morning of the twenty-second i wakened with a start. before i  opened my eyes, i seemed to know that something had happened. i heard  excited voices in the kitchen \u2500 grandmother\u2019s was so shrill that i knew  she must be almost beside herself. i looked forward to any new crisis with  delight. what could it be, i wondered, as i hurried into my clothes. perhaps  the barn had burned; perhaps the cattle had frozen to death; perhaps a  neighbour was lost in the storm. down in the kitchen grandfather was standing before the stove with  his hands behind him. jake and otto had taken off their boots and were  rubbing their woollen socks. their clothes and boots were steaming, and  they both looked exhausted. on the bench behind the stove lay a man,  covered up with a blanket. grandmother motioned me to the dining-room.  i obeyed reluctantly. i watched her as she came and went, carrying dishes.  her lips were tightly compressed and she kept whispering to herself: \u2018oh,  dear saviour!\u2019 \u2018lord, thou knowest!\u2019 presently grandfather came in and spoke to me: \u2018jimmy, we will not  have prayers this morning, because we have a great deal to do. old mr.  shimerda is dead, and his family are in great distress. ambrosch came  over here in the middle of the night, and jake and otto went back with  him. the boys have had a hard night, and you must not bother them with  questions. that is ambrosch, asleep on the bench. come in to breakfast,  boys.\u2019 after jake and otto had swallowed their first cup of coffee, they began  to talk excitedly, disregarding grandmother\u2019s warning glances. i held my  tongue, but i listened with all my ears. \u2018no, sir,\u2019 fuchs said in answer to a question from grandfather, \u2018nobody  heard the gun go off. ambrosch was out with the ox-team, trying to break a  road, and the women-folks was shut up tight in their cave. when ambrosch  come in, it was dark and he didn\u2019t see nothing, but the oxen acted kind of  queer. one of \u2019em ripped around and got away from him \u2500 bolted clean  out of the stable. his hands is blistered where the rope run through. he got  a lantern and went back and found the old man, just as we seen him.\u2019 \u2018poor soul, poor soul!\u2019 grandmother groaned. \u2018i\u2019d like to think he never  done it. he was always considerate and un-wishful to give trouble. how  could he forget himself and bring this on us!\u2019 \u2018i don\u2019t think he was out of his head for a minute, mrs. burden,\u2019 fuchs  declared. \u2018he done everything natural. you know he was always sort of  fixy, and fixy he was to the last. he shaved after dinner, and washed hisself  all over after the girls  had done the dishes. \u00e1ntonia heated the water  for him. then he put on a clean shirt and clean socks, and after he was  dressed he kissed her and the little one and took his gun and said he was  going out to hunt rabbits. he must have gone right down to the barn and  done it then. he layed down on that bunk-bed, close to the ox stalls, where  he always slept. when we found him, everything was decent except\u2019 \u2500  fuchs wrinkled his brow and hesitated \u2500 \u2018except what he couldn\u2019t nowise  foresee. his coat was hung on a peg, and his boots was under the bed.  he\u2019d took off that silk neckcloth he always wore, and folded it smooth and 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/m/j/17 \u00a9 ucles 2017 [turn over stuck his pin through it. he turned back his shirt at the neck and rolled up  his sleeves.\u2019 \u2018i don\u2019t see how he could do it!\u2019 grandmother kept saying. otto misunderstood her. \u2018why, ma\u2019m, it was simple enough; he pulled  the trigger with his big toe. he layed over on his side and put the end of  the barrel in his mouth, then he drew up one foot and felt for the trigger. he  found it all right!\u2019 \u2018maybe he did,\u2019 said jake grimly. \u2018there\u2019s something mighty queer about  it.\u2019 \u2018now what do you mean, jake?\u2019 grandmother asked sharply. \u2018well, ma\u2019m, i found krajiek\u2019s axe under the manger, and i picks it up  and carries it over to the corpse, and i take my oath it just fit the gash  in the front of the old man\u2019s face. that there krajiek had been sneakin\u2019  round, pale and quiet, and when he seen me examinin\u2019 the axe, he begun  whimperin\u2019, \u201cmy god, man, don\u2019t do that!\u201d \u201ci reckon i\u2019m a-goin\u2019 to look into  this,\u201d says i. then he begun to  squeal like a rat and run about wringin\u2019 his  hands. \u201cthey\u2019ll hang me!\u201d says he. \u201cmy god, they\u2019ll hang me sure!\u201d\u2019 fuchs spoke up impatiently. \u2018krajiek\u2019s gone silly, jake, and so have  you. the old man wouldn\u2019t have made all them preparations for krajiek to  murder him, would he? it don\u2019t hang together. the gun was right beside  him when ambrosch found him.\u2019 [from book 1 chapter 14]   how does cather\u2019s writing make this such a powerful moment in the novel? or 12 explore the ways in which cather makes lena lingard such a likeable character.50 55 60 65",
            "18": "18 0486/12/m/j/17 \u00a9 ucles 2017 george eliot: silas marner remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: the search was made, and it ended \u2013 in william dane\u2019s finding the well- known bag, empty, tucked behind the chest of drawers in silas\u2019s chamber!  on this william exhorted his friend to confess, and not to hide his sin any longer. silas turned a look of keen reproach on him, and said, \u2018william, for nine years that we have gone in and out together, have you ever known me tell a lie? but god will clear me.\u2019 \u2018brother,\u2019 said william, \u2018how do i know what you may have done  in the secret chambers of your heart, to give satan an advantage over you?\u2019 silas was still looking at his friend. suddenly a deep flush came over his  face, and he was about to speak impetuously, when he seemed checked again by some inward shock, that sent the flush back and made him tremble. but at last he spoke feebly, looking at william. \u2018i remember now \u2013 the knife wasn\u2019t in my pocket.\u2019william said, \u2018i know nothing of what you mean.\u2019 the other persons  present, however, began to inquire where silas meant to say that the knife was, but he would give no further explanation: he only said, \u2018i am sore stricken; i can say nothing. god will clear me.\u2019 on their return to the vestry there was further deliberation. any resort  to legal measures for ascertaining the culprit was contrary to the principles of the church in lantern yard, according to which prosecution was forbidden to christians, even had the case held less scandal to the community. but the members were bound to take other measures for finding out the truth, and they resolved on praying and drawing lots. this resolution can be a ground of surprise only to those who are unacquainted with that obscure religious life which has gone on in the alleys of our towns. silas knelt with his brethren, relying on his own innocence being certified by immediate divine interference, but feeling that there was sorrow and mourning behind for him even then \u2013 that his trust in man had been cruelly bruised. the lots declared that silas marner was guilty. he was solemnly suspended from church-membership, and called upon to render up the stolen money: only on confession, as the sign of repentance, could he be received once more within the fold of the church. marner listened in silence. at last, when every one rose to depart, he went towards william dane and said, in a voice shaken by agitation \u2013 \u2018the last time i remember using my knife, was when i took it out to cut a  strap for you. i don\u2019t remember putting it in my pocket again. you stole the  money, and you have woven a plot to lay the sin at my door. but you may prosper, for all that: there is no just god that governs the earth righteously, but a god of lies, that bears witness against the innocent.\u20195 10 152025303540",
            "19": "19 0486/12/m/j/17 \u00a9 ucles 2017 [turn over there was a general shudder at this blasphemy. william said meekly, \u2018i leave our brethren to judge whether this is the  voice of satan or not. i can do nothing but pray for you, silas.\u2019 [from part 1 chapter 1]   how does eliot make william dane\u2019s betrayal of silas so disturbing at this moment in the  novel? or 14 in what ways does eliot movingly portray the challenges silas faces in becoming a father  to eppie?",
            "20": "20 0486/12/m/j/17 \u00a9 ucles 2017 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: and once again i set out on that horrible journey.  content removed due to copyright restrictions.",
            "21": "21 0486/12/m/j/17 \u00a9 ucles 2017 [turn over  a single quiet word: \u2018stephen?\u2019 [from chapter 9]   how does frayn\u2019 s writing powerfully create tension at this moment in the novel? or 16 how does frayn make keith\u2019s mother such a fascinating person for stephen?content removed due to copyright restrictions. ",
            "22": "22 0486/12/m/j/17 \u00a9 ucles 2017 kate grenville: the secret river remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: as the queen pointed towards the gap between the island and the  headland, thornhill saw that blackwood was tight as a fiddle-string. those  great slow swells, steady enough when they had plenty of sea room,  were being funnelled into a tight neck of water that broke them into an  angry chop and surge. the wind split against the pieces of land, eddying,  veering, buffeting in confusion. the queen seemed absurdly tiny, tossed  like a leaf. blackwood never took his eyes off the water, did not even seem to blink.  his brown fist was closed around the tiller, his eyes half closed against the  spray and wind, his cheeks wet as with tears. he leaned forward to keep  his footing, his solid lighterman\u2019s legs braced against the planks. the queen was a tough little lump, shuddering up and crashing down  into the waves, but thornhill had heard of boats pounded to pieces in  such seas, the planks springing out of the stem, water pouring in. his fear  had gone beyond feeling now, to a numbness where he could only watch  blackwood and hope. he gripped the gunwale and would have prayed, if  he had known any god to pray to. then they were through. the sea was still churning and seething  beneath the boat, but the wind was muted by land on all sides. they had  pushed through into another geography altogether. they call this broken bay, blackwood said. river comes in yonder. he  pointed ahead, where thornhill could see only confusing stretches of water  and thickly forested headlands. best hidden river in the world, blackwood  said with satisfaction. never find your way in nor you\u2019d been shown like i\u2019m  showing you. looking inland, where gusts of wind scraped at the water, thornhill  strained to find that secret river. in every direction, the reaches of broken  bay seemed to end in yet another wall of rock and forest. a man could sail  around for days and never find his way into the hawkesbury. blackwood pointed the boat towards a solid wall of land, a heaped-up  ridge that tumbled down into the water all cliffs and skinny trees that grew  out of the very stones themselves, and what had seemed a dead end slyly  opened up into a stretch of river between cliffs. as the boat glided along  on the tide, the cliffs rose sheer on both sides, mouse-grey except where  the wind had exposed buttery rock, as if the landscape itself was a dark- skinned creature with golden flesh beneath. the rock had been laid down flat, layer after layer piled high like flitches  of timber. as it had worn away, great slabs the size of a house had fallen  off and tumbled all skewiff at the foot of the cliffs. some lay half in the  water, melting away. where the cliff met the water a tangle of snake-like  roots, vines and mangroves knotted around the fallen boulders. this was a place out of a dream, a fierce landscape of chasms and  glowering cliffs and a vast unpredictable sky. everywhere was the same  but everywhere was different. thornhill felt his eyes wide open, straining to  find something they could understand. it seemed the emptiest place in the world, too wild for any man to have  made it his home. then blackwood said, see yonder? and pointed with  his blunt hand at a promontory to port. beyond the fringe of mangroves 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/m/j/17 \u00a9 ucles 2017 [turn over thornhill could see tussocky grass and trees, and a heap of something  pale. oysters, the shells, blackwood said, and watched the promontory fall  behind them. suck the guts out, chuck the shells away. been doing it since  the year dot. he laughed. and fish! my word they get the fish. not putting none by? thornhill said. for tomorrow, like? blackwood  gave him an amused look. aye, he said. not putting none by. he slapped  at a mosquito on his arm. why would they? river ain\u2019t going nowhere. thornhill glanced around. a breeze made leaves shiver and catch the  light, casting shadows that shifted and speckled differently every moment.  where are they, then, he asked. blackwood took his time answering. every- bloody-where, mate, he said, gesturing up ahead. thornhill saw smoke  rising thin into the air, almost lost against the rocks and trees. he turned  and glanced astern and there was another grey column. it might have  been smoke or the light. blackwood did not need to glance. they seen us  all right, he said. now they\u2019re telling the others, up the line. thornhill stared  into the tangle of trees and rocks on the bank. he saw something move: a  man gesturing, or just a branch behaving like a man? blackwood gave thornhill a short judging look. one thing you best know,  only time we see them is when they want us to. [from part two]   how does grenville\u2019s writing powerfully convey the strangeness of will\u2019s experience at  this moment in the novel? or 18 in what ways does grenville strikingly portray the injustices of the english legal system in  the novel?50 55 60 65",
            "24": "24 0486/12/m/j/17 \u00a9 ucles 2017 r k narayan: the english teacher remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: half an hour passed. \u2018what is susila doing with herself so long?\u2019 i  thought. i jumped down, saying: \u2018wait a minute, please,\u2019 and ran round to  the backyard. i noticed as i went along what a lot of space there was for making a small  manageable garden. the fertility of the surrounding fields had affected this place too and there was a growth of pleasant green grass and one or two uncared-for bushes of leucas \u2013 which put forth small, whitish flowers. \u2018this poor plant is the first to be removed whenever a garden is made, because it grows naturally \u2013 but i shall make a point of preserving it.\u2019 i stopped and plucked a flower. i wondered what ideas susila had for the garden, and decided that the bulk of it should be left to her care and management. \u2018i am sure she is thinking of a very grand kitchen garden in the backyard \u2026\u2019 i told myself. i went on to the backyard, where a few young coconut trees threw a sparse shade around. susila was not to be seen. i looked for her and called, \u2018susila! susila!\u2019 she answered from somewhere. i called again, and she cried: \u2018push the door open! i can\u2019t open it from this side.\u2019 i found that her voice came from the other side of a green-painted lavatory door. i gave it a kick and it flew open. out she came \u2013 red and trembling. i looked at her and felt disturbed. \u2018what \u2013 what were you doing here?\u2019 i asked. she was panting with  excitement. she was still shivering. i seated her on a stone slab nearby. \u2018what is the matter? what is the matter?\u2019 \u2018i went in there. the door was so bright and i thought it\u2019d be clean  inside \u2026 but oh!\u2019 she screwed up her face and i shuddered, unable to bear the disgust that came with recollection. i felt agitated. \u2018why did you go there?\u2019 i cried. she didn\u2019t answer. it was a sad anti-climax to a very pleasing morning. i looked at her feet. \u2018you went in barefoot?\u2019 she nodded. \u2018where are your sandals?\u2019\u2018i forgot them at home.\u2019 i shook my head in despair. \u2018i have told you a  hundred times not to come out barefoot. and yet \u2026\u2019 she merely looked at me without replying. her face was beaded with perspiration. her cheeks were flushed. she was still trembling. i melted at the sight of it: \u2018oh, darling, why did you go there?\u2019 \u2018the door was so bright \u2026\u2019 she replied softly. \u2018i thought it\u2019d be clean  inside too \u2026 but i couldn\u2019t come out after i went in \u2013 the door shut by itself with a bang. i thought something terrible had happened \u2026 . ah, the flies and other things there!\u2019 she was convulsed with disgust. \u2018oh, oh \u2026 a fly came and sat on my lip \u2026 .\u2019 she wouldn\u2019t bring her lips together. she kept rubbing them with her fingers in an effort to eradicate the touch of the fly \u2026 . i said: \u2018there is the water tap. rinse your mouth, and wash your feet,you will be all right. don\u2019t think of it any more.\u2019 she jumped up on the stone slab, turned the tap on and washed her hands and feet and mouth, again and again. she rubbed her feet on the stone till they were red and till they smarted. it looked as though she would not stop this operation. i said: 5 10 152025303540",
            "25": "25 0486/12/m/j/17 \u00a9 ucles 2017 [turn over \u2018you\u2019ll hurt yourself, or you may catch a cold. come away. don\u2019t bother  about it any more. you are all right.\u2019 [from chapter 3]   how does narayan\u2019s writing make this such a powerful moment in the novel? or 20 explore the ways in which narayan vividly conveys the lessons krishna learns from his  daughter and the children in the nursery.45",
            "26": "26 0486/12/m/j/17 \u00a9 ucles 2017 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from tyres  (by adam thorpe), and then answer the question that   follows it: then the village, one sunday, was crossed with the darkest shadow  of war \u2013 that of blood. we were sitting down to eat when the rumble of  a convoy sounded. \u2018bloody boche,\u2019 murmured my father, followed by  something ruder, in patois. a few minutes later there was shouting, and  sounds of gunfire from the northern end of the village, near the little  crossroads. there was lots of banging on doors, and we were all told to  pay a visit to the mairie. in the larger room, on the big table there used for  the meetings of the conseil municipal, were laid three bodies. their guts  were literally looped and dripping almost to the floor, ripped open by that  brief burst of gunfire. one of them was a local man, the son of the butcher,  a little older than myself. the other two i did not know. they looked  surprised in death, and it was said later that, though all three members  were of the maquis, no one knew why they had taken that road slap-bang  into the german convoy, and then reversed in such panic. i know why:  because, for all their bravery, they were mortals, and felt mortal fear. i was  sick in the gutter, immediately afterwards, to my shame. we all \u2013 the whole  village \u2013 filed past the bodies and came out silent and pale. a few of us  cried. i had never seen anything like it before, the only dead person i had  ever looked at being my poor mother, at peace in her bed. the following  week they looped a rope around the long neck of petit ours, whom they\u2019d  caught in a botched raid on the gendarmerie, and pushed him from the  town bridge \u2013 over which the schoolchildren were forced to walk class by  class in the afternoon, while the body swayed in the wind. the mayor had  to give a speech, thanking the boche for keeping public order and so forth.  the atmosphere was terrible. it crept up the road and cast my father and i,  and most of our clients, into a deep gloom. but some of our clients, of course, were germans. one, in particular,  was a large, friendly man \u2013 and probably the very chap, as an officer of  the gestapo, keeping an eye on things out here, who had ordered the  execution of petit ours. his huge, soft-topped maybach (of which he  was very proud, and with good reason) needed a change of tyre about a  fortnight later: a sharp stone had finally wormed its way in, on his way to  the town. both spare wheels, carried on each side of the bonnet, had been  stolen, but we found the right fit. i remembered the words of the fellow in  the caf\u00e9, and the ripped stomachs of the three good men, and the swaying  body of petit ours, three days after his death, sending foul whiffs of gas up  the river. in a shadowy corner of the shed, out of the bright sunlight, i took  a brand new inner tube and quietly (though my father was in the office,  talking with the fellow) shaved its rubber with a small steel file on a certain  spot, until it looked frayed, but still just airtight. i placed this inner tube in the  new tyre. the officer\u2019s chauffeur and some other armed minion watched  me fit it onto the wheel \u2013 the nearside front one \u2013 but i could scarcely stop  my hands from trembling. in those days we tightened the bolts by hand  with a box spanner, not a gun, so there was no risk of over-tightening, but  i kept dropping the tommy bar with a big clatter. anyway, i was giving the  disk chrome a little polish by the time the big man himself stepped out of  the office. i saw him, in the mirror-finish of the chrome, advance towards 5 10 15 20 25 30 35 40 45",
            "27": "27 0486/12/m/j/17 \u00a9 ucles 2017 me, all distorted, looming over my shoulder like a big bat, and i composed  my face and stood up. he pumped my hand and boomed at me about the state of the roads, and my father handed him the bill, which startled him. the fellow patted the bonnet and began to discuss the future of the automobile, while the two minions leaned on the sweeping mud-guard and smoked. his black gloves did a little dance while he talked. he must have been some sort of technical engineer before the war, for he was full of this idea that would avoid \u2018grovelling in the road\u2019 with a jack and getting your knees dirty: some sort of crowbar lever that would work a fitting under the bonnet, and put up either set of wheels as desired, and bring the whole car into suspension with a final twist. (a few years later, in about \u201948, a british couple in sunglasses stopped for a puncture-repair in a 1.25 litre mg, and laughed when i searched for the jack. it had exactly the same system as the gestapo officer had described, and i all but burst into tears. they did not understand my upset: they said something about the french having \u2018a different sense of humour\u2019 \u2013 which really means none at all, perhaps.)   in what ways does thorpe make this extract such a shocking depiction of life in   war time? or 22 explore the ways in which one of the writers of the stories in this selection makes a character particularly unpleasant for you. do not use the extract printed above in answering this question.50 5560",
            "28": "28 0486/12/m/j/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s17_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (jda)) 133608/3 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *9562722679*literature (english)  0486/13 paper 1  poetry and prose  may/june 2017  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/13/m/j/17 \u00a9 ucles 2017 blank page",
            "3": "3 0486/13/m/j/17 \u00a9 ucles 2017 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2\u200a : from part 1   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages 10\u201311 jane austen: mansfield park   9, 10  pages 12\u201313 willa cather: my \u00e1ntonia  11, 12  pages 14\u201315 george eliot: silas marner  13, 14  pages 16\u201317 michael frayn: spies  15, 16  pages 18\u201319 kate grenville: the secret river  17, 18  pages 20\u201321 r k narayan: the english teacher  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/13/m/j/17 \u00a9 ucles 2017 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: reservist time again for the annual joust, the regular fanfare, a call to arms, the imperative letters stern as clarion notes, the king\u2019s command, upon the pain of court-martial, to tilt at the old windmills. with creaking bones and suppressed grunts, we battle-weary knights creep to attention, ransack the wardrobes for our rusty armour, tuck the pot bellies with great finesse into the shrinking gear, and with helmets shutting off half our world, report for service. we are again united with sleek weapons we were betrothed to in our active cavalier days. we will keep charging up the same hills, plod through the same forests, till we are too old, too ill-fitted for life\u2019s other territories. the same trails will find us time and again, and we quick to obey, like children placed on carousels they cannot get off from, borne along through somebody\u2019s expensive fantasyland, with an oncoming rush of tedious rituals, masked threats and monsters armed with the same roar. in the end we will perhaps surprise ourselves and emerge unlikely heroes with long years of braving the same horrors pinned on our tunic fronts. we will have proven that sisyphus is not a myth. we will play the game till the monotony sends his lordship to sleep. we will march the same paths till they break onto new trails, our lives stumbling onto the open sea, into daybreak. (boey kim cheng )   how does boey kim cheng powerfully convey his feelings about military service in this poem?5 10 15 20 25 30",
            "5": "5 0486/13/m/j/17 \u00a9 ucles 2017 [turn over or 2 explore the ways in which dickinson makes because i could not stop for death  such a  disturbing poem. because i could not stop for death because i could not stop for death \u2014 he kindly stopped for me \u2014 the carriage held but just ourselves \u2014 and immortality. we slowly drove \u2014 he knew no haste and i had put away my labor and my leisure too. for his civility \u2014 we passed the school, where children strove at recess \u2014 in the ring \u2014 we passed the fields of gazing grain \u2014 we passed the setting sun \u2014 or rather \u2014 he passed us \u2014 the dews drew quivering and chill \u2014 for only gossamer, my gown \u2014 my tippet \u2014 only tulle \u2014 we paused before a house that seemed a swelling of the ground \u2014 the roof was scarcely visible \u2014 the cornice \u2014 in the ground \u2014 since then \u2014 \u2019tis centuries \u2014 and yet feels shorter than the day i first surmised the horses\u2019 heads were toward eternity \u2014 (emily dickinson )5 10 15 20",
            "6": "6 0486/13/m/j/17 \u00a9 ucles 2017 songs of ourselves volume 2  : from part 1 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: \u2018she was a phantom of delight\u2019 she was a phantom of delight when first she gleamed upon my sight; a lovely apparition, sent to be a moment\u2019s ornament; her eyes as stars of twilight fair; like twilight\u2019s, too, her dusky hair; but all things else about her drawn from may-time and the chearful dawn; a dancing shape, an image gay, to haunt, to startle, and way-lay. i saw her upon nearer view, a spirit, yet a woman too! her household motions light and free, and steps of virgin liberty; a countenance in which did meet sweet records, promises as sweet; a creature not too bright or good for human nature\u2019s daily food; for transient sorrows, simple wiles, praise, blame, love, kisses, tears, and smiles. and now i see with eye serene the very pulse of the machine; a being breathing thoughtful breath; a traveller betwixt life and death; the reason firm, the temperate will, endurance, foresight, strength and skill; a perfect woman; nobly planned, to warn, to comfort, and command; and yet a spirit still, and bright with something of an angel light. (william wordsworth )   how does wordsworth\u2019s writing convey powerful emotions in this poem?5 10 15 20 25 30",
            "7": "7 0486/13/m/j/17 \u00a9 ucles 2017 [turn over or 4 explore how sheers creates memorable portraits of his family in coming home . coming home my mother\u2019s hug is awkward, as if the space between her open arms is reserved for a child, not this body of a man. in the kitchen she kneads the dough, flipping it and patting before laying in again. the flour makes her over, dusting the hairs on her cheek, smoothing out wrinkles. \u2217 dad still goes and soaks himself in the rain. up to his elbows in hedge, he works on a hole that reappears every winter, its edges laced with wet wool \u2013 frozen breaths snagged on the blackthorn. when he comes in again his hair is wild, and his pockets are filled with filings of hay. \u2217 all seated, my grandfather pours the wine. his unsteady hand makes the neck of the bottle shiver on the lip of each glass; it is a tune he plays faster each year. (owen sheers )5 10 15",
            "8": "8 0486/13/m/j/17 \u00a9 ucles 2017 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: heron at port talbot snow falls on the cooling towers delicately settling on cranes. machinery\u2019s old bones whiten; death settles with its rusts, its erosions. warning of winds off the sea the motorway dips to the dock\u2019s edge. my hands tighten on the wheel against the white steel of the wind. then we almost touch, both braking flight, bank on the air and feel that shocking intimacy of near-collision, animal tracks that cross in snow. i see his living eye, his change of mind, feel pressure as we bank, the force of his beauty. we might have died in some terrible conjunction. the steel town\u2019s sulphurs billow like dirty washing. the sky stains with steely inks and fires, chemical rustings, salt-grains, sand under snow. and the bird comes, a surveyor calculating space between old workings and the mountain hinterland, archangel come to re-open the heron-roads, meets me at an inter-section where wind comes flashing off water interrupting the warp of the snow and the broken rhythms of blood.   in what ways does clarke vividly convey the significance of her encounter with the bird in  this poem?5 10 15 20 25",
            "9": "9 0486/13/m/j/17 \u00a9 ucles 2017 [turn over or 6 how does clarke depict the relationship between mother and child so movingly in  clocks ? clocks for cai we walk the lanes to pick them. \u2018ffwff-ffwffs\u2019. he gives them the name he gives to all flowers. \u2018ffwff! ffwff!\u2019 i teach him to tell the time by dandelion. \u2018one o\u2019 clock. two.\u2019 he blows me a field of gold from the palm of his hand and learns the power of naming. the sun goes down in the sea and the moon\u2019s translucent. he\u2019s wary of waves and sand\u2019s soft treachery underfoot. \u2018what does the sea say?\u2019 i ask. \u2018ffwff! ffwff!\u2019 he answers, then turns his face to the sky and points to the full-blown moon.5 10 15",
            "10": "10 0486/13/m/j/17 \u00a9 ucles 2017 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: christopher and bisi were already waiting for them at the gate.  content removed due to copyright restrictions.",
            "11": "11 0486/13/m/j/17 \u00a9 ucles 2017 [turn over  no matter how one looked at it, no blame  could  possibly attach to the innocent musician. [from chapter 11] explore the ways in which achebe creates a vivid picture of obi\u2019s life in lagos at this  moment in the novel. or 8 what does achebe\u2019s presentation of mr omo make you feel about him? content removed due to copyright restrictions.",
            "12": "12 0486/13/m/j/17 \u00a9 ucles 2017 jane austen: mansfield park remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: \u201cyour prospects, however, are too fair to justify want of spirits. you have a  very smiling scene before you.\u201d \u201cdo you mean literally or figuratively? literally i conclude. yes, certainly,  the sun shines and the park looks very cheerful. but unluckily that iron gate, that ha-ha, give me a feeling of restraint and hardship. i cannot get out, as the starling said.\u201d as she spoke, and it was with expression, she walked to the gate; he followed her. \u201cmr. rushworth is so long fetching this key!\u201d \u201cand for the world you would not get out without the key and without  mr. rushworth\u2019s authority and protection, or i think you might with little difficulty pass round the edge of the gate, here, with my assistance; i think it might be done, if you really wished to be more at large, and could allow yourself to think it not prohibited.\u201d \u201cprohibited! nonsense! i certainly can get out that way and i will.  mr. rushworth will be here in a moment you know \u2014 we shall not be out of sight.\u201d \u201cor if we are, miss price will be so good as to tell him, that he will find us  near that knoll, the grove of oak on the knoll.\u201d fanny, feeling all this to be wrong, could not help making an effort  to prevent it. \u201cyou will hurt yourself, miss bertram,\u201d she cried, \u201cyou will certainly hurt yourself against those spikes \u2014 you will tear your gown \u2014 you will be in danger of slipping into the ha-ha. you had better not go.\u201d her cousin was safe on the other side, while these words were spoken,  and smiling with all the good-humour of success she said, \u201cthank you, my dear fanny, but i and my gown are alive and well, and so good bye.\u201d fanny was again left to her solitude, and with no increase of pleasant  feelings, for she was sorry for almost all that she had seen and heard, astonished at miss bertram, and angry with mr. crawford. by taking a circuitous, and as it appeared to her, very unreasonable direction to the knoll, they were soon beyond her eye; and for some minutes longer she remained without sight or sound of any companion. she seemed to have the little wood all to herself. she could almost have thought, that edmund and miss crawford had left it, but that it was impossible for edmund to forget her so entirely. she was again roused from disagreeable musings by sudden footsteps,  somebody was coming at a quick pace down the principal walk. she expected mr. rushworth, but it was julia, who hot and out of breath, and with a look of disappointment, cried out on seeing her, \u201cheyday! where are the others? i thought maria and mr. crawford were with you.\u201d fanny explained.\u201ca pretty trick upon my word! i cannot see them any where,\u201d looking  eagerly into the park. \u201cbut they cannot be very far off, and i think i am equal to as much as maria, even without help.\u201d \u201cbut, julia, mr. rushworth will be here in a moment with the key. do wait  for mr. rushworth.\u201d \u201cnot i, indeed. i have had enough of the family for one morning. why  child, i have but this moment escaped from his horrible mother. such a penance as i have been enduring, while you were sitting here so composed 5 10 15202530354045",
            "13": "13 0486/13/m/j/17 \u00a9 ucles 2017 [turn over and so happy! it might have been as well, perhaps, if you had been in my  place, but you always contrive to keep out of these scrapes.\u201d this was a most unjust reflection, but fanny could allow for it, and let it  pass; julia was vexed, and her temper was hasty, but she felt that it would not last, and therefore taking no notice, only asked her if she had not seen mr. rushworth. [from chapter 10] how does austen make this a revealing and significant moment in the novel? or 10 does austen make it possible for you to feel any sympathy for julia bertram?  do not use the extract printed in question 9 when answering this question.50",
            "14": "14 0486/13/m/j/17 \u00a9 ucles 2017 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: mrs. harling laughed when she saw us coming. \u2018i expect you left your  dishes on the table to-night, mrs. burden,\u2019 she called. frances shut the  piano and came out to join us. they had liked \u00e1ntonia from their first glimpse of her; felt they knew  exactly what kind of girl she was. as for mrs. shimerda, they found her  very amusing. mrs. harling chuckled whenever she spoke of her. \u2018i expect  i am more at home with that sort of bird than you are, mrs. burden. they\u2019re  a pair, ambrosch and that old woman!\u2019 they had had a long argument with ambrosch about \u00e1ntonia\u2019s allowance  for clothes and pocket-money. it was his plan that every cent of his sister\u2019s  wages should be paid over to him each month, and he would provide  her with such clothing as he thought necessary. when mrs. harling told  him firmly that she would keep fifty dollars a year for \u00e1ntonia\u2019s own use,  he declared they wanted to take his sister to town and dress her up and  make a fool of her. mrs. harling gave us a lively account of ambrosch\u2019s  behaviour throughout the interview; how he kept jumping up and putting  on his cap as if he were through with the whole business, and how his  mother tweaked his coat-tail and prompted him in bohemian. mrs. harling  finally agreed to pay three dollars a week for \u00e1ntonia\u2019s services \u2014 good  wages in those days \u2014 and to keep her in shoes. there had been hot  dispute about the shoes, mrs. shimerda finally saying persuasively that  she would send mrs. harling three fat geese every year to \u2018make even.\u2019  ambrosch was to bring his sister to town next saturday. \u2018she\u2019ll be awkward and rough at first, like enough,\u2019 grandmother said  anxiously, \u2018but unless she\u2019s been spoiled by the hard life she\u2019s led, she has  it in her to be a real helpful girl.\u2019 mrs. harling laughed her quick, decided laugh. \u2018oh, i\u2019m not worrying,  mrs. burden! i can bring something out of that girl. she\u2019s barely seventeen,  not too old to learn new ways. she\u2019s good-looking, too!\u2019 she added warmly. frances turned to grandmother. \u2018oh, yes, mrs. burden, you didn\u2019t tell  us that! she was working in the garden when we got there, barefoot and  ragged. but she has such fine brown legs and arms, and splendid colour in  her cheeks \u2014 like those big dark red plums.\u2019 we were pleased at this praise. grandmother spoke feelingly. \u2018when  she first came to this country, frances, and had that genteel old man to  watch over her, she was as pretty a girl as ever i saw. but, dear me, what  a life she\u2019s led, out in the fields with those rough threshers! things would  have been very different with poor \u00e1ntonia if her father had lived.\u2019 the harlings begged us to tell  them about mr. shimerda\u2019s death and  the big snowstorm.  by the time we saw grandfather coming home from  church, we had told them pretty much all we knew of the shimerdas. \u2018the girl will be happy here, and she\u2019ll forget those things,\u2019 said mrs.   harling confidently, as we rose  to take our leave. [from book 2 chapter 2]5 10 15 20 25 30 35 40",
            "15": "15 0486/13/m/j/17 \u00a9 ucles 2017 [turn over how does cather make you sympathise with \u00e1ntonia at this moment in the novel? or 12 in what ways does cather vividly portray life on the prairies?",
            "16": "16 0486/13/m/j/17 \u00a9 ucles 2017 george eliot: silas marner remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: nothing at that moment could be much more inviting to dunsey than the  bright fire on the brick hearth: he walked in and seated himself by it at once.  there was something in front of the fire, too, that would have been inviting  to a hungry man, if it had been in a different stage of  cooking. it was a small  bit of pork suspended from the kettle-hanger by a string passed through a  large door-key, in a way known to primitive housekeepers unpossessed of  jacks. but the pork had been hung at the farthest extremity of the hanger,  apparently to prevent the roasting from proceeding too rapidly during the  owner\u2019s absence. the old staring simpleton had hot meat for his supper,  then? thought dunstan. people had always said he lived on mouldy bread,  on purpose to check his appetite. but where could he be at this time, and  on such an evening, leaving his supper in this stage of preparation, and  his door unfastened? dunstan\u2019s own recent difficulty in making his way  suggested to him that the weaver had perhaps gone outside his cottage  to fetch in fuel, or for some such brief purpose, and had slipped into the  stone-pit. that was an interesting idea to dunstan, carrying consequences  of entire novelty. if the weaver was dead, who had a right to his money?  who would know where his money was hidden? who would know that  anybody had come to take it away  ? he went no farther into the subtleties  of evidence: the pressing question, \u2018where is the money?\u2019 now took such  entire possession of him as to make him quite forget that the weaver\u2019s  death was not a certainty. a dull mind, once arriving at an inference that  flatters a desire, is rarely able to retain the impression that the notion from  which the inference started was purely problematic. and dunstan\u2019s mind  was as dull as the mind of a possible felon usually is. there were only  three hiding-places where he had ever heard of cottagers\u2019 hoards being  found: the thatch, the bed, and a hole in the floor. marner\u2019s cottage had  no thatch; and dunstan\u2019s first act, after a train of thought made rapid by  the stimulus of cupidity, was to go up to the bed; but while he did so, his  eyes travelled eagerly over the floor, where the bricks, distinct in the fire- light, were discernible under the sprinkling of sand. but not everywhere;  for there was one spot, and one only, which was quite covered with sand,  and sand showing the marks of fingers, which had apparently been careful  to spread it over a given space. it was near the treddles of the loom. in an  instant dunstan darted to that spot, swept away the sand with his whip,  and, inserting the thin end of the hook between the bricks, found that they  were loose. in haste he lifted up two bricks, and saw what he had no doubt  was the object of his search; for what could there be but money in those  two leathern bags? and, from their weight, they must be filled with guineas.  dunstan felt round the hole, to be certain that it held no more; then hastily  replaced the bricks, and spread the sand over them. hardly more than  five minutes had passed since he entered the cottage, but it seemed  to dunstan like a long while; and though he was without any distinct  recognition of the possibility that marner might be alive, and might re-enter  the cottage at any moment, he felt an undefinable dread laying hold on  him, as he rose to his feet with the bags in his hand. he would hasten out  into the darkness, and then consider what he should do with the bags. he  closed the door behind him immediately, that he might shut in the stream 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/13/m/j/17 \u00a9 ucles 2017 [turn over of light: a few steps would be enough to carry him beyond betrayal by the  gleams from the shutter-chinks and the latch-hole. the rain and darkness had got thicker, and he was glad of it; though it was awkward walking with both hands filled, so that it was as much as he could do to grasp his whip along with one of the bags. but when he had gone a yard or two, he might take his time. so he stepped forward into the darkness. [from part 1 chapter 4] how does eliot make this such a dramatic moment in the novel? or 14 nancy says godfrey is \u2018the best of husbands\u2019. how far does eliot make you agree with  her?50",
            "18": "18 0486/13/m/j/17 \u00a9 ucles 2017 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: silence from the house.  content removed due to copyright restricitions.",
            "19": "19 0486/13/m/j/17 \u00a9 ucles 2017 [turn over . \u2018thank you, stephen,\u2019 she says humbly . [from chapter 7] in what ways does frayn make this such a disturbing moment in the novel? or 16 how does frayn\u2019s writing suggest to you that stephen\u2019s father is a much better father  than keith\u2019s?  do not use the extract printed in question 15 when answering this question. content removed due to copyright restricitions.",
            "20": "20 0486/13/m/j/17 \u00a9 ucles 2017 kate grenville: the secret river remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: one afternoon thornhill saw black dick stalking along with a small  kangaroo dead over his shoulder. he felt the tongue shift in his mouth. he  could not remember when he had last eaten fresh meat. they would have a chicken in the pot one day, but not until the few fowls had multiplied. he caught sal\u2019s eye as she came to the door of the hut. she went back inside and had the gun down as he came in. fresh meat, will, she said,  her face alight with the prospect. think of it! thornhill hid himself behind a fallen tree with the gun. the last of  the sun slanted sideways, sending fingers of shadow across the grass. six or seven kangaroos were grazing, a big buck and some females. one had a joey in her pouch that was invisible but for a single long foot sticking out. seen up close, a kangaroo was a creature out of a dream, put together  from different parts: the ears of a dog, the muzzle of a deer, that thick tail like a furred python. something was wrong with the proportions, so the back feet were nearly as long as the tail, while the forepaws were stolen from a child. grazing along the grass they swung themselves forward between forepaws and tail, the tail curving, taking the weight as the animal shifted forward to another tuft. a kangaroo was a freak of nature. but thornhill was discovering that if a  man looked at a kangaroo for long enough, it was the idea of a sheep that became peculiar. he had his eye on the buck. just that tail, as thick as his own forearm,  would fill the pot. he felt the spit gush into his mouth at the thought of it: a savoury brown stew that would fill a man up the way the salt pork he brought back from sydney never did. the buck seemed to be moving closer to where thornhill crouched  behind the tree. he was getting pins and needles in his foot where it was bent under him and had been bitten on the tender flesh between his first two fingers by sharp ants. a mosquito whined at his ear but he would not wave it away. his finger on the trigger became like wood and his eye squinting along the barrel began to swim with tears. he felt invisible and soundless and hardly breathed. he had become part of the log, part of the air, part of the evening itself. the buck was so close now that he could hear the little cropping sound  as it pulled at the grass with its mouth. he could see a fly dancing around its ears and its delicate whiskers, lit up in the last of the sun. he could even see its long eyelashes. he was close, but did not trust himself or the gun to be close enough. the animal was moving up the slope towards him. if he could remain nothing but wood and air for long enough, it would come so close he could not miss. finally he knew that he had to tell that wooden finger of his to pull back  on the trigger, or something in him would break. he made no sound, there was no movement, only the small muscle in his finger, and yet the animal knew. its head lifted from the grass and its ears swivelled around towards him. with one powerful thrust of its tail it sprang away, sailing over the grass, over the rocks, into the forest, and all the others bounded away after it.5 10 15202530354045",
            "21": "21 0486/13/m/j/17 \u00a9 ucles 2017 [turn over in flight, the way they were constructed made the most perfect sense. he stood up behind the fallen tree, listening to the crashes and thumps  as they leaped up the ridge through the forest and the rocks. the gun hung useless from his hand. sal was standing at the door of the hut when he came down the hill.  she watched while he hung the gun back on its pegs and put the bag of powder on the shelf. he could not trust himself to speak, disappointment a stone in his chest. there was no conversation around the fire that night as they held  their bits of pork on sticks over the coals, catching the drips with the dry cornbread that crumbled into pieces as soon as it was handled. his throat closed against the food, the smell of it in his nostrils made him gag. sal ate, doggedly, beside him, but he could not. she glanced at him, at the food in his hand, but said nothing. dan was the first to smell it, his head turning like an animal\u2019s to where  the scent came up on the evening air all the way from the blacks\u2019 camp: the smell of fresh meat, roasting. thornhill could hear his guts rumble with longing. [from part four] how does grenville make this such a memorable moment in the novel? or 18 in what ways does grenville vividly depict the hardships of the thornhills\u2019 life in london?50 556065",
            "22": "22 0486/13/m/j/17 \u00a9 ucles 2017 r k narayan: the english teacher remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: they shoulder the stretcher. i\u2019m given a pot containing the fire and we  march out, down our street, ellamman street. passers-by stand and look  for a while. but every face looks blurred to me. the heat of the sun is intense. we cut across the sands, ford the river at nallappa\u2019s grove, and on to the other bank of the river, and enter the cremation ground by a small door on its southern wall. the sun is beating down mercilessly, but i don\u2019t feel it. i feel nothing,  and see nothing. all sensations are blurred and vague. they find it necessary to put down the stretcher a couple of times on  the roadside. half a dozen flies are dotting her face. passers-by stand and look on sadly at the smiling face. a madman living in ellamman street comes by, looks at her face and breaks down, and follows us on, muttering vile and obscure curses on fate and its ways. stretcher on the ground. a deep grove of tamarind trees and mangoes,  full of shade and quiet \u2013 an extremely tranquil place. two or three smouldering pyres are ranged about, and bamboos and coirs lie scattered, and another funeral group is at the other end of this grove. \u2018this is a sort of cloakroom, a place where you leave your body behind,\u2019 i reflect as we sit down and wait. somebody appears carrying a large notebook, and writes down name, age, and disease; collects a fee, issues a receipt, and goes away. the half a dozen flies are still having their ride. after weeks, i see her  face in daylight, in the open, and note the devastation of the weeks of fever \u2013 this shrivelling heat has baked her face into a peculiar tinge of pale yellow. the purple cotton saree which i bought her on another day is wound round her and going to burn with her. the priest and the carriers are ceaselessly shouting for someone or  other. basket after basket of dry cowdung fuel is brought and dumped. \u2026 lively discussion over prices and quality goes on. the trappings oftrade do not leave us even here. some hairy man sits under a tree and asks for alms. i am unable to do anything, but quietly watch in numbness. \u2026 i\u2019m an imbecile, incapable of doing anything or answering any questions. i\u2019m incapable of doing anything except what our priest orders me to do. presently i go over, plunge in the river, return, and perform a great many rites and mutter a lot of things which the priest asks me to repeat. they build up a pyre, place her on it, cover her up with layers of fuel. \u2026  leaving only the face and a part of her chest out, four layers deep down. i pour ghee on and drop the fire. we are on our homeward march, a silent and benumbed gang. as we  cross nallappa\u2019s grove once again, i cannot resist the impulse to turn and look back. flames appear over the wall. \u2026 it leaves a curiously dull pain at heart. there are no more surprises and shocks in life, so that i watch the flame without agitation. for me the greatest reality is this and nothing else. \u2026 nothing else will worry or interest me in life hereafter. [from chapter 3]5 10 15202530354045",
            "23": "23 0486/13/m/j/17 \u00a9 ucles 2017 [turn over how does narayan\u2019s writing make this such a powerfully moving moment in the novel? or 20 what does narayan\u2019s portrayal make you feel about krishna?",
            "24": "24 0486/13/m/j/17 \u00a9 ucles 2017 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from billennium  (by jg ballard), and then answer the question that  follows it: temporarily, he and rossiter teamed up to rent a double cubicle in a semi- derelict house a hundred yards from the library. the neighbourhood was  seedy and faded, the rooming houses crammed with tenants. most of  them were owned by absentee landlords or by the city corporation, and  the managers employed were of the lowest type, mere rent-collectors who  cared nothing about the way their tenants divided up the living space, and  never ventured beyond the first floors. bottles and empty cans littered the  corridors, and the washrooms looked like sumps. many of the tenants were  old and infirm, sitting about listlessly in their narrow cubicles, wheedling at  each other back to back through the thin partitions. their double cubicle was on the third floor, at the end of a corridor that  ringed the building. its architecture was impossible to follow, rooms letting  off at all angles, and luckily the corridor was a cul-de-sac. the mounds  of cases ended four feet from the end wall and a partition divided off the  cubicle, just wide enough for two beds. a high window overlooked the area  ways of the buildings opposite. possessions loaded on to the shelf above his head, ward lay back on  his bed and moodily surveyed the roof of the library through the afternoon  haze. \u2018it\u2019s not bad here,\u2019 rossiter told him, unpacking his case. \u2018i know there\u2019s  no real privacy and we\u2019ll drive each other insane within a week, but at least  we haven\u2019t got six other people breathing into our ears two feet away .\u2019 the nearest cubicle, a single, was built into the banks of cases half a  dozen steps along the corridor, but the occupant, a man of seventy, was  deaf and bed-ridden. \u2018it\u2019s not bad,\u2019 ward echoed reluctantly. \u2018now tell me what the latest  growth figures are. they might console me.\u2019 rossiter paused, lowering his voice. \u2018four per cent. eight hundred million  extra people in one year \u2013 just less than half the earth\u2019s total population in  1950.\u2019 ward whistled slowly. \u2018so they will revalue. what to? three and a half?\u2019 \u2018three. from the first of next year.\u2019 \u2018three square metres! ward sat up and looked around him. \u2018it\u2019s  unbelievable! the world\u2019s going insane, rossiter. for god\u2019s sake, when  are they going to do something about it? do you realise there soon won\u2019t  be room enough to sit down, let alone lie down?\u2019 exasperated, he punched the wall beside him, on the second blow  knocked in one of the small wooden panels that had been lightly papered  over. \u2018hey! rossiter yelled. \u2018you\u2019re breaking the place down.\u2019 he dived across  the bed to retrieve the panel, which hung downwards supported by a strip  of paper. ward slipped his hand into the dark interval, carefully drew the  panel back on to the bed. \u2018who\u2019s on the other side?\u2019 rossiter whispered. \u2018did they hear?\u2019 ward peered through the interval, eyes searching the dim light. suddenly  he dropped the panel and seized rossiter\u2019s shoulder, pulled him down on  to the bed.5 10 15 20 25 30 35 40 45",
            "25": "25 0486/13/m/j/17 \u00a9 ucles 2017 \u2018henry! look! directly in front of them, faintly illuminated by a grimy skylight, was a  medium-sized room some fifteen feet square, empty except for the dust silted up against the skirting boards. the floor was bare, a few strips of frayed linoleum running across it, the walls covered with a drab floral design. here and there patches of the paper peeled off and segments of the picture rail had rotted away, but otherwise the room was in habitable condition. breathing slowly, ward closed the open door of the cubicle with his foot,  then turned to rossiter. \u2018henry, do you realise what we\u2019ve found? do you realise it, man?\u2019\u2018shut up. for pete\u2019s sake keep your voice down.\u2019 rossiter examined  the room carefully. \u2018it\u2019s fantastic. i\u2019m trying to see whether anyone\u2019s used it recently.\u2019 \u2018of course they haven\u2019t,\u2019 ward pointed out. \u2018it\u2019s obvious. there\u2019s no door  into the room. we\u2019re looking through it now. they must have panelled over this door years ago and forgotten about it. look at that filth everywhere.\u2019 rossiter was staring into the room, his mind staggered by its vastness.\u2018you\u2019re right,\u2019 he murmured. \u2018now, when do we move in?\u2019 how does ballard make this moment in the story so dramatic? or 22 explore the ways in which desai makes games at twilight  such a sad story.50 556065",
            "26": "26 0486/13/m/j/17 \u00a9 ucles 2017 blank page",
            "27": "27 0486/13/m/j/17 \u00a9 ucles 2017 blank page",
            "28": "28 0486/13/m/j/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge.blank page"
        },
        "0486_s17_qp_21.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/21 may/june 2017 1 hour 30 minutesliterature (english) paper 2 drama additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. this document consists of 11printed pages and 1blank page. [turn over 06_0486_21_2017_1.17 \u00a9 ucles 2017 *1165617200*",
            "2": "30252015105j lawrence & r e lee: inherit the wind remember to support your ideas with details from the writing. either * 1read this passage carefully, and then answer the question that follows it: sit down rachel. i\u2019ll bring him up. you can talk to him right here in the courtroom. [rachel sits, suitcase on lap. meeker starts out, then pauses .] long as i\u2019ve beenmeeker: bailiff here, we\u2019ve never had nothin\u2019 but drunks, vagrants, couple of chicken thieves. [ a little dreamily. ] our best catch was that fella from minnesota that chopped up his wife; we had to extradite him. [ shakes his head. ] seems kinda queer havin\u2019 a school-teacher in our jail. [ shrugs. ] might improve the writin\u2019 on the walls. [meeker goes out. nervously, rachel rises, puts suitcases down, looks around at the cold, official furnishings of the courtroom. bert cates enters followed by meeker .cates is a pale, thin young man of twenty-four. he is quiet, shy, well-mannered. rachel andcates face each other expressionlessly, without speaking. meeker pauses in the doorway. ] i\u2019ll leave you two alone to talk. don\u2019t run off, bert. [meeker goes out. rachel andcates look at each other. there is tension between them, as if they want to rush into eachother\u2019s arms. ] hello, bert. rachel: rache, i told you not to come here. cates: i couldn\u2019t help it. nobody saw me. mr. meeker won\u2019t tell. [ troubled .] i keep thinking of you, locked up here \u2013rachel: [trying to cheer her up. ]: you know something funny? the food\u2019s better than the boarding house. and you\u2019d better not tell anyone how cool it is down here, or we\u2019ll have a crimewave every summer.cates [indicating suitcase ]: i stopped by your place and picked up some of your things. a clean shirt, your best tie, some handkerchiefs.rachel thanks. cates: [rushing to him. ]: bert, why don\u2019t you tell \u2019em it was all a joke? tell \u2019em you didn\u2019t mean to break the law, and you won\u2019t do it again!rachel [breaking away from her. ]: i suppose everybody\u2019s all steamed up about brady coming. cates he\u2019s coming in on a special train out of chattanooga. pa\u2019s going to the station to meet him. everybody is!rachel: strike up the band. cates: [crossing to him. ]: bert, it\u2019s still not too late. why can\u2019t you just admit you were wrong? if the biggest man in the country \u2013 next to the president, maybe \u2013 if matthew harrisonbrady comes here to tell the whole world how wrong you are \u2013rachel [turning to her .]: you still think i did wrong? cates why did you do it? rachel: 06_0486_21_2017_1.17 \u00a9 ucles 20172",
            "3": "50454035 you know why i did it. i had the book in my hand, hunter\u2019s civic biology . i opened it up, and read my sophomore science class chapter 17, darwin\u2019s origin of species.cates: [rachel starts to protest. ] all it says is that man wasn\u2019t just stuck here like a geranium in a flower pot; that living comes from a long miracle, it didn\u2019t just happen in seven days. there\u2019s a law against it. rachel: i know that. cates : everybody says what you did is bad. rachel: it isn\u2019t as simple as that. good or bad, black or white, night or day. do you know, at the top of the world the twilight is six months long?cates: but we don\u2019t live at the top of the world. we live in hillsboro, and when the sun goes down, it\u2019s dark. and why do you try to make it different? [ he turns away. rachel gets the shirt, tie, and handkerchiefs from the suitcase. ] here.rachel: thanks, rache. cates: why can\u2019t you be on the right side of things? rachel: your father\u2019s side. [rachel starts to close suitcase preparing to leave. cates stops her.] rache \u2013 love me! [ they embrace. meeker enters with a long-handled broom. ]cates: [clears his throat. ]: i gotta sweep. [rachel breaks away and hurries off. ] meeker [calling, wanting to say \u201ci love you.\u201d ]: thanks for the shirt! [meeker , who has been sweeping impassively, stops and leans on the broom. ]cates [from act 1 ] how do the writers make this such a dramatic and revealing introduction to rachel and bert? or \u2020 2 to what extent does the writers\u2019 portrayal of matthew harrison brady make you feel sympathy for him? [turn over06_0486_21_2017_1.17 \u00a9 ucles 20173",
            "4": "30252015105arthur miller: a view from the bridge remember to support your ideas with details from the writing. either * 3read this passage carefully, and then answer the question that follows it: no. [ he moves from her, smiling sadly. ] it\u2019s just i used to come home, you was always there. now, i turn around, you\u2019re a big girl. i don\u2019t know how to talk to you.eddie: why? catherine: i don\u2019t know, you\u2019re runnin\u2019, you\u2019re runnin\u2019, katie. i don\u2019t think you listening any more to me.eddie: [going to him ]: ah, eddie, sure i am. what\u2019s the matter? you don\u2019t like him? [ slight pause. ]catherine [turns to her ]:you like him, katie? eddie [with a blush but holding her ground ]: yeah. i like him. catherine [his smile goes ]: you like him. eddie [looking down ]: yeah. [ now she looks at him for the consequences, smiling but tense. he looks at her like a lost boy. ] what\u2019re you got against him? i don\u2019t understand. he only blesses you.catherine [turns away ]: he don\u2019t bless me, katie. eddie he does! you\u2019re like a father to him! catherine: [turns to her ]: katie. eddie what, eddie? catherine: you gonna marry him? eddie: i don\u2019t know. we just been... goin\u2019 around, that\u2019s all. [ turns to him. ] what\u2019re you got against him, eddie? please, tell me. what?catherine: he don\u2019t respect you. eddie: why? catherine: katie... if you wasn\u2019t an orphan, wouldn\u2019t he ask your father\u2019s permission before he run around with you like this?eddie: oh, well, he didn\u2019t think you\u2019d mind. catherine: he knows i mind, but it don\u2019t bother him if i mind, don\u2019t you see that? eddie: no, eddie, he\u2019s got all kinds of respect for me. and you too! we walk across the street he takes my arm \u2013 he almost bows to me! you got him all wrong, eddie; i mean it,you \u2013catherine: katie, he\u2019s only bowin\u2019 to his passport. eddie: his passport! catherine: 06_0486_21_2017_1.17 \u00a9 ucles 20174",
            "5": "5550454035that\u2019s right. he marries you he\u2019s got the right to be an american citizen. that\u2019s what\u2019s goin\u2019 on here. [ she is puzzled and surprised .] you understand what i\u2019m tellin\u2019 you? the guy is lookin\u2019 for his break, that\u2019s all he\u2019s lookin\u2019 for.eddie: [pained ]: oh, no, eddie, i don\u2019t think so. catherine you don\u2019t think so! katie, you\u2019re gonna make me cry here. is that a workin\u2019 man? what does he do with his first money? a snappy new jacket he buys, records, a pointyeddie: pair new shoes and his brother\u2019s kids are starvin\u2019 over there with tuberculosis? that\u2019s a hit-and-run guy, baby; he\u2019s got bright lights in his head, broadway. them guys don\u2019tthink of nobody but theirself! you marry him and the next time you see him it\u2019ll be fordivorce! [steps toward him ]: eddie, he never said a word about his papers or \u2013 catherine you mean he\u2019s supposed to tell you that? eddie: i don\u2019t think he\u2019s even thinking about it. catherine: what\u2019s better for him to think about! he could be picked up any day here and he\u2019s back pushin\u2019 taxis up the hill!eddie: no, i don\u2019t believe it. catherine: katie, don\u2019t break my heart, listen to me. eddie: i don\u2019t want to hear it. catherine: katie, listen... eddie: he loves me! catherine: [with deep alarm ]: don\u2019t say that, for god\u2019s sake! this is the oldest racket in the country \u2013eddie [desperately, as though he had made his imprint ]: i don\u2019t believe it! [ she rushes to the house. ]catherine [following her ]: they been pullin\u2019 this since the immigration law was put in! they grab a green kid that don\u2019t know nothin\u2019 and they \u2013eddie [sobbing ]: i don\u2019t believe it and i wish to hell you\u2019d stop it! catherine katie! eddie: [from act 1 ] how does miller make this such a striking moment in the play? or \u2020 4 what does miller\u2019s portrayal of him make you feel about rodolpho? [turn over 06_0486_21_2017_1.17 \u00a9 ucles 20175",
            "6": "30252015105j b priestley: an inspector calls remember to support your ideas with details from the writing. either * 5read this passage carefully, and then answer the question that follows it: don\u2019t i? well, you\u2019re quite wrong there. i\u2019ve learnt plenty tonight. and you don\u2019t want me to tell you what i\u2019ve learnt, i hope. when i look back on tonight \u2013 when i think ofwhat i was feeling when the five of us sat down to dinner at that table \u2014birling: [cutting in ]: yes, and do you remember what you said to gerald and me after dinner, when you were feeling so pleased with yourself? you told us that a man has to makeeric his own way, look after himself and mind his own business, and that we weren\u2019t to take any notice of these cranks who tell us that everybody has to look after everybodyelse, as if we were all mixed up together. do you remember? yes \u2013 and then one of those cranks walked in \u2013 the inspector. [ laughs bitterly .] i didn\u2019t notice you told him that it\u2019s every man for himself. [sharply attentive ]: is that when the inspector came, just after father had said that? sheila yes. what of it? eric: now what\u2019s the matter, sheila? mrs birling: [slowly ]: it\u2019s queer \u2013 very queer \u2013 [ she looks at them reflectively .] sheila [with some excitement ]: i know what you\u2019re going to say. because i\u2019ve been wondering myself.mrs birling it doesn\u2019t much matter now, of course \u2013 but was he really a police inspector? sheila: well, if he wasn\u2019t, it matters a devil of a lot. makes all the difference. birling: no, it doesn\u2019t. sheila: don\u2019t talk rubbish. of course it does. birling: well, it doesn\u2019t to me. and it oughtn\u2019t to you, either. sheila: don\u2019t be childish, sheila. mrs birling: [flaring up ]: i\u2019m not being. if you want to know, it\u2019s you two who are being childish \u2013 trying not to face the facts.sheila i won\u2019t have that sort of talk. any more of that and you leave this room. birling: that\u2019ll be terrible for her, won\u2019t it? eric: i\u2019m going anyhow in a minute or two. but don\u2019t you see, if all that\u2019s come out tonight is true, then it doesn\u2019t much matter who it was who made us confess. and it wassheila: true, wasn\u2019t it? you turned the girl out of one job, and i had her turned out of another. gerald kept her \u2013 at a time when he was supposed to be too busy to see me. eric\u2013 well, we know what eric did. and mother hardened her heart and gave her the finalpush that finished her. that\u2019s what\u2019s important \u2013 and not whether a man is a policeinspector or not. he was our police inspector all right. eric: 06_0486_21_2017_1.17 \u00a9 ucles 20176",
            "7": "454035 that\u2019s what i mean, eric. but if it\u2019s any comfort to you \u2013 and it isn\u2019t to me \u2013 i have an idea \u2013 and i had it all along vaguely \u2013 that there was something curious abouthim. he never seemed like an ordinary police inspector \u2013sheila: [rather excited ]: you\u2019re right. i felt it too. [ tomrs birling] didn\u2019t you? birling well, i must say his manner was quite extraordinary; so \u2013 so rude \u2013 and assertive \u2013mrs birling: then look at the way he talked to me. telling me to shut up \u2013 and so on. he must have known i was an ex-lord mayor and a magistrate and so forth. besides \u2013 thebirling: way he talked \u2013 you remember. i mean, they don\u2019t talklike that. i\u2019ve had dealings with dozens of them. all right. but it doesn\u2019t make any real difference, y\u2019know. sheila: of course it does. mrs birling: no, sheila\u2019s right. it doesn\u2019t. eric: [from act 3 ] explore the ways in which priestley vividly reveals the growing tensions between the generations at this moment in the play. or \u2020 6 how does priestley make you feel about the way the men in the play treat eva smith? [turn over06_0486_21_2017_1.17 \u00a9 ucles 20177",
            "8": "3530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either * 7read this passage carefully, and then answer the question that follows it: o pardonnez-moi! french soldier: say\u2019st thou me so? is that a ton of moys? come hither, boy; ask me this slave in frenchwhat is his name.pistol: ecoutez: comment \u00eates-vous appel\u00e9? boy: monsieur le fer. french soldier: he says his name is master fer. boy: master fer! i\u2019ll fer him, and firk him, and ferret him \u2013 discuss the same in french unto him.pistol: i do not know, the french for fer, and ferret, and firk. boy: bid him prepare; for i will cut his throat. pistol: que dit-il, monsieur? french soldier: il me commande \u00e0 vous dire que vous faites vous pr\u00eat; car ce soldat ici est dispos\u00e9 tout \u00e0 cette heure de couper votre gorge.boy: owy, cuppele gorge, permafoy! peasant, unless thou give me crowns, brave crowns;or mangled shalt thou be by this my sword.pistol: o, je vous supplie, pour l\u2019amour de dieu, me pardonner! je suis gentilhomme de bonne maison. gardez ma vie, et je vous donnerai deux cents \u00e9cus.french soldier: what are his words? pistol: he prays you to save his life; he is a gentleman of a good house, and for his ransom he will give you two hundred crowns.boy: tell him my fury shall abate, and i the crowns will take.pistol: petit monsieur, que dit-il? french soldier: encore qu\u2019il est contre son jurement de pardonner aucun prisonnier, n\u00e9anmoins, pour les \u00e9cus que vous l\u2019avez promis, il est content \u00e0 vous donner la libert\u00e9, lefranchisement.boy: sur mes genoux je vous donne mille remerc\u00eemens; et je m\u2019estime heureux que je suis tomb\u00e9 entre les mains d\u2019un chevalier, je pense, le plus brave, vaillant, ettr\u00e8s distingu\u00e9 seigneur d\u2019angleterre.french soldier: expound unto me, boy. pistol: he gives you, upon his knees, a thousand thanks; and he esteems himself happy that he hath fall\u2019n into the hands of one \u2013 as he thinks \u2013 the most brave, valorous,and thrice-worthy signieur of england.boy: 06_0486_21_2017_1.17 \u00a9 ucles 20178",
            "9": "4540as i suck blood, i will some mercy show. follow me.pistol: [exit.] suivez-vous le grand capitaine. [ exitfrench soldier] i did never know so full a voice issue from so empty a heart; but the saying is true \u2013 the empty vesselboy: makes the greatest sound. bardolph and nym had ten times more valour than this roaring devil i\u2019 th\u2019 old play, that every one may pare his nails with a woodendagger; and they are both hang\u2019d; and so would this be, if he durst steal anythingadventurously. i must stay with the lackeys, with the luggage of ourcamp. the french might have a good prey of us, if he knew of it; for there isnone to guard it but boys. [exit.] [from act 4 ,scene 4 ] in what ways does shakespeare make this moment in the play both amusing and serious? or \u2020 8 what does shakespeare\u2019s portrayal of captain fluellen contribute to the dramatic impact of the play? [turn over 06_0486_21_2017_1.17 \u00a9 ucles 20179",
            "10": "403530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either * 9read this passage carefully, and then answer the question that follows it: look on beauty and you shall see \u2019tis purchas\u2019d by the weight,which therein works a miracle in nature,making them lightest that wear most of it;so are those crisped snaky golden lockswhich makes such wanton gambols with the windupon supposed fairness often knownto be the dowry of a second head \u2013the skull that bred them in the sepulchre.thus ornament is but the guiled shoreto a most dangerous sea; the beauteous scarfveiling an indian beauty; in a word,the seeming truth which cunning times put onto entrap the wisest. therefore, thou gaudy gold,hard food for midas, i will none of thee;nor none of thee, thou pale and common drudge\u2019tween man and man; but thou, thou meagre lead,which rather threaten\u2019st than dost promise aught,thy plainness moves me more than eloquence,and here choose i. joy be the consequence!bassanio: [aside ]: how all the other passions fleet to air, as doubtful thoughts, and rash-embrac\u2019d despair,and shudd\u2019ring fear, and green-ey\u2019d jealousy!o love, be moderate, allay thy ecstasy,in measure rain thy joy, scant this excess!i feel too much thy blessing. make it less,for fear i surfeit.portia [opening the leaden casket ]: what find i here? bassanio fair portia\u2019s counterfeit! what demi-god hath come so near creation? move these eyes?or whether riding on the balls of mine,seem they in motion? here are sever\u2019d lips,parted with sugar breath; so sweet a barshould sunder such sweet friends. here in her hairsthe painter plays the spider, and hath wovena golden mesh t\u2019entrap the hearts of menfaster than gnats in cobwebs. but her eyes \u2013how could he see to do them? having made one,methinks it should have power to steal both his,and leave itself unfurnish\u2019d. yet look how farthe substance of my praise doth wrong this shadowin underprizing it, so far this shadowdoth limp behind the substance. here\u2019s the scroll,the continent and summary of my fortune. 06_0486_21_2017_1.17 \u00a9 ucles 201710",
            "11": "45 \u2018you that choose not by the view, chance as fair and choose as true!\u2019 [from act 3, scene 2 ] in what ways does shakespeare make this such a powerful moment in the play? or \u2020 10 how does shakespeare make the relationship between shylock and antonio so disturbing? 06_0486_21_2017_1.17 \u00a9 ucles 201711",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_21_2017_1.17 \u00a9 ucles 201712"
        },
        "0486_s17_qp_22.pdf": {
            "1": "cambridge international examinations cambridge international generalcertificate ofsecondary education 0486/22 literature(english) may/june 2017 paper2drama 1hour30minutes additional materials: answerbooklet/paper readtheseinstructions first ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructions onthefrontcover oftheanswerbooklet.ifyouneedadditional answerpaperasktheinvigilator foracontinuation booklet. answertwoquestions. youmustansweronepassage-based question(marked*)andoneessayquestion(marked\u2020). yourquestions mustbeontwodifferentplays. allquestions inthispapercarryequalmarks. thisdocument consistsof11printedpagesand1blankpage. [turnover06_0486_22_2017_1.1 \u00a9ucles2017 *6402009242*",
            "2": "3530252015105jlawrence &relee:inheritthewind remember tosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: thecourtroom, twodayslater. again,outofthedarkness, thelightsbumpuptoagoldenportrait,frozenintime: brightmidday,thetrialisinfullswing. theactionstarts,thefanspump.thejudgeisonthebench;thejury,lawyers, officials,andspectators crowdthecourtroom. threewitnesses areseatedinthefrontrowamongthespectators: thescientists aaronson, keller,andpage.aaronson iseinstein-like. pageholdsa specimen boxinhislap(laterwewillseethatitcontainsarockwhichsplitstoreveal afossil).theschoolboy howardisonthewitnessstand.heiswretchedina starchedcollarandsundaysuit.theweatherisasrelentlessly hotasbefore.brady isexamining theboy,whoisawitnessfortheprosecution. goon,howard.tellthemwhatelsemr.catestoldyouintheclassroom. brady: well,hesaidatfirsttheearthwastoohotforanylife.thenitcooledoffamite,and cellsandthingsbeguntolive.howard: cells? brady: littlebugs,like,inthewater.afterthat,thelittlebugsgottobebiggerbugs,and sproutedlegsandcrawledupontheland.howard: howlongdidthistake,according tomr.cates? brady: couplemillionyears.maybelonger.thencomesthefishesandthereptilesandthe mammals. man\u2019samammal.howard: alongwiththedogsandthecattleinthefield:didhesaythat? brady: yessir.[drummond isabouttoprotestagainstprompting thewitness,thenhe decidesitisn\u2019tworththetrouble.]howard: now,howard,howdidmancomeoutofthisslimymessofbugsandserpents, according toyour\u2013\u201cprofessor\u201d?brady: manwassortofevoluted.fromthe\u201coldworldmonkeys.\u201d [bradyslapshisthigh.] howard: [crossingtojury]:didyouhearthat,myfriends?\u201coldworldmonkeys\u201d! according tomr.cates,youandiaren\u2019tevendescended fromgoodamerican monkeys! [therebrady islaughterfromspectators. bradyturnsbacktohoward.]howard,listencarefully. inallthistalkofbugsand\u201cevil-ution,\u201d ofslimeandooze,didmr.catesevermake anyreference togod? notasiremember . howard: orthemiracleheachievedinsevendaysasdescribed inthebeautifulbookof genesis?brady: no,sir.[bradystretchesouthisarmsinanall-embracing gesture.] howard: ladiesandgentlemen \u2014 brady:06_0486_22_2017_1.1 \u00a9ucles20172",
            "3": "55504540objection! [rising.]iaskthatthecourtremindthelearnedcounselthatthisisnota chautauqua tent.heissupposed tobesubmitting evidencetoajury.thereareno ladiesonthejury.[hesits.thereisalowmutterfromthespectators. ]drummond : yourhonor,ihavenointentionofmakingaspeech.thereisnoneed.iamsure thateveryone onthejury,everyone withinthesoundofthisboy\u2019svoice,ismovedbrady: byhistragicconfusion. hehasbeentaughtthathewriggleduplikeananimalfrom thefilthandthemuckbelow![continuing fervently,thespiritisuponhim.]isaythat thebible-haters, these\u201cevil-utionists,\u201d arebrewersofpoison!andthelegislature of thissovereign statehashadthewisdomtodemandthatthepeddlersofpoison\u2013 inbottles\u2013[turnsandpointstocates.]orinbooks\u2013clearlylabeltheproducts theyattempttosell![thereisanapplausefromthespectators. howardgulps. bradypointsattheboy.]itellyou,ifthislawisnotupheld,thisboywillbecome oneofageneration, shornofitsfaithbytheteachingofgodlessscience!butifthe fullpenaltyofthelawismetedouttobertramcates,thefaithfulthewholeworld over,whoarewatchingushere,andlisteningtooureveryword,willcallthis courtroom blessed![applause fromthespectators. evenoneofthejurymembers ismovedtoapplaud,butisstoppedbyhisneighbors. dramatically ,bradymoves tohischair.condescendingly ,hewavestodrummond. ]yourwitness,sir.[brady sits.drummond rises,slouchestowardthewitnessstand.] [fromact2] howdothewritersmakeyoufeelaboutbrady\u2019sbehaviour inthecourtroom atthismomentintheplay? or\u20202 inwhatwaysdothewritersmakehornbeck\u2019 sroleintheplaysostriking? [turnover06_0486_22_2017_1.1 \u00a9ucles20173",
            "4": "3530252015105arthur miller:aviewfromthebridge remember tosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: eddie,iwantyoutolistentome.[pause.]youknow,sometimes godmixesupthe people.wealllovesomebody ,thewife,thekids\u2013everyman\u2019sgotsomebody thathealfieri: loves,heh?butsometimes ...there\u2019stoomuch.youknow?there\u2019stoomuch,andit goeswhereitmustn\u2019t.amanworkshard,hebringsupachild,sometimes it\u2019saniece, sometimes evenadaughter,andheneverrealizesit,butthroughtheyears\u2013thereis toomuchloveforthedaughter,thereistoomuchlovefortheniece.doyouunderstand whati\u2019msayingtoyou? [sardonically ]:whatdoyoumean,ishouldn\u2019tlookoutforhergood? eddie yes,butthesethingshavetoend,eddie,that\u2019sall.thechildhastogrowupandgo away,andthemanhastolearntoforget.becauseafterall,eddie\u2013whatotherwaycanalfieri: itend?[pause.]lethergo.that\u2019smyadvice.youdidyourjob,nowit\u2019sherlife;wishher luck,andlethergo.[pause].willyoudothat?becausethere\u2019snolaw,eddie;makeup yourmindtoit;thelawisnotinterested inthis. youmeantotellme,evenifhe\u2019sapunk?ifhe\u2019s\u2013 eddie: there\u2019snothingyoucando.[eddiestands.] alfieri: well,allright,thanks.thanksverymuch. eddie: whatareyougoingtodo? alfieri: [withahelplessbutironicgesture]:whatcanido?i\u2019mapatsy,whatcanapatsydo?i workedlikeadogtwentyyearssoapunkcouldhaveher,sothat\u2019swhatidone.imean,eddie intheworsttimes,intheworst,whentherewasn\u2019tashipcomin\u2019intheharbor,ididn\u2019t standaroundlookin\u2019forrelief\u2013ihustled.whentherewasemptypiersinbrooklyniwent tohoboken, statenisland,thewestside,jersey,allover\u2013becauseimadeapromise. itookoutofmyownmouthtogivetoher.itookoutofmywife\u2019smouth.iwalkedhungry plentydaysinthiscity![itbeginstobreakthrough.]andnowigottasitinmyownhouse andlookatason-of-a-bitch punklikethat\u2013whichhecameoutofnowhere! igivehim myhousetosleep!itaketheblanketsoffmybedforhim,andhetakesandputshisdirty filthyhandsonherlikeagoddamthief! [rising]:but,eddie,she\u2019sawomannow. alfieri he\u2019sstealingfromme! eddie: shewantstogetmarried,eddie.shecan\u2019tmarryyou,canshe? alfieri: [furiously]: what\u2019reyoutalkin\u2019about,marryme!idon\u2019tknowwhattheheliyou\u2019retalkin\u2019 about![pause.]eddie igaveyoumyadvice,eddie.that\u2019sit.[eddiegathershimself.apause.] alfieri: well,thanks.thanksverymuch.itjust\u2013it\u2019sbreakin\u2019myheart,y\u2019know.i\u2013 eddie: iunderstand. putitoutofyourmind.canyoudothat? alfieri: i\u2019m\u2013[hefeelsthethreatofsobs,andwithahelplesswave.]i\u2019llseeyouaround.[he goesoutuptherightramp.]eddie: 06_0486_22_2017_1.1 \u00a9ucles20174",
            "5": "4540[sitsondesk]:therearetimeswhenyouwanttospreadanalarm,butnothinghas happened. iknew,iknewthenandthere\u2013icouldhavefinishedthewholestorythatalfieri afternoon. itwasn\u2019tasthoughtherewasamysterytounravel.icouldseeeverystep coming,stepafterstep,likeadarkfigurewalkingdownahalltowardacertaindoor.i knewwherehewasheadingfor,iknewwherehewasgoingtoend.andisatheremany afternoons askingmyselfwhy,beinganintelligent man,iwassopowerless tostopit.i evenwenttoacertainoldladyintheneighborhood, averywiseoldwoman,anditold her,andsheonlynodded,andsaid,\u2018prayforhim...\u2019andsoi\u2013waitedhere. [fromact1] inwhatwaysdoesmillermakethissuchanemotionally intensemomentintheplay? or\u20204 howdoesmillerpowerfully conveytoyoutheruleseddie\u2019scommunity livesby? [turnover06_0486_22_2017_1.1 \u00a9ucles20175",
            "6": "3530252015105jbpriestley:aninspector calls remember tosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: givingustheport,edna?that\u2019sright.[hepushesittowardseric.]yououghtto likethisport,gerald.asamatteroffact,finchleytoldmeit\u2019sexactlythesameport yourfathergetsfromhim.birling: thenit\u2019llbeallright.thegovernorprideshimselfonbeingagoodjudgeofport.i don\u2019tpretendtoknowmuchaboutit.gerald: [gaily,possessively ]:ishouldjollywellthinknot,gerald,i\u2019dhateyoutoknowall aboutport\u2013likeoneofthesepurple-faced oldmen.sheila here,i\u2019mnotapurple-faced oldman. birling: no,notyet.butthenyoudon\u2019tknowallaboutport\u2013doyou? sheila: [noticingthathiswifehasnottakenany]:nowthen,sybil,youmusttakealittle tonight.specialoccasion, y\u2019know,eh?birling yes,goon,mummy.youmustdrinkourhealth. sheila: [smiling]:verywell,then.justalittle,thankyou.[toedna,whoisabouttogo,with tray.]allright,edna.i\u2019llringfromthedrawingroomwhenwewantcoffee.probably inabouthalfanhour.mrsbirling [going]:yes,ma\u2019am. edna [ednagoesout.theynowhavealltheglassesfilled.birlingbeamsatthemand clearlyrelaxes.] well,well\u2013thisisverynice.verynice.gooddinnertoo,sybil.tellcookfromme. birling: [politely]:absolutely first-class. gerald [reproachfully]: arthur,you\u2019renotsupposed tosaysuchthings\u2014 mrsbirling oh\u2013come,come\u2013i\u2019mtreatinggeraldlikeoneofthefamily.andi\u2019msurehewon\u2019t object.birling: [withmockingaggressiveness ]:goon,gerald\u2013justyouobject! sheila [smiling]:wouldn\u2019tdreamofit.infact,iinsistuponbeingoneofthefamilynow.i\u2019ve beentryinglongenough,haven\u2019ti?[asshedoesnotreply,withmoreinsistence ] haven\u2019ti?youknowihave.gerald [smiling]:ofcourseshedoes. mrsbirling [halfserious,halfplayful]:yes\u2013exceptforalllastsummer,whenyounevercame nearme,andiwondered whathadhappened toyou.sheila andi\u2019vetoldyou\u2013iwasawfullybusyattheworksallthattime. gerald: [sametoneasbefore]:yes,that\u2019swhatyousay. sheila now,sheila,don\u2019tteasehim.whenyou\u2019rem arriedyou\u2019llrealizethatmenwith important worktodosometimes havetospendnearlyalltheirtimeandenergyon theirbusiness. you\u2019llhavetogetusedtothat,justasihad.mrsbirling: idon\u2019tbelieveiwill.[halfplayful,halfserious,togerald.] soyoubecareful. sheila: 06_0486_22_2017_1.1 \u00a9ucles20176",
            "7": "55504540oh\u2013iwill,iwill. gerald: [ericsuddenlyguffaws.hisparentslookathim.] [severely]:now\u2013what\u2019sthejoke? sheila idon\u2019tknow\u2013really.suddenly ifeltijusthadtolaugh. eric: you\u2019resquiffy. sheila: i\u2019mnot. eric: whatanexpression, sheila!reallythethingsyougirlspickupthesedays! mrsbirling: ifyouthinkthat\u2019sthebestshecando\u2014 eric: don\u2019tbeanass,eric. sheila: nowstopit,youtwo.arthur,whataboutthisfamoustoastofyours? mrsbirling: yes,ofcourse.[clearshisthroat.]well,gerald,iknowyouagreedthatweshould onlyhavethisquietlittlefamilyparty.it\u2019sapitysirgeorgeand\u2013er\u2013ladycroftbirling: can\u2019tbewithus,butthey\u2019reabroadandsoitcan\u2019tbehelped.asitoldyou,they sentmeaverynicecable\u2013couldn\u2019tbenicer.i\u2019mnotsorrythatwe\u2019recelebrating quietlylikethis\u2014 muchnicerreally. mrsbirling: iagree. gerald: sodoi,butitmakesspeech-making moredifficult\u2013 birling: [nottoorudely]:well,don\u2019tdoany.we\u2019lldrinktheirhealthandhavedonewithit. eric [fromact1] howdoespriestleymakethissuchastrikingintroduction tothebirlingfamilyandgeraldcroft? or\u20206 inwhatwaysdoespriestleymaketherelationship betweenericbirlingandevasmithsuchapowerfully dramaticpartoftheplay? [turnover06_0486_22_2017_1.1 \u00a9ucles20177",
            "8": "403530252015105william shakespeare: henryv remember tosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: herecomeshismajesty. gower: alarum.entertheking,warwick,gloucester ,exeter,andothers,with prisoners. flourish. iwasnotangrysinceicametofrance untilthisinstant.takeatrumpet,herald; ridethouintothehorsemen onyondhill; iftheywillfightwithus,bidthemcomedown, orvoidthefield;theydooffendoursight: ifthey\u2019lldoneither,wewillcometothem, andmakethemskirraway,asswiftasstones enforcedfromtheoldassyrianslings; besides,we\u2019llcutthethroatsofthosewehave, andnotamanofthemthatweshalltake shalltasteourmercy.goandtellthemso.king: entermontjoy . herecomestheheraldofthefrench,myliege. exeter: hiseyesarehumblerthantheyus\u2019dtobe. gloucester: hownow!whatmeansthis,herald?know\u2019stthounot thatihavefin\u2019dthesebonesofmineforransom? com\u2019stthouagainforransom?king: no,greatking: icometotheeforcharitable licence, thatwemaywandero\u2019erthisbloodyfield tobookourdead,andthentoburythem; tosortournoblesfromourcommonmen; formanyofourprinces\u2014woethewhile!\u2014 liedrown\u2019dandsoak\u2019dinmercenary blood; sodoourvulgardrenchtheirpeasantlimbs inbloodofprinces;andtheirwoundedsteeds fretfetlockdeepingoreandwithwildrage yerkouttheirarmedheelsattheirdeadmasters, killingthemtwice.o,giveusleave,greatking, toviewthefieldinsafety,anddispose oftheirdeadbodies!montjoy: itelltheetruly,herald, iknownotifthedaybeoursorno; foryetamanyofyourhorsemen peer andgallopo\u2019erthefield.king: thedayisyours. montjoy: praisedbegod,andnotourstrength,forit! whatisthiscastlecall\u2019dthatstandshardby?king: 06_0486_22_2017_1.1 \u00a9ucles20178",
            "9": "45theycallitagincourt. montjoy: thencallwethisthefieldofagincourt, foughtonthedayofcrispincrispianus.king: yourgrandfather offamousmemory,an\u2019tpleaseyourmajesty,andyourgreat-uncle edwardtheplackprinceofwales,asihavereadinthechronicles, foughtamost pravepattlehereinfrance.fluellen: theydid,fluellen. king: [fromact4scene7] howdoesshakespeare makethissuchapowerfulmomentintheplay? or\u20208 towhatextentdoesshakespeare portraykinghenry\u2019sarmyasa\u2018bandofbrothers\u2019intheplay? [turnover06_0486_22_2017_1.1 \u00a9ucles20179",
            "10": "30252015105william shakespeare: themerchant ofvenice remember tosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: entershylock hownow,shylock!whatnewsamongthemerchants? solanio: youknew,nonesowell,nonesowellasyou,ofmydaughter\u2019sflight. shylock: that\u2019scertain;i,formypart,knewthetailorthatmadethewingssheflewwithal. salerio: andshylock,forhisownpart,knewthebirdwasflidge;andthenitisthecomplexion ofthemalltoleavethedam.solanio: sheisdamn\u2019dforit. shylock: that\u2019scertain,ifthedevilmaybeherjudge. solanio: myownfleshandbloodtorebel! shylock: outuponit,oldcarrion!rebelsitattheseyears? solanio: isay,mydaughterismyfleshandblood. shylock: thereismoredifferencebetweenthyfleshandhersthanbetweenjetandivory;more betweenyourbloodsthanthereisbetweenredwineandrhenish.buttellus,doyou hearwhetherantoniohavehadanylossatseaorno?salerio: thereihaveanotherbadmatch:abankrupt, aprodigal,whodarescarceshowhis headontherialto;abeggar,thatwasusedtocomesosmuguponthemart.lethimshylock: looktohisbond.hewaswonttocallmeusurer;lethimlooktohisbond.hewaswont tolendmoneyforachristiancourtesy;lethimlooktohisbond. why,iamsure,ifheforfeit,thouwiltnottakehisflesh.what\u2019sthatgoodfor? salerio: tobaitfishwithal.ifitwillfeednothingelse,itwillfeedmyrevenge.hehathdisgraced me,andhind\u2019redmehalfamillion;laugh\u2019datmylosses,mock\u2019datmygains,scornedshylock: mynation,thwartedmybargains,cooledmyfriends,heatedmineenemies.andwhat\u2019s hisreason?iamajew.hathnotajeweyes?hathnotajewhands,organs, dimensions, senses,affections,passions, fedwiththesamefood,hurtwiththesame weapons, subjecttothesamediseases, healedbythesamemeans,warmedand cooledbythesamewinterandsummer,asachristianis?ifyouprickus,dowenot bleed?ifyoutickleus,dowenotlaugh?ifyoupoisonus,dowenotdie?andifyou wrongus,shallwenotrevenge? ifwearelikeyouintherest,wewillresemble youin that.ifajewwrongachristian, whatishishumility?revenge. ifachristianwronga jew,whatshouldhissufferancebebychristianexample? why,revenge.thevillainy youteachme,iwillexecute;anditshallgohardbutiwillbettertheinstruction. [fromact3scene1] howdoesshakespeare vividlyconveyshylock\u2019sthoughtsandfeelingsatthismomentintheplay? 06_0486_22_2017_1.1 \u00a9ucles201710",
            "11": "or\u202010 whatdoesshakespeare\u2019 sportrayaloflauncelot gobbocontribute toyourenjoyment oftheplay? 06_0486_22_2017_1.1 \u00a9ucles201711",
            "12": "blankpage permission toreproduce itemswherethird-party ownedmaterialprotected bycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearance haveunwittingly beenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity . toavoidtheissueofdisclosure ofanswer-related information tocandidates, allcopyrightacknowledgements arereproduced onlineinthecambridgeinternational examinations copyright acknowledgements booklet.thisisproduced foreachseriesofexaminations andisfreelyavailabletodownload atwww.cie.org.ukafter theliveexamination series. cambridge international examinations ispartofthecambridge assessment group.cambridge assessment isthebrandnameofuniversity ofcambridge local examinations syndicate (ucles), whichisitselfadepartment oftheuniversity ofcambridge. 06_0486_22_2017_1.1 \u00a9ucles201712"
        },
        "0486_s17_qp_23.pdf": {
            "1": "cambridge international examinations cambridge international generalcertificate ofsecondary education 0486/23 may/june 2017 1hour30minutesliterature(english) paper2drama additional materials: answerbooklet/paper readtheseinstructions first ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructions onthefrontcover oftheanswerbooklet.ifyouneedadditional answerpaperasktheinvigilator foracontinuation booklet. answertwoquestions. youmustansweronepassage-based question(marked*)andoneessayquestion(marked\u2020). yourquestions mustbeontwodifferentplays. allquestions inthispapercarryequalmarks. thisdocument consistsof11printedpagesand1blankpage. [turnover06_0486_23_2017_1.1 \u00a9ucles2017 *1476935700*",
            "2": "3530252015105jlawrence &relee:inheritthewind remember tosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [askance.]: idon\u2019tknowifthedignityofthecourtcanbeupheldwiththesegalluses i\u2019vegoton.drummond well\u2013we\u2019lltakethatchance,mr.drummond. thosewhowishtoremovetheircoats maydoso.[withrelief,allexceptthejudgetakeofftheircoatsandloosentheirjudge: collarbuttons.drummond removeshiscoat,drapesitoverbackofhischair\u2013as doesbrady.drummond wearswide,lavendersuspenders. thespectators react.] [withaffablesarcasm.]: isthecounselfordefenseshowingusthelatestfashionin thegreatmetropolitan cityofchicago?brady [pleased.]: i\u2019mgladyouaskedmethat.ibroughtthesealongspecial.[hecockshis thumbsinthesuspenders. ]itjustsohappensiboughtthesegallusesatpeabody\u2019sdrummond generalstoreinyourhometown,mr.brady.weepingwater,nebraska. [drummond snapsthesuspenders jauntily.thereisamusedreactionatthis. bradyisnettled:thisishisshow,andhewantsallthelaughs.thejudgepounds fororder.drummond andbradysit.] letusproceedwiththeselectionofthefinaljuror.[dunlap isarugged, righteous-looking man.]judge: stateyournameandoccupation. meeker: jesseh.dunlap.farmerandcabinet-maker . dunlap: doyoubelieveinthebible,mr.dunlap? davenport: [vigorously,almostshouting.]:ibelieveintheholywordofgod.andibelievein matthewharrisonbrady![thereisstrongapplause, andafewscattered \u201camens\u201d fromspectators. ]dunlap [crossingtohistable.]:thismanisacceptable totheprosecution. [hesits.] davenport verywell.mr.drummond? judge: [quietly,withoutrising.]:noquestions, notacceptable. drummond [annoyed, rising.]:doesmr.drummond refusethismanaplaceonthejurysimply becausehebelievesinthebible?brady ifyoucanfindanevolutionist inthistown,youcanrefusehim! drummond: [turningtojudge,angrily.]:yourhonor.iobjectt othedefenseattorneyrejecting aworthycitizenwithoutsomuchasaskinghimaquestion![crowdmuttersangrily.]brady [agreeably .]:allright.i\u2019llaskhimaquestion.[sauntersovertodunlapwith deliberate slowness, stops.]howareyou?drummond [alittlesurprised. ]:kindahot. dunlap soami.excused. [dunlap looksatthejudge,confused, asdrummond crossesbacktohistableandsits.]drummond: 06_0486_23_2017_1.1 \u00a9ucles20172",
            "3": "55504540youareexcusedfromjuryduty,mr.dunlap.youmaystepdown.[meeker waves dunlapbackandhejoinsthespectators, alittlemiffed.]judge: [risingpiously.]:iobjecttothenoteoflevitywhichthecounselforthedefenseis introducing intotheseproceedings.brady thebenchagreeswithyouinspirit,colonelbrady. judge: [risingangrily.]:andiobjecttoallthisdamned\u201ccolonel\u201dtalk.iamnotfamiliarwith mr.brady\u2019smilitaryrecord.drummond well\u2013hewasmadeanhonorarycolonelinourstatemilitia.thedayhearrivedin hillsboro.judge: theuseofthistitleprejudices thecaseofmyclient:itcallsupapictureofthe prosecution, astrideawhitehorse,ablazeintheuniformofamilitiacolonel,withall theforcesofrightandrighteousness marshalled behindhim.drummond : well,whatarewetodo? judge: breakhim.makehimaprivate.[sits.]ihavenoseriousobjectiontothehonorary titleof\u201cprivatebrady\u201d.[thereisabuzzofreaction.thejudgegesturesforthe mayortocomeoverforahurried,whispered conference. ]drummond: [aftersomewhispering. ]:well,wecan\u2019ttakeitback\u2013![thereisanotherwhispered exchange. thenthemayorstepsgingerlytowarddrummond. ]by\u2013bythemayor authorityof\u2013well,i\u2019msurethegovernorwon\u2019thaveanyobjection\u2013iherebyappoint you,mr.drummond, atemporary honorary colonelinthestatemilitia. [rises,shakinghishead,withmockhumility.]:gentlemen, idon\u2019tknowwhattosay. itisnotofteninaman\u2019slifethatheattainstheexaltedrankof\u201ctemporary honorary colonel.\u201ddrummond [fromact1] explorehowthewritersmakethisanentertaining momentintheplay. or\u20202 howdothewritersmake\u2018therighttothink\u2019somemorable andsignificant intheplay? [turnover06_0486_23_2017_1.1 \u00a9ucles20173",
            "4": "3530252015105arthur miller:aviewfromthebridge remember tosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [tobeatrice]:he\u2019slucky,believeme.[slightpause.helooksaway,thenbackto beatrice.]that\u2019swhythewaterfrontisnoplaceforhim.[theystopdancing.eddie rodolpho turnsoffphonograph.] imeanlikeme\u2013ican\u2019tcook,ican\u2019tsing,ican\u2019t makedresses,soi\u2019monthewaterfront.butificouldcook,ificouldsing,ificould makedresses,iwouldn\u2019tbeonthewaterfront.[hehasbeenunconsciously twisting thenewspaper intoatightroll.theyareallregarding himnow;hesensesheis exposingtheissueandheisdrivenon.]iwouldbesomeplace else.iwouldbelike inadressstore.[hehasbenttherolledpaperanditsuddenlytearsintwo.he suddenlygetsupandpullshispantsupoverhisbellyandgoestomarco.] what doyousay,marco,wegototheboutsnextsaturdaynight.youneverseenafight, didyou? [uneasily]:onlyinthemovingpictures. marco [goingtorodolpho]: i\u2019lltreatyiz.whatdoyousay,danish?youwannacome along?i\u2019llbuythetickets.eddie sure.iliketogo. rodolpho: [goestoeddie;nervously happynow]:i\u2019llmakesomecoffee,allright? catherine goahead,makesome!makeitniceandstrong.[mystified, shesmilesandexitsto kitchen.heisweirdlyelated,rubbinghisfistsintohispalms.hestridestomarco.] youwait,marco,youseesomerealfightshere.youeverdoanyboxing?eddie: no,inever. marco: [torodolpho]: betchayouhavedonesome,heh? eddie no. rodolpho: well,comeon,i\u2019llteachyou. eddie: what\u2019shegottolearnthatfor? beatrice: yacan\u2019ttell,oneathesedayssomebody\u2019 sliabletosteponhisfootorsump\u2019m.come on,rodolpho, ishowyouacoupleapasses.[hestandsbelowtable.]eddie: goahead,rodolpho. he\u2019sagoodboxer,hecouldteachyou. beatrice: [embarrassed ]:well,idon\u2019tknowhowto\u2013[hemovesdowntoeddie.] rodolpho justputyourhandsup.likethis,see?that\u2019sright.that\u2019sverygood,keepyourleft up,becauseyouleadwiththeleft,see,likethis.[hegentlymoveshisleftintoeddie: rodolpho\u2019 sface.]see?nowwhatyougottadoisyougottablockme,sowheni comeinlikethatyou\u2013[rodolpho parrieshisleft].hey,that\u2019sverygood! [rodolpho laughs.]allright,nowcomeintome.comeon. idon\u2019twanttohityou,eddie. rodolpho: don\u2019tpityme,comeon.throwit,i\u2019llshowyouhowtoblockit.[rodolpho jabsat him,laughing.theothersjoin.]\u2019at\u2019sit.comeonagain.forthejawrighthere. [rodolpho jabswithmoreassurance.]ve rygood!eddie: [tomarco]: he\u2019sverygood! beatrice 06_0486_23_2017_1.1 \u00a9ucles20174",
            "5": "4540[eddiecrossesdirectlyupstageofrodolpho.] sure,he\u2019sgreat!comeon,kid,putsump\u2019mbehindit,youcan\u2019thurtme.[rodolpho , moreseriously,jabsateddie\u2019sjawandgrazesit.]attaboy.eddie: [catherine comesfromthekitchen,watches.] nowi\u2019mgonnahityou,soblockme,see? eddie: [withbeginning alarm]:whataretheydoin\u2019?[theyarelightlyboxingnow.] catherine [shesensesonlythecomradeship initnow]:he\u2019steachin\u2019him;he\u2019sverygood! beatrice sure,he\u2019sterrific!lookathimgo![rodolpho landsablow.]\u2019at\u2019sit!now,watch out,hereicome,danish![hefeintswithhislefthandandlandswithhisright.itmildly staggersrodolpho .marcorises.]eddie: [fromact1] whatdoesmiller\u2019swritingmakeyoufeelabouteddieatthismomentintheplay? or\u20204 howdoesmillermaketwomoments intheplayparticularly movingforyou? donotusethepassageinquestion *3inanswering thisquestion. [turnover06_0486_23_2017_1.1 \u00a9ucles20175",
            "6": "3530252015105jbpriestley:aninspector calls remember tosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: exactlyasattheendofacttwo.ericisstandingjustinsidetheroomandthe othersarestaringathim. youknow,don\u2019tyou? eric: [asbefore]:yes,weknow. inspector [ericshutsthedoorandcomesfartherin.] [distressed]: eric,ican\u2019tbelieveit.theremustbesomemistake.youdon\u2019tknow whatwe\u2019vebeensaying.mrsbirling it\u2019sagoodjobforhimhedoesn\u2019t,isn\u2019tit? sheila: why? eric: becausemother\u2019sbeenbusyblamingeverything ontheyoungmanwhogotthis girlintotrouble,andsayingheshouldn\u2019tescapeandshouldbemadeanexample of\u2014sheila: that\u2019senough,sheila. birling: [bitterly]:youhaven\u2019tmadeitanyeasierforme,haveyou,mother? eric butididn\u2019tknowitwasyou\u2013ineverdreamt.besides,you\u2019renotthattype\u2013you don\u2019tgetdrunk\u2014mrsbirling: ofcoursehedoes.itoldyouhedid. sheila: youtoldher.why,youlittlesneak! eric: no,that\u2019snotfair,eric.icouldhavetoldhermonthsago,butofcourseididn\u2019t.i onlytoldhertonightbecauseikneweverything wascomingout\u2013itwassimplysheila: boundtocomeouttonight\u2013soithoughtshemightaswellknowinadvance.don\u2019t forget\u2013i\u2019vealreadybeenthroughit. sheila,isimplydon\u2019tunderstand yourattitude. mrsbirling: neitherdoi.ifyou\u2019dhadanysenseofloyalty\u2014 birling: [cuttingin,smoothly]:justaminute,mrsbirling.there\u2019llbeplentyoftime,when i\u2019vegone,foryoualltoadjustyourfamilyrelationships. butnowimusthearwhatinspector yoursonhastotellme.[sternly,tothethreeofthem]andi\u2019llbeobligedifyou\u2019lllet usgetonwithoutanyfurtherinterruptions. [turningtoeric]nowthen. [miserably]:couldihaveadrinkfirst? eric [explosively ]:no. birling [firmly]:yes.[asbirlinglookslikeinterrupting explosively ]iknow\u2013he\u2019syourson andthisisyourhouse\u2013butlookathim.heneedsadrinknowjusttoseehim through.inspector [toeric]:allright.goon. birling [ericgoesforawhisky.hiswholemannerofhandlingthedecanterandthenthe drinkshowshisfamiliaritywithquickheavydrinking.theotherswatchhimnarrowly.] 06_0486_23_2017_1.1 \u00a9ucles20176",
            "7": "55504540[bitterly]:iunderstand alotofthingsnowididn\u2019tunderstand before. birling don\u2019tstartonthat.iwanttogeton.[toeric.]whendidyoufirstmeetthisgirl? inspector: onenightlastnovember . eric: wheredidyoumeether? inspector: inthepalacebar.i\u2019dbeenthereanhourorsowithtwoorthreechaps.iwasabit squiffy.eric: whathappened then? inspector: ibegantalkingtoher,andstoodherafewdrinks.iwasratherfargonebythetime wehadtogo.eric: wasshedrunktoo? inspector: shetoldmeafterwards thatshewasabit,chieflybecauseshe\u2019dnothadmuchto eatthatday.eric: whyhadshegonethere\u2014? inspector: shewasn\u2019ttheusualsort.but\u2013well,isupposeshedidn\u2019tknowwhattodo.there wassomewomanwhowantedhertogothere.ineverquiteunderstood aboutthat.eric: youwentwithhertoherlodgingsthatnight? inspector: yes,iinsisted\u2013itseems.i\u2019mnotveryclearaboutit,butafterwards shetoldmeshe didn\u2019twantmetogoinbutthat\u2013well,iwasinthatstatewhenachapeasilyturns nasty\u2013andithreatened tomakearow.eric: sosheletyouin? inspector: yes.andthat\u2019swhenithappened. andididn\u2019tevenremember \u2013that\u2019sthehellish thing.oh\u2013mygod!\u2013howstupiditallis!eric: [withacry]:oh\u2013eric\u2013howcouldyou? mrsbirling [fromact3] inwhatwaysdoespriestleymakethissuchagrippingopeningtoactthreeoftheplay? or\u20206 towhatextentdoyouthinkpriestleyportraysmrarthurbirlingasthevillainoftheplay? [turnover06_0486_23_2017_1.1 \u00a9ucles20177",
            "8": "3530252015105william shakespeare: henryv remember tosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: mymostredoubted father, itismostmeetwearmus\u2019gainstthefoe; forpeaceitselfshouldnotsodullakingdom, thoughwarnornoknownquarrelwereinquestion, butthatdefences, musters,preparations, shouldbemaintain\u2019d, assembled andcollected, aswereawarinexpectation. therefore, isay,\u2019tismeetweallgoforth toviewthesickandfeeblepartsoffrance; andletusdoitwithnoshowoffear\u2013 no,withnomorethanifweheardthatengland werebusiedwithawhitsunmorris-dance; for,mygoodliege,sheissoidlyking\u2019d, hersceptresofantastically borne byavain,giddy,shallow,humorous youth, thatfearattendshernot.dauphin: opeace,princedauphin! youaretoomuchmistakeninthisking. questionyourgracethelateambassadors withwhatgreatstateheheardtheirembassy, howwellsuppliedwithnoblecounsellors, howmodestinexception, andwithal howterribleinconstantresolution, andyoushallfindhisvanitiesforespent werebuttheoutsideoftheromanbrutus, coveringdiscretion withacoatoffolly; asgardeners dowithordurehidethoseroots thatshallfirstspringandbemostdelicate.constable: well,\u2019tisnotso,mylordhighconstable; butthoughwethinkitso,itisnomatter. incasesofdefence\u2019tisbesttoweigh theenemymoremightythanheseems; sotheproportions ofdefencearefill\u2019d; whichofaweakorniggardlyprojection dothlikeamiserspoilhiscoatwithscanting alittlecloth.dauphin: 06_0486_23_2017_1.1 \u00a9ucles20178",
            "9": "504540thinkwekingharrystrong; and,princes,lookyoustronglyarmtomeethim. thekindredofhimhathbeenflesh\u2019duponus; andheisbredoutofthatbloodystrain thathauntedusinourfamiliarpaths. witnessourtoomuchmemorable shame whencressybattlefatallywasstruck, andallourprincescaptiv\u2019dbythehand ofthatblackname,edward,blackprinceofwales; whilesthathismountain sire\u2013onmountain standing, upintheair,crown\u2019dwiththegoldensun\u2013 sawhisheroicalseed,andsmiledtoseehim, mangletheworkofnatureanddeface thepatternsthatbygodandbyfrenchfathers hadtwentyyearsbeenmade.thisisastem ofthatvictorious stock;andletusfear thenativemightiness andfateofhim.kingoffrance: [fromact2,scene4] howdoesshakespeare makethissuchastrikingandsignificant momentintheplay? or\u20208 howfardoesshakespeare makeyouadmirekinghenry? [turnover06_0486_23_2017_1.1 \u00a9ucles20179",
            "10": "3530252015105william shakespeare: themerchant ofvenice remember tosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: mostworthygentleman, iandmyfriend havebyyourwisdombeenthisdayacquitted ofgrievouspenalties; inlieuwhereof, threethousand ducats,dueuntothejew, wefreelycopeyourcourteous painswithal.bassanio: andstandindebted, overandabove, inloveandservicetoyouevermore.antonio: heiswellpaidthatiswellsatisfied, andi,delivering you,amsatisfied, andthereindoaccountmyselfwellpaid. mymindwasneveryetmoremercenary . iprayyou,knowmewhenwemeetagain; iwishyouwell,andsoitakemyleave.portia: dearsir,offorceimustattemptyoufurther; takesomeremembrance ofus,asatribute, notasafee.grantmetwothings,iprayyou, nottodenyme,andtopardonme.bassanio: youpressmefar,andthereforeiwillyield. [toantonio]givemeyourgloves,i\u2019llwearthemforyoursake. [tobassanio] and,foryourlove,i\u2019lltakethisringfromyou. donotdrawbackyourhand:i\u2019lltakenomore, andyouinloveshallnotdenymethis.portia: thisring,goodsir\u2013alas,itisatrifle; iwillnotshamemyselftogiveyouthis.bassanio: iwillhavenothingelsebutonlythis; andnow,methinks, ihaveamindtoit.portia: there\u2019smoredependsonthisthanonthevalue. thedearestringinvenicewilligiveyou, andfinditoutbyproclamation; onlyforthis,iprayyou,pardonme.bassanio: isee,sir,youareliberalinoffers; youtaughtmefirsttobeg,andnow,methinks, youteachmehowabeggarshouldbeanswer\u2019d.portia: goodsir,thisringwasgivenmebymywife; and,whensheputiton,shemademevow thatishouldneithersell,norgive,norloseit.bassanio: 06_0486_23_2017_1.1 \u00a9ucles201710",
            "11": "4540that\u2019scuseservesmanymentosavetheirgifts. anifyourwifebenotamadwoman, andknowhowwellihavedeserved thisring, shewouldnotholdoutenemyforever forgivingittome.well,peacebewithyou!portia: [exeuntportiaandnerissa . mylordbassanio, lethimhavethering. lethisdeservings, andmylovewithal, bevalued\u2019gainstyourwife\u2019scommandment.antonio: go,gratiano, runandovertakehim; givehimthering,andbringhim,ifthoucanst, untoantonio\u2019shouse.away,makehaste.bassanio: [exitgratiano. [fromact4,scene1] inwhatwaysdoesshakespeare makethissuchamemorable momentintheplay? or\u202010 howdoesshakespeare makecharacters takingriskssuchastrikingpartoftheplay? 06_0486_23_2017_1.1 \u00a9ucles201711",
            "12": "blankpage permission toreproduce itemswherethird-party ownedmaterialprotected bycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearance haveunwittingly beenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity . toavoidtheissueofdisclosure ofanswer-related information tocandidates, allcopyrightacknowledgements arereproduced onlineinthecambridgeinternational examinations copyright acknowledgements booklet.thisisproduced foreachseriesofexaminations andisfreelyavailabletodownload atwww.cie.org.ukafter theliveexamination series. cambridge international examinations ispartofthecambridge assessment group.cambridge assessment isthebrandnameofuniversity ofcambridge local examinations syndicate (ucles), whichisitselfadepartment oftheuniversity ofcambridge. 06_0486_23_2017_1.1 \u00a9ucles201712"
        },
        "0486_s17_qp_31.pdf": {
            "1": "cambridge international examinations cambridge international generalcertificate ofsecondary education 0486/31 literature(english) may/june 2017 paper3drama(opentext) 45minutes textsstudiedshouldbetakenintotheexamination. readtheseinstructions first ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructions onthefrontcover oftheanswerbooklet.ifyouneedadditional answerpaperasktheinvigilator foracontinuation booklet. answeronequestion. allquestions inthispapercarryequalmarks. thisdocument consistsof11printedpagesand1blankpage. [turnover06_0486_31_2017_1.2 \u00a9ucles2017 *9795692244*",
            "2": "30252015105jlawrence &relee:inheritthewind remember tosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: sitdownrachel.i\u2019llbringhimup.youcantalktohimrighthereinthecourtroom. [rachel sits,suitcaseonlap.meeker startsout,thenpauses.]longasi\u2019vebeenmeeker: bailiffhere,we\u2019veneverhadnothin\u2019butdrunks,vagrants,coupleofchickenthieves.[a littledreamily.]ourbestcatchwasthatfellafromminnesota thatchoppeduphiswife; wehadtoextraditehim.[shakeshishead.]seemskindaqueerhavin\u2019aschool-teacher inourjail.[shrugs.]mightimprovethewritin\u2019onthewalls.[meeker goesout.nervously, rachelrises,putssuitcases down,looksaroundatthecold,officialfurnishings ofthe courtroom. bertcatesentersfollowedbymeeker.catesisapale,thinyoung manoftwenty-four .heisquiet,shy,well-mannered. rachelandcatesfaceeach otherexpressionlessly ,withoutspeaking. meeker pausesinthedoorway.]i\u2019llleave youtwoalonetotalk.don\u2019trunoff,bert.[meeker goesout.rachelandcates lookateachother.thereistensionbetweenthem,asiftheywanttorushintoeach other\u2019sarms.] hello,bert. rachel: rache,itoldyounottocomehere. cates: icouldn\u2019thelpit.nobodysawme.mr.meekerwon\u2019ttell.[troubled.]ikeepthinkingof you,lockeduphere\u2013rachel: [tryingtocheerherup.]:youknowsomething funny?thefood\u2019sbetterthantheboarding house.andyou\u2019dbetternottellanyonehowcoolitisdownhere,orwe\u2019llhaveacrime waveeverysummer.cates [indicating suitcase]:istoppedbyyourplaceandpickedupsomeofyourthings.aclean shirt,yourbesttie,somehandkerchiefs.rachel thanks. cates: [rushingtohim.]:bert,whydon\u2019tyoutell\u2019emitwasallajoke?tell\u2019emyoudidn\u2019tmean tobreakthelaw,andyouwon\u2019tdoitagain!rachel [breakingawayfromher.]:isupposeeverybody\u2019 sallsteamedupaboutbradycoming. cates he\u2019scominginonaspecialtrainoutofchattanooga. pa\u2019sgoingtothestationtomeet him.everybody is!rachel: strikeuptheband. cates: [crossingtohim.]:bert,it\u2019sstillnottoolate.whycan\u2019tyoujustadmityouwerewrong? ifthebiggestmaninthecountry\u2013nexttothepresident, maybe\u2013ifmatthewharrison bradycomesheretotellthewholeworldhowwrongyouare\u2013rachel [turningtoher.]:youstillthinkididwrong? cates whydidyoudoit? rachel: 06_0486_31_2017_1.2 \u00a9ucles20172",
            "3": "50454035 youknowwhyididit.ihadthebookinmyhand,hunter\u2019scivicbiology.iopenedit up,andreadmysophomore scienceclasschapter17,darwin\u2019soriginofspecies.cates: [rachel startstoprotest.]allitsaysisthatmanwasn\u2019tjuststuckherelikeageranium inaflowerpot;thatlivingcomesfromalongmiracle,itdidn\u2019tjusthappeninsevendays. there\u2019salawagainstit. rachel: iknowthat. cates: everybody sayswhatyoudidisbad. rachel: itisn\u2019tassimpleasthat.goodorbad,blackorwhite,nightorday.doyouknow,atthe topoftheworldthetwilightissixmonthslong?cates: butwedon\u2019tliveatthetopoftheworld.weliveinhillsboro, andwhenthesungoes down,it\u2019sdark.andwhydoyoutrytomakeitdifferent?[heturnsaway.rachelgets theshirt,tie,andhandkerchiefs fromthesuitcase.]here.rachel: thanks,rache. cates: whycan\u2019tyoubeontherightsideofthings? rachel: yourfather\u2019sside.[rachel startstoclosesuitcasepreparing toleave.catesstops her.]rache\u2013loveme![theyembrace. meeker enterswithalong-handled broom.]cates: [clearshisthroat.]:igottasweep.[rachel breaksawayandhurriesoff.] meeker [calling,wantingtosay\u201ciloveyou.\u201d]:thanksfortheshirt![meeker ,whohasbeen sweeping impassively ,stopsandleansonthebroom.]cates [fromact1] howdothewritersmakethissuchadramaticandrevealingintroduction torachelandbert? or\u20202 towhatextentdoesthewriters\u2019portrayalofmatthewharrisonbradymakeyoufeelsympathy forhim? [turnover06_0486_31_2017_1.2 \u00a9ucles20173",
            "4": "30252015105arthur miller:aviewfromthebridge remember tosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: no.[hemovesfromher,smilingsadly.]it\u2019sjustiusedtocomehome,youwasalways there.now,iturnaround,you\u2019reabiggirl.idon\u2019tknowhowtotalktoyou.eddie: why? catherine: idon\u2019tknow,you\u2019rerunnin\u2019,you\u2019rerunnin\u2019,katie.idon\u2019tthinkyoulisteninganymore tome.eddie: [goingtohim]:ah,eddie,sureiam.what\u2019sthematter?youdon\u2019tlikehim?[slight pause.]catherine [turnstoher]:youlikehim,katie? eddie [withablushbutholdingherground]:yeah.ilikehim. catherine [hissmilegoes]:youlikehim. eddie [lookingdown]:yeah.[nowshelooksathimfortheconsequences, smilingbuttense. helooksatherlikealostboy.]what\u2019reyougotagainsthim?idon\u2019tunderstand. he onlyblessesyou.catherine [turnsaway]:hedon\u2019tblessme,katie. eddie hedoes!you\u2019relikeafathertohim! catherine: [turnstoher]:katie. eddie what,eddie? catherine: yougonnamarryhim? eddie: idon\u2019tknow.wejustbeen...goin\u2019around,that\u2019sall.[turnstohim.]what\u2019reyougot againsthim,eddie?please,tellme.what?catherine: hedon\u2019trespectyou. eddie: why? catherine: katie...ifyouwasn\u2019tanorphan,wouldn\u2019theaskyourfather\u2019spermission beforehe runaroundwithyoulikethis?eddie: oh,well,hedidn\u2019tthinkyou\u2019dmind. catherine: heknowsimind,butitdon\u2019tbotherhimifimind,don\u2019tyouseethat? eddie: no,eddie,he\u2019sgotallkindsofrespectforme.andyoutoo!wewalkacrossthestreet hetakesmyarm\u2013healmostbowstome!yougothimallwrong,eddie;imeanit, you\u2013catherine: katie,he\u2019sonlybowin\u2019tohispassport. eddie: hispassport! catherine: 06_0486_31_2017_1.2 \u00a9ucles20174",
            "5": "5550454035that\u2019sright.hemarriesyouhe\u2019sgottherighttobeanamerican citizen.that\u2019swhat\u2019s goin\u2019onhere.[sheispuzzledandsurprised.]youunderstand whati\u2019mtellin\u2019you? theguyislookin\u2019forhisbreak,that\u2019sallhe\u2019slookin\u2019for.eddie: [pained]:oh,no,eddie,idon\u2019tthinkso. catherine youdon\u2019tthinkso!katie,you\u2019regonnamakemecryhere.isthataworkin\u2019man? whatdoeshedowithhisfirstmoney?asnappynewjackethebuys,records,apointyeddie: pairnewshoesandhisbrother\u2019skidsarestarvin\u2019overtherewithtuberculosis? that\u2019s ahit-and-run guy,baby;he\u2019sgotbrightlightsinhishead,broadway.themguysdon\u2019t thinkofnobodybuttheirself!youmarryhimandthenexttimeyouseehimit\u2019llbefor divorce! [stepstowardhim]:eddie,heneversaidawordabouthispapersor\u2013 catherine youmeanhe\u2019ssupposed totellyouthat? eddie: idon\u2019tthinkhe\u2019seventhinkingaboutit. catherine: what\u2019sbetterforhimtothinkabout!hecouldbepickedupanydayhereandhe\u2019s backpushin\u2019taxisupthehill!eddie: no,idon\u2019tbelieveit. catherine: katie,don\u2019tbreakmyheart,listentome. eddie: idon\u2019twanttohearit. catherine: katie,listen... eddie: helovesme! catherine: [withdeepalarm]:don\u2019tsaythat,forgod\u2019ssake!thisistheoldestracketinthe country\u2013eddie [desperately ,asthoughhehadmadehisimprint]:idon\u2019tbelieveit![sherushesto thehouse.]catherine [followingher]:theybeenpullin\u2019thissincetheimmigration lawwasputin!theygrab agreenkidthatdon\u2019tknownothin\u2019andthey\u2013eddie [sobbing]:idon\u2019tbelieveitandiwishtohellyou\u2019dstopit! catherine katie! eddie: [fromact1] howdoesmillermakethissuchastrikingmomentintheplay? or\u20204 whatdoesmiller\u2019sportrayalofhimmakeyoufeelaboutrodolpho? [turnover06_0486_31_2017_1.2 \u00a9ucles20175",
            "6": "30252015105jbpriestley:aninspector calls remember tosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: don\u2019ti?well,you\u2019requitewrongthere.i\u2019velearntplentytonight.andyoudon\u2019twant metotellyouwhati\u2019velearnt,ihope.whenilookbackontonight\u2013whenithinkof whatiwasfeelingwhenthefiveofussatdowntodinneratthattable\u2014birling: [cuttingin]:yes,anddoyouremember whatyousaidtogeraldandmeafterdinner, whenyouwerefeelingsopleasedwithyourself?youtoldusthatamanhastomakeeric hisownway,lookafterhimselfandmindhisownbusiness, andthatweweren\u2019tto takeanynoticeofthesecrankswhotellusthateverybody hastolookaftereverybody else,asifwewereallmixeduptogether.doyouremember? yes\u2013andthenone ofthosecrankswalkedin\u2013theinspector.[laughsbitterly.]ididn\u2019tnoticeyoutold himthatit\u2019severymanforhimself. [sharplyattentive]:isthatwhentheinspector came,justafterfatherhadsaidthat? sheila yes.whatofit? eric: nowwhat\u2019sthematter,sheila? mrsbirling: [slowly]:it\u2019squeer\u2013veryqueer\u2013[shelooksatthemreflectively .] sheila [withsomeexcitement]: iknowwhatyou\u2019regoingtosay.becausei\u2019vebeen wondering myself.mrsbirling itdoesn\u2019tmuchmatternow,ofcourse\u2013butwashereallyapoliceinspector? sheila: well,ifhewasn\u2019t,itmattersadevilofalot.makesallthedifference. birling: no,itdoesn\u2019t. sheila: don\u2019ttalkrubbish.ofcourseitdoes. birling: well,itdoesn\u2019ttome.anditoughtn\u2019ttoyou,either. sheila: don\u2019tbechildish,sheila. mrsbirling: [flaringup]:i\u2019mnotbeing.ifyouwanttoknow,it\u2019syoutwowhoarebeingchildish\u2013 tryingnottofacethefacts.sheila iwon\u2019thavethatsortoftalk.anymoreofthatandyouleavethisroom. birling: that\u2019llbeterribleforher,won\u2019tit? eric: i\u2019mgoinganyhowinaminuteortwo.butdon\u2019tyousee,ifallthat\u2019scomeouttonight istrue,thenitdoesn\u2019tmuchmatterwhoitwaswhomadeusconfess.anditwassheila: true,wasn\u2019tit?youturnedthegirloutofonejob,andihadherturnedoutofanother. geraldkepther\u2013atatimewhenhewassupposed tobetoobusytoseeme.eric \u2013well,weknowwhatericdid.andmotherhardened herheartandgaveherthefinal pushthatfinishedher.that\u2019swhat\u2019simportant \u2013andnotwhetheramanisapolice inspectorornot. hewasourpoliceinspectorallright. eric: 06_0486_31_2017_1.2 \u00a9ucles20176",
            "7": "454035 that\u2019swhatimean,eric.butifit\u2019sanycomforttoyou\u2013anditisn\u2019ttome\u2013ihave anidea\u2013andihaditallalongvaguely\u2013thattherewassomething curiousabout him.heneverseemedlikeanordinarypoliceinspector\u2013sheila: [ratherexcited]:you\u2019reright.ifeltittoo.[tomrsbirling] didn\u2019tyou? birling well,imustsayhismannerwasquiteextraordinary; so\u2013sorude\u2013andassertive \u2013mrsbirling: thenlookatthewayhetalkedtome.tellingmetoshutup\u2013andsoon.hemust haveknowniwasanex-lordmayorandamagistrate andsoforth.besides\u2013thebirling: wayhetalked\u2013youremember .imean,theydon\u2019ttalklikethat.i\u2019vehaddealings withdozensofthem. allright.butitdoesn\u2019tmakeanyrealdifference,y\u2019know. sheila: ofcourseitdoes. mrsbirling: no,sheila\u2019sright.itdoesn\u2019t. eric: [fromact3] explorethewaysinwhichpriestleyvividlyrevealsthegrowingtensionsbetweenthegenerations atthis momentintheplay. or\u20206 howdoespriestleymakeyoufeelaboutthewaythemenintheplaytreatevasmith? [turnover06_0486_31_2017_1.2 \u00a9ucles20177",
            "8": "3530252015105william shakespeare: henryv remember tosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: opardonnez-moi! frenchsoldier: say\u2019stthoumeso?isthatatonofmoys? comehither,boy;askmethisslaveinfrench whatishisname.pistol: ecoutez:comment \u00eates-vous appel\u00e9? boy: monsieur lefer. frenchsoldier: hesayshisnameismasterfer. boy: masterfer!i\u2019llferhim,andfirkhim,and ferrethim\u2013discussthesameinfrenchuntohim.pistol: idonotknow,thefrenchforfer,andferret,andfirk. boy: bidhimprepare;foriwillcuthisthroat. pistol: quedit-il,monsieur? frenchsoldier: ilmecommande \u00e0vousdirequevousfaitesvouspr\u00eat;carcesoldaticiest dispos\u00e9tout\u00e0cetteheuredecoupervotregorge.boy: owy,cuppelegorge,permafoy! peasant,unlessthougivemecrowns,bravecrowns; ormangledshaltthoubebythismysword.pistol: o,jevoussupplie,pourl\u2019amourdedieu,mepardonner! jesuisgentilhomme debonnemaison.gardezmavie,etjevousdonneraideuxcents\u00e9cus.frenchsoldier: whatarehiswords? pistol: hepraysyoutosavehislife;heisagentleman ofagoodhouse,andforhis ransomhewillgiveyoutwohundredcrowns.boy: tellhimmyfuryshallabate,andi thecrownswilltake.pistol: petitmonsieur,quedit-il? frenchsoldier: encorequ\u2019ilestcontresonjurementdepardonner aucunprisonnier,n\u00e9anmoins, pourles\u00e9cusquevousl\u2019avezpromis,ilestcontent\u00e0vousdonnerlalibert\u00e9,le franchisement.boy: surmesgenouxjevousdonnemilleremerc\u00eemens; etjem\u2019estimeheureuxque jesuistomb\u00e9entrelesmainsd\u2019unchevalier,jepense,leplusbrave,vaillant,et tr\u00e8sdistingu\u00e9seigneurd\u2019angleterre.frenchsoldier: expounduntome,boy. pistol: hegivesyou,uponhisknees,athousandthanks;andheesteemshimselfhappy thathehathfall\u2019nintothehandsofone\u2013ashethinks\u2013themostbrave,valorous, andthrice-worthy signieurofengland.boy: 06_0486_31_2017_1.2 \u00a9ucles20178",
            "9": "4540asisuckblood,iwillsomemercyshow. followme.pistol: [exit.] suivez-vous legrandcapitaine. [exitfrench soldier] ididneverknowso fullavoiceissuefromsoemptyaheart;butthesayingistrue\u2013theemptyvesselboy: makesthegreatestsound.bardolphandnymhadtentimesmorevalourthan thisroaringdevili\u2019th\u2019oldplay,thateveryonemayparehisnailswithawooden dagger;andtheyarebothhang\u2019d;andsowouldthisbe,ifhedurststealanything adventurously .imuststaywiththelackeys,withtheluggageofour camp.thefrenchmighthaveagoodpreyofus,ifheknewofit;forthereis nonetoguarditbutboys. [exit.] [fromact4,scene4] inwhatwaysdoesshakespeare makethismomentintheplaybothamusingandserious? or\u20208 whatdoesshakespeare\u2019 sportrayalofcaptainfluellencontribute tothedramaticimpactoftheplay? [turnover06_0486_31_2017_1.2 \u00a9ucles20179",
            "10": "403530252015105william shakespeare: themerchant ofvenice remember tosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: lookonbeauty andyoushallsee\u2019tispurchas\u2019d bytheweight, whichthereinworksamiracleinnature, makingthemlightestthatwearmostofit; soarethosecrispedsnakygoldenlocks whichmakessuchwantongambolswiththewind uponsupposed fairnessoftenknown tobethedowryofasecondhead\u2013 theskullthatbredtheminthesepulchre. thusornament isbuttheguiledshore toamostdangerous sea;thebeauteous scarf veilinganindianbeauty;inaword, theseemingtruthwhichcunningtimesputon toentrapthewisest.therefore, thougaudygold, hardfoodformidas,iwillnoneofthee; nornoneofthee,thoupaleandcommondrudge \u2019tweenmanandman;butthou,thoumeagrelead, whichratherthreaten\u2019stthandostpromiseaught, thyplainness movesmemorethaneloquence, andherechoosei.joybetheconsequence!bassanio: [aside]:howalltheotherpassionsfleettoair, asdoubtfulthoughts, andrash-embrac\u2019d despair, andshudd\u2019ring fear,andgreen-ey\u2019d jealousy! olove,bemoderate, allaythyecstasy, inmeasurerainthyjoy,scantthisexcess! ifeeltoomuchthyblessing.makeitless, forfearisurfeit.portia [openingtheleadencasket]:whatfindihere? bassanio fairportia\u2019scounterfeit! whatdemi-god hathcomesonearcreation? movetheseeyes? orwhetherridingontheballsofmine, seemtheyinmotion?herearesever\u2019dlips, partedwithsugarbreath;sosweetabar shouldsundersuchsweetfriends.hereinherhairs thepainterplaysthespider,andhathwoven agoldenmesht\u2019entraptheheartsofmen fasterthangnatsincobwebs. buthereyes\u2013 howcouldheseetodothem?havingmadeone, methinksitshouldhavepowertostealbothhis, andleaveitselfunfurnish\u2019d. yetlookhowfar thesubstance ofmypraisedothwrongthisshadow inunderprizing it,sofarthisshadow dothlimpbehindthesubstance. here\u2019sthescroll, thecontinentandsummary ofmyfortune.06_0486_31_2017_1.2 \u00a9ucles201710",
            "11": "45 \u2018youthatchoosenotbytheview, chanceasfairandchooseastrue!\u2019 [fromact3,scene2] inwhatwaysdoesshakespeare makethissuchapowerfulmomentintheplay? or\u202010 howdoesshakespeare maketherelationship betweenshylockandantoniosodisturbing? 06_0486_31_2017_1.2 \u00a9ucles201711",
            "12": "blankpage permission toreproduce itemswherethird-party ownedmaterialprotected bycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearance haveunwittingly beenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity . toavoidtheissueofdisclosure ofanswer-related information tocandidates, allcopyrightacknowledgements arereproduced onlineinthecambridgeinternational examinations copyright acknowledgements booklet.thisisproduced foreachseriesofexaminations andisfreelyavailabletodownload atwww.cie.org.ukafter theliveexamination series. cambridge international examinations ispartofthecambridge assessment group.cambridge assessment isthebrandnameofuniversity ofcambridge local examinations syndicate (ucles), whichisitselfadepartment oftheuniversity ofcambridge. 06_0486_31_2017_1.2 \u00a9ucles201712"
        },
        "0486_s17_qp_32.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/32 literature (english) may/june 2017 paper 3 drama (open text) 45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. this document consists of 11printed pages and 1blank page. [turn over 06_0486_32_2017_1.6 \u00a9 ucles 2017 *8016765666*",
            "2": "3530252015105j lawrence & r e lee: inherit the wind remember to support your ideas with details from the writing. either 1read this passage carefully, and then answer the question that follows it: the courtroom, two days later. again, out of the darkness, the lights bump up to a golden portrait, frozen in time: bright midday, the trial is in full swing. the action starts, the fans pump. the judge is on the bench; the jury, lawyers, officials, and spectators crowd the courtroom. three witnesses are seated in the front row among the spectators: the scientists aaronson, keller , and page .aaronson is einstein-like. page holds a specimen box in his lap (later we will see that it contains a rock which splits to reveala fossil). the schoolboy howard is on the witness stand. he is wretched in a starched collar and sunday suit. the weather is as relentlessly hot as before. brady is examining the boy, who is a witness for the prosecution. go on, howard. tell them what else mr. cates told you in the classroom. brady: well, he said at first the earth was too hot for any life. then it cooled off a mite, and cells and things begun to live.howard : cells? brady : little bugs, like, in the water. after that, the little bugs got to be bigger bugs, and sprouted legs and crawled up on the land.howard : how long did this take, according to mr. cates? brady: couple million years. maybe longer. then comes the fishes and the reptiles and the mammals. man\u2019s a mammal.howard : along with the dogs and the cattle in the field: did he say that? brady : yes sir. [drummond is about to protest against prompting the witness, then he decides it isn\u2019t worth the trouble. ]howard : now, howard, how did man come out of this slimy mess of bugs and serpents, according to your \u2013 \u201cprofessor\u201d?brady : man was sort of evoluted. from the \u201cold world monkeys.\u201d [brady slaps his thigh. ] howard : [crossing to jury ]: did you hear that, my friends? \u201cold world monkeys\u201d! according to mr. cates, you and i aren\u2019t even descended from good american monkeys! [ therebrady is laughter from spectators. brady turns back to howard .] howard, listen carefully. in all this talk of bugs and \u201cevil-ution,\u201d of slime and ooze, did mr. cates ever makeany reference to god? not as i remember. howard : or the miracle he achieved in seven days as described in the beautiful book of genesis?brady : no, sir. [brady stretches out his arms in an all-embracing gesture. ] howard : ladies and gentlemen \u2014 brady : 06_0486_32_2017_1.6 \u00a9 ucles 20172",
            "3": "55504540objection! [ rising. ] i ask that the court remind the learned counsel that this is not a chautauqua tent. he is supposed to be submitting evidence to a jury. there are no ladies on the jury. [ he sits. there is a low mutter from the spectators. ]drummond : your honor, i have no intention of making a speech. there is no need. i am sure that everyone on the jury, everyone within the sound of this boy\u2019s voice, is movedbrady : by his tragic confusion. he has been taught that he wriggled up like an animal from the filth and the muck below! [ continuing fervently, the spirit is upon him. ] i say that the bible-haters, these \u201cevil-utionists,\u201d are brewers of poison! and the legislature ofthis sovereign state has had the wisdom to demand that the peddlers of poison \u2013 in bottles \u2013 [ turns and points to cates.] or in books \u2013 clearly label the products they attempt to sell! [ there is an applause from the spectators. howard gulps. brady points at the boy. ] i tell you, if this law is not upheld, this boy will become one of a generation, shorn of its faith by the teaching of godless science! but if thefull penalty of the law is meted out to bertram cates, the faithful the whole worldover, who are watching us here, and listening to our every word, will call this courtroom blessed! [ applause from the spectators. even one of the jury members is moved to applaud, but is stopped by his neighbors. dramatically, brady moves to his chair. condescendingly, he waves to drummond .] your witness, sir. [brady sits. drummond rises, slouches toward the witness stand. ] [from act 2 ] how do the writers make you feel about brady\u2019s behaviour in the courtroom at this moment in the play? or 2 in what ways do the writers make hornbeck\u2019s role in the play so striking? [turn over 06_0486_32_2017_1.6 \u00a9 ucles 20173",
            "4": "3530252015105arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3read this passage carefully, and then answer the question that follows it: eddie, i want you to listen to me. [ pause. ] you know, sometimes god mixes up the people. we all love somebody, the wife, the kids \u2013 every man\u2019s got somebody that healfieri : loves, heh? but sometimes . . . there\u2019s too much. you know? there\u2019s too much, and it goes where it mustn\u2019t. a man works hard, he brings up a child, sometimes it\u2019s a niece,sometimes even a daughter, and he never realizes it, but through the years \u2013 there istoo much love for the daughter, there is too much love for the niece. do you understandwhat i\u2019m saying to you? [sardonically ]: what do you mean, i shouldn\u2019t look out for her good? eddie yes, but these things have to end, eddie, that\u2019s all. the child has to grow up and go away, and the man has to learn to forget. because after all, eddie \u2013 what other way canalfieri : it end? [ pause. ] let her go. that\u2019s my advice. you did your job, now it\u2019s her life; wish her luck, and let her go. [ pause ]. will you do that? because there\u2019s no law, eddie; make up your mind to it; the law is not interested in this. you mean to tell me, even if he\u2019s a punk? if he\u2019s \u2013 eddie : there\u2019s nothing you can do. [eddie stands. ] alfieri : well, all right, thanks. thanks very much. eddie : what are you going to do? alfieri : [with a helpless but ironic gesture ]: what can i do? i\u2019m a patsy, what can a patsy do? i worked like a dog twenty years so a punk could have her, so that\u2019s what i done. i mean,eddie in the worst times, in the worst, when there wasn\u2019t a ship comin\u2019 in the harbor, i didn\u2019t stand around lookin\u2019 for relief \u2013 i hustled. when there was empty piers in brooklyn i wentto hoboken, staten island, the west side, jersey, all over \u2013 because i made a promise.i took out of my own mouth to give to her. i took out of my wife\u2019s mouth. i walked hungry plenty days in this city! [ it begins to break through. ] and now i gotta sit in my own house and look at a son-of-a-bitch punk like that \u2013 which he came out of nowhere! i give himmy house to sleep! i take the blankets off my bed for him, and he takes and puts his dirtyfilthy hands on her like a goddam thief! [rising ]: but, eddie, she\u2019s a woman now. alfieri he\u2019s stealing from me! eddie : she wants to get married, eddie. she can\u2019t marry you, can she? alfieri : [furiously ]: what\u2019re you talkin\u2019 about, marry me! i don\u2019t know what the heli you\u2019re talkin\u2019 about! [ pause. ]eddie i gave you my advice, eddie. that\u2019s it. [eddie gathers himself. a pause. ] alfieri: well, thanks. thanks very much. it just \u2013 it\u2019s breakin\u2019 my heart, y\u2019know. i \u2013 eddie: i understand. put it out of your mind. can you do that? alfieri: i\u2019m \u2013 [ he feels the threat of sobs, and with a helpless wave. ] i\u2019ll see you around. [ he goes out up the right ramp. ]eddie: 06_0486_32_2017_1.6 \u00a9 ucles 20174",
            "5": "4540[sits on desk ]: there are times when you want to spread an alarm, but nothing has happened. i knew, i knew then and there \u2013 i could have finished the whole story thatalfieri afternoon. it wasn\u2019t as though there was a mystery to unravel. i could see every step coming, step after step, like a dark figure walking down a hall toward a certain door. iknew where he was heading for, i knew where he was going to end. and i sat here manyafternoons asking myself why, being an intelligent man, i was so powerless to stop it. ieven went to a certain old lady in the neighborhood, a very wise old woman, and i toldher, and she only nodded, and said, \u2018pray for him...\u2019 and so i \u2013 waited here. [from act 1 ] in what ways does miller make this such an emotionally intense moment in the play? or 4 how does miller powerfully convey to you the rules eddie\u2019s community lives by? [turn over 06_0486_32_2017_1.6 \u00a9 ucles 20175",
            "6": "3530252015105j b priestley: an inspector calls remember to support your ideas with details from the writing. either 5read this passage carefully, and then answer the question that follows it: giving us the port, edna? that\u2019s right. [ he pushes it towards eric.] you ought to like this port, gerald. as a matter of fact, finchley told me it\u2019s exactly the same portyour father gets from him.birling: then it\u2019ll be all right. the governor prides himself on being a good judge of port. i don\u2019t pretend to know much about it.gerald : [gaily, possessively ]: i should jolly well think not, gerald, i\u2019d hate you to know all about port \u2013 like one of these purple-faced old men.sheila here, i\u2019m not a purple-faced old man. birling : no, not yet. but then you don\u2019t know all about port \u2013 do you? sheila : [noticing that his wife has not taken any ]: now then, sybil, you must take a little tonight. special occasion, y\u2019know, eh?birling yes, go on, mummy. you must drink our health. sheila : [smiling ]: very well, then. just a little, thank you. [ toedna, who is about to go, with tray.] all right, edna. i\u2019ll ring from the drawing room when we want coffee. probably in about half an hour.mrs birling [going ]: yes, ma\u2019am. edna [edna goes out. they now have all the glasses filled. birling beams at them and clearly relaxes .] well, well \u2013 this is very nice. very nice. good dinner too, sybil. tell cook from me. birling : [politely ]: absolutely first-class. gerald [reproachfully ]: arthur, you\u2019re not supposed to say such things \u2014 mrs birling oh \u2013 come, come \u2013 i\u2019m treating gerald like one of the family. and i\u2019m sure he won\u2019t object.birling : [with mocking aggressiveness ]: go on, gerald \u2013 just you object! sheila [smiling ]: wouldn\u2019t dream of it. in fact, i insist upon being one of the family now. i\u2019ve been trying long enough, haven\u2019t i? [ as she does not reply, with more insistence ] haven\u2019t i? you know i have.gerald [smiling ]: of course she does. mrs birling [half serious, half playful ]: yes \u2013 except for all last summer, when you never came near me, and i wondered what had happened to you.sheila and i\u2019ve told you \u2013 i was awfully busy at the works all that time. gerald : [same tone as before ]: yes, that\u2019s what yousay. sheila now, sheila, don\u2019t tease him. when you\u2019re married you\u2019ll realize that men with important work to do sometimes have to spend nearly all their time and energy ontheir business. you\u2019ll have to get used to that, just as i had.mrs birling: i don\u2019t believe i will. [ half playful, half serious, to gerald.] so you be careful. sheila: 06_0486_32_2017_1.6 \u00a9 ucles 20176",
            "7": "55504540oh \u2013 i will, i will. gerald: [eric suddenly guffaws. his parents look at him. ] [severely ]: now \u2013 what\u2019s the joke? sheila i don\u2019t know \u2013 really. suddenly i felt i just had to laugh. eric: you\u2019re squiffy. sheila: i\u2019m not. eric: what an expression, sheila! really the things you girls pick up these days! mrs birling: if you think that\u2019s the best she can do \u2014 eric: don\u2019t be an ass, eric. sheila: now stop it, you two. arthur, what about this famous toast of yours? mrs birling: yes, of course. [ clears his throat. ] well, gerald, i know you agreed that we should only have this quiet little family party. it\u2019s a pity sir george and \u2013 er \u2013 lady croftbirling: can\u2019t be with us, but they\u2019re abroad and so it can\u2019t be helped. as i told you, they sent me a very nice cable \u2013 couldn\u2019t be nicer. i\u2019m not sorry that we\u2019re celebratingquietly like this \u2014 much nicer really. mrs birling: i agree. gerald: so do i, but it makes speech-making more difficult \u2013 birling: [not too rudely ]: well, don\u2019t do any. we\u2019ll drink their health and have done with it. eric [from act 1 ] how does priestley make this such a striking introduction to the birling family and gerald croft? or 6 in what ways does priestley make the relationship between eric birling and eva smith such a powerfully dramatic part of the play? [turn over 06_0486_32_2017_1.6 \u00a9 ucles 20177",
            "8": "403530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either 7read this passage carefully, and then answer the question that follows it: here comes his majesty. gower: alarum. enter the king, warwick ,gloucester ,exeter , and others, with prisoners. flourish . i was not angry since i came to france until this instant. take a trumpet, herald;ride thou into the horsemen on yond hill;if they will fight with us, bid them come down,or void the field; they do offend our sight:if they\u2019ll do neither, we will come to them,and make them skirr away, as swift as stonesenforced from the old assyrian slings;besides, we\u2019ll cut the throats of those we have,and not a man of them that we shall takeshall taste our mercy. go and tell them so.king: enter montjoy . here comes the herald of the french, my liege. exeter: his eyes are humbler than they us\u2019d to be. gloucester: how now! what means this, herald? know\u2019st thou not that i have fin\u2019d these bones of mine for ransom?com\u2019st thou again for ransom?king: no, great king: i come to thee for charitable licence,that we may wander o\u2019er this bloody fieldto book our dead, and then to bury them;to sort our nobles from our common men;for many of our princes \u2014 woe the while! \u2014lie drown\u2019d and soak\u2019d in mercenary blood;so do our vulgar drench their peasant limbsin blood of princes; and their wounded steedsfret fetlock deep in gore and with wild rageyerk out their armed heels at their dead masters,killing them twice. o, give us leave, great king,to view the field in safety, and disposeof their dead bodies!montjoy: i tell thee truly, herald, i know not if the day be ours or no;for yet a many of your horsemen peerand gallop o\u2019er the field.king : the day is yours. montjoy: praised be god, and not our strength, for it! what is this castle call\u2019d that stands hard by?king: 06_0486_32_2017_1.6 \u00a9 ucles 20178",
            "9": "45they call it agincourt. montjoy: then call we this the field of agincourt, fought on the day of crispin crispianus.king: your grandfather of famous memory, an\u2019t please your majesty, and your great-uncle edward the plack prince of wales, as i have read in the chronicles, fought a mostprave pattle here in france.fluellen: they did, fluellen. king: [from act 4 scene 7 ] how does shakespeare make this such a powerful moment in the play? or 8 to what extent does shakespeare portray king henry\u2019s army as a \u2018band of brothers\u2019 in the play? [turn over 06_0486_32_2017_1.6 \u00a9 ucles 20179",
            "10": "30252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either 9read this passage carefully, and then answer the question that follows it: enter shylock how now, shylock! what news among the merchants? solanio: you knew, none so well, none so well as you, of my daughter\u2019s flight. shylock: that\u2019s certain; i, for my part, knew the tailor that made the wings she flew withal. salerio: and shylock, for his own part, knew the bird was flidge; and then it is the complexion of them all to leave the dam.solanio: she is damn\u2019d for it. shylock: that\u2019s certain, if the devil may be her judge. solanio: my own flesh and blood to rebel! shylock: out upon it, old carrion! rebels it at these years? solanio: i say, my daughter is my flesh and blood. shylock: there is more difference between thy flesh and hers than between jet and ivory; more between your bloods than there is between red wine and rhenish. but tell us, do youhear whether antonio have had any loss at sea or no?salerio: there i have another bad match: a bankrupt, a prodigal, who dare scarce show his head on the rialto; a beggar, that was used to come so smug upon the mart. let himshylock: look to his bond. he was wont to call me usurer; let him look to his bond. he was wont to lend money for a christian courtesy; let him look to his bond. why, i am sure, if he forfeit, thou wilt not take his flesh. what\u2019s that good for? salerio: to bait fish withal. if it will feed nothing else, it will feed my revenge. he hath disgraced me, and hind\u2019red me half a million; laugh\u2019d at my losses, mock\u2019d at my gains, scornedshylock: my nation, thwarted my bargains, cooled my friends, heated mine enemies. and what\u2019s his reason? i am a jew. hath not a jew eyes? hath not a jew hands, organs,dimensions, senses, affections, passions, fed with the same food, hurt with the sameweapons, subject to the same diseases, healed by the same means, warmed andcooled by the same winter and summer, as a christian is? if you prick us, do we notbleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if youwrong us, shall we not revenge? if we are like you in the rest, we will resemble you inthat. if a jew wrong a christian, what is his humility? revenge. if a christian wrong ajew, what should his sufferance be by christian example? why, revenge. the villainyyou teach me, i will execute; and it shall go hard but i will better the instruction. [from act 3 scene 1 ] how does shakespeare vividly convey shylock\u2019s thoughts and feelings at this moment in the play? 06_0486_32_2017_1.6 \u00a9 ucles 201710",
            "11": "or 10 what does shakespeare\u2019s portrayal of launcelot gobbo contribute to your enjoyment of the play? 06_0486_32_2017_1.6 \u00a9 ucles 201711",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_32_2017_1.6 \u00a9 ucles 201712"
        },
        "0486_s17_qp_33.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/33 literature (english) may/june 2017 paper 3 drama (open text) 45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. this document consists of 11printed pages and 1blank page. [turn over 06_0486_33_2017_1.8 \u00a9 ucles 2017 *8972010446*",
            "2": "3530252015105j lawrence & r e lee: inherit the wind remember to support your ideas with details from the writing. either 1read this passage carefully, and then answer the question that follows it: [askance .]: i don\u2019t know if the dignity of the court can be upheld with these galluses i\u2019ve got on.drummond well \u2013 we\u2019ll take that chance, mr. drummond. those who wish to remove their coats may do so .[with relief, all except the judge take off their coats and loosen theirjudge: collar buttons. drummond removes his coat, drapes it over back of his chair \u2013 as does brady .drummond wears wide, lavender suspenders. the spectators react. ] [with affable sarcasm. ]: is the counsel for defense showing us the latest fashion in the great metropolitan city of chicago?brady [pleased. ]: i\u2019m glad you asked me that. i brought these along special. [ he cocks his thumbs in the suspenders. ] it just so happens i bought these galluses at peabody\u2019sdrummond general store in your home town, mr. brady. weeping water, nebraska. [drummond snaps the suspenders jauntily. there is amused reaction at this. brady is nettled: this is his show, and he wants all the laughs. the judge pounds for order. drummond andbrady sit.] let us proceed with the selection of the final juror. [dunlap is a rugged, righteous-looking man. ]judge: state your name and occupation. meeker: jesse h. dunlap. farmer and cabinet-maker. dunlap: do you believe in the bible, mr. dunlap? davenport: [vigorously, almost shouting. ]: i believe in the holy word of god. and i believe in matthew harrison brady! [ there is strong applause, and a few scattered \u201camens\u201d from spectators. ]dunlap [crossing to his table. ]: this man is acceptable to the prosecution. [ he sits. ] davenport very well. mr. drummond? judge : [quietly, without rising. ]: no questions, not acceptable. drummond [annoyed, rising. ]: does mr. drummond refuse this man a place on the jury simply because he believes in the bible?brady if you can find an evolutionist in this town, you can refuse him! drummond: [ turning to judge , angrily. ]: your honor. i object to the defense attorney rejecting a worthy citizen without so much as asking him a question! [ crowd mutters angrily. ]brady [agreeably. ]: all right. i\u2019ll ask him a question. [ saunters over to dunlap with deliberate slowness, stops. ] how are you?drummond [a little surprised. ]: kinda hot. dunlap so am i. excused. [dunlap looks at the judge , confused, as drummond crosses back to his table and sits. ]drummond: 06_0486_33_2017_1.8 \u00a9 ucles 20172",
            "3": "55504540you are excused from jury duty, mr. dunlap. you may step down. [meeker waves dunlap back and he joins the spectators, a little miffed. ]judge: [rising piously. ]: i object to the note of levity which the counsel for the defense is introducing into these proceedings.brady the bench agrees with you in spirit, colonel brady. judge: [rising angrily. ]: and iobject to all this damned \u201ccolonel\u201d talk. i am not familiar with mr. brady\u2019s military record.drummond well \u2013 he was made an honorary colonel in our state militia. the day he arrived in hillsboro.judge: the use of this title prejudices the case of my client: it calls up a picture of the prosecution, astride a white horse, ablaze in the uniform of a militia colonel, with allthe forces of right and righteousness marshalled behind him.drummond : well, what are we to do? judge: break him. make him a private. [ sits.] i have no serious objection to the honorary title of \u201cprivate brady\u201d. [ there is a buzz of reaction. the judge gestures for the mayor to come over for a hurried, whispered conference. ]drummond: [after some whispering. ]: well, we can\u2019t take it back \u2013 ! [ there is another whispered exchange. then the mayor steps gingerly toward drummond .] by \u2013 by themayor authority of \u2013 well, i\u2019m sure the governor won\u2019t have any objection \u2013 i hereby appoint you, mr. drummond, a temporary honorary colonel in the state militia. [rises, shaking his head, with mock humility. ]: gentlemen, i don\u2019t know what to say. it is not often in a man\u2019s life that he attains the exalted rank of \u201ctemporary honorarycolonel.\u201ddrummond [from act 1 ] explore how the writers make this an entertaining moment in the play. or 2 how do the writers make \u2018the right to think\u2019 so memorable and significant in the play? [turn over06_0486_33_2017_1.8 \u00a9 ucles 20173",
            "4": "3530252015105arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3read this passage carefully, and then answer the question that follows it: [tobeatrice]: he\u2019s lucky, believe me. [ slight pause. he looks away, then back to beatrice.] that\u2019s why the water front is no place for him. [ they stop dancing.eddie rodolpho turns off phonograph. ] i mean like me \u2013 i can\u2019t cook, i can\u2019t sing, i can\u2019t make dresses, so i\u2019m on the water front. but if i could cook, if i could sing, if i could make dresses, i wouldn\u2019t be on the water front. [ he has been unconsciously twisting the newspaper into a tight roll. they are all regarding him now; he senses he isexposing the issue and he is driven on. ] i would be someplace else. i would be like in a dress store. [ he has bent the rolled paper and it suddenly tears in two. he suddenly gets up and pulls his pants up over his belly and goes to marco.] what do you say, marco, we go to the bouts next saturday night. you never seen a fight,did you? [uneasily ]: only in the moving pictures. marco [going to rodolpho]: i\u2019ll treat yiz. what do you say, danish? you wanna come along? i\u2019ll buy the tickets.eddie sure. i like to go. rodolpho: [goes to eddie ; nervously happy now ]: i\u2019ll make some coffee, all right? catherine go ahead, make some! make it nice and strong. [ mystified, she smiles and exits to kitchen. he is weirdly elated, rubbing his fists into his palms. he strides to marco .] you wait, marco, you see some real fights here. you ever do any boxing?eddie: no, i never. marco: [torodolpho]: betcha you have done some, heh? eddie no. rodolpho: well, come on, i\u2019ll teach you. eddie: what\u2019s he got to learn that for? beatrice: ya can\u2019t tell, one a these days somebody\u2019s liable to step on his foot or sump\u2019m. come on, rodolpho, i show you a couple a passes. [ he stands below table .]eddie: go ahead, rodolpho. he\u2019s a good boxer, he could teach you. beatrice: [embarrassed ]: well, i don\u2019t know how to \u2013 [ he moves down to eddie.] rodolpho just put your hands up. like this, see? that\u2019s right. that\u2019s very good, keep your left up, because you lead with the left, see, like this. [ he gently moves his left intoeddie: rodolpho\u2019s face. ] see? now what you gotta do is you gotta block me, so when i come in like that you \u2013 [rodolpho parries his left ].hey, that\u2019s very good! [rodolpho laughs. ] all right, now come into me. come on. i don\u2019t want to hit you, eddie. rodolpho: don\u2019t pity me, come on. throw it, i\u2019ll show you how to block it. [rodolpho jabs at him, laughing. the others join. ] \u2019at\u2019s it. come on again. for the jaw right here. [rodolpho jabs with more assurance .] very good!eddie: [tomarco]: he\u2019s very good! beatrice 06_0486_33_2017_1.8 \u00a9 ucles 20174",
            "5": "4540[eddie crosses directly upstage of rodolpho.] sure, he\u2019s great! come on, kid, put sump\u2019m behind it, you can\u2019t hurt me. [rodolpho , more seriously, jabs at eddie\u2019s jaw and grazes it. ] attaboy.eddie: [catherine comes from the kitchen, watches. ] now i\u2019m gonna hit you, so block me, see? eddie: [with beginning alarm ]: what are they doin\u2019? [ they are lightly boxing now. ] catherine [she senses only the comradeship in it now ]: he\u2019s teachin\u2019 him; he\u2019s very good! beatrice sure, he\u2019s terrific! look at him go! [rodolpho lands a blow .] \u2019at\u2019s it! now, watch out, here i come, danish! [ he feints with his left hand and lands with his right. it mildly staggers rodolpho .marco rises .]eddie: [from act 1 ] what does miller\u2019s writing make you feel about eddie at this moment in the play? or 4 how does miller make two moments in the play particularly moving for you? do not use the passage in question 3 in answering this question. [turn over06_0486_33_2017_1.8 \u00a9 ucles 20175",
            "6": "3530252015105j b priestley: an inspector calls remember to support your ideas with details from the writing. either 5read this passage carefully, and then answer the question that follows it: exactly as at the end of act two. eric is standing just inside the room and the others are staring at him . you know, don\u2019t you? eric: [as before ]: yes, we know. inspector [eric shuts the door and comes farther in. ] [distressed ]: eric, i can\u2019t believe it. there must be some mistake. you don\u2019t know what we\u2019ve been saying.mrs birling it\u2019s a good job for him he doesn\u2019t, isn\u2019t it? sheila: why? eric: because mother\u2019s been busy blaming everything on the young man who got this girl into trouble, and saying he shouldn\u2019t escape and should be made an exampleof \u2014sheila: that\u2019s enough, sheila. birling: [bitterly ]: you haven\u2019t made it any easier for me, have you, mother? eric but i didn\u2019t know it was you\u2013 i never dreamt. besides, you\u2019re not that type \u2013 you don\u2019t get drunk \u2014mrs birling: of course he does. i told you he did. sheila: you told her. why, you little sneak! eric: no, that\u2019s not fair, eric. i could have told her months ago, but of course i didn\u2019t. i only told her tonight because i knew everything was coming out \u2013 it was simplysheila: bound to come out tonight \u2013 so i thought she might as well know in advance. don\u2019t forget \u2013 i\u2019ve already been through it. sheila, i simply don\u2019t understand your attitude. mrs birling: neither do i. if you\u2019d had any sense of loyalty \u2014 birling: [cutting in, smoothly ]: just a minute, mrs birling. there\u2019ll be plenty of time, when i\u2019ve gone, for you all to adjust your family relationships. but now i must hear whatinspector your son has to tell me. [ sternly, to the three of them ] and i\u2019ll be obliged if you\u2019ll let us get on without any further interruptions. [ turning to eric] now then. [miserably ]: could i have a drink first? eric [explosively ]: no. birling [firmly ]: yes. [ asbirling looks like interrupting explosively ] i know \u2013 he\u2019s your son and this is your house \u2013 but look at him. he needs a drink now just to see himthrough.inspector [toeric]: all right. go on. birling [eric goes for a whisky. his whole manner of handling the decanter and then the drink shows his familiarity with quick heavy drinking. the others watch him narrowly .] 06_0486_33_2017_1.8 \u00a9 ucles 20176",
            "7": "55504540[bitterly ]: i understand a lot of things now i didn\u2019t understand before. birling don\u2019t start on that. i want to get on. [ toeric.] when did you first meet this girl? inspector: one night last november. eric: where did you meet her? inspector: in the palace bar. i\u2019d been there an hour or so with two or three chaps. i was a bit squiffy.eric: what happened then? inspector: i began talking to her, and stood her a few drinks. i was rather far gone by the time we had to go.eric: was she drunk too? inspector: she told me afterwards that she was a bit, chiefly because she\u2019d not had much to eat that day.eric: why had she gone there \u2014 ? inspector: she wasn\u2019t the usual sort. but \u2013 well, i suppose she didn\u2019t know what to do. there was some woman who wanted her to go there. i never quite understood about that.eric: you went with her to her lodgings that night? inspector: yes, i insisted \u2013 it seems. i\u2019m not very clear about it, but afterwards she told me she didn\u2019t want me to go in but that \u2013 well, i was in that state when a chap easily turnsnasty \u2013 and i threatened to make a row.eric: so she let you in? inspector: yes. and that\u2019s when it happened. and i didn\u2019t even remember \u2013 that\u2019s the hellish thing. oh \u2013 my god! \u2013 how stupid it all is!eric: [with a cry ]: oh \u2013 eric \u2013 how could you? mrs birling [from act 3 ] in what ways does priestley make this such a gripping opening to act three of the play? or 6 to what extent do you think priestley portrays mr arthur birling as the villain of the play? [turn over 06_0486_33_2017_1.8 \u00a9 ucles 20177",
            "8": "3530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either 7read this passage carefully, and then answer the question that follows it: my most redoubted father, it is most meet we arm us \u2019gainst the foe;for peace itself should not so dull a kingdom,though war nor no known quarrel were in question,but that defences, musters, preparations,should be maintain\u2019d, assembled and collected,as were a war in expectation.therefore, i say, \u2019tis meet we all go forthto view the sick and feeble parts of france;and let us do it with no show of fear \u2013no, with no more than if we heard that englandwere busied with a whitsun morris-dance;for, my good liege, she is so idly king\u2019d,her sceptre so fantastically borneby a vain, giddy, shallow, humorous youth,that fear attends her not.dauphin: o peace, prince dauphin! you are too much mistaken in this king.question your grace the late ambassadorswith what great state he heard their embassy,how well supplied with noble counsellors,how modest in exception, and withalhow terrible in constant resolution,and you shall find his vanities forespentwere but the outside of the roman brutus,covering discretion with a coat of folly;as gardeners do with ordure hide those rootsthat shall first spring and be most delicate.constable: well, \u2019tis not so, my lord high constable; but though we think it so, it is no matter.in cases of defence \u2019tis best to weighthe enemy more mighty than he seems;so the proportions of defence are fill\u2019d;which of a weak or niggardly projectiondoth like a miser spoil his coat with scantinga little cloth.dauphin: 06_0486_33_2017_1.8 \u00a9 ucles 20178",
            "9": "504540think we king harry strong; and, princes, look you strongly arm to meet him.the kindred of him hath been flesh\u2019d upon us;and he is bred out of that bloody strainthat haunted us in our familiar paths.witness our too much memorable shamewhen cressy battle fatally was struck,and all our princes captiv\u2019d by the handof that black name, edward, black prince of wales;whiles that his mountain sire \u2013 on mountain standing,up in the air, crown\u2019d with the golden sun \u2013saw his heroical seed, and smiled to see him,mangle the work of nature and defacethe patterns that by god and by french fathershad twenty years been made. this is a stemof that victorious stock; and let us fearthe native mightiness and fate of him.king of france: [from act 2, scene 4 ] how does shakespeare make this such a striking and significant moment in the play? or 8 how far does shakespeare make you admire king henry? [turn over 06_0486_33_2017_1.8 \u00a9 ucles 20179",
            "10": "3530252015105william shakespeare: the merchant of venice remember to support your ideas with details from the writing. either 9read this passage carefully, and then answer the question that follows it: most worthy gentleman, i and my friend have by your wisdom been this day acquittedof grievous penalties; in lieu whereof,three thousand ducats, due unto the jew,we freely cope your courteous pains withal.bassanio: and stand indebted, over and above, in love and service to you evermore.antonio: he is well paid that is well satisfied, and i, delivering you, am satisfied,and therein do account myself well paid.my mind was never yet more mercenary.i pray you, know me when we meet again;i wish you well, and so i take my leave.portia: dear sir, of force i must attempt you further; take some remembrance of us, as a tribute,not as a fee. grant me two things, i pray you,not to deny me, and to pardon me.bassanio: you press me far, and therefore i will yield. [toantonio] give me your gloves, i\u2019ll wear them for your sake. [tobassanio] and, for your love, i\u2019ll take this ring from you. do not draw back your hand: i\u2019ll take no more,and you in love shall not deny me this.portia: this ring, good sir \u2013 alas, it is a trifle; i will not shame myself to give you this.bassanio: i will have nothing else but only this; and now, methinks, i have a mind to it.portia: there\u2019s more depends on this than on the value. the dearest ring in venice will i give you,and find it out by proclamation;only for this, i pray you, pardon me.bassanio: i see, sir, you are liberal in offers; you taught me first to beg, and now, methinks,you teach me how a beggar should be answer\u2019d.portia: good sir, this ring was given me by my wife; and, when she put it on, she made me vowthat i should neither sell, nor give, nor lose it.bassanio: 06_0486_33_2017_1.8 \u00a9 ucles 201710",
            "11": "4540that \u2019scuse serves many men to save their gifts. an if your wife be not a mad woman,and know how well i have deserved this ring,she would not hold out enemy for everfor giving it to me. well, peace be with you!portia: [exeunt portia andnerissa . my lord bassanio, let him have the ring. let his deservings, and my love withal,be valued \u2019gainst your wife\u2019s commandment.antonio: go, gratiano, run and overtake him; give him the ring, and bring him, if thou canst,unto antonio\u2019s house. away, make haste.bassanio: [exitgratiano. [from act 4, scene 1 ] in what ways does shakespeare make this such a memorable moment in the play? or 10 how does shakespeare make characters taking risks such a striking part of the play? 06_0486_33_2017_1.8 \u00a9 ucles 201711",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_33_2017_1.8 \u00a9 ucles 201712"
        },
        "0486_s17_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (km)) 133605/4 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *2927487284*literature (english)  0486/41 paper 4  unseen  may/june 2017  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/41/m/j/17 \u00a9 ucles 2017 answer either question 1 or question 2. either 1 read carefully the poem opposite, about a factory which has been closed for some time. \t how \tdoes\tthe\tpoet\u2019s\twriting\tstrikingly \tportray\tthe\tabandoned \tfactory?  to help you answer this question, you might consider:   \u2022 how he portrays the gates and fence that surround the factory   \u2022 how he describes the inside of the building   \u2022  how he explores the relationship between the factory and the people who once worked  there.",
            "3": "3 0486/41/m/j/17 \u00a9 ucles 2017 [turn over an abandoned factory, detroit the gates are chained, the barbed-wire fencing stands, an iron authority against the snow, and this grey monument to common sense resists the weather. fears of idle hands, of protest, men in league, and of the slow corrosion of their minds, still charge this fence. beyond, through broken windows one can see where the great presses paused between their strokes and thus remain, in air suspended, caught in the sure margin of eternity. the cast-iron wheels have stopped; one counts the spokes which movement blurred, the struts inertia fought, and estimates the loss of human power, experienced and slow, the loss of years, the gradual decay of dignity. men lived within these foundries, hour by hour; nothing they forged outlived the rusted gears which might have served to grind their eulogy.1 1 eulogy\u200a\u200a : a speech of praise, often for someone who has died",
            "4": "4 0486/41/m/j/17 \u00a9 ucles 2017 or 2 read carefully the extract opposite, from a non-fictional memoir. the writer is buying a bird of  prey, which she intends to train. here she sees the hawk for the first time. \t in\twhat\tways\tdoes\tthe\twriter\tpowerfully \tconvey\tthe\timpact\tthe\thawk\thas\ton\ther?  to help you answer this question, you might consider:   \u2022 how the writer portrays waiting to see the hawk   \u2022 how she describes the hawk and what she imagines it sees   \u2022 how the writer conveys the strength of her feelings about the hawk.",
            "5": "5 0486/41/m/j/17 \u00a9 ucles 2017 time passed on the scottish quay and brightness moved in from the sea. then  a man was walking towards us, holding two enormous cardboard boxes like a  couple of oversized suitcases. strangely alien suitcases that didn\u2019t seem to obey  the laws of physics, because as he walked they moved unpredictably, in concert  neither with his steps nor with gravity. whatever is in them is moving, i thought with  a little thump of my heart. he set the boxes down, ran his hand through his hair. \u2018i\u2019m  meeting another falconer here in a bit. he\u2019s having the younger bird. yours is the  older. bigger too,\u2019 he said. \u2018so.\u2019 he ran his hand through his hair again, exposing  a long talon scratch across his wrist, angry at its edges and scurfed with dried  blood. \u2018we\u2019ll check the ring numbers against the article 10s,\u2019 he explained, pulling  a sheaf of yellow paper from the rucksack and unfolding two of the official forms  that accompany captive-bred rare birds throughout their lives. \u2018don\u2019t want you going  home with the wrong bird.\u2019 we noted the numbers. we stared down at the boxes, at their parcel-tape  handles, their doors of thin plywood and hinges of carefully tied string. then he  knelt on the concrete, untied a hinge on the smaller box and squinted into its dark  interior. a sudden thump of feathered shoulders and the box shook as if someone  had punched it, hard, from within. \u2018she\u2019s got her hood off,\u2019 he said, and frowned.  that light, leather hood was to keep the hawk from fearful sights. like us. another hinge untied. concentration. infinite caution. daylight irrigating the  box. scratching talons, another thump. and another. thump. the air turned syrupy,  slow, flecked with dust. the last few seconds before a battle. and with the last bow  pulled free, he reached inside, and amidst a whirring, chaotic clatter of wings and  feet and talons and a high-pitched twittering and it\u2019s all happening at once, the man  pulls an enormous, enormous hawk out of the box and in a strange coincidence of  world and deed a great flood of sunlight drenches us and everything is brilliance  and fury. the hawk\u2019s wings, barred and beating, the sharp fingers of her dark-tipped  primaries1 cutting the air, her feathers raised like the scattered quills of a fretful  porpentine2. two enormous eyes. my heart jumps sideways. she is a conjuring  trick. a reptile. a fallen angel. a griffon3 from the pages of an illuminated bestiary4.  something bright and distant, like gold falling through water. a broken marionette5 of  wings, legs and light-splashed feathers. she is wearing jesses6, and the man holds  them. for one awful, long moment she is hanging head-downward, wings open,  like a turkey in a butcher\u2019s shop, only her head is turned right-way-up and she is  seeing more than she has ever seen before in her whole short life. her world was  an aviary7 no larger than a living room. then it was a box. but now it is this; and  she can see everything: the point-source glitter on the waves, a diving cormorant a  hundred yards out; pigment flakes under wax on the lines of parked cars; far hills  and the heather on them and miles and miles of sky where the sun spreads on dust  and water and illegible things moving in it that are white scraps of gulls. everything  startling and new-stamped on her entirely astonished brain. 1 primaries : main flight feathers 2 porpentine : porcupine 3 griffon : mythical creature with the body of a lion and head and wings of an eagle 4 illuminated bestiary : an illustrated book of animals 5 marionette : puppet 6 jesses : straps attached to the hawk\u2019s legs 7 aviary : room or cage where birds are kept",
            "6": "6 0486/41/m/j/17 \u00a9 ucles 2017 blank page",
            "7": "7 0486/41/m/j/17 \u00a9 ucles 2017 blank page",
            "8": "8 0486/41/m/j/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s17_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (jda)) 133604/4 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *7799926096*literature (english)  0486/42 paper 4  unseen  may/june 2017  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/42/m/j/17 \u00a9 ucles 2017 answer either  question 1 or question 2. either 1 read carefully the following poem. the poet imagines the life of a boy she calls tiresias, after a  mythical figure who was able to see into the future.  how does the poet memorably portray the boy and his life?  to help you answer this question, you might consider:   \u2022 how she describes the boy in the present   \u2022 how she imagines his future   \u2022\t how\tthe\twriting\tinvites\tyou\tto\tfeel\tabout\tthe\tboy\u2019s\tlife. the boy tiresias watch him, kicking a tennis ball, keeping it up, the\tboy\ton\tthe\tstreet\tin\this\tsister\u2019s\told\tjumper. watch him, absorbed in the things that he does. crouched down, observing the worms and the slugs. he\u2019s\tshaping\ttheir\tjourneys placing his leaves in their paths, playing with fate. godcub. sucking on sherbet. riding his bike in the sunlight. filmic.1 perfect. but one day he\u2019ll\tbe\thunch-backed, \triddled\twith\tpain. desperate \tfor\tlove\tbut\ttoo\tweak\tto\tenjoy\tit. mumbling at strangers on trains, how strange that when we have youth we\u2019re so keen to destroy it. we do not choose but follow blindly. we do not own just\tsometimes \tcarry. we do not make. we undertake to be more alive each day we wake. and this is a must. and the days are all dust and the only thing worse than losing the trust of a lover is finding the rust in their kiss.",
            "3": "3 0486/42/m/j/17 \u00a9 ucles 2017 [turn over he will live longer than all of his passions. but\tfor\tnow,\the\tis\tyoung\tstill,\tand\teverything\u2019s \this. because the boy will grow up makes him no less innocent. watch him, staring\tat\twhat\tdoesn\u2019t\tbore\thim. sun of himself. all things are his moons. he can even now feel his destiny calling. he holds it to his chest, like a dressing to a wound. 1 filmic  : as if in a movie",
            "4": "4 0486/42/m/j/17 \u00a9 ucles 2017 or 2 read\tcarefully\tthe\tfollowing \textract\tfrom\ta\tnovel.\tkolla,\tthe\tnarrator,\tis\tan\televen-year-old \tboy\t who\thas\trecently\tgone\tto\twork\tas\ta\tservant\tin\tmister\tsalgado\u2019s \thouse.\tjoseph\tis\tan\tadult\tservant\t who has been working there for some time.  how does the writer vividly convey kolla\u2019s thoughts and feelings about joseph?  to help you answer this question, you might consider:   \u2022\t how\tthe\twriter\tdescribes \tjoseph\u2019s \tappearance   \u2022\t how\tkolla\u2019s\tbehaviour \treveals\this\tfeelings\tabout\tjoseph   \u2022 how the writing creates an atmosphere of menace. what i disliked most about joseph was the power he had over me, the power   to make me feel powerless. he was not a big man but he had a long rectangular   head\tshaped\tlike\ta\tdevil-mask. \this\tface\twas\theavy\tand\this\tlower\tjaw\tjutted\tout,\t making his head look detached from his body. a sullen heart compressed the  muscles beneath the skin of his face in a permanent grimace. he had big hands  that would appear out of nowhere. and as i was always trying to avoid him   and never looked up at him, the sight of his hands suddenly on a doorknob  or reaching for a cloth was terrifying. the hands, like the head, always seemed  disembodied. i expected to find them around my throat one day. the nails were   in\tgood\tshape\tthough;\the\ttook\tgood\tcare\tof\this\tnails.\ti\tdon\u2019t\tknow\twhere\the\t  learned to look after them, but maybe he too learned something from our mister  salgado. when the clouds came and i smelled rain loosening in the air, i headed back up  to\tthe\thouse.\ti\tdidn\u2019t\tknow\twhat\telse\tto\tdo:\the\twould\tbe\tthere\tsomewhere, \twaiting,\t gloating. the kitchen was in darkness. the small windows by the sink did not let in  much\tlight,\tand\tbecause \tthe\tplace\twas\tempty\tthe\tother\tdoors\twere\tclosed.\ti\tdidn\u2019t\t want to turn on the lights and attract attention to myself; instead i groped along the  edge\tof\tthe\tside-table \tuntil\ti\tgot\tto\tthe\tcounter\twhere\tlucy- amma1 did her cutting.  underneath i found a small basket of red onions. i quickly bit one open and rubbed  it all over my hands. then i put it inside my shirt for my protection. if he was to come  anywhere near me i would fling it in his face, or smear it all over him. it was not chilli  powder, but it would keep him away. i had to be prepared for anything. i hid in the  back.\tour\tpart\tof\tthe\thouse\u2014the \tkitchen,\tthe\tstoreroom, \tlucy\u2019s\troom,\tjoseph\u2019s \t room,\tthe\tspaces\tbetween \tthe\tservants\u2019 \twarren\tand\tthe\tback\tveranda\u2014was \talways\t full\tof\tjunk:\told\tbattle-worn \tchairs,\tempty\tcargo\tboxes,\ta\tbuckled\tcupboard \tjammed\t against the wall where i hid my few belongings, a blistered chrome refrigerator, bald  brushes\tand\trust-eaten \tdustpans, \ta\tmangled \telectric\tblender,\ta\twireless2 with its  face punched in and a big, blackened iron. all the leftovers of city living washed up  like driftwood. but it was comfortable. the rain fell in small pellets ripping the petals off the flowers in the garden.  i imagined joseph outside, pierced by the drops, drenched to the bone, catching  a chill, pneumonia, something deadly: an illness of the mind. in each needle line  of rain, i saw a message for him from the gods, my gods. i could see them in the  sky crowded on a bamboo raft on a blue lake surrounded by rolling hills, holding  silver\tspears\tand\tpeering\tthrough\tpeep-holes \tin\tthe\tclouds,\tsearching \tfor\tjoseph,\t determined to destroy him. \u2018here,\teat\tthis.\u2019\tjoseph\tthrew\ta\tready-made \tpacket\tof\trice\tand\tcurry\ton\tto\tthe\t chair\tnext\tto\tme.\t\u2018i\twill\tbe\tout\ttonight.\u2019\ti\thad\tnot\theard\thim\tcome\tup\tbehind\tme\t because \tof\tthe\tnoise\tof\tthe\train.\t\u2018i\u2019m\tgoing\twhen\tthe\train\tstops.\tyou\tclose\tthe\tdoors\t and\tkeep\tguard.\tsleep\tinside.\u2019",
            "5": "5 0486/42/m/j/17 \u00a9 ucles 2017 where\the\thad\tto\tgo\ti\tcould\tnot\timagine, \tbut\ti\twas\toverjoyed. \ti\twished\tthe\train\t would stop immediately: instead it poured down even harder. the sound rose to a  crescendo. water drilling into the ground. the gutters were spilling over and waves  seemed to wash down the sides of the veranda; the drain had turned into a river.  joseph disappeared into his room, and i reversed my prayers; i tried to will the rain  to\tstop.\t\u2018give\tus\ta\tbreak:\tlet\thim\tgo,\tleave\tthe\thouse,\tthen\tcome\tdown\tas\thard\tas\t hard can so he will never ever return. let him drown as he walks slurping in the rain  with\tthat\tspoony\tjaw\tof\this.\u2019 1 lucy-amma : the household cook 2 wireless : a radio set",
            "6": "6 0486/42/m/j/17 \u00a9 ucles 2017 blank page",
            "7": "7 0486/42/m/j/17 \u00a9 ucles 2017 blank page",
            "8": "8 0486/42/m/j/17 \u00a9 ucles 2017 blank page permission \tto\treproduce \titems\twhere\tthird-party \towned\tmaterial\tprotected \tby\tcopyright \tis\tincluded\thas\tbeen\tsought\tand\tcleared\twhere\tpossible. \tevery\t 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\tavoid\tthe\tissue\tof\tdisclosure \tof\tanswer-related \tinformation \tto\tcandidates, \tall\tcopyright \tacknowledgements \tare\treproduced \tonline\tin\tthe\tcambridge \tinternational \t examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s17_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (jda)) 133594/3 \u00a9 ucles 2017  [turn overcambridge international examinations cambridge international general certificate of secondary education *9758184941*literature (english)  0486/43 paper 4  unseen  may/june 2017  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/43/m/j/17 \u00a9 ucles 2017 answer either  question 1 or question 2. either 1 read carefully the poem opposite.  how does the poet vividly portray the woman and the impression she made on him?  to help you answer this question, you might consider:   \u2022 how he describes her life and surroundings   \u2022 how he describes the woman and her attitudes \t \t \u2022\t how \the\tconveys\tthe\timpact\tof\tmeeting\ther\t\u2018face\tto\tface\u2019.",
            "3": "3 0486/43/m/j/17 \u00a9 ucles 2017 [turn over field of vision i remember this woman who sat for years focused and drawn in by what barred the way. content removed due to copyright restrictions.",
            "4": "4 0486/43/m/j/17 \u00a9 ucles 2017 or 2 read carefully the following extract from a novel set in the 1940s. harriet is an englishwoman  living\tin\tromania \t(\u2018rumania\u2019) \twith\ther\thusband, \tguy.\tshe\tis\tbuying\tplates\tfrom\ta\tmarket\tin\ta\tpoor\t area of the town.  in what ways does the writer make this passage so disturbing?  to help you answer this question, you might consider: \t \t \u2022\t the \twriter\u2019s\tdescription \tof\tthe\tmarket\tarea   \u2022 her portrayal of the beggars \t \t \u2022\t how \tthe\twriter\tconveys\tharriet\u2019s\tfeelings\tof\tisolation\tand\tfear. when she left the taxi, she walked through the calea1 lipscani, searching for  a stall that sold decorated hungarian plates. the area was primitive, bug-ridden  and brutal. its streets, unlike the fashionable streets, were as crowded in winter as  in summer. the gas-lit windows threw out a greenish glow. the stalls dripped with  gas flares. harriet pushed her way between men and women who, wrapped to the  eyes in woollen scarves, were bulky with frieze, sheep-skin and greasy astrakhan.  the beggars, on home ground, rummaging for food under the stalls, did not usually  trouble to beg here, but the sight of harriet was too much for them. when she stopped at a meat stall to buy veal, she became conscious of a  sickening smell of decay beside her. turning, she saw an ancient female dwarf who  was thrusting the stump of an arm up to her face. she searched hurriedly for a  coin and could find nothing smaller than a hundred- lei 2 note. she knew it was too  much but handed it over. it led, as she feared, to trouble. the woman gave a shrill  cry calling to her a troupe of children, who at once set upon harriet, waving their  deformities and begging with professional and remorseless piteousness. she took the meat she had bought and tried to escape into the crowd. the  children clung like lice. they caught hold of her arms, their faces screwed into the  classical mask of misery while they whined and whimpered in chorus. guy had told her she must try and get used to the beggars. they could be  discouraged by a show of amiable indifference. she had not yet learned the trick  and perhaps never would. their persistence roused her to fury. she reached the stall where the hungarian plates were displayed and paused.  at once the children surrounded her, their eyes gleaming at her annoyance, seeming  to be dancing in triumph. she made off again, almost running, only wanting now to  get away from them. at the end of the road she saw a tr\u02d8 asur\u02d8 a\u20093 and shouted to it.  it stopped. she jumped on board and the children followed her. they clung to the  steps, wailing at her, until the driver struck them off with his whip. as they dropped  down, one by one, her anger subsided. she looked back at them and saw them still  staring after the dispenser of hundred- lei notes \u2013 a collection of wretched, ragged  waifs with limbs as thin as sticks. before she left england, she had read books written by travellers in rumania  who had given a picture of a rollicking, open-hearted, happy, healthy peasantry,  full of music and generous hospitality. they were, it was true, mad about music.  music was their only outlet. they made themselves drunk on it. as for the rest, she  had seen nothing of it. the peasants in this city were starved, frightened figures,  scrawny with pellagra,4 wandering about in a search for work or making a half- hearted attempt to beg. the situation would have been simplified for her could she, like guy, have seen  the peasants not only as victims, but as blameless victims. the truth was, the more  she\tlearnt\tabout\tthem,\tthe\tmore\tshe\twas\tinclined\tto\tshare\tdoamna \tdrucker\u2019s5  loathing of them; but she would not call them beasts. they had not the beauty ",
            "5": "5 0486/43/m/j/17 \u00a9 ucles 2017 or dignity of beasts. they treated their animals and their women with the simple  brutality of savages. driving now down the long, deserted calea victoriei, it seemed to her she  could smell in the wind those not so distant regions of mountain and fir-forest where  wolves and bears, driven by hunger, haunted the villages in the winter snow-light.  and the wind was harsher than any wind she had ever known. she shivered, feeling  isolated in a country that was to her not only foreign but alien. 1 calea : avenue 2 lei : local currency 3 tr\u02d8 asur\u02d8 a : horse-drawn carriage 4 pellagra : a skin disease caused by malnutrition 5 doamna \u2009drucker : mrs drucker, a friend",
            "6": "6 0486/43/m/j/17 \u00a9 ucles 2017 blank page",
            "7": "7 0486/43/m/j/17 \u00a9 ucles 2017 blank page",
            "8": "8 0486/43/m/j/17 \u00a9 ucles 2017 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        }
    },
    "2018": {
        "0486_s18_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 148638/3 \u00a9 ucles 2018  [turn overcambridge international examinations cambridge international general certificate of secondary education *7528788753*literature (english)  0486/11 paper 1  poetry and prose  may/june 2018  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/11/m/j/18 \u00a9 ucles 2018 blank page",
            "3": "3 0486/11/m/j/18 \u00a9 ucles 2018 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2\u200a : from part 1   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages 10\u201311 jane austen: mansfield park   9, 10  pages 12\u201313 willa cather: my \u00e1ntonia  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 michael frayn: spies  15, 16  pages 18\u201319 kate grenville: the secret river  17, 18  pages 20\u201321 r k narayan: the english teacher  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/11/m/j/18 \u00a9 ucles 2018 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: attack at dawn the ridge emerges massed and dun in the wild purple of the glowering sun, smouldering through spouts of drifting smoke that shroud the menacing scarred slope; and, one by one, tanks creep and topple forward to the wire. the barrage roars and lifts. then, clumsily bowed with bombs and guns and shovels and battle-gear, men jostle and climb to meet the bristling fire. lines of grey, muttering faces, masked with fear, they leave their trenches, going over the top, while time ticks blank and busy on their wrists, and hope, with furtive eyes and grappling fists, flounders in mud. o jesus, make it stop! (siegfried sassoon )   how does sassoon create a profound feeling of anger in this poem?5 10",
            "5": "5 0486/11/m/j/18 \u00a9 ucles 2018 [turn over or 2  what feelings about nature does mew\u2019s writing convey in the trees are down ? the trees are down   \u2013 and he cried with a loud voice:   hurt not the earth, neither the sea, nor the trees \u2013 (revelation) they are cutting down the great plane-trees at the end of the garden.    for days there has been the grate of the saw, the swish of the         branches as they fall, the crash of trunks, the rustle of trodden leaves, with the \u2018whoops\u2019 and the \u2018whoas\u2019, the loud common talk, the      loud common laughs of the men, above it all. i remember one evening of a long past spring turning in at a gate, getting out of a cart, and finding a large      dead rat in the mud of the drive. i remember thinking: alive or dead, a rat was a god-forsaken thing, but at least, in may, that even a rat should be alive. the week\u2019s work here is as good as done. there is just one bough    on the roped bole, in the fine grey rain,       green and high       and lonely against the sky.         (down now! \u2013)       and but for that,       if an old dead rat did once, for a moment, unmake the spring, i might never have      thought of him again. it is not for a moment the spring is unmade to-day; these were great trees, it was in them from root to stem: when the men with the \u2018whoops\u2019 and the \u2018whoas\u2019 have carted     the whole of the whispering loveliness away half the spring, for me, will have gone with them. it is going now, and my heart has been struck with the hearts of      the planes; half my life it has beat with these, in the sun, in the rains,       in the march wind, the may breeze, in the great gales that came over to them across the roofs from      the great seas.       there was only a quiet rain when they were dying;       they must have heard the sparrows flying, and the small creeping creatures in the earth where they were lying \u2013       but i, all day, i heard an angel crying:         \u2018hurt not the trees\u2019.  (charlotte mew )5 10 15 20 25 30 35",
            "6": "6 0486/11/m/j/18 \u00a9 ucles 2018 songs of ourselves volume 2: from part 1 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: last sonnet bright star, would i were steadfast as thou art\u2014  not in lone splendour hung aloft the night, and watching, with eternal lids apart,  like nature\u2019s patient sleepless eremite, the moving waters at their priest-like task  of pure ablution round earth\u2019s human shores, or gazing on the new soft-fallen mask  of snow upon the mountains and the moors\u2014 no\u2014yet still steadfast, still unchangeable,  pillowed upon my fair love\u2019s ripening breast, to feel for ever its soft fall and swell,  awake for ever in a sweet unrest,   still, still to hear her tender-taken breath,   and so live ever\u2014or else swoon to death.  (john keats )   how does keats vividly convey a sense of longing in this poem?5 10",
            "7": "7 0486/11/m/j/18 \u00a9 ucles 2018 [turn over or 4 how does beer strikingly express her feelings about her mother in the lost woman... ? the lost woman... my mother went with no more warning than a bright voice and a bad pain home from school on a june morning and where the brook goes under the lane i saw the back of a shocking white ambulance drawing away from the gate. she never returned and i never saw her buried. so a romance began. the ivy-mother turned into a tree that still hops away like a rainbow down the avenue as i approach. my tendrils are the ones that clutch. i made a life for her over the years. frustrated no more by a dull marriage she ran a canteen through several wars. the wit of a clich\u00e9-ridden village she met her match at an extra-mural class and the ou summer school. many a hero in his time and every poet has acquired a lost woman to haunt the home, to be compensated and desired, who will not alter, who will not grow a corpse they need never get to know. she is nearly always benign. her habit is not to stride at dead of night. soft and crepuscular in rabbit  - light she comes out. hear how they hate themselves for losing her as they did. her country is bland and she does not chide. but my lost woman evermore snaps from somewhere else: \u2018you did not love me. i sacrificed too much perhaps, i showed you the way to rise above me and you took it. you are the ghost with the bat-voice, my dear. i am not lost.\u2019  (patricia beer )5 10 15 20 25 30 35",
            "8": "8 0486/11/m/j/18 \u00a9 ucles 2018 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: neighbours that spring was late. we watched the sky and studied charts for shouldering isobars. birds were late to pair. crows drank from the lamb\u2019s eye. over finland small birds fell: song-thrushes steering north, smudged signatures on light, migrating warblers, nightingales. wing-beats failed over fjords, each lung a sip of gall. children were warned of their dangerous beauty. milk was spilt in poland. each quarrel the blowback from some old story, a mouthful of bitter air from the ukraine brought by the wind out of its box of sorrows. this spring a lamb sips caesium on a welsh hill. a child, lifting her face to drink the rain, takes into her blood the poisoned arrow. now we are all neighbourly, each little town in europe twinned to chernobyl, each heart with the burnt fireman, the child on the moscow train. in the democracy of the virus and the toxin we wait. we watch for bird migrations, one bird returning with green in its voice, glasnost golau glas, a first break of blue.   explore the ways in which clarke uses words and images to striking effect in this poem.5 10 15 20",
            "9": "9 0486/11/m/j/18 \u00a9 ucles 2018 [turn over or 6 how does clarke memorably convey how impressive the bird is in buzzard ? buzzard no sutures in the steep brow of this cranium, as in mine or yours. delicate ellipse as smooth as her own egg or the cleft flesh of a fruit. from the plundered bones on the hill, like a fire in its morning ashes, you guess it\u2019s a buzzard\u2019s skull. you carry it gently home, hoping no last day of the birds will demand assembly of her numerous white parts. in the spaces we can\u2019t see on the other side of walls as fine as paper, brain and eye dry out under the gossamers. between the sky and the mouse that moves at the barley field\u2019s spinning perimeter, only a mile of air and the ganging crows, their cries stones at her head. in death, the last stoop, all\u2019s risked. she scorns the scavengers who feed on death, and never feel the lightning flash of heart dropping on heart, warm fur, blood.5 10 15 20 25",
            "10": "10 0486/11/m/j/18 \u00a9 ucles 2018 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7  read this extract, and then answer the question that follows it: \u2018i knew it was a bad case,\u2019 said the man who had opposed the union\u2019s  intervention from the start.  content removed due to copyright restrictions",
            "11": "0486/11/m/j/18 \u00a9 ucles 2018 [turn overcontent removed due to copyright restrictions [from chapter 1]   how does achebe\u2019s writing make this meeting of the umuofia progressive union such a  significant moment in the novel? or 8  how far does achebe persuade you that the honourable sam okoli is an admirable  character?      although he would not be a lawyer, he would get a  \u2018european post\u2019 in the civil service.11 ",
            "12": "12 0486/11/m/j/18 \u00a9 ucles 2018 jane austen: mansfield park remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: fanny, whether near or from her cousins, whether in the school-room,  the drawing-room, or the shrubbery, was equally forlorn, finding something  to fear in every person and place. she was disheartened by lady bertram\u2019s silence, awed by sir thomas\u2019s grave looks, and quite overcome by mrs norris\u2019s admonitions. her elder cousins mortified her by reflections on her size, and abashed her by noticing her shyness; miss lee wondered at her ignorance, and the maid-servants sneered at her clothes; and when to these sorrows was added the idea of the brothers and sisters among whom she had always been important as play-fellow, instructress, and nurse, the despondence that sunk her little heart was severe. the grandeur of the house astonished but could not console her. the  rooms were too large for her to move in with ease; whatever she touched she expected to injure, and she crept about in constant terror of something or other; often retreating towards her own chamber to cry; and the little girl who was spoken of in the drawing-room when she left it at night, as seeming so desirably sensible of her peculiar good fortune, ended every day\u2019s sorrows by sobbing herself to sleep. a week had passed in this way, and no suspicion of it conveyed by her quiet passive manner, when she was found one morning by her cousin edmund, the youngest of the sons, sitting crying on the attic stairs. \u2018my dear little cousin,\u2019 said he with all the gentleness of an excellent  nature, \u2018what can be the matter?\u2019 and sitting down by her, was at great pains to overcome her shame in being so surprised, and persuade her to speak openly. \u2018was she ill? or was any body angry with her? or had she quarrelled with maria and julia? or was she puzzled about any thing in her lesson that he could explain? did she, in short, want any thing he could possibly get her, or do for her?\u2019 for a long while no answer could be obtained beyond a \u2018no, no \u2014 not at all \u2014 no, thank you;\u2019 but he still persevered, and no sooner had he begun to revert to her own home, than her increased sobs explained to him where the grievance lay. he tried to console her. \u2018you are sorry to leave mamma, my dear little fanny,\u2019 said he, \u2018which  shews you to be a very good girl; but you must remember that you are with relations and friends, who all love you, and wish to make you happy. let us walk out in the park, and you shall tell me all about your brothers and sisters.\u2019 on pursuing the subject, he found that dear as all these brothers and  sisters generally were, there was one among them who ran more in her thoughts than the rest. it was william whom she talked of most and wanted most to see. william, the eldest, a year older than herself, her constant companion and friend; her advocate with her mother (of whom he was the darling) in every distress. \u2018william did not like she should come away \u2014 he had told her he should miss her very much indeed.\u2019 \u2018but william will write to you, i dare say.\u2019 \u2018yes, he had promised he would, but he had told her to  write first.\u2019 \u2018and when shall you do it?\u2019 she hung her head and answered, hesitatingly, \u2018she did not know; she had not any paper.\u2019 \u2018if that be all your difficulty, i will furnish you with paper and every other  material, and you may write your letter whenever you chuse. would it make you happy to write to william?\u20195 10 15202530354045",
            "13": "13 0486/11/m/j/18 \u00a9 ucles 2018 [turn over \u2018yes, very.\u2019 \u2018then let it be done now. come with me into the breakfast room, we  shall find every thing there, and be sure of having the room to ourselves.\u2019 \u2018but cousin \u2014 will it go to the post?\u2019 \u2018yes, depend upon me it shall; it shall go with the other letters; and as  your uncle will frank it, it will cost william nothing.\u2019 \u2018my uncle!\u2019 repeated fanny with a frightened look. \u2018yes, when you have written the letter, i will take it to my father to frank.\u2019 fanny thought it a bold measure, but offered no farther resistance; and  they went together into the breakfast-room, where edmund prepared her  paper, and ruled her lines with all the good will that her brother could himself  have felt, and probably with somewhat more exactness. he continued  with her the whole time of her writing, to assist her with his penknife or  his orthography, as either were wanted; and added to these attentions,  which she felt very much, a kindness to her brother, which delighted her  beyond all the rest. he wrote with his own hand his love to his cousin  william, and sent him half a guinea under the seal. fanny\u2019s feelings on the  occasion were such as she believed herself incapable of expressing; but  her countenance and a few artless words fully conveyed all their gratitude  and delight, and her cousin began to find her an interesting object. he  talked to her more, and from all that she said, was convinced of her having  an affectionate heart, and a strong desire of doing right; and he could  perceive her to be farther entitled to attention, by great sensibility of her  situation, and great timidity. he had never knowingly given her pain, but  he now felt that she required more positive kindness, and with that view  endeavoured, in the first place, to lessen her fears of them all, and gave  her especially a great deal of good advice as to playing with maria and  julia, and being as merry as possible. from this day fanny grew more comfortable. [from chapter 2]   how does austen movingly portray the relationship between fanny and edmund at this  moment in the novel? or 10 what impressions of mr yates does austen\u2019s writing create for you?50 55 60 65 70 75",
            "14": "14 0486/11/m/j/18 \u00a9 ucles 2018 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: \u00e1ntonia\u2019s success at the tent had its consequences. the iceman lingered  too long now, when he came into the covered porch to fill the refrigerator.  the delivery boys hung about the kitchen when they brought the groceries. young farmers who were in town for saturday came tramping through the yard to the back door to engage dances, or to invite tony to parties and picnics. lena and norwegian anna dropped in to help her with her work, so that she could get away early. the boys who brought her home after the dances sometimes laughed at the back gate and wakened mr harling from his first sleep. a crisis was inevitable. one saturday night mr harling had gone down to the cellar for beer. as  he came up the stairs in the dark, he heard scuffling on the back porch, and then the sound of a vigorous slap. he looked out through the side door in time to see a pair of long legs vaulting over the picket fence. \u00e1ntonia was standing there, angry and excited. young harry paine, who was to marry his employer\u2019s daughter on monday, had come to the tent with a crowd of friends and danced all evening. afterward, he begged \u00e1ntonia to let him walk home with her. she said she supposed he was a nice young man, as he was one of miss frances\u2019s friends, and she didn\u2019t mind. on the back porch he tried to kiss her, and when she protested \u2014 because he was going to be married on monday \u2014 he caught her and kissed her until she got one hand free and slapped him. mr harling put his beer-bottles down on the table. \u2018this is what i\u2019ve been  expecting, \u00e1ntonia. you\u2019ve been going with girls who have a reputation for being free and easy, and now you\u2019ve got the same reputation. i won\u2019t have this and that fellow tramping about my back yard all the time. this is the end of it, to-night. it stops, short. you can quit going to these dances, or you can hunt another place. think it over.\u2019 the next morning when mrs harling and frances tried to reason with  \u00e1ntonia, they found her agitated but determined. \u2018stop going to the tent?\u2019 she panted. \u2018i wouldn\u2019t think of it for a minute! my own father couldn\u2019t make me stop! mr harling ain\u2019t my boss outside my work. i won\u2019t give up my friends, either. the boys i go with are nice fellows. i thought mr paine was all right, too, because he used to come here. i guess i gave him a red face for his wedding, all right!\u2019 she blazed out indignantly. \u2018you\u2019ll have to do one thing or the other, \u00e1ntonia,\u2019 mrs harling told her  decidedly. \u2018i can\u2019t go back on what mr harling has said. this is his house.\u2019 \u2018then i\u2019ll just leave, mrs harling. lena\u2019s been wanting me to get a place  closer to her for a long while. mary svoboda\u2019s going away from the cutters\u2019 to work at the hotel, and i can have her place.\u2019 mrs harling rose from her chair. \u2018\u00e1ntonia, if you go to the cutters\u2019 to  work, you cannot come back to this house again. you know what that man is. it will be the ruin of you.\u2019 tony snatched up the tea-kettle and began to pour boiling water over  the glasses, laughing excitedly. \u2018oh, i can take care of myself! i\u2019m a lot stronger than cutter is. they pay four dollars there, and there\u2019s no children. the work\u2019s nothing; i can have every evening, and be out a lot in the afternoons.\u2019 \u2018i thought you liked children. tony, what\u2019s come over you?\u20195 10 15202530354045",
            "15": "15 0486/11/m/j/18 \u00a9 ucles 2018 [turn over \u2018i don\u2019t know, something has.\u2019 \u00e1ntonia tossed her head and set her jaw.  \u2018a girl like me has got to take her good times when she can. maybe there  won\u2019t be any tent next year. i guess i want to have my fling, like the other girls.\u2019 mrs harling gave a short, harsh laugh. \u2018if you go to work for the cutters,  you\u2019re likely to have a fling that you won\u2019t get up from in a hurry .\u2019 frances said, when she told grandmother and me about this scene, that  every pan and plate and cup on the shelves trembled when her mother walked out of the kitchen. mrs harling declared bitterly that she wished she had never let herself get fond of \u00e1ntonia. [from book 2 chapter 10]   what does cather\u2019s writing make you feel for \u00e1ntonia at this moment in the novel? or 12 to what extent does cather\u2019s portrayal of jim make you feel sympathy for him?50 55",
            "16": "16 0486/11/m/j/18 \u00a9 ucles 2018 charles dickens: hard times remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: \u2018you are a piece of caustic, tom,\u2019 retorted mr james harthouse. there was something so very agreeable in being so intimate with such  a waistcoat; in being called tom, in such an intimate way, by such a voice; in being on such off-hand terms so soon, with such a pair of whiskers; that tom was uncommonly pleased with himself. \u2018oh! i don\u2019t care for old bounderby,\u2019 said he, \u2018if you mean that. i have  always called old bounderby by the same name when i have talked about him, and i have always thought of him in the same way. i am not going to begin to be polite now, about old bounderby. it would be rather late in the day.\u2019 \u2018don\u2019t mind me,\u2019 returned james; \u2018but take care when his wife is by, you  know.\u2019 \u2018his wife?\u2019 said tom. \u2018my sister loo? o yes!\u2019 and he laughed, and took a  little more of the cooling drink. james harthouse continued to lounge in the same place and attitude,  smoking his cigar in his own easy way, and looking pleasantly at the whelp, as if he knew himself to be a kind of agreeable demon who had only to hover over him, and he must give up his whole soul if required. it certainly did seem that the whelp yielded to this influence. he looked at his companion sneakingly, he looked at him admiringly, he looked at him boldly, and put up one leg on the sofa. \u2018my sister loo?\u2019 said tom. \u2018she never cared for old bounderby.\u2019\u2018that\u2019s the past tense, tom,\u2019 returned mr james harthouse, striking  the ash from his cigar with his little finger. \u2018we are in the present tense, now.\u2019 \u2018verb neuter, not to care. indicative mood, present tense. first person  singular, i do not care; second person singular, thou dost not care; third person singular, she does not care,\u2019 returned tom. \u2018good! very quaint!\u2019 said his friend. \u2018though you don\u2019t mean it.\u2019\u2018but i do mean it,\u2019 cried tom. \u2018upon my honour! why, you won\u2019t tell me,  mr harthouse, that you really suppose my sister loo does care for old bounderby.\u2019 \u2018my dear fellow,\u2019 returned the other, \u2018what am i bound to suppose, when  i find two married people living in harmony and happiness?\u2019 tom had by this time got both his legs on the sofa. if his second leg had  not been already there when he was called a dear fellow, he would have put it up at that great stage of the conversation. feeling it necessary to do something then, he stretched himself out at greater length, and, reclining with the back of his head on the end of the sofa, and smoking with an infinite assumption of negligence, turned his common face, and not too sober eyes, towards the face looking down upon him so carelessly yet so potently. \u2018you know our governor, mr harthouse,\u2019 said tom, \u2018and therefore you  needn\u2019t be surprised that loo married old bounderby. she never had a lover, and the governor proposed old bounderby, and she took him.\u2019 \u2018very dutiful in your interesting sister,\u2019 said mr james harthouse.\u2018yes, but she wouldn\u2019t have been as dutiful, and it would not have come  off as easily,\u2019 returned the whelp, \u2018if it hadn\u2019t been for me.\u20195 10 15202530354045",
            "17": "17 0486/11/m/j/18 \u00a9 ucles 2018 [turn over the tempter merely lifted his eyebrows; but the whelp was obliged to go  on. \u2018i persuaded her,\u2019 he said, with an edifying air of superiority. \u2018i was stuck  into old bounderby\u2019s bank (where i never wanted to be), and i knew i  should get into scrapes there, if she put old bounderby\u2019s pipe out; so i told her my wishes, and she came into them. she would do anything for me. it was very game of her, wasn\u2019t it?\u2019 \u2018it was charming, tom!\u2019 [from book 2 chapter 2]   how does dickens make harthouse\u2019s treatment of tom so disturbing at this moment in  the novel? or 14 how does dickens vividly convey what a miserable place coketown is?50 55",
            "18": "18 0486/11/m/j/18 \u00a9 ucles 2018 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: so her disappearances are quite simple to explain.  content removed due to copyright restrictions",
            "19": "19 0486/11/m/j/18 \u00a9 ucles 2018 [turn over [from chapter 5]   how does frayn make the boys\u2019  detective work so entertaining here? or 16 explore the ways in which frayn makes the young stephen so likeable.                                    she\u2019s probably got some special place to  hide.\u2019",
            "20": "20 0486/11/m/j/18 \u00a9 ucles 2018 kate grenville: the secret river remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: down at the witness table in the well of the court, mr lucas stared up  at him. even from the prisoner\u2019s bar, thornhill could see the beads of  sweat appearing on yates\u2019s domed forehead. mr knapp insisted,  it being  a moonless night, you cannot make out that you knew him by shape and  make?  thornhill thought, are those little words, shape and make, going to  be the difference between life and death? poor yates, glancing from lucas to thornhill, began to mutter and  stutter. i should be sorry to say anything that is an untruth , he said, but mr  knapp had no mercy, and kept coming on. that was a hasty speech, that  you knew him by shape and make? you mean that you could not?  and  now yates was broken, uncertain of all his words, continually glancing at  mr lucas. i was in the act of closing with this man , he mumbled.  it was  impossible but i must know him from his speaking to me. i knew him by his  voice .  he glanced quickly at thornhill.  i might have hastily spoke about his  shape and make , he said, and then stood stiff as a bit of wood with his hat  squashed under his arm, the wan light from the mirror falling full on his  face, furrowed with misery. the moment where thornhill was allowed to tell his story was upon  him so abruptly that he found the words he had gone over with sal had  evaporated from his mind. he could only think of the start of them, saying  i tied up the lighter meaning to come back to her later , and he knew there  was more, but what was it? he found himself staring at mr lucas as he blurted out, mr lucas knows  there is no lighter on the river can come to her , but even as the words left  his mouth he knew they had nothing to do with the case at hand, and he  called out desperately, i am as innocent as the child unborn , but the words  had no meaning after so much rehearsal. in any case the judge, way up behind his bench, was not listening.  he was shuffling papers together and leaning sideways while someone  whispered in his ear. lucas was not listening either, his hand feeling for  the watch in his pocket. thornhill saw the silver lid spring open, saw lucas  glance at the face of the watch, press it closed again, tweak a nostril  with thumb and forefinger. his own words, which had sounded with such  conviction in newgate yard, fell hollow and were swallowed up. now the judge was fiddling with the black cap, sitting it carelessly on the  long grey wig so it hung over one ear. he began to speak, in a thin high  voice that thornhill could barely hear. down in the body of the court one  of the lounging ushers, a corpulent gent in a bulging dirty white waistcoat,  caught sight of someone he knew across the room and made a mincing  wave and a little smirk. a barrister fiddled with the grubby ruffles at his  neck, another got out his snuff-box and offered it to his neighbour. it seemed the court could scarcely be bothered to listen as william  thornhill, in the time between two heartbeats, was found guilty and  sentenced to be taken from this place and hanged by the neck until you  are dead .5 10 15 20 25 30 35 40 45",
            "21": "21 0486/11/m/j/18 \u00a9 ucles 2018 [turn over he heard a cry, from the public gallery or from his own mouth he did not  know. he wanted to call out, i beg your pardon, your worship, there has  been some mistake, but now the turnkey was grabbing him by the upper  arm, forcing him down the steps, and through the door into the tunnel  that led back to newgate. he turned his head towards the public gallery.  sal was up there somewhere, but invisible. then he was back in the cell  with the others, but without his story, stripped naked of his tale of injured  innocence, stripped of everything but the knowledge that his moment of  hope had been and gone, and left him now with nothing ahead but death.  [from part 1]   in what ways does grenville make this such a dramatic moment in the novel? or 18 how does grenville make smasher sullivan such a memorable character in the novel?50 55",
            "22": "22 0486/11/m/j/18 \u00a9 ucles 2018 r k narayan: the english teacher remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: \u2018the trouble is i have not enough subjects to write on,\u2019 i confessed. she  drew herself up and asked: \u2018let me see if you can write about me.\u2019 \u2018a beautiful idea,\u2019 i cried. \u2018let me see you.\u2019 i sat up very attentively and  looked at her keenly and fixedly like an artist or a photographer viewing  his subject. i said: \u2018just move a little to your left please. turn your head  right. look at me straight here. that\u2019s right\u2026 now i can write about you.  don\u2019t drop your lovely eyelashes so much. you make me forget my task.  ah, now, don\u2019t grin please. very good, stay as you are and see how i write  now, steady\u2026\u2019 i drew up the notebook, ran the fountain pen hurriedly over  it and filled a whole page beginning:  \u2018she was a phantom of delight  when first she gleamed upon my sight:  a lovely apparition, sent  to be a moment\u2019s ornament.\u2019 it went on for thirty lines ending:  \u2018and yet a spirit still, and bright  with something of an angel-light.\u2019 i constantly paused to look at her while writing, and said: \u2018perfect. thank  you. now listen.\u2019 \u2018oh, how fast you write!\u2019 she said admiringly. \u2018you will also find how well i\u2019ve written. now listen,\u2019 i said, and read as if  to my class, slowly and deliberately, pausing to explain now and then. \u2018i never knew you could write so well.\u2019 \u2018it is a pity that you should have underrated me so long; but now you  know better. keep it up,\u2019 i said. \u2018and if possible don\u2019t look at the pages, say  roughly between 150 and 200, in the golden treasury . because someone  called wordsworth has written similar poems.\u2019 this was an invitation for  her to run in and fetch her copy of the golden treasury  and turn over  precisely the forbidden pages. she scoured every title and first line and  at last pitched upon the original. she read it through, and said: \u2018aren\u2019t you  ashamed to copy?\u2019 \u2018no,\u2019 i replied. \u2018mine is entirely different. he had written about someone  entirely different from my subject.\u2019 \u2018i wouldn\u2019t do such a thing as copying.\u2019 \u2018i should be ashamed to have your memory,\u2019 i said. \u2018you have had the  copy of the golden treasury  for years now, and yet you listened to my  reading with gaping wonder! i wouldn\u2019t give you even two out of a hundred  if you were my student.\u2019 at this point our conversation was interrupted by  my old clock. it burst in upon us all of a sudden. it purred and bleated and  made so much noise that it threw us all into confusion. susila picked it up  and tried to stop it without success, till i snatched taine and smothered it. \u2018now, why did it do it?\u2019 she demanded. i shook my head. \u2018just for  pleasure,\u2019 i replied. she gazed on its brown face and said: \u2018it is not even  showing the correct time. it is showing two o\u2019clock, four hours ahead! why 5 10 15 20 25 30 35 40",
            "23": "23 0486/11/m/j/18 \u00a9 ucles 2018 [turn over do you keep it on your table?\u2019 i had no answer to give. i merely said: \u2018it has  been with me for years, poor darling!\u2019 \u2018i will give it away this afternoon \u2013 a man comes to buy all old things.\u2019 \u2018no, no, take care, don\u2019t do it \u2026\u2019 i warned. she didn\u2019t answer, but merely  looked at it and mumbled: \u2018this is not the first time. when you are away it  starts bleating after i have rocked the cradle for hours and made the child  sleep, and i don\u2019t know how to stop it. it won\u2019t do for our house. it is a  bother\u2026\u2019 that evening when i returned home from college the first thing i noticed  was that my room looked different. my table had lost its usual quality  and looked tidy, with all books dusted and neatly arranged. it looked like  a savage, suddenly appearing neatly trimmed and groomed. the usual  corner with old newspapers and magazines piled up was clean swept. the  pile was gone. so was the clock on the table. the table looked barren  without it. for years it had been there. with composition books still under  my arm, i searched her out. i found her in the bathroom, washing the  child\u2019s hands: \u2018what have you done with my clock?\u2019 i asked. she looked  up and asked in answer: \u2018how do you like your room? i have cleaned and  tidied it up. what a lot of rubbish you gathered there! hereafter on every  thursday \u2026\u2019 \u2018answer first, where is the clock?\u2019 i said. \u2018please wait, i will finish the child\u2019s business first and then answer.\u2019 [from chapter 2]   how does narayan make this such a memorable moment in the novel? or 20 what impressions does narayan\u2019s writing create for you of life in krishna\u2019s home town,  malgudi?45 50 55 60 65",
            "24": "24 0486/11/m/j/18 \u00a9 ucles 2018 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from tyres  (by adam thorpe), and then answer the question that  follows it: while the man was boring us stupid with his broken french, booming  from under his glossy peaked cap, his boots as polished as his coachwork,  his jacket and breeches as black, i heard the ticking of a bicycle \u2026 but  it cannot be c\u00e9cile\u2019s, i thought, for there is a grating sound behind it. i  glanced at the road \u2013 and there was, indeed, c\u00e9cile, coming to a halt at  the entrance to the yard. she looked tired and worn, as we all did, after  the events of the last few weeks. when she saw the germans, and the  big car, she made to go \u2013 but thinking only of how suspicious they were,  and unpredictably sensitive and vengeful, i made my apologies and went  over to greet her. \u2018you should be ashamed,\u2019 she murmured. \u2018don\u2019t worry,\u2019  i said. \u2018it\u2019s not as you think.\u2019 her face brightened, and then looked intense  and questioning, and then spotting something over my shoulder, she as  quickly disguised her interest behind a soft laugh. the officer had evidently  been staring at her, for he then boomed his own greeting: \u2018and might a  fellow take a lift on the saddle from a pretty damsel, like a stick of bread?\u2019  \u2013 some such tripe. she shook her head, adding: \u2018no. my chain is loose.\u2019  that explained the grating sound, and i offered immediately to mend it.  we were nearly six kilometres from the town, and more again from her  village. i noticed how sinewy her calves were, to the point of being wasted  by effort and lack of proper food. she shook her head and pedalled away,  without so much as a blown kiss or a wave. \u2018till sunday!\u2019 i shouted after  her, recklessly. \u2018till sunday, c\u00e9cile!\u2019 there was a banging of doors, and the maybach purred like a black,  evil cat out of the yard, and turned to drive towards the town. it was at  that moment that i saw c\u00e9cile, in the distance, apparently shudder to a  stop. her head bent down and i could just make out her hand between  the wheels. clearly, the chain had come off at that moment. i began to run  towards her, my father shouting after me. the maybach got there first. as i  ran, an ominous sense of doom came over me: a kind of terrible chill, that  made my heart slow, though it was pumping hard to keep my speed up.  with a hundred yards to go, i saw the luggage locker opened, and c\u00e9cile\u2019s  bicycle placed in it. she appeared to be in conversation with the officer, for  i spotted his black glove waving through the side window, like a little black  snake\u2019s tongue. the long and the short of it is that she was forced \u2013 i can  only think that the appropriate word \u2013 forced by circumstance (my belief  is that she hoped to extract something useful from the enemy in that brief  drive into the town) to accept his offer of a lift, gallant gentleman that he  pretended to be. (or perhaps was, in another airtight compartment of his  brain.) i was left coughing in a dust-cloud, for they accelerated away at great  speed, as was typical \u2013 dwindling to a dot and out of sight in no time. i had  not even had time to turn on my heel when there was a distant bang and  clatter, as of heavy pots and pans falling off a shelf, and smoke began to  drift above the plane trees. i ran as fast as i could, in the silence, but could  not finally approach the spot for all the uniforms ringing it already, waving  their guns \u2013 like excited kids around the blazing effigy of the petassou .  for myself, though, it was the beginning of winter, not the end. i leave 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/11/m/j/18 \u00a9 ucles 2018 fresh flowers every year, on the anniversary. the terrible scorch marks  on the trunk have been long rubbed away by the rain and the sun and the  wind, and the dent has grown out. the tree is well again \u2013 for we crop the  branches close, here, as a matter of course. i tried \u2013 i still try \u2013 to explain her presence in the car, but i am not sure,  now, anyone really cares, or even remembers her very much. when my  father \u2018retired\u2019, in \u201969, i did no more than touch up andr\u00e9 paulhan et fils ;  i could not change it, i could not paint it out. well, i have had no sons, of  course, staying unmarried \u2013 and anyway, he still hangs around the yard,  getting in my hair (what little i have of it left to me), and showing clients  what a firm grip he has, at ninety-odd. the road is very busy, of course \u2013  business could not be better. but something went out of the job when it  all went tubeless, to my mind. i don\u2019t suppose i will miss it. you\u2019ll see the  flowers on your way in, to the left, tied to the trunk. when they begin to  fade and wither, i replace them with the plastic type. to be honest, no one  knows the difference \u2013 shooting past as they do, these days.   how does thorpe make this such a powerful ending to the story? or 22 how does highsmith use ming\u2019s thoughts and feelings to make ming\u2019s biggest prey   such a striking story?50 55 60",
            "26": "26 0486/11/m/j/18 \u00a9 ucles 2018 blank page",
            "27": "27 0486/11/m/j/18 \u00a9 ucles 2018 blank page",
            "28": "28 0486/11/m/j/18 \u00a9 ucles 2018 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s18_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 148639/3 \u00a9 ucles 2018  [turn overcambridge international examinations cambridge international general certificate of secondary education *2951985862*literature (english)  0486/12 paper 1  poetry and prose  may/june 2018  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/12/m/j/18 \u00a9 ucles 2018 blank page",
            "3": "3 0486/12/m/j/18 \u00a9 ucles 2018 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2\u200a : from part 1   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] chinua achebe: no longer at ease   7, 8 pages 10\u201311 jane austen: mansfield park   9, 10  pages 12\u201313 willa cather: my \u00e1ntonia  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 michael frayn: spies  15, 16  pages 18\u201319 kate grenville: the secret river  17, 18  pages 20\u201321 r k narayan: the english teacher  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/12/m/j/18 \u00a9 ucles 2018 section a: poetry answer one question from this section. songs of ourselves volume 1: from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: the trees the trees are coming into leaf like something almost being said; the recent buds relax and spread, their greenness is a kind of grief. is it that they are born again and we grow old? no, they die too. their yearly trick of looking new is written down in rings of grain. yet still the unresting castles thresh in fullgrown thickness every may. last year is dead, they seem to say, begin afresh, afresh, afresh.  (philip larkin )   how does larkin strikingly convey feelings of uncertainty in this poem?5 10",
            "5": "5 0486/12/m/j/18 \u00a9 ucles 2018 [turn over or 2  explore the ways in which bront\u00eb vividly expresses feelings of grief in cold in the earth . cold in the earth cold in the earth, and the deep snow piled above thee! far, far removed, cold in the dreary grave! have i forgot, my only love, to love thee, severed at last by time\u2019s all-wearing wave? now, when alone, do my thoughts no longer hover over the mountains on angora\u2019s shore; resting their wings where heath and fern-leaves cover that noble heart for ever, ever more? cold in the earth, and fifteen wild decembers from those brown hills have melted into spring \u2013 faithful indeed is the spirit that remembers after such years of change and suffering! sweet love of youth, forgive if i forget thee while the world\u2019s tide is bearing me along: sterner desires and darker hopes beset me, hopes which obscure but cannot do thee wrong. no other sun has lightened up my heaven; no other star has ever shone for me: all my life\u2019s bliss from thy dear life was given \u2013 all my life\u2019s bliss is in the grave with thee. but when the days of golden dreams had perished and even despair was powerless to destroy, then did i learn how existence could be cherished, strengthened and fed without the aid of joy; then did i check the tears of useless passion, weaned my young soul from yearning after thine; sternly denied its burning wish to hasten down to that tomb already more than mine! and even yet, i dare not let it languish, dare not indulge in memory\u2019s rapturous pain; once drinking deep of that divinest anguish, how could i seek the empty world again?  (emily bront\u00eb )5 10 15 20 25 30",
            "6": "6 0486/12/m/j/18 \u00a9 ucles 2018 songs of ourselves volume 2: from part 1 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: for my grandmother knitting there is no need they say but the needles still move their rhythms in the working of your hands as easily as if your hands were once again those sure and skilful hands of the fisher-girl. you are old now and your grasp of things is not so good but master of your moments then deft and swift you slit the still-ticking quick silver fish. hard work it was too of necessity. but now they say there is no need as the needles move in the working of your hands once the hands of the bride with the hand-span waist once the hands of the miner\u2019s wife who scrubbed his back in a tin bath by the coal fire once the hands of the mother of six who made do and mended scraped and slaved slapped sometimes when necessary. but now they say there is no need the kids they say grandma have too much already more than they can wear too many scarves and cardigans \u2013 gran you do too much there\u2019s no necessity.  (liz lochhead )   in what ways does lochhead vividly create feelings of sadness in this poem?5 10 15 20 25 30",
            "7": "7 0486/12/m/j/18 \u00a9 ucles 2018 [turn over or 4 explore the ways in which chong depicts powerful changes in lion heart . lion heart you came out of the sea, skin dappled scales of sunlight; riding crests, waves of fish in your fists. washed up, your gills snapped shut. water whipped the first breath of your lungs, your lips\u2019 bud teased by morning mists. you conquered the shore, its ivory coast. your legs still rocked with the memory of waves. sinews of sand ran across your back\u2014 rising runes of your oceanic origins. your heart thumped\u2014 an animal skin drum heralding the coming of a prince. in the jungle, amid rasping branches, trees loosened their shadows to shroud you. the prince beheld you then, a golden sheen. your eyes, two flickers; emerald blaze you settled back on fluent haunches; the squall of a beast, your roar, your call. in crackling boats, seeds arrived, wind-blown, you summoned their colours to the palm of your hand, folded them snugly into loam, watched saplings swaddled in green, as they sunk roots, spawned shade, and embraced the land that embraced them. centuries, by the sea\u2019s pulmonary, a vein throbbing humming bumboats\u2014 your trees rise as skyscrapers. their ankles lost in swilling water, as they heave themselves higher above the mirrored surface. remember your self: your raw lion heart, each beat a stony echo that washes through ribbed vaults of buildings. remember your keris, iron lightning ripping through tentacles of waves, double-edged, curved to a point\u2014 flung high and caught unsheathed, scattering five stars in the red tapestry of your sky.  (amanda chong )5 10 15 20 25 30 35",
            "8": "8 0486/12/m/j/18 \u00a9 ucles 2018 gillian clarke: from collected poems   remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: pipistrelle dusk unwinds its spool among the stems of plum-trees, subliminal messenger on the screen of evening, a night-glance as day cools on the house-walls. we love what we can\u2019t see, illegible freehand fills every inch of the page. we sit after midnight till the ashes cool and the bottle\u2019s empty. this one, in a box, mouse the size of my thumb in its furs and sepia webs of silk a small foreboding, the psalms of its veins on bible-paper, like a rose i spread once in a book till you could read your future in the fine print.   explore how clarke vividly creates impressions of the bat in this poem.5 10 15 20",
            "9": "9 0486/12/m/j/18 \u00a9 ucles 2018 [turn over or 6 how does clarke movingly convey feelings about being a mother in catrin ? catrin i can remember you, child, as i stood in a hot, white room at the window watching the people and cars taking turn at the traffic lights. i can remember you, our first fierce confrontation, the tight red rope of love which we both fought over. it was a square environmental blank, disinfected of paintings or toys. i wrote all over the walls with my words, coloured the clean squares with the wild, tender circles of our struggle to become separate. we want, we shouted, to be two, to be ourselves. neither won nor lost the struggle in the glass tank clouded with feelings which changed us both. still i am fighting you off, as you stand there with your straight, strong, long brown hair and your rosy, defiant glare, bringing up from the heart\u2019s pool that old rope, tightening about my life, trailing love and conflict, as you ask may you skate in the dark, for one more hour.5 10 15 20 25",
            "10": "10 0486/12/m/j/18 \u00a9 ucles 2018 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7  read this extract, and then answer the question that follows it: they had mixed grill, which obi admitted wasn\u2019t too bad.  content removed due to copyright restrictions",
            "11": "0486/12/m/j/18 \u00a9 ucles 2018 [turn overcontent removed due to copyright restrictions [from chapter 4]   how does achebe make this such a revealing moment in the novel? or 8  explore the ways in which achebe makes obi\u2019s relationship with his father so powerful in  the novel.\u2018good old sam! he doesn\u2019t spare them.\u201911",
            "12": "12 0486/12/m/j/18 \u00a9 ucles 2018 jane austen: mansfield park remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: after some minutes spent in this way, miss bertram observing the iron  gate, expressed a wish of passing through it into the park, that their views  and their plans might be more comprehensive. it was the very thing of all others to be wished, it was the best, it was the only way of proceeding with any advantage, in henry crawford\u2019s opinion; and he directly saw a knoll not half a mile off, which would give them exactly the requisite command of the house. go therefore they must to that knoll, and through that gate; but the gate was locked. mr rushworth wished he had brought the key; he had been very near thinking whether he should not bring the key; he was determined he would never come without the key again; but still this did not remove the present evil. they could not get through, and as miss bertram\u2019s inclination for so doing did by no means lessen, it ended in mr rushworth\u2019s declaring outright that he would go and fetch the key. he set off accordingly. \u2018it is undoubtedly the best thing we can do now, as we are so far from  the house already,\u2019 said mr crawford, when he was gone. \u2018yes, there is nothing else to be done. but now, sincerely, do not you find  the place altogether worse than you expected?\u2019 \u2018no, indeed, far otherwise. i find it better, grander, more complete in  its style, though that style may not be the best. and to tell you the truth,\u2019 speaking rather lower, \u2018i do not think that i shall ever see sotherton again  with so much pleasure as i do now. another summer will hardly improve it to me.\u2019 after a moment\u2019s embarrassment the lady replied, \u2018you are too much a  man of the world not to see with the eyes of the world. if other people think sotherton improved, i have no doubt that you will.\u2019 \u2018i am afraid i am not quite so much the man of the world as might be  good for me in some points. my feelings are not quite so evanescent, nor my memory of the past under such easy dominion as one finds to be the case with men of the world.\u2019 this was followed by a short silence. miss bertram began again. \u2018you  seemed to enjoy your drive here very much this morning. i was glad to see you so well entertained. you and julia were laughing the whole way.\u2019 \u2018were we? yes, i believe we were; but i have not the least recollection  at what. oh! i believe i was relating to her some ridiculous stories of an old irish groom of my uncle\u2019s. your sister loves to laugh.\u2019 \u2018you think her more light-hearted than i am.\u2019\u2018more easily amused,\u2019 he replied, \u2018consequently you know,\u2019 smiling,  \u2018better company. i could not have hoped to entertain you with irish  anecdotes during a ten miles\u2019 drive.\u2019 \u2018naturally, i believe, i am as lively as julia, but i have more to think of  now.\u2019 \u2018you have undoubtedly\u2014and there are situations in which very high  spirits would denote insensibility. your prospects, however, are too fair to justify want of spirits. you have a very smiling scene before you.\u2019 \u2018do you mean literally or figuratively? literally i conclude. yes, certainly,  the sun shines and the park looks very cheerful. but unluckily that iron gate, that ha-ha, give me a feeling of restraint and hardship. i cannot get 5 10 15202530354045",
            "13": "13 0486/12/m/j/18 \u00a9 ucles 2018 [turn over out, as the starling said.\u2019 as she spoke, and it was with expression, she  walked to the gate; he followed her, \u2018mr rushworth is so long fetching this  key!\u2019 \u2018and for the world you would not get out without the key and without  mr rushworth\u2019s authority and protection, or i think you might with little  difficulty pass round the edge of the gate, here, with my assistance; i think  it might be done, if you really wished to be more at large, and could allow  yourself to think it not prohibited.\u2019 \u2018prohibited! nonsense! i certainly can get out that way and i will. mr  rushworth will be here in a moment you know\u2014we shall not be out of  sight.\u2019 \u2018or if we are, miss price will be so good as to tell him, that he will find us  near that knoll, the grove of oak on the knoll.\u2019 [from chapter 10]   how does austen vividly portray the relationship between maria bertram and henry  crawford at this moment in the novel? or 10 what impressions of sir thomas and lady bertram as parents does austen\u2019s writing  create for you?50 55 60",
            "14": "14 0486/12/m/j/18 \u00a9 ucles 2018 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: we found the shimerdas working just as if it were a week-day. marek was  cleaning out the stable, and \u00e1ntonia and her mother were making garden,  off across the pond in the draw-head. ambrosch was up on the windmill tower, oiling the wheel. he came down, not very cordially. when jake asked for the collar, he grunted and scratched his head. the collar belonged to grandfather, of course, and jake, feeling responsible for it, flared up. \u2018now, don\u2019t you say you haven\u2019t got it, ambrosch, because i know you  have, and if you ain\u2019t a-going to look for it, i will.\u2019 ambrosch shrugged his shoulders and sauntered down the hill toward  the stable. i could see that it was one of his mean days. presently he returned, carrying a collar that had been badly used \u2014 trampled in the dirt and gnawed by rats until the hair was sticking out of it. \u2018this what you want?\u2019 he asked surlily.jake jumped off his horse. i saw a wave of red come up under the  rough stubble on his face. \u2018that ain\u2019t the piece of harness i loaned you, ambrosch; or, if it is, you\u2019ve used it shameful. i ain\u2019t a-going to carry such a looking thing back to mr burden.\u2019 ambrosch dropped the collar on the ground. \u2018all right,\u2019 he said coolly,  took up his oil-can, and began to climb the mill. jake caught him by the belt of his trousers and yanked him back. ambrosch\u2019s feet had scarcely touched the ground when he lunged out with a vicious kick at jake\u2019s stomach. fortunately, jake was in such a position that he could dodge it. this was not the sort of thing country boys did when they played at fisticuffs, and jake was furious. he landed ambrosch a blow on the head \u2014 it sounded like the crack of an axe on a cow-pumpkin. ambrosch dropped over, stunned. we heard squeals, and looking up saw \u00e1ntonia and her mother coming  on the run. they did not take the path around the pond, but plunged through the muddy water, without even lifting their skirts. they came on, screaming and clawing the air. by this time ambrosch had come to his senses and was sputtering with nosebleed. jake sprang into his saddle. \u2018let\u2019s get out of this, jim,\u2019 he called.mrs shimerda threw her hands over her head and clutched as if she  were going to pull down lightning. \u2018law, law!\u2019 she shrieked after us. \u2018law for knock my ambrosch down!\u2019 \u2018i never like you no more, jake and jim burden,\u2019 \u00e1ntonia panted. \u2018no  friends any more!\u2019 jake stopped and turned his horse for a second. \u2018well, you\u2019re a damned  ungrateful lot, the whole pack of you,\u2019 he shouted back. \u2018i guess the burdens   can get along without you. you\u2019ve been a sight of trouble to them, anyhow!\u2019 we rode away, feeling so outraged that the fine morning was spoiled for  us. i hadn\u2019t a word to say, and poor jake was white as paper and trembling all over. it made him sick to get so angry. [from book 1 chapter 18]   explore the ways in which cather makes this such a tense moment in the novel.5 10 152025303540",
            "15": "15 0486/12/m/j/18 \u00a9 ucles 2018 [turn over or 12 when he meets her again after a long time, jim says to \u00e1ntonia: \u2018you really are a part   of me.\u2019   how does cather vividly convey the truth of this statement?",
            "16": "16 0486/12/m/j/18 \u00a9 ucles 2018 charles dickens: hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: removing her eyes from him, she sat so long looking silently towards  the town, that he said, at length: \u2018are you consulting the chimneys of the  coketown works, louisa?\u2019 \u2018there seems to be nothing there, but languid and monotonous smoke.  yet when the night comes, fire bursts out, father!\u2019 she answered, turning  quickly. \u2018of course i know that, louisa. i do not see the application of the remark.\u2019  to do him justice he did not, at all. she passed it away with a slight motion of her hand, and concentrating  her attention upon him again, said, \u2018father, i have often thought that life is  very short.\u2019 \u2013 this was so distinctly one of his subjects that he interposed: \u2018it is short, no doubt, my dear. still, the average duration of human life  is proved to have increased of late years. the calculations of various  life assurance and annuity offices, among other figures which cannot go  wrong, have established the fact.\u2019 \u2018i speak of my own life, father.\u2019 \u2018o indeed? still,\u2019 said mr gradgrind, \u2018i need not point out to you, louisa,  that it is governed by the laws which govern lives in the aggregate.\u2019 \u2018while it lasts, i would wish to do the little i can, and the little i am fit for.  what does it matter!\u2019 mr gradgrind seemed rather at a loss to understand the last four words;  replying, \u2018how, matter? what, matter, my dear?\u2019 \u2018mr bounderby,\u2019 she went on in a steady, straight way, without regarding  this, \u2018asks me to marry him. the question i have to ask myself is, shall i  marry him? that is so, father, is it not? you have told me so, father. have  you not?\u2019 \u2018certainly, my dear.\u2019 \u2018let it be so. since mr bounderby likes to take me thus, i am satisfied to  accept his proposal. tell him, father, as soon as you please, that this was  my answer. repeat it, word for word, if you can, because i should wish him  to know what i said.\u2019 \u2018it is quite right, my dear,\u2019 retorted her father, approvingly, \u2018to be exact. i  will observe your very proper request. have you any wish, in reference to  the period of your marriage, my child?\u2019 \u2018none, father. what does it matter!\u2019 mr gradgrind had drawn his chair a little nearer to her, and taken her  hand. but, her repetition of these words seemed to strike with some little  discord on his ear. he paused to look at her, and, still holding her hand,  said: \u2018louisa, i have not considered it essential to ask you one question,  because the possibility implied in it appeared to me to be too remote. but,  perhaps i ought to do so. you have never entertained in secret any other  proposal?\u2019 \u2018father,\u2019 she returned, almost scornfully, \u2018what other proposal can have  been made to me? whom have i seen? where have i been? what are my  heart\u2019s experiences?\u2019 \u2018my dear louisa,\u2019 returned mr gradgrind, reassured and satisfied, \u2018you  correct me justly. i merely wished to discharge my duty.\u20195 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/m/j/18 \u00a9 ucles 2018 [turn over \u2018what do i know, father,\u2019 said louisa in her quiet manner, \u2018of tastes and  fancies; of aspirations and affections; of all that part of my nature in which  such light things might have been nourished? what escape have i had from problems that could be demonstrated, and realities that could be grasped?\u2019 as she said it, she unconsciously closed her hand, as if upon a solid object, and slowly opened it as though she were releasing dust or ash. [from book 1 chapter 15]   how does dickens make this moment in the novel so disturbing? or 14 does dickens make it possible for you to have any sympathy for young tom gradgrind throughout the novel?50 55",
            "18": "18 0486/12/m/j/18 \u00a9 ucles 2018 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: did stephen understand at last who it was down there in the darkness,  when he heard his own name spoken? content removed due to copyright restrictions",
            "19": "19 0486/12/m/j/18 \u00a9 ucles 2018 [turn over content removed due to copyright restrictions [from chapter 10]   how does frayn make this such a powerful moment in the novel? or 16 \u2018how adults behave among themselves is a mystery,\u2019 says stephen.   how does frayn vividly convey stephen\u2019s lack of understanding of adults? \u2018it\u2019s  over, then. it\u2019s over.\u2019",
            "20": "20 0486/12/m/j/18 \u00a9 ucles 2018 kate grenville: the secret river remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: the other sort of native was the kind that thornhill had met on that first night,  when they had been on the very edge of civilisation. this sort of native was   invisible to those like sal who confined themselves to the township. they  lived in the forest and in the bays where settlement had not yet reached,  and melted away if any of the new arrivals tried to come close. even in the  few months thornhill had seen the settlement grow, he had watched how  those hidden ones retreated with each new patch of cleared land. they wandered about, naked as worms, sheltering under an overhang  of rock or a sheet of bark. their dwellings were no more substantial than  those of a butterfly resting on a leaf. they caught their feeds of fish,  gathered a few oysters, killed a possum or two, then moved on. the most  thornhill ever saw was a silhouette stalking along a ridge, or bending over  with a fishing spear poised to strike through the water. he might see the  splinter of a canoe, fragile as a dead leaf against the dazzle of the sun on  the water, with a figure sitting in it, knees drawn up to its shoulders, or a  twist of blue smoke rising from some hidden place in the forest. but the  canoe had always gone by the time he rowed over to it, and the smoke  vanished when he looked at it too closely. during the day, if a person kept to the settlement and did not look about  himself too hard, he would see no one out there in the tangled landscape.  he might even imagine that there was no one there at all. but at night, a  man out in a boat on port jackson saw the campfires everywhere, winking  among the trees. sometimes the breeze brought the sound of their singing,  a high hard dirge, and the rhythmic clapping of sticks. there were no signs that the blacks felt the place belonged to them.  they had no fences that said this is mine . no house that said, this is our  home . there were no fields or flocks that said, we have put the labour of  our hands into this place . but sometimes men were speared. word would go round the settlement:  that so-and-so lay at this moment in the hospital with the spear still in him  and the doctor shaking his head. that another had got one in the neck so  the life had pumped out of him in a minute and left him as white as a piece  of veal. thornhill never spoke of those spearings to sal, but she heard of them  from their neighbours, and he had found her more than once poring over  the smudged pages of the sydney gazette , her finger under the words,  mouthing them out to herself. they got him just along the way here , she  said without looking at him. just around in the bay . but there was no point dwelling on the spears of the blacks. they  were like the snakes or the spiders, not something that could be guarded  against. he reminded her that even in london a man might be killed for the  contents of his pocketbook. he meant it as a kind of reassurance, but sal  went silent. he came to dread seeing the gazette  spread out on the table. whatever he said to sal, he was glad to spend his days out on the water.  on land he was always within range of a spear. [from part two]5 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/m/j/18 \u00a9 ucles 2018 [turn over   how does grenville vividly convey the mysteriousness of the \u2018native\u2019 people to thornhill  at this moment in the novel? or 18 in what ways does grenville portray sal as heroic?",
            "22": "22 0486/12/m/j/18 \u00a9 ucles 2018 r k narayan: the english teacher remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: i stood at the bathroom doorway and grimly waited. she finished the  child\u2019s business and came out bearing her on her arm. while passing  me she seized the child\u2019s hand and tapped me under the chin with it and  passed on without a word to her room. she later met me in my room as i  sat gloomily gazing at the table. \u2018why have you not had your tiffin or wash?\u2019 she asked, coming up  behind and gently touching my shoulder. \u2018i don\u2019t want any tiffin,\u2019 i snapped. \u2018why are you so angry?\u2019 she asked. \u2018who asked you to give away that clock?\u2019 i asked. \u2018i didn\u2019t give it away. that man gave me twelve annas for it\u2014a very high  price indeed.\u2019 \u2018now you are a \u2026\u2019 i began. i looked at the paper corner and wailed:   \u2018you have given away those papers too! there were old answer papers  there\u2026\u2019 \u2018yes, i saw them,\u2019 she said. \u2018they were four years old. why do you want  old papers?\u2019 she asked. i was too angry to answer. \u2018you have no business  to tamper with my things,\u2019 i said. \u2018i don\u2019t want any tiffin or coffee.\u2019 i picked  up my coat, put it on and rushed out of the house, without answering her  question: \u2018where are you going?\u2019 i went straight back to the college. i had no definite plan. there was  no one in the college. i peeped into the debating hall, hoping there might  be somebody there. but the evening was free from all engagements.  i remembered that i hadn\u2019t had my coffee. i walked about the empty  corridors of the college. i saw the servant and asked him to open our  common room. i sent him to fetch me coffee and tiffin from the restaurant.  i opened my locker and took out a few composition books. i sat correcting  them till late at night. i heard the college clock strike nine. i then got up  and retraced my way home. i went about my work with a business-like air.  i took off my coat, went at great speed to the bathroom and washed. i first  took a peep into my wife\u2019s room. i saw her rocking the baby in the cradle. i  went into the kitchen and told the old lady: \u2018have the rest dined?\u2019 the old lady answered: \u2018susila waited till eight-thirty.\u2019 i was not interested in this. her name enraged me. i snapped: \u2018all right,  all right, put up my leaf and serve me. i only wanted to know if the child  had eaten.\u2019 this was to clear any misconception anyone might entertain  that i was interested in susila. i ate in silence. i heard steps approaching, and told myself: \u2018oh, she is  coming.\u2019 i trembled with anxiety, lest she should be going away elsewhere.  i caught a glimpse of her as she came into the dining room. i bowed my  head, and went on with my dinner unconcerned, though fully aware that  she was standing before me, dutifully as ever, to see that i was served  correctly. she moved off to the kitchen, spoke some words to the old  lady, and came out, and softly moved back to her own room. i felt angry:  \u2018doesn\u2019t even care to wait and see me served. she doesn\u2019t care. if she  cared, would she sell my clock? i must teach her a lesson.\u2019 after dinner i was back in my room and sat down at my table. i had  never been so studious at any time in my life. i took out some composition 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/m/j/18 \u00a9 ucles 2018 [turn over books. i noticed on a corner of my table a small paper packet. i found  enclosed in it a few coins. on the paper was written in her handwriting: time-piece     12 annas old paper      1 rupee          \u2014\u2014\u2014\u2014\u2014\u2014\u2014\u2014   total      one rupee and twelve annas. i felt furious at the sight of it. i took the coins and went over to her room.  the light was out there. i stood in the doorway and muttered: \u2018who cares  for this money? i can do without it.\u2019 i flung it on her bed and returned to   my room. later, as i sat in my room working, i heard the silent night punctuated  by sobs. i went to her room and saw her lying with her face to the wall,  sobbing. i was completely shaken. i didn\u2019t bargain for this. i watched her  silently for a moment, and collected myself sufficiently to say: \u2018what is the   use of crying, after committing a serious blunder?\u2019 through her sobs, she  sputtered: \u2018what do you care, what use it is or not. if i had known you cared  more for a dilapidated clock.\u2019 she didn\u2019t finish her sentence, but broke  down and wept bitterly. i was baffled. i was in an anguish myself. i wanted  to take her in my arms and comfort her. but there was a most forbidding  pride within me. i merely said: \u2018if you are going to talk and behave like a  normal human being, i can talk to you. i can\u2019t stand all this nonsense.\u2019 \u2018you go away to your room. why do you come and abuse me at  midnight?\u2019 she said. \u2018stop crying, otherwise people will think a couple of lunatics are living in  this house. \u2026\u2019 [from chapter 2]   how does narayan make this moment in the novel so powerful? or 20 how does narayan\u2019s writing memorably depict the lives of women in malgudi?50 55 60 65 70",
            "24": "24 0486/12/m/j/18 \u00a9 ucles 2018 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from the people before  (by maurice shadbolt), and then answer the  question that follows it: he had a police party out, a health officer too. they scoured the hills, and  most of the caves they could find. they discovered no trace of a burial,  nor did they find anything in the caves. at one stage someone foolishly  suggested we might have imagined it all. so my father produced the  launchman and people from the township as witnesses to the fact that an  old maori, dying, had actually been brought to our farm. that convinced them. but it didn\u2019t take them anywhere near finding the  body. they traced the remnants of the tribe, living up the coast, and found  that indeed an old man of the tribe was missing. no one denied that there  had been a visit to our farm. but they maintained that they knew nothing  about a body. the old man, they said, had just wandered off into the bush;  they hadn\u2019t found him again. he might, they added, even still be alive. just to be on the safe   side, in case there was any truth in their story, the police put the old   man on the missing persons register, for all the good that might have   done. but we knew. we knew every night we looked up at the hills that he was  there, somewhere. so he was still alive, in a way. certainly it was a long time before he let  us alone. and by then my father had lost all taste for the farm. it seemed the land  itself had heaped some final indignity upon him, made a fool of him. he  never talked again, anyway, about running sheep on the hills. when butter prices rose and land values improved, a year or two  afterwards, he had no hesitation in selling out. we shifted into another part  of the country entirely, for a year or two, and then into another. finally we  found ourselves milking a small herd for town supply, not far from the city.  we\u2019re still on that farm, though there\u2019s talk of the place being purchased  soon for a city sub-division. we think we might sell, but we\u2019ll face the issue  when it arises. now and then jim comes to see us, smart in a city suit, a lecturer at  the university. my father always found it difficult to talk to jim, and very  often now he goes off to bed and leaves us to it. one thing i must say  about jim: he has no objection to helping with the milking. he insists that  he enjoys it; perhaps he does. it\u2019s all flatland round our present farm, with  one farm much like another, green grass and square farmhouses and pine  shelter belts, and it\u2019s not exactly the place to sit out on a summer evening  and watch shadows gathering on the hills. because there aren\u2019t hills within  sight; or shadows either, for that matter. it\u2019s all very tame and quiet, apart  from cars speeding on the highway. i get on reasonably well with jim. we read much the same books, have  much the same opinions on a great many subjects. the city hasn\u2019t made  a great deal of difference to him. we\u2019re both married, with young families.  we also have something else in common: we were both in the war, fighting  in the desert. one evening after milking, when we stood smoking and  yarning in the cool, i remembered something and decided i might put a  question to jim.5 10 15 20 25 30 35 40 45",
            "25": "25 0486/12/m/j/18 \u00a9 ucles 2018 \u2018you know,\u2019 i began, \u2018they say it\u2019s best, when you\u2019re under fire in the war,  to fix your mind on something remote. so you won\u2019t be afraid. i remember  dad telling me that. i used to try. but it never seemed any good. i couldn\u2019t  think of anything. i was still as scared as hell.\u2019 \u2018i was too. who wasn\u2019t?\u2019 \u2018but, i mean, did you ever think of anything?\u2019 \u2018funny thing,\u2019 he said. \u2018now i come to think of it, i did. i thought of the  old place \u2013 you know, the old place by the river. where,\u2019 he added, and his  face puckered into a grin, \u2018where they buried that old maori. and where  i found those greenstones. i\u2019ve still got it at home, you know, up on the  mantelpiece. i seem to remember trying to give it away once, to those  maoris. now i\u2019m glad i didn\u2019t. it\u2019s my only souvenir from there, the only  thing that makes that place still live for me.\u2019 he paused. \u2018well, anyway,  that\u2019s what i thought about. that old place of ours.\u2019 i had a sharp pain. i felt the dismay of a long-distance runner who,  coasting confidently to victory, imagining himself well ahead of the field,  finds himself overtaken and the tape snapped at the very moment he leans  forward to breast it. for one black moment it seemed i had been robbed of  something which was rightfully mine. i don\u2019t think i\u2019ll ever forgive him.   explore the ways in which shadbolt makes this such a satisfying ending to the story. or 22 explore the ways in which the writer creates a strong sense of place in either  to da-duh,  in memoriam  (by paule marshall) or billennium  (by j g ballard).50 55 60 65",
            "26": "26 0486/12/m/j/18 \u00a9 ucles 2018 blank page",
            "27": "27 0486/12/m/j/18 \u00a9 ucles 2018 blank page",
            "28": "28 0486/12/m/j/18 \u00a9 ucles 2018 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s18_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 148756/2 \u00a9 ucles 2018 [turn overcambridge international examinations cambridge international general certificate of secondary education *2792214950*literature (english) 0486/13 paper 1 poetry and prose may/june 2018 1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b.all questions in this paper carry equal marks.",
            "2": "2 0486/13/m/j/18 \u00a9 ucles 2018 blank page",
            "3": "3 0486/13/m/j/18 \u00a9 ucles 2018 [turn over contents section a: poetry text question  numbers page[s] songs of ourselves volume 1: from part 5  1, 2 pages 4\u20135 songs of ourselves volume 2\u200a: from part 1  3, 4 pages 6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question numbers page[s] chinua achebe: no longer at ease   7, 8 pages 10\u201311 jane austen: mansfield park   9, 10 pages 12\u201313 willa cather: my \u00e1ntonia 11, 12 pages 14\u201315 charles dickens: hard times 13, 14 pages 16\u201317 michael frayn: spies 15, 16 pages 18\u201319 kate grenville: the secret river 17, 18 pages 20\u201321 r k narayan: the english teacher  19, 20 pages 22\u201323 from stories of ourselves 21, 22 pages 24\u201325",
            "4": "4 0486/13/m/j/18 \u00a9 ucles 2018 section a: poetry answer one question from this section. songs of ourselves volume 1: from part 5 remember to support your ideas with details from the writing. either 1 read this poem, and then answer the question that follows it: elegy for my father\u2019s father he knew in the hour he died that his heart had never spokenin eighty years of days.o for the tall tower brokenmemorial is denied:and the unchanging cairnthat pipes could set ablazean aaronsrod and blossom.they stood by the gravesidefrom his bitter veins bornand mourned him in their fashion.a chain of sods in a dayhe could slice and buildhigh as the head of a manand a flowering cherry treeon his walking shoulder heldunder the lion sun.when he was old and blindhe sat in a curved chairall day by the kitchen fire.many hours he had seenthe stars in their drunken dancingthrough the burning-glass of his mindand sober knew the greenboughs of heaven foldingthe winter world in their hand.the pride of his heart was dumb.he knew in the hour he diedthat his heart had never spokenin song or bridal bed.and the naked thought fell backto a house by the watersideand the leaves the wind had shakenthen for a child\u2019s sake:to the waves all night awakewith the dark mouths of the dead.the tongues of water spokeand his heart was unafraid.  (james k baxter )   how does baxter convey powerful feelings about his grandfather in this poem?5 10 1520253035",
            "5": "5 0486/13/m/j/18 \u00a9 ucles 2018 [turn over or 2 what striking impressions of the speaker does spender create for you in my parents ? my parents my parents kept me from children who were rough who threw words like stones and wore torn clothestheir thighs showed through rags. they ran in the streetand climbed cliffs and tripped by the country streams. i feared more than tigers their muscles like iron their jerking hands and their knees tight on my armsi feared the salt coarse pointing of those boyswho copied my lisp behind me on the road. they were lithe, they sprang out behind hedges like dogs to bark at my world. they threw mudwhile i looked the other way, pretending to smile.i longed to forgive them but they never smiled.  (stephen spender )5 10",
            "6": "6 0486/13/m/j/18 \u00a9 ucles 2018 songs of ourselves volume 2 : from part 1 remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: love (iii) love bade me welcome: yet my soul drew back,  guilty of dust and sin. but quick-eyed love, observing me grow slack from my first entrance in, drew nearer to me, sweetly questioning, if i lacked anything. a guest, i answered, worthy to be here: love said, you shall be he. i the unkind, ungrateful? ah my dear, i cannot look on thee. love took my hand, and smiling did reply, who made the eyes but i? truth lord, but i have marred them: let my shame go where it doth deserve. and know you not, says love, who bore the blame? my dear, then i will serve. you must sit down, says love, and taste my meat: so i did sit and eat. finis. glory be to god on high, and on earth peace, good will towards men.  (george herbert )   how does herbert convey a sense of peace in this poem?5 10 15 20",
            "7": "7 0486/13/m/j/18 \u00a9 ucles 2018 [turn over or 4 explore the ways in which sitwell evokes feelings of regret in heart and mind . heart and mind said the lion to the lioness\u2014\u2018when you are amber dust,\u2014 no more a raging fire like the heat of the sun(no liking but all lust)\u2014remember still the flowering of the amber blood and bone,the rippling of bright muscles like a sea,remember the rose-prickles of bright pawsthough we shall mate no moretill the fire of that sun the heart and the moon-cold bone are one.\u2019 said the skeleton lying upon the sands of time\u2014 \u2018the great gold planet that is the mourning heat of the sunis greater than all gold, more powerfulthan the tawny body of a lion that fire consumeslike all that grows or leaps \u2026 so is the heart more powerful than all dust. once i was hercules or samson, strong as the pillars of the seas:but the flames of the heart consumed me, and the mindis but a foolish wind.\u2019 said the sun to the moon\u2014\u2018when you are but a lonely white crone, and i, a dead king in my golden armour somewhere in a dark wood,remember only this of our hopeless lovethat never till time is donewill the fire of the heart and the fire of the mind be one.\u2019 (edith sitwell )5 10 1520",
            "8": "8 0486/13/m/j/18 \u00a9 ucles 2018 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: baby-sitting i am sitting in a strange room listening for the wrong baby. i don\u2019t lovethis baby. she is sleeping a snufflyroseate, bubbling sleep; she is fair;she is a perfectly acceptable child.i am afraid of her. if she wakesshe will hate me. she will shouther hot midnight rage, her nosewill stream disgustingly and the perfumeof her breath will fail to enchant me. to her i will represent absolute abandonment. for her it will be worsethan for the lover cold in lonelysheets; worse than for the woman who waitsa moment to collect her dignitybeside the bleached bone in the terminal ward.as she rises sobbing from the monstrous landstretching for milk-familiar comforting,she will find me and between us twoit will not come. it will not come.   explore the ways in which clarke conveys powerful thoughts and feelings in this poem.5 10 15 20",
            "9": "9 0486/13/m/j/18 \u00a9 ucles 2018 [turn over or 6 in what ways does clarke make an ordinary experience so special in still life ? still life it was good tonight to polish brass with you,our hands slightly grittywith brasso, as they would feelif we\u2019d been in the sea, salty.it was as if we burnishedour friendship, polished ituntil all the light-drowningtarnish of deceitwere stroked away. patternsof incredible honestydelicately grew, revealedquite openly to the pressureof the soft, torn rag.we made a yellow-goldstill-life out of clocks,candlesticks and kettles.my sadness puzzled you.i rubbed the full curveof an indian goblet,feeling its illusoryheat. it cooled beneathmy fingers and i readin the braille formalityof pattern, in the leafand tendril and stylised tree,that essentially eachobject remains cold,separate, only reflectingthe other\u2019s warmth.5 10 15202530",
            "10": "10 0486/13/m/j/18 \u00a9 ucles 2018 section b: prose answer one question from this section. chinua achebe: no longer at ease remember to support your ideas with details from the writing. either 7 read this extract, and then answer the question that follows it: \u2018you see,\u2019 said christopher as soon as they got back into the car.  content removed due to copyright restrictions",
            "11": "0486/13/m/j/18 \u00a9 ucles 2018 [turn overcontent removed due to copyright restrictions [from chapter 12] explore the ways in which achebe portrays obi\u2019s thoughts and feelings at this moment in  the novel. or 8 how does achebe make joseph such a memorable character in the novel?    but no sooner had  christopher said good night than obi\u2019s thoughts returned to the letter he  had received from his father.11 ",
            "12": "12 0486/13/m/j/18 \u00a9 ucles 2018 jane austen: mansfield park remember to support your ideas with details from the writing. either 9 read this extract, and then answer the question that follows it: as her appearance and spirits improved, sir thomas and mrs norris  thought with greater satisfaction of their benevolent plan; and it was pretty  soon decided between them, that though far from clever, she shewed a tractable disposition, and seemed likely to give them little trouble. a mean opinion of her abilities was not confined to them. fanny could read, work,  and write, but she had been taught nothing more; and as her cousins found her ignorant of many things with which they had been long familiar, they thought her prodigiously stupid, and for the first two or three weeks, were continually bringing some fresh report of it into the drawing room. \u2018dear mamma, only think, my cousin cannot put the map of europe together\u2014or my cousin cannot tell the principal rivers in russia\u2014or she never heard of asia minor\u2014or she does not know the difference between water-colours and crayons!\u2014how strange!\u2014did you ever hear any thing so stupid?\u2019 \u2018my dear,\u2019 their considerate aunt would reply; \u2018it is very bad, but you must  not expect every body to be as forward and quick at learning as yourself.\u2019 \u2018but, aunt, she is really so very ignorant!\u2014do you know, we asked her  last night, which way she would go to get to ireland; and she said, she should cross to the isle of wight. she thinks of nothing but the isle of wight, and she calls it the island, as if there were no other island in the  world. i am sure i should have been ashamed of myself, if i had not known better long before i was so old as she is. i cannot remember the time when i did not know a great deal that she has not the least notion of yet. how long ago it is aunt, since we used to repeat the chronological order of the kings of england, with the dates of their accession, and most of the principal events of their reigns.\u2019 \u2018yes,\u2019 added the other; \u2018and of the roman emperors as low as severus;  besides a great deal of the heathen mythology, and all the metals, semi-metals, planets, and distinguished philosophers.\u2019 \u2018very true, indeed, my dears, but you are blessed with wonderful  memories, and your poor cousin has probably none at all. there is a vast deal of difference in memories, as well as in every thing else, and therefore you must make allowance for your cousin, and pity her deficiency. and remember that, if you are ever so forward and clever yourselves, you should always be modest; for, much as you know already, there is a great deal more for you to learn.\u2019 \u2018yes, i know there is, till i am seventeen. but i must tell you another thing  of fanny, so odd and so stupid. do you know, she says she does not want to learn either music or drawing.\u2019 \u2018to be sure, my dear, that is very stupid indeed, and shews a great want  of genius and emulation. but all things considered, i do not know whether it is not as well that it should be so, for, though you know (owing to me) your papa and mamma are so good as to bring her up with you, it is not at all necessary that she should be as accomplished as you are;\u2014on the contrary, it is much more desirable that there should be a difference.\u2019 such were the counsels by which mrs norris assisted to form her  nieces\u2019 minds; and it is not very wonderful that with all their promising talents and early information, they should be entirely deficient in the less common acquirements of self-knowledge, generosity, and humility. in 5 10 15202530354045",
            "13": "13 0486/13/m/j/18 \u00a9 ucles 2018 [turn over every thing but disposition, they were admirably taught. sir thomas did not  know what was wanting, because, though a truly anxious father, he was not outwardly affectionate, and the reserve of his manner repressed all the flow of their spirits before him. to the education of her daughters, lady bertram paid not the smallest  attention. she had not time for such cares. she was a woman who spent her days in sitting nicely dressed on a sofa, doing some long piece of needle work, of little use and no beauty, thinking more of her pug than her children, but very indulgent to the latter, when it did not put herself to inconvenience, guided in every thing important by sir thomas, and in smaller concerns by her sister. had she possessed greater leisure for the service of her girls, she would probably have supposed it unnecessary, for they were under the care of a governess, with proper masters, and could want nothing more. as for fanny\u2019s being stupid at learning, \u2018she could only say it was very unlucky, but some people were stupid, and fanny must  take more pains; she did not know what else was to be done; and except her being so dull, she must add she saw no harm in the poor little thing\u2014and always found her very handy and quick in carrying messages, and fetching what she wanted.\u2019 [from chapter 2] how does austen make this moment so amusing and revealing? or 10 how does austen vividly convey fanny\u2019s feelings about life in portsmouth?50 556065",
            "14": "14 0486/13/m/j/18 \u00a9 ucles 2018 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: i ran home to tell grandmother that lena lingard had come to town. we  were glad of it, for she had a hard life on the farm. lena lived in the norwegian settlement west of squaw creek, and she  used to herd her father\u2019s cattle in the open country between his place  and the shimerdas\u2019. whenever we rode over in that direction we saw her out among her cattle, bareheaded and barefooted, scantily dressed in tattered clothing, always knitting as she watched her herd. before i knew lena, i thought of her as something wild, that always lived on the prairie, because i had never seen her under a roof. her yellow hair was burned to a ruddy thatch on her head; but her legs and arms, curiously enough, in spite of constant exposure to the sun, kept a miraculous whiteness which somehow made her seem more undressed than other girls who went scantily clad. the first time i stopped to talk to her, i was astonished at her soft voice and easy, gentle ways. the girls out there usually got rough and mannish after they went to herding. but lena asked jake and me to get off our horses and stay awhile, and behaved exactly as if she were in a house and were accustomed to having visitors. she was not embarrassed by her ragged clothes, and treated us as if we were old acquaintances. even then i noticed the unusual colour of her eyes \u2014 a shade of deep violet \u2014 and their soft, confiding expression. chris lingard was not a very successful farmer, and he had a large  family. lena was always knitting stockings for little brothers and sisters, and even the norwegian women, who disapproved of her, admitted that she was a good daughter to her mother. as tony said, she had been talked about. she was accused of making ole benson lose the little sense he had \u2014 and that at an age when she should still have been in pinafores. ole lived in a leaky dugout somewhere at the edge of the settlement.  he was fat and lazy and discouraged, and bad luck had become a habit with him. after he had had every other kind of misfortune, his wife, \u2018crazy mary,\u2019 tried to set a neighbour\u2019s barn on fire, and was sent to the asylum at lincoln. she was kept there for a few months, then escaped and walked all the way home, nearly two hundred miles, travelling by night and hiding in barns and haystacks by day. when she got back to the norwegian settlement, her poor feet were as hard as hoofs. she promised to be good, and was allowed to stay at home \u2014 though everyone realized she was as crazy as ever, and she still ran about barefooted through the snow, telling her domestic troubles to her neighbours. not long after mary came back from the asylum, i heard a young dane,  who was helping us to thresh, tell jake and otto that chris lingard\u2019s oldest girl had put ole benson out of his head, until he had no more sense than his crazy wife. when ole was cultivating his corn that summer, he used to get discouraged in the field, tie up his team, and wander off to wherever lena lingard was herding. there he would sit down on the draw-side and help her watch her cattle. all the settlement was talking about it. the norwegian preacher\u2019s wife went to lena and told her she ought not to allow this; she begged lena to come to church on sundays. lena said she hadn\u2019t a dress in the world any less ragged than the one on her back. then 5 10 15202530354045",
            "15": "15 0486/13/m/j/18 \u00a9 ucles 2018 [turn over the minister\u2019s wife went through her old trunks and found some things she  had worn before her marriage. [from book 2 chapter 4] how does cather create such vivid impressions of lena at this moment in the novel? or 12 \u2018it was homesickness that had killed mr shimerda.\u2019 explore the ways in which cather powerfully depicts mr shimerda\u2019s feelings of  homesickness.50",
            "16": "16 0486/13/m/j/18 \u00a9 ucles 2018 charles dickens:  hard times remember to support your ideas with details from the writing. either 13 read this extract, and then answer the question that follows it: \u2018i am sick of my life, loo. i hate it altogether, and i hate everybody  except you,\u2019 said the unnatural young thomas gradgrind in the hair-cutting  chamber at twilight. \u2018you don\u2019t hate sissy, tom?\u2019\u2018i hate to be obliged to call her jupe. and she hates me,\u2019 said tom  moodily. \u2018no she does not, tom, i am sure.\u2019\u2018she must,\u2019 said tom. \u2018she must just hate and detest the whole set-out  of us. they\u2019ll bother her head off, i think, before they have done with her. already she\u2019s getting as pale as wax, and as heavy as \u2014 i am.\u2019 young thomas expressed these sentiments, sitting astride of a chair  before the fire, with his arms on the back, and his sulky face on his arms. his sister sat in the darker corner by the fireside, now looking at him, now looking at the bright sparks as they dropped upon the hearth. \u2018as to me,\u2019 said tom, tumbling his hair all manner of ways with his sulky  hands, \u2018i am a donkey, that\u2019s what i am. i am as obstinate as one, i am  more stupid than one, i get as much pleasure as one, and i should like to kick like one.\u2019 \u2018not me, i hope, tom?\u2019\u2018no, loo; i wouldn\u2019t hurt you. i made an exception of you at first. i don\u2019t  know what this \u2014 jolly old \u2014 jaundiced jail,\u2019 tom had paused to find a sufficiently complimentary and expressive name for the parental roof, and seemed to relieve his mind for a moment by the strong alliteration of this one, \u2018would be without you.\u2019 \u2018indeed, tom? do you really and truly say so?\u2019\u2018why, of course i do. what\u2019s the use of talking about it!\u2019 returned tom,  chafing his face on his coat-sleeve, as if to mortify his flesh, and have it in unison with his spirit. \u2018because tom,\u2019 said his sister, after silently watching the sparks awhile,  \u2018as i get older, and nearer growing up, i often sit wondering here, and think how unfortunate it is for me that i can\u2019t reconcile you to home better than i am able to do. i don\u2019t know what other girls know. i can\u2019t play to you, or sing to you. i can\u2019t talk to you so as to lighten your mind, for i never see any amusing sights or read any amusing books that it would be a pleasure or a relief to you to talk about, when you are tired.\u2019 \u2018well, no more do i. i am as bad as you in that respect; and i am a  mule too, which you\u2019re not. if father was determined to make me either a prig or a mule, and i am not a prig, why, it stands to reason, i must be a mule. and so i am,\u2019 said tom, desperately. \u2018it\u2019s a great pity,\u2019 said louisa, after another pause, and speaking  thoughtfully out of her dark corner; \u2018it\u2019s a great pity, tom. it\u2019s very unfortunate for both of us.\u2019 \u2018oh! you,\u2019 said tom; \u2018you are a girl, loo, and a girl comes out of it better  than a boy does. i don\u2019t miss anything in you. you are the only pleasure i have \u2014 you can brighten even this place \u2014 and you can always lead me as you like.\u2019 \u2018you are a dear brother, tom; and while you think i can do such things, i  don\u2019t so much mind knowing better. though i do know better, tom, and am 5 10 15202530354045",
            "17": "17 0486/13/m/j/18 \u00a9 ucles 2018 [turn over very sorry for it.\u2019 she came and kissed him, and went back into her corner  again. \u2018i wish i could collect all the facts we hear so much about,\u2019 said tom,  spitefully setting his teeth, \u2018and all the figures, and all the people who found them out; and i wish i could put a thousand barrels of gunpowder under them, and blow them all up together!\u2019 [from book 1 chapter 8] in what ways does dickens make this such a sad moment in the novel? or 14 what does dickens\u2019s writing make you feel about mrs sparsit?50",
            "18": "18 0486/13/m/j/18 \u00a9 ucles 2018 michael frayn: spies remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: \u2018so will you do it for me, stephen?\u2019 content removed due to copyright restrictions",
            "19": "0486/13/m/j/18 \u00a9 ucles 2018 [turn overcontent removed due to copyright restrictions [from chapter 9] how does frayn make you feel such sympathy for both stephen and mrs hayward at  this moment in the novel? or 16 explore the ways in which frayn creates suspense in two moments in the novel.   do not use the extract printed for question 15 in answering this question.i\u2019ve ruined everything. \u2018i\u2019m sorry,\u2019 i mutter, \u2018i\u2019m sorry.\u201919  ",
            "20": "20 0486/13/m/j/18 \u00a9 ucles 2018 kate grenville:  the secret river remember to support your ideas with details from the writing. either 17 read this extract, and then answer the question that follows it: in newgate the people were packed tight in stone cells with hardly enough  room on the dirty pallets to stretch out at night. the walls were blocks of fine-hewn stone, not a chink anywhere, of such a size they needed no mortar. their mass alone was enough to lock them into place, and lock the people in behind them. sal had given up the room in butler\u2019s buildings and had joined lizzie  and mary sewing shrouds. they all came to see him in the cell, pretending good cheer. sal had brought willie, holding fast to his little hand. he was four: old enough to be frightened at what he saw in newgate, but young enough to be damaged by it. thornhill loved to feel the child in his arms, against his chest, but told sal not to bring him again, there was prison fever about. they had brought such food as they could spare: a piece of bread and  some splinters of dried herring. they watched while he took it. he could see the hunger in their eyes, and did his best to eat, to please them, but he could not seem to, his throat already closed up. he tried not to think of their happy days. in newgate that soft hopeful  part of him was hardening over, becoming lifeless like stone or shell. it was a kind of mercy. sal took charge. she had worked it out. the thing that a man needed in  newgate, more than a loaf of bread and a blanket, was a story. there must always be a story, she insisted, no matter how red-handed a man was caught. and a man had to believe it himself, so that when he came to tell it, it felt like god\u2019s sworn truth. he saw that she had gone to the heart of the matter. he had heard a boy  in the yard saying over and over to himself, and to anyone who came near: it is all a lie, it is all for the reward . the boy tried it in different ways, with  different emphasis, a child with broken front teeth who seemed little older than willie. it is all a damned lie, it is all for the damned reward. he was  like those actors thornhill had rowed across the river. when the moment came, in the white glare of the limelight, the line would be there, having replaced all other thoughts by nothing more than repetition. the story had to take on such conviction that bit by bit the fact of the  event\u2014in the boy\u2019s case, some business of stealing a piece of bacon from a shop\u2014was replaced by another one, the way an oyster might grow over a rock. then it became nothing so crude as a lie. a person could tell the new one, in all its vivid reality, with the wide eyes of someone who was speaking the truth. a man had come up to you and given you the coat. you had found the  piece of carpet on the road. a man had said he would give you a penny if you took the box to gosport street. as god was your witness, you were innocent. sal had already worked it out for him. he had made the lighter fast, but  owing to the lowness of the tide he had left it, planning to come back at high water to unload. he had trusted the watchman further up the wharf to keep an eye on the timber, but while he was away some person unknown must have come up on the river side, without the watchman hearing, and removed it.5 10 15202530354045",
            "21": "21 0486/13/m/j/18 \u00a9 ucles 2018 [turn over it was a sound story, with no gaps or leaks. he loved her for her wit in  seeing it so clear, and giving it the words that made it the truth. you will get  out of this, will, she whispered, embracing him as she left. they ain\u2019t going  to get you, not if i got anything to do with it. her love and her strength gave him heart, were a kind of wealth, he saw,  that others did not have. [from part 1]   how does grenville vividly depict william\u2019s imprisonment in newgate at this moment in  the novel? or 18 explore the ways in which grenville shows that life in australia offers the thornhills more opportunities than life in london.50",
            "22": "22 0486/13/m/j/18 \u00a9 ucles 2018 r k narayan: the english teacher remember to support your ideas with details from the writing. either 19 read this extract, and then answer the question that follows it: i had a visit from the headmaster at an unusual hour one night. i was  in bed. my child had just gone to sleep. and i was preparing to sit up and attempt my daily experiment. i was about to put out the light, when there was a call for me at the gate, \u2018krishnan, krishnan.\u2019 i didn\u2019t like to be disturbed. so i kept quiet for a moment hoping that the caller might go away and i regretted i had not put out the light a minute earlier. but the call was repeated. i had to get up and go to the gate. there i saw the headmaster. \u2018krishnan,\u2019 he cried on seeing me, \u2018forgive my intrusion at this hour. may i come in and talk to you?\u2019 \u2018yes, yes,\u2019 i said, opening the gate. we sat down on the veranda steps.  a ray of light fell on him from our sleeping room, and i noticed that he looked very agitated. he sat without speaking for a few minutes. a donkey brayed in a neighbouring lane; wind rustled the avenue trees. i waited for him to open his mouth and tell me his business. i felt he might be wanting a loan of money; he must be in terrible straits. \u2018i want to ask you \u2026\u2019 he began. it was at this point that the donkey  brayed into the night. \u2018it is a good omen they say, the braying of a donkey. so my request is well-timed.\u2019 \u2018go on,\u2019 i said, wondering how much he was going to want. \u2018tell me  what you want,\u2019 i said. \u2018i want you to take charge of my school, and see that it does not go to  ruin,\u2019 he said. worry seemed to have done its work on this poor man, i thought. \u2018all right,\u2019 i said, but added, \u2018but i\u2019ve my college \u2026\u2019 \u2018i know it,\u2019 he said. \u2018but do you think you are happy in your work there?\u2019  he asked. i did not reply. it needed no reply. \u2018but who cares for happiness in work? one works for the money \u2026\u2019 said i in my sober cynicism. \u2018true, true,\u2019 he said. \u2018i cannot compel you. please at least keep an eye  on the school, and see that these children are not thrown into a hostile world \u2026\u2019 \u2018all right, all right,\u2019 i said, not wishing to offend a man mentally unsound.  the light from our bedroom illuminated a part of his face. i looked at it. he had the abstraction of a mystic rather than of a maniac. i could not contain myself any longer. and so i cried, \u2018tell me, what is the matter?\u2019 he smiled and said: \u2018this is perhaps my last day. tomorrow, i may be no more.\u2019 his voice fluttered. \u2018you may remember that i had an astrologer\u2019s report with me, and i have also mentioned that my wife would get a big surprise in life; this is it. i never wanted to speak to anyone about it. but i felt i owed it to the children, not to leave the school without any arrangement for it. i hesitated the whole day, and a dozen times came up to your gate and turned away \u2026\u2019 i looked at him greatly puzzled: the man was talking as if he were moving to the next street \u2026 this was too disturbing \u2013 even for me who had been educated to accept and accommodate the idea of death. he spoke on quietly: \u2018my astrologer has written a month-to-month report, and my life has been going on in its details like a time-table. i see it so clearly that nothing ever worries me. i give things just their value \u2013 never unduly disturb my mind over affairs; which include also my wife, who, i find, conducts herself according to the time-table.\u2019 \u2018what is to happen to her?\u2019 i asked, almost involuntarily.5 10 15202530354045",
            "23": "23 0486/13/m/j/18 \u00a9 ucles 2018 [turn over \u2018god knows. i only hope she won\u2019t start a litigation against my brother,  over their house and property.\u2019 i sat up, thinking it over. it seemed absurd  to be talking thus. \u2018no, no, no,\u2019 i cried. \u2018it can\u2019t be.\u2019 \u2018it is,\u2019 he persisted.\u2018astrologers are not allowed to mention these things \u2026\u2019\u2018not my astrologer. he is not a professional predictor, but a hermit, who  can see past, present, and future as one, and give everything its true value. he doesn\u2019t want you to put your head under the sand, thinking that you are unseen. man must essentially be a creature of strength and truth. you would love him if you met him, but i don\u2019t know where he is. he came one day for alms, took a fancy to me, and sat down and dictated my life to me after a glance at my palm, and took the road again in the evening. i have never seen him since. but the few hours he was with me he charged my mind with new visions, ideas and strength. my life underwent a revolution. it was after that i left my family and home and set up the school. they jeered at us and made fun of me, but i don\u2019t mind. my life has gone on precisely as he predicted.\u2019 [from chapter 7]   explore the ways in which narayan makes this an intriguing moment in the novel. or 20 how does narayan\u2019s writing make children so important in the novel?50 556065",
            "24": "24 0486/13/m/j/18 \u00a9 ucles 2018 from stories of ourselves remember to support your ideas with details from the writing. either 21 read this extract from to da-duh, in memoriam (by paule marshall), and then answer  the question that follows it: we were in the back of the lorry finally, packed in among the barrels of  ham, flour, cornmeal and rice and the trunks of clothes that my mother had  brought as gifts. we made our way slowly through bridgetown\u2019s clogged streets, part of a funereal procession of cars and open-sided buses, bicycles, and donkey carts. the dim little limestone shops and offices along the way marched with us, at the same mournful pace, toward the same grave ceremony \u2013 as did the people, the women balancing huge baskets on top their heads as if they were no more than hats they wore to shade them from the sun. looking over the edge of the lorry i watched as their feet slurred the dust. i listened, and their voices, raw and loud and dissonant in the heat, seemed to be grappling with each other high overhead. da-duh sat on a trunk in our midst, a monarch amid her court. she still  held my hand, but it was different now. i had suddenly become her anchor, for i felt her fear of the lorry with its asthmatic motor (a fear and distrust, i later learned, she held of all machines) beating like a pulse in her rough palm. as soon as we left bridgetown behind though, she relaxed, and while  the others around us talked she gazed at the canes standing tall on either side of the winding marl road. \u2018c\u2019dear,\u2019 she said softly to herself after a time. \u2018the canes this side are pretty enough.\u2019 they were too much for me. i thought of them as giant weeds that  had overrun the island, leaving scarcely any room for the small tottering houses of sunbleached pine we passed or the people, dark streaks as our lorry hurtled by. i suddenly feared that we were journeying, unaware that we were, toward some dangerous place where the canes, grown as high   and thick as a forest, would close in on us and run us through with their stiletto blades. i longed then for the familiar: for the street in brooklyn where i lived, for my father who had refused to accompany us (\u2018blowing out good money on foolishness,\u2019 he had said of the trip), for a game of tag with my friends under the chestnut tree outside our ageing brownstone house. \u2018yes, but wait till you see st thomas canes,\u2019 da-duh was saying to me.  \u2018they\u2019s canes father, bo,\u2019 she gave a proud arrogant nod. \u2018tomorrow, god willing, i goin\u2019 take you out in the ground and show them to you.\u2019 true to her word da-duh took me with her the following day out into  the ground. it was a fairly large plot adjoining her weathered board and shingle house and consisting of a small orchard, a good-sized canepiece and behind the canes, where the land sloped abruptly down, a gully. she had purchased it with panama money sent her by her eldest son, my uncle joseph, who had died working on the canal. we entered the ground along a trail no wider than her body and as devious and complex as her reasons for showing me her land. da-duh strode briskly ahead, her slight form filled out this morning by the layers of sacking petticoats she wore under her working dress to protect her against the damp. a fresh white cloth, elaborately arranged around her head, added to her height, and lent her a vain, almost roguish air.5 10 15202530354045",
            "25": "25 0486/13/m/j/18 \u00a9 ucles 2018 her pace slowed once we reached the orchard, and glancing back at  me occasionally over her shoulder, she pointed out the various trees. \u2018this here is a breadfruit,\u2019 she said. \u2018that one yonder is a papaw. here\u2019s  a guava. this is a mango. i know you don\u2019t have anything like these in  new york. here\u2019s a sugar apple.\u2019 (the fruit looked more like artichokes than apples to me.) \u2018this one bears limes \u2026\u2019 she went on for some time, intoning the names of the trees as though they were those of her gods. finally, turning to me, she said, \u2018i know you don\u2019t have anything this nice where you come from.\u2019 then, as i hesitated: \u2018i said i know you don\u2019t have anything this nice where you come from \u2026\u2019 \u2018no,\u2019 i said and my world did seem suddenly lacking.da-duh nodded and passed on. the orchard ended and we were on the  narrow cart road that led through the canepiece, the canes clashing like swords above my cowering head. again she turned and her thin muscular arms spread wide, her dim gaze embracing the small field of canes, she said \u2013 and her voice almost broke under the weight of her pride, \u2018tell me, have you got anything like these in that place where you were born?\u2019 \u2018no.\u2019\u2018i din\u2019 think so. i bet you don\u2019t even know that these canes here and the  sugar you eat is one and the same thing. that they does throw the canes into some damn machine at the factory and squeeze out all the little life   in them to make sugar for you all so in new york to eat. i bet you don\u2019t know that.\u2019   how does marshall vividly convey the narrator\u2019s impressions on arriving in barbados at this moment in the story? or 22 explore the ways in which the writer memorably conveys experiences of childhood in either sredni vashtar (by saki) or of white hairs and cricket (by rohinton mistry).50 55606570",
            "26": "26 0486/13/m/j/18 \u00a9 ucles 2018 blank page",
            "27": "27 0486/13/m/j/18 \u00a9 ucles 2018 blank page",
            "28": "28 0486/13/m/j/18 \u00a9 ucles 2018 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s18_qp_21.pdf": {
            "1": "cambridge international examinations cambridge international general certificate of secondary education 0486/21 literature (english) may/june 2018 paper 2 drama 1 hour 30 minutes additional materials: answer booklet/paper read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. this document consists of 11printed pages and 1blank page. [turn over 06_0486_21_2018_1.13 \u00a9 ucles 2018 *3598692723*",
            "2": "j lawrence & r e lee: inherit the wind remember to support your ideas with details from the writing. either * 1 read this passage carefully, and then answer the question that follows it: tell me, do you have any children, mr sillers? brady: content removed due to copyright restrictions 06_0486_21_2018_1.13 \u00a9 ucles 20182",
            "3": "content removed due to copyright restrictions all i want is to prevent the clock-stoppers from dumping a load of medieval nonsense into the united states constitution.drummond: [from act 1 scene 2] how do the writers make this moment in the play both serious and entertaining? or \u2020 2 how do the writers memorably portray the strength of religious belief in hillsboro? [turn over06_0486_21_2018_1.13 \u00a9 ucles 20183",
            "4": "arthur miller : a view from the bridge remember to support your ideas with details from the writing. either * 3 read this passage carefully, and then answer the question that follows it: she\u2019s got other boarders up there? eddie: content removed due to copyright restrictions 06_0486_21_2018_1.13 \u00a9 ucles 20184",
            "5": "content removed due to copyright restrictions [second officer sweeps  past and, glancing  about, goes into the kitchen.] [from act 2] in what ways does miller make this such a gripping moment in the play? or \u2020 4 what does miller\u2019s portrayal of marco add to the dramatic impact of the play? [turn over06_0486_21_2018_1.13 \u00a9 ucles 20185",
            "6": "30252015105terence rattigan: the winslow boy remember to support your ideas with details from the writing. either * 5read this passage carefully, and then answer the question that follows it: [taking the glass from arthur]: oh, i didn\u2019t bring it for myself, sir. i brought it for master ronnie \u2013 [ she extends her glass .] miss kate and mr john. [ she takes a sip .]violet you brought an extra glass for master ronnie, violet? arthur: [mistaking his bewilderment ]: well \u2013 i thought you might allow him just a sip, sir. just to drink the toast. he\u2019s that grown-up these days.violet [desmond is staring gloomily into his glass. the others are frozen with apprehension .] master ronnie isn\u2019t due back from osborne until tuesday, violet. arthur: oh no, sir. he\u2019s back already. came back unexpectedly this morning, all by himself. violet: no, violet. that isn\u2019t true. someone has been playing a joke. arthur: well, i saw him in here with my own two eyes, sir, as large as life just before you came in from church \u2013 and then i heard mrs winslow talking to him in his room \u2013violet: grace \u2013 what does this mean? arthur: [instinctively taking charge ]: all right, violet. you can go \u2013 catherine yes, miss. [violet goes out .]violet: [tocatherine]: did youknow ronnie was back? arthur yes. catherine: and you, dickie? arthur: yes, father. dickie: grace? arthur: [helplessly ]: we thought it best you shouldn\u2019t know \u2013 for the time being. only for the time being, arthur.grace [slowly ]: is the boy ill? [no one answers. arthur looks from one face to another in bewilderment. ] answer me, someone! is the boy very ill? why must i be kept in the dark like this?surely i have the right to know. if he\u2019s ill i must be with him \u2013arthur [steadily ]: no, father. he\u2019s not ill. [arthur suddenly realizes the truth from the tone of her voice .]catherine will someone tell me what has happened, please? [grace looks at catherine with helpless enquiry. catherine nods. grace takes the letter from her dress .]arthur: [timidly ]: he brought this letter for you \u2013 arthur. grace read it to me, please \u2013 arthur: arthur \u2013 not in front of \u2013 grace: 06_0486_21_2018_1.13 \u00a9 ucles 20186",
            "7": "454035 read it to me, please. [grace again looks at catherine for advice, and again receives a nod. arthur is sitting with his head bowed. grace begins to read. ]arthur: \u2018confidential. i am commanded by my lords commissioners of the admiralty to inform you that they have received a communication from the commanding officer of thegrace: royal naval college at osborne, reporting the theft of a five shilling postal order at the college on the 7thinstant, which was afterwards cashed at the post office. investigation of the circumstances of the case leaves no other conclusion possiblethan that the postal order was taken by your son, cadet ronald arthur winslow. mylords deeply regret that they must therefore request you to withdraw your son fromthe college.\u2019 it\u2019s signed by someone \u2013 i can\u2019t quite read his name \u2013 [she turns away quickly to hide her tears. catherine puts a comforting hand on her shoulder. arthur has not changed his attitude. there is a pause. the gong sounds in the hall outside .] [from act 1 ] how does rattigan make this such a tense moment in the play? or \u2020 6 in what ways does rattigan\u2019s portrayal of dickie winslow contribute to your enjoyment of the play? [turn over 06_0486_21_2018_1.13 \u00a9 ucles 20187",
            "8": "403530252015105william shakespeare: henry v remember to support your ideas with details from the writing. either * 7read this passage carefully, and then answer the question that follows it: call in the messengers sent from the dauphin. king: [exeunt some attendants .] now are we well resolv\u2019d; and, by god\u2019s help and yours, the noble sinews of our power,france being ours, we\u2019ll bend it to our awe,or break it all to pieces; or there we\u2019ll sit,ruling in large and ample emperyo\u2019er france and all her almost kingly dukedoms,or lay these bones in an unworthy urn,tombless, with no remembrance over them.either our history shall with full mouthspeak freely of our acts, or else our grave,like turkish mute, shall have a tongueless mouth,not worshipp\u2019d with a waxen epitaph. [enter ambassadors of france .] now are we well prepar\u2019d to know the pleasure of our fair cousin dauphin; for we hearyour greeting is from him, not from the king. may\u2019t please your majesty to give us leave freely to render what we have in charge;or shall we sparingly show you far offthe dauphin\u2019s meaning and our embassy?1 ambassador: we are no tyrant, but a christian king, unto whose grace our passion is as subjectas are our wretches fett\u2019red in our prisons;therefore with frank and with uncurbed plainnesstell us the dauphin\u2019s mind.king: thus then, in few. your highness, lately sending into france,did claim some certain dukedoms in the rightof your great predecessor, king edward the third.in answer of which claim, the prince our mastersays that you savour too much of your youth,and bids you be advis\u2019d there\u2019s nought in francethat can be with a nimble galliard won;you cannot revel into dukedoms there.he therefore sends you, meeter for your spirit,this tun of treasure; and, in lieu of this,desires you let the dukedoms that you claimhear no more of you. this the dauphin speaks.1 ambassador: [from act 1 scene 2 ] 06_0486_21_2018_1.13 \u00a9 ucles 20188",
            "9": "how does shakespeare make this such a dramatic moment in the play? or \u2020 8 explore one moment in the play which shakespeare\u2019s writing makes particularly exciting for you. do not use the passage in question *7 in answering this question. [turn over06_0486_21_2018_1.13 \u00a9 ucles 20189",
            "10": "3530252015105william shakespeare: macbeth remember to support your ideas with details from the writing. either * 9read this passage carefully, and then answer the question that follows it: he has almost supp\u2019d. why have you left the chamber? lady macbeth: hath he ask\u2019d for me? macbeth: know you not he has? lady macbeth: we will proceed no further in this business. he hath honour\u2019d me of late; and i have boughtgolden opinions from all sorts of people,which would be worn now in their newest gloss,not cast aside so soon.macbeth: was the hope drunk wherein you dress\u2019d yourself? hath it slept since,and wakes it now to look so green and paleat what it did so freely? from this timesuch i account thy love. art thou afeardto be the same in thine own act and valouras thou art in desire? wouldst thou have thatwhich thou esteem\u2019st the ornament of life,and live a coward in thine own esteem,letting \u2018i dare not\u2019 wait upon \u2018i would\u2019,like the poor cat i\u2019 th\u2019 adage?lady macbeth: prithee, peace; i dare do all that may become a man;who dares do more is none.macbeth: what beast was\u2019t then that made you break this enterprise to me?when you durst do it, then you were a man;and to be more than what you were, you wouldbe so much more the man. nor time nor placedid then adhere, and yet you would make both;they have made themselves, and that their fitness nowdoes unmake you. i have given suck, and knowhow tender \u2019tis to love the babe that milks me \u2013i would, while it was smiling in my face,have pluck\u2019d my nipple from his boneless gums,and dash\u2019d the brains out, had i so swornas you have done to this.lady macbeth: if we should fail? macbeth: 06_0486_21_2018_1.13 \u00a9 ucles 201810",
            "11": "504540we fail! but screw your courage to the sticking place,and we\u2019ll not fail. when duncan is asleep \u2013whereto the rather shall his day\u2019s hard journeysoundly invite him \u2013 his two chamberlainswill i with wine and wassail so convincethat memory, the warder of the brain,shall be a fume, and the receipt of reasona limbec only. when in swinish sleeptheir drenched natures lie as in a death,what cannot you and i perform uponth\u2019unguarded duncan? what not put uponhis spongy officers, who shall bear the guiltof our great quell?lady macbeth: bring forth men-children only; for thy undaunted mettle should composenothing but males.macbeth: [from act 1 scene 7 ] how does shakespeare vividly portray the relationship between macbeth and lady macbeth at this moment in the play? or \u2020 10 in what ways does shakespeare\u2019s portrayal of the supernatural contribute to the power of the play? 06_0486_21_2018_1.13 \u00a9 ucles 201811",
            "12": "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 pub lisher 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 cambridg e international examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.o rg.uk after the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge l ocal examinations syndicate (ucles), which is itself a department of the university of cambridge. 06_0486_21_2018_1.13 \u00a9 ucles 201812"
        },
        "0486_s18_qp_22.pdf": {
            "1": "cambridgeinternationalexaminations cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/22 literature(english) may/june2018 paper2drama 1hour30minutes additionalmaterials: answerbooklet/paper readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answertwoquestions. youmustanswer onepassage-basedquestion(marked*)and oneessayquestion(marked\u2020). yourquestionsmustbeon twodifferentplays. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover 06_0486_22_2018_1.14 \u00a9ucles2018 *7672654993*",
            "2": "jlawrence&relee: inheritthewind remembertosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: thecourthouselawn.thesamenight.theoppressiveheatofthedayhassoftened intoapleasantsummerevening. content removed due to copyright restrictions 06_0486_22_2018_1.14 \u00a9ucles20182",
            "3": "content removed due to copyright restrictions [fromact1] whatstrikingimpressionsofmatthewharrisonbradydothewriterscreateatthismomentintheplay? or\u20202 towhatextentdoyoufeelthatthewritersbringtheplaytoasatisfyingconclusion? [turnover06_0486_22_2018_1.14 \u00a9ucles20183 this is the squared circle where  he has fought so many bouts with the english language,  and won.]",
            "4": "arthurmiller :aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: nowlook,baby,icanseewe\u2019regettin\u2019mixedupagainhere. eddie: content removed due to copyright restrictions 06_0486_22_2018_1.14 \u00a9ucles20184",
            "5": "content removed due to copyright restrictions okay,iwon\u2019tsayawordtonobody,iswear. catherine: [fromact1] howdoesmillermakethissuchadramaticandsignificantmomentintheplay? or\u20204 towhatextentdoesmillermakeyoufeelthateddieisresponsibleforhisowndeathattheendofthe play? [turnover06_0486_22_2018_1.14 \u00a9ucles20185",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [sirrobert isamanintheearlyforties;tall,thin,cadaverousandimmensely elegant.hewearsalongovercoatandcarrieshishat.helooksratherafopandhis superciliousexpressionbearsoutthisview. ] [assheenters ]:i\u2019msosorry.iwasexpectingafriend. catherine [sheputsherpossessionsonachair. ] won\u2019tyousitdown ,sirrobert?myfatherwon\u2019tbelong . [sirrobert bowsslightly,andsitsdownonanuprightchair,stillinhisovercoat. ] won\u2019tyousithere?[ sheindicates arthur\u2019schair.]it\u2019sfarmorecomfortable. no,thankyou. sirrobert: [fussing]:sirroberthasamostimportantdinnerengagement,sowecamealittle early.desmond isee. catherine: i\u2019mafraidhecanonlyspareusaveryfewminutesofhismostvaluabletimethis evening.ofcourse,it\u2019salongwayforhimtocome\u2013sofarfromhischambers\u2013and verygoodofhimtodoit,too,ifimaysayso...[ hebowstosirrobert.]desmond: [sirrobert bowsslightlyback. ] iknow.icanassureyouwe\u2019reveryconsciousofit.[sirrobert givesheraquick look,andafaintsmile .]catherine: perhapsihadbetteradviseyourfatherofourpresence\u2013 desmond: yes,do,desmond.you\u2019llfindhiminhisbedroom\u2013havinghislegrubbed. catherine: oh.isee. desmond: [desmond goesout.thereisapause .] isthereanythingicangetyou,sirrobert?awhiskyandsoda,orabrandy? catherine: no,thankyou. sirrobert: willyousmoke? catherine: no,thankyou. sirrobert: [holdinguphercigarette ]:ihopeyoudon\u2019tmindmesmoking? catherine whyshouldi? sirrobert: somepeoplefinditshocking. catherine: [indifferently]:aladyinherownhomeissurelyentitledtobehaveasshewishes. sirrobert [thereisapause .] won\u2019tyoutakeyourcoatoff,sirrobert? catherine: no,thankyou. sirrobert: 06_0486_22_2018_1.14 \u00a9ucles20186",
            "7": "50454035youfinditcoldinhere?i\u2019msorry. catherine: it\u2019sperfectlyallright. sirrobert: [conversationlanguishesagain .sirrobert looksathiswatch .] whattimeareyoudining? catherine: eighto\u2019clock. sirrobert: farfromhere? catherine: devonshirehouse. sirrobert: oh.then,ofcourse,youmustn\u2019tonanyaccountbelate. catherine: no. sirrobert: [thereisanotherpause .] isupposeyouknowthehistoryofthiscase,doyou,sirrobert? catherine: [examininghisnails ]:ibelieveihaveseenmostoftherelevantdocuments. sirrobert doyouthinkwecanbringthecaseintocourtbyacollusiveaction? catherine: ireallyhavenoidea\u2013 sirrobert: curryandcurryseemtothinkthatmighthold\u2013 catherine: dothey?theyareaveryreliablefirm. sirrobert: [catherine isonthevergeoflosinghertemper. ] [fromact2] howdoesrattiganmakethissuchastrikingfirstmeetingbetweensirrobertmortonandcatherine winslow? or\u20206 howfardoesrattiganpersuadeyoutoadmirearthurwinslow\u2019sfightforjustice? [turnover06_0486_22_2018_1.14 \u00a9ucles20187",
            "8": "403530252015105williamshakespeare: henryv remembertosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: thisdayiscall\u2019dthefeastofcrispian. hethatoutlivesthisday,andcomessafehome, willstandatip-toewhenthisdayisnam\u2019d, androusehimatthenameofcrispian. hethatshalllivethisday,andseeoldage, willyearlyonthevigilfeasthisneighbours, andsay\u2018to-morrowissaintcrispian\u2019. thenwillhestriphissleeveandshowhisscars, andsay\u2018thesewoundsihadoncrispian\u2019sday\u2019. oldmenforget;yetallshallbeforgot, buthe\u2019llremember,withadvantages, whatfeatshedidthatday.thenshallournames, familiarinhismouthashouseholdwords\u2013 harrytheking,bedfordandexeter, warwickandtalbot,salisburyandgloucester\u2013 beintheirflowingcupsfreshlyrememb\u2019red. thisstoryshallthegoodmanteachhisson; andcrispincrispianshallne\u2019ergoby, fromthisdaytotheendingoftheworld, butweinitshallberemembered\u2013 wefew,wehappyfew,webandofbrothers; forheto-daythatshedshisbloodwithme shallbemybrother;behene\u2019ersovile, thisdayshallgentlehiscondition; andgentlemeninenglandnowa-bed shallthinkthemselvesaccurs\u2019dtheywerenothere, andholdtheirmanhoodscheapwhilesanyspeaks thatfoughtwithusuponsaintcrispin\u2019sday.king: re-entersalisbury. mysovereignlord,bestowyourselfwithspeed: thefrencharebravelyintheirbattlesset, andwillwithallexpediencechargeonus.salisbury: allthingsareready,ifourmindsbeso. king: perishthemanwhosemindisbackwardnow! westmoreland: thoudostnotwishmorehelpfromengland,coz? king: god\u2019swill,myliege!wouldyouandialone, withoutmorehelp,couldfightthisroyalbattle!westmoreland: why,nowthouhastunwish\u2019dfivethousandmen; whichlikesmebetterthantowishusone. youknowyourplaces.godbewithyouall!king: [fromact4scene3 ] 06_0486_22_2018_1.14 \u00a9ucles20188",
            "9": "howdoesshakespeare\u2019swritingvividlyconveyhenry\u2019squalitiesasaleaderatthismomentintheplay? or\u20208 howdoesshakespeare\u2019sportrayalofkinghenry\u2019sformercompanionsfromtheboar\u2019sheadtavern contributetothedramaticimpactoftheplay? [turnover06_0486_22_2018_1.14 \u00a9ucles20189",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: alarums.enter macduff. thatwaythenoiseis.tyrant,showthyface. ifthoubeestslainandwithnostrokeofmine, mywifeandchildren\u2019sghostswillhauntmestill. icannotstrikeatwretchedkernswhosearms arehir\u2019dtobeartheirstaves;eitherthou,macbeth, orelsemyswordwithanunbatterededge isheatheagainundeeded.therethoushouldstbe; bythisgreatclatter,oneofgreatestnote seemsbruited.letmefindhim,fortune, andmoreibegnot.macduff: [exit.alarums. ] entermalcolmandoldsiward. thisway,mylord.thecastle\u2019sgentlyrend\u2019red; thetyrant\u2019speopleonbothsidesdofight; thenoblethanesdobravelyinthewar; thedayalmostitselfprofessesyours, andlittleistodo.siward: wehavemetwithfoes thatstrikebesideus.malcolm: enter,sir,thecastle. siward: [exeunt.alarum .] sceneviii. anotherpartofthefield. entermacbeth. whyshouldiplaytheromanfool,anddie onmineownsword?whilesiseelives,thegashes dobetteruponthem.macbeth: entermacduff. turn,hell-hound,turn. macduff: ofallmenelseihaveavoidedthee. butgettheeback;mysoulistoomuchcharg\u2019d withbloodofthinealready.macbeth: ihavenowords\u2013 myvoiceisinmysword:thoubloodiervillain thantermscangivetheeout.macduff: [fight.alarum. ] 06_0486_22_2018_1.14 \u00a9ucles201810",
            "11": "656055504540thoulosestlabour. aseasymaystthoutheintrenchantair withthykeenswordimpressasmakemebleed. letfallthybladeonvulnerablecrests; ibearacharmedlife,whichmustnotyield tooneofwomanborn.macbeth: despairthycharm; andlettheangelwhomthoustillhastserv\u2019d telltheemacduffwasfromhismother\u2019swomb untimelyripp\u2019d.macduff: accursedbethattonguethattellsmeso, forithathcow\u2019dmybetterpartofman; andbethesejugglingfiendsnomorebeliev\u2019d thatpalterwithusinadoublesense, thatkeepthewordofpromisetoourear, andbreakittoourhope!i\u2019llnotfightwiththee.macbeth: thenyieldthee,coward, andlivetobetheshowandgazeo\u2019th\u2019time. we\u2019llhavethee,asourrarermonstersare, painteduponapole,andunderwrit \u2018heremayyouseethetyrant\u2019.macduff: iwillnotyield, tokissthegroundbeforeyoungmalcolm\u2019sfeet andtobebaitedwiththerabble\u2019scurse. thoughbirnamwoodbecometodunsinane, andthouoppos\u2019d,beingofnowomanborn, yetiwilltrythelast.beforemybody ithrowmywarlikeshield.layon,macduff; anddamn\u2019dbehimthatfirstcries\u2018hold,enough!\u2019macbeth: [fromact5scenes7and8 ] howdoesshakespearemakethisapowerfullydramaticmomentintheplay? or\u202010 inwhatwaysdoesshakespearemaketherelationshipbetweenmacbethandbanquosocompelling? 06_0486_22_2018_1.14 \u00a9ucles201811",
            "12": "blankpage pleasedonotwriteonthispage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeinternational examinationscopyrightacknowledgementsbooklet.thisisproducedforeachseriesofexaminationsandisfreelyavailabletodownloadatwww.cie.org.ukafter theliveexaminationseries. cambridgeinternationalexaminationsispartofthecambridgeassessmentgroup.cambridgeassessmentisthebrandnameofuniversityofcambridgelocal examinationssyndicate(ucles),whichisitselfadepartmentoftheuniversityofcambridge. 06_0486_22_2018_1.14 \u00a9ucles201812"
        },
        "0486_s18_qp_23.pdf": {
            "1": "cambridgeinternationalexaminations cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/23 literature(english) may/june2018 paper2drama 1hour30minutes additionalmaterials: answerbooklet/paper readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answertwoquestions. youmustanswer onepassage-basedquestion(marked*)and oneessayquestion(marked\u2020). yourquestionsmustbeon twodifferentplays. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover 06_0486_23_2018_1.12 \u00a9ucles2018 *0805865642*",
            "2": "jlawrence&relee: inheritthewind remembertosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [fiery]: you\u2019ve  ruled  out all my witnesses. drummond content removed due to copyright restrictions 06_0486_23_2018_1.12 \u00a9ucles20182",
            "3": "content removed due to copyright restrictions [fromact2scene1] inwhatwaysdothewritersmakethissuchapowerfulmomentintheplay? or\u20202 howdothewritersmake onecharacterintheplayparticularlyadmirableforyou? [turnover06_0486_23_2018_1.12 \u00a9ucles20183 [davenport  sits.  drummond  opens  up the rock, which  splits into two halves.]",
            "4": "arthurmiller :aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: that\u2019sanicekid?hegivesmetheheeby-jeebies. content removed due to copyright restrictions 06_0486_23_2018_1.12 \u00a9ucles20184 eddie:",
            "5": "content removed due to copyright restrictions threemonths,eddie. [fromact1] inwhatwaysdoesmillermakethissucharevealingandunsettlingmomentintheplay? or\u20204 whatdoyoufindparticularlystrikingaboutmiller\u2019sportrayalofcatherine? [turnover06_0486_23_2018_1.12 \u00a9ucles20185 beatrice:it\u2019s almost three months you don\u2019t feel good; they\u2019re only here a couple  of weeks. it\u2019s",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: youdon\u2019tthinktheworkiamdoingatthew.s.a.isuseful? catherine: [arthurissilent.] youmayberight.butit\u2019stheonlyworki\u2019mfittedfor,allthesame.[ shepauses.]no, father.thechoiceisquitesimple.eitherimarrydesmondandsettledownintoquite acomfortableandnotreallyuselessexistence\u2013origoonfortherestofmylife earningtwopoundsaweekintheserviceofahopelesscause. ahopelesscause?i\u2019veneverheardyousaythatbefore. arthur: i\u2019veneverfeltitbefore. catherine: [arthurissilent.] john\u2019sgoingtogetmarriednextmonth. didhetellyou? arthur: yes.hewasveryapologetic. catherine: apologetic! arthur: hedidn\u2019tneedtobe.it\u2019sagirliknowslightly.she\u2019llmakehimagoodwife. catherine: isheinlovewithher? arthur: nomorethanhewaswithme.perhaps,even,alittleless. catherine: whyishemarryinghersosoonafter\u2013after\u2013 arthur: afterjiltingme?becausehethinksthere\u2019sgoingtobeawar.ifthereishisregiment willbeamongthefirsttogooverseas.besides,hisfatherapprovesstrongly.she\u2019s ageneral\u2019sdaughter.very,verysuitable.catherine: poorkate![hepauses.hetakesherhandslowly .]howi\u2019vemessedupyourlife, haven\u2019ti?arthur: no,father.anymessing-upthat\u2019sbeendonehasbeendonebyme. catherine: i\u2019msosorry,kate.i\u2019msosorry. arthur: don\u2019tbe,father.webothknewwhatweweredoing. catherine: didwe? arthur: ithinkwedid. catherine: yetourmotivesseemtohavebeendifferentallalong\u2013yoursandmine,kate.can webothhavebeenright?arthur: ibelievewecan.ibelievewehavebeen. catherine: andyetthey\u2019vealwaysbeensoinfernallylogical,ouropponents,haven\u2019tthey? arthur: i\u2019mafraidlogichasneverbeenonourside. catherine: brutestubbornness\u2013aselfishrefusaltoadmitdefeat.that\u2019swhatyourmotherthinks havebeenourmotives\u2013arthur: 06_0486_23_2018_1.12 \u00a9ucles20186",
            "7": "454035 perhapsshe\u2019sright.perhapsthat\u2019salltheyhavebeen. catherine: butperhapsbrutestubbornnessisn\u2019tsuchabadqualityinthefaceofinjustice? arthur: orinthefaceoftyranny.[ shepauses.thecryofanewspaperboy canbeheard faintly.]ifyoucouldgoback,father,andchooseagain\u2013wouldyourchoicebe different?catherine: perhaps. arthur: idon\u2019tthinkso. catherine: idon\u2019tthinkso,either. arthur: istillsaywebothknewwhatweweredoing.andwewererighttodoit. catherine: [kissingthetopofherhead ]:dearkate,thankyou. arthur [thereisasilence .thenewspaperboy canbehearddimlyshoutingfromthe streetoutside .] [fromact4] howdoesrattiganmakethissuchamovingmomentintheplay? or\u20206 howdoesrattigan\u2019sportrayaloftherelationshipbetweencatherinewinslowandsirrobertmorton contributetotheplay\u2019sdramaticimpact? [turnover06_0486_23_2018_1.12 \u00a9ucles20187",
            "8": "30252015105williamshakespeare: henryv remembertosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [enterpistol.] quival\u00e0?pistol: afriend.king: discussuntome:artthouofficer, orartthoubase,common,andpopular?pistol: iamagentlemanofacompany.king: trail\u2019stthouthepuissantpike?pistol: evenso.whatareyou?king: asgoodagentlemanastheemperor.pistol: thenyouareabetterthantheking.king: theking\u2019sabawcockandaheartofgold, aladoflife,animpoffame; ofparentsgood,offistmostvaliant. ikisshisdirtyshoe,andfromheart-string ilovethelovelybully.whatisthyname?pistol: harryleroy.king: leroy!acornishname;artthouofcornishcrew?pistol: no,iamawelshman.king: know\u2019stthoufluellen?pistol: yes.king: tellhimi\u2019llknockhisleekabouthispate uponsaintdavy\u2019sday.pistol: donotyouwearyourdaggerinyourcapthatday,lestheknockthataboutyours.king: artthouhisfriend?pistol: andhiskinsmantoo.king: thefigoforthee,then!pistol: ithankyou;godbewithyou!king: mynameispistolcall\u2019d.pistol: [exit.] itsortswellwithyourfierceness.king: [enterfluellenandgower.] captainfluellen!gower: 06_0486_23_2018_1.12 \u00a9ucles20188",
            "9": "454035so!inthenameofjesuchrist,speakfewer.itisthegreatestadmirationintheuniversal world,whenthetrueandaunchientprerogatifesandlawsofthewarsisnotkept;ifyoufluellen: wouldtakethepainsbuttoexaminethewarsofpompeythegreat,youshallfind,i warrantyou,thatthereisnotiddle-taddlenorpibble-pabbleinpompey\u2019scamp;iwarrant you,youshallfindtheceremoniesofthewars,andthecaresofit,andtheformsofit, andthesobrietyofit,andthemodestyofit,tobeotherwise. why,theenemyisloud;youhearhimallnight.gower: iftheenemyisanass,andafool,andapratingcoxcomb,isitmeet,thinkyou,thatwe shouldalso,lookyou,beanass,andafool,andapratingcoxcomb?inyourown conscience,now?fluellen: iwillspeaklower.gower: iprayyouandbeseechyouthatyouwill.fluellen: [exeuntgowerandfluellen.] thoughitappearalittleoutoffashion, thereismuchcareandvalourinthiswelshman.king: [fromact4scene1 ] howdoesshakespearemakethisanentertainingmomentintheplay? or\u20208 towhatextentdoesshakespeareportraykinghenry\u2019sinvasionoffranceasnoble? [turnover06_0486_23_2018_1.12 \u00a9ucles20189",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: isthekingstirring,worthythane? macduff: notyet. macbeth: hedidcommandmetocalltimelyonhim; ihavealmostslipp\u2019dthehour.macduff: i\u2019llbringyoutohim. macbeth: iknowthisisajoyfultroubletoyou; butyet\u2019tisone.macduff: thelabourwedelightinphysicspain. thisisthedoor.macbeth: i\u2019llmakesoboldtocall, for\u2019tismylimitedservice.macduff: [exitmacduff.] goesthekinghenceto-day? lennox: hedoes:hedidappointso. macbeth: thenighthasbeenunruly.wherewelay, ourchimneyswereblowndown;and,astheysay, lamentingsheardi\u2019th\u2019air,strangescreamsofdeath, andprophesying,withaccentsterrible, ofdirecombustionandconfus\u2019devents newhatch\u2019dtoth\u2019woefultime;theobscurebird clamour\u2019dthelivelongnight.somesaytheearth wasfeverousanddidshake.lennox: \u2019twasaroughnight. macbeth: myyoungremembrancecannotparallel afellowtoit. [re-entermacduff .]lennox: ohorror,horror,horror!tonguenorheart cannotconceivenornamethee.macduff: what\u2019sthematter? macbeth,lennox: confusionnowhathmadehismasterpiece. mostsacrilegiousmurderhathbrokeope thelord\u2019sanointedtemple,andstolethence thelifeo\u2019th\u2019buildingmacduff: whatis\u2019tyousay\u2013thelife? macbeth: meanyouhismajesty? lennox: 06_0486_23_2018_1.12 \u00a9ucles201810",
            "11": "6055504540approachthechamber,anddestroyyoursight withanewgorgon.donotbidmespeak; see,andthenspeakyourselves.macduff: [exeuntmacbethandlennox.] awake,awake! ringthealarumbell.murderandtreason! banquoanddonalbain!malcolm!awake! shakeoffthisdownysleep,death\u2019scounterfeit, andlookondeathitself.up,up,andsee thegreatdoom\u2019simage!malcolm!banquo! asfromyourgravesriseupandwalklikesprites tocountenancethishorror!ringthebell. [bellrings.] [enterladymacbeth.] what\u2019sthebusiness, thatsuchahideoustrumpetcallstoparley thesleepersofthehouse?speak,speak!ladymacbeth: ogentlelady, \u2019tisnotforyoutohearwhaticanspeak! therepetitioninawoman\u2019sear wouldmurderasitfell.macduff: [enterbanquo.] obanquo,banquo, ourroyalmaster\u2019smurder\u2019d! woe,alas! what,inourhouse?ladymacbeth: toocruelanywhere. dearduff,ipritheecontradictthyself, andsayitisnotso.banquo: [fromact2scene3 ] inwhatwaysdoesshakespearemakethissuchatenseanddramaticmomentintheplay? or\u202010 howdoesshakespearestrikinglycontrastmacbethandmacduffintheplay? donotusethepassageprintedforquestion*9inansweringthisquestion. 06_0486_23_2018_1.12 \u00a9ucles201811",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeinternational examinationscopyrightacknowledgementsbooklet.thisisproducedforeachseriesofexaminationsandisfreelyavailabletodownloadatwww.cie.org.ukafter theliveexaminationseries. cambridgeinternationalexaminationsispartofthecambridgeassessmentgroup.cambridgeassessmentisthebrandnameofuniversityofcambridgelocal examinationssyndicate(ucles),whichisitselfadepartmentoftheuniversityofcambridge. 06_0486_23_2018_1.12 \u00a9ucles201812"
        },
        "0486_s18_qp_31.pdf": {
            "1": "cambridgeinternationalexaminations cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/31 literature(english) may/june2018 paper3drama(opentext) 45minutes textsstudiedshouldbetakenintotheexamination. readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answeronequestion. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover 06_0486_31_2018_1.3 \u00a9ucles2018 *5514409803*",
            "2": "jlawrence&relee: inheritthewind remembertosupportyourideaswithdetailsfromthewriting. either1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: tellme,doyouhaveanychildren,mrsillers? brady: content removed due to copyright restrictions 06_0486_31_2018_1.3 \u00a9ucles20182",
            "3": "content removed due to copyright restrictions alliwantistopreventtheclock-stoppersfromdumpingaloadofmedievalnonsense intotheunitedstatesconstitution.drummond: [fromact1scene2] howdothewritersmakethismomentintheplaybothseriousandentertaining? or2 howdothewritersmemorablyportraythestrengthofreligiousbeliefinhillsboro? [turnover06_0486_31_2018_1.3 \u00a9ucles20183",
            "4": "arthurmiller :aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: she\u2019sgototherboardersupthere? eddie: content removed due to copyright restrictions 06_0486_31_2018_1.3 \u00a9ucles20184",
            "5": "content removed due to copyright restrictions [second officer sweeps  past and, glancing  about, goes into the kitchen.] [fromact2] inwhatwaysdoesmillermakethissuchagrippingmomentintheplay? or4 whatdoesmiller\u2019sportrayalofmarcoaddtothedramaticimpactoftheplay? [turnover06_0486_31_2018_1.3 \u00a9ucles20185",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [takingtheglassfrom arthur]:oh,ididn\u2019tbringitformyself,sir.ibroughtitfor masterronnie\u2013[ sheextendsherglass .]misskateandmrjohn.[ shetakesasip .]violet youbroughtanextraglassformasterronnie,violet? arthur: [mistakinghisbewilderment ]:well\u2013ithoughtyoumightallowhimjustasip,sir.just todrinkthetoast.he\u2019sthatgrown-upthesedays.violet [desmondisstaringgloomilyintohisglass.theothersarefrozenwithapprehension .] masterronnieisn\u2019tduebackfromosborneuntiltuesday,violet. arthur: ohno,sir.he\u2019sbackalready.camebackunexpectedlythismorning,allbyhimself. violet: no,violet.thatisn\u2019ttrue.someonehasbeenplayingajoke. arthur: well,isawhiminherewithmyowntwoeyes,sir,aslargeaslifejustbeforeyou cameinfromchurch\u2013andtheniheardmrswinslowtalkingtohiminhisroom\u2013violet: grace\u2013whatdoesthismean? arthur: [instinctivelytakingcharge ]:allright,violet.youcango\u2013 catherine yes,miss. [violetgoesout.]violet: [tocatherine]:did youknowronniewasback? arthur yes. catherine: andyou,dickie? arthur: yes,father. dickie: grace? arthur: [helplessly]:wethoughtitbestyoushouldn\u2019tknow\u2013forthetimebeing.onlyforthe timebeing,arthur.grace [slowly]:istheboyill? [nooneanswers. arthurlooksfromonefacetoanotherinbewilderment. ] answerme,someone!istheboyveryill?whymustibekeptinthedarklikethis? surelyihavetherighttoknow.ifhe\u2019sillimustbewithhim\u2013arthur [steadily]:no,father.he\u2019snotill. [arthursuddenlyrealizesthetruthfromthetoneofhervoice .]catherine willsomeonetellmewhathashappened,please? [gracelooksatcatherine withhelplessenquiry. catherine nods.grace takestheletterfromherdress .]arthur: [timidly]:hebroughtthisletterforyou\u2013arthur. grace readittome,please\u2013 arthur: arthur\u2013notinfrontof\u2013 grace: 06_0486_31_2018_1.3 \u00a9ucles20186",
            "7": "454035 readittome,please. [graceagainlooksat catherine foradvice,andagainreceivesanod. arthur issittingwithhisheadbowed. gracebeginstoread. ]arthur: \u2018confidential.iamcommandedbymylordscommissionersoftheadmiraltytoinform youthattheyhavereceivedacommunicationfromthecommandingofficerofthegrace: royalnavalcollegeatosborne,reportingthetheftofafiveshillingpostalorderat thecollegeonthe7thinstant,whichwasafterwardscashedatthepostoffice. investigationofthecircumstancesofthecaseleavesnootherconclusionpossible thanthatthepostalorderwastakenbyyourson,cadetronaldarthurwinslow.my lordsdeeplyregretthattheymustthereforerequestyoutowithdrawyoursonfrom thecollege.\u2019it\u2019ssignedbysomeone\u2013ican\u2019tquitereadhisname\u2013 [sheturnsawayquicklytohidehertears. catherine putsacomfortinghandon hershoulder. arthurhasnotchangedhisattitude.thereisapause.thegong soundsinthehalloutside .] [fromact1] howdoesrattiganmakethissuchatensemomentintheplay? or6 inwhatwaysdoesrattigan\u2019sportrayalofdickiewinslowcontributetoyourenjoymentoftheplay? [turnover06_0486_31_2018_1.3 \u00a9ucles20187",
            "8": "403530252015105williamshakespeare: henryv remembertosupportyourideaswithdetailsfromthewriting. either7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: callinthemessengerssentfromthedauphin. king: [exeuntsomeattendants .] nowarewewellresolv\u2019d;and,bygod\u2019shelp andyours,thenoblesinewsofourpower, francebeingours,we\u2019llbendittoourawe, orbreakitalltopieces;ortherewe\u2019llsit, rulinginlargeandampleempery o\u2019erfranceandallheralmostkinglydukedoms, orlaythesebonesinanunworthyurn, tombless,withnoremembranceoverthem. eitherourhistoryshallwithfullmouth speakfreelyofouracts,orelseourgrave, liketurkishmute,shallhaveatonguelessmouth, notworshipp\u2019dwithawaxenepitaph. [enterambassadorsoffrance .] nowarewewellprepar\u2019dtoknowthepleasure ofourfaircousindauphin;forwehear yourgreetingisfromhim,notfromtheking. may\u2019tpleaseyourmajestytogiveusleave freelytorenderwhatwehaveincharge; orshallwesparinglyshowyoufaroff thedauphin\u2019smeaningandourembassy?1ambassador: wearenotyrant,butachristianking, untowhosegraceourpassionisassubject asareourwretchesfett\u2019redinourprisons; thereforewithfrankandwithuncurbedplainness tellusthedauphin\u2019smind.king: thusthen,infew. yourhighness,latelysendingintofrance, didclaimsomecertaindukedomsintheright ofyourgreatpredecessor,kingedwardthethird. inanswerofwhichclaim,theprinceourmaster saysthatyousavourtoomuchofyouryouth, andbidsyoubeadvis\u2019dthere\u2019snoughtinfrance thatcanbewithanimblegalliardwon; youcannotrevelintodukedomsthere. hethereforesendsyou,meeterforyourspirit, thistunoftreasure;and,inlieuofthis, desiresyouletthedukedomsthatyouclaim hearnomoreofyou.thisthedauphinspeaks.1ambassador: [fromact1scene2 ] 06_0486_31_2018_1.3 \u00a9ucles20188",
            "9": "howdoesshakespearemakethissuchadramaticmomentintheplay? or8 exploreonemomentintheplaywhichshakespeare\u2019swritingmakesparticularlyexcitingforyou. donotusethepassageinquestion7inansweringthisquestion. [turnover06_0486_31_2018_1.3 \u00a9ucles20189",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: hehasalmostsupp\u2019d.whyhaveyouleftthechamber? ladymacbeth: hathheask\u2019dforme? macbeth: knowyounothehas? ladymacbeth: wewillproceednofurtherinthisbusiness. hehathhonour\u2019dmeoflate;andihavebought goldenopinionsfromallsortsofpeople, whichwouldbewornnowintheirnewestgloss, notcastasidesosoon.macbeth: wasthehopedrunk whereinyoudress\u2019dyourself?hathitsleptsince, andwakesitnowtolooksogreenandpale atwhatitdidsofreely?fromthistime suchiaccountthylove.artthouafeard tobethesameinthineownactandvalour asthouartindesire?wouldstthouhavethat whichthouesteem\u2019sttheornamentoflife, andliveacowardinthineownesteem, letting\u2018idarenot\u2019waitupon\u2018iwould\u2019, likethepoorcati\u2019th\u2019adage?ladymacbeth: prithee,peace; idaredoallthatmaybecomeaman; whodaresdomoreisnone.macbeth: whatbeastwas\u2019tthen thatmadeyoubreakthisenterprisetome? whenyoudurstdoit,thenyouwereaman; andtobemorethanwhatyouwere,youwould besomuchmoretheman.nortimenorplace didthenadhere,andyetyouwouldmakeboth; theyhavemadethemselves,andthattheirfitnessnow doesunmakeyou.ihavegivensuck,andknow howtender\u2019tistolovethebabethatmilksme\u2013 iwould,whileitwassmilinginmyface, havepluck\u2019dmynipplefromhisbonelessgums, anddash\u2019dthebrainsout,hadisosworn asyouhavedonetothis.ladymacbeth: ifweshouldfail? macbeth: 06_0486_31_2018_1.3 \u00a9ucles201810",
            "11": "504540wefail! butscrewyourcouragetothestickingplace, andwe\u2019llnotfail.whenduncanisasleep\u2013 wheretotherathershallhisday\u2019shardjourney soundlyinvitehim\u2013histwochamberlains williwithwineandwassailsoconvince thatmemory,thewarderofthebrain, shallbeafume,andthereceiptofreason alimbeconly.wheninswinishsleep theirdrenchednatureslieasinadeath, whatcannotyouandiperformupon th\u2019unguardedduncan?whatnotputupon hisspongyofficers,whoshallbeartheguilt ofourgreatquell?ladymacbeth: bringforthmen-childrenonly; forthyundauntedmettleshouldcompose nothingbutmales.macbeth: [fromact1scene7 ] howdoesshakespearevividlyportraytherelationshipbetweenmacbethandladymacbethatthis momentintheplay? or10 inwhatwaysdoesshakespeare\u2019sportrayalofthesupernaturalcontributetothepoweroftheplay? 06_0486_31_2018_1.3 \u00a9ucles201811",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeinternational examinationscopyrightacknowledgementsbooklet.thisisproducedforeachseriesofexaminationsandisfreelyavailabletodownloadatwww.cie.org.ukafter theliveexaminationseries. cambridgeinternationalexaminationsispartofthecambridgeassessmentgroup.cambridgeassessmentisthebrandnameofuniversityofcambridgelocal examinationssyndicate(ucles),whichisitselfadepartmentoftheuniversityofcambridge. 06_0486_31_2018_1.3 \u00a9ucles201812"
        },
        "0486_s18_qp_32.pdf": {
            "1": "cambridgeinternationalexaminations cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/32 literature(english) may/june2018 paper3drama(opentext) 45minutes textsstudiedshouldbetakenintotheexamination. readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answeronequestion. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover 06_0486_32_2018_1.3 \u00a9ucles2018 *7555928994*",
            "2": "jlawrence&relee: inheritthewind remembertosupportyourideaswithdetailsfromthewriting. either1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: thecourthouselawn.thesamenight.theoppressiveheatofthedayhassoftened intoapleasantsummerevening. content removed due to copyright restrictions 06_0486_32_2018_1.3 \u00a9ucles20182",
            "3": "content removed due to copyright restrictions [fromact1] whatstrikingimpressionsofmatthewharrisonbradydothewriterscreateatthismomentintheplay? or2 towhatextentdoyoufeelthatthewritersbringtheplaytoasatisfyingconclusion? [turnover06_0486_32_2018_1.3 \u00a9ucles20183 this is the squared circle where he has fought so many bouts  with the english language,  and won.]",
            "4": "arthurmiller :aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: nowlook,baby,icanseewe\u2019regettin\u2019mixedupagainhere. eddie: content removed due to copyright restrictions 06_0486_32_2018_1.3 \u00a9ucles20184",
            "5": "content removed due to copyright restrictions okay,iwon\u2019tsayawordtonobody,iswear. catherine: [fromact1] howdoesmillermakethissuchadramaticandsignificantmomentintheplay? or4 towhatextentdoesmillermakeyoufeelthateddieisresponsibleforhisowndeathattheendofthe play? [turnover06_0486_32_2018_1.3 \u00a9ucles20185",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [sirrobert isamanintheearlyforties;tall,thin,cadaverousandimmensely elegant.hewearsalongovercoatandcarrieshishat.helooksratherafopandhis superciliousexpressionbearsoutthisview. ] [assheenters ]:i\u2019msosorry.iwasexpectingafriend. catherine [sheputsherpossessionsonachair. ] won\u2019tyousitdown ,sirrobert?myfatherwon\u2019tbelong . [sirrobert bowsslightly,andsitsdownonanuprightchair,stillinhisovercoat. ] won\u2019tyousithere?[ sheindicates arthur\u2019schair.]it\u2019sfarmorecomfortable. no,thankyou. sirrobert: [fussing]:sirroberthasamostimportantdinnerengagement,sowecamealittle early.desmond isee. catherine: i\u2019mafraidhecanonlyspareusaveryfewminutesofhismostvaluabletimethis evening.ofcourse,it\u2019salongwayforhimtocome\u2013sofarfromhischambers\u2013and verygoodofhimtodoit,too,ifimaysayso...[ hebowstosirrobert.]desmond: [sirrobert bowsslightlyback. ] iknow.icanassureyouwe\u2019reveryconsciousofit.[sirrobert givesheraquick look,andafaintsmile .]catherine: perhapsihadbetteradviseyourfatherofourpresence\u2013 desmond: yes,do,desmond.you\u2019llfindhiminhisbedroom\u2013havinghislegrubbed. catherine: oh.isee. desmond: [desmond goesout.thereisapause .] isthereanythingicangetyou,sirrobert?awhiskyandsoda,orabrandy? catherine: no,thankyou. sirrobert: willyousmoke? catherine: no,thankyou. sirrobert: [holdinguphercigarette ]:ihopeyoudon\u2019tmindmesmoking? catherine whyshouldi? sirrobert: somepeoplefinditshocking. catherine: [indifferently]:aladyinherownhomeissurelyentitledtobehaveasshewishes. sirrobert [thereisapause .] won\u2019tyoutakeyourcoatoff,sirrobert? catherine: no,thankyou. sirrobert: 06_0486_32_2018_1.3 \u00a9ucles20186",
            "7": "50454035youfinditcoldinhere?i\u2019msorry. catherine: it\u2019sperfectlyallright. sirrobert: [conversationlanguishesagain .sirrobert looksathiswatch .] whattimeareyoudining? catherine: eighto\u2019clock. sirrobert: farfromhere? catherine: devonshirehouse. sirrobert: oh.then,ofcourse,youmustn\u2019tonanyaccountbelate. catherine: no. sirrobert: [thereisanotherpause .] isupposeyouknowthehistoryofthiscase,doyou,sirrobert? catherine: [examininghisnails ]:ibelieveihaveseenmostoftherelevantdocuments. sirrobert doyouthinkwecanbringthecaseintocourtbyacollusiveaction? catherine: ireallyhavenoidea\u2013 sirrobert: curryandcurryseemtothinkthatmighthold\u2013 catherine: dothey?theyareaveryreliablefirm. sirrobert: [catherine isonthevergeoflosinghertemper. ] [fromact2] howdoesrattiganmakethissuchastrikingfirstmeetingbetweensirrobertmortonand catherinewinslow? or6 howfardoesrattiganpersuadeyoutoadmirearthurwinslow\u2019sfightforjustice? [turnover06_0486_32_2018_1.3 \u00a9ucles20187",
            "8": "403530252015105williamshakespeare: henryv remembertosupportyourideaswithdetailsfromthewriting. either7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: thisdayiscall\u2019dthefeastofcrispian. hethatoutlivesthisday,andcomessafehome, willstandatip-toewhenthisdayisnam\u2019d, androusehimatthenameofcrispian. hethatshalllivethisday,andseeoldage, willyearlyonthevigilfeasthisneighbours, andsay\u2018to-morrowissaintcrispian\u2019. thenwillhestriphissleeveandshowhisscars, andsay\u2018thesewoundsihadoncrispian\u2019sday\u2019. oldmenforget;yetallshallbeforgot, buthe\u2019llremember,withadvantages, whatfeatshedidthatday.thenshallournames, familiarinhismouthashouseholdwords\u2013 harrytheking,bedfordandexeter, warwickandtalbot,salisburyandgloucester\u2013 beintheirflowingcupsfreshlyrememb\u2019red. thisstoryshallthegoodmanteachhisson; andcrispincrispianshallne\u2019ergoby, fromthisdaytotheendingoftheworld, butweinitshallberemembered\u2013 wefew,wehappyfew,webandofbrothers; forheto-daythatshedshisbloodwithme shallbemybrother;behene\u2019ersovile, thisdayshallgentlehiscondition; andgentlemeninenglandnowa-bed shallthinkthemselvesaccurs\u2019dtheywerenothere, andholdtheirmanhoodscheapwhilesanyspeaks thatfoughtwithusuponsaintcrispin\u2019sday.king: re-entersalisbury. mysovereignlord,bestowyourselfwithspeed: thefrencharebravelyintheirbattlesset, andwillwithallexpediencechargeonus.salisbury: allthingsareready,ifourmindsbeso. king: perishthemanwhosemindisbackwardnow! westmoreland: thoudostnotwishmorehelpfromengland,coz? king: god\u2019swill,myliege!wouldyouandialone, withoutmorehelp,couldfightthisroyalbattle!westmoreland: why,nowthouhastunwish\u2019dfivethousandmen; whichlikesmebetterthantowishusone. youknowyourplaces.godbewithyouall!king: [fromact4scene3 ] 06_0486_32_2018_1.3 \u00a9ucles20188",
            "9": "howdoesshakespeare\u2019swritingvividlyconveyhenry\u2019squalitiesasaleaderatthismomentintheplay? or8 howdoesshakespeare\u2019sportrayalofkinghenry\u2019sformercompanionsfromtheboar\u2019sheadtavern contributetothedramaticimpactoftheplay? [turnover06_0486_32_2018_1.3 \u00a9ucles20189",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: alarums.enter macduff. thatwaythenoiseis.tyrant,showthyface. ifthoubeestslainandwithnostrokeofmine, mywifeandchildren\u2019sghostswillhauntmestill. icannotstrikeatwretchedkernswhosearms arehir\u2019dtobeartheirstaves;eitherthou,macbeth, orelsemyswordwithanunbatterededge isheatheagainundeeded.therethoushouldstbe; bythisgreatclatter,oneofgreatestnote seemsbruited.letmefindhim,fortune, andmoreibegnot.macduff: [exit.alarums. ] entermalcolmandoldsiward. thisway,mylord.thecastle\u2019sgentlyrend\u2019red; thetyrant\u2019speopleonbothsidesdofight; thenoblethanesdobravelyinthewar; thedayalmostitselfprofessesyours, andlittleistodo.siward: wehavemetwithfoes thatstrikebesideus.malcolm: enter,sir,thecastle. siward: [exeunt.alarum .] sceneviii. anotherpartofthefield. entermacbeth. whyshouldiplaytheromanfool,anddie onmineownsword?whilesiseelives,thegashes dobetteruponthem.macbeth: entermacduff. turn,hell-hound,turn. macduff: ofallmenelseihaveavoidedthee. butgettheeback;mysoulistoomuchcharg\u2019d withbloodofthinealready.macbeth: ihavenowords\u2013 myvoiceisinmysword:thoubloodiervillain thantermscangivetheeout.macduff: [fight.alarum. ] 06_0486_32_2018_1.3 \u00a9ucles201810",
            "11": "656055504540thoulosestlabour. aseasymaystthoutheintrenchantair withthykeenswordimpressasmakemebleed. letfallthybladeonvulnerablecrests; ibearacharmedlife,whichmustnotyield tooneofwomanborn.macbeth: despairthycharm; andlettheangelwhomthoustillhastserv\u2019d telltheemacduffwasfromhismother\u2019swomb untimelyripp\u2019d.macduff: accursedbethattonguethattellsmeso, forithathcow\u2019dmybetterpartofman; andbethesejugglingfiendsnomorebeliev\u2019d thatpalterwithusinadoublesense, thatkeepthewordofpromisetoourear, andbreakittoourhope!i\u2019llnotfightwiththee.macbeth: thenyieldthee,coward, andlivetobetheshowandgazeo\u2019th\u2019time. we\u2019llhavethee,asourrarermonstersare, painteduponapole,andunderwrit \u2018heremayyouseethetyrant\u2019.macduff: iwillnotyield, tokissthegroundbeforeyoungmalcolm\u2019sfeet andtobebaitedwiththerabble\u2019scurse. thoughbirnamwoodbecometodunsinane, andthouoppos\u2019d,beingofnowomanborn, yetiwilltrythelast.beforemybody ithrowmywarlikeshield.layon,macduff; anddamn\u2019dbehimthatfirstcries\u2018hold,enough!\u2019macbeth: [fromact5scenes7and8 ] howdoesshakespearemakethisapowerfullydramaticmomentintheplay? or10 inwhatwaysdoesshakespearemaketherelationshipbetweenmacbethandbanquosocompelling? 06_0486_32_2018_1.3 \u00a9ucles201811",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeinternational examinationscopyrightacknowledgementsbooklet.thisisproducedforeachseriesofexaminationsandisfreelyavailabletodownloadatwww.cie.org.ukafter theliveexaminationseries. cambridgeinternationalexaminationsispartofthecambridgeassessmentgroup.cambridgeassessmentisthebrandnameofuniversityofcambridgelocal examinationssyndicate(ucles),whichisitselfadepartmentoftheuniversityofcambridge. 06_0486_32_2018_1.3 \u00a9ucles201812"
        },
        "0486_s18_qp_33.pdf": {
            "1": "cambridgeinternationalexaminations cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/33 literature(english) may/june2018 paper3drama(opentext) 45minutes textsstudiedshouldbetakenintotheexamination. readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answeronequestion. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover 06_0486_33_2018_1.3 \u00a9ucles2018 *5234575103*",
            "2": "jlawrence&relee: inheritthewind remembertosupportyourideaswithdetailsfromthewriting. either1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [fiery]: you\u2019ve  ruled  out all my witnesses. drummond content removed due to copyright restrictions 06_0486_33_2018_1.3 \u00a9ucles20182",
            "3": "content removed due to copyright restrictions [fromact2scene1] inwhatwaysdothewritersmakethissuchapowerfulmomentintheplay? or2 howdothewritersmake onecharacterintheplayparticularlyadmirableforyou? [turnover06_0486_33_2018_1.3 \u00a9ucles20183 [davenport sits. drummond  opens  up the rock, which  splits  into  two halves.]",
            "4": "arthurmiller :aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: that\u2019sanicekid?hegivesmetheheeby-jeebies. content removed due to copyright restrictions 06_0486_33_2018_1.3 \u00a9ucles20184 eddie:",
            "5": "content removed due to copyright restrictions threemonths,eddie. [fromact1] inwhatwaysdoesmillermakethissucharevealingandunsettlingmomentintheplay? or4 whatdoyoufindparticularlystrikingaboutmiller\u2019sportrayalofcatherine? [turnover06_0486_33_2018_1.3 \u00a9ucles20185 beatrice:it\u2019s almost three months you don\u2019t feel good; they\u2019re only here a couple  of weeks. it\u2019s",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: youdon\u2019tthinktheworkiamdoingatthew.s.a.isuseful? catherine: [arthurissilent.] youmayberight.butit\u2019stheonlyworki\u2019mfittedfor,allthesame.[ shepauses.]no, father.thechoiceisquitesimple.eitherimarrydesmondandsettledownintoquite acomfortableandnotreallyuselessexistence\u2013origoonfortherestofmylife earningtwopoundsaweekintheserviceofahopelesscause. ahopelesscause?i\u2019veneverheardyousaythatbefore. arthur: i\u2019veneverfeltitbefore. catherine: [arthurissilent.] john\u2019sgoingtogetmarriednextmonth. didhetellyou? arthur: yes.hewasveryapologetic. catherine: apologetic! arthur: hedidn\u2019tneedtobe.it\u2019sagirliknowslightly.she\u2019llmakehimagoodwife. catherine: isheinlovewithher? arthur: nomorethanhewaswithme.perhaps,even,alittleless. catherine: whyishemarryinghersosoonafter\u2013after\u2013 arthur: afterjiltingme?becausehethinksthere\u2019sgoingtobeawar.ifthereishisregiment willbeamongthefirsttogooverseas.besides,hisfatherapprovesstrongly.she\u2019s ageneral\u2019sdaughter.very,verysuitable.catherine: poorkate![hepauses.hetakesherhandslowly .]howi\u2019vemessedupyourlife, haven\u2019ti?arthur: no,father.anymessing-upthat\u2019sbeendonehasbeendonebyme. catherine: i\u2019msosorry,kate.i\u2019msosorry. arthur: don\u2019tbe,father.webothknewwhatweweredoing. catherine: didwe? arthur: ithinkwedid. catherine: yetourmotivesseemtohavebeendifferentallalong\u2013yoursandmine,kate.can webothhavebeenright?arthur: ibelievewecan.ibelievewehavebeen. catherine: andyetthey\u2019vealwaysbeensoinfernallylogical,ouropponents,haven\u2019tthey? arthur: i\u2019mafraidlogichasneverbeenonourside. catherine: brutestubbornness\u2013aselfishrefusaltoadmitdefeat.that\u2019swhatyourmotherthinks havebeenourmotives\u2013arthur: 06_0486_33_2018_1.3 \u00a9ucles20186",
            "7": "454035 perhapsshe\u2019sright.perhapsthat\u2019salltheyhavebeen. catherine: butperhapsbrutestubbornnessisn\u2019tsuchabadqualityinthefaceofinjustice? arthur: orinthefaceoftyranny.[ shepauses.thecryofanewspaperboy canbeheard faintly.]ifyoucouldgoback,father,andchooseagain\u2013wouldyourchoicebe different?catherine: perhaps. arthur: idon\u2019tthinkso. catherine: idon\u2019tthinkso,either. arthur: istillsaywebothknewwhatweweredoing.andwewererighttodoit. catherine: [kissingthetopofherhead ]:dearkate,thankyou. arthur [thereisasilence .thenewspaperboy canbehearddimlyshoutingfromthe streetoutside .] [fromact4] howdoesrattiganmakethissuchamovingmomentintheplay? or6 howdoesrattigan\u2019sportrayaloftherelationshipbetweencatherinewinslowandsirrobertmorton contributetotheplay\u2019sdramaticimpact? [turnover06_0486_33_2018_1.3 \u00a9ucles20187",
            "8": "30252015105williamshakespeare: henryv remembertosupportyourideaswithdetailsfromthewriting. either7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [enterpistol.] quival\u00e0?pistol: afriend.king: discussuntome:artthouofficer, orartthoubase,common,andpopular?pistol: iamagentlemanofacompany.king: trail\u2019stthouthepuissantpike?pistol: evenso.whatareyou?king: asgoodagentlemanastheemperor.pistol: thenyouareabetterthantheking.king: theking\u2019sabawcockandaheartofgold, aladoflife,animpoffame; ofparentsgood,offistmostvaliant. ikisshisdirtyshoe,andfromheart-string ilovethelovelybully.whatisthyname?pistol: harryleroy.king: leroy!acornishname;artthouofcornishcrew?pistol: no,iamawelshman.king: know\u2019stthoufluellen?pistol: yes.king: tellhimi\u2019llknockhisleekabouthispate uponsaintdavy\u2019sday.pistol: donotyouwearyourdaggerinyourcapthatday,lestheknockthataboutyours.king: artthouhisfriend?pistol: andhiskinsmantoo.king: thefigoforthee,then!pistol: ithankyou;godbewithyou!king: mynameispistolcall\u2019d.pistol: [exit.] itsortswellwithyourfierceness.king: [enterfluellenandgower.] captainfluellen!gower: 06_0486_33_2018_1.3 \u00a9ucles20188",
            "9": "454035so!inthenameofjesuchrist,speakfewer.itisthegreatestadmirationintheuniversal world,whenthetrueandaunchientprerogatifesandlawsofthewarsisnotkept;ifyoufluellen: wouldtakethepainsbuttoexaminethewarsofpompeythegreat,youshallfind,i warrantyou,thatthereisnotiddle-taddlenorpibble-pabbleinpompey\u2019scamp;iwarrant you,youshallfindtheceremoniesofthewars,andthecaresofit,andtheformsofit, andthesobrietyofit,andthemodestyofit,tobeotherwise. why,theenemyisloud;youhearhimallnight.gower: iftheenemyisanass,andafool,andapratingcoxcomb,isitmeet,thinkyou,thatwe shouldalso,lookyou,beanass,andafool,andapratingcoxcomb?inyourown conscience,now?fluellen: iwillspeaklower.gower: iprayyouandbeseechyouthatyouwill.fluellen: [exeuntgowerandfluellen.] thoughitappearalittleoutoffashion, thereismuchcareandvalourinthiswelshman.king: [fromact4scene1 ] howdoesshakespearemakethisanentertainingmomentintheplay? or8 towhatextentdoesshakespeareportraykinghenry\u2019sinvasionoffranceasnoble? [turnover06_0486_33_2018_1.3 \u00a9ucles20189",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: isthekingstirring,worthythane? macduff: notyet. macbeth: hedidcommandmetocalltimelyonhim; ihavealmostslipp\u2019dthehour.macduff: i\u2019llbringyoutohim. macbeth: iknowthisisajoyfultroubletoyou; butyet\u2019tisone.macduff: thelabourwedelightinphysicspain. thisisthedoor.macbeth: i\u2019llmakesoboldtocall, for\u2019tismylimitedservice.macduff: [exitmacduff.] goesthekinghenceto-day? lennox: hedoes:hedidappointso. macbeth: thenighthasbeenunruly.wherewelay, ourchimneyswereblowndown;and,astheysay, lamentingsheardi\u2019th\u2019air,strangescreamsofdeath, andprophesying,withaccentsterrible, ofdirecombustionandconfus\u2019devents newhatch\u2019dtoth\u2019woefultime;theobscurebird clamour\u2019dthelivelongnight.somesaytheearth wasfeverousanddidshake.lennox: \u2019twasaroughnight. macbeth: myyoungremembrancecannotparallel afellowtoit. [re-entermacduff .]lennox: ohorror,horror,horror!tonguenorheart cannotconceivenornamethee.macduff: what\u2019sthematter? macbeth,lennox: confusionnowhathmadehismasterpiece. mostsacrilegiousmurderhathbrokeope thelord\u2019sanointedtemple,andstolethence thelifeo\u2019th\u2019buildingmacduff: whatis\u2019tyousay\u2013thelife? macbeth: meanyouhismajesty? lennox: 06_0486_33_2018_1.3 \u00a9ucles201810",
            "11": "6055504540approachthechamber,anddestroyyoursight withanewgorgon.donotbidmespeak; see,andthenspeakyourselves.macduff: [exeuntmacbethandlennox.] awake,awake! ringthealarumbell.murderandtreason! banquoanddonalbain!malcolm!awake! shakeoffthisdownysleep,death\u2019scounterfeit, andlookondeathitself.up,up,andsee thegreatdoom\u2019simage!malcolm!banquo! asfromyourgravesriseupandwalklikesprites tocountenancethishorror!ringthebell. [bellrings.] [enterladymacbeth.] what\u2019sthebusiness, thatsuchahideoustrumpetcallstoparley thesleepersofthehouse?speak,speak!ladymacbeth: ogentlelady, \u2019tisnotforyoutohearwhaticanspeak! therepetitioninawoman\u2019sear wouldmurderasitfell.macduff: [enterbanquo.] obanquo,banquo, ourroyalmaster\u2019smurder\u2019d! woe,alas! what,inourhouse?ladymacbeth: toocruelanywhere. dearduff,ipritheecontradictthyself, andsayitisnotso.banquo: [fromact2scene3 ] inwhatwaysdoesshakespearemakethissuchatenseanddramaticmomentintheplay? or10 howdoesshakespearestrikinglycontrastmacbethandmacduffintheplay? donotusethepassageprintedforquestion9inansweringthisquestion. 06_0486_33_2018_1.3 \u00a9ucles201811",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeinternational examinationscopyrightacknowledgementsbooklet.thisisproducedforeachseriesofexaminationsandisfreelyavailabletodownloadatwww.cie.org.ukafter theliveexaminationseries. cambridgeinternationalexaminationsispartofthecambridgeassessmentgroup.cambridgeassessmentisthebrandnameofuniversityofcambridgelocal examinationssyndicate(ucles),whichisitselfadepartmentoftheuniversityofcambridge. 06_0486_33_2018_1.3 \u00a9ucles201812"
        },
        "0486_s18_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 149023/2 \u00a9 ucles 2018  [turn overcambridge international examinations cambridge international general certificate of secondary education *7618302708*literature (english)  0486/41 paper 4  unseen  may/june 2018  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/41/m/j/18 \u00a9 ucles 2018 answer either question 1 or question 2. either 1 read carefully the poem opposite. the poet remembers his encounter with a snake at a lecture he  attended as a young boy.  how does the poet convey his fascination with this experience?  to help you answer this question, you might consider:   \u2022 how the children are encouraged to view the snakes   \u2022 how the poet describes his experience of holding a snake   \u2022  how his thoughts and feelings develop as he handles the snake.",
            "3": "3 0486/41/m/j/18 \u00a9 ucles 2018 [turn over hands on, 1937 john s clarke1, festooned with snakes, said, \u2018touch one, look closely, they\u2019re quite beautiful; not slimy; come on, come down to the front now, that\u2019s better. don\u2019t be afraid, girls, aren\u2019t these eyes pure jewels? come on lads, stretch your hands out, try this johnny, i bet it\u2019s like no creature you ever handled.\u2019 i thought the lecture had been good, but this was unforeseen, an unknown world, strange bonus\u2014 the dry brown coil was at first almost leaden, slightly rough but inert, with scales tight-fitting like inca2 walls, till what seemed a faint tickling became a very crawling of the flesh as movement began to test my arm, the ripples of an almost unfathomable power rhythmically saying, i am living: you may not love me but oh how i am living! and it is all one life, in tanks, bags, boxes, lecture-theatres, outhouses, fronds of bracken, rivers for men and serpents to swim over from dark bank to dark bank and vanish quickly about their business in raw grass and reedland, scale, sole, palm, tail, brow, roving, brushing, touching. 1 john s clarke : educator and popular speaker on science and knowledge 2 inca: ancient south american civilisation",
            "4": "4 0486/41/m/j/18 \u00a9 ucles 2018 or 2 read carefully the extract opposite. mr sumarsono is a foreign diplomat visiting the narrator\u2019s  family for the weekend. at the end of the visit he takes photographs of the ten-year-old narrator,  her sister kate and her mother.  how does the writer vividly convey the impact of this experience?  to help you answer this question, you might consider:   \u2022 how the writer portrays the narrator\u2019s response to mr sumarsono   \u2022 how the writer presents the narrator\u2019s thoughts and feelings about her mother   \u2022 how the writer conveys the narrator\u2019s reactions to the photographs.",
            "5": "5 0486/41/m/j/18 \u00a9 ucles 2018 mr sumarsono stooped over us, his courtesy exquisite and unyielding. \u2018please,\u2019  he said, \u2018now photograph.\u2019 he held up the camera. it covered his face entirely, a  strange mechanical mask. \u2018my photograph,\u2019 he said in a decisive tone. he aimed the camera first at me. i produced a taut and artificial smile, and at  once he reappeared from behind the camera. \u2018no smile,\u2019 he said firmly, shaking his head. \u2018no smile.\u2019 he himself produced a hideous smile, then shook his head and turned grave. \u2018ah!\u2019 he said, nodding, and pointed to me. chastened, i sat solemn and rigid while he disappeared behind the camera again. i didn\u2019t move even when he had finished, after the flash and the clicks of lenses and winding sprockets. mr sumarsono turned to kate, who had learned from me and offered up a  smooth and serious face. mr sumarsono nodded, but stepped toward her. \u2018hand!\u2019 he said, motioning toward it, and he made the gesture that he wanted. kate stared but obediently did as he asked. when mr sumarsono turned to my mother, i worried again that she would stage  a last-ditch attempt to take over, that she would insist on mortifying us all. \u2018now!\u2019 said mr sumarsono, bowing peremptorily at her. \u2018please.\u2019 i looked at  her, and to my amazement, relief and delight, my mother did exactly the right thing. she smiled at mr sumarsono in a normal and relaxed way, as though they were old friends. she leaned easily back in her chair, graceful \u2013 i could suddenly see \u2013 and poised. she smoothed her hair back from her forehead. in mr sumarsono\u2019s pictures, the images of us that he produced, this is how we  look. i am staring solemnly at the camera, dead serious, head-on. i look mystified,  as though i am trying to understand something inexplicable; what the people around me mean when they speak, perhaps. i look as though i am in a foreign country  where i do not speak the language. kate looks both radiant and ethereal; her eyes are alight. her mouth is puckered  into a mirthful v; she is trying to suppress a smile. the v of her mouth is echoed  above her face by her two forked fingers, poised airily behind her head. but it is the picture of my mother that surprised me the most. mr sumarsono\u2019s  portrait was of someone entirely different from the person i knew, though the face  was the same. looking at it gave me the same feeling that the stopped escalator  did; a sense of dislocation, a sudden uncertainty about my own beliefs. in the photograph my mother leans back against her chair like a queen, all her power evident, and at rest. her face is turned slightly away; she is guarding her privacy. her nose, her cheeks, her eyes, are bright with wine and excitement, but she is  calm and amused. a mother cannot be beautiful, because she is so much more a  mother than a woman, but in this picture it struck me, my mother looked, in an odd way, beautiful. i could see for the first time that other people might think she actually was beautiful. mr sumarsono\u2019s view of my mother was of a glowing, self-assured, generous  woman. and mr sumarsono himself was a real person, despite his meekness. i  knew that; i had seen him take control. his view meant something; i could not ignore  it. and i began to wonder. we still have the pictures. mr sumarsono brought them with him the next time  he came out for the weekend.",
            "6": "6 0486/41/m/j/18 \u00a9 ucles 2018 blank page",
            "7": "7 0486/41/m/j/18 \u00a9 ucles 2018 blank page",
            "8": "8 0486/41/m/j/18 \u00a9 ucles 2018 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s18_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 149022/1 \u00a9 ucles 2018  [turn overcambridge international examinations cambridge international general certificate of secondary education *1303641981*literature (english)  0486/42 paper 4  unseen  may/june 2018  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/42/m/j/18 \u00a9 ucles 2018 answer either  question 1 or question 2. either 1 read carefully the poem opposite, in which the poet shares wartime memories of his mother.  how does the poet strikingly convey his impressions of his mother?  to help you answer this question, you might consider:   \u2022 the words and images the poet uses in the first stanza   \u2022 how he describes her reaction to an air raid   \u2022 how his thoughts and feelings develop towards the end of the poem.",
            "3": "3 0486/42/m/j/18 \u00a9 ucles 2018 [turn over to my mother most near, most dear, most loved and most far, under the window where i often found her sitting as huge as asia, seismic1 with laughter, gin and chicken helpless in her irish hand, irresistible as rabelais2, but most tender for the lame dogs and hurt birds that surround her \u2013 she is a procession no one can follow after but be like a little dog following a brass band. she will not glance up at the bomber3, or condescend to drop her gin and scuttle to a cellar, but lean on the mahogany table like a mountain whom only faith can move, and so i send o all my faith, and all my love to tell her that she will move from mourning into morning. 1 seismic : like an earthquake 2 rabelais : french writer famous for his outrageous humour 3 bomber : an aircraft carrying bombs",
            "4": "4 0486/42/m/j/18 \u00a9 ucles 2018 or 2 read carefully the following extract from a short story. hilary culvert is travelling to visit her older  sister sheila, who is a university student. they are from the large family of a church of england  minister. \t how \tdoes\tthe\twriter\tvividly\tconvey\thilary\u2019s\tdislike\tof\ther\tlife\tat\thome?  to help you answer this question, you might consider:   \u2022\t how\tthe\twriter\tportrays\thilary\u2019s\tfamily\tlife   \u2022\t how\tshe\tdescribes \thilary\u2019s\tmother   \u2022\t how\tshe\tconveys\thilary\u2019s\tdesire\tto\tescape. it should have been a relief to leave the flatlands of east anglia behind and cross   into the hills and valleys of the west, but everywhere today seemed equally  colourless. \thilary\tdidn\u2019t\tcare.\ther\tanticipation \tburned\tup\tbrightly\tenough\tby\titself.\t little flames of it licked up inside her. this was the first time she had been away   from home alone. sheila was ahead of her in their joint project: to get as far away from   home as possible, and not to become anything like their mother. at about the same time that sheila and hilary had confided to each other that  they\tdidn\u2019t\tany\tlonger\tbelieve\tin\tgod,\tthey\thad\talso\tgiven\tup\tbelieving \tthat\tthe\t pattern of domestic life they had been brought up inside was the only one, or was  even\tremotely \tdesirable. \tsomewhere \telse\tpeople\tlived\tdifferently; \tdidn\u2019t\thave\tto\t poke their feet into clammy hand-me-down wellingtons and sandals marked by size  inside\twith\tfelt-tip\tpen;\tdidn\u2019t\thave\tto\tdo\ttheir\thomework \tin\tbed\twith\thot-water \tbottles\t because the storage heaters in the draughty vicarage gave out such paltry warmth.  other\tpeople\tdidn\u2019t\thave\tto\thave\tlocked\tmoney\tboxes\tfor\tkeeping\tsafe\tanything \t precious, or have to sleep with the keys on string around their necks; sometimes  anyway they came home from school to find those locks picked or smashed.  (the\tchildren\tdidn\u2019t\ttell\ton\tone\tanother;\tthat\twas\ttheir\tmorality.\tbut\tthey\thurt\tone\t another pretty badly, physically, in pursuit of justice. it was an honour code rather  than\tanything \tresembling \tchristian \tempathy \tor\tcharity.)\tother\tpeople\u2019s\tmothers\t didn\u2019t\tstoop\ttheir\theads\tdown\tin\tthe\tbroken\tway\tthat\ttheirs\tdid,\thadn\u2019t\tgiven\tup\t on\tcompleted \tsentences \tor\tconsecutive \tdialogue, \tdidn\u2019t\taddress\telliptical\tironical\t asides to their soup spoons as they ate. their\tmother\tsometimes \tlooked\tless\tlike\ta\tvicar\u2019s\twife\tthan\ta\twild\twoman.\tshe\t was as tall as their father but if the two of them were ever accidentally seen standing  side by side it looked as if she had been in some terrible momentous fight for her life  and\the\thadn\u2019t.\ther\tgrey-black \thair\tstood\tout\tin\ta\tstiff\truff\taround\ther\thead;\tsheila\t said she must cut it with the kitchen scissors in the dark. she had some kind of  palsy1 so that her left eye drooped; there were bruise-coloured wrinkled shadows  under her eyes and beside her hooked nose. her huge deflated stomach and bosom  were\tslapped\tlike\tinsults\ton\tto\ta\tgirl\u2019s\tbony\tframe.\tshe\twas\tfearless\tin\tthe\tmornings \t about stalking round the house in her ancient baggy underwear, big pants and  maternity bra, chasing the little ones to get them dressed: her older children fled the  sight of her. they must have all counted, without confessing it to one another: she  was\tforty-nine, \tpatricia\twas\tfour.\tat\tleast\tthere\tcouldn\u2019t\tbe\tany\tmore\tpregnancies, \t so humiliating to their suffering adolescence. as girls, sheila and hilary had to be especially careful to make their escape  from home. their older brother andrew had got away, to do social policy at york and  join the young socialists2, which he told them was a trotskyite entrist group3. he  was\tnever\tcoming\tback,\tthey\twere\tsure\tof\tit.\the\thadn\u2019t\tcome\tback\tthis\tchristmas. \t but their sister sylvia had married an re4 teacher at the local secondary modern  school\twho\twas\tactive\tin\ttheir\tfather\u2019s\tchurch\tand\tin\tthe\tlocal\tyouth\tclubs.\tsylvia\t",
            "5": "5 0486/42/m/j/18 \u00a9 ucles 2018 already had two babies, and sheila and hilary had heard her muttering things to  herself. they remembered that she used to be a jolly sprightly girl even if they  hadn\u2019t\tliked\ther\tmuch:\tcompetitive \tat\tbeach\trounders \twhen\tthey\twent\ton\tday\ttrips\t to the coast, sentimentally devoted to the doomed stray dogs she tried to smuggle  into their bedroom. now, when they visited her rented flat in haverhill, her twin-tub  washing machine was always pulled out from the wall, filling the kitchen with urine- pungent steam. sylvia would be standing uncommunicatively, heaving masses of  boiling nappies with wooden tongs out of the washer into the spin tub, while the  babies bawled in the battered wooden playpen that had been handed on from the  vicarage. 1 palsy : loss of muscle control 2 young socialists : a political organisation 3 trotskyite entrist group : a radical political group 4 re: religious education",
            "6": "6 0486/42/m/j/18 \u00a9 ucles 2018 blank page",
            "7": "7 0486/42/m/j/18 \u00a9 ucles 2018 blank page",
            "8": "8 0486/42/m/j/18 \u00a9 ucles 2018 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        },
        "0486_s18_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 149021/1 \u00a9 ucles 2018  [turn overcambridge international examinations cambridge international general certificate of secondary education *4648988518*literature (english)  0486/43 paper 4  unseen  may/june 2018  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/43/m/j/18 \u00a9 ucles 2018 answer either question 1 or question 2. either 1 read carefully the poem opposite. \t how \tdoes\tthe\tpoet\tmemorably \tportray\tpeople\u2019s \texperience \tof\tlove\tin\tthis\tpoem?  to help you answer this question, you might consider:   \u2022 how the poet portrays people in love   \u2022 how she describes those who are not in love   \u2022 what the poet suggests about the relationship between love and time.",
            "3": "3 0486/43/m/j/18 \u00a9 ucles 2018 [turn over late love how they strut about, people in love, how tall they grow, pleased with themselves, their hair, glossy, their skin shining.they don\u2019t remember who they have been. how filmic they are just for this time. how important they\u2019ve become \u2013 secret, above the order of things, the dreary mundane. every church bell ringing, a fresh sign. how dull the lot that are not in love. their clothes shabby, their skin lustreless; how clueless they are, hair a mess; how they trudge up and down streets in the rain, remembering one kiss in a dark alley, a touch in a changing room, if lucky, a lovely waitfor the phone to ring, maybe, baby. the past with its rush of velvet, its secret hush already miles away, dimming now, in the late day.",
            "4": "4 0486/43/m/j/18 \u00a9 ucles 2018 or 2 read carefully the extract opposite. it is the opening to a novel. the central character, esme, is in  the secure ward of a psychiatric hospital. she is looking back at her past life and wondering what  has led her there. \t how \tdoes\tthe\twriter\tstrikingly \tcapture\tyour\tinterest\tin\tesme\u2019s\tlife?  to help you answer this question, you might consider:   \u2022 how the writer presents esme\u2019s memories of the dance   \u2022 how she describes esme\u2019s experience of life on the ward   \u2022 how she makes you feel about esme\u2019s attempts to make sense of her life.",
            "5": "5 0486/43/m/j/18 \u00a9 ucles 2018 let us begin with two girls at a dance. they are at the edge of the room. one sits on a chair, opening and shutting  a dance-card1 with gloved fingers. esme stands beside her, watching the dance  unfold: the circling couples, the clasped hands, the drumming shoes, the whirling  skirts, the bounce of the floor. it is the last hour of the year and the windows behind  them are blank with night. the seated girl is dressed in something pale, esme  forgets what. esme is in a dark red frock that doesn\u2019t suit her. she has lost her  gloves. it begins here. or perhaps not. perhaps it begins earlier, before the party, before they dressed  in their new finery, before the candles were lit, before the sand was sprinkled on the  boards, before the year whose end they are celebrating began. who knows? either  way it ends at a grille2 covering a window with each square exactly two thumbnails  wide. if esme cares to gaze into the distance \u2013 that is to say, at what lies beyond  the metal grille \u2013 she finds that, after a while, something happens to the focusing  mechanism of her eyes. the squares of the grille will blur and, if she concentrates  long enough, vanish. there is always a moment before her body reasserts itself,  readjusting her eyes to the proper reality of the world, when it is just her and the  trees, the road, the beyond. nothing in between. the squares at the bottom are worn free of paint and you can see the different  layers of colour inside each other, like rings in a tree. esme is taller than most so  can reach the part where the paint is new and thick as tar. behind her, a woman makes tea for her dead husband. is he dead? or just  run off? esme doesn\u2019t recall. another woman is searching for water to pour on  flowers that perished long ago in a seaside town not far from here. it is always the  meaningless tasks that endure: the washing, the cooking, the clearing, the cleaning.  never anything majestic or significant, just the tiny rituals that hold together the  seams of human life. the girl obsessed with cigarettes has had two warnings already   and everyone is thinking she is about to get a third. and esme is thinking, where  does it begin \u2013 is it there, is it here, at the dance, in india, before? she speaks to no one, these days. she wants to concentrate, she doesn\u2019t like  to muddy things with the distraction of speech. there is a zoetrope3 inside her head  and she doesn\u2019t like to be caught out when it stops. whir, whir. stop. in india, then. the garden. herself aged about four, standing on the back step. above her, mimosa trees are shaking their heads at her, powdering the lawn  with yellow dust. if she walked across it, she\u2019d leave a trail behind. she wants  something. she wants something but she doesn\u2019t know what. it\u2019s like an itch she  can\u2019t reach to scratch. a drink? her ayah4? a sliver of mango? she rubs at an insect  bite on her arm and pokes at the yellow dust with her bare toe. in the distance  somewhere she can hear her sister\u2019s skipping-rope hitting the ground and the short  shuffle of feet in between. slap shunt slap shunt slap shunt. 1 dance-card : list of dance partners 2 grille : a frame of metal bars used to cover a window 3 zoetrope : a spinning toy which creates the illusion of motion 4 ayah : a nursemaid",
            "6": "6 0486/43/m/j/18 \u00a9 ucles 2018 blank page",
            "7": "7 0486/43/m/j/18 \u00a9 ucles 2018 blank page",
            "8": "8 0486/43/m/j/18 \u00a9 ucles 2018 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 international  examinations copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cie.org.uk after  the live examination series. cambridge international examinations is part of the cambridge assessment group. cambridge assessment is the brand name of university of cambridge local  examinations syndicate (ucles), which is itself a department of the university of cambridge."
        }
    },
    "2019": {
        "0486_m19_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 165359/2 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *3193627124*literature (english)  0486/12 paper 1  poetry and prose  february/march 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 \u00a9 ucles 2019 blank page",
            "3": "3 0486/12/f/m/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2 : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai: in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: cold in the earth cold in the earth, and the deep snow piled above thee! far, far removed, cold in the dreary grave! have i forgot, my only love, to love thee, severed at last by time\u2019s all-wearing wave? now, when alone, do my thoughts no longer hover over the mountains on angora\u2019s shore; resting their wings where heath and fern-leaves cover that noble heart for ever, ever more? cold in the earth, and fifteen wild decembers from those brown hills have melted into spring \u2013 faithful indeed is the spirit that remembers after such years of change and suffering! sweet love of youth, forgive if i forget thee while the world\u2019s tide is bearing me along: sterner desires and darker hopes beset me, hopes which obscure but cannot do thee wrong. no other sun has lightened up my heaven; no other star has ever shone for me: all my life\u2019s bliss from thy dear life was given \u2013 all my life\u2019s bliss is in the grave with thee. but when the days of golden dreams had perished and even despair was powerless to destroy, then did i learn how existence could be cherished, strengthened and fed without the aid of joy; then did i check the tears of useless passion, weaned my young soul from yearning after thine; sternly denied its burning wish to hasten down to that tomb already more than mine! and even yet, i dare not let it languish, dare not indulge in memory\u2019s rapturous pain; once drinking deep of that divinest anguish, how could i seek the empty world again?  (emily bront\u00eb )   how does bront\u00eb powerfully convey strong emotions in this poem?5 10 15 20 25 30",
            "5": "5 0486/12/f/m/19 \u00a9 ucles 2019 [turn over or 2 what does adcock\u2019s writing make you feel towards heidi  in for heidi with blue hair ? for heidi with blue hair when you dyed your hair blue (or, at least, ultramarine for the clipped sides, with a crest of jet-black spikes on top) you were sent home from school because, as the headmistress put it, although dyed hair was not specifically forbidden, yours was, apart from anything else, not done in the school colours. tears in the kitchen, telephone-calls to school from your freedom-loving father: \u2018she\u2019s not a punk in her behaviour; it\u2019s just a style.\u2019 (you wiped your eyes, also not in a school colour.) \u2018she discussed it with me first \u2013 we checked the rules.\u2019 \u2018and anyway, dad, it cost twenty-five dollars. tell them it won\u2019t wash out \u2013 not even if i wanted to try.\u2019 it would have been unfair to mention your mother\u2019s death, but that shimmered behind the arguments. the school had nothing else against you; the teachers twittered and gave in. next day your black friend had hers done in grey, white and flaxen yellow \u2013 the school colours precisely: an act of solidarity, a witty tease. the battle was already won.  (fleur adcock )5 10 15 20 25 30",
            "6": "6 \u00a9 ucles 2019 songs of ourselves volume 2 : from part 2 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: the caged skylark as a dare-gale skylark scanted in a dull cage,  man\u2019s mounting spirit in his bone-house, mean house, dwells \u2013  that bird beyond the remembering his free fells; this in drudgery, day-labouring-out life\u2019s age. though aloft on turf or perch or poor low stage  both sing somet\u00edmes the sweetest, sweetest spells,  yet both droop deadly s\u00f3metimes in their cells or wring their barriers in bursts of fear or rage. not that the sweet-fowl, song-fowl, needs no rest \u2013 why, hear him, hear him babble and drop down to his nest,  but his own nest, wild nest, no prison. man\u2019s spirit will be flesh-bound when found at best, but uncumber\u00e8d: meadow-down is not distressed  for a rainbow footing it nor he for his b\u00f3nes r\u00edsen.  (gerard manley hopkins )   how does hopkins vividly convey thoughts and feelings about the bird in this poem?5 10",
            "7": "7 0486/12/f/m/19 \u00a9 ucles 2019 [turn over or 4 how does awoonor make the sea eats the land at home  such a moving poem? the sea eats the land at home at home the sea is in the town, running in and out of the cooking places, collecting the firewood from the hearths and sending it back at night; the sea eats the land at home. it came one day at the dead of night, destroying the cement walls, and carried away the fowls, the cooking-pots and the ladles, the sea eats the land at home; it is a sad thing to hear the wails, and the mourning shouts of the women, calling on all the gods they worship, to protect them from the angry sea. aku stood outside where her cooking-pot stood, with her two children shivering from the cold, her hands on her breast, weeping mournfully. her ancestors have neglected her, her gods have deserted her, it was a cold sunday morning, the storm was raging, goats and fowls were struggling in the water, the angry water of the cruel sea; the lap-lapping of the bark water at the shore, and above the sobs and the deep and low moans, was the eternal hum of the living sea. it has taken away their belongings adena has lost the trinkets which were her dowry and her joy, in the sea that eats the land at home, eats the whole land at home.  (kofi awoonor )5 10 15 20 25 30",
            "8": "8 \u00a9 ucles 2019 gillian clarke:  from  collected poems remember to support your ideas with details from the writing. either   5 read this poem, and then answer the question that follows it: heron at port talbot snow falls on the cooling towers delicately settling on cranes. machinery\u2019s old bones whiten; death settles with its rusts, its erosions. warning of winds off the sea the motorway dips to the dock\u2019s edge. my hands tighten on the wheel against the white steel of the wind. then we almost touch, both braking flight, bank on the air and feel that shocking intimacy of near-collision, animal tracks that cross in snow. i see his living eye, his change of mind, feel pressure as we bank, the force of his beauty. we might have died in some terrible conjunction. the steel town\u2019s sulphurs billow like dirty washing. the sky stains with steely inks and fires, chemical rustings, salt-grains, sand under snow. and the bird comes, a surveyor calculating space between old workings and the mountain hinterland, archangel come to re-open the heron-roads, meets me at an inter-section where wind comes flashing off water interrupting the warp of the snow and the broken rhythms of blood.   how does clarke create such a vivid atmosphere in this poem?5 10 15 20 25",
            "9": "9 0486/12/f/m/19 \u00a9 ucles 2019 [turn over or 6 explore the ways in which clarke makes neighbours  such a disturbing poem. neighbours that spring was late. we watched the sky and studied charts for shouldering isobars. birds were late to pair. crows drank from the lamb\u2019s eye. over finland small birds fell: song-thrushes steering north, smudged signatures on light, migrating warblers, nightingales. wing-beats failed over fjords, each lung a sip of gall. children were warned of their dangerous beauty. milk was spilt in poland. each quarrel the blowback from some old story, a mouthful of bitter air from the ukraine brought by the wind out of its box of sorrows. this spring a lamb sips caesium on a welsh hill. a child, lifting her face to drink the rain, takes into her blood the poisoned arrow. now we are all neighbourly, each little town in europe twinned to chernobyl, each heart with the burnt fireman, the child on the moscow train. in the democracy of the virus and the toxin we wait. we watch for bird migrations, one bird returning with green in its voice, glasnost golau glas, a first break of blue.5 10 15 20",
            "10": "10 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: edmund spoke of the harp as his favourite instrument, and hoped to  be soon allowed to hear her. fanny had never heard the harp at all, and  wished for it very much. \u2018i shall be most happy to play to you both,\u2019 said miss crawford; \u2018at  least, as long as you can like to listen; probably, much longer, for i dearly  love music myself, and where the natural taste is equal, the player must  always be best off, for she is gratified in more ways than one. now, mr  bertram, if you write to your brother, i intreat you to tell him that my harp  is come, he heard so much of my misery about it. and you may say, if you  please, that i shall prepare my most plaintive airs against his return, in  compassion to his feelings, as i know his horse will lose.\u2019 \u2018if i write, i will say whatever you wish me; but i do not at present  foresee any occasion for writing.\u2019 \u2018no, i dare say, nor if he were to be gone a twelvemonth, would you  ever write to him, nor he to you, if it could be helped. the occasion would  never be foreseen. what strange creatures brothers are! you would not  write to each other but upon the most urgent necessity in the world; and  when obliged to take up the pen to say that such a horse is ill, or such a  relation dead, it is done in the fewest possible words. you have but one  style among you. i know it perfectly. henry, who is in every other respect  exactly what a brother should be, who loves me, consults me, confides in  me, and will talk to me by the hour together, has never yet turned the page  in a letter; and very often it is nothing more than, \u2018dear mary, i am just  arrived. bath seems full, and every thing as usual. your\u2019s sincerely.\u2019 that is  the true manly style; that is a complete brother\u2019s letter.\u2019 \u2018when they are at a distance from all their family,\u2019 said fanny,  colouring for william\u2019s sake, \u2018they can write long letters.\u2019 \u2018miss price has a brother at sea,\u2019 said edmund, \u2018whose excellence as  a correspondent, makes her think you too severe upon us.\u2019 \u2018at sea, has she?\u2014in the king\u2019s service of course.\u2019 fanny would rather have had edmund tell the story, but his  determined silence obliged her to relate her brother\u2019s situation; her voice  was animated in speaking of his profession, and the foreign stations he  had been on, but she could not mention the number of years that he had  been absent without tears in her eyes. miss crawford civilly wished him an  early promotion. \u2018do you know any thing of my cousin\u2019s captain?\u2019 said edmund;  \u2018captain marshall? you have a large acquaintance in the navy, i conclude?\u2019 \u2018among admirals, large enough; but\u2019 with an air of grandeur; \u2018we know  very little of the inferior ranks. post captains may be very good sort of  men, but they do not belong to us. of various admirals, i could tell you  a great deal; of them and their flags, and the gradation of their pay, and  their bickerings and jealousies. but in general, i can assure you that they 5 10 15 20 25 30 35 40",
            "11": "11 0486/12/f/m/19 \u00a9 ucles 2019 [turn over are all passed over, and all very ill used. certainly, my home at my uncle\u2019s  brought me acquainted with a circle of admirals. of rears , and vices , i  saw enough. now, do not be suspecting me of a pun, i entreat.\u2019 edmund again felt grave, and only replied, \u2018it is a noble profession.\u2019 \u2018yes, the profession is well enough under two circumstances; if it  make the fortune, and there be discretion in spending it. but, in short, it is  not a favourite profession of mine. it has never worn an amiable form to  me.\u2019 edmund reverted to the harp, and was again very happy in the  prospect of hearing her play. [from chapter 6]   what vivid impressions of mary crawford does austen create for you at this moment in  the novel? or 8 how far does austen encourage you to believe that henry crawford falls in love with  fanny price?45 50",
            "12": "12 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: when the sun was dropping low, \u00e1ntonia came up the big south   draw with her team. how much older she had grown in eight months!   she had come to us a child, and now she was a tall, strong young girl,  although her fifteenth birthday had just slipped by. i ran out and met   her as she brought her horses up to the windmill to water them. she   wore the boots her father had so thoughtfully taken off before he shot  himself, and his old fur cap. her outgrown cotton dress switched about  her calves, over the boot-tops. she kept her sleeves rolled up all day, and  her arms and throat were burned as brown as a sailor\u2019s. her neck came  up strongly out of her shoulders, like the bole of a tree out of the turf.  one sees that draught-horse neck among the peasant women in all old  countries. she greeted me gaily, and began at once to tell me how much  ploughing she had done that day. ambrosch, she said, was on the north  quarter, breaking sod with the oxen. \u2018jim, you ask jake how much he ploughed to-day. i don\u2019t want that  jake get more done in one day than me. i want we have very much corn  this fall.\u2019 while the horses drew in the water, and nosed each other, and then  drank again, \u00e1ntonia sat down on the windmill step and rested her head  on her hand. \u2018you see the big prairie fire from your place last night? i hope your  grandpa ain\u2019t lose no stacks?\u2019 \u2018no, we didn\u2019t. i came to ask you something, tony. grandmother  wants to know if you can\u2019t go to the term of school that begins next week  over at the sod school-house. she says there\u2019s a good teacher, and you\u2019d  learn a lot.\u2019 \u00e1ntonia stood up, lifting and dropping her shoulders as if they were  stiff. \u2018i ain\u2019t got time to learn. i can work like mans now. my mother can\u2019t  say no more how ambrosch do all and nobody to help him. i can work as  much as him. school is all right for little boys. i help make this land one  good farm.\u2019 she clucked to her team and started for the barn. i walked beside  her, feeling vexed. was she going to grow up boastful like her mother,   i wondered? before we reached the stable, i felt something tense in  her silence, and glancing up i saw that she was crying. she turned her   face from me and looked off at the red streak of dying light, over the dark  prairie. i climbed up into the loft and threw down the hay for her, while  she unharnessed her team. we walked slowly back toward the house.  ambrosch had come in from the north quarter, and was watering his oxen  at the tank. \u00e1ntonia took my hand. \u2018sometime you will tell me all those nice things  you learn at the school, won\u2019t you, jimmy?\u2019 she asked with a sudden rush  of feeling in her voice. \u2018my father, he went much to school. he know a  great deal; how to make the fine cloth like what you not got here. he play  horn and violin, and he read so many books that the priests in bohemie  come to talk to him. you won\u2019t forget my father, jim?\u20195 10 15 20 25 30 35 40 45",
            "13": "13 0486/12/f/m/19 \u00a9 ucles 2019 [turn over \u2018no,\u2019 i said, \u2018i will never forget him.\u2019 [from book 1 chapter 17]   how does cather make you feel sympathy for \u00e1ntonia at this moment in the novel? or 10 to what extent does cather\u2019s portrayal of lena persuade you that she would have been  a good partner for jim?",
            "14": "14 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either 11 read this extract, and then answer the question that follows it: \u2018do you teach there?\u2019  close.   0486/12/f/m/19content removed due to copyright restrictions.",
            "15": "15 0486/12/f/m/19 \u00a9 ucles 2019 [turn over  fate has traced on my tablet, with blood \u2026\u2019 [from chapter 3]   how does desai make this moment in the novel both entertaining and moving? or 12 how does desai make two female characters particularly memorable for you?content removed due to copyright restrictions.",
            "16": "16 \u00a9 ucles 2019 charles dickens:  hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: mr gradgrind walked homeward from the school, in a state of considerable  satisfaction. it was his school, and he intended it to be a model. he  intended every child in it to be a model \u2013 just as the young gradgrinds  were all models. there were five young gradgrinds, and they were models every one.  they had been lectured at, from their tenderest years; coursed, like little  hares. almost as soon as they could run alone, they had been made to run  to the lecture-room. the first object with which they had an association,  or of which they had a remembrance, was a large black board with a dry  ogre chalking ghastly white figures on it. not that they knew, by name or nature, anything about an ogre. fact  forbid! i only use the word to express a monster in a lecturing castle, with  heaven knows how many heads manipulated into one, taking childhood  captive, and dragging it into gloomy statistical dens by the hair. no little gradgrind had ever seen a face in the moon; it was up in  the moon before it could speak distinctly. no little gradgrind had ever  learnt the silly jingle, twinkle, twinkle, little star; how i wonder what you  are! no little gradgrind had ever known wonder on the subject, each little  gradgrind having at five years old dissected the great bear like a professor  owen, and driven charles\u2019s wain like a locomotive engine-driver. no little  gradgrind had ever associated a cow in a field with that famous cow with  the crumpled horn who tossed the dog who worried the cat who killed the  rat who ate the malt, or with that yet more famous cow who swallowed  tom thumb: it had never heard of those celebrities, and had only been  introduced to a cow as a graminivorous ruminating quadruped with several  stomachs. to his matter of fact home, which was called stone lodge, mr  gradgrind directed his steps. he had virtually retired from the wholesale  hardware trade before he built stone lodge, and was now looking about  for a suitable opportunity of making an arithmetical figure in parliament.  stone lodge was situated on a moor within a mile or two of a great town \u2013  called coketown in the present faithful guide-book. a very regular feature on the face of the country, stone lodge was.  not the least disguise toned down or shaded off that uncompromising fact  in the landscape. a great square house, with a heavy portico darkening the  principal windows, as its master\u2019s heavy brows overshadowed his eyes. a  calculated, cast up, balanced, and proved house. six windows on this side  of the door, six on that side; a total of twelve in this wing, a total of twelve in  the other wing: four and twenty carried over to the back wings. a lawn and  garden and an infant avenue, all ruled straight like a botanical account- book. gas and ventilation, drainage and water-service, all of the primest  quality. iron clamps and girders, fireproof from top to bottom; mechanical  lifts for the housemaids, with all their brushes and brooms; everything that  heart could desire. everything? well, i suppose so. the little gradgrinds had cabinets  in various departments of science too. they had a little conchological  cabinet, and a little metallurgical cabinet, and a little mineralogical cabinet;  and the specimens were all arranged and labelled, and the bits of stone 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/f/m/19 \u00a9 ucles 2019 [turn over and ore looked as though they might have been broken from the parent  substances by those tremendously hard instruments their own names; and, to paraphrase the idle legend of peter piper, who had never found his way into their nursery, if the greedy little gradgrinds grasped at more than this, what was it for good gracious goodness sake, that the greedy little gradgrinds grasped at! their father walked on in a hopeful and satisfied frame of mind. he  was an affectionate father, after his manner; but he would probably have described himself (if he had been put, like sissy jupe, upon a definition) as \u2018an eminently practical\u2019 father. [from book 1 chapter 3]   how does dickens create striking impressions of life in the gradgrind family at this early moment in the novel? or 14 does dickens make it possible for you to feel any sympathy for james harthouse?50 55",
            "18": "18 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: smasher was not a man to take a lesson from a black. want a  free feed do you , he shouted.                                                                   when you get a spear in  your guts. [from part 4]   how does grenville make this moment in the novel so disturbing?content removed due to copyright restrictions.",
            "19": "19 0486/12/f/m/19 \u00a9 ucles 2019 [turn over or 16 in what ways does grenville suggest that thornhill changes his attitude towards the  aboriginal people in the course of the novel?   do not use the extract printed for question 15 in answering this question.",
            "20": "20 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: after supper i went to our room to try again. phineas came in a couple  of minutes later. \u2018arise,\u2019 he began airily, \u2018senior overseer charter member! elwin  \u2018leper\u2019 lepellier has announced his intention to make the leap this very  night, to qualify, to save his face at last.\u2019 i didn\u2019t believe it for a second. leper lepellier would go down  paralyzed with panic on any sinking troopship before making such a jump.  finny had put him up to it, to finish me for good on the exam. i turned  around with elaborate resignation. \u2018if he jumps out of that tree i\u2019m mahatma  gandhi.\u2019 \u2018all right,\u2019 agreed finny absently. he had a way of turning clich\u00e9s  inside out like that. \u2018come on, let\u2019s go. we\u2019ve got to be there. you never  know, maybe he will do it this time.\u2019 \u2018oh, for god sake.\u2019 i slammed closed the french book. \u2018what\u2019s the matter?\u2019 what a performance! his face was completely questioning and  candid. \u2018studying!\u2019 i snarled. \u2018studying! you know, books. work. examinations.\u2019 \u2018yeah \u2026\u2019 he waited for me to go on, as though he didn\u2019t see what i  was getting at. \u2018oh for god sake! you don\u2019t know what i\u2019m talking about. no, of  course not. not you.\u2019 i stood up and slammed the chair against the desk.  \u2018okay, we go. we watch little lily-liver lepellier not jump from the tree, and  i ruin my grade.\u2019 he looked at me with an interested, surprised expression. \u2018you want  to study?\u2019 i began to feel a little uneasy at this mildness of his, as i sighed  heavily. \u2018never mind, forget it. i know, i joined the club, i\u2019m going. what  else can i do?\u2019 \u2018don\u2019t go.\u2019 he said it very simply and casually, as though he were  saying, \u2018nice day.\u2019 he shrugged, \u2018don\u2019t go. what the hell, it\u2019s only a game.\u2019 i had stopped halfway across the room, and now i just looked at him.  \u2018what d\u2019you mean?\u2019 i muttered. what he meant was clear enough, but i  was groping for what lay behind his words, for what his thoughts could  possibly be. i might have asked, \u2018who are you, then?\u2019 instead. i was facing  a total stranger. \u2018i didn\u2019t know you needed to study ,\u2019 he said simply, \u2018i didn\u2019t think you  ever did. i thought it just came to you.\u2019 it seemed that he had made some kind of parallel between my studies  and his sports. he probably thought anything you were good at came  without effort. he didn\u2019t know yet that he was unique. i couldn\u2019t quite achieve a normal speaking voice. \u2018if i need to study,  then so do you.\u2019 \u2018me?\u2019 he smiled faintly. \u2018listen, i could study forever and i\u2019d never  break c. but it\u2019s different for you, you\u2019re good. you really are. if i had a  brain like that, i\u2019d\u2014i\u2019d have my head cut open so people could look at it.\u2019 \u2018now wait a second \u2026\u2019 he put his hands on the back of a chair and leaned toward me. \u2018i know. 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/f/m/19 \u00a9 ucles 2019 [turn over we kid around a lot and everything, but you have to be serious sometime,  about something. if you\u2019re really good at something, i mean if there\u2019s  nobody, or hardly anybody, who\u2019s as good as you are, then you\u2019ve got to  be serious about that. don\u2019t mess around, for god\u2019s sake.\u2019 he frowned  disapprovingly at me. \u2018why didn\u2019t you say you had to study before? don\u2019t  move from that desk. it\u2019s going to be all a\u2019s for you.\u2019 \u2018wait a minute,\u2019 i said, without any reason. \u2018it\u2019s okay. i\u2019ll oversee old leper. i know he\u2019s not going to do it.\u2019 he was  at the door. \u2018wait a minute,\u2019 i said more sharply. \u2018wait just a minute. i\u2019m coming.\u2019 \u2018no you aren\u2019t, pal, you\u2019re going to study.\u2019 \u2018never mind my studying.\u2019 \u2018you think you\u2019ve done enough already?\u2019 \u2018yes.\u2019 i let this drop curtly to bar him from telling me what to do about  my work. he let it go at that, and went out the door ahead of me, whistling  off key. [from chapter 4]   how does knowles make this such a revealing moment in the novel? or 18 in what ways does knowles make the war such a significant part of the novel?50 55 60",
            "22": "22 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: she read it aloud, reading as a zulu who reads english.  the mission house  sophiatown  johannesburg  september 25th, 1946 my dear brother in christ: i have had the experience of meeting a young  woman here in johannesburg. her name is gertrude kumalo, and i  understand she is the sister of the rev. stephen kumalo, st mark\u2019s  church, ndotsheni. this young woman is very sick, and therefore i ask you  to come quickly to johannesburg. come to the rev. theophilus msimangu,  the mission house, sophiatown, and there i shall give you some advices.  i shall also find accommodation for you, where the expenditure will not be  very serious. i am, dear brother in christ, yours faithfully,  theophilus  msimangu they were both silent till at long last she spoke.  \u2013 well, my husband?  \u2013 yes, what is it?  \u2013 this letter, stephen. you have heard it now.  \u2013 yes, i have heard it. it is not an easy letter.  \u2013 it is not an easy letter. what will you do?  \u2013 has the child eaten? she went to the kitchen and came back with the child.  \u2013 have you eaten, my child?  \u2013 yes, umfundisi.  \u2013 then go well, my child. and thank you for bringing the letter. and will you take  my thanks to the white man at the store?  \u2013 yes, umfundisi.  \u2013 then go well, my child.  \u2013 stay well, umfundisi. stay well, mother.  \u2013 go well, my child. so the child went delicately to the door, and shut it behind her gently, letting the  handle turn slowly like one who fears to let it turn fast. when the child was gone, she said to him, what will you do, stephen?  \u2013 about what, my wife? she said patiently to him, about this letter, stephen. he sighed. bring me the st chad\u2019s money, he said. she went out, and came back with a tin, of the kind in which they sell coffee or  cocoa, and this she gave to him. he held it in his hand, studying it, as though  there might be some answer in it, till at last she said, it must be done, stephen.  \u2013 how can i use it? he said. this money was to send absalom to st chad\u2019s.  \u2013 absalom will never go now to st chad\u2019s.  \u2013 how can you say that? he said sharply. how can you say such a thing?  \u2013 he is in johannesburg, she said wearily. when people go to johannesburg,  they do not come back.5 10 15 20 25 30 35 40",
            "23": "23 0486/12/f/m/19 \u00a9 ucles 2019 [turn over  \u2013 you have said it, he said. it is said now. this money which was saved for that  purpose will never be used for it. you have opened a door, and because you have  opened it, we must go through. and tixo alone knows where we shall go.  \u2013 it was not i who opened it, she said, hurt by his accusation. it has a long time  been open, but you would not see.  \u2013 we had a son, he said harshly. zulus have many children, but we had  only one son. he went to johannesburg, and as you said \u2013 when people go to  johannesburg, they do not come back. they do not even write any more. they  do not go to st chad\u2019s, to learn that knowledge without which no black man can  live. they go to johannesburg, and there they are lost, and no one hears of them  at all. and this money \u2026 but she had no words for it, so he said, it is here in my hand. and again she did not speak, so he said again, it is here in my hand.  \u2013 you are hurting yourself, she said.  \u2013 hurting myself? hurting myself? i do not hurt myself, it is they who are hurting  me. my own son, my own sister, my own brother. they go away and they do not  write any more. perhaps it does not seem to them that we suffer. perhaps they do  not care for it. [from book 1 chapter 2]   how does paton make this conversation so moving? or 20 does paton\u2019s writing convince you that john kumalo is a complete villain?45 50 55 60",
            "24": "24 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from the bath  (by janet frame), and then answer the question that  follows it: on friday afternoon she bought cut flowers \u2013 daffodils, anemones,  a few twigs of a red-leaved shrub, wrapped in mauve waxed paper, for  saturday was the seventeenth anniversary of her husband\u2019s death and  she planned to visit his grave, as she did each year, to weed it and  put fresh flowers in the two jam jars standing one on each side of the  tombstone. her visit this year occupied her thoughts more than usual. she  had bought the flowers to force herself to make the journey that each year  became more hazardous, from the walk to the bus stop, the change of  buses at the octagon, to the bitterness of the winds blowing from the open  sea across almost unsheltered rows of tombstones; and the tiredness that  overcame her when it was time to return home when she longed to find a  place beside the graves, in the soft grass, and fall asleep. that evening she filled the coal bucket, stoked the fire. her  movements were slow and arduous, her back and shoulder gave her so  much pain. she cooked her tea \u2013 liver and bacon \u2013 set her knife and fork  on the teatowel she used as a tablecloth, turned up the volume of the  polished red radio to listen to the weather report and the news, ate her  tea, washed her dishes, then sat drowsing in the rocking chair by the fire,  waiting for the water to get hot enough for a bath. visits to the cemetery,  the doctor, and to relatives, to stay, always demanded a bath. when she  was sure that the water was hot enough (and her tea had been digested)  she ventured from the kitchen through the cold passageway to the colder  bathroom. she paused in the doorway to get used to the chill of the air  then she walked slowly, feeling with each step the pain in her back, across  to the bath, and though she knew that she was gradually losing the power  in her hands she managed to wrench on the stiff cold and hot taps and  half-fill the bath with warm water. how wasteful, she thought, that with the  kitchen fire always burning during the past month of frost, and the water  almost always hot, getting in and out of a bath had become such an effort  that it was not possible to bath every night nor even every week! she found a big towel, laid it ready over a chair, arranged the chair   so that should difficulty arise as it had last time she bathed she would   have some way of rescuing herself; then with her nightclothes warming  on a page of newspaper inside the coal oven and her dressing-gown  across the chair to be put on the instant she stepped from the bath, she  undressed and pausing first to get her breath and clinging tightly to the  slippery yellow-stained rim that now seemed more like the edge of a cliff  with a deep drop below into the sea, slowly and painfully she climbed into  the bath. \u2014i\u2019ll put on my nightie the instant i get out, she thought. the instant  she got out indeed! she knew it would be more than a matter of instants  yet she tried to think of it calmly, without dread, telling herself that when  the time came she would be very careful, taking the process step by  step, surprising her bad back and shoulder and her powerless wrists into  performing feats they might usually rebel against, but the key to controlling  them would be the surprise, the slow stealing up on them. with care, with  thought \u20265 10 15 20 25 30 35 40 45",
            "25": "25 0486/12/f/m/19 \u00a9 ucles 2019 sitting upright, not daring to lean back or lie down, she soaped  herself, washing away the dirt of the past fortnight, seeing with satisfaction  how it drifted about on the water as a sign that she was clean again. then  when her washing was completed she found herself looking for excuses  not to try yet to climb out. those old woman\u2019s finger nails, cracked and  dry, where germs could lodge, would need to be scrubbed again; the skin  of her heels, too, growing so hard that her feet might have been turning to  stone; behind her ears where a thread of dirt lay in the rim; after all, she  did not often have the luxury of a bath, did she? how warm it was! she  drowsed a moment. if only she could fall asleep then wake to find herself  in her nightdress in bed for the night! slowly she rewashed her body, and  when she knew she could no longer deceive herself into thinking she  was not clean she reluctantly replaced the soap, brush and flannel in the  groove at the side of the bath, feeling as she loosened her grip on them  that all strength and support were ebbing from her. quickly she seized the  nail-brush again, but its magic had been used and was gone; it would not  adopt the role she tried to urge upon it. the flannel too, and the soap, were  frail flotsam to cling to in the hope of being borne to safety. she was alone now.   how does frame create such a sad picture of the old woman in this extract? or 22 explore the ways in which poe makes the fall of the house  of usher  such a disturbing  story.50 55 60 65",
            "26": "26 \u00a9 ucles 2019 blank page",
            "27": "27 0486/12/f/m/19 \u00a9 ucles 2019 blank page",
            "28": "28 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_m19_qp_22.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl (go)) 165358/2 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *0550315835*literature (english)  0486/22 paper 2  drama  february/march 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks.",
            "2": "2 0486/22/f/m/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either *1 read this passage carefully, and then answer the question that follows it: travis [in the face of love, new aggressiveness ]: mama, could i please go  carry groceries? content removed due to copyright restrictions.",
            "3": "3 0486/22/f/m/19 \u00a9 ucles 2019 [turn over ruth: walter, please leave me alone. [from act 1, scene 1 ] how does hansberry dramatically convey conflict between ruth and walter at this moment  in the play? or \u20202 how far does hansberry encourage you to admire beneatha? content removed due to copyright restrictions.",
            "4": "4 0486/22/f/m/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: [enter rodolpho.] rodolpho: eddie? content removed due to copyright restrictions.",
            "5": "5 0486/22/f/m/19 \u00a9 ucles 2019 [turn over you will kill a  family! [from act 2 ] in what ways does miller make this moment in the play so powerful? or \u20204 to what extent does miller make you feel sympathy for marco?  do not use the passage printed in question *3 in answering this question. content removed due to copyright restrictions.",
            "6": "6 0486/22/f/m/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  *5 read this passage carefully, and then answer the question that follows it: catherine:  why are you so ashamed of your emotions? sir robert:  because, as a lawyer, i must necessarily distrust them. catherine:  why? sir robert:  to fight a case on emotional grounds is the surest way of losing it.  emotions muddy the issue. cold, clear logic\u2014and buckets of it\u2014 should be the lawyer\u2019s only equipment. catherine:  was it cold clear logic that made you weep to-day at the   verdict. sir robert  [after a slight pause ]: your maid, i suppose, told you that? it doesn\u2019t  matter. it will be in the papers to-morrow, anyway. [ fiercely ] very  well, then, if you must have it, here it is: i wept to-day because right  had been done. catherine:  not justice? sir robert:  no. not justice. right. it is not hard to do justice\u2014very hard to do  right. unfortunately, while the appeal of justice is intellectual, the  appeal of right appears, for some odd reason, to induce tears in  court. that is my answer and my excuse. and now, may i leave the  witness box? catherine:  no. one last question. how can you reconcile your support of  winslow against the crown with your political beliefs? sir robert:  very easily. no one party has a monopoly of concern for individual  liberty. on that issue all parties are united. catherine:  i don\u2019t think so. sir robert:  you don\u2019t? catherine:  no. not all parties. only some people from all parties. sir robert:  that is a wise remark. we can only hope, then, that those \u201csome  people\u201d will always prove enough people. you would make a good  advocate. catherine:  would i? sir robert  [playfully ]: why do you not canalize your feministic impulses  towards the law-courts, miss winslow, and abandon the lost cause  of women\u2019s suffrage? catherine:  because i don\u2019t believe it is a lost cause. sir robert:  no? are you going to continue to pursue it? catherine:  certainly. sir robert:  you will be wasting your time. catherine:  i don\u2019t think so. sir robert:  a pity. in the house of commons in days to come i shall make a  point of looking up at the gallery in the hope of catching a glimpse  of you in that provocative hat. [enter  ronnie. he is fifteen now, and there are distinct signs of an  incipient man-about-town. he is very smartly dressed in lounge suit  and bowler hat. ]5 10 15 20 25 30 35 40",
            "7": "7 0486/22/f/m/19 \u00a9 ucles 2019 [turn over ronnie:  i say, sir robert, i\u2019m most awfully sorry. i didn\u2019t know anything was  going to happen. sir robert:  where were you? ronnie:  at the pictures. sir robert:  pictures? what is that? catherine:  cinematograph show. ronnie:  i\u2019m most awfully sorry. i say\u2014we won, didn\u2019t we? sir robert:  yes, we won. well, good-bye, miss winslow. shall i see you in the  house, then, one day? [ he offers his hand. ] catherine  [shaking his hand; with a smile ]: yes, sir robert. one day. but not  in the gallery. across the floor. sir robert  [with a faint smile ]: perhaps. good-bye. [ he turns to go. ] slow curtain [from act 2, scene 2 ] how far do you think rattigan makes this an effective ending to the play? or \u20206  how does rattigan\u2019s portrayal of desmond curry contribute to the dramatic impact of the  play?45 50 55",
            "8": "8 0486/22/f/m/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it: macbeth:  hang out our banners on the outward walls;   the cry is still \u2018they come\u2019. our castle\u2019s strength   will laugh a siege to scorn. here let them lie   till famine and the ague eat them up.   were they not forc\u2019d with those that should be ours,   we might have met them dareful, beard to beard,   and beat them backward home.  [a cry within of women.   what is that noise? seyton:  it is the cry of women, my good lord.  [exit. macbeth:  i have almost forgot the taste of fears.   the time has been my senses would have cool\u2019d   to hear a night-shriek, and my fell of hair   would at a dismal treatise rouse and stir   as life were in\u2019t. i have supp\u2019d full with horrors;   direness, familiar to my slaughterous thoughts,   cannot once start me.   [re-enter  seyton .]   wherefore was that cry? seyton:  the queen, my lord, is dead. macbeth:  she should have died hereafter;   there would have been a time for such a word.   to-morrow, and to-morrow, and to-morrow,   creeps in this petty pace from day to day   to the last syllable of recorded time,   and all our yesterdays have lighted fools   the way to dusty death. out, out, brief candle!   life\u2019s but a walking shadow, a poor player,   that struts and frets his hour upon the stage,   and then is heard no more; it is a tale   told by an idiot, full of sound and fury,   signifying nothing.   [enter a  messenger .]   thou com\u2019st to use thy tongue; thy story quickly. messenger:  gracious my lord,   i should report that which i say i saw,   but know not how to do\u2019t. macbeth:              well, say, sir. messenger:  as i did stand my watch upon the hill,   i look\u2019d toward birnam, and anon me-thought   the wood began to move. macbeth:              liar and slave! messenger:  let me endure your wrath, if\u2019t be not so.   within this three mile may you see it coming;   i say, a moving grove.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/22/f/m/19 \u00a9 ucles 2019 [turn over macbeth:             if thou speak\u2019st false,   upon the next tree shalt thou hang alive,   till famine cling thee. if thy speech be sooth,   i care not if thou dost for me as much.   i pull in resolution, and begin   to doubt th\u2019 equivocation of the fiend   that lies like truth. \u2018fear not, till birnam wood   do come to dunsinane.\u2019 and now a wood   comes toward dunsinane. arm, arm, and out.   if this which he avouches does appear,   there is nor flying hence nor tarrying here.   i gin to be aweary of the sun,   and wish th\u2019 estate o\u2019 th\u2019 world were now undone.   ring the alarum bell. blow wind, come wrack;   at least we\u2019ll die with harness on our back.  [exeunt. [from act 5, scene 5 ] explore how shakespeare strikingly conveys macbeth\u2019s state of mind at this moment in the  play. or \u20208  how does shakespeare\u2019s portrayal of macduff contribute to the dramatic impact of the play?50 55 60",
            "10": "10 0486/22/f/m/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: romeo:  see how she leans her cheek upon her hand!   o that i were a glove upon that hand,   that i might touch that cheek! juliet:                ay me! romeo:                   she speaks.   o, speak again, bright angel, for thou art   as glorious to this night, being o\u2019er my head,   as is a winged messenger of heaven   unto the white-upturned wond\u2019ring eyes   of mortals that fall back to gaze on him,   when he bestrides the lazy-pacing clouds   and sails upon the bosom of the air. juliet:  o romeo, romeo! wherefore art thou romeo?   deny thy father and refuse thy name;   or, if thou wilt not, be but sworn my love,   and i\u2019ll no longer be a capulet. romeo  [aside ]: shall i hear more, or shall i speak at this? juliet:  \u2019tis but thy name that is my enemy;   thou art thyself, though not a montague.   what\u2019s montague? it is nor hand, nor foot,   nor arm, nor face, nor any other part   belonging to a man. o, be some other name!   what\u2019s in a name? that which we call a rose   by any other name would smell as sweet;   so romeo would, were he not romeo call\u2019d,   retain that dear perfection which he owes   without that title. romeo, doff thy name;   and for thy name, which is no part of thee,   take all myself. romeo:         i take thee at thy word:   call me but love, and i\u2019ll be new baptiz\u2019d;   henceforth i never will be romeo. juliet:  what man art thou, that, thus bescreen\u2019d in night,   so stumblest on my counsel? romeo:               b y  a  n a m e   i know not how to tell thee who i am:   my name, dear saint, is hateful to myself,   because it is an enemy to thee;   had i it written, i would tear the word. juliet:  my ears have yet not drunk a hundred words   of thy tongue\u2019s uttering, yet i know the sound:   art thou not romeo, and a montague? romeo:  neither, fair maid, if either thee dislike. juliet:  how cam\u2019st thou hither, tell me, and wherefore?   the orchard walls are high and hard to climb;   and the place death, considering who thou art,   if any of my kinsmen find thee here.5 10 15 20 25 30 35 40 45",
            "11": "11 0486/22/f/m/19 \u00a9 ucles 2019 romeo:  with love\u2019s light wings did i o\u2019er-perch these walls,   for stony limits cannot hold love out;   and what love can do, that dares love attempt.   therefore thy kinsmen are no stop to me. juliet:  if they do see thee, they will murder thee. romeo:  alack, there lies more peril in thine eye   than twenty of their swords; look thou but sweet,   and i am proof against their enmity. juliet:  i would not for the world they saw thee here. romeo:  i have night\u2019s cloak to hide me from their eyes;   and but thou love me, let them find me here.   my life were better ended by their hate   than death prorogued wanting of thy love. [from act 2, scene 2 ] how does shakespeare vividly convey the strength of romeo and juliet\u2019 s love at this  moment in the play? or \u202010  how far does shakespeare convince you that lord capulet is a caring father to juliet?50 55 60",
            "12": "12 0486/22/f/m/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_m19_qp_32.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (sc) 178246 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *6342588958*literature (english)  0486/32 paper 3  drama (open text)  february/march 2019  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/32/f/m/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either 1 read this passage carefully, and then answer the question that follows it: travis [in the face of love, new aggressiveness ]: mama, could i please go  carry groceries? content removed due to copyright restrictions.",
            "3": "3 0486/32/f/m/19 \u00a9 ucles 2019 [turn over ruth: w alter, please leave me alone. [from act 1, scene 1 ] how does hansberry dramatically convey conflict between ruth and walter at this moment  in the play? or 2 how far does hansberry encourage you to admire beneatha? content removed due to copyright restrictions.",
            "4": "4 0486/32/f/m/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: [enter rodolpho.] rodolpho: eddie? content removed due to copyright restrictions.",
            "5": "5 0486/32/f/m/19 \u00a9 ucles 2019 [turn over  you will kill a  family! [from act 2 ] in what ways does miller make this moment in the play so powerful? or 4 to what extent does miller make you feel sympathy for marco?  do not use the passage printed in question 3  in answering this question. content removed due to copyright restrictions.",
            "6": "6 0486/32/f/m/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it: catherine:  why are you so ashamed of your emotions? sir robert:  because, as a lawyer, i must necessarily distrust them. catherine:  why? sir robert:  to fight a case on emotional grounds is the surest way of losing it.  emotions muddy the issue. cold, clear logic\u2014and buckets of it\u2014 should be the lawyer\u2019s only equipment. catherine:  was it cold clear logic that made you weep to-day at the   verdict. sir robert  [after a slight pause ]: your maid, i suppose, told you that? it doesn\u2019t  matter. it will be in the papers to-morrow, anyway. [ fiercely ] very  well, then, if you must have it, here it is: i wept to-day because right  had been done. catherine:  not justice? sir robert:  no. not justice. right. it is not hard to do justice\u2014very hard to do  right. unfortunately, while the appeal of justice is intellectual, the  appeal of right appears, for some odd reason, to induce tears in  court. that is my answer and my excuse. and now, may i leave the  witness box? catherine:  no. one last question. how can you reconcile your support of  winslow against the crown with your political beliefs? sir robert:  very easily. no one party has a monopoly of concern for individual  liberty. on that issue all parties are united. catherine:  i don\u2019t think so. sir robert:  you don\u2019t? catherine:  no. not all parties. only some people from all parties. sir robert:  that is a wise remark. we can only hope, then, that those \u201csome  people\u201d will always prove enough people. you would make a good  advocate. catherine:  would i? sir robert  [playfully ]: why do you not canalize your feministic impulses  towards the law-courts, miss winslow, and abandon the lost cause  of women\u2019s suffrage? catherine:  because i don\u2019t believe it is a lost cause. sir robert:  no? are you going to continue to pursue it? catherine:  certainly. sir robert:  you will be wasting your time. catherine:  i don\u2019t think so. sir robert:  a pity. in the house of commons in days to come i shall make a  point of looking up at the gallery in the hope of catching a glimpse  of you in that provocative hat. [enter  ronnie. he is fifteen now, and there are distinct signs of an  incipient man-about-town. he is very smartly dressed in lounge suit  and bowler hat. ]5 10 15 20 25 30 35 40",
            "7": "7 0486/32/f/m/19 \u00a9 ucles 2019 [turn over ronnie:  i say, sir robert, i\u2019m most awfully sorry. i didn\u2019t know anything was  going to happen. sir robert:  where were you? ronnie:  at the pictures. sir robert:  pictures? what is that? catherine:  cinematograph show. ronnie:  i\u2019m most awfully sorry. i say\u2014we won, didn\u2019t we? sir robert:  yes, we won. well, good-bye, miss winslow. shall i see you in the  house, then, one day? [ he offers his hand. ] catherine  [shaking his hand; with a smile ]: yes, sir robert. one day. but not  in the gallery. across the floor. sir robert  [with a faint smile ]: perhaps. good-bye. [ he turns to go. ] slow curtain [from act 2, scene 2 ] how far do you think rattigan makes this an effective ending to the play? or 6  how does rattigan\u2019s portrayal of desmond curry contribute to the dramatic impact of the  play?45 50 55",
            "8": "8 0486/32/f/m/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it: macbeth:  hang out our banners on the outward walls;   the cry is still \u2018they come\u2019. our castle\u2019s strength   will laugh a siege to scorn. here let them lie   till famine and the ague eat them up.   were they not forc\u2019d with those that should be ours,   we might have met them dareful, beard to beard,   and beat them backward home.  [a cry within of women.   what is that noise? seyton:  it is the cry of women, my good lord.  [exit. macbeth:  i have almost forgot the taste of fears.   the time has been my senses would have cool\u2019d   to hear a night-shriek, and my fell of hair   would at a dismal treatise rouse and stir   as life were in\u2019t. i have supp\u2019d full with horrors;   direness, familiar to my slaughterous thoughts,   cannot once start me.   [re-enter  seyton .]   wherefore was that cry? seyton:  the queen, my lord, is dead. macbeth:  she should have died hereafter;   there would have been a time for such a word.   to-morrow, and to-morrow, and to-morrow,   creeps in this petty pace from day to day   to the last syllable of recorded time,   and all our yesterdays have lighted fools   the way to dusty death. out, out, brief candle!   life\u2019s but a walking shadow, a poor player,   that struts and frets his hour upon the stage,   and then is heard no more; it is a tale   told by an idiot, full of sound and fury,   signifying nothing.   [enter a  messenger .]   thou com\u2019st to use thy tongue; thy story quickly. messenger:  gracious my lord,   i should report that which i say i saw,   but know not how to do\u2019t. macbeth:              well, say, sir. messenger:  as i did stand my watch upon the hill,   i look\u2019d toward birnam, and anon me-thought   the wood began to move. macbeth:              liar and slave! messenger:  let me endure your wrath, if\u2019t be not so.   within this three mile may you see it coming;   i say, a moving grove.5 10 15 20 25 30 35 40 45",
            "9": "9 0486/32/f/m/19 \u00a9 ucles 2019 [turn over macbeth:             if thou speak\u2019st false,   upon the next tree shalt thou hang alive,   till famine cling thee. if thy speech be sooth,   i care not if thou dost for me as much.   i pull in resolution, and begin   to doubt th\u2019 equivocation of the fiend   that lies like truth. \u2018fear not, till birnam wood   do come to dunsinane.\u2019 and now a wood   comes toward dunsinane. arm, arm, and out.   if this which he avouches does appear,   there is nor flying hence nor tarrying here.   i gin to be aweary of the sun,   and wish th\u2019 estate o\u2019 th\u2019 world were now undone.   ring the alarum bell. blow wind, come wrack;   at least we\u2019ll die with harness on our back.  [exeunt. [from act 5, scene 5 ] explore how shakespeare strikingly conveys macbeth\u2019s state of mind at this moment in the  play. or 8  how does shakespeare\u2019s portrayal of macduff contribute to the dramatic impact of the play?50 55 60",
            "10": "10 0486/32/f/m/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: romeo:  see how she leans her cheek upon her hand!   o that i were a glove upon that hand,   that i might touch that cheek! juliet:                ay me! romeo:                   she speaks.   o, speak again, bright angel, for thou art   as glorious to this night, being o\u2019er my head,   as is a winged messenger of heaven   unto the white-upturned wond\u2019ring eyes   of mortals that fall back to gaze on him,   when he bestrides the lazy-pacing clouds   and sails upon the bosom of the air. juliet:  o romeo, romeo! wherefore art thou romeo?   deny thy father and refuse thy name;   or, if thou wilt not, be but sworn my love,   and i\u2019ll no longer be a capulet. romeo  [aside ]: shall i hear more, or shall i speak at this? juliet:  \u2019tis but thy name that is my enemy;   thou art thyself, though not a montague.   what\u2019s montague? it is nor hand, nor foot,   nor arm, nor face, nor any other part   belonging to a man. o, be some other name!   what\u2019s in a name? that which we call a rose   by any other name would smell as sweet;   so romeo would, were he not romeo call\u2019d,   retain that dear perfection which he owes   without that title. romeo, doff thy name;   and for thy name, which is no part of thee,   take all myself. romeo:         i take thee at thy word:   call me but love, and i\u2019ll be new baptiz\u2019d;   henceforth i never will be romeo. juliet:  what man art thou, that, thus bescreen\u2019d in night,   so stumblest on my counsel? romeo:               b y  a  n a m e   i know not how to tell thee who i am:   my name, dear saint, is hateful to myself,   because it is an enemy to thee;   had i it written, i would tear the word. juliet:  my ears have yet not drunk a hundred words   of thy tongue\u2019s uttering, yet i know the sound:   art thou not romeo, and a montague? romeo:  neither, fair maid, if either thee dislike. juliet:  how cam\u2019st thou hither, tell me, and wherefore?   the orchard walls are high and hard to climb;   and the place death, considering who thou art,   if any of my kinsmen find thee here.5 10 15 20 25 30 35 40 45",
            "11": "11 0486/32/f/m/19 \u00a9 ucles 2019 romeo:  with love\u2019s light wings did i o\u2019er-perch these walls,   for stony limits cannot hold love out;   and what love can do, that dares love attempt.   therefore thy kinsmen are no stop to me. juliet:  if they do see thee, they will murder thee. romeo:  alack, there lies more peril in thine eye   than twenty of their swords; look thou but sweet,   and i am proof against their enmity. juliet:  i would not for the world they saw thee here. romeo:  i have night\u2019s cloak to hide me from their eyes;   and but thou love me, let them find me here.   my life were better ended by their hate   than death prorogued wanting of thy love. [from act 2, scene 2 ] how does shakespeare vividly convey the strength of romeo and juliet\u2019 s love at this  moment in the play? or 10  how far does shakespeare convince you that lord capulet is a caring father to juliet?50 55 60",
            "12": "12 0486/32/f/m/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_m19_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (st) 165357/2 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *2819391119*literature (english)  0486/42 paper 4  unseen  february/march 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/42/f/m/19 \u00a9 ucles 2019 answer either  question 1 or question 2. either 1 read carefully the poem opposite. it is about a boy helping his grandmother with her knitting.  how does the poet vividly convey the experience of visiting his grandmother?  to help you answer this question, you might consider: \u2022 his thoughts and feelings about his grandmother\u2019s room \u2022 how he portrays his grandmother \u2022 how he conveys ideas about time and memory.",
            "3": "3 0486/42/f/m/19 \u00a9 ucles 2019 [turn over at my grandmother\u2019s an afternoon late summer in a room shuttered against the bright envenomed leaves; an underwater world where time like water was held in the wide arms of a gilded clock,  and my grandmother, turning in the still sargasso1 of memory, wound out her griefs and held a small boy prisoner to weeds and corals while summer leaked its daylight through his head. i feared that room: the parrot screeching soundless in its dome of glass, the faded butterflies like jewels pinned against a sable2 cloak; and my grandmother, winding out the skeins3 i held like trickling time between my outstretched arms. feared most of all the stiff, bejewelled fingers pinned at her throat or moving on grey wings from word to word; and feared her voice that called down from their gilded frames the ghosts of children who played at hoop and ball, whose spindrift4 faces (the drowned might wear such smiles) looked out across the wrack5 and debris of the years to where a small boy sat, as they once sat, and held  in the wide ache of his arms all time like water, and watched the old grey hands wind out his blood. 1 sargasso : a stagnant tropical sea 2 sable : dark fur 3 skeins : threads of wool 4 spindrift  : sea spray 5 wrack : seaweed ",
            "4": "4 0486/42/f/m/19 \u00a9 ucles 2019 or 2 read carefully the following extract from the beginning of a novel. it describes a man who makes  money from searching a river in london for whatever he might find. his boat is being rowed by his  daughter, lizzie.  how does the writer create such a disturbing atmosphere in this passage?  to help you answer this question, you might consider: \u2022 how he portrays the father \u2022 how he portrays the daughter and her feelings \u2022 how the description of the scene contributes to the dark and ominous atmosphere. allied to the bottom of the river rather than the surface, by reason of the slime  and ooze with which it was covered, and its sodden state, this boat and the two  figures in it obviously were doing something that they often did, and were seeking  what they often sought. half savage as the man showed, with no covering on his  matted head, with his brown arms bare to between the elbow and the shoulder, with  the loose knot of a looser kerchief1 lying low on his bare breast in a wilderness of  beard and whisker, with such dress as he wore seeming to be made out of the mud  that begrimed his boat, still there was business-like usage in his steady gaze. so  with every lithe action of the girl, with every turn of her wrist, perhaps most of all with  her look of dread or horror; they were things of usage. \u2018keep her out, lizzie. tide runs strong here. keep her well afore2 the sweep  of it.\u2019 trusting to the girl\u2019s skill and making no use of the rudder, he eyed the coming  tide with an absorbed attention. so the girl eyed him. but, it happened now, that a  slant of light from the setting sun glanced into the bottom of the boat, and, touching  a rotten stain there which bore some resemblance to the outline of a muffled human  form, coloured it as though with diluted blood. this caught the girl\u2019s eye, and she  shivered. \u2018what ails3 you?\u2019 said the man, immediately aware of it, though so intent on the  advancing waters; \u2018i see nothing afloat.\u2019 the red light was gone, the shudder was gone, and his gaze, which had come  back to the boat for a moment, travelled away again. wheresoever the strong  tide met with an impediment4, his gaze paused for an instant. at every mooring- chain and rope, at every stationary boat or barge that split the current into a broad- arrowhead, at the offsets from the piers of southwark bridge, at the paddles of the  river steamboats as they beat the filthy water, at the floating logs of timber lashed  together lying off certain wharves, his shining eyes darted a hungry look. after a  darkening hour or so, suddenly the rudder-lines tightened in his hold, and he steered  hard towards the surrey shore. always watching his face, the girl instantly answered to the action in her  sculling5; presently the boat swung round, quivered as from a sudden jerk, and the  upper half of the man was stretched out over the stern6. the girl pulled the hood of a cloak she wore, over her head and over her face,  and, looking backward so that the front folds of this hood were turned down the  river, kept the boat in that direction going before the tide. until now, the boat had  barely held her own, and had hovered about one spot; but now, the banks changed  swiftly, and the deepening shadows and the kindling lights of london bridge were  passed, and the tiers of shipping lay on either hand.",
            "5": "5 0486/42/f/m/19 \u00a9 ucles 2019 it was not until now that the upper half of the man came back into the boat. his  arms were wet and dirty, and he washed them over the side. in his right hand he  held something, and he washed that in the river too. it was money. he chinked it  once, and he blew upon it once, and he spat upon it once, \u2013 \u2018for luck,\u2019 he hoarsely  said \u2013 before he put it in his pocket. \u2018lizzie!\u2019 the girl turned her face towards him with a start, and rowed in silence. her face  was very pale. he was a hook-nosed man, and with that and his bright eyes and his  ruffled head, bore a certain likeness to a roused bird of prey. 1 kerchief  : neck scarf 2 keep her well afore : keep the boat ahead of 3 ails: disturbs 4 impediment  : obstacle in the river 5 sculling : rowing 6 stern : the rear end of the boat",
            "6": "6 0486/42/f/m/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/42/f/m/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/42/f/m/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_s19_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 165361/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education literature (english)  0486/11 paper 1  poetry and prose  may/june 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. *4210380333*",
            "2": "2 0486/11/m/j/19 \u00a9 ucles 2019 blank page",
            "3": "3 0486/11/m/j/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2\u200a : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai: in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/11/m/j/19 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: reservist time again for the annual joust, the regular fanfare, a call to arms, the imperative letters stern as clarion notes, the king\u2019s command, upon the pain of court-martial, to tilt at the old windmills. with creaking bones and suppressed grunts, we battle-weary knights creep to attention, ransack the wardrobes for our rusty armour, tuck the pot bellies with great finesse into the shrinking gear, and with helmets shutting off half our world, report for service. we are again united with sleek weapons we were betrothed to in our active cavalier days. we will keep charging up the same hills, plod through the same forests, till we are too old, too ill-fitted for life\u2019s other territories. the same trails will find us time and again, and we quick to obey, like children placed on carousels they cannot get off from, borne along through somebody\u2019s expensive fantasyland, with an oncoming rush of tedious rituals, masked threats and monsters armed with the same roar. in the end we will perhaps surprise ourselves and emerge unlikely heroes with long years of braving the same horrors pinned on our tunic fronts. we will have proven that sisyphus is not a myth. we will play the game till the monotony sends his lordship to sleep. we will march the same paths till they break onto new trails, our lives stumbling onto the open sea, into daybreak. (boey kim cheng )   what impressions of the speaker does boey create for you in this poem?5 10 15 20 25 30",
            "5": "5 0486/11/m/j/19 \u00a9 ucles 2019 [turn over or 2 how does bront\u00eb use words and images to powerful effect in cold in the earth ? cold in the earth cold in the earth, and the deep snow piled above thee! far, far removed, cold in the dreary grave! have i forgot, my only love, to love thee, severed at last by time\u2019s all-wearing wave? now, when alone, do my thoughts no longer hover over the mountains on angora\u2019s shore; resting their wings where heath and fern-leaves cover that noble heart for ever, ever more? cold in the earth, and fifteen wild decembers from those brown hills have melted into spring \u2013 faithful indeed is the spirit that remembers after such years of change and suffering! sweet love of youth, forgive if i forget thee while the world\u2019s tide is bearing me along: sterner desires and darker hopes beset me, hopes which obscure but cannot do thee wrong. no other sun has lightened up my heaven; no other star has ever shone for me: all my life\u2019s bliss from thy dear life was given \u2013 all my life\u2019s bliss is in the grave with thee. but when the days of golden dreams had perished and even despair was powerless to destroy, then did i learn how existence could be cherished, strengthened and fed without the aid of joy; then did i check the tears of useless passion, weaned my young soul from yearning after thine; sternly denied its burning wish to hasten down to that tomb already more than mine! and even yet, i dare not let it languish, dare not indulge in memory\u2019s rapturous pain; once drinking deep of that divinest anguish, how could i seek the empty world again?  (emily bront\u00eb )5 10 15 20 25 30",
            "6": "6 0486/11/m/j/19 \u00a9 ucles 2019 songs of ourselves volume 2 : from part 2 remember to support your ideas with details from the writing. either 3 read this poem, and then answer the question that follows it: afternoon with irish cows there were a few dozen who occupied the field    above the wall with one wild, shocking eye. (billy collins )   how does collins create vivid impressions of the cows in this poem? content removed due to copyright restrictions.",
            "7": "7 0486/11/m/j/19 \u00a9 ucles 2019 [turn over or 4 how does tennyson make the kraken such a disturbing poem? the kraken below the thunders of the upper deep; far, far beneath in the abysmal sea,his ancient, dreamless, uninvaded sleepthe kraken sleepeth: faintest sunlights fleeabout his shadowy sides: above him swellhuge sponges of millennial growth and height;and far away into the sickly light,from many a wondrous grot and secret cellunnumbered and enormous polypiwinnow with giant arms the slumbering green.there hath he lain for ages and will liebattening upon huge seaworms in his sleep,until the latter fire shall heat the deep;then once by man and angels to be seen,in roaring he shall rise and on the surface die. (alfred, lord tennyson )5 10 15",
            "8": "8 0486/11/m/j/19 \u00a9 ucles 2019 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: musician  for owain his carpet splattered like a jackson pollock with clothes, books, instruments, the nme , he strummed all day, read beethoven sonatas. he could hear it, he said, \u2018like words.\u2019 that bitterest winter, he took up the piano, obsessed, playing bartok in the early hours. snow fell, veil after veil till we lost the car in the drive. i slept under two duvets and my grandmother\u2019s fur, and woke, suffocating, in the luminous nights to hear the hungarian dances across moonlit snow. the street cut off, immaculate, the house glacial, suburbs hushed in wafery whiteness. at dawn, hearing debussy, i\u2019d find him, hands in fingerless gloves against the cold, overcoat on. he hadn\u2019t been to bed. snows banked the doors, rose to the sills, silted the attic, drew veils across the windows. scent, sound, colour, detritus lay buried. i dreamed the house vaulted and pillared with snow, a drowned cathedral, waiting for the thaw, and woke to hear the piano\u2019s muffled bells, a first pianissimo slip of snow from the roof.   in what ways does clarke vividly portray the musician in this poem?5 10 15 20",
            "9": "9 0486/11/m/j/19 \u00a9 ucles 2019 [turn over or 6 how does clarke vividly convey her thoughts and feelings in miracle on st david\u2019s day ? miracle on st david\u2019s day     \u2018they flash upon that inward eye     which is the bliss of solitude\u2019         the daffodils by w wordsworth an afternoon yellow and open-mouthed with daffodils. the sun treads the path among cedars and enormous oaks. it might be a country house, guests strolling, the rumps of gardeners between nursery shrubs. i am reading poetry to the insane. an old woman, interrupting, offers as many buckets of coal as i need. a beautiful chestnut-haired boy listens entirely absorbed. a schizophrenic on a good day, they tell me later. in a cage of first march sun a woman sits not listening, not seeing, not feeling. in her neat clothes the woman is absent. a big, mild man is tenderly led to his chair. he has never spoken. his labourer\u2019s hands on his knees, he rocks gently to the rhythms of the poems. i read to their presences, absences, to the big, dumb labouring man as he rocks. he is suddenly standing, silently, huge and mild, but i feel afraid. like slow movement of spring water or the first bird of the year in the breaking darkness, the labourer\u2019s voice recites \u2018the daffodils\u2019. the nurses are frozen, alert; the patients seem to listen. he is hoarse but word-perfect. outside the daffodils are still as wax, a thousand, ten thousand, their syllables unspoken, their creams and yellows still. forty years ago, in a valleys school, the class recited poetry by rote. since the dumbness of misery fell he has remembered there was a music of speech and that once he had something to say. when he\u2019s done, before the applause, we observe the flowers\u2019 silence. a thrush sings and the daffodils are flame.5 10 15 20 25 30 35",
            "10": "10 0486/11/m/j/19 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: mr rushworth was from the first struck with the beauty of miss bertram,  and being inclined to marry, soon fancied himself in love. he was a heavy  young man, with not more than common sense, but as there was nothing  disagreeable in his figure or address, the young lady was well pleased  with her conquest. being now in her twenty-first year, maria bertram was  beginning to think matrimony a duty; and as a marriage with mr rushworth  would give her the enjoyment of a larger income than her father\u2019s, as  well as ensure her the house in town, which was now a prime object, it  became by the same rule of moral obligation, her evident duty to marry  mr rushworth if she could. mrs norris was most zealous in promoting  the match, by every suggestion and contrivance, likely to enhance its  desirableness to either party; and among other means by seeking an  intimacy with the gentleman\u2019s mother, who at present lived with him, and to  whom she even forced lady bertram to go through ten miles of indifferent  road, to pay a morning visit. it was not long before a good understanding  took place between this lady and herself. mrs rushworth acknowledged  herself very desirous that her son should marry, and declared that of all the  young ladies she had ever seen, miss bertram seemed, by her amiable  qualities and accomplishments, the best adapted to make him happy.  mrs norris accepted the compliment, and admired the nice discernment  of character which could so well distinguish merit. maria was indeed the  pride and delight of them all\u2014perfectly faultless\u2014an angel; and of course,  so surrounded by admirers, must be difficult in her choice; but yet as far   as mrs norris could allow herself to decide on so short an acquaintance,  mr rushworth appeared precisely the young man to deserve and attach  her. after dancing with each other at a proper number of balls, the young  people justified these opinions, and an engagement, with a due reference  to the absent sir thomas, was entered into, much to the satisfaction of their  respective families, and of the general lookers-on of the neighbourhood,  who had, for many weeks past, felt the expediency of mr rushworth\u2019s  marrying miss bertram. it was some months before sir thomas\u2019s consent could be received; but  in the mean while, as no one felt a doubt of his most cordial pleasure in  the connection, the intercourse of the two families was carried on without  restraint, and no other attempt made at secrecy, than mrs norris\u2019s talking  of it every where as a matter not to be talked of at present. edmund was the only one of the family who could see a fault in the  business; but no representation of his aunt\u2019s could induce him to find mr  rushworth a desirable companion. he could allow his sister to be the best  judge of her own happiness, but he was not pleased that her happiness  should centre in a large income; nor could he refrain from often saying to  himself, in mr rushworth\u2019s company, \u2018if this man had not twelve thousand  a year, he would be a very stupid fellow.\u20195 10 15 20 25 30 35 40",
            "11": "11 0486/11/m/j/19 \u00a9 ucles 2019 [turn over sir thomas, however, was truly happy in the prospect of an alliance  so unquestionably advantageous, and of which he heard nothing but the  perfectly good and agreeable. it was a connection exactly of the right  sort; in the same county, and the same interest; and his most hearty  concurrence was conveyed as soon as possible. he only conditioned that  the marriage should not take place before his return, which he was again  looking eagerly forward to. he wrote in april, and had strong hopes of  settling every thing to his entire satisfaction, and leaving antigua before  the end of the summer. [from chapter 4]   how does austen amusingly present the engagement of maria bertram and mr  rushworth at this moment in the novel? or 8 does austen\u2019s writing encourage you to have any sympathy for mary and henry  crawford?45 50",
            "12": "12 0486/11/m/j/19 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: it was pleasant there in the kitchen. the sun shone into my bath-water  through the west half-window, and a big maltese cat came up and rubbed  himself against the tub, watching me curiously. while i scrubbed, my  grandmother busied herself in the dining-room until i called anxiously,  \u2018grandmother, i\u2019m afraid the cakes are burning!\u2019 then she came laughing,  waving her apron before her as if she were shooing chickens. she was a spare, tall woman, a little stooped, and she was apt to carry  her head thrust forward in an attitude of attention, as if she were looking  at something, or listening to something, far away. as i grew older, i came  to believe that it was only because she was so often thinking of things that  were far away. she was quick-footed and energetic in all her movements.  her voice was high and rather shrill, and she often spoke with an anxious  inflection, for she was exceedingly desirous that everything should go  with due order and decorum. her laugh, too, was high, and perhaps a  little strident, but there was a lively intelligence in it. she was then fifty-five  years old, a strong woman, of unusual endurance. after i was dressed, i explored the long cellar next the kitchen. it was  dug out under the wing of the house, was plastered and cemented, with  a stairway and an outside door by which the men came and went. under  one of the windows there was a place for them to wash when they came  in from work. while my grandmother was busy about supper, i settled myself on the  wooden bench behind the stove and got acquainted with the cat \u2014 he  caught not only rats and mice, but gophers, i was told. the patch of yellow  sunlight on the floor travelled back toward the stairway, and grandmother  and i talked about my journey, and about the arrival of the new bohemian  family; she said they were to be our nearest neighbours. we did not talk  about the farm in virginia, which had been her home for so many years.  but after the men came in from the fields, and we were all seated at the  supper table, then she asked jake about the old place and about our  friends and neighbours there. my grandfather said little. when he first came in he kissed me and  spoke kindly to me, but he was not demonstrative. i felt at once his  deliberateness and personal dignity, and was a little in awe of him. the  thing one immediately noticed about him was his beautiful, crinkly, snow- white beard. i once heard a missionary say it was like the beard of an  arabian sheik. his bald crown only made it more impressive. grandfather\u2019s eyes were not at all like those of an old man; they   were bright blue, and had a fresh, frosty sparkle. his teeth were white   and regular \u2014 so sound that he had never been to a dentist in his life.   he had a delicate skin, easily roughened by sun and wind. when he   was a young man his hair and beard were red; his eyebrows were still  coppery. as we sat at the table, otto fuchs and i kept stealing covert glances at  each other. grandmother had told me while she was getting supper that  he was an austrian who came to this country a young boy and had led an  adventurous life in the far west among mining-camps and cow outfits. his  iron constitution was somewhat broken by mountain pneumonia, and he 5 10 15 20 25 30 35 40 45",
            "13": "13 0486/11/m/j/19 \u00a9 ucles 2019 [turn over had drifted back to live in a milder country for a while. he had relatives in  bismarck, a german settlement to the north of us, but for a year now he  had been working for grandfather. [from book 1 chapter 2]   how does cather make this such a vivid introduction to jim\u2019s grandparents? or 10 explore the ways in which cather strikingly portrays the relationship between mr and  mrs shimerda.50",
            "14": "14 0486/11/m/j/19 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: she pointed dramatically at nur who was huddled, whimpering, on the  mattress, holding his knees to his chest and rocking from side to side in  agony. \u2018do you call that a poet, or even a man? all of you \u2013 you followers   of his \u2013 you have reduced him to that, making him eat and drink like some  animal, like a pig, laughing at your jokes, singing your crude songs, when  he should be at work, or resting to prepare himself for work \u2013 \u2019 deven dropped his eyes and his head sank in admission of this  indubitable truth. his submission seemed to enrage her and throw her into  another paroxysm. marching across the room to a shelf where books and  papers were stacked, she began to fling them at him, saying, \u2018see what  you\u2019ve done to him? see what he\u2019s done in my room? am i to stand for  this in my room, in my house? did he marry me to make me live in a pigsty  with him? am i to live like a pig with all the rest of you?\u2019 with each question  she flung another handful of papers at deven and when he was deep in  them, turning his head from side to side to avoid their impact, growing  giddy and muddled and frantic as more and more descended on him, she  screamed, \u2018don\u2019t you see? it is there !\u2019 and pointed at a pool of yellow  vomit in a corner of the room. he stared across it and only then noticed  the crying child \u2013 the little fat boy who had thrown down the coins the  poet had given him, now sitting against the wall with his legs stretched out  before him and his fists thrust into his eyes, howling with sleepiness and  terror. following the direction of deven\u2019s eyes, she too stared at the child,  then swooped down upon him and picked him up in a fierce embrace. \u2018see  what my child has to witness \u2013 the depths to which his father has been  brought by you \u2013 you \u2013 \u2019 \u2018no, no,\u2019 deven protested, and to remove any such signs of the poet\u2019s  degradation, he grabbed some handfuls of paper she had flung at him  and, crawling forwards to the tell-tale stain, began to scrub the floor with  them, made desperate in his movements by the sobbing of the terrified  child and the retching of the poet at the other end of the room as well as  the outrage that the woman exhaled as though she were a fire-eater in the  middle of a performance. \u2018take it away from here,\u2019 she commanded, standing by the bookshelf  and holding the child as if out of the swill. \u2018go fetch water. wash the  floor. i want it washed and polished. i will have my room clean, my house   clean. d\u2019you hear? d\u2019you think i entered this house to keep company with  swine?\u2019 \u2018no, janum , no,\u2019 wept the poet, in between retching sounds that were  tearing him to pieces. \u2018i tell you \u2013 i had this pain here \u2013 my ulcers \u2013 \u2019 \u2018don\u2019t talk to me!\u2019 her voice rose hysterically. \u2018don\u2019t talk to me about  ulcers. it was drink, it was your party, your friends, your horrible, inferior  life \u2013 \u2019 \u2018he is ill,\u2019 deven protested, and crept towards the door with the dirty  sheets of paper in his hand. \u2018please, please, he is ill, and aged. i beg   you \u2013 \u2019 \u2018ill? he is foolish , foolish to spend time with you, to have friends like  you, to ignore his wife and child \u2013 \u2019 here the woman stopped her high- pitched abuse as her voice broke, and she turned her face away as if to 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/11/m/j/19 \u00a9 ucles 2019 [turn over hide a moment of weakness. deven took her momentary inattention as  an opportunity to slip out of the room with the sopping bundle of paper,  desperate to get rid of it. [from chapter 3]   how does desai make this moment in the novel both vivid and revealing? or 12 does desai\u2019s writing encourage you to have any sympathy for deven?   do not use the extract in question 11  in answering this question.50",
            "16": "16 0486/11/m/j/19 \u00a9 ucles 2019 charles dickens: hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: \u2018it would be a fine thing to be you, miss louisa!\u2019 she said, one night,  when louisa had endeavoured to make her perplexities for next day  something clearer to her. \u2018do you think so?\u2019 \u2018i should know so much, miss louisa. all that is difficult to me now, would  be so easy then.\u2019 \u2018you might not be the better for it, sissy.\u2019 sissy submitted, after a little hesitation, \u2018i should not be the worse, miss  louisa.\u2019 to which miss louisa answered, \u2018i don\u2019t know that.\u2019 there had been so little communication between these two \u2013 both  because life at stone lodge went monotonously round like a piece of  machinery which discouraged human interference, and because of the  prohibition relative to sissy\u2019s past career \u2013 that they were still almost  strangers. sissy, with her dark eyes wonderingly directed to louisa\u2019s face,  was uncertain whether to say more or to remain silent. \u2018you are more useful to my mother, and more pleasant with her than i  can ever be,\u2019 louisa resumed. \u2018you are pleasanter to yourself, than i am  to my self.\u2019 \u2018but, if you please miss louisa,\u2019 sissy pleaded, \u2018i am \u2013 o so stupid!\u2019 louisa, with a brighter laugh than usual, told her she would be wiser by  and by. \u2018you don\u2019t know,\u2019 said sissy, half crying, \u2018what a stupid girl i am. all  through school hours i make mistakes. mr and mrs m\u2019choakumchild call  me up, over and over again, regularly to make mistakes. i can\u2019t help them.  they seem to come natural to me.\u2019 \u2018mr and mrs m\u2019choakumchild never make any mistakes themselves, i  suppose, sissy?\u2019 \u2018o no!\u2019 she eagerly returned. \u2018they know everything.\u2019 \u2018tell me some of your mistakes.\u2019 \u2018i am almost ashamed,\u2019 said sissy, with reluctance. \u2018but today, for   instance, mr m\u2019choakumchild was explaining to us about natural prosperity.\u2019 \u2018national, i think it must have been,\u2019 observed louisa. \u2018yes, it was. \u2013 but isn\u2019t it the same?\u2019 she timidly asked. \u2018you had better say, national, as he said so,\u2019 returned louisa, with her  dry reserve. \u2018national prosperity. and he said, now, this schoolroom is a nation.  and in this nation, there are fifty millions of money. isn\u2019t this a prosperous  nation? girl number twenty, isn\u2019t this a prosperous nation, and a\u2019n\u2019t you in  a thriving state?\u2019 \u2018what did you say?\u2019 asked louisa. \u2018miss louisa, i said i didn\u2019t know. i thought i couldn\u2019t know whether it  was a prosperous nation or not, and whether i was in a thriving state or  not, unless i knew who had got the money, and whether any of it was  mine. but that had nothing to do with it. it was not in the figures at all,\u2019 said  sissy, wiping her eyes. \u2018that was a great mistake of yours,\u2019 observed louisa. \u2018yes, miss louisa, i know it was, now. then mr m\u2019choakumchild said he  would try me again. and he said, this schoolroom is an immense town, 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/11/m/j/19 \u00a9 ucles 2019 [turn over and in it there are a million of inhabitants, and only five-and-twenty are  starved to death in the streets, in the course of a year. what is your remark  on that proportion? and my remark was \u2013 for i couldn\u2019t think of a better  one \u2013 that i thought it must be just as hard upon those who were starved,  whether the others were a million, or a million million. and that was wrong,  too.\u2019 \u2018of course it was.\u2019 \u2018then mr m\u2019choakumchild said he would try me once more. and he  said, here are the stutterings \u2013 \u2019 \u2018statistics,\u2019 said louisa. \u2018yes, miss louisa \u2013 they always remind me of stutterings, and that\u2019s  another of my mistakes \u2013 of accidents upon the sea. and i find (mr  m\u2019choakumchild said) that in a given time a hundred thousand persons  went to sea on long voyages, and only five hundred of them were drowned  or burnt to death. what is the percentage? and i said, miss;\u2019 here sissy  fairly sobbed as confessing with extreme contrition to her greatest error;   \u2018i said it was nothing.\u2019 [from book 1 chapter 9]   how does dickens create sympathy for both sissy and louisa at this moment in the  novel? or  14 in what ways does dickens make the relationship between louisa and her brother tom  so memorable?50 55 60 65",
            "18": "18 0486/11/m/j/19 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: the felons were being pushed and prodded over the plank onto the wharf  and stood bowed under the ferocity of light, awkward in their irons. their  heads had been recently cropped so their necks were pale like sprouted  potatoes, the scabby skin showing where the shears had bitten too deep.  they stood on the wharf in a tight bunch, afraid of so much space. thornhill had looked forward to this moment. he had pictured how he  would stride and point at the men he wanted. but he hung back now, so he  would not have to face suckling\u2019s smirk. the governor\u2019s man had already creamed off the prisoners with skills:  the carpenters and builders, the sawyers and farmers. now the gentleman  settlers, with their braying voices and their coats that fitted as if they had  been born in them, were singling out the strong ones and the ones on whose  faces life had not laid too hard a stamp. then the emancipist settlers made  their choices, and there was not much left when suckling was beside  him again out of nowhere. take your pick, thornhill,  he said, and made a  shopkeeper\u2019s expansive gesture. his smile was yellow in the blaze of sun.  feel free, won\u2019t you?  he said, and gave free a little lingering weight. the two that thornhill chose were the best of a bad lot. the one who  called himself ned, no other name forthcoming, was a dim thin soul with  a long jaw like the heel of a foot, and a wet red mouth and eyes too far  back in his head. he reminded thornhill of poor rob back in london, a few  bricks short of a load, but he seemed willing enough. the other had been  a barrow-boy at covent garden, he said, although he was no longer a boy.  he was haggard in the bright glare of the day. they were a miserable enough pair. but his own. the barrow-boy was squinting at him through the painful light. why, will  thornhill, is it?  he said, coming up closer so thornhill caught the smell of  the ship on him. will! dan oldfield, remember? thornhill looked at him: the gaunt face, black whiskers beneath the milky  skin giving him a starved look, the mouth, starting a grin, ajar on gappy  teeth. he remembered dan oldfield now. he had seen his father laid out  dead on herring wharf full of river-water. he remembered the hunger they  had shared together, and the cold, and the way they had stood one day  pissing on their own feet, just for the moment\u2019s warmth of it. the old place sends its regards, will,  dan cried. his voice was louder than  necessary. wapping new stairs ain\u2019t the same without our will thornhill!   in the face of thornhill\u2019s lack of response, his smile was stiffening. thornhill spoke as mildly as a man might who has nothing to prove.  forgetting your manners are you, dan oldfield,  he said, and saw the grin  close down. he thought of the way suckling smiled, not showing any teeth,  and tried it himself. it is mr thornhill, dan,  he said. you would do well to  remember. dan looked away, blankly, at the headlands across port jackson, the  thick-packed bush, the trembling silver of the water. mr thornhill , then , he  said, his voice emptied of expression. thornhill watched him staring down  at the water, where shafts of sunlight sent pale fingers into the glassy  green depths, saw the way he was clenching his jaw. he kept shading his  eyes with one hand, then the other, his head down. the sunlight showed 5 10 15 20 25 30 35 40 45",
            "19": "19 0486/11/m/j/19 \u00a9 ucles 2019 [turn over how thin the wisps of hair were on his pointed head. thornhill remembered how he had stared down at the water in just that  way, the day the man with the beard full of breadcrumbs had assigned him  to sal. it was a way of not being present at what was happening. staring  into the depths of the water, a man could become a fish, or the water itself. he knew what it was like to be dan. that was the trouble. he might be  entitled to stand in power over him, but in the eyes of men like suckling, he  and dan oldfield were the same. he saw what he had never seen before:  that there could be no future for the thornhills back in london. [from part 3]   how does grenville make this such a vivid and significant moment in the novel? or 16 in what ways does grenville vividly depict the problems that the thornhills face at  thornhill\u2019s point?50 55",
            "20": "20 0486/11/m/j/19 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: the beach was hours away by bicycle, forbidden, completely out of  all bounds. going there risked expulsion, destroyed the studying i was  going to do for an important test the next morning, blasted the reasonable  amount of order i wanted to maintain in my life, and it also involved the  kind of long, laboured bicycle ride i hated. \u2018all right,\u2019 i said. we got our bikes and slipped away from devon along a back road.  having invited me finny now felt he had to keep me entertained. he told  long, wild stories about his childhood; as i pumped panting up steep hills  he glided along beside me, joking steadily. he analysed my character,  and he insisted on knowing what i disliked most about him (\u2018you\u2019re too  conventional,\u2019 i said). he rode backward with no hands, he rode on his  own handlebars, he jumped off and back on his moving bike as he had  seen trick horseback riders do in the movies. he sang. despite the steady  musical undertone in his speaking voice finny couldn\u2019t carry a tune, and  he couldn\u2019t remember the melody or the words to any song. but he loved  listening to music, any music, and he liked to sing. we reached the beach late in the afternoon. the tide was high and  the surf was heavy. i dived in and rode a couple of waves, but they had  reached that stage of power in which you could feel the whole strength  of the ocean in them. the second wave, as it tore toward the beach with  me, spewed me a little ahead of it, encroaching rapidly; suddenly it was  immeasurably bigger than i was, it rushed me from the control of gravity  and took control of me itself; the wave threw me down in a primitive plunge  without a bottom, then there was a bottom, grinding sand, and i skidded  onto the shore. the wave hesitated, balanced there, and then hissed back  toward the deep water, its tentacles not quite interested enough in me to  drag me with it. i made my way up on the beach and lay down. finny came,  ceremoniously took my pulse, and then went back into the ocean. he  stayed in an hour, breaking off every few minutes to come back to me and  talk. the sand was so hot from the all-day sunshine that i had to brush the  top layer away in order to lie down on it, and finny\u2019s progress across the  beach became a series of high, startled leaps. the ocean, throwing up foaming sun-sprays across some nearby rocks,  was winter cold. this kind of sunshine and ocean, with the accumulating  roar of the surf and the salty, adventurous, flirting wind from the sea, always  intoxicated phineas. he was everywhere, he enjoyed himself hugely, he  laughed out loud at passing sea gulls. and he did everything he could think  of for me. we had dinner at a hot dog stand, with our backs to the ocean and its  now cooler wind, our faces toward the heat of the cooking range. then we  walked on toward the centre of the beach, where there was a subdued  new england strip of honky-tonks. the boardwalk lights against the  deepening blue sky gained an ideal, starry beauty and the lights from the  belt of honky-tonks and shooting galleries and beer gardens gleamed with  a quiet purity in the clear twilight. finny and i went along the boardwalk in our sneakers and white slacks,  finny in a light blue polo shirt and i in a t-shirt. i noticed that people were 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/11/m/j/19 \u00a9 ucles 2019 [turn over looking fixedly at him, so i took a look myself to see why. his skin radiated  a reddish copper glow of tan, his brown hair had been a little bleached by  the sun, and i noticed that the tan made his eyes shine with a cool blue- green fire. \u2018everybody\u2019s staring at you,\u2019 he suddenly said to me. \u2018it\u2019s because of  that movie-star tan you picked up this afternoon \u2026 showing off again.\u2019 enough broken rules were enough that night. neither of us suggested  going into any of the honky-tonks or beer gardens. we did have one glass  of beer each at a fairly respectable-looking bar, convincing, or seeming to  convince the bartender that we were old enough by a show of forged draft  cards. then we found a good spot among some sand dunes at the lonely  end of the beach, and there we settled down to sleep for the night. the last  words of finny\u2019s usual nighttime monologue were, \u2018i hope you\u2019re having  a pretty good time here. i know i kind of dragged you away at the point  of a gun, but after all you can\u2019t come to the shore with just anybody and  you can\u2019t come by yourself, and at this teen-age period in life the proper  person is your best pal.\u2019 he hesitated and then added, \u2018which is what you  are,\u2019 and there was silence on his dune. it was a courageous thing to say. exposing a sincere emotion nakedly  like that at the devon school was the next thing to suicide. i should have  told him then that he was my best friend also and rounded off what he had  said. i started to; i nearly did. but something held me back. perhaps i was  stopped by that level of feeling, deeper than thought, which contains the  truth.  [from chapter 3]   explore the ways in which knowles creates such a moving portrayal of the boys\u2019  friendship at this moment in the novel. or 18 how does knowles make you feel sorry for leper?50 55 60 65 70",
            "22": "22 0486/11/m/j/19 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: \u2013 where is this place? \u2013 it is not far from here. i shall take you tomorrow. \u2013 i have another great sorrow. \u2013 you may tell me. \u2013 i should be glad to tell you. but then he was silent, and tried to speak and could not, so msimangu  said to him, take your time, my brother. \u2013 it is not easy. it is our greatest sorrow. \u2013 a son, maybe? or a daughter? \u2013 it is a son. \u2013 i am listening. \u2013 absalom was his name. he too went away, to look for my sister, but  he never returned, nor after a while did he write any more. our letters, his  mother\u2019s and mine, all came back to us. and now after what you tell me, i  am still more afraid. \u2013 we shall try to find him, my brother. perhaps your sister will know. you  are tired, and i should take you to the room i have got for you. \u2013 yes, that would be better. they rose, and kumalo said, it is my habit to pray in the church. maybe  you will show me. \u2013 it is on the way. kumalo said humbly, maybe you will pray for me. \u2013 i shall do it gladly. my brother, i have of course my work to do, but so  long as you are here, my hands are yours. \u2013 you are kind. something in the humble voice must have touched msimangu, for he  said, i am not kind. i am a selfish and sinful man, but god put his hands on  me, that is all. he picked up kumalo\u2019s bag, but before they reached the door kumalo  stopped him. \u2013 i have one more thing to tell you. \u2013 yes. \u2013 i have a brother also, here in johannesburg. he too does not write  any more. john kumalo, a carpenter. msimangu smiled. i know him, he said. he is too busy to write. he is one  of our great politicians. \u2013 a politician? my brother? \u2013 yes, he is a great man in politics. msimangu paused. i hope i shall not hurt you further. your brother has  no use for the church any more. he says that what god has not done for  south africa, man must do. that is what he says. \u2013 this is a bitter journey. \u2013 i can believe it. \u2013 sometimes i fear \u2013 what will the bishop say when he hears? one of  his priests. \u2013 what can a bishop say? something is happening that no bishop can  stop. who can stop these things from happening? they must go on. \u2013 how can you say so? how can you say they must go on?5 10 15 20 25 30 35 40 45",
            "23": "23 0486/11/m/j/19 \u00a9 ucles 2019 [turn over \u2013 they must go on, said msimangu gravely. you cannot stop the world  from going on. my friend, i am a christian. it is not in my heart to hate a  white man. it was a white man who brought my father out of darkness. but  you will pardon me if i talk frankly to you. the tragedy is not that things are  broken. the tragedy is that they are not mended again. the white man has  broken the tribe. and it is my belief \u2013 and again i ask your pardon \u2013 that it  cannot be mended again. but the house that is broken, and the man that  falls apart when the house is broken, these are the tragic things. that is  why children break the law, and old white people are robbed and beaten. he passed his hand across his brow. \u2013 it suited the white man to break the tribe, he continued gravely. but it  has not suited him to build something in the place of what is broken. i have  pondered this for many hours and must speak it, for it is the truth for me.  they are not all so. there are some white men who give their lives to build  up what is broken. \u2013 but they are not enough, he said. they are afraid, that is the truth. it is  fear that rules this land. [from book 1 chapter 5]   what vivid impressions does paton create for you of msimangu at this moment in the  novel? or 20 how does paton make mrs lithebe such a memorable character?50 55 60 65",
            "24": "24 0486/11/m/j/19 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from the moving finger  (by edith wharton), and then answer the  question that follows it: the next sunday i travelled down to grancy\u2019s alone. he met me at the  station and i saw at once that he had changed since our last meeting. then  he had been in fighting array, but now if he and grief still housed together  it was no longer as enemies. physically the transformation was as marked  but less reassuring. if the spirit triumphed the body showed its scars. at  five-and-forty he was gray and stooping, with the tired gait of an old man.  his serenity, however, was not the resignation of age. i saw that he did not  mean to drop out of the game. almost immediately he began to speak of  our old interests; not with an effort, as at our former meeting, but simply  and naturally, in the tone of a man whose life has flowed back into its  normal channels. i remembered, with a touch of self-reproach, how i had  distrusted his reconstructive powers; but my admiration for his reserved  force was now tinged by the sense that, after all, such happiness as his  ought to have been paid with his last coin. the feeling grew as we neared  the house and i found how inextricably his wife was interwoven with my  remembrance of the place: how the whole scene was but an extension of  that vivid presence. within doors nothing was changed, and my hand would have dropped  without surprise into her welcoming clasp. it was luncheon-time, and  grancy led me at once to the dining-room, where the walls, the furniture,  the very plate and porcelain, seemed a mirror in which a moment since her  face had been reflected. i wondered whether grancy, under the recovered  tranquillity of his smile, concealed the same sense of her nearness, saw  perpetually between himself and the actual her bright unappeasable  ghost. he spoke of her once or twice, in an easy incidental way, and  her name seemed to hang in the air after he had uttered it, like a chord  that continues to vibrate. if he felt her presence it was evidently as an  enveloping medium, the moral atmosphere in which he breathed. i had  never before known how completely the dead may survive. after luncheon we went for a long walk through the autumnal fields and  woods, and dusk was falling when we re-entered the house. grancy led  the way to the library, where, at this hour, his wife had always welcomed  us back to a bright fire and a cup of tea. the room faced the west,  and held a clear light of its own after the rest of the house had grown  dark. i remembered how young she had looked in this pale gold light,  which irradiated her eyes and hair, or silhouetted her girlish outline as  she passed before the windows. of all the rooms the library was most  peculiarly hers; and here i felt that her nearness might take visible shape.  then, all in a moment, as grancy opened the door, the feeling vanished  and a kind of resistance met me on the threshold. i looked about me.   was the room changed? had some desecrating hand effaced the traces   of her presence? no; here too the setting was undisturbed. my feet sank  into the same deep-piled daghestan; the book-shelves took the firelight  on the same rows of rich subdued bindings; her arm-chair stood in its old  place near the tea-table; and from the opposite wall her face confronted  me. her face \u2013 but was it hers? i moved nearer and stood looking up at the 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/11/m/j/19 \u00a9 ucles 2019 portrait. grancy\u2019s glance had followed mine and i heard him move to my  side. \u2018you see a change in it?\u2019 he said. \u2018what does it mean?\u2019 i asked. \u2018it means \u2013 that five years have passed.\u2019 \u2018over her?\u2019 \u2018why not? \u2013 look at me!\u2019 he pointed to his gray hair and furrowed  temples. \u2018what do you think kept her so young? it was happiness! but  now\u2014\u2019 he looked up at her with infinite tenderness. \u2018i like her better so,\u2019 he  said. \u2018it\u2019s what she would have wished.\u2019 \u2018have wished?\u2019 \u2018that we should grow old together. do you think she would have wanted  to be left behind?\u2019 i stood speechless, my gaze travelling from his worn grief-beaten  features to the painted face above.   how does wharton vividly convey the narrator\u2019s thoughts and feelings at this moment in  the story? or 22 in what ways does crane memorably portray the relationships between the men in  the open boat ?50 55 60",
            "26": "26 0486/11/m/j/19 \u00a9 ucles 2019 blank page",
            "27": "27 0486/11/m/j/19 \u00a9 ucles 2019 blank page",
            "28": "28 0486/11/m/j/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_s19_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 165362/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *5253949550*literature (english)  0486/12 paper 1  poetry and prose  may/june 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/12/m/j/19 \u00a9 ucles 2019 blank page",
            "3": "3 0486/12/m/j/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2\u200a : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai: in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/12/m/j/19 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1: from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: for heidi with blue hair when you dyed your hair blue (or, at least, ultramarine for the clipped sides, with a crest of jet-black spikes on top) you were sent home from school because, as the headmistress put it, although dyed hair was not specifically forbidden, yours was, apart from anything else, not done in the school colours. tears in the kitchen, telephone-calls to school from your freedom-loving father: \u2018she\u2019s not a punk in her behaviour; it\u2019s just a style.\u2019 (you wiped your eyes, also not in a school colour.) \u2018she discussed it with me first \u2013 we checked the rules.\u2019 \u2018and anyway, dad, it cost twenty-five dollars. tell them it won\u2019t wash out \u2013 not even if i wanted to try.\u2019 it would have been unfair to mention your mother\u2019s death, but that shimmered behind the arguments. the school had nothing else against you; the teachers twittered and gave in. next day your black friend had hers done in grey, white and flaxen yellow \u2013 the school colours precisely: an act of solidarity, a witty tease. the battle was already won.  (fleur adcock )   how does adcock make this poem so moving?5 10 15 20 25 30",
            "5": "5 0486/12/m/j/19 \u00a9 ucles 2019 [turn over or 2 how does browning create a vivid atmosphere in meeting at night ? meeting at night the grey sea and the long black land; and the yellow half-moon large and low; and the startled little waves that leap in fiery ringlets from their sleep, as i gain the cove with pushing prow, and quench its speed i\u2019 the slushy sand. then a mile of warm sea-scented beach; three fields to cross till a farm appears; a tap at the pane, the quick sharp scratch and blue spurt of a lighted match, and a voice less loud, through its joys and fears, than the two hearts beating each to each!  (robert browning )5 10",
            "6": "6 0486/12/m/j/19 \u00a9 ucles 2019 songs of ourselves volume 2: from part 2 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: london snow when men were all asleep the snow came flying, in large white flakes falling on the city brown, stealthily and perpetually settling and loosely lying,  hushing the latest traffic of the drowsy town; deadening, muffling, stifling its murmurs failing; lazily and incessantly floating down and down:  silently sifting and veiling road, roof and railing; hiding difference, making unevenness even, into angles and crevices softly drifting and sailing.  all night it fell, and when full inches seven it lay in the depth of its uncompacted lightness, the clouds blew off from a high and frosty heaven;  and all woke earlier for the unaccustomed brightness of the winter dawning, the strange unheavenly glare: the eye marvelled\u2014marvelled at the dazzling whiteness;  the ear hearkened to the stillness of the solemn air; no sound of wheel rumbling nor of foot falling, and the busy morning cries came thin and spare.  then boys i heard, as they went to school, calling, they gathered up the crystal manna to freeze their tongues with tasting, their hands with snowballing;  or rioted in a drift, plunging up to the knees; or peering up from under the white-mossed wonder, \u2018o look at the trees!\u2019 they cried, \u2018o look at the trees!\u2019  with lessened load a few carts creak and blunder, following along the white deserted way, a country company long dispersed asunder:  when now already the sun, in pale display standing by paul\u2019s high dome, spread forth below his sparkling beams, and awoke the stir of the day.  for now doors open, and war is waged with the snow; and trains of sombre men, past tale of number, tread long brown paths, as toward their toil they go:  but even for them awhile no cares encumber their minds diverted; the daily word is unspoken, the daily thoughts of labour and sorrow slumber at the sight of the beauty that greets them, for the charm they have broken.  (robert bridges )   how does bridges vividly convey the effects of the snowfall in this poem?5 10 15 20 25 30 35",
            "7": "7 0486/12/m/j/19 \u00a9 ucles 2019 [turn over or 4 explore the ways in which millay makes the buck in the snow  such a sad poem. the buck in the snow white sky, over the hemlocks bowed with snow, saw you not at the beginning of evening the antlered buck and his doe standing in the apple-orchard? i saw them. i saw them suddenly go, tails up, with long leaps lovely and slow, over the stone-wall into the wood of hemlocks bowed with snow. now he lies here, his wild blood scalding the snow. how strange a thing is death, bringing to his knees, bringing to his antlers the buck in the snow. how strange a thing--a mile away by now, it may be, under the heavy hemlocks that as the moments pass shift their loads a little, letting fall a feather of snow-- life, looking out attentive from the eyes of the doe.  (edna st vincent millay )5 10",
            "8": "8 0486/12/m/j/19 \u00a9 ucles 2019 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: baby-sitting i am sitting in a strange room listening for the wrong baby. i don\u2019t love this baby. she is sleeping a snuffly roseate, bubbling sleep; she is fair; she is a perfectly acceptable child. i am afraid of her. if she wakes she will hate me. she will shout her hot midnight rage, her nose will stream disgustingly and the perfume of her breath will fail to enchant me. to her i will represent absolute abandonment. for her it will be worse than for the lover cold in lonely sheets; worse than for the woman who waits a moment to collect her dignity beside the bleached bone in the terminal ward. as she rises sobbing from the monstrous land stretching for milk-familiar comforting, she will find me and between us two it will not come. it will not come.   how does clarke memorably convey strong emotions in this poem?5 10 15 20",
            "9": "9 0486/12/m/j/19 \u00a9 ucles 2019 [turn over or 6 in what ways does clarke make the visit to port talbot so dramatic in heron at port  talbot ? heron at port talbot snow falls on the cooling towers delicately settling on cranes. machinery\u2019s old bones whiten; death settles with its rusts, its erosions. warning of winds off the sea the motorway dips to the dock\u2019s edge. my hands tighten on the wheel against the white steel of the wind. then we almost touch, both braking flight, bank on the air and feel that shocking intimacy of near-collision, animal tracks that cross in snow. i see his living eye, his change of mind, feel pressure as we bank, the force of his beauty. we might have died in some terrible conjunction. the steel town\u2019s sulphurs billow like dirty washing. the sky stains with steely inks and fires, chemical rustings, salt-grains, sand under snow. and the bird comes, a surveyor calculating space between old workings and the mountain hinterland, archangel come to re-open the heron-roads, meets me at an inter-section where wind comes flashing off water interrupting the warp of the snow and the broken rhythms of blood.5 10 15 20 25",
            "10": "10 0486/12/m/j/19 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7  read this extract, and then answer the question that follows it: \u2018you are not serious, tom, in meaning to act?\u2019 said edmund in a low  voice, as his brother approached the fire. \u2018not serious! never more so, i assure you. what is there to surprise you  in it?\u2019 \u2018i think it would be very wrong. in a general  light, private theatricals are  open to some objections, but as we are circumstanced, i must think it  would be highly injudicious, and more than injudicious, to attempt any thing  of the kind. it would show great want of feeling on my father\u2019s account,  absent as he is, and in some degree of constant danger; and it would be  imprudent, i think, with regard to maria, whose situation is a very delicate  one, considering every thing, extremely delicate.\u2019 \u2018you take up a thing so seriously! as if we were going to act three times  a week till my father\u2019s return, and invite all the country. but it is not to  be a display of that sort. we mean nothing but a little amusement among  ourselves, just to vary the scene, and exercise our powers in something  new. we want no audience, no publicity. we may be trusted, i think, in  chusing some play most perfectly unexceptionable, and i can conceive no  greater harm or danger to any of us in conversing in the elegant written  language of some respectable author than in chattering in words of our  own. i have no fears, and no scruples. and as to my father\u2019s being absent,  it is so far from an objection that i consider it rather as a motive; for the  expectation of his return must be a very anxious period to my mother, and  if we can be the means of amusing that anxiety, and keeping up her spirits  for the next few weeks, i shall think our time very well spent, and so i am  sure will he.\u2014it is a very anxious period for her.\u2019 as he said this, each looked towards their mother. lady bertram, sunk  back in one corner of the sofa, the picture of health, wealth, ease, and  tranquillity, was just falling into a gentle doze, while fanny was getting  through the few difficulties of her work for her. edmund smiled and shook his head. \u2018by jove! this wont do\u2019\u2014cried tom, throwing himself into a chair with a  hearty laugh. \u2018to be sure, my dear mother, your anxiety\u2014i was unlucky  there.\u2019 \u2018what is the matter?\u2019 asked her ladyship in the heavy tone of one half  roused\u2014\u2018i was not asleep.\u2019 \u2018oh! dear, no ma\u2019am\u2014nobody suspected you\u2014well edmund,\u2019 he  continued, returning to the former subject, posture, and voice, as soon as  lady bertram began to nod again\u2014\u2018but this i will maintain\u2014that we shall  be doing no harm.\u2019 \u2018i cannot agree with you\u2014i am convinced that my father would totally  disapprove it.\u2019 \u2018and i am convinced to the contrary.\u2014nobody is fonder of the exercise  of talent in young people or promotes it more than my father, and for any  thing of the acting, spouting, reciting kind, i think he has always a decided 5 10 15 20 25 30 35 40",
            "11": "11 0486/12/m/j/19 \u00a9 ucles 2019 [turn over taste. i am sure he encouraged it in us as boys. how many a time have we  mourned over the dead body of julius caesar, and to be\u2019d  and not to be\u2019d ,  in this very room, for his amusement. and i am sure, my name was norval ,  every evening of my life through one christmas holidays.\u2019 \u2018it was a very different thing.\u2014you must see the difference yourself. my  father wished us, as school-boys, to speak well, but he would never wish  his grown up daughters to be acting plays. his sense of decorum is strict.\u2019 \u2018i know all that,\u2019 said tom displeased. \u2018i know my father as well as you  do, and i\u2019ll take care that his daughters do nothing to distress him. manage  your own concerns, edmund, and i\u2019ll take care of the rest of the family .\u2019 [from chapter 13]    how does austen strikingly convey the conflict between tom and edmund at this moment  in the novel? or 8 what does austen\u2019s portrayal of mrs norris encourage you to feel about her?45 50",
            "12": "12 0486/12/m/j/19 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: all those fall afternoons were the same, but i never got used to them.  as far as we could see, the miles of copper-red grass were drenched in  sunlight that was stronger and fiercer than at any other time of the day.  the blond cornfields were red gold, the haystacks turned rosy and threw  long shadows. the whole prairie was like the bush that burned with fire  and was not consumed. that hour always had the exultation of victory,  of triumphant ending, like a hero\u2019s death \u2014 heroes who died young and  gloriously. it was a sudden transfiguration, a lifting-up of day. how many an afternoon \u00e1ntonia and i have trailed along the prairie  under that magnificence! and always two long black shadows flitted before  us or followed after, dark spots on the ruddy grass. we had been silent a long time, and the edge of the sun sank nearer  and nearer the prairie floor, when we saw a figure moving on the edge of  the upland, a gun over his shoulder. he was walking slowly, dragging his  feet along as if he had no purpose. we broke into a run to overtake him. \u2018my papa sick all the time,\u2019 tony panted as we flew. \u2018he not look good,  jim.\u2019 as we neared mr shimerda she shouted, and he lifted his head and  peered about. tony ran up to him, caught his hand and pressed it against  her cheek. she was the only one of his family who could rouse the old   man from the torpor in which he seemed to live. he took the bag from   his belt and showed us three rabbits he had shot, looked at \u00e1ntonia   with a wintry flicker of a smile and began to tell her something. she turned  to me. \u2018my tatinek  make me little hat with the skins, little hat for win-ter!\u2019 she  exclaimed joyfully. \u2018meat for eat, skin for hat\u2019 \u2014 she told off these benefits  on her fingers. her father put his hand on her hair, but she caught his wrist and lifted  it carefully away, talking to him rapidly. i heard the name of old hata. he  untied the handkerchief, separated her hair with his fingers, and stood  looking down at the green insect. when it began to chirp faintly, he listened  as if it were a beautiful sound. i picked up the gun he had dropped; a queer piece from the old country,  short and heavy, with a stag\u2019s head on the cock. when he saw me  examining it, he turned to me with his far-away look that always made me  feel as if i were down at the bottom of a well. he spoke kindly and gravely,  and \u00e1ntonia translated: \u2018my tatinek  say when you are big boy, he give you his gun. very fine,  from bohemie. it was belong to a great man, very rich, like what you not  got here; many fields, many forests, many big house. my papa play for his  wedding, and he give my papa fine gun, and my papa give you.\u2019 i was glad that this project was one of futurity. there never were such  people as the shimerdas for wanting to give away everything they had.  even the mother was always offering me things, though i knew she  expected substantial presents in return. we stood there in friendly silence,  while the feeble minstrel sheltered in \u00e1ntonia\u2019s hair went on with its  scratchy chirp. the old man\u2019s smile, as he listened, was so full of sadness,  of pity for things, that i never afterward forgot it. as the sun sank there 5 10 15 20 25 30 35 40 45",
            "13": "13 0486/12/m/j/19 \u00a9 ucles 2019 [turn over came a sudden coolness and the strong smell of earth and drying grass.  \u00e1ntonia and her father went off hand in hand, and i buttoned up my jacket  and raced my shadow home. [from book 1 chapter 6]    how does cather make this such a dramatic and unsettling moment in the novel? or 10 how far does cather persuade you that \u00e1ntonia has a happy and satisfying life?50",
            "14": "14 0486/12/m/j/19 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: deven had been more a poet than a professor when he married sarla \u2013  he had only been taken on as a temporary lecturer and still had confidence  in his verse \u2013 and for the wife of a poet she seemed too prosaic. of course  she had not been his choice but that of his mother and aunts, crafty and  cautious women; she was the daughter of a friend of an aunt\u2019s, she lived  on the same street as that family, they had observed her for years and  found her suitable in every way: plain, penny-pinching and congenitally  pessimistic. what they had not suspected was that sarla, as a girl and  as a new bride, had aspirations, too; they had not understood because  within the grim boundaries of their own penurious lives they had never  entertained anything so abstract. sarla\u2019s home had been scarcely less  grim but on the edges of it there flowered such promises of eden as  could be held out by advertisements, cinema shows and the gossip of girl  friends. so she had dared to aspire towards a telephone, a refrigerator,  even a car. did not the smiling lady on the signboard lean seductively  upon her crowded refrigerator, promising \u2018yours, in easy instalments\u2019? and  the saucy girl in the magazine step into a car as though there were no  such things in her life as bills, instalments or debts? her girl friends had a  joke about it \u2013 \u2018fan, \u2019phone, frigidaire!\u2019 they would shout whenever anyone  mentioned a wedding, a bridegroom, a betrothal, and dissolve in hectic  laughter. while her mother collected stainless steel cooking pots and her  sisters embroidered pillowcases and anti-macassars for her, she dreamt  the magazine dream of marriage: herself, stepping out of a car with a  plastic shopping bag full of groceries and filling them into the gleaming  refrigerator, then rushing to the telephone placed on a lace doily upon a  three-legged table and excitedly ringing up her friends to invite them to  see a picture show with her and her husband who was beaming at her  from behind a flowered curtain. but by marrying into the academic profession and moving to a small  town outside the capital, none of these dreams had materialized, and she  was naturally embittered. the thwarting of her aspirations had cut two dark  furrows from the corners of her nostrils to the corners of her mouth, as  deep and permanent as surgical scars. the droop of her thin, straight hair  on either side of her head repeated these twin lines of disappointment.  they made her look forbidding, and perhaps that was why her husband  looked so perpetually forbidden, even if he understood their cause. he  understood because, like her, he had been defeated too; like her, he was a  victim. although each understood the secret truth about the other, it did not  bring about any closeness of spirit, any comradeship, because they also  sensed that two victims ought to avoid each other, not yoke together their  joint disappointments. a victim does not look to help from another victim;  he looks for a redeemer. at least deven had his poetry; she had nothing,  and so there was an added accusation and bitterness in her look. usually he was enraged by her tacit accusations that added to the load  on his back. to relieve it, he would hurl away dishes that had not been  cooked to his liking, bawl uncontrollably if meals were not ready when he  wanted them or the laundry not done or a button missing or their small son  noisy or unwashed; it was to lay the blame upon her, remove its clinging 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/12/m/j/19 \u00a9 ucles 2019 [turn over skin from him. tearing up a shirt she had not washed, or turning the boy  out of the room because he was crying, he was really protesting against  her disappointment; he was out to wreck it, take his revenge upon her  for harbouring it. why should it blight his existence that had once shown  promise and had a future? but now the blight settled on his own existence and he submitted to it;  it suited his mood, it seemed fitting. sprawled upon the broken cane chair  in the veranda, he listened to sarla moving about the house inside, and  watched his son playing on the steps. they were busy, he idle. they were  alive, he in a limbo. if he made no effort to rise from it, there he would  remain. [from chapter 4]   how does desai memorably reveal deven\u2019s thoughts and feelings about his marriage at  this moment in the novel? or 12 does desai\u2019s writing make it possible for you to have any admiration for murad?50 55",
            "16": "16 0486/12/m/j/19 \u00a9 ucles 2019 charles dickens: hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: \u2018are you in pain, dear mother?\u2019 \u2018i think there\u2019s a pain somewhere in the room,\u2019 said mrs gradgrind, \u2018but i  couldn\u2019t positively say that i have got it.\u2019 after this strange speech, she lay silent for some time. louisa holding  her hand, could feel no pulse; but kissing it, could see a slight thin thread  of life in fluttering motion. \u2018you very seldom see your sister,\u2019 said mrs gradgrind. \u2018she grows like  you. i wish you would look at her. sissy, bring her here.\u2019 she was brought, and stood with her hand in her sister\u2019s. louisa had  observed her with her arm round sissy\u2019s neck, and she felt the difference  of this approach. \u2018do you see the likeness, louisa?\u2019 \u2018yes, mother. i should think her like me. but\u2019 \u2013 \u2018eh? yes, i always say so,\u2019 mrs gradgrind cried, with unexpected  quickness. \u2018and that reminds me. i \u2013 i want to speak to you, my dear.  sissy, my good girl, leave us alone a minute.\u2019 louisa had relinquished the hand: had thought that her sister\u2019s was  a better and brighter face than hers had ever been: had seen in it, not  without a rising feeling of resentment, even in that place and at that time,  something of the gentleness of the other face in the room: the sweet face  with the trusting eyes, made paler than watching and sympathy made it,  by the rich dark hair. left alone with her mother, louisa saw her lying with an awful lull  upon her face, like one who was floating away upon some great water,  all resistance over, content to be carried down the stream. she put the  shadow of a hand to her lips again, and recalled her. \u2018you were going to speak to me, mother.\u2019 \u2018eh? yes, to be sure, my dear. you know your father is almost always  away now, and therefore i must write to him about it.\u2019 \u2018about what, mother? don\u2019t be troubled. about what?\u2019 \u2018you must remember, my dear, that whenever i have said anything, on  any subject, i have never heard the last of it; and consequently, that i have  long left off saying anything.\u2019 \u2018i can hear you, mother.\u2019 but, it was only by dint of bending down to   her ear, and at the same time attentively watching the lips as they  moved, that she could link such faint and broken sounds into any chain of  connexion. \u2018you learnt a great deal, louisa, and so did your brother. ologies of all  kinds, from morning to night. if there is any ology left, of any description,  that has not been worn to rags in this house, all i can say is, i hope i shall  never hear its name.\u2019 \u2018i can hear you, mother, when you have strength to go on.\u2019 this, to keep  her from floating away. \u2018but there is something \u2013 not an ology at all \u2013 that your father has  missed, or forgotten, louisa. i don\u2019t know what it is. i have often sat with  sissy near me, and thought about it. i shall never get its name now. but  your father may. it makes me restless. i want to write to him, to find out for  god\u2019s sake, what it is. give me a pen, give me a pen.\u20195 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/m/j/19 \u00a9 ucles 2019 [turn over even the power of restlessness was gone, except from the poor head,  which could just turn from side to side. she fancied, however, that her request had been complied with, and  that the pen she could not have held was in her hand. it matters little what  figures of wonderful no-meaning she began to trace upon her wrappers.  the hand soon stopped in the midst of them; the light that had always  been feeble and dim behind the weak transparency, went out; and even  mrs gradgrind, emerged from the shadow in which man walketh and  disquieteth himself in vain, took upon her the dread solemnity of the sages  and patriarchs. [from book 2 chapter 9]   how does dickens make this such a moving moment in the novel? or  14 in what ways does dickens make the marriage between louisa and bounderby so  disturbing?50 55",
            "18": "18 0486/12/m/j/19 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: they had their meal early that night. there was a feeling of needing to  be ready. thornhill did not ask himself, ready for what? it was only just dusk when sal got the children into bed and sang to  them. when i grow rich, say the bells of shoreditch. when will that be, say  the bells of stepney. i do not know, says the great bell at bow . her voice  sounded parched. he heard in it a quaver of tenderness. or perhaps of fear. the two of them sat up late over the last of the fire, watching in silence  as the draughts flickered over the coals. in their corner the children snuffled  and sighed. dick flung himself over and called out something in a blurred  voice. from the lean-to ned was snoring with a noise like a shuddering  saw. they heard him cough, could imagine dan turning him over, and in  the silence that fell they could hear the sounds coming from the camp. at first it was a sharp clapping, insistent as a heartbeat. sal turned her  face to thornhill\u2019s. in the firelight her eyes were pools of shadow but he  saw how her mouth was tight. before he could think of reassurance, the  singing started: a high strong wailing of a man\u2019s voice, and other voices  in a kind of drone underneath. it was not a tune, nothing cheerful that   you might listen to like oranges and lemons, more a kind of chant   as you might hear in a church. it was a sound that worked its way under  the skin. thornhill tried to speak up loud. having a bit of a sing-song , he said, but  his mouth had gone dry. he tried again: like that scabby bill. remember  scabby bill?  of course she remembered him. but she knew, as well as he  did, that this authoritative chorus of noise was very different from the thin  song that scabby bill had managed in return for a mouthful of liquor. he had to force himself not to whisper. they\u2019ll get sick of it by and by . out there, between the cracks in the walls, the night was as black as  the inside of an ear. the huge air stirred, full of hostile life. he imagined it:  the blacks creeping up to the hut, silent as lizards on their wide quiet feet.  they might at this very moment be peering in at them. the noises were  getting louder, the sort of sound it would take an army to make. the words not said were like a creature pacing up and down between  them. now ned and dan, woken out of their sleep, came in. ned went over  to the lamp and stood beside it as if the glow would keep him safe. they  coming to get us, mr thornhill , he said. hear them laughing , dan added. they can\u2019t hardly wait . it was true, they could hear distant laughter. thornhill felt fear cold on  his skin at the picture in his mind of them preparing their spears with a  butcher\u2019s glee, how sharp they were, how quick they would kill a white  man. ned\u2019s voice was on the edge of panic. they coming to spear us in  the guts, ain\u2019t they , and bub\u2019s voice came quavery, don\u2019t let them spear  me da!  he could hear johnny catch the fear and set up a snivelling that  set mary off too. sal went over to where they lay and wrapped her arms  around them.5 10 15 20 25 30 35 40 45",
            "19": "19 0486/12/m/j/19 \u00a9 ucles 2019 [turn over if they\u2019d a wanted to spear us they\u2019d a done it ten times over by now ,  thornhill said. then he thought that might not be the best argument to  follow. we got no call to worry , he announced, but no one seemed  convinced. now willie was speaking up. they get away with it, we\u2019ll never see the  end of it, da , he said. we best show them good and proper . to thornhill\u2019s  ears, the words had a secondhand feel about them, borrowed from  someone else. smasher perhaps, or sagitty birtles. he saw the boy anew: a mulish skinny lad who had outgrown his  strength, all bony neck and bat-ears and a mouth that was trying to be  strong. willie stood squinting at him, scratching the back of one leg with a  long bare foot. get the gun, da, whyn\u2019t you get the gun? but dick had got up from the stool and faced up to his brother. ain\u2019t no  call for the gun, willie , he said. they just having a get-together, like da  says. willie grabbed his shoulder and shook it. bulldust , he cried. bloody  bulldust that is, we got to get the bloody gun . [from part 5]   in what ways does grenville vividly convey the thornhills\u2019 fear at this moment in the  novel? or 16 how does grenville strikingly convey the growing conflict between will and sal at  thornhill\u2019s point?50 55 60",
            "20": "20 0486/12/m/j/19 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: gradually the noise in the room, which had revived when the three of  them came in, subsided again. brinker managed it. he never raised his voice, but instead he let the  noise surrounding it gradually sink so that his voice emerged in the ensuing  silence without any emphasis on his part\u2014\u2018so that you were standing next  to the river bank, watching phineas climb the tree?\u2019 he was saying, and  had waited, i knew, until this silence to say. \u2018sure. right there by the trunk of the tree. i was looking up. it was almost  sunset, and i remember the way the sun was shining in my eyes.\u2019 \u2018so you couldn\u2019t \u2026\u2019 i began before i could stop myself. there was a short pause during which every ear and no eyes were  directed toward me, and then brinker went on. \u2018and what did you see?  could you see anything with the sun in your eyes?\u2019 \u2018oh sure,\u2019 said leper in his new, confident, false voice. \u2018i just shaded my  eyes a little, like this,\u2019 he demonstrated how a hand shades the eyes, \u2018and  then i could see. i could see both of them clearly enough because the sun  was blazing all around them,\u2019 a certain singsong sincerity was developing  in his voice, as though he were trying to hold the interest of young children,  \u2018and the rays of the sun were shooting past them, millions of rays shooting  past them like\u2014like golden machine-gun fire.\u2019 he paused to let us consider  the profoundly revealing exactness of this phrase. \u2018that\u2019s what it was like,  if you want to know. the two of them looked as black as\u2014as black as  death standing up there with this fire burning all around them.\u2019 everyone could hear, couldn\u2019t they? the derangement in his voice.  everyone must be able to see how false his confidence was. any fool  could see that. but whatever i said would be a self-indictment; others  would have to fight for me. \u2018up there where?\u2019 said brinker brusquely. \u2018where were the two of them  standing up there?\u2019 \u2018on the limb!\u2019 leper\u2019s annoyed, this-is-obvious tone would discount what  he said in their minds; they would know that he had never been like this  before, that he had changed and was not responsible. \u2018who was where on the limb? was one of them ahead of the other?\u2019 \u2018well of course.\u2019 \u2018who was ahead?\u2019 leper smiled waggishly. \u2018i couldn\u2019t see that. there were just two shapes,  and with that fire shooting past them they looked as black as\u2014\u2019 \u2018you\u2019ve already told us that. you couldn\u2019t see who was ahead?\u2019 \u2018no, naturally i couldn\u2019t.\u2019 \u2018but you could see how they were standing. where were they exactly?\u2019 \u2018one of them was next to the trunk, holding the trunk of the tree. i\u2019ll  never forget that because the tree was a huge black shape too, and his  hand touching the black trunk anchored him, if you see what i mean, to  something solid in all the bright fire they were standing in up there. and the  other one was a little farther out on the limb.\u2019 \u2018then what happened?\u2019 \u2018then they both moved.\u2019 \u2018how did they move?\u20195 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/m/j/19 \u00a9 ucles 2019 [turn over \u2018they moved,\u2019 now leper was smiling, a charming and slightly arch  smile, like a child who knows he is going to say something clever, \u2018they  moved like an engine.\u2019 in the baffled silence i began to uncoil slowly. \u2018like an engine!\u2019 brinker\u2019s expression was a struggle between surprise  and disgust. \u2018i can\u2019t think of the name of the engine. but it has two pistons. what is  that engine? well anyway, in this engine first one piston sinks, and then  the next one sinks. the one holding on to the trunk sank for a second, up  and down like a piston, and then the other one sank and fell.\u2019 someone on the platform exclaimed, \u2018the one who moved first shook  the other one\u2019s balance!\u2019 \u2018i suppose so.\u2019 leper seemed to be rapidly losing interest. [from chapter 11]   how does knowles make this such a dramatic moment in the novel? or 18 does knowles convince you that gene is entirely honest in his feelings towards finny?50 55 60",
            "22": "22 0486/12/m/j/19 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: outside the pleasant-faced man came and spoke to them and hearing  their plans, invited them to his house, where he and his wife had a number  of boys in their charge, boys who had left the big reformatory building and  were living outside in these free houses. he gave them some tea and  food, and he too told them that absalom had become a head-boy, and  had behaved well during his stay at the reformatory. so they talked about  the reformatory, and the children that were growing up in johannesburg  without home or school or custom, and about the broken tribe and the  sickness of the land, until a messenger came from the young man to say  that he was ready. it was not long before the motor-car had reached pimville, which  is a village of half-tanks used as houses, set up many years before in  emergency, and used ever since. for there have never been houses  enough for all the people who came to johannesburg. at the gate they  asked permission to enter, for a white man may not go into these places  without permission. they stopped at one of these half-tank houses, and the young white  man took them in, where they were greeted by a young girl, who herself  seemed no more than a child. \u2013 we have come to inquire after absalom, said the young white man.  this umfundisi is his father. \u2013 he went on saturday to springs, she said, and he has not yet returned. the young man was silent awhile, and he frowned in perplexity or   anger. \u2013 but this is tuesday, he said. have you heard nothing from him? \u2013 nothing, she said. \u2013 when will he return? he asked. \u2013 i do not know, she said. \u2013 will he ever return? he asked, indifferently, carelessly. \u2013 i do not know, she said. she said it tonelessly, hopelessly, as one who  is used to waiting, to desertion. she said it as one who expects nothing  from her seventy years upon the earth. no rebellion will come out of her,  no demands, no fierceness. nothing will come out of her at all, save the  children of men who will use her, leave her, forget her. and so slight was  her body, and so few her years, that kumalo for all his suffering was moved  to compassion. \u2013 what will you do? he said. \u2013 i do not know, she said. \u2013 perhaps you will find another man, said msimangu bitterly. and before  kumalo could speak, to steal away the bitterness and hide it from her \u2013 i  do not know, she said. and again before kumalo could speak, msimangu turned his back on  the girl, and spoke to him privately. \u2013 you can do nothing here, he said. let us go. \u2013 my friend \u2026 \u2013 i tell you, you can do nothing. have you not troubles enough of your  own? i tell you there are thousands such in johannesburg. and were  your back as broad as heaven, and your purse full of gold, and did your 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/m/j/19 \u00a9 ucles 2019 [turn over compassion reach from here to hell itself, there is nothing you can do. silently they withdrew. all of them were silent, the young white man  heavy with failure, the old man with grief, msimangu still bitter with his  words. kumalo stood at the car though the others were already seated. \u2013 you do not understand, he said. the child will be my grandchild. \u2013 even that you do not know, said msimangu angrily. his bitterness  mastered him again. and if he were, he said, how many such more have  you? shall we search them out, day after day, hour after hour? will it ever  end? kumalo stood in the dust like one who has been struck. then without  speaking any more he took his seat in the car. [from book 1 chapter 10]   how does paton make this moment in the novel so dramatic? or 20 in what ways does paton\u2019s writing create a vivid picture of ndotsheni?50 55",
            "24": "24 0486/12/m/j/19 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from the lemon orchard  (by alex la guma), and then answer the  question that follows it: \u2018are you cold, hotnot?\u2019 the man with the light jeered. the coloured man did not reply. he was afraid, but his fear was mixed  with a stubbornness which forbade him to answer them. \u2018he is not cold,\u2019 the fifth man in the party said. \u2018he is shivering with fear.  is it not so, hotnot?\u2019 the coloured man said nothing, but stared ahead of himself into the  half-light made by the small lantern. he could see the silhouette of the  man who carried the light, but he did not want to look at the two who  flanked him, the one who had complained of the cold, and the one   who had spoken of his fear. they each carried a sjambok and every now  and then one of them slapped a corduroyed leg with his. \u2018he is dumb also,\u2019 the one who had spoken last chuckled. \u2018no, andries. wait a minute,\u2019 the leader who carried the shotgun said,  and they all stopped between the row of trees. the man with the lantern  turned and put the light on the rest of the party. \u2018what is it?\u2019 he asked. \u2018wag\u2019n oomblikkie. wait a moment,\u2019 the leader said, speaking with forced  casualness. \u2018he is not dumb. he is a slim hotnot; one of those educated  bushmen. listen, hotnot,\u2019 he addressed the coloured man, speaking  angrily now. \u2018when a baas speaks to you, you answer him. do you hear?\u2019  the coloured man\u2019s wrists were tied behind him with a riem and the leader  brought the muzzle of the shotgun down, pressing it hard into the small of  the man\u2019s back above where the wrists met. \u2018do you hear, hotnot? answer  me or i will shoot a hole through your spine.\u2019 the bound man felt the hard round metal of the gun muzzle through the  loose raincoat and clenched his teeth. he was cold and tried to prevent  himself from shivering in case it should be mistaken for cowardice. he  heard the small metallic noise as the man with the gun thumbed back the  hammer of the shotgun. in spite of the cold little drops of sweat began to  form on his upper lip under the overnight stubble. \u2018for god\u2019s sake, don\u2019t shoot him,\u2019 the man with the light said, laughing a  little nervously. \u2018we don\u2019t want to be involved in any murder.\u2019 \u2018what are you saying, man?\u2019 the leader asked. now with the beam   of the battery-lamp on his face the shadows in it were washed away to  reveal the mass of tiny wrinkled and deep creases which covered the  red-clay complexion of his face like the myriad lines which indicate rivers,  streams, roads and railways on a map. they wound around the ridges   of his chin and climbed the sharp range of his nose and the peaks of his  chin and cheekbones, and his eyes were hard and blue like two frozen  lakes. \u2018this is mos a slim hotnot,\u2019 he said again. \u2018a teacher in a school for which  we pay. he lives off our sweat, and he had the audacity to be cheeky and  uncivilised towards a minister of our church and no hotnot will be cheeky  to a white man while i live.\u2019 \u2018ja, man,\u2019 the lantern-bearer agreed. \u2018but we are going to deal with   him. there is no necessity to shoot him. we don\u2019t want that kind of   trouble.\u20195 10 15 20 25 30 35 40 45",
            "25": "25 0486/12/m/j/19 \u00a9 ucles 2019 \u2018i will shoot whatever hotnot or kaffir i desire, and see me get into trouble  over it. i demand respect from these donders. let them answer when  they\u2019re spoken to.\u2019 he jabbed the muzzle suddenly into the coloured man\u2019s back so that  he stumbled struggling to keep his balance. \u2018do you hear, jong? did i not  speak to you?\u2019 the man who had jeered about the prisoner\u2019s fear stepped  up then, and hit him in the face, striking him on a cheekbone with the  clenched fist which still held the sjambok. he was angry over the delay  and wanted the man to submit so that they could proceed. \u2018listen you  hotnot bastard,\u2019 he said loudly. \u2018why don\u2019t you answer?\u2019 the man stumbled, caught himself and stood in the rambling shadow  of one of the lemon trees. the lantern-light swung on him and he looked  away from the centre of the beam. he was afraid the leader would shoot  him in anger and he had no wish to die. he straightened up and looked  away from them. \u2018well?\u2019 demanded the man who had struck him. \u2018yes, baas,\u2019 the bound man said, speaking with a mixture of dignity and  contempt which was missed by those who surrounded him.   how does la guma\u2019s writing make this such a powerful part of the story? or 22 in what ways does maclaverty powerfully convey tensions in the relationship between  the boy and his aunt mary in secrets ?50 55 60 65",
            "26": "26 0486/12/m/j/19 \u00a9 ucles 2019 blank page",
            "27": "27 0486/12/m/j/19 \u00a9 ucles 2019 blank page",
            "28": "28 0486/12/m/j/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_s19_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 165363/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *1113284060*literature (english)  0486/13 paper 1  poetry and prose  may/june 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/13/m/j/19 \u00a9 ucles 2019 blank page",
            "3": "3 0486/13/m/j/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2\u200a : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai:  in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/13/m/j/19 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: friend do you remember that wild stretch of land with the lone tree guarding the point from the sharp-tongued sea? the fort we built out of branches wrenched from the tree, is dead wood now. the air that was thick with the whirr of toetoe spears succumbs at last to the grey gull\u2019s wheel. oyster-studded roots of the mangrove yield no finer feast of silver-bellied eels, and sea-snails cooked in a rusty can. allow me to mend the broken ends of shared days: but i wanted to say that the tree we climbed that gave food and drink to youthful dreams, is no more. pursed to the lips her fine-edged leaves made whistle \u2013 now stamp no silken tracery on the cracked clay floor. friend, in this drear dreamless time i clasp your hand if only for reassurance that all our jewelled fantasies were real and wore splendid rags. perhaps the tree will strike fresh roots again: give soothing shade to a hurt and troubled world.  (hone tuwhare )   how does tuwhare use words and images to evoke the past in this poem?5 10 15 20 25 30",
            "5": "5 0486/13/m/j/19 \u00a9 ucles 2019 [turn over or 2 explore the ways in which tennyson conveys strong feelings about the past in song:  tears, idle tears . song: tears, idle tears tears, idle tears, i know not what they mean, tears from the depth of some divine despair rise in the heart, and gather to the eyes, in looking on the happy autumn-fields, and thinking of the days that are no more. fresh as the first beam glittering on a sail, that brings our friends up from the underworld, sad as the last which reddens over one that sinks with all we love below the verge; so sad, so fresh, the days that are no more. ah, sad and strange as in dark summer dawns the earliest pipe of half-awakened birds to dying ears, when unto dying eyes the casement slowly grows a glimmering square; so sad, so strange, the days that are no more. dear as remembered kisses after death, and sweet as those by hopeless fancy feigned on lips that are for others; deep as love, deep as first love, and wild with all regret; o death in life, the days that are no more.  (alfred, lord tennyson )5 10 15 20",
            "6": "6 0486/13/m/j/19 \u00a9 ucles 2019 songs of ourselves volume 2 : from part 2 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: you will know when you get there nobody comes up from the sea as late as this in the day and the season, and nobody else goes down the last steep kilometre, wet-metalled where a shower passed shredding the light which keeps pouring out of its tank in the sky, through summits, trees, vapours thickening and thinning. too credibly by half celestial, the dammed reservoir up there keeps emptying while the light lasts over the sea, where it \u2018gathers the gold against it\u2019. the light is bits of crushed rock randomly glinting underfoot, wetted by the short shower, and down you go and so in its way does the sun which gets there first. boys, two of them, turn campfirelit faces, a hesitancy to speak is a hesitancy of the earth rolling back and away behind this man going down to the sea with a bag to pick mussels, having an arrangement with the tide, the ocean to be shallowed three point seven metres, one hour\u2019s light to be left, and there\u2019s the excrescent moon sponging off the last of it. a door slams, a heavy wave, a door, the sea-floor shudders. down you go alone, so late, into the surge-black fissure.  (allen curnow )   in what ways does curnow create a mysterious atmosphere in this poem?5 10 15 20",
            "7": "7 0486/13/m/j/19 \u00a9 ucles 2019 [turn over or 4 what does constantine\u2019s writing make you feel about the people in watching for dolphins ? watching for dolphins in the summer months on every crossing to piraeus one noticed that certain passengers soon rose from seats in the packed saloon and with serious looks and no acknowledgement of a common purpose passed forward through the small door into the bows to watch for dolphins. one saw them lose every other wish. even the lovers turned their desires on the sea, and a fat man hung with equipment to photograph the occasion stared like a saint, through sad bi-focals; others, hopeless themselves, looked to the children for they would see dolphins if anyone would. day after day or on their last opportunity all gazed undecided whether a flat calm were favourable or a sea the sun and the wind between them raised to a likeness of dolphins. were gulls a sign, that fell screeching from the sky or over an unremarkable place sat in a silent school? every face after its character implored the sea. all, unaccustomed, wanted epiphany, praying the sky would clang and the abused aegean reverberate with cymbal, gong and drum. we could not imagine more prayer, and had they then on the waves, on the climax of our longing come smiling, snub-nosed, domed like satyrs, oh we should have laughed and lifted the children up stranger to stranger, pointing how with a leap they left their element, three or four times, centred on grace, and heavily and warm re-entered, looping the keel. we should have felt them go further and further into the deep parts. but soon we were among the great tankers, under their chains in black water. we had not seen the dolphins but woke, blinking. eyes cast down with no admission of disappointment the company dispersed and prepared to land in the city.  (david constantine )5 10 15 20 25 30 35",
            "8": "8 0486/13/m/j/19 \u00a9 ucles 2019 gillian clarke:  from  collected poems remember to support your ideas with details from the writing. either   5 read this poem, and then answer the question that follows it: family house i slept in a room in the roof, the white planes of its ceiling freckled with light from the sea, or at night leaf shadows from the street-lamp in the lane. below, the flame of her hair, and the gleam of a colander as she bent among the pea-rows, or pulled a lettuce from the black earth, wearing silly shoes to make her taller. even in summer, sometimes, salt on the air, i\u2019d hear far off that faltered heartbeat of the breaksea lightship, then the held breath of silence to the count of ten. now the vegetable garden is a lawn, and they sold the coach house, pigsty, the old stable where in wet summers we crouched over our cache of secrets under the cidery air of an apple-loft. from a hundred miles and thirty years away i smell long rows of fruit, turned to rotten gourds of juice soft-skinned as toads.   in what ways does clarke create vivid impressions of the house and its meaning for her  in this poem?5 10 15 20",
            "9": "9 0486/13/m/j/19 \u00a9 ucles 2019 [turn over or 6 how does clarke create striking impressions of the bird in buzzard ? buzzard no sutures in the steep brow of this cranium, as in mine or yours. delicate ellipse as smooth as her own egg or the cleft flesh of a fruit. from the plundered bones on the hill, like a fire in its morning ashes, you guess it\u2019s a buzzard\u2019s skull. you carry it gently home, hoping no last day of the birds will demand assembly of her numerous white parts. in the spaces we can\u2019t see on the other side of walls as fine as paper, brain and eye dry out under the gossamers. between the sky and the mouse that moves at the barley field\u2019s spinning perimeter, only a mile of air and the ganging crows, their cries stones at her head. in death, the last stoop, all\u2019s risked. she scorns the scavengers who feed on death, and never feel the lightning flash of heart dropping on heart, warm fur, blood.5 10 15 20 25",
            "10": "10 0486/13/m/j/19 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: miss crawford made her first essay with great credit to herself, and no  inconvenience to fanny. edmund, who had taken down the mare and  presided at the whole, returned with it in excellent time, before either  fanny or the steady old coachman, who always attended her when she  rode without her cousins, were ready to set forward. the second day\u2019s  trial was not so guiltless. miss crawford\u2019s enjoyment of riding was such,  that she did not know how to leave off. active and fearless, and, though  rather small, strongly made, she seemed formed for a horse woman; and  to the pure genuine pleasure of the exercise, something was probably  added in edmund\u2019s attendance and instructions, and something more in  the conviction of very much surpassing her sex in general by her early  progress, to make her unwilling to dismount. fanny was ready and waiting,  and mrs norris was beginning to scold her for not being gone, and still no  horse was announced, no edmund appeared. to avoid her aunt, and look  for him, she went out. the houses, though scarcely half a mile apart, were not within sight  of each other; but by walking fifty yards from the hall door, she could  look down the park, and command a view of the parsonage and all its  demesnes, gently rising beyond the village road; and in dr grant\u2019s meadow  she immediately saw the group\u2014edmund and miss crawford both on  horseback, riding side by side, dr and mrs grant, and mr crawford, with  two or three grooms, standing about and looking on. a happy party it  appeared to her\u2014all interested in one object\u2014cheerful beyond a doubt, for  the sound of merriment ascended even to her. it was a sound which did not  make her cheerful; she wondered that edmund should forget her, and felt  a pang. she could not turn her eyes from the meadow, she could not help  watching all that passed. at first miss crawford and her companion made  the circuit of the field, which was not small, at a foot\u2019s pace; then, at her  apparent suggestion, they rose into a canter; and to fanny\u2019s timid nature  it was most astonishing to see how well she sat. after a few minutes, they  stopt entirely, edmund was close to her, he was speaking to her, he was  evidently directing her management of the bridle, he had hold of her hand;  she saw it, or the imagination supplied what the eye could not reach. she  must not wonder at all this; what could be more natural than that edmund  should be making himself useful, and proving his good-nature by any one?  she could not but think indeed that mr crawford might as well have saved  him the trouble; that it would have been particularly proper and becoming  in a brother to have done it himself; but mr crawford, with all his boasted  good nature, and all his coachmanship, probably knew nothing of the  matter, and had no active kindness in comparison of edmund. she began  to think it rather hard upon the mare to have such double duty; if she were  forgotten the poor mare should be remembered. her feelings for one and the other were soon a little tranquillized, by  seeing the party in the meadow disperse, and miss crawford still on 5 10 15 20 25 30 35 40",
            "11": "11 0486/13/m/j/19 \u00a9 ucles 2019 [turn over horseback, but attended by edmund on foot, pass through a gate into the  lane, and so into the park, and make towards the spot where she stood.  she began then to be afraid of appearing rude and impatient; and walked  to meet them with a great anxiety to avoid the suspicion. \u2018my dear miss price,\u2019 said miss crawford, as soon as she was at all  within hearing, \u2018i am come to make my own apologies for keeping you  waiting\u2014but i have nothing in the world to say for myself\u2014i knew it was  very late, and that i was behaving extremely ill; and, therefore, if you  please, you must forgive me. selfishness must always be forgiven you  know, because there is no hope of a cure.\u2019 [from chapter 7]   explore the ways in which austen portrays mary crawford at this moment in the novel. or 8 what does austen\u2019s portrayal of sir thomas make you feel about him?45 50",
            "12": "12 0486/13/m/j/19 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: after \u00e1ntonia went to live with the cutters, she seemed to care about  nothing but picnics and parties and having a good time. when she was  not going to a dance, she sewed until midnight. her new clothes were  the subject of caustic comment. under lena\u2019s direction she copied mrs  gardener\u2019s new party dress and mrs smith\u2019s street costume so ingeniously  in cheap materials that those ladies were greatly annoyed, and mrs cutter,  who was jealous of them, was secretly pleased. tony wore gloves now, and high-heeled shoes and feathered bonnets,  and she went downtown nearly every afternoon with tiny and lena and  the marshalls\u2019 norwegian anna. we high-school boys used to linger on the  playground at the afternoon recess to watch them as they came tripping  down the hill along the board sidewalk, two and two. they were growing  prettier every day, but as they passed us, i used to think with pride that  \u00e1ntonia, like snow-white in the fairy tale, was still \u2018fairest of them all.\u2019 being a senior now, i got away from school early. sometimes i overtook  the girls downtown and coaxed them into the ice-cream parlour, where  they would sit chattering and laughing, telling me all the news from the  country. i remember how angry tiny soderball made me one afternoon. she  declared she had heard grandmother was going to make a baptist  preacher of me. \u2018i guess you\u2019ll have to stop dancing and wear a white  necktie then. won\u2019t he look funny, girls?\u2019 lena laughed. \u2018you\u2019ll have to hurry up, jim. if you\u2019re going to be a  preacher, i want you to marry me. you must promise to marry us all, and  then baptize the babies.\u2019 norwegian anna, always dignified, looked at her reprovingly. \u2018baptists don\u2019t believe in christening babies, do they, jim?\u2019 i told her i didn\u2019t know what they believed, and didn\u2019t care, and that i  certainly wasn\u2019t going to be a preacher. \u2018that\u2019s too bad,\u2019 tiny simpered. she was in a teasing mood. \u2018you\u2019d make  such a good one. you\u2019re so studious. maybe you\u2019d like to be a professor.  you used to teach tony, didn\u2019t you?\u2019 \u00e1ntonia broke in. \u2018i\u2019ve set my heart on jim being a doctor. you\u2019d be good  with sick people, jim. your grandmother\u2019s trained you up so nice. my papa  always said you were an awful smart boy.\u2019 i said i was going to be whatever i pleased. \u2018won\u2019t you be surprised,  miss tiny, if i turn out to be a regular devil of a fellow?\u2019 they laughed until a glance from norwegian anna checked them; the  high-school principal had just come into the front part of the shop to buy  bread for supper. anna knew the whisper was going about that i was a sly  one. people said there must be something queer about a boy who showed  no interest in girls of his own age, but who could be lively enough when he  was with tony and lena or the three marys. the enthusiasm for the dance, which the vannis had kindled, did not  at once die out. after the tent left town, the euchre club became the owl  club, and gave dances in the masonic hall once a week. i was invited to  join, but declined. i was moody and restless that winter, and tired of the 5 10 15 20 25 30 35 40 45",
            "13": "13 0486/13/m/j/19 \u00a9 ucles 2019 [turn over people i saw every day. charley harling was already at annapolis, while  i was still sitting in black hawk, answering to my name at roll-call every  morning, rising from my desk at the sound of a bell and marching out like  the grammar-school children. mrs harling was a little cool toward me,  because i continued to champion \u00e1ntonia. what was there for me to do  after supper? usually i had learned next day\u2019s lessons by the time i left the  school building, and i couldn\u2019t sit still and read forever.\u2019 [from book 2 chapter 12]   how does cather vividly reveal jim\u2019s thoughts and feelings at this moment in the novel? or 10 explore the ways in which cather makes tiny soderball such a memorable character.   do not use the extract printed for question 9  in answering this question.50",
            "14": "14 0486/13/m/j/19 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: when his mother took him for a walk, it was invariably to the market or  to a friend\u2019s house, but his father seemed to be launched upon a more  adventurous expedition. they had left behind the colony of low-grade  employees\u2019 quarters. they were walking past the back of lala ram lal  college and its barbed wire fencing through which could be seen the dusty  empty playing fields where no one ever played and the row of whitewashed  huts where the non-teaching staff lived amidst buffaloes, washing, string  cots and buckets of water. then the path veered away from the barbed  wire fence that marched through rough grass and patches of saltpetre, and  ran down to the canal that separated the town proper from the chemically  lush grounds of the agricultural and veterinary college whose purple  bougainvillaeas crept down to the canal bank and flowered profusely  behind clumps of pampas grass. here the path narrowed to a muddy  track that was used by the college servants who came to squat behind the  bushes and the buffaloes that came to drink. the clay had dried and was  pleasant to walk on as it cracked beneath their feet. the canal was narrow  but deep and never ran dry, even in the hottest weather. pampas grass  grew thickly along the bank and buffaloes and bees stirred in the reeds at  its edges. \u2018look at the parrots,\u2019 deven instructed his son and pointed at a flock that  exploded out of an acacia tree and streaked over the fields, acid green  against the pale yellow of the western sky. \u2018i know a song about a parrot,\u2019 manu claimed at once, and launched  lustily into a nursery rhyme familiar even to deven who laughed with  delight at being reminded of its simple nonsense. \u2018my father taught me  that,\u2019 he said lightly. it was perhaps not strictly true, he could not honestly  claim to remember, but it could be true because he did remember it and  felt his father\u2019s apologetic smile somewhere in it. his father, who had been  a chronic sufferer from asthma, and whose career had foundered upon  his invalidism, had appeared always to be apologizing to his wife who had  expected more from a husband and felt grievously disappointed at the little  he had made of his life; as a child deven had barely understood this but  now that he himself occupied a not very dissimilar position at home, he  felt protective towards the dead man, and in his imagination glorified and  deified him as he had not done when he was living. at magical moments  like this the fantasy took on the stuff of truth. it positively glowed \u2013 like the  sunset. then the flock of parrots wheeled around, perhaps on finding the fields  bare of grain, and returned to the tree above their heads, screaming  and quarrelling as they settled amongst the thorns. one brilliant feather  of spring green fluttered down through the air and fell at their feet in the  grey clay. deven bent to pick it up and presented it to his son who stuck it  behind his ear in imitation of his schoolteacher with the pencil. \u2018look, now  i\u2019m master- ji,\u2019 he screamed excitedly. yes, that was the climax of that brief halcyon passage. it was as  if the evening star shone through at that moment, casting a small pale  illumination upon deven\u2019s flattened grey world. of course it could not be  maintained, of course it had to diminish and decline. yes.5 10 15 20 25 30 35 40 45",
            "15": "15 0486/13/m/j/19 \u00a9 ucles 2019 [turn over when they got back to their house \u2013 dii/69 in that colony named after a  leader of harijans \u2013 the careful brown paper parcel that deven had been  making of the evening and tying up with care, came apart. sarla handed  him a postcard that had arrived by the evening post with fingers damp  from a bucket of washing. \u2018here,\u2019 she said with an eloquent sniff. she had  read it, obviously. he took it and knew his doom had searched him out and  found him after all. \u2018dear sir,\u2019 said the small, precise handwriting, in english. \u2018i\u2019m happy to  learn of your decision to work as my secretary. please report earliest date  convenient. i am wanting to dictate some poems to you. murad sahib is  wanting to publish same. time is fleeting. yours faithfully \u2026\u2019 the name  was signed in elegant, elaborate urdu. [from chapter 4]   explore the ways in which desai captures deven\u2019s feelings at this moment in the novel. or 12 how does desai powerfully portray the relationships between nur and his wives?50 55 60",
            "16": "16 0486/13/m/j/19 \u00a9 ucles 2019 charles dickens:  hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: thus easily did stephen blackpool fall into the loneliest of lives, the life  of solitude among a familiar crowd. the stranger in the land who looks  into ten thousand faces for some answering look and never finds it, is in  cheering society as compared with him who passes ten averted faces  daily, that were once the countenances of friends. such experience was  to be stephen\u2019s now, in every waking moment of his life; at his work, on  his way to it and from it, at his door, at his window, everywhere. by general  consent, they even avoided that side of the street on which he habitually  walked; and left it, of all the working men, to him only. he had been for many years, a quiet silent man, associating but little  with other men, and used to companionship with his own thoughts. he had  never known before, the strength of the want in his heart for the frequent  recognition of a nod, a look, a word; or the immense amount of relief  that had been poured into it by drops, through such small means. it was  even harder than he could have believed possible, to separate in his own  conscience his abandonment by all his fellows, from a baseless sense of  shame and disgrace. the first four days of his endurance were days so long and heavy, that  he began to be appalled by the prospect before him. not only did he see  no rachael all the time, but he avoided every chance of seeing her; for,  although he knew that the prohibition did not yet formally extend to the  women working in the factories, he found that some of them with whom  he was acquainted were changed to him, and he feared to try others, and  dreaded that rachael might be even singled out from the rest if she were  seen in his company. so he had been quite alone during the four days,  and had spoken to no one, when, as he was leaving his work at night, a  young man of a very light complexion accosted him in the street. \u2018your name\u2019s blackpool, an\u2019t it?\u2019 said the young man. stephen coloured to find himself with his hat in his hand, in his gratitude  for being spoken to, or in the suddenness of it, or both. he made a feint of  adjusting the lining, and said, \u2018yes.\u2019 \u2018you are the hand they have sent to coventry, i mean?\u2019 said bitzer, the  very light young man in question. stephen answered \u2018yes,\u2019 again. \u2018i supposed so, from their all appearing to keep away from you. mr  bounderby wants to speak to you. you know his house, don\u2019t you?\u2019 stephen said \u2018yes,\u2019 again. \u2018then go straight up there, will you?\u2019 said bitzer. \u2018you\u2019re expected, and  have only to tell the servant it\u2019s you. i belong to the bank; so, if you go  straight up without me (i was sent to fetch you), you\u2019ll save me a walk.\u2019 stephen, whose way had been in the contrary direction, turned about,  and betook himself as in duty bound, to the red brick castle of the giant  bounderby. [from book 2 chapter 4]   how does dickens make you feel sad for stephen at this moment in the novel?5 10 15 20 25 30 35 40",
            "17": "17 0486/13/m/j/19 \u00a9 ucles 2019 [turn over or 14 to what extent does dickens make you feel that louisa is admirable?",
            "18": "18 0486/13/m/j/19 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either  15 read this extract, and then answer the question that follows it: beyond the cluster of people waiting for him to speak, the cliffs hung  over the river, mysterious, colourless in the early morning shadows. at this  hour the cliffs were a coarse cloth, the weft of the layers of rock, the warp  of the trees straggling upwards. beyond the ragged line of tree-tops, the  sky was a sweet blue. a sudden gust of wind on the river ruffled it into  points of light and the forest heaved under the morning breeze. i can have us packed in an hour , sal said.  be miles away by dinner- time. she was holding out her hand for johnny to come with her, but the  calm knowing angle of her mouth as she spoke lit a flame of rage inside  thornhill. they ain\u2019t never done a hand\u2019s turn , he said. he could feel  himself swelling into his own indignation. they got no rights to any of this  place. no more than a sparrow . he heard the echo of smasher\u2019s phrases  in his own words. they sat there smiling and plausible. that\u2019s as may be, will , she said in her matter-of-fact way. all i know is,  better even butler\u2019s bloody buildings than creep around the rest of our  lives waiting for a spear in the back . little johnny was picking his nose  with one hand and scratching at a mosquito bite with the other. bub and  dick and willie stood together with their bare feet broad on the dust. none  of the children was looking at their father. he jerked at sal, at the arm still reaching out for johnny. we ain\u2019t going ,  he shouted. it\u2019s them or us and by jesus sal it won\u2019t be us!  he saw her  stagger as he grabbed her, but she would not look at him. he took her by  the shoulders, and the puniness of them filled him with despair. she stood  there, frail as a bubble, but stone-hard too. them blacks ain\u2019t going to  stand in my way!  he came at her hard, yanking her around, her face next  to his. nor you neither, sal! we ain\u2019t staying here and that\u2019s flat , she cried back. she sounded like  someone shouting into a gale. he found himself taking a step and standing  over her, tall so she had to tilt her face to look at him. damn your eyes , he  shouted. we ain\u2019t going nowhere . his arm moved up and his hand opened  itself out, almost of its own accord, to strike her. she looked up at him, at his raised hand, with something like  astonishment. he saw that she did not recognise him. some violent man  was pulling at her, shouting at her, the stranger within the heart of her  husband. but the stranger was not going to cow her. hit me if you please, will , she  cried.  but it won\u2019t change nothing. he saw her as she had been in that other life, with her saucy look. the  picture as clear as a glimpse through a door. then it went. this moment,  with his hand raised against her, was all there was. he dropped his arm. the heat of his anger was gone as quickly as it  had come. what curse had come down on his life, that he was full of rage  at his own sal? he had a piercing wish to go back, do everything different  from the start. it was too late, it was all gone too far. his life was a skiff  with no oar, caught on the tide. he had got them into this place, and it had  pushed them into a corner from which there was no way out. look sal , he started, but now dan was there with them, panting and red  in the face, trying to tell them something. they had to wait while he bent 5 10 15 20 25 30 35 40 45",
            "19": "19 0486/13/m/j/19 \u00a9 ucles 2019 [turn over over, heaving, to catch his breath. they\u2019re burning sagitty out , he gasped.  i seen the smoke from down on the point . thornhill waited for sal to look at him, but she would not. willie , she  called, bundle up all our things, there\u2019s a lad, and get them down to the  river. and you, dick, gather up all them tools. she set off for the hut, getting a fresh grip on mary and snatching  johnny\u2019s hand. thornhill had to take hold of her arm to make her stop.  look sal , he said again, but she spoke over him. you go and help sagitty  out, she said. the minute you get back but, we\u2019re on our way . at last she  looked at him, full in the face. with you or without you, will, take your pick . [from part 6]   how does grenville make this such a powerful moment in the novel? or 16 does grenville\u2019s writing suggest that the aboriginal people and the white settlers have  anything in common?   do not use the extract printed for question 15  in answering this question.50 55",
            "20": "20 0486/13/m/j/19 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: finny couldn\u2019t, after all, always keep his voice under control. \u2018what\u2019d  you come around here for last night?\u2019 \u2018i don\u2019t know.\u2019 i went over to the window and placed my hands on  the sill. i looked down at them with a sense of detachment, as though  they were hands somebody had sculptured and put on exhibition some-   where. \u2018i had to.\u2019 then i added, with great difficulty, \u2018i thought i belonged  here.\u2019 i felt him turning to look at me, and so i looked up. he had a particular  expression which his face assumed when he understood but didn\u2019t think  he should show it, a settled, enlightened look; its appearance now was the  first decent thing i had seen in a long time. he suddenly slammed his fist against the suitcase. \u2018i wish to god there  wasn\u2019t any war.\u2019 i looked sharply at him. \u2018what made you say that?\u2019 \u2018i don\u2019t know if i can take this with a war on. i don\u2019t know.\u2019 \u2018if you can take\u2014\u2019 \u2018what good are you in a war with a busted leg!\u2019 \u2018well you\u2014why there are lots\u2014you can\u2014\u2019 he bent over the suitcase again. \u2018i\u2019ve been writing to the army and the  navy and the marines and the canadians and everybody else all winter.  did you know that? no, you didn\u2019t know that. i used the post office in town  for my return address. they all gave me the same answer after they saw  the medical report on me. the answer was no soap. we can\u2019t use you. i  also wrote the coast guard, the merchant marine, i wrote to general de  gaulle personally, i also wrote chiang kai-shek, and i was about ready to  write somebody in russia.\u2019 i made an attempt at a grin. \u2018you wouldn\u2019t like it in russia.\u2019 \u2018i\u2019ll hate it everywhere  if i\u2019m not in this war! why do you think i kept  saying there wasn\u2019t any war all winter? i was going to keep on saying it  until two seconds after i got a letter from ottawa or chungking or some  place saying, \u2018yes, you can enlist with us.\u2019  \u2019 a look of pleased achievement  flickered over his face momentarily, as though he had really gotten such a  letter. \u2018then there would have been a war.\u2019 \u2018finny,\u2019 my voice broke but i went on, \u2018phineas, you wouldn\u2019t be any  good in the war, even if nothing had happened to your leg.\u2019 a look of amazement fell over him. it scared me, but i knew what i said  was important and right, and my voice found that full tone voices have  when they are expressing something long-felt and long-understood and  released at last. \u2018they\u2019d get you some place at the front and there\u2019d be a  lull in the fighting, and the next thing anyone knew you\u2019d be over with the  germans or the japs, asking if they\u2019d like to field a baseball team against  our side. you\u2019d be sitting in one of their command posts, teaching them  english. yes, you\u2019d get confused and borrow one of their uniforms, and  you\u2019d lend them one of yours. sure, that\u2019s just what would happen. you\u2019d  get things so scrambled up nobody would know who to fight any more.  you\u2019d make a mess, a terrible mess, finny, out of the war.\u2019 his face had been struggling to stay calm as he listened to me, but now  he was crying but trying to control himself. \u2018it was just some kind of blind 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/13/m/j/19 \u00a9 ucles 2019 [turn over impulse you had in the tree there, you didn\u2019t know what you were doing.  was that it?\u2019 \u2018yes, yes, that was it. oh that was it, but how can you believe that? how  can you believe that? i can\u2019t even make myself pretend that you could  believe that.\u2019 \u2018i do, i think i can believe that. i\u2019ve gotten awfully mad sometimes and  almost forgotten what i was doing. i think i believe you, i think i can believe  that. then that was it. something just seized you. it wasn\u2019t anything you  really felt against me, it wasn\u2019t some kind of hate you\u2019ve felt all along. it  wasn\u2019t anything personal.\u2019 \u2018no, i don\u2019t know how to show you, how can i show you, finny? tell me  how to show you. it was just some ignorance inside me, some crazy thing  inside me, something blind, that\u2019s all it was.\u2019 he was nodding his head, his jaw tightening and his eyes closed on  the tears. \u2018i believe you. it\u2019s okay because i understand and i believe you.  you\u2019ve already shown me and i believe you.\u2019 [from chapter 12]   how does knowles make this such a dramatic moment in the novel? or 18 in what ways does knowles convey such memorable impressions of devon school?50 55 60",
            "22": "22 0486/13/m/j/19 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: yes, it was to the small serious boy that he turned for his enjoyment.  he had bought the child some cheap wooden blocks, and with these   the little one played endlessly and intently, with a purpose obscure to the  adult mind, but completely absorbing. kumalo would pick the child up,  and put his hand under the shirt to feel the small warm back, and tickle   and poke him, till the serious face relaxed into smiles, and the smiles   grew into uncontrollable laughter. or he would tell him of the great valley  where he was born, and the names of hills and rivers, and the school   that he would go to, and the mist that shrouded the tops above ndotsheni.  of this the child understood nothing; yet something he did understand, for  he would listen solemnly to the deep melodious names, and gaze at his  uncle out of wide and serious eyes. and this to the uncle was pleasure  indeed, for he was homesick in the great city; and something inside him  was deeply satisfied by this recital. sometimes gertrude would hear   him, and come to the door and stand shyly there, and listen to the tale   of the beauties of the land where she was born. this enriched his   pleasure, and sometimes he would say to her, do you remember, and   she would answer, yes, i remember, and be pleased that he had asked  her. but there were times, some in the very midst of satisfaction, where the  thought of his son would come to him. and then in one fraction of time  the hills with the deep melodious names stood out waste and desolate  beneath the pitiless sun, the streams ceased to run, the cattle moved  thin and listless over the red and rootless earth. it was a place of old  women and mothers and children, from each house something was gone.  his voice would falter and die away, and he would fall silent and muse.  perhaps it was that, or perhaps he clutched suddenly at the small listening  boy, for the little one would break from the spell, and wriggle in his arms to  be put down, to play again with his blocks on the floor. as though he was  searching for something that would put an end to this sudden unasked-for  pain, the thought of his wife would come to him, and of many a friend that  he had, and the small children coming down the hills, dropping sometimes  out of the very mist, on their way to the school. these things were so dear  to him that the pain passed, and he contemplated them in quiet, and some  measure of peace. who indeed knows the secret of the earthly pilgrimage? who indeed  knows why there can be comfort in a world of desolation? now god be  thanked that there is a beloved one who can lift up the heart in suffering,  that one can play with a child in the face of such misery. now god be  thanked that the name of a hill is such music, that the name of a river can  heal. aye, even the name of a river that runs no more. who indeed knows the secret of the earthly pilgrimage? who knows  for what we live, and struggle and die? who knows what keeps us living  and struggling, while all things break about us? who knows why the warm  flesh of a child is such comfort, when one\u2019s own child is lost and cannot be  recovered? wise men write many books, in words too hard to understand.  but this, the purpose of our lives, the end of all our struggle, is beyond all  human wisdom. oh god, my god, do not thou forsake me. yea, though i 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/13/m/j/19 \u00a9 ucles 2019 [turn over walk through the valley of the shadow of death, i shall fear no evil, if thou  art with me.\u2026 but he stood up. that was msimangu talking at the door. it was time to  continue the search. [from book 1 chapter 10]   explore the ways in which paton vividly conveys stephen kumalo\u2019s thoughts and feelings  at this moment in the novel. or 20 how do you think paton\u2019s portrayal of james jarvis contributes to the impact of the  novel?50",
            "24": "24 0486/13/m/j/19 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21 read this extract from there will come soft rains  (by ray bradbury), and then answer  the question that follows it: in the living room the voice-clock sang, tick-tock, seven o\u2019clock, time to  get up, time to get up, seven o\u2019clock!  as if it were afraid that nobody would.  the morning house lay empty. the clock ticked on, repeating and repeating  its sounds into the emptiness. seven-nine, breakfast time, seven-nine! in the kitchen the breakfast stove gave a hissing sigh and ejected  from its warm interior eight pieces of perfectly browned toast, eight eggs  sunnyside up, sixteen slices of bacon, two coffees, and two cool glasses  of milk. \u2018today is august 4, 2026,\u2019 said a second voice from the kitchen ceiling,  \u2018in the city of allendale, california.\u2019 it repeated the date three times  for memory\u2019s sake. \u2018today is mr featherstone\u2019s birthday. today is the  anniversary of tilita\u2019s marriage. insurance is payable, as are the water,  gas, and light bills.\u2019 somewhere in the walls, relays clicked, memory tapes glided under  electric eyes. eight-one, tick-tock, eight-one o\u2019clock, off to school, off to work, run,  run, eight-one!  but no doors slammed, no carpets took the soft tread of  rubber heels. it was raining outside. the weather box on the front door  sang quietly: \u2018rain, rain, go away; rubbers, raincoats for today . . .\u2019 and the  rain tapped on the empty house, echoing. outside, the garage chimed and lifted its door to reveal the waiting car.  after a long wait the door swung down again. at eight-thirty the eggs were shriveled and the toast was like stone.  an aluminum wedge scraped them into the sink, where hot water whirled  them down a metal throat which digested and flushed them away to the  distant sea. the dirty dishes were dropped into a hot washer and emerged  twinkling dry. nine-fifteen , sang the clock, time to clean . out of warrens in the wall, tiny robot mice darted. the rooms were  acrawl with the small cleaning animals, all rubber and metal. they thudded  against chairs, whirling their mustached runners, kneading the rug nap,  sucking gently at hidden dust. then, like mysterious invaders, they popped  into their burrows. their pink electric eyes faded. the house was clean. ten o\u2019clock . the sun came out from behind the rain. the house stood  alone in a city of rubble and ashes. this was the one house left standing.  at night the ruined city gave off a radioactive glow which could be seen for  miles. ten-fifteen . the garden sprinklers whirled up in golden founts, filling  the soft morning air with scatterings of brightness. the water pelted  windowpanes running down the charred west side where the house had  been burned evenly free of its white paint. the entire west face of the  house was black, save for five places. here the silhouette in paint of a man  mowing a lawn. here, as in a photograph, a woman bent to pick flowers.  still farther over, their images burned on wood in one titanic instant, a small  boy, hands flung into the air; higher up, the image of a thrown ball, and  opposite him a girl, hands raised to catch a ball which never came down. the five spots of paint \u2013 the man, the woman, the children, the ball \u2013 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/13/m/j/19 \u00a9 ucles 2019 remained. the rest was a thin charcoaled layer. the gentle sprinkler rain filled the garden with falling light. until this day, how well the house had kept its peace. how carefully it  had inquired, \u2018who goes there? what\u2019s the password?\u2019 and, getting no  answer from lonely foxes and whining cats, it had shut up its windows and  drawn shades in an old-maidenly preoccupation with self-protection which  bordered on a mechanical paranoia. it quivered at each sound, the house did. if a sparrow brushed a window,  the shade snapped up. the bird, startled, flew off! no, not even a bird must  touch the house! the house was an altar with ten thousand attendants, big, small,  servicing, attending, in choirs. but the gods had gone away, and the ritual  of the religion continued senselessly, uselessly. twelve noon . a dog whined, shivering, on the front porch.   how does bradbury make this such a fascinating opening to the story? or 22 in what ways does mcgahern make the relationship between father and son so  memorable in the stoat ?50 55 60",
            "26": "26 0486/13/m/j/19 \u00a9 ucles 2019 blank page",
            "27": "27 0486/13/m/j/19 \u00a9 ucles 2019 blank page",
            "28": "28 0486/13/m/j/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_s19_qp_21.pdf": {
            "1": "cambridgeassessmentinternationaleducation cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/21 may/june2019 1hour30minutesliterature(english) paper2drama additionalmaterials: answerbooklet/paper readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answertwoquestions. youmustanswer onepassage-basedquestion(marked*)and oneessayquestion(marked\u2020). yourquestionsmustbeon twodifferentplays. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover06_0486_21_2019_1.13 \u00a9ucles2019 *2648052664*",
            "2": "30252015105lorrainehansberry: araisininthesun remembertosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [kindly]:\u2019courseyougoingtobeadoctor,honey,godwilling. mama [drily]:godhasn\u2019tgotathingtodowithit. beneatha beneatha\u2013thatjustwasn\u2019tnecessary. mama: well\u2013neitherisgod.igetsickofhearingaboutgod. beneatha: beneatha! mama: imeanit!i\u2019mjusttiredofhearingaboutgodallthetime.whathashegottodo withanything?doeshepaytuition?beneatha: you\u2019bouttogetyourfreshlittlejawslapped! mama: that\u2019sjustwhatsheneeds,allright! ruth: why?whycan\u2019tisaywhatiwanttoaroundhere,likeeverybodyelse? beneatha: itdon\u2019tsoundniceforayounggirltosaythingslikethat\u2013youwasn\u2019tbrought upthatway.meandyourfatherwenttotroubletogetyouandbrothertochurch everysunday.mama: mama,youdon\u2019tunderstand.it\u2019sallamatterofideas,andgodisjustoneidea idon\u2019taccept.it\u2019snotimportant.iamnotgoingoutandbeimmoralorcommit crimesbecauseidon\u2019tbelieveingod.idon\u2019teventhinkaboutit.it\u2019sjustthati gettiredofhimgettingcreditforallthethingsthehumanraceachievesthrough itsownstubborneffort.theresimplyisnoblastedgod\u2013thereisonlymanand itishewhomakesmiracles! [mamaabsorbsthisspeech,studiesherdaughterandrisesslowlyandcrosses tobeneatha and slaps her powerfully across the face. after, there is only silenceandthedaughterdropshereyesfromhermother\u2019sface,and mamais verytallbeforeher. ]beneatha: now\u2013yousayafterme,inmymother\u2019shousethereisstillgod.[ thereisalong pauseandbeneathastaresatthefloorwordlessly. mamarepeatsthephrase withprecisionandcoolemotion. ]inmymother\u2019shousethereisstillgod.mama: inmymother\u2019shousethereisstillgod. [alongpause. ]beneatha: [walkingawayfrom beneatha,toodisturbedfortriumphantposture.stopping andturningbacktoherdaughter ]:therearesomeideasweain\u2019tgoingtohave inthishouse.notlongasiamattheheadofthisfamily.mama yes,ma\u2019am. [mamawalksoutoftheroom .]beneatha: 06_0486_21_2019_1.13 \u00a9ucles20192",
            "3": "65605550454035[almostgently,withprofoundunderstanding ]:youthinkyouawoman,bennie \u2013butyoustillalittlegirl.whatyoudidwaschildish\u2013soyougottreatedlikea child.ruth isee.[quietly.]ialsoseethateverybodythinksit\u2019sallrightformamatobea tyrant.butallthetyrannyintheworldwillneverputagodintheheavens!beneatha: [shepicksupherbooksandgoesout. ] [goestomama\u2019sdoor]:shesaidshewassorry. ruth [comingout,goingtoherplant ]:theyfrightensme,ruth.mychildren. mama yougotgoodchildren,lena.theyjustalittleoffsometimes\u2013butthey\u2019regood. ruth: no \u2013 there\u2019s something come down between me and them that don\u2019t let us understandeachotherandidon\u2019tknowwhatitis.onedonealmostlosthismind thinking\u2019boutmoneyallthetimeandtheotherdonecommencetotalkabout thingsican\u2019tseemtounderstandinnoformorfashion.whatisitthat\u2019schanging, ruth?mama: [soothingly,olderthanheryears ]:now/elipsisyoutakingitalltooseriously.youjust gotstrong-willedchildrenandittakesastrongwomanlikeyoutokeep\u2019emin hand.ruth [lookingatherplantandsprinklingalittlewateronit ]:theyspiritedallright,my children.gottoadmittheygotspirit\u2013bennieandwalter.likethislittleoldplant thatain\u2019tneverhadenoughsunshineornothing\u2013andlookatit/elipsis [shehasherbackto ruth,whohastostopironingandleanagainstsomething andputthebackofherhandtoherforehead.]mama [tryingtokeep mamafromnoticing ]:you...sure...lovesthatlittleoldthing,don\u2019t you?...ruth well,ialwayswantedmeagardenlikeiusedtoseesometimesatthebackof thehousesdownhome.thisplantiscloseasievergottohavingone.[ she looksoutofthewindowasshereplacestheplant. ]lord,ain\u2019tnothingasdreary astheviewfromthiswindowonadrearyday,isthere?whyain\u2019tyousinging thismorning,ruth?singthat\u2018nowaystired\u2019.thatsongalwaysliftsmeupso.mama: [sheturnsatlasttoseethat ruthhasslippedquietlyintoachair,inastateof semi-consciousness. ] ruth!ruthhoney-what\u2019sthematterwithyou...ruth! curtain [fromact1scene1] howdoeshansberrymakethisapowerfullydramaticmomentintheplay? or\u20202 howdoeshansberrymovinglyportraythedifficultiesruthfacesintheplay? donotusethepassagein question*1 whenansweringthisquestion. [turnover06_0486_21_2019_1.13 \u00a9 ucles20193",
            "4": "arthurmiller: aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either * 3 read  this passage  carefully,  and then answer  the question  that follows  it: light rises on the street. 06_0486_21_2019_1.13 \u00a9ucles20194 content removed due to copyright restrictions.",
            "5": "you hear me?  alone. [fromact2] inwhatwaysdoesmillermakethissuchadisturbingmomentintheplay? or\u20204 whichcharacterdoesmiller\u2019swritingpersuadeyouismostresponsibleforeddie\u2019sdeath? donotusethepassagein question*3 whenansweringthisquestion. [turnover06_0486_21_2019_1.13 \u00a9ucles20195 content removed due to copyright restrictions.",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: iwanttoaskyouaquestion,butbeforeido,imustimpressonyouthe urgentnecessityforanabsolutelytruthfulanswer.arthur: naturally. dickie: naturallymeansbynature,andi\u2019mafraidihavenotyetnoticedthatithas invariablybeenyournaturetoanswermyquestionstruthfully.arthur: oh.well,iwillthisonefather.ipromise. dickie: verywell.[hestaresathimforamoment. ]whatdoyousupposeoneof yourbookmakerfriendswouldlayinthewayofoddsagainstyougettinga degree?arthur: [thereisapause. ] oh.well,let\u2019sthink.say\u2013aboutevens. dickie: hm.iratherdoubtifatthatpriceyourfriendwouldfindmanytakers. arthur: well\u2013perhapsseventofouragainst. dickie: isee.andwhatabouttheoddsagainstyoureventuallybecomingacivil servant?arthur: well\u2013abitsteeperisuppose. dickie: exactly.quiteabitsteeper. arthur: [thereisapause. ] youdon\u2019twanttohaveabet,doyou? dickie: no,dickie.i\u2019mnotagambler.andthat\u2019sexactlythetrouble.unhappily,i\u2019m nolongerinapositiontogambletwohundredpoundsayearonwhatyou yourselfadmitisanoutsidechance.arthur: notanoutsidechance,father.agoodchance. dickie: notgoodenough,dickie,i\u2019mafraid\u2013withthingsastheyareatthemoment. definitelynotgoodenough.ifearmymindisfinallymadeup. [thereisalongpause. ]arthur: youwantmetoleaveoxford\u2013isthatit? dickie: i\u2019mafraidso,dickie. arthur: oh.straightaway? dickie: no.youcanfinishyoursecondyear. arthur: andwhatthen? dickie: 06_0486_21_2019_1.13 \u00a9ucles20196",
            "7": "50454035icangetyouajobinthebank. arthur: [quietly]:oh,lord! dickie [afterapause:ratherapologetically ]:it\u2019llbequiteagoodjob,youknow. luckily,myinfluenceinthebankstillcountsforsomething.arthur father\u2013ifipromisedyou\u2013imean, reallypromisedyou\u2013thatfromnowoni\u2019ll worklikeablack\u2013\u2013 [arthurshakeshisheadslowly. ] it\u2019sthecase,isuppose?dickie: it\u2019scostingmealotofmoney. arthur: iknow.itmustbe.still,couldn\u2019tyou\u2013imean,isn\u2019tthereanyway\u2013\u2013 [arthuragainshakeshishead. ] oh,lord!dickie: i\u2019mafraidthisisratherashockforyou.i\u2019msorry. arthur: what?no. no, it isn\u2019t really. i\u2019ve been rather expectingit as a matterof fact\u2013especiallysinceihearyouarehopingtobriefsirrobertmorton.still, ican\u2019tsaybutwhatitisn\u2019tabitofaslapintheface\u2013\u2013 [thefrontdoorbellrings. ]dickie: thereisajournalistcomingtoseeme.doyoumindifwetalkaboutthis someothertime?arthur: no.ofcoursenot,father.[ hebeginsforlornlytogatherhisbooks. ] dickie: [fromact1scene2 ] whatvividimpressionsdoesrattigangiveyouoftherelationshipbetweenarthuranddickieatthis momentintheplay? or\u20206 howdoesrattigan\u2019sportrayalofviolet,theparlourmaid,contributetoyourenjoymentoftheplay? [turnover06_0486_21_2019_1.13 \u00a9ucles20197",
            "8": "30252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: agreatperturbationinnature,toreceiveatoncethebenefitofsleep anddotheeffectsofwatching!inthisslumb\u2019ryagitation,besidesher walking and other actual performances, what, at any time, have you heardhersay?doctor: that,sir,whichiwillnotreportafterher. gentlewoman: youmaytome;and\u2019tismostmeetyoushould. doctor: neithertoyounoranyone,havingnowitnesstoconfirmmyspeech. [enterladymacbeth ,withataper. ] loyou,hereshecomes!thisisherveryguise;and,uponmylife,fast asleep.observeher;standclose.gentlewoman: howcameshebythatlight? doctor: why,itstoodbyher.shehaslightbyhercontinually;\u2019tishercommand. gentlewoman: youseehereyesareopen. doctor: ay,buttheirsenseisshut. gentlewoman: whatisitshedoesnow?lookhowsherubsherhands. doctor: itisanaccustomedactionwithher,toseemthuswashingherhands; ihaveknownhercontinueinthisaquarterofanhour.gentlewoman: yethere\u2019saspot. ladymacbeth: hark,shespeaks.iwillsetdownwhatcomesfromher,tosatisfymy remembrancethemorestrongly.doctor: out,damnedspot!out,isay!one,two;whythen\u2019tistimetodo\u2019t.hell ismurky.fie,mylord,fie!asoldier,andafeard?whatneedwefear whoknowsit,whennonecancallourpow\u2019rtoaccount?yetwhowould havethoughttheoldmantohavehadsomuchbloodinhim?ladymacbeth: doyoumarkthat? doctor: thethaneoffifehadawife;whereisshenow?what,willthesehands ne\u2019erbeclean?nomoreo\u2019that,mylord,nomoreo\u2019that;youmarall withthisstarting.ladymacbeth: goto,goto;youhaveknownwhatyoushouldnot. doctor: shehasspokewhatsheshouldnot,iamsureofthat.heavenknows whatshehasknown.gentlewoman: here\u2019sthesmellofthebloodstill.alltheperfumesofarabiawillnot sweetenthislittlehand.oh,oh,oh!ladymacbeth: 06_0486_21_2019_1.13 \u00a9ucles20198",
            "9": "5550454035whatasighisthere!theheartissorelycharg\u2019d. doctor: iwouldnothavesuchaheartinmybosomforthedignityofthewhole body.gentlewoman: well,well,well. doctor: praygoditbe,sir. gentlewoman: thisdiseaseisbeyondmypractice.yetihaveknownthosewhichhave walk\u2019dintheirsleepwhohavediedholilyintheirbeds.doctor: washyourhands,putonyournightgown,looknotsopale.itellyou yetagain,banquo\u2019sburied;hecannotcomeouton\u2019sgrave.ladymacbeth: evenso? doctor: tobed,tobed;there\u2019sknockingatthegate.come,come,come,come, givemeyourhand.what\u2019sdonecannotbeundone.tobed,tobed,to bed. [exit.ladymacbeth: willshegonowtobed? doctor: directly. gentlewoman: foulwhisp\u2019ringsareabroad.unnaturaldeeds dobreedunnaturaltroubles;infectedminds totheirdeafpillowswilldischargetheirsecrets. moreneedsshethedivinethanthephysician. god,godforgiveusall.lookafterher; removefromherthemeansofallannoyance, andstillkeepeyesuponher.so,goodnight. mymindshehasmated,andamaz\u2019dmysight. ithink,butdarenotspeak.doctor: [fromact5scene1 ] inwhatwaysdoesshakespearemakethismomentintheplaysodisturbing? or\u20208 inwhatwaysdoesshakespearemakethemurderofkingduncansuchashockingpartoftheplay? donotusethepassagein question*7 whenansweringthisquestion. [turnover06_0486_21_2019_1.13 \u00a9ucles20199",
            "10": "252015105williamshakespeare: romeoandjuliet remembertosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: goodmorrow,cousin. benvolio: isthedaysoyoung? romeo: butnewstrucknine. benvolio: ayme!sadhoursseemlong. wasthatmyfatherthatwenthencesofast?romeo: itwas.whatsadnesslengthensromeo\u2019shours? benvolio: nothavingthatwhichhavingmakesthemshort. romeo: inlove? benvolio: out\u2013 romeo: oflove? benvolio: outofherfavourwhereiaminlove. romeo: alasthatlove,sogentleinhisview, shouldbesotyrannousandroughinproof!benvolio: alasthatlove,whoseviewismuffledstill, shouldwithouteyesseepathwaystohiswill! whereshallwedine?ome!whatfraywashere? yettellmenot,forihavehearditall. here\u2019smuchtodowithhate,butmorewithlove. whythen,obrawlinglove!olovinghate! oanything,ofnothingfirstcreate! oheavylightness!seriousvanity! mis-shapenchaosofwell-seemingforms! featheroflead,brightsmoke,coldfire,sickhealth! still-wakingsleep,thatisnotwhatitis! thislovefeeli,thatfeelnoloveinthis. dostthounotlaugh?romeo: no,coz,iratherweep. benvolio: goodheart,atwhat? romeo: atthygoodheart\u2019soppression. benvolio: 06_0486_21_2019_1.13 \u00a9ucles201910",
            "11": "60555045403530 why,suchislove\u2019stransgression. griefsofmineownlieheavyinmybreast, whichthouwiltpropagate,tohaveitprest withmoreofthine.thislovethatthouhastshown dothaddmoregrieftotoomuchofmineown. loveisasmokerais\u2019dwiththefumeofsighs; beingpurg\u2019d,afiresparklinginlovers\u2019eyes; beingvex\u2019d,aseanourish\u2019dwithlovingtears. whatisitelse?amadnessmostdiscreet, achokinggall,andapreservingsweet. farewell,mycoz.romeo: soft!iwillgoalong; anifyouleavemeso,youdomewrong.benvolio: tut,ihavelostmyself;iamnothere: thisisnotromeo,he\u2019ssomeotherwhere.romeo: tellmeinsadnesswhoisthatyoulove. benvolio: what,shalligroanandtellthee? romeo: groan!why,no; butsadlytellmewho.benvolio: bidasickmaninsadnessmakehiswill. ah,wordillurg\u2019dtoonethatissoill! insadness,cousin,idoloveawoman.romeo: iaim\u2019dsonearwhenisuppos\u2019dyoulov\u2019d. benvolio: arightgoodmarkman!andshe\u2019sfairilove. romeo: arightfairmark,faircoz,issoonesthit. benvolio: well,inthathityoumiss:she\u2019llnotbehit withcupid\u2019sarrow.shehathdian\u2019swit, andinstrongproofofchastitywellarm\u2019d, fromlove\u2019sweakchildishbowshelivesunharm\u2019d. shewillnotstaythesiegeoflovingterms, norbideth\u2019encounterofassailingeyes, noropeherlaptosaint-seducinggold. o,sheisrichinbeauty;onlypoor that,whenshedies,withbeautydiesherstore.romeo: [fromact1scene1 ] howdoesshakespearemakethissuchavividintroductiontoromeo? or\u202010 exploretwomomentsinwhichshakespearemakestherelationshipbetweenromeoandjulietparticularly moving. 06_0486_21_2019_1.13 \u00a9ucles201911",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeassessment international education copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cambridgeinternational.orgaftertheliveexaminationseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of cambridgelocalexaminationssyndicate(ucles),whichitselfisadepartmentoftheuniversityofcambridge. 06_0486_21_2019_1.13 \u00a9ucles201912"
        },
        "0486_s19_qp_22.pdf": {
            "1": "cambridgeassessmentinternationaleducation cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/22 may/june2019 1hour30minutesliterature(english) paper2drama additionalmaterials: answerbooklet/paper readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answertwoquestions. youmustanswer onepassage-basedquestion(marked*)and oneessayquestion(marked\u2020). yourquestionsmustbeon twodifferentplays. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 13printedpagesand 3blankpages. [turnover06_0486_22_2019_1.9 \u00a9ucles2019 *1775493546*",
            "2": "3530252015105lorrainehansberry: araisininthesun remembertosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [toruth]:well,theylookcrazyashell \u0336 whiteshoes,coldasitis. walter [crushed]:youhavetoexcusehim \u0336 ruth no,hedon\u2019t!excusemeforwhat?whatyoualwaysexcusingmefor!i\u2019ll excusemyselfwhenineedstobeexcused![ pause.]theylookasfunny asthemblackkneesocksbeneathawearsoutofhereallthetime.walter: it\u2019sthecollege style,walter. ruth: style,hell.shelookslikeshegotburntlegsorsomething! walter: oh,walter\u0336 ruth: [anirritablemimic ]:oh,walter!oh,walter![ togeorge]:how\u2019syourold manmakingout?iunderstandyouallgoingtobuythatbighotelonthe drive?[hefindsabeerintherefrigerator,wandersoverto george,sipping andwipinghislipswiththebackofhishandandstraddlingachair backwardstotalktotheotherman. ]shrewdmove.youroldmanisallright, man.[tappinghisheadandhalfwinkingforemphasis. ]imeanheknows howtooperate.imeanhethinks big,youknowwhatimean,imeanfora home,youknow?butithinkhe\u2019skindofrunningoutofideasnow.i\u2019dlike totalktohim.listen,man,igotsomeplansthatcouldturnthiscityupside down.imeanithinklikehedoes. big.investbig,gamblebig,hell,lose big ifyouhaveto,youknowwhatimean.it\u2019shardtofindamanonthiswhole southsidewhounderstandsmykindofthinking \u0336 youdig?[ hescrutinises georgeagain,drinkshisbeer,squintshiseyesandleansinclose, confidential,mantoman. ]meandyououghttositdownandtalksometimes, man.man,igotmesomeideas...walter [withboredom ]:yeah \u0336 sometimeswe\u2019llhavetodothat,walter. george [understandingtheindifference,andoffended ]:yeah \u0336 well,whenyouget thetime,man.iknowyouabusylittleboy.walter walter,please \u0336 ruth: [bitterly,hurt]:iknowain\u2019tnothinginthisworldasbusyasyoucoloured collegeboyswithyourfraternitypinsandwhiteshoes...walter [coveringherfacewithhumiliation ]:oh,walterlee \u0336 ruth iseeyouallallthetime \u0336 withthebookstuckedunderyourarms \u0336 goingto your \u0336 [hemimicsthebritish\u2018a\u2019. ]\u2018clahsses\u2019.andforwhat?whatthehell youlearningoverthere?fillingupyourheads\u0336[ countingoffonhisfingers. ] \u0336 withthesociologyandthepsychology.buttheyteachingyouhowtobea man?howtotakeoverandruntheworld?theyteachingyouhowtorun arubberplantationorasteelmill?naw \u0336 justtotalkproperandreadbooks andwearthemfaggoty-lookingwhiteshoes...walter: 06_0486_22_2019_1.9 \u00a9ucles20192",
            "3": "4540[lookingathimwithdistaste,alittleaboveitall ]:you\u2019reallwhackedupwith bitterness,man.george [intently,almostquietly,betweentheteeth,glaringattheboy ]:andyou \u0336 ain\u2019tyoubitter,man?ain\u2019tyoujustabouthadityet?don\u2019tyouseenostars gleamingthatyoucan\u2019treachoutandgrab?youhappy? \u0336 youcontented son-of-a-bitch \u0336 youhappy?yougotitmade?bitter?man,i\u2019mavolcano. bitter?hereiamagiant \u0336 surroundedbyants!antswhocan\u2019teven understandwhatitisthegiantistalkingabout.walter [passionatelyandsuddenly ]:oh,walter \u0336 ain\u2019tyouwithnobody? ruth [violently]:no!\u2019causeain\u2019tnobodywithme!notevenmyownmother! walter walter,that\u2019saterriblethingtosay! ruth: [fromact2scene1 ] whatdoeshansberry\u2019swritingmakeyoufeelaboutwalteratthismomentintheplay? or\u20202 explorethewaysinwhichhansberrymakesthegenerationgapbetweenmamaandherchildrensuch apowerfulpartoftheplay. [turnover06_0486_22_2019_1.9 \u00a9ucles20193",
            "4": "arthurmiller: aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [never losing  her aroused  alarm]: sit down, honey, i want to tell you  something.  beatrice 06_0486_22_2019_1.9 \u00a9ucles20194 content removed due to copyright restrictions.",
            "5": "okay. catherine: [fromact1] howdoesmiller strikingly revealthecharacters\u2019thoughtsandfeelingsatthismomentintheplay? or\u20204 howdoesmillermakebetrayalsuchapowerfulpartoftheplay? [turnover06_0486_22_2019_1.9 \u00a9ucles20195 content removed due to copyright restrictions.",
            "6": "30252015105terence rattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: whataboutthewayyourfatherlooksatme!tellme,areallyourfamilyas scaredofhimasiam?john: dickieis,ofcourse;andronnie,thoughhedoesn\u2019tneedtobe.father worshipshim.idon\u2019tknowaboutmotherbeingscaredofhim.sometimes, perhaps.i\u2019mnot\u2014evercatherine: you\u2019renotscaredofanything,areyou? john: ohyes.heapsofthings. catherine: suchas? john: [withasmile]:oh...they\u2019renearlyallconcernedwithyou. [ronnielookscautiouslyinatthefrenchwindows.henowpresentsa verybedraggledandwoe-begoneappearance,withhisuniformwringing wet,andhisdamphairoverhiseyes. ]catherine youmightbealittlemoreexplicit... john: [inalowvoice ]:kate! [catherine turnsandseeshim.]ronnie [amazed]:ronnie!whatonearth\u2014 catherine where\u2019sfather? ronnie: i\u2019llgoandtellhim\u2014[ shemovestowardsthedoor. ] catherine: [urgently]:no,don\u2019t;please,kate,don\u2019t! [catherine stops,puzzled. ]ronnie what\u2019sthetrouble,ronnie? [ronnie,tremblingontheedgeoftears,doesnotanswerher.shegoes tohim.] you\u2019rewetthrough.you\u2019dbettergoandchange.catherine: no. ronnie: [gently]:what\u2019sthetrouble,darling?youcantellme. [ronnielooksatjohn.] youknowjohnwatherstone,ronnie.youmethimlastholidays,don\u2019tyou remember? [ronnieremainssilent,obviouslyreluctanttotalkinfrontofacomparative stranger.]catherine 06_0486_22_2019_1.9 \u00a9ucles 20196",
            "7": "605550454035[tactfully]:i\u2019lldisappear. john [pointingtothedining-roomdoor ]:inthere,doyoumind? [johngoesoutquietly .] now,darling,tellme.whatisit?haveyourunaway? [ronnieshakeshishead,evidentlynottrustinghimselftospeak. ] whatisitthen? [ronniepullsouttheletterfromhispocketandslowlyhandsittoher. catherine readsitquietly. ] oh,god!catherine ididn\u2019tdoit. [catherine re-readstheletterinsilence. ] kate,ididn\u2019t.really,ididn\u2019t.ronnie: [abstractedly]:no,darling.[ sheseemsuncertainofwhattodo. ]thisletter isaddressedtofather.didyouopenit?catherine yes. ronnie: youshouldn\u2019thavedonethat\u2014 catherine: iwasgoingtotearitup.theniheardyoucomeinfromchurchandraninto thegarden\u2014ididn\u2019tknowwhattodo\u2014ronnie: [stilldistracted ]:didtheysendyouupalone? catherine theysentapettyofficerupwithme.hewassupposedtowaitandsee father,butisenthimaway.[ indicatingtheletter ]kate\u2014shallwetearitup, now?ronnie: no,darling. catherine: wecouldtellfathertermhadendedtwodayssooner\u2014 ronnie: no,darling. catherine: ididn\u2019tdoit,kate,reallyididn\u2019t\u2014 [dickiecomesinfromthehall.hedoesnotseemsurprisedtosee ronnie.]ronnie: [cheerfully]:hullo,ronnie,oldlad.how\u2019severything? [ronnieturnsawayfromhim. ]dickie [todickie]:youknewhewashere? catherine ohyes.histrunksandthingsarealloverourroom.trouble? dickie: yes. catherine: [fromact1scene1 ] inwhatwaysdoesrattiganmakethissuchadramaticmomentintheplay? [turnover06_0486_22_2019_1.9 \u00a9ucles20197",
            "8": "or\u20206 howdoesrattiganmakethewinslowfamily\u2019semploymentofsirrobertmortonastrikingpartofthe play? 06_0486_22_2019_1.9 \u00a9ucles20198",
            "9": "turntopage10forquestion*7 [turnover06_0486_22_2019_1.9 \u00a9ucles20199",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: nought\u2019shad,all\u2019sspent, whereourdesireisgotwithoutcontent. \u2019tissafertobethatwhichwedestroy, thanbydestructiondwellindoubtfuljoy. [entermacbeth.] hownow,mylord!whydoyoukeepalone, ofsorriestfanciesyourcompanionsmaking, usingthosethoughtswhichshouldindeedhavedied withthemtheythinkon?thingswithoutallremedy shouldbewithoutregard.what\u2019sdoneisdone.ladymacbeth : wehavescotch\u2019dthesnake,notkill\u2019dit; she\u2019llclose,andbeherself,whilstourpoormalice remainsindangerofherformertooth. butlettheframeofthingsdisjoint,boththeworldssuffer, erewewilleatourmealinfearandsleep intheafflictionoftheseterribledreams thatshakeusnightly.betterbewiththedead, whomwe,togainourpeace,havesenttopeace, thanonthetortureofthemindtolie inrestlessecstasy.duncanisinhisgrave; afterlife\u2019sfitfulfeverhesleepswell; treasonhasdonehisworst;norsteel,norpoison, malicedomestic,foreignlevy,nothing, cantouchhimfurther.macbeth: comeon. gentlemylord,sleeko\u2019eryourruggedlooks; bebrightandjovialamongyourgueststo-night.ladymacbeth : soshalli,love;andso,ipray,beyou. letyourremembranceapplytobanquo; presenthimeminence,bothwitheyeandtongue\u2013 unsafethewhile,thatwe mustlaveourhonoursintheseflatteringstreams, andmakeourfacesvizardstoourhearts, disguisingwhattheyare.macbeth: youmustleavethis. ladymacbeth : o,fullofscorpionsismymind,dearwife! thouknow\u2019stthatbanquo,andhisfleance,lives.macbeth: butinthemnature\u2019scopy\u2019snoteterne. ladymacbeth : 06_0486_22_2019_1.9 \u00a9ucles201910",
            "11": "55504540there\u2019scomfortyet;theyareassailable. thenbethoujocund.erethebathathflown hiscloister\u2019dflight;eretoblackhecate\u2019ssummons theshard-bornebeetlewithhisdrowsyhums hathrungnight\u2019syawningpeal,thereshallbedone adeedofdreadfulnote.macbeth: what\u2019stobedone? ladymacbeth : beinnocentoftheknowledge,dearestchuck, tillthouapplaudthedeed.come,seelingnight, scarfupthetendereyeofpitifulday, andwiththybloodyandinvisiblehand cancelandteartopiecesthatgreatbond whichkeepsmepale.lightthickens,andthecrow makeswingtoth\u2019rookywood; goodthingsofdaybegintodroopanddrowse, whilesnight\u2019sblackagentstotheirpreysdorouse. thoumarvell\u2019statmywords;butholdtheestill: thingsbadbegunmakestrongthemselvesbyill. so,pritheegowithme.macbeth: [fromact3scene2 ] howdoesshakespearevividlyrevealthetroubledthoughtsandfeelingsofmacbethandladymacbeth atthismomentintheplay? or\u20208 attheendoftheplaymalcolmdescribesmacbethasa\u2018butcher\u2019. towhatextentdoesshakespeare\u2019sportrayalofmacbethmakeyouagreewiththisdescription? [turnover06_0486_22_2019_1.9 \u00a9ucles201911",
            "12": "3530252015105williamshakespeare: romeoandjuliet remembertosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: now,goodsweetnurse\u2014olord,whylook\u2019stthousad? thoughnewsbesad,yettellthemmerrily; ifgood,thoushamestthemusicofsweetnews byplayingittomewithsosouraface.juliet: iamaweary,givemeleaveawhile; fie,howmybonesache!whatajauncehaveihad!nurse: iwouldthouhadstmybonesandithynews. nay,come,ipraytheespeak;good,goodnurse,speak.juliet: jesu,whathaste?canyounotstayawhile? doyounotseethatiamoutofbreath?nurse: howartthououtofbreath,whenthouhastbreath tosaytomethatthouartoutofbreath? theexcusethatthoudostmakeinthisdelay islongerthanthetalethoudostexcuse. isthynewsgoodorbad?answertothat; sayeither,andi\u2019llstaythecircumstance. letmebesatisfied,is\u2019tgoodorbad?juliet: well,youhavemadeasimplechoice;youknownothowtochooseaman. romeo!no,nothe;thoughhisfacebebetterthananyman\u2019s,yethisleg excelsallmen\u2019s;andforahand,andafoot,andabody,thoughtheybe nottobetalk\u2019don,yettheyarepastcompare.heisnottheflowerof courtesy,buti\u2019llwarranthimasgentleasalamb.gothyways,wench; servegod. what,haveyoudin\u2019dathome?nurse: no,no.butallthisdidiknowbefore. whatsaysheofourmarriage?whatofthat?juliet: lord,howmyheadaches!whataheadhavei! itbeatsasitwouldfallintwentypieces. mybackat\u2019otherside\u2013ah,myback,myback! beshrewyourheartforsendingmeabout tocatchmydeathwithjauncingupanddown!nurse: i\u2019faith,iamsorrythatthouartnotwell. sweet,sweet,sweetnurse,tellme,whatsaysmylove?juliet: yourlovesayslikeanhonestgentleman,andacourteous,andakind,and ahandsome,and,iwarrant,avirtuous\u2013whereisyourmother?nurse: whereismymother!why,sheiswithin; whereshouldshebe?howoddlythourepliest! \u2018yourlovesayslikeanhonestgentleman, whereisyourmother?\u2019juliet: 06_0486_22_2019_1.9 \u00a9ucles201912",
            "13": "40 ogod\u2019sladydear! areyousohot?marry,comeup,itrow; isthisthepoulticeformyachingbones? henceforward,doyourmessagesyourself.nurse: [fromact2scene5 ] howdoesshakespearemakethissuchadramaticandentertainingmomentintheplay? or\u202010 inwhatwaysdoesshakespearemakemercutiosuchacompellingcharacter? 06_0486_22_2019_1.9 \u00a9ucles201913",
            "14": "blankpage 06_0486_22_2019_1.9 \u00a9ucles201914",
            "15": "blankpage 06_0486_22_2019_1.9 \u00a9ucles201915",
            "16": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeassessment international education copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cambridgeinternational.orgaftertheliveexaminationseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of cambridgelocalexaminationssyndicate(ucles),whichitselfisadepartmentoftheuniversityofcambridge. 06_0486_22_2019_1.9 \u00a9ucles201916"
        },
        "0486_s19_qp_23.pdf": {
            "1": "cambridgeassessmentinternationaleducation cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/23 literature(english) may/june2019 paper2drama 1hour30minutes additionalmaterials: answerbooklet/paper readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answertwoquestions. youmustanswer onepassage-basedquestion(marked*)and oneessayquestion(marked\u2020). yourquestionsmustbeon twodifferentplays. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover06_0486_23_2019_1.9 \u00a9ucles2019 *9614841721*",
            "2": "3530252015105lorrainehansberry: araisininthesun remembertosupportyourideaswithdetailsfromthewriting. either*1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: i\u2019mtalkingaboutthefactthatwhenigottothetrainstationyesterdaymorning -eighto\u2019clocklikeweplanned...man- willydidn\u2019tnevershowup .bobo: why...wherewashe...whereishe? walter: that\u2019swhati\u2019mtryingtotellyou...idon\u2019tknow...iwaitedsixhours...icalled hishouse...andiwaited...sixhours...iwaitedinthattrainstationsixhours ...[breakingintotears. ]thatwasalltheextramoneyihadintheworld...[ looking upatwalterwiththetearsrunningdownhisface. ]man,willyisgone.bobo: gone,whatyoumeanwillyisgone?gonewhere?youmeanhewentbyhimself. youmeanhewentofftospringfieldbyhimself-totakecareofgettingthelicence -[turnsandlooksanxiouslyat ruth.]youmeanmaybehedidn\u2019twanttoo manypeopleinonthebusinessdownthere?[ lookstoruthagain,asbefore. ] youknowwillygothisownways.[ looksbackto bobo.]maybeyouwaslate yesterdayandhejustwentondowntherewithoutyou.maybe-maybe-he\u2019s beencallin\u2019youathometryin\u2019totellyouwhathappenedorsomething.maybe -maybe-hejustgotsick.he\u2019ssomewhere-he\u2019sgottobesomewhere.wejust gottofindhim-meandyougottofindhim.[ grabsbobosenselesslybythe collarandstartstoshakehim. ]wegotto!walter: [insuddenangry,frightenedagony ]:what\u2019sthematterwithyou,walter! when acattakeoffwithyourmoneyhedon\u2019tleavenomaps!bobo [turningmadly,asthoughheislookingfor willyintheveryroom ]:willy!... willy...don\u2019tdoit...pleasedon\u2019tdoit...man,notwiththatmoney...man, please,notwiththatmoney...oh,god...don\u2019tletitbetrue...[ heiswandering around,cryingoutfor willyandlookingforhimorperhapsforhelpfromgod. ] man...itrustedyou...man,iputmylifeinyourhands...[ hestartstocrumple downontheflooras ruthjustcoversherfaceinhorror. mamaopensthedoor andcomesintotheroom,with beneathabehindher.]man...[hestartsto poundthefloorwithhisfists,sobbingwildly. ]thatmoneyismadeoutofmy father\u2019sflesh...walter [standingoverhimhelplessly ]:i\u2019msorry,walter...[ onlywalter\u2019ssobsreply. boboputsonhishat. ]ihadmylifestakedonthisdeal,too... [hegoes.]bobo [towalter]:son-[ shegoestohim,bendsdowntohim,talkstohisbenthead. ] son...isitgone?son,igaveyousixty-fivehundreddollars.isitgone?allof it?beneatha\u2019smoneytoo?mama [liftinghisheadslowly ]:mama...inever...wenttothebankatall... walter [notwantingtobelievehim ]:youmean...yoursister\u2019sschoolmoney...you usedthattoo...walter?...mama 06_0486_23_2019_1.9 \u00a9ucles20192",
            "3": "55504540yesss!...allofit...it\u2019sallgone... [thereistotalsilence. ruthstandswithherfacecoveredwithherhands; beneathaleansforlornlyagainstawall,fingeringapieceofredribbonfrom themother\u2019sgift. mamastopsandlooksathersonwithoutrecognitionandthen, quitewithoutthinkingaboutit,startstobeathimsenselesslyintheface. beneathagoestothemandstopsit. ]walter: mama! [mamastopsandlooksatbothherchildrenandrisesslowlyandwanders vaguely,aimlesslyawayfromthem. ]beneatha: iseen...him...nightafternight...comein...andlookatthatrug...andthen lookatme...theredshowinginhiseyes...theveinsmovinghishead...iseen himgrowthinandoldbeforehewasforty...workingandworkingandworking likesomebody\u2019soldhorse...killinghimself...andyou-yougiveitallawayin aday...mama: mama- beneatha: oh,god...[shelooksuptohim. ]lookdownhere-andshowmethestrength. mama: mama- beneatha: [foldingover]:strength... mama [plaintively]:mama... beneatha strength! curtainmama: [fromact2scene3 ] inwhatwaysdoeshansberrymakethismomentintheplaysoshocking? or\u20202 howfardoeshansberry\u2019sportrayalofmamaleadyoutoadmireher? donotusethepassageprintedinquestion*1whenansweringthisquestion. [turnover06_0486_23_2019_1.9 \u00a9ucles20193",
            "4": "arthurmiller:a viewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either*3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: yougottapushataxi? beatrice: 06_0486_23_2019_1.9 \u00a9ucles 20194 content removed due to copyright restrictions.",
            "5": "iknow ,ijustthoughtmaybehegotmarriedrecently. catherine: [fromact1] howdoesmillermakethisbothanentertainingandseriousmomentintheplay? or\u20204 howdoesmillermakeeddie\u2019srelationshipwithrodolphosuchastrikingpartoftheplay? donotusethepassageprintedinquestion*3whenansweringthisquestion. [turnover06_0486_23_2019_1.9 \u00a9ucles 20195 content removed due to copyright restrictions.",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either*5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: yes,desmond.well? catherine: ihaveataxi-cabwaitingattheendofthestreet. desmond: [smiling]:howveryextravagantofyou,desmond. catherine [alsosmiling]:yes.butitshowsyouhowrushedthisvisitmustnecessarily be.thefactofthematteris\u2014itsuddenlyoccurredtomeduringthelunch adjournmentthatihadbetterseeyouto-day\u2014desmond [herthoughtsfardistant ]:why? catherine ihaveaquestiontoputtoyou,kate,which,ifihadpostponedputtinguntil aftertheverdict,youmight\u2014whoknows\u2014havethoughthadbeenprompted bypity\u2014ifwehadlost.or\u2014ifwehadwon,yourreplymight\u2014againwho knows\u2014havebeeninfluencedbygratitude.doyoufollowme,kate?desmond: yes,desmond.ithinkido. catherine: ah.thenpossiblyyouhavesomeinklingofwhatthequestionisihaveto puttoyou?desmond: yes,ithinkihave. catherine: [atrifledisconcerted ]:oh. desmond i\u2019msorry,desmond.iought,iknow,tohavefollowedtheusualpracticein suchcases,andtoldyouihadnoinklingwhatever.catherine: no,no.yourdirectnessandhonestyaretwoofthequalitiesisomuch admireinyou.iamgladyouhaveguessed.itmakesmytasktheeasier\u2014desmond: [inamatter-of-factvoice ]:willyougivemeafewdaystothinkitover? catherine ofcourse.ofcourse. desmond: ineedhardlytellyouhowgratefuliam,desmond. catherine: [atriflebewildered ]:thereisnoneed,kate,noneedatall\u2014 desmond youmustn\u2019tkeepyourtaxiwaiting. catherine: [fiercely]:oh,bothermytaxi.[ recoveringhimself. ]forgiveme,kate,but youseeiknowverywellwhatyourfeelingsformereallyare.desmond [gently]:youdo,desmond? catherine yes,kate.iknowquitewelltheyhaveneveramountedtomuchmorethan asortof\u2014well\u2014shallwesay,friendliness?awarmfriendliness,ihope. yes,ithinkperhapswecandefinitelysay,warm.butnomorethanthat. that\u2019strue,isn\u2019tit?desmond: 06_0486_23_2019_1.9 \u00a9ucles20196",
            "7": "454035[quietly]:yes,desmond. catherine iknow,iknow.ofcourse,thethingisthatevenifiprovedthemostdevoted andadoringhusbandthateverlived\u2014which,imaysay,ifyougivemethe chance,iintendtobe\u2014yourfeelingsformewouldnever\u2014could never\u2014amounttomorethanthat.wheniwasyoungeritmight,perhaps, havebeenadifferentstory.wheniplayedcricketforengland\u2014 [desmond noticesthefaintestexpressionofpitythathascrossed catherine \u2019sface.] [apologetically. ]andofcourse,perhapseventhatwouldnothavemadeso muchdifference.perhapsyoufeeliclingtoomuchtomypastathletic prowess.ifeelitmyself,sometimes\u2014butthetruthisihavenotmuchelse toclingtosavethatandmyloveforyou.theathleticprowessisfading,i\u2019m afraid,withtheyearsandthestiffeningofthemuscles\u2014butmyloveforyou willneverfade.desmond: [smiling]:that\u2019sverycharminglysaid,desmond. catherine [fromact2scene2 ] inwhatwaysdoesrattiganmakethismomentintheplaysomoving? or\u20206 howdoesrattigan\u2019sportrayaloftherelationshipbetweenjohnwatherstoneandcatherinewinslow contributetothedramaticimpactoftheplay? [turnover06_0486_23_2019_1.9 \u00a9ucles20197",
            "8": "30252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either*7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: sirrah,yourfather\u2019sdead; andwhatwillyoudonow?howwillyoulive?ladymacduff : asbirdsdo,mother. son: what,withwormsandflies? ladymacduff : withwhatiget,imean;andsodothey. son: poorbird!thou\u2019dstneverfearthenetnorlime, thepitfallnorthegin.ladymacduff : whyshouldi,mother?poorbirdstheyarenotsetfor. myfatherisnotdead,forallyoursaying.son: yes,heisdead.howwiltthoudoforafather? ladymacduff : nay,howwillyoudoforahusband? son: why,icanbuymetwentyatanymarket. ladymacduff : thenyou\u2019llbuy\u2019emtosellagain. son: thouspeak\u2019stwithallthywit;andyet,i\u2019faith, withwitenoughforthee.ladymacduff : wasmyfatheratraitor,mother? son: ay,thathewas. ladymacduff : whatisatraitor? son: why,onethatswearsandlies. ladymacduff : andbealltraitorsthatdoso? son: everyonethatdoessoisatraitor,andmustbehang\u2019d. ladymacduff : andmusttheyallbehang\u2019dthatswearandlie? son: everyone. ladymacduff : whomusthangthem? son: why,thehonestmen. ladymacduff : thentheliarsandswearersarefools;forthereareliarsandswearersenow tobeatthehonestmenandhangupthem.son: now,godhelpthee,poormonkey!buthowwiltthoudoforafather? ladymacduff : ifheweredead,you\u2019dweepforhim;ifyouwouldnot,itwereagoodsign thatishouldquicklyhaveanewfather.son: 06_0486_23_2019_1.9 \u00a9ucles20198",
            "9": "605550454035poorprattler,howthoutalk\u2019st! [enteramessenger. ]ladymacduff : blessyou,fairdame!iamnottoyouknown, thoughinyourstateofhonouriamperfect. idoubtsomedangerdoesapproachyounearly. ifyouwilltakeahomelyman\u2019sadvice, benotfoundhere;hence,withyourlittleones. tofrightyouthus,methinks,iamtoosavage; todoworsetoyouwerefellcruelty, whichistoonighyourperson.heavenpreserveyou! idareabidenolonger. [exit.]messenger: whithershouldifly? ihavedonenoharm.butiremembernow iaminthisearthlyworld,wheretodoharm isoftenlaudable,todogoodsometime accounteddangerousfolly.whythen,alas, doiputupthatwomanlydefence tosayihavedonenoharm? [entermurderers .] whatarethesefaces?ladymacduff : whereisyourhusband? 1murderer: ihope,innoplacesounsanctified wheresuchasthoumaystfindhim.ladymacduff : he\u2019satraitor. 1murderer: thouliest,thoushag-ear\u2019dvillain. son: what,youegg? [ stabbinghim. ] youngfryoftreachery!1murderer: hehaskill\u2019dme,mother. runaway,iprayyou. [ dies.] [exitladymacduff ,crying\u2018murder!\u2019 ]son: [fromact4scene2 ] howdoesshakespeare\u2019swritingmakethismomentintheplaysomoving? or\u20208 howdoesshakespearevividlyportraytheunhappinessofmacbethandladymacbethaftertheybecome kingandqueen? [turnover06_0486_23_2019_1.9 \u00a9ucles20199",
            "10": "403530252015105williamshakespeare: romeoandjuliet remembertosupportyourideaswithdetailsfromthewriting. either*9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: o,shedothteachthetorchestoburnbright! itseemsshehangsuponthecheekofnight asarichjewelinanethiop\u2019sear- beautytoorichforuse,forearthtoodear! soshowsasnowydovetroopingwithcrows asyonderladyo\u2019erherfellowsshows. themeasuredone,i\u2019llwatchherplaceofstand, and,touchinghers,makeblessedmyrudehand. didmyheartlovetillnow?forswearit,sight; forine\u2019ersawtruebeautytillthisnight.romeo: this,byhisvoice,shouldbeamontague. fetchmemyrapier,boy.what,darestheslave comehither,cover\u2019dwithananticface, tofleerandscornatoursolemnity? now,bythestockandhonourofmykin, tostrikehimdeadiholditnotasin.tybalt: why,hownow,kinsman!whereforestormyouso? capulet: uncle,thisisamontague,ourfoe; avillain,thatishithercomeinspite toscornatoursolemnitythisnight.tybalt: youngromeo,isit? capulet: \u2018tishe,thatvillainromeo. tybalt: contentthee,gentlecoz,lethimalone. \u2019abearshimlikeaportlygentleman; and,tosaytruth,veronabragsofhim tobeavirtuousandwell-govern\u2019dyouth. iwouldnotforthewealthofallthistown hereinmyhousedohimdisparagement. thereforebepatient,takenonoteofhim; itismywill;thewhichifthourespect, showafairpresenceandputoffthesefrowns, anill-beseemingsemblanceforafeast.capulet: itfits,whensuchavillainisaguest. i\u2019llnotendurehim.tybalt: heshallbeendur\u2019d. what,goodmanboy!isayheshall.goto; amithemasterhereoryou?goto. you\u2019llnotendurehim!godshallmendmysoul! you\u2019llmakeamutinyamongmyguests! youwillsetcock-a-hoop!you\u2019llbetheman!capulet: 06_0486_23_2019_1.9 \u00a9ucles201910",
            "11": "5045why,uncle,\u2019tisashame. tybalt: goto,goto; youareasaucyboy.is\u2019tso,indeed? thistrickmaychancetoscatheyou.iknowwhat: youmustcontraryme.marry,\u2019tistime.- wellsaid,myhearts!-youareaprincox;go. bequiet,or-morelight,morelight!-forshame! i\u2019llmakeyouquiet.what!-cheerly,myhearts!capulet: patienceperforcewithwilfulcholermeeting makesmyfleshtrembleintheirdifferentgreeting. iwillwithdraw;butthisintrusionshall, nowseemingsweet,converttobitt\u2019restgall. [exit.]tybalt: [fromact1scene5 ] howdoesshakespearemakethissuchadramaticandsignificantmomentintheplay? or\u202010 howdoesshakespeare\u2019sportrayalofladycapuletandherrelationshipwithjulietcontributetothe dramaticimpactoftheplay? 06_0486_23_2019_1.9 \u00a9ucles201911",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeassessment international education copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cambridgeinternational.orgaftertheliveexaminationseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of cambridgelocalexaminationssyndicate(ucles),whichitselfisadepartmentoftheuniversityofcambridge. 06_0486_23_2019_1.9 \u00a9ucles201912"
        },
        "0486_s19_qp_31.pdf": {
            "1": "cambridgeassessmentinternationaleducation cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/31 literature(english) may/june2019 paper3drama(opentext) 45minutes additionalmaterials: answerbooklet/paper textsstudiedshouldbetakenintotheexamination. readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answeronequestion. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover06_0486_31_2019_1.2 \u00a9ucles2019 *2875692583*",
            "2": "30252015105lorrainehansberry: araisininthesun remembertosupportyourideaswithdetailsfromthewriting. either1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [kindly]:\u2019courseyougoingtobeadoctor,honey,godwilling. mama [drily]:godhasn\u2019tgotathingtodowithit. beneatha beneatha\u2013thatjustwasn\u2019tnecessary. mama: well\u2013neitherisgod.igetsickofhearingaboutgod. beneatha: beneatha! mama: imeanit!i\u2019mjusttiredofhearingaboutgodallthetime.whathashegottodo withanything?doeshepaytuition?beneatha: you\u2019bouttogetyourfreshlittlejawslapped! mama: that\u2019sjustwhatsheneeds,allright! ruth: why?whycan\u2019tisaywhatiwanttoaroundhere,likeeverybodyelse? beneatha: itdon\u2019tsoundniceforayounggirltosaythingslikethat\u2013youwasn\u2019tbrought upthatway.meandyourfatherwenttotroubletogetyouandbrothertochurch everysunday.mama: mama,youdon\u2019tunderstand.it\u2019sallamatterofideas,andgodisjustoneidea idon\u2019taccept.it\u2019snotimportant.iamnotgoingoutandbeimmoralorcommit crimesbecauseidon\u2019tbelieveingod.idon\u2019teventhinkaboutit.it\u2019sjustthati gettiredofhimgettingcreditforallthethingsthehumanraceachievesthrough itsownstubborneffort.theresimplyisnoblastedgod\u2013thereisonlymanand itishewhomakesmiracles! [mamaabsorbsthisspeech,studiesherdaughterandrisesslowlyandcrosses tobeneatha and slaps her powerfully across the face. after, there is only silenceandthedaughterdropshereyesfromhermother\u2019sface,and mamais verytallbeforeher. ]beneatha: now\u2013yousayafterme,inmymother\u2019shousethereisstillgod.[ thereisalong pauseandbeneathastaresatthefloorwordlessly. mamarepeatsthephrase withprecisionandcoolemotion. ]inmymother\u2019shousethereisstillgod.mama: inmymother\u2019shousethereisstillgod. [alongpause. ]beneatha: [walkingawayfrom beneatha,toodisturbedfortriumphantposture.stopping andturningbacktoherdaughter ]:therearesomeideasweain\u2019tgoingtohave inthishouse.notlongasiamattheheadofthisfamily.mama yes,ma\u2019am. [mamawalksoutoftheroom .]beneatha: 06_0486_31_2019_1.2 \u00a9ucles20192",
            "3": "65605550454035[almostgently,withprofoundunderstanding ]:youthinkyouawoman,bennie \u2013butyoustillalittlegirl.whatyoudidwaschildish\u2013soyougottreatedlikea child.ruth isee.[quietly.]ialsoseethateverybodythinksit\u2019sallrightformamatobea tyrant.butallthetyrannyintheworldwillneverputagodintheheavens!beneatha: [shepicksupherbooksandgoesout. ] [goestomama\u2019sdoor]:shesaidshewassorry. ruth [comingout,goingtoherplant ]:theyfrightensme,ruth.mychildren. mama yougotgoodchildren,lena.theyjustalittleoffsometimes\u2013butthey\u2019regood. ruth: no \u2013 there\u2019s something come down between me and them that don\u2019t let us understandeachotherandidon\u2019tknowwhatitis.onedonealmostlosthismind thinking\u2019boutmoneyallthetimeandtheotherdonecommencetotalkabout thingsican\u2019tseemtounderstandinnoformorfashion.whatisitthat\u2019schanging, ruth?mama: [soothingly,olderthanheryears ]:now/elipsisyoutakingitalltooseriously.youjust gotstrong-willedchildrenandittakesastrongwomanlikeyoutokeep\u2019emin hand.ruth [lookingatherplantandsprinklingalittlewateronit ]:theyspiritedallright,my children.gottoadmittheygotspirit\u2013bennieandwalter.likethislittleoldplant thatain\u2019tneverhadenoughsunshineornothing\u2013andlookatit/elipsis [shehasherbackto ruth,whohastostopironingandleanagainstsomething andputthebackofherhandtoherforehead. ]mama [tryingtokeep mamafromnoticing ]:you...sure...lovesthatlittleoldthing,don\u2019t you?...ruth well,ialwayswantedmeagardenlikeiusedtoseesometimesatthebackof thehousesdownhome.thisplantiscloseasievergottohavingone.[ she looksoutofthewindowasshereplacestheplant. ]lord,ain\u2019tnothingasdreary astheviewfromthiswindowonadrearyday,isthere?whyain\u2019tyousinging thismorning,ruth?singthat\u2018nowaystired\u2019.thatsongalwaysliftsmeupso.mama: [sheturnsatlasttoseethat ruthhasslippedquietlyintoachair,inastateof semi-consciousness. ] ruth!ruthhoney-what\u2019sthematterwithyou...ruth! curtain [fromact1scene1 ] howdoeshansberrymakethisapowerfullydramaticmomentintheplay? or2 howdoeshansberrymovinglyportraythedifficultiesruthfacesintheplay? donotusethepassagein question1whenansweringthisquestion. [turnover06_0486_31_2019_1.2 \u00a9ucles20193",
            "4": "arthurmiller: aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either  3 read  this  passage  carefully, and then answer  the question  that follows  it: light rises on the street.  06_0486_31_2019_1.2 \u00a9ucles20194 content removed due to copyright restrictions.",
            "5": "you hear me?  alone. [fromact2] inwhatwaysdoesmillermakethissuchadisturbingmomentintheplay? or4 whichcharacterdoesmiller\u2019swritingpersuadeyouismostresponsibleforeddie\u2019sdeath? donotusethepassagein question3whenansweringthisquestion. [turnover06_0486_31_2019_1.2 \u00a9ucles20195 content removed due to copyright restrictions.",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: iwanttoaskyouaquestion,butbeforeido,imustimpressonyouthe urgentnecessityforanabsolutelytruthfulanswer.arthur: naturally. dickie: naturallymeansbynature,andi\u2019mafraidihavenotyetnoticedthatithas invariablybeenyournaturetoanswermyquestionstruthfully.arthur: oh.well,iwillthisonefather.ipromise. dickie: verywell.[hestaresathimforamoment. ]whatdoyousupposeoneof yourbookmakerfriendswouldlayinthewayofoddsagainstyougettinga degree?arthur: [thereisapause. ] oh.well,let\u2019sthink.say\u2013aboutevens. dickie: hm.iratherdoubtifatthatpriceyourfriendwouldfindmanytakers. arthur: well\u2013perhapsseventofouragainst. dickie: isee.andwhatabouttheoddsagainstyoureventuallybecomingacivil servant?arthur: well\u2013abitsteeperisuppose. dickie: exactly.quiteabitsteeper. arthur: [thereisapause. ] youdon\u2019twanttohaveabet,doyou? dickie: no,dickie.i\u2019mnotagambler.andthat\u2019sexactlythetrouble.unhappily,i\u2019m nolongerinapositiontogambletwohundredpoundsayearonwhatyou yourselfadmitisanoutsidechance.arthur: notanoutsidechance,father.agoodchance. dickie: notgoodenough,dickie,i\u2019mafraid\u2013withthingsastheyareatthemoment. definitelynotgoodenough.ifearmymindisfinallymadeup. [thereisalongpause. ]arthur: youwantmetoleaveoxford\u2013isthatit? dickie: i\u2019mafraidso,dickie. arthur: oh.straightaway? dickie: no.youcanfinishyoursecondyear. arthur: andwhatthen? dickie: 06_0486_31_2019_1.2 \u00a9ucles20196",
            "7": "50454035icangetyouajobinthebank. arthur: [quietly]:oh,lord! dickie [afterapause:ratherapologetically ]:it\u2019llbequiteagoodjob,youknow. luckily,myinfluenceinthebankstillcountsforsomething.arthur father\u2013ifipromisedyou\u2013imean, reallypromisedyou\u2013thatfromnowoni\u2019ll worklikeablack\u2013\u2013 [arthurshakeshisheadslowly. ] it\u2019sthecase,isuppose?dickie: it\u2019scostingmealotofmoney. arthur: iknow.itmustbe.still,couldn\u2019tyou\u2013imean,isn\u2019tthereanyway\u2013\u2013 [arthuragainshakeshishead. ] oh,lord!dickie: i\u2019mafraidthisisratherashockforyou.i\u2019msorry. arthur: what?no. no, it isn\u2019t really. i\u2019ve been rather expectingit as a matterof fact\u2013especiallysinceihearyouarehopingtobriefsirrobertmorton.still, ican\u2019tsaybutwhatitisn\u2019tabitofaslapintheface\u2013\u2013 [thefrontdoorbellrings. ]dickie: thereisajournalistcomingtoseeme.doyoumindifwetalkaboutthis someothertime?arthur: no.ofcoursenot,father.[ hebeginsforlornlytogatherhisbooks. ] dickie: [fromact1scene2 ] whatvividimpressionsdoesrattigangiveyouoftherelationshipbetweenarthuranddickieatthis momentintheplay? or6 howdoesrattigan\u2019sportrayalofviolet,theparlourmaid,contributetoyourenjoymentoftheplay? [turnover06_0486_31_2019_1.2 \u00a9ucles20197",
            "8": "30252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: agreatperturbationinnature,toreceiveatoncethebenefitofsleep anddotheeffectsofwatching!inthisslumb\u2019ryagitation,besidesher walking and other actual performances, what, at any time, have you heardhersay?doctor: that,sir,whichiwillnotreportafterher. gentlewoman: youmaytome;and\u2019tismostmeetyoushould. doctor: neithertoyounoranyone,havingnowitnesstoconfirmmyspeech. [enterladymacbeth ,withataper. ] loyou,hereshecomes!thisisherveryguise;and,uponmylife,fast asleep.observeher;standclose.gentlewoman: howcameshebythatlight? doctor: why,itstoodbyher.shehaslightbyhercontinually;\u2019tishercommand. gentlewoman: youseehereyesareopen. doctor: ay,buttheirsenseisshut. gentlewoman: whatisitshedoesnow?lookhowsherubsherhands. doctor: itisanaccustomedactionwithher,toseemthuswashingherhands; ihaveknownhercontinueinthisaquarterofanhour.gentlewoman: yethere\u2019saspot. ladymacbeth: hark,shespeaks.iwillsetdownwhatcomesfromher,tosatisfymy remembrancethemorestrongly.doctor: out,damnedspot!out,isay!one,two;whythen\u2019tistimetodo\u2019t.hell ismurky.fie,mylord,fie!asoldier,andafeard?whatneedwefear whoknowsit,whennonecancallourpow\u2019rtoaccount?yetwhowould havethoughttheoldmantohavehadsomuchbloodinhim?ladymacbeth: doyoumarkthat? doctor: thethaneoffifehadawife;whereisshenow?what,willthesehands ne\u2019erbeclean?nomoreo\u2019that,mylord,nomoreo\u2019that;youmarall withthisstarting.ladymacbeth: goto,goto;youhaveknownwhatyoushouldnot. doctor: shehasspokewhatsheshouldnot,iamsureofthat.heavenknows whatshehasknown.gentlewoman: here\u2019sthesmellofthebloodstill.alltheperfumesofarabiawillnot sweetenthislittlehand.oh,oh,oh!ladymacbeth: 06_0486_31_2019_1.2 \u00a9ucles20198",
            "9": "5550454035whatasighisthere!theheartissorelycharg\u2019d. doctor: iwouldnothavesuchaheartinmybosomforthedignityofthewhole body.gentlewoman: well,well,well. doctor: praygoditbe,sir. gentlewoman: thisdiseaseisbeyondmypractice.yetihaveknownthosewhichhave walk\u2019dintheirsleepwhohavediedholilyintheirbeds.doctor: washyourhands,putonyournightgown,looknotsopale.itellyou yetagain,banquo\u2019sburied;hecannotcomeouton\u2019sgrave.ladymacbeth: evenso? doctor: tobed,tobed;there\u2019sknockingatthegate.come,come,come,come, givemeyourhand.what\u2019sdonecannotbeundone.tobed,tobed,to bed. [exit.ladymacbeth: willshegonowtobed? doctor: directly. gentlewoman: foulwhisp\u2019ringsareabroad.unnaturaldeeds dobreedunnaturaltroubles;infectedminds totheirdeafpillowswilldischargetheirsecrets. moreneedsshethedivinethanthephysician. god,godforgiveusall.lookafterher; removefromherthemeansofallannoyance, andstillkeepeyesuponher.so,goodnight. mymindshehasmated,andamaz\u2019dmysight. ithink,butdarenotspeak.doctor: [fromact5scene1 ] inwhatwaysdoesshakespearemakethismomentintheplaysodisturbing? or8 inwhatwaysdoesshakespearemakethemurderofkingduncansuchashockingpartoftheplay? donotusethepassagein question7whenansweringthisquestion. [turnover06_0486_31_2019_1.2 \u00a9ucles20199",
            "10": "252015105williamshakespeare: romeoandjuliet remembertosupportyourideaswithdetailsfromthewriting. either9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: goodmorrow,cousin. benvolio: isthedaysoyoung? romeo: butnewstrucknine. benvolio: ayme!sadhoursseemlong. wasthatmyfatherthatwenthencesofast?romeo: itwas.whatsadnesslengthensromeo\u2019shours? benvolio: nothavingthatwhichhavingmakesthemshort. romeo: inlove? benvolio: out\u2013 romeo: oflove? benvolio: outofherfavourwhereiaminlove. romeo: alasthatlove,sogentleinhisview, shouldbesotyrannousandroughinproof!benvolio: alasthatlove,whoseviewismuffledstill, shouldwithouteyesseepathwaystohiswill! whereshallwedine?ome!whatfraywashere? yettellmenot,forihavehearditall. here\u2019smuchtodowithhate,butmorewithlove. whythen,obrawlinglove!olovinghate! oanything,ofnothingfirstcreate! oheavylightness!seriousvanity! mis-shapenchaosofwell-seemingforms! featheroflead,brightsmoke,coldfire,sickhealth! still-wakingsleep,thatisnotwhatitis! thislovefeeli,thatfeelnoloveinthis. dostthounotlaugh?romeo: no,coz,iratherweep. benvolio: goodheart,atwhat? romeo: atthygoodheart\u2019soppression. benvolio: 06_0486_31_2019_1.2 \u00a9ucles201910",
            "11": "60555045403530 why,suchislove\u2019stransgression. griefsofmineownlieheavyinmybreast, whichthouwiltpropagate,tohaveitprest withmoreofthine.thislovethatthouhastshown dothaddmoregrieftotoomuchofmineown. loveisasmokerais\u2019dwiththefumeofsighs; beingpurg\u2019d,afiresparklinginlovers\u2019eyes; beingvex\u2019d,aseanourish\u2019dwithlovingtears. whatisitelse?amadnessmostdiscreet, achokinggall,andapreservingsweet. farewell,mycoz.romeo: soft!iwillgoalong; anifyouleavemeso,youdomewrong.benvolio: tut,ihavelostmyself;iamnothere: thisisnotromeo,he\u2019ssomeotherwhere.romeo: tellmeinsadnesswhoisthatyoulove. benvolio: what,shalligroanandtellthee? romeo: groan!why,no; butsadlytellmewho.benvolio: bidasickmaninsadnessmakehiswill. ah,wordillurg\u2019dtoonethatissoill! insadness,cousin,idoloveawoman.romeo: iaim\u2019dsonearwhenisuppos\u2019dyoulov\u2019d. benvolio: arightgoodmarkman!andshe\u2019sfairilove. romeo: arightfairmark,faircoz,issoonesthit. benvolio: well,inthathityoumiss:she\u2019llnotbehit withcupid\u2019sarrow.shehathdian\u2019swit, andinstrongproofofchastitywellarm\u2019d, fromlove\u2019sweakchildishbowshelivesunharm\u2019d. shewillnotstaythesiegeoflovingterms, norbideth\u2019encounterofassailingeyes, noropeherlaptosaint-seducinggold. o,sheisrichinbeauty;onlypoor that,whenshedies,withbeautydiesherstore.romeo: [fromact1scene1 ] howdoesshakespearemakethissuchavividintroductiontoromeo? or10 exploretwomomentsinwhichshakespearemakestherelationshipbetweenromeoandjulietparticularly moving. 06_0486_31_2019_1.2 \u00a9ucles201911",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeassessment international education copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cambridgeinternational.orgaftertheliveexaminationseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of cambridgelocalexaminationssyndicate(ucles),whichitselfisadepartmentoftheuniversityofcambridge. 06_0486_31_2019_1.2 \u00a9ucles201912"
        },
        "0486_s19_qp_32.pdf": {
            "1": "cambridgeassessmentinternationaleducation cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/32 literature(english) may/june2019 paper3drama(opentext) 45minutes additionalmaterials: answerbooklet/paper textsstudiedshouldbetakenintotheexamination. readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answeronequestion. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 13printedpagesand 3blankpages. [turnover06_0486_32_2019_1.1 \u00a9ucles2019 *1165988341*",
            "2": "3530252015105lorrainehansberry: araisininthesun remembertosupportyourideaswithdetailsfromthewriting. either1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [toruth]:well,theylookcrazyashell \u0336 whiteshoes,coldasitis. walter [crushed]:youhavetoexcusehim \u0336 ruth no,hedon\u2019t!excusemeforwhat?whatyoualwaysexcusingmefor!i\u2019ll excusemyselfwhenineedstobeexcused![ pause.]theylookasfunny asthemblackkneesocksbeneathawearsoutofhereallthetime.walter: it\u2019sthecollege style,walter. ruth: style,hell.shelookslikeshegotburntlegsorsomething! walter: oh,walter\u0336 ruth: [anirritablemimic ]:oh,walter!oh,walter![ togeorge]:how\u2019syourold manmakingout?iunderstandyouallgoingtobuythatbighotelonthe drive?[hefindsabeerintherefrigerator,wandersoverto george,sipping andwipinghislipswiththebackofhishandandstraddlingachair backwardstotalktotheotherman. ]shrewdmove.youroldmanisallright, man.[tappinghisheadandhalfwinkingforemphasis. ]imeanheknows howtooperate.imeanhethinks big,youknowwhatimean,imeanfora home,youknow?butithinkhe\u2019skindofrunningoutofideasnow.i\u2019dlike totalktohim.listen,man,igotsomeplansthatcouldturnthiscityupside down.imeanithinklikehedoes. big.investbig,gamblebig,hell,lose big ifyouhaveto,youknowwhatimean.it\u2019shardtofindamanonthiswhole southsidewhounderstandsmykindofthinking \u0336 youdig?[ hescrutinises georgeagain,drinkshisbeer,squintshiseyesandleansinclose, confidential,mantoman. ]meandyououghttositdownandtalksometimes, man.man,igotmesomeideas...walter [withboredom ]:yeah \u0336 sometimeswe\u2019llhavetodothat,walter. george [understandingtheindifference,andoffended ]:yeah \u0336 well,whenyouget thetime,man.iknowyouabusylittleboy.walter walter,please \u0336 ruth: [bitterly,hurt]:iknowain\u2019tnothinginthisworldasbusyasyoucoloured collegeboyswithyourfraternitypinsandwhiteshoes...walter [coveringherfacewithhumiliation ]:oh,walterlee \u0336 ruth iseeyouallallthetime \u0336 withthebookstuckedunderyourarms \u0336 goingto your \u0336 [hemimicsthebritish\u2018a\u2019. ]\u2018clahsses\u2019.andforwhat?whatthehell youlearningoverthere?fillingupyourheads\u0336[ countingoffonhisfingers. ] \u0336 withthesociologyandthepsychology.buttheyteachingyouhowtobea man?howtotakeoverandruntheworld?theyteachingyouhowtorun arubberplantationorasteelmill?naw \u0336 justtotalkproperandreadbooks andwearthemfaggoty-lookingwhiteshoes...walter: 06_0486_32_2019_1.1 \u00a9ucles20192",
            "3": "4540[lookingathimwithdistaste,alittleaboveitall ]:you\u2019reallwhackedupwith bitterness,man.george [intently,almostquietly,betweentheteeth,glaringattheboy ]:andyou \u0336 ain\u2019tyoubitter,man?ain\u2019tyoujustabouthadityet?don\u2019tyouseenostars gleamingthatyoucan\u2019treachoutandgrab?youhappy? \u0336 youcontented son-of-a-bitch \u0336 youhappy?yougotitmade?bitter?man,i\u2019mavolcano. bitter?hereiamagiant \u0336 surroundedbyants!antswhocan\u2019teven understandwhatitisthegiantistalkingabout.walter [passionatelyandsuddenly ]:oh,walter \u0336 ain\u2019tyouwithnobody? ruth [violently]:no!\u2019causeain\u2019tnobodywithme!notevenmyownmother! walter walter,that\u2019saterriblethingtosay! ruth: [fromact2scene1 ] whatdoeshansberry\u2019swritingmakeyoufeelaboutwalteratthismomentintheplay? or2 explorethewaysinwhichhansberrymakesthegenerationgapbetweenmamaandherchildrensuch apowerfulpartoftheplay. [turnover06_0486_32_2019_1.1 \u00a9ucles20193",
            "4": "arthur miller:aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: [neverlosingherarousedalarm ]:sitdown,honey,iwanttotellyou something.beatrice 06_0486_32_2019_1.1 \u00a9ucles 20194 content removed due to copyright restrictions.",
            "5": "okay . catherine: [fromact1] howdoesmillerstrikinglyrevealthecharacters\u2019thoughtsandfeelingsatthismomentintheplay? or4 howdoesmillermakebetrayalsuchapowerfulpartoftheplay? [turnover06_0486_32_2019_1.1 \u00a9ucles 20195 content removed due to copyright restrictions.",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: whataboutthewayyourfatherlooksatme!tellme,areallyourfamilyas scaredofhimasiam?john: dickieis,ofcourse;andronnie,thoughhedoesn\u2019tneedtobe.father worshipshim.idon\u2019tknowaboutmotherbeingscaredofhim.sometimes, perhaps.i\u2019mnot\u2014evercatherine: you\u2019renotscaredofanything,areyou? john: ohyes.heapsofthings. catherine: suchas? john: [withasmile]:oh...they\u2019renearlyallconcernedwithyou. [ronnielookscautiouslyinatthefrenchwindows.henowpresentsa verybedraggledandwoe-begoneappearance,withhisuniformwringing wet,andhisdamphairoverhiseyes. ]catherine youmightbealittlemoreexplicit... john: [inalowvoice ]:kate! [catherine turnsandseeshim. ]ronnie [amazed]:ronnie!whatonearth\u2014 catherine where\u2019sfather? ronnie: i\u2019llgoandtellhim\u2014[ shemovestowardsthedoor. ] catherine: [urgently]:no,don\u2019t;please,kate,don\u2019t! [catherine stops,puzzled. ]ronnie what\u2019sthetrouble,ronnie? [ronnie,tremblingontheedgeoftears,doesnotanswerher.shegoes tohim.] you\u2019rewetthrough.you\u2019dbettergoandchange.catherine: no. ronnie: [gently]:what\u2019sthetrouble,darling?youcantellme. [ronnielooksatjohn.] youknowjohnwatherstone,ronnie.youmethimlastholidays,don\u2019tyou remember? [ronnieremainssilent,obviouslyreluctanttotalkinfrontofacomparative stranger.]catherine 06_0486_32_2019_1.1 \u00a9ucles20196",
            "7": "605550454035[tactfully]:i\u2019lldisappear. john [pointingtothedining-roomdoor ]:inthere,doyoumind? [johngoesoutquietly .] now,darling,tellme.whatisit?haveyourunaway? [ronnieshakeshishead,evidentlynottrustinghimselftospeak. ] whatisitthen? [ronniepullsouttheletterfromhispocketandslowlyhandsittoher. catherine readsitquietly. ] oh,god!catherine ididn\u2019tdoit. [catherine re-readstheletterinsilence. ] kate,ididn\u2019t.really,ididn\u2019t.ronnie: [abstractedly]:no,darling.[ sheseemsuncertainofwhattodo. ]thisletter isaddressedtofather.didyouopenit?catherine yes. ronnie: youshouldn\u2019thavedonethat\u2014 catherine: iwasgoingtotearitup.theniheardyoucomeinfromchurchandraninto thegarden\u2014ididn\u2019tknowwhattodo\u2014ronnie: [stilldistracted ]:didtheysendyouupalone? catherine theysentapettyofficerupwithme.hewassupposedtowaitandsee father,butisenthimaway.[ indicatingtheletter ]kate\u2014shallwetearitup, now?ronnie: no,darling. catherine: wecouldtellfathertermhadendedtwodayssooner\u2014 ronnie: no,darling. catherine: ididn\u2019tdoit,kate,reallyididn\u2019t\u2014 [dickiecomesinfromthehall.hedoesnotseemsurprisedtosee ronnie.]ronnie: [cheerfully]:hullo,ronnie,oldlad.how\u2019severything? [ronnieturnsawayfromhim. ]dickie [todickie]:youknewhewashere? catherine ohyes.histrunksandthingsarealloverourroom.trouble? dickie: yes. catherine: [fromact1scene1 ] inwhatwaysdoesrattiganmakethissuchadramaticmomentintheplay? [turnover06_0486_32_2019_1.1 \u00a9ucles20197",
            "8": "or6 howdoesrattiganmakethewinslowfamily\u2019semploymentofsirrobertmortonastrikingpartofthe play? 06_0486_32_2019_1.1 \u00a9ucles20198",
            "9": "turntopage10forquestion7 [turnover06_0486_32_2019_1.1 \u00a9ucles20199",
            "10": "3530252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: nought\u2019shad,all\u2019sspent, whereourdesireisgotwithoutcontent. \u2019tissafertobethatwhichwedestroy, thanbydestructiondwellindoubtfuljoy. [entermacbeth.] hownow,mylord!whydoyoukeepalone, ofsorriestfanciesyourcompanionsmaking, usingthosethoughtswhichshouldindeedhavedied withthemtheythinkon?thingswithoutallremedy shouldbewithoutregard.what\u2019sdoneisdone.ladymacbeth : wehavescotch\u2019dthesnake,notkill\u2019dit; she\u2019llclose,andbeherself,whilstourpoormalice remainsindangerofherformertooth. butlettheframeofthingsdisjoint,boththeworldssuffer, erewewilleatourmealinfearandsleep intheafflictionoftheseterribledreams thatshakeusnightly.betterbewiththedead, whomwe,togainourpeace,havesenttopeace, thanonthetortureofthemindtolie inrestlessecstasy.duncanisinhisgrave; afterlife\u2019sfitfulfeverhesleepswell; treasonhasdonehisworst;norsteel,norpoison, malicedomestic,foreignlevy,nothing, cantouchhimfurther.macbeth: comeon. gentlemylord,sleeko\u2019eryourruggedlooks; bebrightandjovialamongyourgueststo-night.ladymacbeth : soshalli,love;andso,ipray,beyou. letyourremembranceapplytobanquo; presenthimeminence,bothwitheyeandtongue\u2013 unsafethewhile,thatwe mustlaveourhonoursintheseflatteringstreams, andmakeourfacesvizardstoourhearts, disguisingwhattheyare.macbeth: youmustleavethis. ladymacbeth : o,fullofscorpionsismymind,dearwife! thouknow\u2019stthatbanquo,andhisfleance,lives.macbeth: butinthemnature\u2019scopy\u2019snoteterne. ladymacbeth : 06_0486_32_2019_1.1 \u00a9ucles201910",
            "11": "55504540there\u2019scomfortyet;theyareassailable. thenbethoujocund.erethebathathflown hiscloister\u2019dflight;eretoblackhecate\u2019ssummons theshard-bornebeetlewithhisdrowsyhums hathrungnight\u2019syawningpeal,thereshallbedone adeedofdreadfulnote.macbeth: what\u2019stobedone? ladymacbeth : beinnocentoftheknowledge,dearestchuck, tillthouapplaudthedeed.come,seelingnight, scarfupthetendereyeofpitifulday, andwiththybloodyandinvisiblehand cancelandteartopiecesthatgreatbond whichkeepsmepale.lightthickens,andthecrow makeswingtoth\u2019rookywood; goodthingsofdaybegintodroopanddrowse, whilesnight\u2019sblackagentstotheirpreysdorouse. thoumarvell\u2019statmywords;butholdtheestill: thingsbadbegunmakestrongthemselvesbyill. so,pritheegowithme.macbeth: [fromact3scene2 ] howdoesshakespearevividlyrevealthetroubledthoughtsandfeelingsofmacbethandladymacbeth atthismomentintheplay? or8 attheendoftheplaymalcolmdescribesmacbethasa\u2018butcher\u2019. towhatextentdoesshakespeare\u2019sportrayalofmacbethmakeyouagreewiththisdescription? [turnover06_0486_32_2019_1.1 \u00a9ucles201911",
            "12": "3530252015105williamshakespeare: romeoandjuliet remembertosupportyourideaswithdetailsfromthewriting. either9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: now,goodsweetnurse\u2014olord,whylook\u2019stthousad? thoughnewsbesad,yettellthemmerrily; ifgood,thoushamestthemusicofsweetnews byplayingittomewithsosouraface.juliet: iamaweary,givemeleaveawhile; fie,howmybonesache!whatajauncehaveihad!nurse: iwouldthouhadstmybonesandithynews. nay,come,ipraytheespeak;good,goodnurse,speak.juliet: jesu,whathaste?canyounotstayawhile? doyounotseethatiamoutofbreath?nurse: howartthououtofbreath,whenthouhastbreath tosaytomethatthouartoutofbreath? theexcusethatthoudostmakeinthisdelay islongerthanthetalethoudostexcuse. isthynewsgoodorbad?answertothat; sayeither,andi\u2019llstaythecircumstance. letmebesatisfied,is\u2019tgoodorbad?juliet: well,youhavemadeasimplechoice;youknownothowtochooseaman. romeo!no,nothe;thoughhisfacebebetterthananyman\u2019s,yethisleg excelsallmen\u2019s;andforahand,andafoot,andabody,thoughtheybe nottobetalk\u2019don,yettheyarepastcompare.heisnottheflowerof courtesy,buti\u2019llwarranthimasgentleasalamb.gothyways,wench; servegod. what,haveyoudin\u2019dathome?nurse: no,no.butallthisdidiknowbefore. whatsaysheofourmarriage?whatofthat?juliet: lord,howmyheadaches!whataheadhavei! itbeatsasitwouldfallintwentypieces. mybackat\u2019otherside\u2013ah,myback,myback! beshrewyourheartforsendingmeabout tocatchmydeathwithjauncingupanddown!nurse: i\u2019faith,iamsorrythatthouartnotwell. sweet,sweet,sweetnurse,tellme,whatsaysmylove?juliet: yourlovesayslikeanhonestgentleman,andacourteous,andakind,and ahandsome,and,iwarrant,avirtuous\u2013whereisyourmother?nurse: whereismymother!why,sheiswithin; whereshouldshebe?howoddlythourepliest! \u2018yourlovesayslikeanhonestgentleman, whereisyourmother?\u2019juliet: 06_0486_32_2019_1.1 \u00a9ucles201912",
            "13": "40 ogod\u2019sladydear! areyousohot?marry,comeup,itrow; isthisthepoulticeformyachingbones? henceforward,doyourmessagesyourself.nurse: [fromact2scene5 ] howdoesshakespearemakethissuchadramaticandentertainingmomentintheplay? or10 inwhatwaysdoesshakespearemakemercutiosuchacompellingcharacter? 06_0486_32_2019_1.1 \u00a9ucles201913",
            "14": "blankpage 06_0486_32_2019_1.1 \u00a9ucles201914",
            "15": "blankpage 06_0486_32_2019_1.1 \u00a9ucles201915",
            "16": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeassessment international education copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cambridgeinternational.orgaftertheliveexaminationseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of cambridgelocalexaminationssyndicate(ucles),whichitselfisadepartmentoftheuniversityofcambridge. 06_0486_32_2019_1.1 \u00a9ucles201916"
        },
        "0486_s19_qp_33.pdf": {
            "1": "cambridgeassessmentinternationaleducation cambridgeinternationalgeneralcertificateofsecondaryeducation 0486/33 literature(english) may/june2019 paper3drama(opentext) 45minutes additionalmaterials: answerbooklet/paper textsstudiedshouldbetakenintotheexamination. readtheseinstructionsfirst ananswerbookletisprovidedinsidethisquestionpaper.youshouldfollowtheinstructionsonthefrontcover oftheanswerbooklet.ifyouneedadditionalanswerpaperasktheinvigilatorforacontinuationbooklet. answeronequestion. allquestionsinthispapercarryequalmarks. thisdocumentconsistsof 11printedpagesand 1blankpage. [turnover06_0486_33_2019_1.2 \u00a9ucles2019 *8583193583*",
            "2": "3530252015105lorrainehansberry: araisininthesun remembertosupportyourideaswithdetailsfromthewriting. either1 readthispassagecarefully,andthenanswerthequestionthatfollowsit: i\u2019mtalkingaboutthefactthatwhenigottothetrainstationyesterdaymorning -eighto\u2019clocklikeweplanned...man- willydidn\u2019tnevershowup .bobo: why...wherewashe...whereishe? walter: that\u2019swhati\u2019mtryingtotellyou...idon\u2019tknow...iwaitedsixhours...icalled hishouse...andiwaited...sixhours...iwaitedinthattrainstationsixhours ...[breakingintotears. ]thatwasalltheextramoneyihadintheworld...[ looking upatwalterwiththetearsrunningdownhisface. ]man,willyisgone.bobo: gone,whatyoumeanwillyisgone?gonewhere?youmeanhewentbyhimself. youmeanhewentofftospringfieldbyhimself-totakecareofgettingthelicence -[turnsandlooksanxiouslyat ruth.]youmeanmaybehedidn\u2019twanttoo manypeopleinonthebusinessdownthere?[ lookstoruthagain,asbefore. ] youknowwillygothisownways.[ looksbackto bobo.]maybeyouwaslate yesterdayandhejustwentondowntherewithoutyou.maybe-maybe-he\u2019s beencallin\u2019youathometryin\u2019totellyouwhathappenedorsomething.maybe -maybe-hejustgotsick.he\u2019ssomewhere-he\u2019sgottobesomewhere.wejust gottofindhim-meandyougottofindhim.[ grabsbobosenselesslybythe collarandstartstoshakehim. ]wegotto!walter: [insuddenangry,frightenedagony ]:what\u2019sthematterwithyou,walter! when acattakeoffwithyourmoneyhedon\u2019tleavenomaps!bobo [turningmadly,asthoughheislookingfor willyintheveryroom ]:willy!... willy...don\u2019tdoit...pleasedon\u2019tdoit...man,notwiththatmoney...man, please,notwiththatmoney...oh,god...don\u2019tletitbetrue...[ heiswandering around,cryingoutfor willyandlookingforhimorperhapsforhelpfromgod. ] man...itrustedyou...man,iputmylifeinyourhands...[ hestartstocrumple downontheflooras ruthjustcoversherfaceinhorror. mamaopensthedoor andcomesintotheroom,with beneathabehindher.]man...[hestartsto poundthefloorwithhisfists,sobbingwildly. ]thatmoneyismadeoutofmy father\u2019sflesh...walter [standingoverhimhelplessly ]:i\u2019msorry,walter...[ onlywalter\u2019ssobsreply. boboputsonhishat. ]ihadmylifestakedonthisdeal,too... [hegoes.]bobo [towalter]:son-[ shegoestohim,bendsdowntohim,talkstohisbenthead. ] son...isitgone?son,igaveyousixty-fivehundreddollars.isitgone?allof it?beneatha\u2019smoneytoo?mama [liftinghisheadslowly ]:mama...inever...wenttothebankatall... walter [notwantingtobelievehim ]:youmean...yoursister\u2019sschoolmoney...you usedthattoo...walter?...mama 06_0486_33_2019_1.2 \u00a9ucles20192",
            "3": "55504540yesss!...allofit...it\u2019sallgone... [thereistotalsilence. ruthstandswithherfacecoveredwithherhands; beneathaleansforlornlyagainstawall,fingeringapieceofredribbonfrom themother\u2019sgift. mamastopsandlooksathersonwithoutrecognitionandthen, quitewithoutthinkingaboutit,startstobeathimsenselesslyintheface. beneathagoestothemandstopsit. ]walter: mama! [mamastopsandlooksatbothherchildrenandrisesslowlyandwanders vaguely,aimlesslyawayfromthem. ]beneatha: iseen...him...nightafternight...comein...andlookatthatrug...andthen lookatme...theredshowinginhiseyes...theveinsmovinghishead...iseen himgrowthinandoldbeforehewasforty...workingandworkingandworking likesomebody\u2019soldhorse...killinghimself...andyou-yougiveitallawayin aday...mama: mama- beneatha: oh,god...[shelooksuptohim. ]lookdownhere-andshowmethestrength. mama: mama- beneatha: [foldingover]:strength... mama [plaintively]:mama... beneatha strength! curtainmama: [fromact2scene3 ] inwhatwaysdoeshansberrymakethismomentintheplaysoshocking? or2 howfardoeshansberry\u2019sportrayalofmamaleadyoutoadmireher? donotusethepassageprintedinquestion1whenansweringthisquestion. [turnover06_0486_33_2019_1.2 \u00a9ucles20193",
            "4": "arthur miller:aviewfromthebridge remembertosupportyourideaswithdetailsfromthewriting. either3 readthispassagecarefully,andthenanswerthequestionthatfollowsit: yougottapushataxi? beatrice: 06_0486_33_2019_1.2 \u00a9ucles 20194 content removed due to copyright restrictions.",
            "5": "i know,ijustthoughtmaybehegotmarriedrecently. catherine: [fromact1] howdoesmillermakethisbothanentertainingandseriousmomentintheplay? or4 howdoesmillermakeeddie\u2019srelationshipwithrodolphosuchastrikingpartoftheplay? donotusethepassageprintedinquestion3whenansweringthisquestion. [turnover06_0486_33_2019_1.2 \u00a9ucles 20195 content removed due to copyright restrictions.",
            "6": "30252015105terencerattigan: thewinslowboy remembertosupportyourideaswithdetailsfromthewriting. either5 readthispassagecarefully,andthenanswerthequestionthatfollowsit: yes,desmond.well? catherine: ihaveataxi-cabwaitingattheendofthestreet. desmond: [smiling]:howveryextravagantofyou,desmond. catherine [alsosmiling]:yes.butitshowsyouhowrushedthisvisitmustnecessarily be.thefactofthematteris\u2014itsuddenlyoccurredtomeduringthelunch adjournmentthatihadbetterseeyouto-day\u2014desmond [herthoughtsfardistant ]:why? catherine ihaveaquestiontoputtoyou,kate,which,ifihadpostponedputtinguntil aftertheverdict,youmight\u2014whoknows\u2014havethoughthadbeenprompted bypity\u2014ifwehadlost.or\u2014ifwehadwon,yourreplymight\u2014againwho knows\u2014havebeeninfluencedbygratitude.doyoufollowme,kate?desmond: yes,desmond.ithinkido. catherine: ah.thenpossiblyyouhavesomeinklingofwhatthequestionisihaveto puttoyou?desmond: yes,ithinkihave. catherine: [atrifledisconcerted ]:oh. desmond i\u2019msorry,desmond.iought,iknow,tohavefollowedtheusualpracticein suchcases,andtoldyouihadnoinklingwhatever.catherine: no,no.yourdirectnessandhonestyaretwoofthequalitiesisomuch admireinyou.iamgladyouhaveguessed.itmakesmytasktheeasier\u2014desmond: [inamatter-of-factvoice ]:willyougivemeafewdaystothinkitover? catherine ofcourse.ofcourse. desmond: ineedhardlytellyouhowgratefuliam,desmond. catherine: [atriflebewildered ]:thereisnoneed,kate,noneedatall\u2014 desmond youmustn\u2019tkeepyourtaxiwaiting. catherine: [fiercely]:oh,bothermytaxi.[ recoveringhimself. ]forgiveme,kate,but youseeiknowverywellwhatyourfeelingsformereallyare.desmond [gently]:youdo,desmond? catherine yes,kate.iknowquitewelltheyhaveneveramountedtomuchmorethan asortof\u2014well\u2014shallwesay,friendliness?awarmfriendliness,ihope. yes,ithinkperhapswecandefinitelysay,warm.butnomorethanthat. that\u2019strue,isn\u2019tit?desmond: 06_0486_33_2019_1.2 \u00a9ucles20196",
            "7": "454035[quietly]:yes,desmond. catherine iknow,iknow.ofcourse,thethingisthatevenifiprovedthemostdevoted andadoringhusbandthateverlived\u2014which,imaysay,ifyougivemethe chance,iintendtobe\u2014yourfeelingsformewouldnever\u2014could never\u2014amounttomorethanthat.wheniwasyoungeritmight,perhaps, havebeenadifferentstory.wheniplayedcricketforengland\u2014 [desmond noticesthefaintestexpressionofpitythathascrossed catherine \u2019sface.] [apologetically. ]andofcourse,perhapseventhatwouldnothavemadeso muchdifference.perhapsyoufeeliclingtoomuchtomypastathletic prowess.ifeelitmyself,sometimes\u2014butthetruthisihavenotmuchelse toclingtosavethatandmyloveforyou.theathleticprowessisfading,i\u2019m afraid,withtheyearsandthestiffeningofthemuscles\u2014butmyloveforyou willneverfade.desmond: [smiling]:that\u2019sverycharminglysaid,desmond. catherine [fromact2scene2 ] inwhatwaysdoesrattiganmakethismomentintheplaysomoving? or6 howdoesrattigan\u2019sportrayaloftherelationshipbetweenjohnwatherstoneandcatherinewinslow contributetothedramaticimpactoftheplay? [turnover06_0486_33_2019_1.2 \u00a9ucles20197",
            "8": "30252015105williamshakespeare: macbeth remembertosupportyourideaswithdetailsfromthewriting. either7 readthispassagecarefully,andthenanswerthequestionthatfollowsit: sirrah,yourfather\u2019sdead; andwhatwillyoudonow?howwillyoulive?ladymacduff : asbirdsdo,mother. son: what,withwormsandflies? ladymacduff : withwhatiget,imean;andsodothey. son: poorbird!thou\u2019dstneverfearthenetnorlime, thepitfallnorthegin.ladymacduff : whyshouldi,mother?poorbirdstheyarenotsetfor. myfatherisnotdead,forallyoursaying.son: yes,heisdead.howwiltthoudoforafather? ladymacduff : nay,howwillyoudoforahusband? son: why,icanbuymetwentyatanymarket. ladymacduff : thenyou\u2019llbuy\u2019emtosellagain. son: thouspeak\u2019stwithallthywit;andyet,i\u2019faith, withwitenoughforthee.ladymacduff : wasmyfatheratraitor,mother? son: ay,thathewas. ladymacduff : whatisatraitor? son: why,onethatswearsandlies. ladymacduff : andbealltraitorsthatdoso? son: everyonethatdoessoisatraitor,andmustbehang\u2019d. ladymacduff : andmusttheyallbehang\u2019dthatswearandlie? son: everyone. ladymacduff : whomusthangthem? son: why,thehonestmen. ladymacduff : thentheliarsandswearersarefools;forthereareliarsandswearersenow tobeatthehonestmenandhangupthem.son: now,godhelpthee,poormonkey!buthowwiltthoudoforafather? ladymacduff : ifheweredead,you\u2019dweepforhim;ifyouwouldnot,itwereagoodsign thatishouldquicklyhaveanewfather.son: 06_0486_33_2019_1.2 \u00a9ucles20198",
            "9": "605550454035poorprattler,howthoutalk\u2019st! [enteramessenger. ]ladymacduff : blessyou,fairdame!iamnottoyouknown, thoughinyourstateofhonouriamperfect. idoubtsomedangerdoesapproachyounearly. ifyouwilltakeahomelyman\u2019sadvice, benotfoundhere;hence,withyourlittleones. tofrightyouthus,methinks,iamtoosavage; todoworsetoyouwerefellcruelty, whichistoonighyourperson.heavenpreserveyou! idareabidenolonger. [exit.]messenger: whithershouldifly? ihavedonenoharm.butiremembernow iaminthisearthlyworld,wheretodoharm isoftenlaudable,todogoodsometime accounteddangerousfolly.whythen,alas, doiputupthatwomanlydefence tosayihavedonenoharm? [entermurderers .] whatarethesefaces?ladymacduff : whereisyourhusband? 1murderer: ihope,innoplacesounsanctified wheresuchasthoumaystfindhim.ladymacduff : he\u2019satraitor. 1murderer: thouliest,thoushag-ear\u2019dvillain. son: what,youegg? [ stabbinghim. ] youngfryoftreachery!1murderer: hehaskill\u2019dme,mother. runaway,iprayyou. [ dies.] [exitladymacduff ,crying\u2018murder!\u2019 ]son: [fromact4scene2 ] howdoesshakespeare\u2019swritingmakethismomentintheplaysomoving? or8 howdoesshakespearevividlyportraytheunhappinessofmacbethandladymacbethaftertheybecome kingandqueen? [turnover06_0486_33_2019_1.2 \u00a9ucles20199",
            "10": "403530252015105williamshakespeare: romeoandjuliet remembertosupportyourideaswithdetailsfromthewriting. either9 readthispassagecarefully,andthenanswerthequestionthatfollowsit: o,shedothteachthetorchestoburnbright! itseemsshehangsuponthecheekofnight asarichjewelinanethiop\u2019sear- beautytoorichforuse,forearthtoodear! soshowsasnowydovetroopingwithcrows asyonderladyo\u2019erherfellowsshows. themeasuredone,i\u2019llwatchherplaceofstand, and,touchinghers,makeblessedmyrudehand. didmyheartlovetillnow?forswearit,sight; forine\u2019ersawtruebeautytillthisnight.romeo: this,byhisvoice,shouldbeamontague. fetchmemyrapier,boy.what,darestheslave comehither,cover\u2019dwithananticface, tofleerandscornatoursolemnity? now,bythestockandhonourofmykin, tostrikehimdeadiholditnotasin.tybalt: why,hownow,kinsman!whereforestormyouso? capulet: uncle,thisisamontague,ourfoe; avillain,thatishithercomeinspite toscornatoursolemnitythisnight.tybalt: youngromeo,isit? capulet: \u2018tishe,thatvillainromeo. tybalt: contentthee,gentlecoz,lethimalone. \u2019abearshimlikeaportlygentleman; and,tosaytruth,veronabragsofhim tobeavirtuousandwell-govern\u2019dyouth. iwouldnotforthewealthofallthistown hereinmyhousedohimdisparagement. thereforebepatient,takenonoteofhim; itismywill;thewhichifthourespect, showafairpresenceandputoffthesefrowns, anill-beseemingsemblanceforafeast.capulet: itfits,whensuchavillainisaguest. i\u2019llnotendurehim.tybalt: heshallbeendur\u2019d. what,goodmanboy!isayheshall.goto; amithemasterhereoryou?goto. you\u2019llnotendurehim!godshallmendmysoul! you\u2019llmakeamutinyamongmyguests! youwillsetcock-a-hoop!you\u2019llbetheman!capulet: 06_0486_33_2019_1.2 \u00a9ucles201910",
            "11": "5045why,uncle,\u2019tisashame. tybalt: goto,goto; youareasaucyboy.is\u2019tso,indeed? thistrickmaychancetoscatheyou.iknowwhat: youmustcontraryme.marry,\u2019tistime.- wellsaid,myhearts!-youareaprincox;go. bequiet,or-morelight,morelight!-forshame! i\u2019llmakeyouquiet.what!-cheerly,myhearts!capulet: patienceperforcewithwilfulcholermeeting makesmyfleshtrembleintheirdifferentgreeting. iwillwithdraw;butthisintrusionshall, nowseemingsweet,converttobitt\u2019restgall. [exit.]tybalt: [fromact1scene5 ] howdoesshakespearemakethissuchadramaticandsignificantmomentintheplay? or10 howdoesshakespeare\u2019sportrayalofladycapuletandherrelationshipwithjulietcontributetothe dramaticimpactoftheplay? 06_0486_33_2019_1.2 \u00a9ucles201911",
            "12": "blankpage permissiontoreproduceitemswherethird-partyownedmaterialprotectedbycopyrightisincludedhasbeensoughtandclearedwherepossible.everyreasonable efforthasbeenmadebythepublisher(ucles)totracecopyrightholders,butifanyitemsrequiringclearancehaveunwittinglybeenincluded,thepublisherwill bepleasedtomakeamendsattheearliestpossibleopportunity. toavoidtheissueofdisclosureofanswer-relatedinformationtocandidates,allcopyrightacknowledgementsarereproducedonlineinthecambridgeassessment international education copyright acknowledgements booklet. this is produced for each series of examinations and is freely available to download at www.cambridgeinternational.orgaftertheliveexaminationseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of cambridgelocalexaminationssyndicate(ucles),whichitselfisadepartmentoftheuniversityofcambridge. 06_0486_33_2019_1.2 \u00a9ucles201912"
        },
        "0486_s19_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 165184/2 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *3306456452*literature (english)  0486/41 paper 4  unseen  may/june 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/41/m/j/19 \u00a9 ucles 2019 answer either question 1 or question 2. either 1 read carefully the poem on the opposite page. the poet has difficulty sleeping (insomnia). she  describes both her insomnia and a good night\u2019s sleep.  how does the poet memorably convey her experiences to you?  to help you answer this question, you might consider:   \u2022 how the poet describes her insomnia   \u2022 how she describes the experience of sleep   \u2022 what you find striking about the way the poem ends.",
            "3": "3 0486/41/m/j/19 \u00a9 ucles 2019 [turn over one night comes like a blessing like a cruel lover or spiteful mistress no-sleep demands my restless attentiveness. no-sleep prefers me stripped \u2013 a dark projectionist winding and unwinding the reel of my thoughts. an old grained movie i can\u2019t switch off \u2013 a starring of loves and loss, tv footage, soft tears, mortifications1, smothered laughs. then, one night comes like a blessing. a visitation of wings that sees me falling. whoever wants me now, i am swimming towards my house of dreams. let no one disturb this peace. let no one shake me even from the branches of nightmares. come morning i am reborn again \u2013 a fresh-faced eve \u2013 emerging from the rib\u2019s2 shadow \u2013 ready to meet the daily pandemonium3 of living. 1 mortifications : embarrassments 2  eve \u2026 rib\u2019s : in the bible, eve is the first woman, created from the rib of the first man 3 pandemonium : wild and noisy disorder or confusion",
            "4": "4 0486/41/m/j/19 \u00a9 ucles 2019 or 2 read carefully the extract opposite. eilis is a young irish girl who has recently moved to the usa.  she has received letters from her mother, her sister rose and her brother jack, who remain at  home in ireland. \t how \tdoes\tthe\twriter\tvividly\tconvey\teilis\u2019s\tgrowing \tsense\tof\thomesickness?  to help you answer this question, you might consider:   \u2022 how the writer describes her reactions to the letters from home   \u2022 how he portrays her increasing unhappiness   \u2022 how he contrasts her feelings about home and where she lives now.",
            "5": "5 0486/41/m/j/19 \u00a9 ucles 2019 the letters told eilis little; there was hardly anything personal in them and  nothing that sounded like anyone\u2019s own voice. nonetheless, as she read them over  and over, she forgot for a moment where she was and she could picture her mother  in the kitchen taking her basildon bond1 notepad and her envelopes and setting  out to write a proper letter with nothing crossed out. rose, she thought, might have  gone into the dining room to write on paper she had taken home from work, using a  longer, more elegant white envelope than her mother had. eilis imagined that rose  when she was finished might have left hers on the hall table, and her mother would have gone with both letters in the morning to the post office, having to get special stamps for america. she could not imagine where jack had written his letter, which was briefer than the other two, almost shy in its tone, as though he did not want to put too much in writing. she lay on the bed with the letters beside her. for the past few weeks, she  realized, she had not really thought of home. the town had come to her in flashing pictures, such as the one that had come during the afternoon of the sale, and she had thought of course of her mother and rose, but her own life in enniscorthy 2, the  life she had lost and would never have again, she had kept out of her mind. every day she had come back to this small room in this house full of sounds and gone over  everything new that had happened. now, all that seemed like nothing compared to  the picture she had of home, of her own room, the house in friary street, the food she had eaten there, the clothes she wore, how quiet everything was. all this came to her like a terrible weight and she felt for a second that she was  going to cry. it was as though an ache in her chest was trying to force tears down her cheeks despite her enormous effort to keep them back. she did not give in to  whatever it was. she kept thinking, attempting to work out what was causing this  new feeling that was like despondency, that was like how she felt when her father died and she watched them closing the coffin, the feeling that he would never see the world again and she would never be able to talk to him again. she was nobody here. it was not just that she had no friends and family; it  was rather that she was a ghost in this room, in the streets on the way to work, on the shop floor. nothing meant anything. the rooms in the house on friary street belonged to her, she thought; when she moved in them she was really there. in the town, if she walked to the shop or to the vocational school, the air, the light, the ground, it was all solid and part of her, even if she met no one familiar. nothing here was part of her. it was false, empty, she thought. she closed her eyes and tried  to think, as she had done so many times in her life, of something she was looking  forward to, but there was nothing. not the slightest thing. not even sunday. nothing maybe except sleep, and she was not even certain she was looking forward to sleep. in any case, she could not sleep yet, since it was not yet nine o\u2019clock. there was nothing she could do. it was as though she had been locked away. 1 basildon bond : brand of stationery 2 enniscorthy : eilis\u2019s home town in ireland",
            "6": "6 0486/41/m/j/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/41/m/j/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/41/m/j/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_s19_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 165185/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *4227870928*literature (english)  0486/42 paper 4  unseen  may/june 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/42/m/j/19 \u00a9 ucles 2019 answer either  question 1 or question 2. either 1 read carefully the poem on the opposite page. the poet is writing about an empty house which is  being sold. the woman who owned it has recently died.  how does the poet strikingly convey his thoughts and feelings about the house?  to help you answer this question, you might consider:   \u2022 how he creates impressions of the woman who lived there   \u2022 how he describes the presence of wildlife in the house   \u2022 how he conveys his response to the house being sold.",
            "3": "3 0486/42/m/j/19 \u00a9 ucles 2019 [turn over a cottage in the lane, dittisham1 whatever tragedies occurred in that house where finally she lived out her life alone, no one knew or cared, least of all those who thought the place was theirs: the squirrels nesting in the roof, the mice in the cellar, and in the eaves2 the birds that came each spring and nested there, and sang a song as pure as the rain-washed air. how full her mind was, or how blank, how rich she was or how poor was to them of no concern. for all they knew the house was theirs, so quietly had she lived in one small room. an electric fire, a lamp, and no desire to be elsewhere. now that the ghost-in-waiting she became has finally evaporated into the air, the for sale  board\u2019s gone up, a flag of surrender nailed against the cottage wall. and the squirrels, the mice, the birds, and all the rest who thought the place was theirs will soon move on. it\u2019s either that or else be caught in a pest-controller\u2019s snare. change is in the air. rich, green-wellied weekenders3 prowl through the undergrowth where once a dynasty of toads held court. the place will soon be bought.  1  a cottage in the lane, dittisham : a small house in dittisham, a country village  2 eaves : roof space  3 weekenders : people who buy holiday homes in the country",
            "4": "4 0486/42/m/j/19 \u00a9 ucles 2019 or 2 read carefully the extract opposite. katsumi hosokawa, a japanese businessman, is remembering  his first visit to an opera.  how does the writer vividly convey the impact that opera has made on mr hosokawa?  to help you answer this question, you might consider:   \u2022 how the writer describes going to the opera for the first time   \u2022 how the writer conveys the effect the music had on mr hosokawa as a child   \u2022 how the writer conveys the impact of music on his adult life.",
            "5": "5 0486/42/m/j/19 \u00a9 ucles 2019 but first remember another birthday, his eleventh, the birthday on which  katsumi hosokawa first heard opera, verdi\u2019s rigoletto. his father had taken him to  tokyo by train and together they walked to the theatre in a steady downpour. it was  october 22 and so it was a cold autumn rain and the streets were waxed in a paper- thin layer of wet red leaves. when they arrived at the tokyo metropolitan festival hall, their undershirts were wet beneath coats and sweaters. the tickets waiting inside katsumi hosokawa\u2019s father\u2019s billfold 1 were wet and discoloured. they did  not have especially good seats, but their view was unobstructed. in 1954, money was precious; train tickets and operas were unimaginable things. in a different time,  such a production would have seemed too complicated for a child, but this was  only a handful of years after the war and children then were much more likely to understand a whole host of things that might seem impossible for children now. they climbed the long set of stairs to their row, careful not to look down into the dizzying void beneath them. they bowed and begged to be excused by every person who stood to let them pass into their seats, and then they unfolded their seats and  slipped inside. they were early, but other people were earlier, as part of the luxury  that came with the ticket price was the right to sit quietly in this beautiful place and wait. they waited, father and son, without speaking, until finally the darkness fell and the first breath of music stirred from someplace far below them. tiny people, insects, really, slipped out from behind the curtains, opened their mouths, and with  their voices gilded the walls with their yearning, their grief, their boundless, reckless  love that would lead each one to separate ruin. it was during that performance of rigoletto  that opera imprinted itself on  katsumi hosokawa, a message written on the pink undersides of his eyelids that he read to himself while he slept. many years later, when everything was business, when he worked harder than anyone in a country whose values are structured on  hard work, he believed that life, true life, was something that was stored in music.  true life was kept safe in the lines of tchaikovsky\u2019s eugene onegin 2 while you went  out into the world and met the obligations required of you. certainly he knew (though did not completely understand) that opera wasn\u2019t for everyone, but for everyone he  hoped there was something. the records he cherished, the rare opportunities to see  a live performance, those were the marks by which he gauged his ability to love. not his wife, his daughters, or his work. he never thought that he had somehow transferred what should have filled his daily life into opera. instead he knew that without opera, this part of himself would have vanished altogether. it was early in the second act, when rigoletto and gilda sang together, their voices twining, leaping,  that he reached out for his father\u2019s hand. he had no idea what they were saying, nor  did he know that they played the parts of father and daughter, he only knew that he needed to hold to something. the pull they had on him was so strong he could feel himself falling forward out of the high and distant seats. 1 billfold : wallet 2 eugene onegin : an opera by tchaikovsky",
            "6": "6 0486/42/m/j/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/42/m/j/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/42/m/j/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_s19_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 165186/2 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *5694825593*literature (english)  0486/43 paper 4  unseen  may/june 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/43/m/j/19 \u00a9 ucles 2019 answer either question 1 or question 2. either 1 read carefully the poem on the opposite page. the poet and his girlfriend are canoeing on the  river before he leaves to fight in a war.  how does the poet movingly convey his thoughts and feelings at this moment?  to help you answer this question, you might consider:   \u2022 how the poet describes the setting   \u2022 how he conveys his feelings about the possibility of death   \u2022 your response to how he imagines himself returning as a spirit.",
            "3": "3 0486/43/m/j/19 \u00a9 ucles 2019 [turn over canoe well, i am thinking this may be my last summer, but cannot lose even a part of pleasure in the old-fashioned artof idleness. i cannot stand aghast at whatever doom hovers in the background; while grass and buildings and the somnolent 1 river, who know they are allowed to last for ever,exchange between them the whole subdued sound of this hot time. what sudden fearful fate can deter my shade 2 wandering next year from a return? whistle and i will hearand come again another evening, when this boat travels with you alone toward iffley 3: as you lie looking up for thunder again, this cool touch does not betoken4 rain; it is my spirit that kisses your mouth lightly. 1 somnolent : sleepy 2 shade : ghost/spirit 3 iffley : a village on the river 4 does not betoken : is not a sign of",
            "4": "4 0486/43/m/j/19 \u00a9 ucles 2019 or 2 read carefully the extract opposite, which is the opening of a novel. kathryn is the main character.  mattie is her daughter and jack is her husband.  in what ways does the writer make this passage so tense?  to help you answer this question, you might consider:   \u2022 the portrayal of the night-time setting   \u2022\t how\tthe\twriter\tconveys\tkathryn\u2019s \tgrowing\tanxiety   \u2022 how\tthe\twriter\tmakes\tkathryn\u2019s \tjourney\tto\tthe\tdoor\tso\tdisturbing.",
            "5": "5 0486/43/m/j/19 \u00a9 ucles 2019 she heard a knocking, and then a dog barking. her dream left her, skittering  behind a closing door. it had been a good dream, warm and close, and she minded.  she fought the waking. it was dark in the small bedroom, with no light yet behind  the shades. she reached for the lamp, fumbled her way up the brass, and she was  thinking, what? what? the lit room alarmed her, the wrongness of it, like an emergency room1 at  midnight. she thought, in quick succession: mattie. then, jack. then, neighbour.  then,\tcar\taccident. \tbut\tmattie\twas\tin\tbed,\twasn\u2019t\tshe?\tkathryn\thad\tseen\ther\tto\t bed, had watched her walk down the hall and through a door, the door shutting  with\ta\tfirmness \tthat\twas\tjust\tshort\tof\ta\tslam,\tenough\tto\tmake\ta\tstatement \tbut\tnot\t provoke a reprimand. and jack \u2013 where was jack? she scratched the sides of her  head, raking out her sleep-flattened hair. jack was \u2013 where? she tried to remember  the schedule: london. due home around lunchtime. she was certain. or did she  have it wrong and had he forgotten his keys again? she sat up and put her feet on the freezing floorboards. she had never  understood why the wood of an old house lost its warmth so completely in the  winter. her black leggings had ridden up to the middle of her calves, and the cuffs  of\tthe\tshirt\tshe\thad\tslept\tin,\ta\tworn\twhite\tshirt\tof\tjack\u2019s,\thad\tunrolled\tand\twere\t hanging\tpast\tthe\ttips\tof\ther\tfingers.\tshe\tcouldn\u2019t\thear\tthe\tknocking \tanymore, \tand\t she thought for a few seconds that she had imagined it. had dreamed it, in the way  she sometimes had dreams from which she woke into other dreams. she reached  for the small clock on her bedside table and looked at it: 3:24. she peered more  closely at the black face with the glow-in-the-dark dial and then set the clock down  on the marble top of the table so hard that the case popped open and a battery  rolled under the bed. but jack was in london, she told herself again. and mattie was in bed. there was another knock then, three sharp raps on glass. a small stoppage in  her chest travelled down into her stomach and lay there. in the distance, the dog  started up again with short, brittle yips. she took careful steps across the floor, as if moving too fast might set something  in\tmotion\tthat\thadn\u2019t\tyet\tbegun.\tshe\topened\tthe\tlatch\tof\tthe\tbedroom \tdoor\twith\ta\t soft click and made her way down the back staircase. she was thinking that her  daughter was upstairs and that she should be careful. she walked through the kitchen and tried to see, through the window over the  sink,\tinto\tthe\tdriveway \tthat\twound\taround\tto\tthe\tback\tof\tthe\thouse.\tshe\tcould\tjust\t make out the shape of an ordinary dark car. she turned the corner into the narrow  back hallway, where the tiles were worse than the floorboards, ice on the soles of  her feet. she flipped on the back-door light and saw, beyond the small panes set  into the top of the door, a man. 1 emergency room : hospital",
            "6": "6 0486/43/m/j/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/43/m/j/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/43/m/j/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_w19_qp_11.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl/go) 165607/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *3749070196*literature (english)  0486/11 paper 1  poetry and prose  october/november 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/11/o/n/19 \u00a9 ucles 2019 blank page",
            "3": "3 0486/11/o/n/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2 : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai:  in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/11/o/n/19 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: anthem for doomed youth what passing-bells for these who die as cattle?    only the monstrous anger of the guns. \u2003 \u2003 \u2003 only \u2003the\u2003stuttering \u2003rifles\u2019\u2003rapid\u2003rattle can patter out their hasty orisons. no mockeries now for them; no prayers nor bells,    nor any voice of mourning save the choirs, \u2013 the shrill, demented choirs of wailing shells;    and bugles calling for them from sad shires. what candles may be held to speed them all?    not in the hands of boys, but in their eyes shall shine the holy glimmers of good-byes. \u2003 \u2003 \u2003 the \u2003pallor\u2003of\u2003girls\u2019\u2003brows\u2003shall\u2003be\u2003their\u2003pall; their flowers the tenderness of patient minds, and each slow dusk a drawing-down of blinds.  (wilfred owen )    how does owen powerfully express his thoughts and feelings in this poem?5 10",
            "5": "5 0486/11/o/n/19 \u00a9 ucles 2019 [turn over or  2\u2003what\u2003impressions \u2003of\u2003the\u2003speaker\u2003does\u2003bishop\u2019s \u2003writing\u2003create\u2003for\u2003you\u2003in\u2003one art ? one art the\u2003art\u2003of\u2003losing\u2003isn\u2019t\u2003hard\u2003to\u2003master; so many things seem filled with the intent to be lost that their loss is no disaster. lose something every day. accept the fluster of lost door keys, the hour badly spent. the\u2003art\u2003of\u2003losing\u2003isn\u2019t\u2003hard\u2003to\u2003master. then practice losing farther, losing faster: places, and names, and where it was you meant to travel. none of these will bring disaster. i\u2003lost\u2003my\u2003mother\u2019s \u2003watch.\u2003and\u2003look!\u2003my\u2003last,\u2003or next-to-last, of three loved houses went. the\u2003art\u2003of\u2003losing\u2003isn\u2019t\u2003hard\u2003to\u2003master. i lost two cities, lovely ones. and, vaster, some realms i owned, two rivers, a continent. i\u2003miss\u2003them,\u2003but\u2003it\u2003wasn\u2019t\u2003a\u2003disaster. \u2013 even losing you (the joking voice, a gesture i\u2003love)\u2003i\u2003shan\u2019t\u2003have\u2003lied.\u2003it\u2019s\u2003evident the\u2003art\u2003of\u2003losing\u2019s\u2003not\u2003too\u2003hard\u2003to\u2003master though it may look like ( write\u2003it!)\u2003like\u2003disaster.  (elizabeth bishop )5 10 15",
            "6": "6 0486/11/o/n/19 \u00a9 ucles 2019 songs of ourselves volume 2: from part 2 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: cetacean \u2003\u2003out\u2003of\u2003fisherman\u2019s \u2003wharf,\u2003san\u2003francisco, \u2003sunday,\u2003early,   our vessel, bow to stern, some sixty-three feet,   to observe blue whales \u2013 and we did, off the farallones.   they were swimming slowly, and rose at a shallow angle (they were grey as slate with white mottling, dorsals tiny and stubby,   with broad flat heads one quarter their overall body-lengths). they blew as soon as their heads began to break the surface.   the blows were as straight and slim as upright columns   rising to thirty feet in vertical sprays. then their heads disappeared underwater, and the lengthy, rolling expanse of their backs hove into our view \u2013 about twenty feet longer   than the vessel herself.             and then the diminutive dorsals showed briefly, after the blows had dispersed and the heads had     gone under. then they arched their backs, then arched their tail stocks ready     for diving. then the flukes were visible just before the creatures vanished,  slipping into the deep again, at a shallow angle.  (peter reading )     how does peter reading vividly convey the experience of seeing the whales in this  poem?5 10 15",
            "7": "7 0486/11/o/n/19 \u00a9 ucles 2019 [turn over or  4  explore the ways in which keats uses words and images to vivid effect in ode on  melancholy . ode on melancholy i no, no, go not to lethe, neither twist \u2003 wolf\u2019s-bane, \u2003tight-rooted, \u2003for\u2003its\u2003poisonous \u2003wine; nor\u2003suffer\u2003thy\u2003pale\u2003forehead \u2003to\u2003be\u2003kiss\u2019d  by nightshade, ruby grape of proserpine; make not your rosary of yew-berries,  nor let the beetle, nor the death-moth be   your mournful psyche, nor the downy owl a\u2003partner\u2003in\u2003your\u2003sorrow\u2019s\u2003mysteries;  for shade to shade will come too drowsily,   and drown the wakeful anguish of the soul. ii but when the melancholy fit shall fall  sudden from heaven like a weeping cloud, that fosters the droop-headed flowers all,  and hides the green hill in an april shroud; then glut thy sorrow on a morning rose,  or on the rainbow of the salt sand-wave,   or on the wealth of globed peonies; or if thy mistress some rich anger shows,  emprison her soft hand, and let her rave,   and feed deep, deep upon her peerless eyes. iii she dwells with beauty\u2014beauty that must die;  and joy, whose hand is ever at his lips bidding adieu; and aching pleasure nigh,  turning to poison while the bee-mouth sips: ay, in the very temple of delight \u2003 veil\u2019d\u2003melancholy \u2003has\u2003her\u2003sovran\u2003shrine,   though seen of none save him whose strenuous tongue can\u2003burst\u2003joy\u2019s\u2003grape\u2003against\u2003his\u2003palate\u2003fine;  his soul shall taste the sadness of her might,   and be among her cloudy trophies hung.  (john keats )5 10 15 20 25 30",
            "8": "8 0486/11/o/n/19 \u00a9 ucles 2019 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: lunchtime lecture and this from the second or third millenium b.c., a female, aged about twenty-two. a white, fine skull, full up with darkness as a shell with sea, drowned in the centuries. small, perfect. the cranium would fit the palm of\u2003a\u2003man\u2019s\u2003hand.\u2003some\u2003plague\u2003or\u2003violence destroyed her, and her whiteness lay safe in a shroud of silence, undisturbed, unrained on, dark for four thousand years. till a tractor in summer biting its way through the longcairn for supplies of stone, broke open the grave and let a crowd of light stare in at her, and she stared quietly back. as i look at her i feel none of the shock the farmer felt as, unprepared, he found her. here in the museum, like death in hospital, reasons are given, labels, causes, catalogues. the smell of death is done. left, only her bone purity, the light and shade beauty that her man was denied sight of, the perfect edge of the place where the pieces join, with no mistakes, like boundaries. she\u2019s\u2003a\u2003tree\u2003in\u2003winter,\u2003stripped\u2003white\u2003on\u2003a\u2003black\u2003sky, leafless formality, brow, bough in fine relief. i, at some other season, illustrate the tree fleshed, \u2003with\u2003woman\u2019s \u2003hair\u2003and\u2003colours\u2003and\u2003the\u2003rustling blood, the troubled mind that she has overthrown. we stare at each other, dark into sightless dark, seeing only ourselves in the black pools, gulping the risen sea that booms in the shell.    how does clarke strikingly convey her experience in this poem?5 10 15 20 25",
            "9": "9 0486/11/o/n/19 \u00a9 ucles 2019 [turn over or  6 explore the ways in which clarke makes baby-sitting  such a memorable poem. baby-sitting i am sitting in a strange room listening for\u2003the\u2003wrong\u2003baby.\u2003i\u2003don\u2019t\u2003love this baby. she is sleeping a snuffly roseate, bubbling sleep; she is fair; she is a perfectly acceptable child. i am afraid of her. if she wakes she will hate me. she will shout her hot midnight rage, her nose will stream disgustingly and the perfume of her breath will fail to enchant me. to her i will represent absolute abandonment. for her it will be worse than for the lover cold in lonely sheets; worse than for the woman who waits a moment to collect her dignity beside the bleached bone in the terminal ward. as she rises sobbing from the monstrous land stretching for milk-familiar comforting, she will find me and between us two it will not come. it will not come.5 10 15 20",
            "10": "10 0486/11/o/n/19 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: sir thomas listened most politely, but found much to offend his ideas  of\u2003decorum \u2003and\u2003confirm\u2003his\u2003ill\u2003opinion\u2003of\u2003mr\u2003yates\u2019s\u2003habits\u2003of\u2003thinking\u2003from\u2003 the beginning to the end of the story; and when it was over, could give him  no other assurance of sympathy than what a slight bow conveyed. \u2018this\u2003was\u2003in\u2003fact\u2003the\u2003origin\u2003of\u2003our acting,\u2019\u2003said\u2003tom\u2003after\u2003a\u2003moment\u2019s \u2003 thought.\u2003\u2018my\u2003friend\u2003yates\u2003brought\u2003the\u2003infection\u2003from\u2003ecclesford, \u2003and\u2003it\u2003 spread, as those things always spread you know, sir\u2014the faster probably  from your having so often encouraged the sort of thing in us formerly. it  was\u2003like\u2003treading\u2003old\u2003ground\u2003again.\u2019 mr yates took the subject from his friend as soon as possible, and  immediately gave sir thomas an account of what they had done and were  doing, told him of the gradual increase of their views, the happy conclusion  of their first difficulties, and present promising state of affairs; relating every  thing with so blind an interest as made him not only totally unconscious of  the uneasy movements of many of his friends as they sat, the change of  countenance, \u2003the\u2003fidget,\u2003the\u2003hem!\u2003of\u2003unquietness, \u2003but\u2003prevented \u2003him\u2003even\u2003 from seeing the expression of the face on which his own eyes were fixed\u2014 from\u2003seeing\u2003sir\u2003thomas\u2019s \u2003dark\u2003brow\u2003contract\u2003as\u2003he\u2003looked\u2003with\u2003inquiring \u2003 earnestness at his daughters and edmund, dwelling particularly on the  latter, and speaking a language, a remonstrance, a reproof, which he felt  at his heart. not less acutely was it felt by fanny, who had edged back her  chair\u2003behind\u2003her\u2003aunt\u2019s\u2003end\u2003of\u2003the\u2003sofa,\u2003and\u2003screened \u2003from\u2003notice\u2003herself,\u2003 saw all that was passing before her. such a look of reproach at edmund  from his father she could never have expected to witness; and to feel that  it\u2003was\u2003in\u2003any\u2003degree\u2003deserved, \u2003was\u2003an\u2003aggravation \u2003indeed.\u2003sir\u2003thomas\u2019s \u2003 look\u2003implied,\u2003\u2018on\u2003your\u2003judgment, \u2003edmund, \u2003i\u2003depended; \u2003what\u2003have\u2003you\u2003 been\u2003about?\u2019\u2014she \u2003knelt\u2003in\u2003spirit\u2003to\u2003her\u2003uncle,\u2003and\u2003her\u2003bosom\u2003swelled\u2003to\u2003 utter,\u2003\u2018oh!\u2003not\u2003to\u2003him. look so to all the others, but not to him!\u2019 mr\u2003yates\u2003was\u2003still\u2003talking.\u2003\u2018to\u2003own\u2003the\u2003truth,\u2003sir\u2003thomas, \u2003we\u2003were\u2003in\u2003 the middle of a rehearsal when you arrived this evening. we were going  through the three first acts, and not unsuccessfully upon the whole. our  company is now so dispersed, from the crawfords being gone home,  that nothing more can be done to-night; but if you will give us the honour  of your company to-morrow evening i should not be afraid of the result.  we bespeak your indulgence you understand as young performers; we  bespeak \u2003your\u2003indulgence.\u2019 \u2018my\u2003indulgence \u2003shall\u2003be\u2003given,\u2003sir,\u2019\u2003replied\u2003sir\u2003thomas\u2003gravely,\u2003\u2018but\u2003 without\u2003any\u2003other\u2003rehearsal.\u2019\u2014and \u2003with\u2003a\u2003relenting \u2003smile\u2003he\u2003added,\u2003\u2018i\u2003 come\u2003home\u2003to\u2003be\u2003happy\u2003and\u2003indulgent.\u2019 \u2003then\u2003turning\u2003away\u2003towards\u2003any\u2003or\u2003 all\u2003of\u2003the\u2003rest,\u2003he\u2003tranquilly \u2003said,\u2003\u2018mr\u2003and\u2003miss\u2003crawford \u2003were\u2003mentioned \u2003in\u2003 my\u2003last\u2003letters\u2003from\u2003mansfield. \u2003do\u2003you\u2003find\u2003them\u2003agreeable \u2003acquaintance?\u2019 tom was the only one at all ready with an answer, but he being entirely  without particular regard for either, without jealousy either in love or acting, 5 10 15 20 25 30 35 40",
            "11": "11 0486/11/o/n/19 \u00a9 ucles 2019 [turn over could\u2003speak\u2003very\u2003handsomely \u2003of\u2003both.\u2003\u2018mr\u2003crawford \u2003was\u2003a\u2003most\u2003pleasant \u2003 gentleman-like \u2003man;\u2014his \u2003sister\u2003a\u2003sweet,\u2003pretty,\u2003elegant,\u2003lively\u2003girl.\u2019 mr\u2003rushworth \u2003could\u2003be\u2003silent\u2003no\u2003longer.\u2003\u2018i\u2003do\u2003not\u2003say\u2003he\u2003is\u2003not\u2003 gentleman-like, considering; but you should tell your father he is not above  five\u2003feet\u2003eight,\u2003or\u2003he\u2003will\u2003be\u2003expecting \u2003a\u2003well-looking \u2003man.\u2019 sir thomas did not quite understand this, and looked with some  surprise at the speaker. \u2018if\u2003i\u2003must\u2003say\u2003what\u2003i\u2003think,\u2019\u2003continued \u2003mr\u2003rushworth, \u2003\u2018in\u2003my\u2003opinion\u2003 it is very disagreeable to be always rehearsing. it is having too much of  a good thing. i am not so fond of acting as i was at first. i think we are a  great deal better employed, sitting comfortably here among ourselves, and  doing\u2003nothing.\u2019 sir thomas looked again, and then replied with an approving smile,   \u2018i\u2003am\u2003happy\u2003to\u2003find\u2003our\u2003sentiments \u2003on\u2003this\u2003subject\u2003so\u2003much\u2003the\u2003same.\u2003it\u2003 gives me sincere satisfaction. that i should be cautious and quick-sighted,  and feel many scruples which my children do not feel, is perfectly natural;  and equally so that my value for domestic tranquillity, for a home which  shuts out noisy pleasures, should much exceed theirs. but at your time of  life to feel all this, is a most favourable circumstance for yourself and for  every body connected with you; and i am sensible of the importance of  having\u2003an\u2003ally\u2003of\u2003such\u2003weight.\u2019  [from chapter 19]  \u2003 \u2003 \u2003 explore\u2003how\u2003austen\u2003vividly\u2003conveys\u2003the\u2003impact\u2003of\u2003sir\u2003thomas\u2019s \u2003return\u2003at\u2003this\u2003moment\u2003in\u2003 the novel. or  8\u2003how\u2003far\u2003does\u2003austen\u2019s \u2003writing\u2003persuade \u2003you\u2003to\u2003sympathise \u2003with\u2003fanny\u2003price?45 50 55 60",
            "12": "12 0486/11/o/n/19 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: what a tableful we were at supper: two long rows of restless heads in  the lamplight, and so many eyes fastened excitedly upon \u00e1ntonia as she  sat at the head of the table, filling the plates and starting the dishes on  their way. the children were seated according to a system; a little one next  an older one, who was to watch over his behaviour and to see that he got  his food. anna and yulka left their chairs from time to time to bring fresh  plates of kolaches  and pitchers of milk. after supper we went into the parlour, so that yulka and leo could play  for me. \u00e1ntonia went first, carrying the lamp. there were not nearly chairs  enough to go round, so the younger children sat down on the bare floor.  little lucie whispered to me that they were going to have a parlour carpet  if they got ninety cents for their wheat. leo, with a good deal of fussing,  got\u2003out\u2003his\u2003violin.\u2003it\u2003was\u2003old\u2003mr.\u2003shimerda\u2019s \u2003instrument, \u2003which\u2003\u00e1ntonia\u2003had\u2003 always kept, and it was too big for him. but he played very well for a self- taught\u2003boy.\u2003poor\u2003yulka\u2019s\u2003efforts\u2003were\u2003not\u2003so\u2003successful. \u2003while\u2003they\u2003were\u2003 playing, little nina got up from her corner, came out into the middle of the  floor, and began to do a pretty little dance on the boards with her bare  feet. no one paid the least attention to her, and when she was through she  stole back and sat down by her brother. \u00e1ntonia spoke to leo in bohemian. he frowned and wrinkled up  his face. he seemed to be trying to pout, but his attempt only brought  out dimples in unusual places. after twisting and screwing the keys, he  played some bohemian airs, without the organ to hold him back, and that  went better. the boy was so restless that i had not had a chance to look  at his face before. my first impression was right; he really was faun-like.  he\u2003hadn\u2019t\u2003much\u2003head\u2003behind\u2003his\u2003ears,\u2003and\u2003his\u2003tawny\u2003fleece\u2003grew\u2003down\u2003 thick to the back of his neck. his eyes were not frank and wide apart like  those of the other boys, but were deep-set, gold-green in colour, and  seemed sensitive to the light. his mother said he got hurt oftener than all  the others put together. he was always trying to ride the colts before they  were broken, teasing the turkey gobbler, seeing just how much red the bull  would stand for, or how sharp the new axe was. after the concert was over, \u00e1ntonia brought out a big boxful of  photographs: she and anton in their wedding clothes, holding hands; her  brother ambrosch and his very fat wife, who had a farm of her own, and  who bossed her husband, i was delighted to hear; the three bohemian  marys and their large families. \u2018you\u2003wouldn\u2019t\u2003believe\u2003how\u2003steady\u2003those\u2003girls\u2003have\u2003turned\u2003out,\u2019\u2003\u00e1ntonia\u2003 remarked. \u2003\u2018mary\u2003svoboda\u2019s \u2003the\u2003best\u2003butter-maker \u2003in\u2003all\u2003this\u2003country,\u2003and\u2003a\u2003 fine\u2003manager. \u2003her\u2003children\u2003will\u2003have\u2003a\u2003grand\u2003chance.\u2019 as \u00e1ntonia turned over the pictures the young cuzaks stood behind  her chair, looking over her shoulder with interested faces. nina and jan,  after trying to see round the taller ones, quietly brought a chair, climbed up  on it, and stood close together, looking. the little boy forgot his shyness and  grinned delightedly when familiar faces came into view. in the group about  \u00e1ntonia i was conscious of a kind of physical harmony. they leaned this  way and that, and were not afraid to touch each other. they contemplated  the photographs with pleased recognition; looked at some admiringly, as 5 10 15 20 25 30 35 40 45",
            "13": "13 0486/11/o/n/19 \u00a9 ucles 2019 [turn over if\u2003these\u2003characters \u2003in\u2003their\u2003mother\u2019s \u2003girlhood\u2003had\u2003been\u2003remarkable \u2003people.\u2003 the little children, who could not speak english, murmured comments to  each other in their rich old language.  [from book 5 chapter 1]  \u2003 \u2003 \u2003 in\u2003what\u2003ways\u2003does\u2003cather\u2003create\u2003such\u2003vivid\u2003impressions \u2003of\u2003\u00e1ntonia\u2019s \u2003family\u2003life\u2003at\u2003this\u2003 moment in the novel? or  10\u2003 \u2003how\u2003far\u2003does\u2003cather\u2019s\u2003writing\u2003make\u2003you\u2003feel\u2003surprised \u2003that\u2003jim\u2003never\u2003marries?50",
            "14": "14 0486/11/o/n/19 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: deven had helped him to carry the various pieces of equipment up the  tiled staircase which smelt unpleasantly of both urine and cheap perfume,  to the top of the house, past doors hung with flowered curtains through  which he glimpsed beds, sleeping figures, mirrors and toilet articles \u2014  but of course he did not stop to investigate. chiku, on the other hand,  mounted the stairs slowly, stopping before every door and staring in with  open curiosity, his mouth slightly open, breathing heavily in his adenoidal  way. outside the doors were shoes, or empty glasses, littered trays. was  this a hotel? deven gave a slight twitch of apprehension at the thought that  there might be a bill to be paid. \u2018come\u2003on,\u2003come\u2003on,\u2019\u2003he\u2003snapped \u2003at\u2003chiku,\u2003\u2018we\u2003must\u2003have\u2003everything \u2003 ready\u2003by\u2003the\u2003time\u2003nur\u2003sahib\u2003arrives\u2003\u2014\u2003we\u2003can\u2019t\u2003waste\u2003time\u2003\u2014\u2003it\u2003is\u2003to\u2003be\u2003 done\u2003in\u2003three\u2003days\u2003flat.\u2019 three days. \u2018how\u2003long\u2003will\u2003it\u2003take\u2003you,\u2003deven- bhai?\u2019\u2003murad\u2003asked,\u2003reflectively \u2003 chewing a wad of paan  while his eyes swivelled around, taking in the  scene \u2014 the bolsters and cushions scattered on the mattress laid out  with white sheets, the spittoon, the silver box of paan , the glasses and  jars of water in one corner, the recording equipment piled in another, the  garlanded oleograph of a shock-headed saint from the south hanging on  the wall, beneath a tube of blue fluorescent lighting, and the idle figures  seated on the mats, slouching or sprawling as they waited for the poet to  make his appearance. deven frowned a little, as though he had a slight headache. he did  not care to answer. he could not. the days were slipping by like some  kind of involuntary exudation, oozing past. he seemed to have no control  over\u2003them,\u2003or\u2003what\u2003occurred \u2003during\u2003them.\u2003\u2018this\u2003is\u2003not\u2003something \u2003that\u2003can\u2003 be\u2003done\u2003to\u2003a\u2003timetable,\u2019 \u2003he\u2003muttered \u2003and\u2003was\u2003enraged\u2003by\u2003the\u2003way\u2003murad\u2003 slowly nodded his head as though his suspicions had been confirmed.  \u2018coming\u2003in?\u2019\u2003he\u2003asked\u2003testily. murad\u2003gave\u2003a\u2003snort.\u2003\u2018don\u2019t\u2003often\u2003come\u2003to\u2003such\u2003places,\u2019\u2003he\u2003leered.\u2003\u2018not\u2003 in\u2003this\u2003quarter\u2003of\u2003the\u2003city\u2003anyway.\u2019 \u2018oh,\u2003what\u2003is\u2003your\u2003quarter\u2003then?\u2019\u2003deven\u2003challenged \u2003him,\u2003infuriated \u2003at\u2003 having his so painfully made arrangements derided. murad\u2003looked\u2003momentarily \u2003surprised \u2003at\u2003such\u2003a\u2003show\u2003of\u2003spirit.\u2003\u2018well,\u2003 my\u2003friend,\u2003i\u2003had\u2003no\u2003idea\u2003it\u2003was\u2003yours,\u2019\u2003he\u2003said,\u2003shifting\u2003the\u2003wad\u2003of\u2003betel\u2003 leaves around his mouth and starting to chomp on them again. \u2018it\u2003isn\u2019t\u2003mine\u2003\u2014\u2003it\u2003is\u2003nur\u2003sahib\u2019s,\u2019\u2003said\u2003deven\u2003defensively, \u2003\u2018and\u2003we\u2003are\u2003 occupying \u2003it\u2003only\u2003till\u2003the\u2003recording \u2003is\u2003done.\u2019 \u2018yes,\u2019\u2003said\u2003murad,\u2003putting\u2003one\u2003foot\u2003into\u2003the\u2003room\u2003at\u2003last\u2003after\u2003having\u2003 debated the matter for so long. he was dressed in white leggings and a  loose kurta\u2003already\u2003mapped\u2003with\u2003perspiration. \u2003\u2018that\u2003is\u2003just\u2003what\u2003i\u2003came\u2003to\u2003 see\u2003\u2014\u2003how\u2003it\u2003is\u2003getting\u2003on\u2003\u2014\u2003so\u2003i\u2003can\u2003get\u2003an\u2003idea\u2003how\u2003long\u2003it\u2003will\u2003take.\u2019 deven waved his hand with a fine carelessness he did not really feel.  the\u2003gesture\u2003faded\u2003on\u2003the\u2003air\u2003from\u2003lack\u2003of\u2003conviction. \u2003\u2018how\u2003long?\u2003what\u2003 does\u2003it\u2003matter?\u2003can\u2003a\u2003poet\u2003be\u2003pinned\u2003down\u2003by\u2003time?\u2003he\u2003can\u2019t\u2003be\u2003expected \u2003 to keep an eye on his watch, murad- bhai \u2014 he is immortal and belongs to  all\u2003time.\u20195 10 15 20 25 30 35 40 45",
            "15": "15 0486/11/o/n/19 \u00a9 ucles 2019 [turn over murad\u2003made\u2003a\u2003disgusted \u2003face.\u2003\u2018what\u2019s\u2003the\u2003matter\u2003\u2014\u2003are\u2003you\u2003drunk\u2003\u2014\u2003 at\u2003this\u2003time\u2003of\u2003the\u2003morning?\u2019 but deven did not need to drink in order to feel this hazardous  euphoria trickling through him \u2014 it was not drink that caused it, but nur.  [from  chapter 9]     in what ways does desai make this moment in the novel both entertaining and revealing? or  12\u2003 \u2003how\u2003does\u2003desai\u2019s\u2003portrayal \u2003of\u2003deven\u2003suggest\u2003to\u2003you\u2003that\u2003he\u2003will\u2003always\u2003be\u2003disappointed \u2003 in life?    do not use the extract printed for question 11 when answering this question.50",
            "16": "16 0486/11/o/n/19 \u00a9 ucles 2019 charles dickens: hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: she knew that he only feigned to be asleep, but she said nothing to  him. he started by and by as if he were just then awakened, and asked  who that was, and what was the matter? \u2018tom,\u2003have\u2003you\u2003anything \u2003to\u2003tell\u2003me?\u2003if\u2003ever\u2003you\u2003loved\u2003me\u2003in\u2003your\u2003life,\u2003 and\u2003have\u2003anything \u2003concealed \u2003from\u2003every\u2003one\u2003besides,\u2003tell\u2003it\u2003to\u2003me.\u2019 \u2018i\u2003don\u2019t\u2003know\u2003what\u2003you\u2003mean,\u2003loo.\u2003you\u2003have\u2003been\u2003dreaming.\u2019 \u2018my\u2003dear\u2003brother:\u2019\u2003she\u2003laid\u2003her\u2003head\u2003down\u2003on\u2003his\u2003pillow,\u2003and\u2003her\u2003hair\u2003 flowed\u2003over\u2003him\u2003as\u2003if\u2003she\u2003would\u2003hide\u2003him\u2003from\u2003every\u2003one\u2003but\u2003herself:\u2003\u2018is\u2003 there nothing that you have to tell me? is there nothing you can tell me, if  you will? you can tell me nothing that will change me. o tom, tell me the  truth!\u2019 \u2018i\u2003don\u2019t\u2003know\u2003what\u2003you\u2003mean,\u2003loo!\u2019 \u2018as\u2003you\u2003lie\u2003here\u2003alone,\u2003my\u2003dear,\u2003in\u2003the\u2003melancholy \u2003night,\u2003so\u2003you\u2003must\u2003 lie somewhere one night, when even i, if i am living then, shall have left  you. as i am here beside you, barefoot, unclothed, undistinguishable in  darkness, so must i lie through all the night of my decay, until i am dust. in  the\u2003name\u2003of\u2003that\u2003time,\u2003tom,\u2003tell\u2003me\u2003the\u2003truth\u2003now!\u2019 \u2018what\u2003is\u2003it\u2003you\u2003want\u2003to\u2003know?\u2019 \u2018you\u2003may\u2003be\u2003certain:\u2019\u2003in\u2003the\u2003energy\u2003of\u2003her\u2003love\u2003she\u2003took\u2003him\u2003to\u2003her\u2003 bosom\u2003as\u2003if\u2003he\u2003were\u2003a\u2003child:\u2003\u2018that\u2003i\u2003will\u2003not\u2003reproach \u2003you.\u2003you\u2003may\u2003be\u2003 certain that i will be compassionate and true to you. you may be certain  that i will save you at whatever cost. o tom, have you nothing to tell me?  whisper\u2003very\u2003softly.\u2003say\u2003only\u2003\u2018yes,\u2019\u2003and\u2003i\u2003shall\u2003understand \u2003you!\u2019 she turned her ear to his lips, but he remained doggedly silent. \u2018not\u2003a\u2003word,\u2003tom?\u2019 \u2018how\u2003can\u2003i\u2003say\u2003yes,\u2003or\u2003how\u2003can\u2003i\u2003say\u2003no,\u2003when\u2003i\u2003don\u2019t\u2003know\u2003what\u2003  you mean? loo, you are a brave, kind girl, worthy i begin to think of a  better brother than i am. but i have nothing more to say. go to bed, go to  bed.\u2019 \u2018you\u2003are\u2003tired,\u2019\u2003she\u2003whispered \u2003presently, \u2003more\u2003in\u2003her\u2003usual\u2003way. \u2018yes,\u2003i\u2003am\u2003quite\u2003tired\u2003out.\u2019 \u2018you\u2003have\u2003been\u2003so\u2003hurried\u2003and\u2003disturbed \u2003today.\u2003have\u2003any\u2003fresh\u2003 discoveries \u2003been\u2003made?\u2019 \u2018only\u2003those\u2003you\u2003have\u2003heard\u2003of,\u2003from\u2003\u2013\u2003him.\u2019 \u2018tom,\u2003have\u2003you\u2003said\u2003to\u2003any\u2003one\u2003that\u2003we\u2003made\u2003a\u2003visit\u2003to\u2003those\u2003people,\u2003 and\u2003that\u2003we\u2003saw\u2003those\u2003three\u2003together?\u2019 \u2018no.\u2003didn\u2019t\u2003you\u2003yourself\u2003particularly \u2003ask\u2003me\u2003to\u2003keep\u2003it\u2003quiet,\u2003when\u2003you\u2003 asked\u2003me\u2003to\u2003go\u2003there\u2003with\u2003you?\u2019 \u2018yes.\u2003but\u2003i\u2003did\u2003not\u2003know\u2003then\u2003what\u2003was\u2003going\u2003to\u2003happen.\u2019 \u2018nor\u2003i\u2003neither.\u2003how\u2003could\u2003i?\u2019 he was very quick upon her with this retort. \u2018ought\u2003i\u2003to\u2003say,\u2003after\u2003what\u2003has\u2003happened,\u2019 \u2003said\u2003his\u2003sister,\u2003standing \u2003by\u2003 the\u2003bed\u2003\u2013\u2003she\u2003had\u2003gradually \u2003withdrawn \u2003herself\u2003and\u2003risen,\u2003\u2018that\u2003i\u2003made\u2003that\u2003 visit?\u2003should\u2003i\u2003say\u2003so?\u2003must\u2003i\u2003say\u2003so?\u2019 \u2018good\u2003heavens, \u2003loo,\u2019\u2003returned\u2003her\u2003brother,\u2003\u2018you\u2003are\u2003not\u2003in\u2003the\u2003habit\u2003of\u2003 asking my advice. say what you like. if you keep it to yourself, i shall keep  it to myself.\u2003if\u2003you\u2003disclose\u2003it,\u2003there\u2019s\u2003an\u2003end\u2003of\u2003it.\u20195 10 15 20 25 30 35 40 45",
            "17": "17 0486/11/o/n/19 \u00a9 ucles 2019 [turn over it\u2003was\u2003too\u2003dark\u2003for\u2003either\u2003to\u2003see\u2003the\u2003other\u2019s\u2003face;\u2003but\u2003each\u2003seemed\u2003 very attentive, and to consider before speaking. \u2018tom,\u2003do\u2003you\u2003believe\u2003the\u2003man\u2003i\u2003gave\u2003the\u2003money\u2003to,\u2003is\u2003really\u2003implicated \u2003 in\u2003this\u2003crime?\u2019 \u2018i\u2003don\u2019t\u2003know.\u2003i\u2003don\u2019t\u2003see\u2003why\u2003he\u2003shouldn\u2019t \u2003be.\u2019 \u2018he\u2003seemed\u2003to\u2003me\u2003an\u2003honest\u2003man.\u2019 \u2018another\u2003person\u2003may\u2003seem\u2003to\u2003you\u2003dishonest, \u2003and\u2003yet\u2003not\u2003be\u2003so.\u2019 there was a pause, for he had hesitated and stopped. \u2018in\u2003short,\u2019\u2003resumed \u2003tom,\u2003as\u2003if\u2003he\u2003had\u2003made\u2003up\u2003his\u2003mind,\u2003\u2018if\u2003you\u2003come\u2003 to that, perhaps i was so far from being altogether in his favour, that i took  him outside the door to tell him quietly, that i thought he might consider  himself very well off to get such a windfall as he had got from my sister,  and that i hoped he would make good use of it. you remember whether i  took him out or not. i say nothing against the man; he may be a very good  fellow,\u2003for\u2003anything \u2003i\u2003know;\u2003i\u2003hope\u2003he\u2003is.\u2019  [from book 2 chapter 8]     how does dickens make this such a powerful and significant moment in the novel? or  14  in what ways does dickens make mrs pegler so memorable?50 55 60",
            "18": "18 0486/11/o/n/19 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: thornhill thought he might have heard enough stories about how  dangerous it was to be a white man on the lower hawkesbury, but  blackwood\u2019s\u2003slow\u2003way\u2003could\u2003drive\u2003a\u2003man\u2003mad,\u2003and\u2003silence\u2003was\u2003threatening\u2003 to take hold around the words again. content removed due to copyright restrictions.",
            "19": "19 0486/11/o/n/19 \u00a9 ucles 2019 [turn over  i better have  got that right, will thornhill, and if i ain\u2019t, by jesus your life ain\u2019t worth a  brass farthing . [from part 4]  how does grenville make this such a dramatic and revealing moment in the novel? or 16  in what ways does grenville powerfully convey the fear felt by the thornhills at any two  moments in the novel?   do not use the extract printed for question 15 when answering this question. content removed due to copyright restrictions.",
            "20": "20 0486/11/o/n/19 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: phineas looked down here and there, at the exercise bar over a sand  pit next to the wall, at a set of weights on the floor, at the rolled-up wrestling  mat, at a pair of spiked shoes kicked under a locker. \u2018same\u2003old\u2003place,\u2003isn\u2019t\u2003it?\u2019\u2003he\u2003said,\u2003turning\u2003to\u2003me\u2003and\u2003nodding\u2003  slightly. after\u2003a\u2003moment\u2003i\u2003answered \u2003in\u2003a\u2003quiet\u2003voice,\u2003\u2018not\u2003exactly.\u2019 he made no pretense of not understanding me. after a pause he said,  \u2018you\u2019re\u2003going\u2003to\u2003be\u2003the\u2003big\u2003star\u2003now,\u2019\u2003in\u2003an\u2003optimistic \u2003tone,\u2003and\u2003then\u2003added\u2003 with\u2003some\u2003embarrassment, \u2003\u2018you\u2003can\u2003fill\u2003any\u2003gaps\u2003or\u2003anything.\u2019 \u2003he\u2003slapped\u2003 me\u2003on\u2003the\u2003back,\u2003\u2018get\u2003over\u2003there\u2003and\u2003chin\u2003yourself\u2003a\u2003few\u2003dozen\u2003times.\u2003what\u2003 did\u2003you\u2003finally\u2003go\u2003out\u2003for\u2003anyway?\u2019 \u2018i\u2003finally\u2003didn\u2019t\u2003go\u2003out.\u2019 \u2018you\u2003aren\u2019t,\u2019\u2003his\u2003eyes\u2003burned\u2003at\u2003me\u2003from\u2003his\u2003grimacing \u2003face,\u2003\u2018still\u2003the\u2003 assistant \u2003senior\u2003crew\u2003manager!\u2019 \u2018no,\u2003i\u2003quit\u2003that.\u2003i\u2019ve\u2003just\u2003been\u2003going\u2003to\u2003gym\u2003classes.\u2003the\u2003ones\u2003they\u2003 have\u2003for\u2003guys\u2003who\u2003aren\u2019t\u2003going\u2003out\u2003for\u2003anything.\u2019 he wrenched himself around on the bench. joking was past; his  mouth\u2003widened\u2003irritably.\u2003\u2018what\u2003in\u2003hell,\u2019\u2003his\u2003voice\u2003bounded \u2003on\u2003the\u2003word\u2003in\u2003a\u2003 sudden\u2003rich\u2003descent, \u2003\u2018did\u2003you\u2003do\u2003that\u2003for?\u2019 \u2018it\u2003was\u2003too\u2003late\u2003to\u2003sign\u2003up\u2003for\u2003anything \u2003else,\u2019\u2003and\u2003seeing\u2003the\u2003energy\u2003to\u2003 blast\u2003this\u2003excuse\u2003rushing\u2003to\u2003his\u2003face\u2003and\u2003neck\u2003i\u2003stumbled \u2003on,\u2003\u2018and\u2003anyway\u2003 with\u2003the\u2003war\u2003on\u2003there\u2003won\u2019t\u2003be\u2003many\u2003trips\u2003for\u2003the\u2003teams.\u2003i\u2003don\u2019t\u2003know,\u2003 sports\u2003don\u2019t\u2003seem\u2003so\u2003important \u2003with\u2003the\u2003war\u2003on.\u2019 \u2018have\u2003you\u2003swallowed \u2003all\u2003that\u2003war\u2003stuff?\u2019 \u2018no,\u2003of\u2003course\u2003i\u2014\u2019\u2003i\u2003was\u2003so\u2003committed \u2003to\u2003refuting\u2003him\u2003that\u2003i\u2003had\u2003half- denied the charge before i understood it; now my eyes swung back to his  face.\u2003\u2018all\u2003what\u2003war\u2003stuff?\u2019 \u2018all\u2003that\u2003stuff\u2003about\u2003there\u2003being\u2003a\u2003war.\u2019 \u2018i\u2003don\u2019t\u2003think\u2003i\u2003get\u2003what\u2003you\u2003mean.\u2019 \u2018do\u2003you\u2003really\u2003think\u2003that\u2003the\u2003united\u2003states\u2003of\u2003america\u2003is\u2003in\u2003a\u2003state\u2003of\u2003 war\u2003with\u2003nazi\u2003germany \u2003and\u2003imperial\u2003japan?\u2019 \u2018do\u2003i\u2003really\u2003think\u2003\u2026\u2019\u2003my\u2003voice\u2003trailed\u2003off. he stood up, his weight on the good leg, the other resting lightly on the  floor\u2003in\u2003front\u2003of\u2003him.\u2003\u2018don\u2019t\u2003be\u2003a\u2003sap,\u2019\u2003he\u2003gazed\u2003with\u2003cool\u2003self-possession \u2003at\u2003 me,\u2003\u2018there\u2003isn\u2019t\u2003any\u2003war.\u2019 \u2018i\u2003know\u2003why\u2003you\u2019re\u2003talking\u2003like\u2003this,\u2019\u2003i\u2003said,\u2003struggling \u2003to\u2003keep\u2003up\u2003with\u2003 him.\u2003\u2018now\u2003i\u2003understand. \u2003you\u2019re\u2003still\u2003under\u2003the\u2003influence \u2003of\u2003some\u2003medicinal \u2003 drug.\u2019 \u2018no,\u2003you\u2003are.\u2003everybody \u2003is.\u2019\u2003he\u2003pivoted\u2003so\u2003that\u2003he\u2003was\u2003facing\u2003directly\u2003 at\u2003me.\u2003\u2018that\u2019s\u2003what\u2003this\u2003whole\u2003war\u2003story\u2003is.\u2003a\u2003medicinal \u2003drug.\u2003listen,\u2003did\u2003you\u2003 ever\u2003hear\u2003of\u2003the\u2003\u2018roaring\u2003twenties\u2019?\u2019 \u2003i\u2003nodded\u2003very\u2003slowly\u2003and\u2003cautiously. \u2003 \u2018when\u2003they\u2003all\u2003drank\u2003bathtub\u2003gin\u2003and\u2003everybody \u2003who\u2003was\u2003young\u2003did\u2003just\u2003 what\u2003they\u2003wanted?\u2019 \u2018yes.\u2019 \u2018well\u2003what\u2003happened \u2003was\u2003that\u2003they\u2003didn\u2019t\u2003like\u2003that,\u2003the\u2003preachers \u2003and\u2003 the old ladies and all the stuffed shirts. so then they tried prohibition and  everybody just got drunker, so then they really got desperate and arranged  the depression. that kept the people who were young in the thirties in 5 10 15 20 25 30 35 40 45",
            "21": "21 0486/11/o/n/19 \u00a9 ucles 2019 [turn over their\u2003places.\u2003but\u2003they\u2003couldn\u2019t\u2003use\u2003that\u2003trick\u2003forever,\u2003so\u2003for\u2003us\u2003in\u2003the\u2003forties\u2003 they\u2019ve\u2003cooked\u2003up\u2003this\u2003war\u2003fake.\u2019 \u2018who\u2003are\u2003\u2018they,\u2019\u2003anyway?\u2019 \u2018the\u2003fat\u2003old\u2003men\u2003who\u2003don\u2019t\u2003want\u2003us\u2003crowding \u2003them\u2003out\u2003of\u2003their\u2003jobs.\u2003 they\u2019ve\u2003made\u2003it\u2003all\u2003up.\u2003there\u2003isn\u2019t\u2003any\u2003real\u2003food\u2003shortage, \u2003for\u2003instance. \u2003the\u2003 men\u2003have\u2003all\u2003the\u2003best\u2003steaks\u2003delivered \u2003to\u2003their\u2003clubs\u2003now.\u2003you\u2019ve\u2003noticed\u2003 how\u2003they\u2019ve\u2003been\u2003getting\u2003fatter\u2003lately,\u2003haven\u2019t\u2003you?\u2019 his tone took it thoroughly for granted that i had. for a moment i was  almost taken in by it. then my eyes fell on the bound and cast white mass  pointing at me, and as it was always to do, it brought me down out of  finny\u2019s\u2003world\u2003of\u2003invention, \u2003down\u2003again\u2003as\u2003i\u2003had\u2003fallen\u2003after\u2003awakening \u2003that\u2003 morning, down to reality, to the facts. \u2018phineas, \u2003this\u2003is\u2003all\u2003pretty\u2003amusing \u2003and\u2003everything, \u2003but\u2003i\u2003hope\u2003you\u2003 don\u2019t\u2003play\u2003this\u2003game\u2003too\u2003much\u2003with\u2003yourself. \u2003you\u2003might\u2003start\u2003to\u2003believe\u2003it\u2003 and\u2003then\u2003i\u2019d\u2003have\u2003to\u2003make\u2003a\u2003reservation \u2003for\u2003you\u2003at\u2003the\u2003funny\u2003farm.\u2019 \u2018in\u2003a\u2003way,\u2019\u2003deep\u2003in\u2003argument, \u2003his\u2003eyes\u2003never\u2003wavered \u2003from\u2003mine,\u2003\u2018the\u2003 whole\u2003world\u2003is\u2003on\u2003a\u2003funny\u2003farm\u2003now.\u2003but\u2003it\u2019s\u2003only\u2003the\u2003fat\u2003old\u2003men\u2003who\u2003get\u2003 the\u2003joke.\u2019 \u2018and\u2003you.\u2019 \u2018yes,\u2003and\u2003me.\u2019 \u2018what\u2003makes\u2003you\u2003so\u2003special?\u2003why\u2003should\u2003you\u2003get\u2003it\u2003and\u2003all\u2003the\u2003rest\u2003of\u2003 us\u2003be\u2003in\u2003the\u2003dark?\u2019 the momentum of the argument abruptly broke from his control. his  face\u2003froze.\u2003\u2018because \u2003i\u2019ve\u2003suffered,\u2019 \u2003he\u2003burst\u2003out.  [from chapter 8]     how does knowles make this such a powerful moment in the novel? or  18  in what ways does knowles make brinker such a memorable and significant character?50 55 60 65 70",
            "22": "22 0486/11/o/n/19 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: msimangu caught him up at the top of the hill, and took his arm, and  it was like walking with a child or with one that was sick. so they came to  the shop. and at the shop kumalo turned, and closed his eyes, and his lips  were moving. then he opened his eyes and turned to msimangu. \u2013 do not come further, he said. it is i who must do this. and then he went into the shop. yes, the bull voice was there, loud and confident. his brother john  was sitting there on a chair, talking to two other men sitting there like a  chief. his brother he did not recognize, for the light from the street was on  the back of the visitor. \u2013 good afternoon, my brother. \u2013 good afternoon, sir. \u2013 good afternoon, my own brother, son of our mother. \u2013 ah my brother, it is you. well, well, i am glad to see you. will you not  come and join us? kumalo looked at the visitors. i am sorry, he said, but i come again on  business, urgent business. \u2013 i am sure my friends will excuse us. excuse us, my friends. so they all said stay well, and go well, and the two men left them. \u2013 well, well, i am glad to see you, my brother. and your business, how  does it progress? have you found the prodigal? you will see i have not  forgotten my early teaching altogether. and he laughed at that, a great bull laugh. but we must have tea, he  said, and he went to the door and called into the place behind. \u2013 it is still the same woman, he said. you see, i also have my ideas  of \u2013 how do you say it in english? and he laughed his great laugh again,  for he was only playing with his brother. fidelity, that was the word. a good  word, i shall not easily forget it. he is a clever man, our mr msimangu. and  now the prodigal, have you found him? \u2013 he is found, my brother. but not as he was found in the early  teaching. he is in prison, arrested for the murder of a white man. \u2013 murder? the man does not jest now. one does not jest about  murder. still less about the murder of a white man. \u2013 yes, murder. he broke into a house in a place that they call  parkwold, and killed the white man who would have prevented him. \u2013\u2003what?\u2003i\u2003remember! \u2003only\u2003a\u2003day\u2003or\u2003two\u2003since?\u2003on\u2003tuesday? \u2013 yes. \u2013 yes, i remember. yes, he remembers. he remembers too that his own son and his  brother\u2019s \u2003son\u2003are\u2003companions. \u2003the\u2003veins\u2003stand\u2003out\u2003on\u2003the\u2003bull\u2003neck,\u2003and\u2003 the sweat forms on the brow. have no doubt it is fear in the eyes. he   wipes his brow with a cloth. there are many questions he could ask   before he need come at it. all he says is, yes, indeed, i do remember. his   brother is filled with compassion for him. he will try gently to bring it   to him. \u2013 i am sorry, my brother. what does one say? does one say, of course you are sorry? does  one say, of course, it is your son? how can one say it, when one knows 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/11/o/n/19 \u00a9 ucles 2019 [turn over what it means? keep silent then, but the eyes are upon one. one knows  what they mean. \u2013\u2003you\u2003mean\u2003\u2026?\u2003he\u2003asked. \u2013 yes. he was there also. john kumalo whispers tixo, tixo . and again, tixo, tixo . kumalo  comes to him and puts his hand on his shoulders. \u2013 there are many things i could say, he said. \u2013 there are many things you could say. \u2013 but i do not say them. i say only that i know what you suffer. \u2013 indeed, who could know better? \u2013 yes, that is one of the things i could say. there is a young white  man at the mission house, and he is waiting to take me now to the prison.  perhaps he would take you also. \u2013 let me get my coat and hat, my brother. they do not wait for tea, but set out along the street to the mission  house. msimangu, watching anxiously for their return, sees them coming.  the old man walks now more firmly, it is the other who seems bowed and  broken. father\u2003vincent,\u2003the\u2003rosy-cheeked \u2003priest\u2003from\u2003england, \u2003takes\u2003kumalo\u2019s \u2003 hand in both his own. anything, he says, anything. you have only to ask.   i shall do anything.  [from book 1 chapter 14]    how does paton make this moment in the novel so disturbing? or  20  to what extent does paton persuade you that it is possible for black people and white  people in the novel to be friends?50 55 60 65",
            "24": "24 0486/11/o/n/19 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21  read this extract from on her knees  (by tim winton), and then answer the question that  follows it: in twenty years she was only ever sacked the once, and that was over  a\u2003pair\u2003of\u2003missing\u2003earrings. \u2003she\u2003came\u2003home\u2003with\u2003a\u2003week\u2019s\u2003notice\u2003and\u2003wept\u2003 under\u2003the\u2003lemon\u2003tree\u2003where\u2003she\u2003thought\u2003i\u2003wouldn\u2019t\u2003hear.\u2003i\u2003tried\u2003to\u2003convince \u2003 her\u2003never\u2003to\u2003return\u2003but\u2003she\u2003wouldn\u2019t\u2003hear\u2003a\u2003word\u2003of\u2003it.\u2003we\u2003argued.\u2003it\u2003was\u2003 awful,\u2003and\u2003it\u2003didn\u2019t\u2003let\u2003up\u2003all\u2003week.\u2003since\u2003the\u2003old\u2003man\u2019s\u2003disappearance \u2003we\u2019d\u2003 never raised our voices at each other. it was as though we kept the peace  at\u2003all\u2003costs\u2003for\u2003fear\u2003of\u2003driving\u2003each\u2003other\u2003away.\u2003and\u2003now\u2003we\u2003couldn\u2019t\u2003stop\u2003 bickering. the morning she was to return we were still at it. then, even while i  took a shower, she stood in the bathroom doorway to lecture me on the  subject of personal pride. it was as though i was not a twenty-year-old law  student but a little boy who needed his neck scrubbed. i\u2003don\u2019t\u2003care\u2003what\u2003you\u2003say,\u2003i\u2003yelled.\u2003it\u2019s\u2003outrageous \u2003and\u2003i\u2019m\u2003not\u2003coming. i never asked you, she said. when did i ever ask you to come? i groaned. there was nothing i could say to that. and i knew it was a  four-hour job, two if i helped out. given what the householder had accused  her\u2003of,\u2003it\u2003would\u2003be\u2003the\u2003toughest \u2003four\u2003hours\u2003she\u2019d\u2003ever\u2003put\u2003in.\u2003but\u2003i\u2003was\u2003 convinced that it was a mistake for her to go back. it was unfair, ludicrous,  impossible, and while she packed the corolla in the driveway i told her so.  she came back for the mop and bucket. i stood on the verandah with my  arms\u2003folded.\u2003but\u2003she\u2003must\u2003have\u2003known\u2003i\u2019d\u2003go.\u2003she\u2003knew\u2003before\u2003i\u2003did,\u2003and\u2003 not even the chassis-bending slam i gave the door could wipe the look of  vindication from her face as she reversed us out into the street. the car reeked of bleach and rubber gloves. i sighed and cranked  down the window. she drove with both ravaged hands on the wheel, her  chin up at a silly, dignified angle. her mask of composure belied a fear of  driving, and the caution with which she navigated made me crazy, but i  resolved to show a bit of grace. what? she said, seeing something in my face. nothing, i said, trying not to sound sullen. you\u2019re\u2003good\u2003to\u2003come\u2003with\u2003me. well. figure you need the help. oh,\u2003it\u2019s\u2003not\u2003help,\u2003love.\u2003it\u2019s\u2003company. i could have opened the door and got out there and then. what? she asked. i\u2003shook\u2003my\u2003head.\u2003i\u2003couldn\u2019t\u2003launch\u2003into\u2003it\u2003all\u2003again.\u2003she\u2003was\u2003worth\u2003 twice what those silvertails paid her. she was more scrupulous, more  honest,\u2003than\u2003any\u2003of\u2003them.\u2003she\u2003wouldn\u2019t\u2003even\u2003open\u2003a\u2003drawer\u2003unless\u2003it\u2003was\u2003 to put a clean knife or fork into it. for her to be called a thief was beyond  imagining. i\u2003know\u2003it\u2019s\u2003not\u2003easy,\u2003she\u2003said. it\u2019s\u2003demeaning, \u2003mum!\u2003i\u2003blurted\u2003despite\u2003myself.\u2003going\u2003back\u2003like\u2003this.\u2003 the\u2003whole\u2003performance. \u2003it\u2019s\u2003demeaning. to who? whom. well,\u2003excuse\u2003me,\u2003constable! \u2003she\u2003said\u2003with\u2003a\u2003tart\u2003laugh.\u2003to\u2003whom  is it  demeaning, then, victor? you?5 10 15 20 25 30 35 40 45",
            "25": "25 0486/11/o/n/19 \u00a9 ucles 2019 i looked out of the window, flushing for shame. you men, she said brightly. actually, this is about a woman, mum. what kind of person accuses  you of thieving, gives you the sack and then asks you back for one week  while she looks for somebody to replace you? well,\u2003it\u2019s\u2003her\u2003loss,\u2003said\u2003my\u2003mother,\u2003changing \u2003lanes\u2003with\u2003excruciating \u2003 precision. \u2003she\u2003knows\u2003she\u2003won\u2019t\u2003find\u2003anybody \u2003better\u2003than\u2003me. not even as good as you. not a chance. thank you. five-hundred-dollar \u2003earrings, \u2003mum.\u2003she\u2003hasn\u2019t\u2003even\u2003gone\u2003to\u2003the\u2003 police. as far as we know. in\u2003that\u2003postcode? \u2003believe\u2003me,\u2003we\u2019d\u2003know. she\u2003must\u2003know\u2003i\u2003didn\u2019t\u2003steal\u2003them. she\u2003just\u2003wants\u2003something, \u2003some\u2003advantage \u2003over\u2003you.\u2003there\u2019ll\u2003be\u2003a\u2003 note\u2003there,\u2003you\u2003wait.\u2003she\u2019ll\u2003let\u2003it\u2003slide\u2003\u2013\u2003this\u2003time\u2003\u2013\u2003and\u2003later\u2003on,\u2003while\u2003 you\u2019re\u2003all\u2003guilty\u2003and\u2003grateful,\u2003she\u2019ll\u2003chip\u2003you\u2003down\u2003on\u2003the\u2003rate.\u2003back\u2003to\u2003a\u2003 fiver an hour. the\u2003law,\u2003she\u2003said.\u2003it\u2003must\u2003make\u2003you\u2003suspicious. \u2003she\u2019s\u2003just\u2003made\u2003a\u2003 stupid\u2003mistake.\u2003she\u2019s\u2003probably \u2003found\u2003them\u2003by\u2003now. and not called? these\u2003people,\u2003they\u2003never\u2003call.\u2003silence,\u2003that\u2019s\u2003their\u2003idea\u2003of\u2003an\u2003apology.\u2003 it\u2019s\u2003how\u2003they\u2019re\u2003brought\u2003up. but she looked troubled for a few moments. then her face cleared. oh\u2003well,\u2003she\u2003murmured. \u2003there\u2019s\u2003the\u2003waiting\u2003list.\u2003i\u2003can\u2003still\u2003fill\u2003a\u2003dance\u2003 card in this business. sure, i said without any enthusiasm. anyway,\u2003we\u2019ll\u2003show\u2003her. how\u2019s\u2003that? we\u2019ll\u2003clean\u2003that\u2003flat\u2003within\u2003an\u2003inch\u2003of\u2003its\u2003life. oh\u2003yeah,\u2003i\u2003muttered. \u2003that\u2019ll\u2003put\u2003her\u2003back\u2003in\u2003her\u2003box.\u2003go,\u2003mum.  \u2003 \u2003 \u2003 how\u2003does\u2003winton\u2003create\u2003such\u2003powerful \u2003impressions \u2003of\u2003the\u2003narrator\u2019s \u2003mother\u2003at\u2003this\u2003 moment in the story? or  22  explore the ways in which the writers convey loneliness in either  the bath  (by janet  frame) or in the moving finger  (by edith wharton).50 55 60 65 70 75",
            "26": "26 0486/11/o/n/19 \u00a9 ucles 2019 blank page",
            "27": "27 0486/11/o/n/19 \u00a9 ucles 2019 blank page",
            "28": "28 0486/11/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_w19_qp_12.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 165608/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *5413418098*literature (english)  0486/12 paper 1  poetry and prose  october/november 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks.",
            "2": "2 0486/12/o/n/19 \u00a9 ucles 2019 blank page",
            "3": "3 0486/12/o/n/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2 : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai:  in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/12/o/n/19 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: song:  tears, idle tears tears, idle tears, i know not what they mean, tears from the depth of some divine despair rise in the heart, and gather to the eyes, in looking on the happy autumn-fields, and thinking of the days that are no more. fresh as the first beam glittering on a sail, that brings our friends up from the underworld, sad as the last which reddens over one that sinks with all we love below the verge; so sad, so fresh, the days that are no more. ah, sad and strange as in dark summer dawns the earliest pipe of half-awakened birds to dying ears, when unto dying eyes the casement slowly grows a glimmering square; so sad, so strange, the days that are no more. dear as remembered kisses after death, and sweet as those by hopeless fancy feigned on lips that are for others; deep as love, deep as first love, and wild with all regret; o death in life, the days that are no more.  (alfred, lord tennyson )     how does tennyson use words and images to powerful effect in this poem?5 10 15 20",
            "5": "5 0486/12/o/n/19 \u00a9 ucles 2019 [turn over or  2  how does baxter create such a memorable portrait of the grandfather in elegy for my  father\u2019s father ? elegy for my father\u2019s father he knew in the hour he died that his heart had never spoken in eighty years of days. o for the tall tower broken memorial is denied: and the unchanging cairn that pipes could set ablaze an aaronsrod and blossom. they stood by the graveside from his bitter veins born and mourned him in their fashion. a chain of sods in a day he could slice and build high as the head of a man and a flowering cherry tree on his walking shoulder held under the lion sun. when he was old and blind he sat in a curved chair all day by the kitchen fire. many hours he had seen the stars in their drunken dancing through the burning-glass of his mind and sober knew the green boughs of heaven folding the winter world in their hand. the pride of his heart was dumb. he knew in the hour he died that his heart had never spoken in song or bridal bed. and the naked thought fell back to a house by the waterside and the leaves the wind had shaken then for a child\u2019s sake: to the waves all night awake with the dark mouths of the dead. the tongues of water spoke and his heart was unafraid.  (james k baxter )5 10 15 20 25 30 35",
            "6": "6 0486/12/o/n/19 \u00a9 ucles 2019 songs of ourselves volume 2 : from part 2 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: coming on longer evenings, light, chill and yellow, bathes the serene foreheads of houses. a thrush sings, laurel-surrounded in the deep bare garden, its fresh-peeled voice astonishing the brickwork. it will be spring soon, it will be spring soon\u2014 and i, whose childhood is a forgotten boredom, feel like a child who comes on a scene of adult reconciling, and can understand nothing but the unusual laughter, and starts to be happy.  (philip larkin )    how does larkin vividly convey his response to the coming of spring in this poem?5 10 15",
            "7": "7 0486/12/o/n/19 \u00a9 ucles 2019 [turn over or  4  how does cowper strikingly convey ideas about nature in the poplar-field ? the poplar-field the poplars are felled, farewell to the shade and the whispering sound of the cool colonnade, the winds play no longer, and sing in the leaves, nor ouse on his bosom their image receives. twelve years have elapsed since i last took a view of my favourite field and the bank where they grew, and now in the grass behold they are laid, and the tree is my seat that once lent me a shade. the blackbird has fled to another retreat where the hazels afford him a screen from the heat, and the scene where his melody charmed me before, resounds with his sweet-flowing ditty no more. my fugitive years are all hasting away, and i must ere long lie as lowly as they, with a turf on my breast, and a stone at my head, ere another such grove shall arise in its stead. \u2019tis a sight to engage me, if any thing can, to muse on the perishing pleasures of man; though his life be a dream, his enjoyments, i see, have a being less durable even than he.  (william cowper )5 10 15 20",
            "8": "8 0486/12/o/n/19 \u00a9 ucles 2019 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: my box my box is made of golden oak, my lover\u2019s gift to me. he fitted hinges and a lock of brass and a bright key. he made it out of winter nights, sanded and oiled and planed, engraved inside the heavy lid in brass, a golden tree. in my box are twelve black books where i have written down how we have sanded, oiled and planed, planted a garden, built a wall, seen jays and goldcrests, rare red kites, found the wild heartsease, drilled a well, harvested apples and words and days and planted a golden tree. on an open shelf i keep my box. its key is in the lock. i leave it there for you to read, or them, when we are dead, how everything is slowly made, how slowly things made me, a tree, a lover, words, a box, books and a golden tree.    how does clarke movingly convey the relationship between the lovers in this poem?5 10 15 20",
            "9": "9 0486/12/o/n/19 \u00a9 ucles 2019 [turn over or  6 explore the ways in which clarke vividly creates a mysterious atmosphere in journey . journey as far as i am concerned we are driving into oblivion. on either side there is nothing, and beyond your driving shaft of light it is black. you are a miner digging for a future, a mineral relationship in the dark. i can hear the darkness drip from the other world where people might be sleeping, might be alive. certainly there are white gates with churns waiting for morning, their cream standing. once we saw an old table standing square on the grass verge. our lamps swept it clean, shook the crumbs into the hedge and left it. a tractor too, beside a load of logs, bringing from a deeper dark a damp whiff of the fungoid sterility of the conifers. complacently i sit, swathed in sleepiness. a door shuts at the end of a dark corridor. ahead not a cat\u2019s eye winks to deceive us with its green invitation. as you hurl us into the black contracting chasm, i submit like a blind and folded baby, being born.5 10 15 20 25 30",
            "10": "10 0486/12/o/n/19 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: william\u2019s desire of seeing fanny dance, made more than a  momentary impression on his uncle. the hope of an opportunity, which  sir thomas had then given, was not given to be thought of no more.  he remained steadily inclined to gratify so amiable a feeling\u2014to gratify  anybody else who might wish to see fanny dance, and to give pleasure  to the young people in general; and having thought the matter over and  taken his resolution in quiet independence, the result of it appeared the  next morning at breakfast, when after recalling and commending what his  nephew had said, he added, \u2018i do not like, william, that you should leave  northamptonshire without this indulgence. it would give me pleasure to  see you both dance. you spoke of the balls at northampton. your cousins  have occasionally attended them; but they would not altogether suit us  now. the fatigue would be too much for your aunt. i believe, we must not  think of a northampton ball. a dance at home would be more eligible, and  if\u2019\u2014 \u2018ah! my dear sir thomas,\u2019 interrupted mrs norris, \u2018i knew what was  coming. i knew what you were going to say. if dear julia were at home, or  dearest mrs rushworth, at sotherton, to afford a reason, an occasion for  such a thing, you would be tempted to give the young people a dance at  mansfield. i know you would. if they were at home to grace the ball, a ball  you would have this very christmas. thank your uncle, william, thank your  uncle.\u2019 \u2018my daughters,\u2019 replied sir thomas, gravely interposing, \u2018have their  pleasures at brighton, and i hope are very happy; but the dance which  i think of giving at mansfield, will be for their cousins. could we be all  assembled, our satisfaction would undoubtedly be more complete, but the  absence of some is not to debar the others of amusement.\u2019 mrs norris had not another word to say. she saw decision in his  looks, and her surprise and vexation required some minutes\u2019 silence to  be settled into composure. a ball at such a time! his daughters absent  and herself not consulted! there was comfort, however, soon at hand. she  must be the doer of every thing; lady bertram would of course be spared  all thought and exertion, and it would all fall upon her. she should have to  do the honours of the evening, and this reflection quickly restored so much  of her good humour as enabled her to join in with the others, before their  happiness and thanks were all expressed. edmund, william, and fanny, did, in their different ways, look and  speak as much grateful pleasure in the promised ball, as sir thomas could  desire. edmund\u2019s feelings were for the other two. his father had never  conferred a favour or shewn a kindness more to his satisfaction. lady bertram was perfectly quiescent and contented, and had  no objections to make. sir thomas engaged for its giving her very little  trouble, and she assured him, \u2018that she was not at all afraid of the trouble,  indeed she could not imagine there would be any.\u20195 10 15 20 25 30 35 40",
            "11": "11 0486/12/o/n/19 \u00a9 ucles 2019 [turn over mrs norris was ready with her suggestions as to the rooms he would  think fittest to be used, but found it all pre-arranged; and when she would  have conjectured and hinted about the day, it appeared that the day was  settled too. sir thomas had been amusing himself with shaping a very  complete outline of the business; and as soon as she would listen quietly,  could read his list of the families to be invited, from whom he calculated,  with all necessary allowance for the shortness of the notice, to collect  young people enough to form twelve or fourteen couple; and could detail  the considerations which had induced him to fix on the 22d, as the most  eligible day. william was required to be at portsmouth on the 24th; the 22d  would therefore be the last day of his visit; but where the days were so  few it would be unwise to fix on any earlier. mrs norris was obliged to be  satisfied with thinking just the same, and with having been on the point of  proposing the 22d herself, as by far the best day for the purpose. the ball was now a settled thing, and before the evening, a proclaimed  thing to all whom it concerned.  [from chapter 26]    explore the ways in which austen makes this moment in the novel entertaining. or  8 how far does austen\u2019s portrayal of edmund make you admire him?45 50 55 60",
            "12": "12 0486/12/o/n/19 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: out there i felt at home again. overhead the sky was that indescribable  blue of autumn; bright and shadowless, hard as enamel. to the south i  could see the dun-shaded river bluffs that used to look so big to me, and  all about stretched drying cornfields, of the pale-gold colour, i remembered  so well. russian thistles were blowing across the uplands and piling  against the wire fences like barricades. along the cattle-paths the plumes  of goldenrod were already fading into sun-warmed velvet, grey with gold  threads in it. i had escaped from the curious depression that hangs over  little towns, and my mind was full of pleasant things; trips i meant to take  with the cuzak boys, in the bad lands and up on the stinking water. there  were enough cuzaks to play with for a long while yet. even after the boys  grew up, there would always be cuzak himself! i meant to tramp along a  few miles of lighted streets with cuzak. as i wandered over those rough pastures, i had the good luck to  stumble upon a bit of the first road that went from black hawk out to the  north country; to my grandfather\u2019s farm, then on to the shimerdas\u2019 and to  the norwegian settlement. everywhere else it had been ploughed under  when the highways were surveyed; this half-mile or so within the  pasture   fence  was all that was left of that old road which used to run like a wild  thing across the open prairie, clinging to the high places and circling and  doubling like a rabbit before the hounds. on the level land the tracks had almost disappeared \u2014 were mere  shadings in the grass, and a stranger would not have noticed them. but  wherever the road had crossed a draw, it was easy to find. the rains had  made channels of the wheel-ruts and washed them so deeply that the sod  had never healed over them. they looked like gashes torn by a grizzly\u2019s  claws, on the slopes where the farm-wagons used to lurch up out of the  hollows with a pull that brought curling muscles on the smooth hips of the  horses. i sat down and watched the haystacks turn rosy in the slanting  sunlight. this was the road over which \u00e1ntonia and i came on that night when  we got off the train at black hawk and were bedded down in the straw,  wondering children, being taken we knew not whither. i had only to close  my eyes to hear the rumbling of the wagons in the dark, and to be again  overcome by that obliterating strangeness. the feelings of that night were  so near that i could reach out and touch them with my hand. i had the  sense of coming home to myself, and of having found out what a little  circle man\u2019s experience is. for \u00e1ntonia and for me, this had been the  road of destiny; had taken us to those early accidents of fortune which  predetermined for us all that we can ever be. now i understood that the  same road was to bring us together again. whatever we had missed, we  possessed together the precious, the incommunicable past.  [from book 5 chapter 3]    how does cather make this such a moving ending to the novel?5 10 15 20 25 30 35 40",
            "13": "13 0486/12/o/n/19 \u00a9 ucles 2019 [turn over or  10  explore the ways in which cather makes lena lingard and tiny soderball such strong  and independent characters.",
            "14": "14 0486/12/o/n/19 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: he hung around the inter-state bus terminal on ring road for a long  time, not daring to enter the city walls and search out murad\u2019s office in  kashmere gate and so set in motion the events of the day to which he  knew he would not measure up. what vainglory to have accepted murad\u2019s  challenge, to have agreed to a task for which he was not qualified, for  which he had neither the experience nor the confidence. he realized   that he and murad were no more than a pair of undeveloped, clownish  students who could not hope to pass the examination of life. clowns:  that was how nur would see them when they impudently burst upon him,  uninvited, self-invited, and put to him their presumptuous questions and  requests. this reminded him \u2013 he clutched at his pocket \u2013 was the questionnaire  still there? the questionnaire he had been working on night after night  ever since murad\u2019s visit? yes, he could feel the wad of papers under his  fingers, consoling in their number and solidity. he was a scholar after all,  and a lover of poetry. there was that. sighing, he drew out a cigarette from  between its folds and went towards a teashop to light it at the smouldering  length of rope that hung from one of the doorposts precisely for this  purpose. seeing him there, the teashop owner called, \u2018come in, come in.  don\u2019t stand outside. you need a cup of tea after your long journey, my  son,\u2019 and although deven had resolved to spend nothing on extras, to  keep to only the most essential expenditure, he was led by the teashop  owner\u2019s suggestion just as helplessly as he had been led by murad\u2019s,  and he shambled in to sit down on a wooden bench along the wall and  accept a glass of sweet, milky tea: he did, after all, need something to  see him through the most momentous day of his adult life. certainly he  had never felt more inadequate and the measure of his inadequacy must  be in proportion to the importance of the task that had been set him. by  whom? by murad of the betel-stained teeth, the toothbrush moustache,  the fiddling, shifty, untrustworthy ways? impossible. he saw the hand of  god as clearly as if it were the shaft of dust-laden light filtering through a  hole in the corrugated iron roof of the teashop and striking the handle of a  ladle with which the owner was stirring a great pan of steaming milk upon  a small charcoal fire. when he had drunk to the bottom of the glass, he saw a dead fly  floating in the dregs of his tea. the gasp he gave was only partly of horror at the teashop owner\u2019s  filthiness and the wretched standards of hygiene in his shop. or even from  a fear of typhoid and cholera. it was the revelation that all the omens of  the day had come together and met at the bottom of the glass he held  between his fingers. in it lay the struck dog, the triumphant crows, the dead  fly \u2013 death itself, nothing less. coming together in the separate prisms of  the fly\u2019s eye, drowned but glittering in the tea, it stared back at him without  blinking. putting down the glass, he got up and crept out of its way quietly while  the teashop owner shouted jovially at the passengers who were tumbling  out of the next bus: \u2018come this way, friends, come this way. here you will 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/12/o/n/19 \u00a9 ucles 2019 [turn over find pakoras  fried in purest oil, sweets made of purest milk, and the tea  with most sugar. this way, friends, this way!\u2019  [from chapter 2]    how does desai vividly convey deven\u2019s state of mind at this moment in the novel? or  12  explore the ways in which desai creates such a vivid portrait of nur.50",
            "16": "16 0486/12/o/n/19 \u00a9 ucles 2019 charles dickens: hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: \u2018mrs bounderby, i esteem it a most fortunate accident that i find you  alone here. i have for some time had a particular wish to speak to you.\u2019 it was not by any wonderful accident that mr harthouse found her, the  time of day being that at which she was always alone, and the place being  her favourite resort. it was an opening in a dark wood, where some felled  trees lay, and where she would sit watching the fallen leaves of last year,  as she had watched the falling ashes at home. he sat down beside her, with a glance at her face. \u2018your brother. my young friend tom \u2013 \u2019 her colour brightened, and she turned to him with a look of interest.  \u2018i never in my life,\u2019 he thought, \u2018saw anything so remarkable and so  captivating as the lighting of those features!\u2019 his face betrayed his thoughts  \u2013 perhaps without betraying him, for it might have been according to its  instructions so to do. \u2018pardon me. the expression of your sisterly interest is so beautiful  \u2013 tom should be so proud of it \u2013 i know this is inexcusable, but i am so  compelled to admire.\u2019 \u2018being so impulsive,\u2019 she said composedly. \u2018mrs bounderby, no: you know i make no pretence with you. you know  i am a sordid piece of human nature, ready to sell myself at any time for  any reasonable sum, and altogether incapable of any arcadian proceeding  whatever.\u2019 \u2018i am waiting,\u2019 she returned, \u2018for your further reference to my brother.\u2019 \u2018you are rigid with me, and i deserve it. i am as worthless a dog as  you will find, except that i am not false \u2013 not false. but you surprised and  started me from my subject, which was your brother. i have an interest in  him.\u2019 \u2018have you an interest in anything, mr harthouse?\u2019 she asked, half  incredulously and half gratefully. \u2018if you had asked me when i first came here, i should have said no. i  must say now \u2013 even at the hazard of appearing to make a pretence, and  of justly awakening your incredulity \u2013 yes.\u2019 she made a slight movement, as if she were trying to speak, but could  not find voice; at length she said, \u2018mr harthouse, i give you credit for being  interested in my brother.\u2019 \u2018thank you. i claim to deserve it. you know how little i do claim, but  i will go that length. you have done so much for him, you are so fond  of him; your whole life, mrs bounderby, expresses such charming self- forgetfulness on his account \u2013 pardon me again \u2013 i am running wide of the  subject. i am interested in him for his own sake.\u2019 she had made the slightest action possible, as if she would have risen  in a hurry and gone away. he had turned the course of what he said at that  instant, and she remained. \u2018mrs bounderby,\u2019 he resumed, in a lighter manner, and yet with a  show of effort in assuming it, which was even more expressive than the  manner he dismissed; \u2018it is no irrevocable offence in a young fellow of your  brother\u2019s years, if he is heedless, inconsiderate, and expensive \u2013 a little  dissipated, in the common phrase. is he?\u20195 10 15 20 25 30 35 40 45",
            "17": "17 0486/12/o/n/19 \u00a9 ucles 2019 [turn over \u2018yes.\u2019 \u2018allow me to be frank. do you think he games at all?\u2019 \u2018i think he makes bets.\u2019 mr harthouse waiting, as if that were not her  whole answer, she added, \u2018i know he does.\u2019 \u2018of course he loses?\u2019 \u2018yes.\u2019 \u2018everybody does lose who bets. may i hint at the probability of your  sometimes supplying him with money for these purposes?\u2019 she sat, looking down; but, at this question, raised her eyes  searchingly and a little resentfully. \u2018acquit me of impertinent curiosity, my dear mrs bounderby. i think  tom may be gradually falling into trouble, and i wish to stretch out a helping  hand to him from the depths of my wicked experience. \u2013 shall i say again,  for his sake? is that necessary?\u2019 she seemed to try to answer, but nothing came of it.  [from book 2 chapter 7]     what does dickens make you feel towards harthouse and louisa at this moment in the  novel? or  14  explore the ways in which dickens makes stephen blackpool such a memorable and  significant character in the novel.50 55 60",
            "18": "18 0486/12/o/n/19 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: it took him a moment to see two old women by the fire, as still and  dark as the ground they seemed to grow out of.  content removed due to copyright restrictions.",
            "19": "19 0486/12/o/n/19 \u00a9 ucles 2019 [turn over he wished he had the gun. [from part 4]  explore the ways in which grenville powerfully conveys thornhill\u2019s thoughts and feelings  at this moment in the novel. or 16  how does grenville movingly convey sal\u2019s growing unhappiness in the course of the  novel? content removed due to copyright restrictions.",
            "20": "20 0486/12/o/n/19 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: \u2018they were going to give me,\u2019 he was almost laughing, everywhere  but in his eyes which continued to oppose all he said, \u2018they were going to  give me a discharge, a section eight discharge.\u2019 as a last defense i had always taken refuge in a scornful superiority,  based on nothing. i sank back in the chair, eyebrows up, shoulders  shrugging. \u2018i don\u2019t even know what you\u2019re talking about. you just don\u2019t  make any sense at all. it\u2019s all japanese to me.\u2019 \u2018a section eight discharge is for the nuts in the service, the psychos,  the funny farm candidates. now do you know what i\u2019m talking about?  they give you a section eight discharge, like a dishonorable discharge  only worse. you can\u2019t get a job after that. everybody wants to see your  discharge, and when they see a section eight they look at you kind of  funny\u2014the kind of expression you\u2019ve got on your face, like you were  looking at someone with their nose blown off but don\u2019t want them to know  you\u2019re disgusted\u2014they look at you that way and then they say, \u2018well, there  doesn\u2019t seem to be an opening here at present.\u2019 you\u2019re screwed for life,  that\u2019s what a section eight discharge means.\u2019 \u2018you don\u2019t have to yell at me, there\u2019s nothing wrong with my   hearing.\u2019 \u2018then that\u2019s tough shit for you, buster. then they\u2019ve got you.\u2019 \u2018nobody\u2019s got me.\u2019 \u2018oh they\u2019ve got you all right.\u2019 \u2018don\u2019t tell me who\u2019s got me and who hasn\u2019t got me. who do you think  you\u2019re talking to? stick to your snails, lepellier.\u2019 he began to laugh again. \u2018you always were a lord of the manor,  weren\u2019t you? a swell guy, except when the chips were down. you always  were a savage underneath. i always knew that only i never admitted it. but  in the last few weeks,\u2019 despair broke into his face again, \u2018i admitted a hell  of a lot to myself. not about you. don\u2019t flatter yourself. i wasn\u2019t thinking  about you. why the hell should i think about you? did you ever think about  me? i thought about myself, and ma, and the old man, and pleasing  them  all the time. well, never mind about that now. it\u2019s you we happen to be  talking about now. like a savage underneath. like,\u2019 now there was the  blind confusion in his eyes again, a wild slyness around his mouth, \u2018like  that time you knocked finny out of the tree.\u2019 i sprang out of the chair. \u2018you stupid crazy bastard\u2014\u2019 still laughing, \u2018like that time you crippled him for life.\u2019 i shoved my foot against the rung of his chair and kicked. leper went  over in his chair and collapsed against the floor. laughing and crying he  lay with his head on the floor and his knees up, \u2018\u2026 always were a savage  underneath.\u2019 quick heels coming down the stairs, and his mother, large, soft,  and  gentle-looking, quivered at the entrance. \u2018what on earth happened?  elwin!\u2019 \u2018i\u2019m terribly\u2014it was a mistake,\u2019 i listened objectively to my own  voice, \u2018he said something crazy. i forgot myself\u2014i forgot that he\u2019s, there\u2019s  something the matter with his nerves, isn\u2019t there? he didn\u2019t know what he  was saying.\u20195 10 15 20 25 30 35 40 45",
            "21": "21 0486/12/o/n/19 \u00a9 ucles 2019 [turn over \u2018well, good heaven, the boy is ill.\u2019 we both moved swiftly to help up  the chuckling leper. \u2018did you come here to abuse him?\u2019 \u2018i\u2019m terribly sorry,\u2019 i muttered. \u2018i\u2019d better get going.\u2019 mrs lepellier was helping leper toward the stairs. \u2018don\u2019t go,\u2019 he said  between chuckles, \u2018stay for lunch. you can count on it. always three meals  a day, war or peace, in this room.\u2019 and i did stay. sometimes you are too ashamed to leave. that was  true now.  [from chapter 10]    how does knowles make this such a disturbing moment in the novel? or  18 what does knowles\u2019s writing make you feel about finny?50 55",
            "22": "22 0486/12/o/n/19 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: \u2013 have you a room to let? \u2013 no, i have no room to let. \u2013 have you a room to let? \u2013 it is let already. \u2013 have you a room to let? \u2013 yes, i have a room to let, but i do not want to let it. for i have seen  husbands taken away by women, and wives taken away by men. i have  seen daughters corrupted by boys, and sons corrupted by girls. but my  husband gets only thirty-four shillings a week \u2013 * \u2013 what shall we do, those who have no houses? \u2013 you can wait five years for a house, and be no nearer getting it than  at the beginning. \u2013 they say there are ten thousand of us in orlando alone, living in  other people\u2019s houses. \u2013 do you hear what dubula says? that we must put up our own  houses here in orlando? \u2013 and where do we put up the houses? \u2013 on the open ground by the railway line, dubula says. \u2013 and of what do we build the houses? \u2013 anything you can find. sacks and planks and grass from the veld  and poles from the plantations. \u2013 and when it rains? \u2013 siyafa. then we die. \u2013 no, when it rains, they will have to build us houses. \u2013 it is foolishness. what shall we do in the winter? six years waiting for a house. and full as the houses are, they grow  yet fuller, for the people still come to johannesburg. there has been a  great war raging in europe and north africa, and no houses are being  built. \u2013 have you a house for me yet? \u2013 there is no house yet. \u2013 are you sure my name is on the list? \u2013 yes, your name is on the list. \u2013 what number am i on the list? \u2013 i cannot say, but you must be about number six thousand on the list. number six thousand on the list. that means i shall never get a house,  and i cannot stay where i am much longer. we have quarrelled about the  stove, we have quarrelled about the children, and i do not like the way the  man looks at me. there is the open ground by the railway line, but what  of the rain and the winter? they say we must go there, all go together,  fourteen days from today. they say we must get together the planks and  the sacks and the tins and the poles, and all move together. they say we  must all pay a shilling a week to the committee, and they will move all our  rubbish and put up lavatories for us, so that there is no sickness. but what  of the rain and the winter?5 10 15 20 25 30 35 40 45",
            "23": "23 0486/12/o/n/19 \u00a9 ucles 2019 [turn over \u2013 have you a house for me yet? \u2013 there is no house yet. \u2013 but i have been two years on the list. \u2013 you are only a child on the list. \u2013 is it true that if you pay money \u2014? but the man does not hear me, he is already busy with another. but a  second man comes to me from what place i do not see, and what he says  bewilders me. \u2013 i am sorry they have no house, mrs seme. by the way, my wife  would like to discuss with you the work of the committee. tonight at  seven o\u2019clock, she said. you know our house, no. 17852, near the dutch  reformed church. look, i shall write down the number for you. good  morning, mrs seme. but when i make to answer him, he is already gone. \u2013 ho, but this man bewilders me. who is his wife? i do not know her.  and what is this committee? i know of no committee. \u2013 ho, but you are a simple woman. he wants to discuss with you the  money you are willing to pay for a house. well, i shall go there then. i hope he does not ask too much, one  cannot pay too much on thirty-seven shillings a week. but a house we  must have. i am afraid of the place where we are. there is too much  coming and going, when all decent people are asleep. too many young  men coming and going, that seem never to sleep, and never to work. too  much clothing, good clothing, white people\u2019s clothing. there will be trouble  one day, and my husband and i have never been in trouble. a house we  must have.  [from book 1 chapter 9]     how does paton powerfully convey the desperate search for a home in this extract? or  20  how does paton make stephen kumalo\u2019s relationship with gertrude such a memorable  part of the novel?50 55 60 65 70",
            "24": "24 0486/12/o/n/19 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21   read this extract from the stoat  (by john mcgahern), and then answer the question  that follows it: \u2018would you take it very much to heart if i decided to marry again?\u2019 at  least that opening had the virtue of surprise. \u2018of course not. why do you ask me?\u2019 the young man\u2019s face showed  his amazement. \u2018i was afraid you might be affronted by the idea of another woman  holding the position your dear mother held,\u2019 the voice floated brittlely along  on emotion that it could not control. the son hoped the father wouldn\u2019t  break down and cry, for if he did he was afraid he might idiotically join him.  the father started to rotate his thumbs about one another as he waited. \u2018that\u2019s ridiculous. i think you should do exactly what you want to do.  it\u2019s your life.\u2019 the father looked hurt, as if his life had been brutally severed from the  other life by the son\u2019s words. \u2018for years i\u2019ve been faithful to your mother\u2019s memory,\u2019 he began  painfully. \u2018now you\u2019re a man. soon you\u2019ll be a fully qualified doctor, while  i\u2019ll have to eke out my days between this empty house and the school.  at my age you don\u2019t expect much from marriage, but at least i\u2019d have  companionship.\u2019 \u2018there was no need to ask me. in fact, i think it\u2019s a good idea.\u2019 \u2018you have no objections then?\u2019 \u2018none. as i said, i think it\u2019s a good idea.\u2019 \u2018i\u2019m glad you approve. i wouldn\u2019t have gone ahead if you\u2019d any  objections.\u2019 the son was curious if there was already some woman in mind, but  did not ask. when later that day his father showed him the ad he had  written he was grateful for the dismay which cancelled laughter. teacher fifty-two. widower. seeks companionship. view marriage. \u2018what do you think of it?\u2019 \u2018i think it\u2019s fine. it couldn\u2019t be better.\u2019 \u2018i\u2019ll send it off then so.\u2019 neither had any idea that so much unfulfilled longing for the woe that  is marriage wandered around in the world till the replies began to pour  in. nurses, housekeepers, secretaries, childless widows and widows with  small children, house owners, car owners, pensioners, teachers, civil  servants, a policewoman, and a woman who had left at twenty years to  work at fords of dagenham who wanted to come home to marry. the  postman enquired slyly if the school was seeking a new assistant, and  the woman who ran the post office said in a faraway voice that if we were  looking for a housekeeper she had a relative who might be interested. \u2018i hope they don\u2019t steam the damn letters. this country is on fire with  curiosity,\u2019 the father complained. the son saw much of him that spring term, as he met many of the  women in dublin, though he had to go to cork and limerick and tullamore  as well. in hotel lounges he met them, hiding behind a copy of the  roscommon herald , which was how they were able to identify him. \u2018you\u2019ve never in your life seen such a collection of wrecks and  battleaxes as i\u2019ve had to see in the last few months,\u2019 he said, a cold night 5 10 15 20 25 30 35 40 45",
            "25": "25 0486/12/o/n/19 \u00a9 ucles 2019 in late march after he had met the lady from dagenham in the ormond.  \u2018you\u2019d need to get a government grant to do them up before you could  think of taking some of them on.\u2019 \u2018do you mean in appearance or as people?\u2019 \u2018all ways,\u2019 he said despairingly. because of these interviews the son was able to spend all that easter  with his uncle, a surgeon in a county town, who had encouraged him  against his father in his choice of medicine, the father wishing to see him  in a bank. after dinner, on the first night, the uncle suggested a long walk,  \u2018it\u2019s one of those clear frosty nights. we can circle and come back through  the town. it\u2019s about four miles.\u2019 \u2018that\u2019s fine with me.\u2019 a car passed on the road as they set out. the headlamps lit the white  railing and fleshly boles of the beech avenue down to the ragged thorns of  the road below. they did not start to stride out properly till they reached the  road. the three-quarter moon and the stars gave light enough for them to  see their breaths in the frosty night. \u2018my father\u2019s going to get married, it seems,\u2019 he confided, in the ring of  the footsteps. \u2018you\u2019re joking,\u2019 his uncle paused. \u2018i\u2019m not. he\u2019s had an ad this long while in the papers.\u2019 \u2018an ad. you\u2019re surely joking.\u2019 \u2018i\u2019m not. i\u2019m in deadly earnest.\u2019    how does mcgahern make this extract so sad? or  22  in what ways does bradbury make there will come soft rains such a striking vision of  the future?50 55 60 65 70",
            "26": "26 0486/12/o/n/19 \u00a9 ucles 2019 blank page",
            "27": "27 0486/12/o/n/19 \u00a9 ucles 2019 blank page",
            "28": "28 0486/12/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_w19_qp_13.pdf": {
            "1": "this document consists of 24 printed pages, 4 blank pages and 1 insert. dc (rcl (go)) 165609/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *9109438029*literature (english)  0486/13 paper 1  poetry and prose  october/november 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions: one question from section a and one question from section b. all questions in this paper carry equal marks. ",
            "2": "2 0486/13/o/n/19 \u00a9 ucles 2019 blank page",
            "3": "3 0486/13/o/n/19 \u00a9 ucles 2019 [turn over contents section a: poetry text question  numbers  page[s] songs of ourselves volume 1 : from part 5   1, 2 pages  4\u20135 songs of ourselves volume 2 : from part 2   3, 4 pages  6\u20137 gillian clarke: from collected poems   5, 6 pages  8\u20139 section b: prose text question  numbers  page[s] jane austen: mansfield park   7, 8 pages 10\u201311 willa cather: my \u00e1ntonia   9, 10  pages 12\u201313 anita desai:  in custody  11, 12  pages 14\u201315 charles dickens: hard times  13, 14  pages 16\u201317 kate grenville: the secret river  15, 16  pages 18\u201319 john knowles: a separate peace  17, 18  pages 20\u201321 alan paton: cry, the beloved country  19, 20  pages 22\u201323 from stories of ourselves  21, 22  pages 24\u201325",
            "4": "4 0486/13/o/n/19 \u00a9 ucles 2019 section a: poetry answer one question from this section. songs of ourselves volume 1 : from part 5 remember to support your ideas with details from the writing. either  1 read this poem, and then answer the question that follows it: the trees are down    \u2013 and he cried with a loud voice:    hurt not the earth, neither the sea, nor the trees \u2013 (revelation) they are cutting down the great plane-trees at the end of the garden.    for days there has been the grate of the saw, the swish of the         branches as they fall, the crash of trunks, the rustle of trodden leaves, with the \u2018whoops\u2019 and the \u2018whoas\u2019, the loud common talk, the      loud common laughs of the men, above it all. i remember one evening of a long past spring turning in at a gate, getting out of a cart, and finding a large      dead rat in the mud of the drive. i remember thinking: alive or dead, a rat was a god-forsaken thing, but at least, in may, that even a rat should be alive. the week\u2019s work here is as good as done. there is just one bough    on the roped bole, in the fine grey rain,          green and high          and lonely against the sky.             (down now! \u2013)          and but for that,          if an old dead rat did once, for a moment, unmake the spring, i might never have      thought of him again. it is not for a moment the spring is unmade to-day; these were great trees, it was in them from root to stem: when the men with the \u2018whoops\u2019 and the \u2018whoas\u2019 have carted      the whole of the whispering loveliness away half the spring, for me, will have gone with them. it is going now, and my heart has been struck with the hearts of     the planes; half my life it has beat with these, in the sun, in the rains,       in the march wind, the may breeze, in the great gales that came over to them across the roofs from    the great seas.       there was only a quiet rain when they were dying;       they must have heard the sparrows flying, and the small creeping creatures in the earth where they were lying \u2013       but i, all day, i heard an angel crying:          \u2018hurt not the trees\u2019.  (charlotte mew )    how does mew make this such a moving poem?5 10 15 20 25 30 35",
            "5": "5 0486/13/o/n/19 \u00a9 ucles 2019 [turn over or  2  how does nichols movingly convey her feelings towards her mother in praise song for  my mother ? praise song for my mother you were water to me deep and bold and fathoming you were moon\u2019s eye to me pull and grained and mantling you were sunrise to me rise and warm and streaming you were the fishes red gill to me the flame tree\u2019s spread to me the crab\u2019s leg/the fried plantain smell            replenishing replenishing go to your wide futures, you said  (grace nichols )5 10 15",
            "6": "6 0486/13/o/n/19 \u00a9 ucles 2019 songs of ourselves volume 2 : from part 2 remember to support your ideas with details from the writing. either  3 read this poem, and then answer the question that follows it: the sea eats the land at home at home the sea is in the town, running in and out of the cooking places, collecting the firewood from the hearths and sending it back at night; the sea eats the land at home. it came one day at the dead of night, destroying the cement walls, and carried away the fowls, the cooking-pots and the ladles, the sea eats the land at home; it is a sad thing to hear the wails, and the mourning shouts of the women, calling on all the gods they worship, to protect them from the angry sea. aku stood outside where her cooking-pot stood, with her two children shivering from the cold, her hands on her breast, weeping mournfully. her ancestors have neglected her, her gods have deserted her, it was a cold sunday morning, the storm was raging, goats and fowls were struggling in the water, the angry water of the cruel sea; the lap-lapping of the bark water at the shore, and above the sobs and the deep and low moans, was the eternal hum of the living sea. it has taken away their belongings adena has lost the trinkets which were her dowry and her joy, in the sea that eats the land at home, eats the whole land at home.  (kofi awoonor )     explore the ways in which awoonor uses words and images to powerful effect in this  poem.5 10 15 20 25 30",
            "7": "7 0486/13/o/n/19 \u00a9 ucles 2019 [turn over or  4 how does pitter strikingly portray the stormcock in stormcock in elder ? stormcock in elder in my dark hermitage, aloof from the world\u2019s sight and the world\u2019s sound, by the small door where the old roof hangs but five feet above the ground, i groped along the shelf for bread but found celestial food instead: for suddenly close at my ear, loud, loud and wild, with wintry glee, the old unfailing chorister burst out in pride of poetry; and through the broken roof i spied him by his singing glorified. scarcely an arm\u2019s-length from the eye, myself unseen, i saw him there; the throbbing throat that made the cry, the breast dewed from the misty air, the polished bill that opened wide and showed the pointed tongue inside; the large eye, ringed with many a ray of minion feathers, finely laid, the feet that grasped the elder-spray; how strongly used, how subtly made the scale, the sinew, and the claw, plain through the broken roof i saw; the flight-feathers in tail and wing, the shorter coverts, and the white merged into russet, marrying the bright breast to the pinions bright, gold sequins, spots of chestnut, shower of silver, like a brindled flower. soldier of fortune, northwest jack, old hard-times\u2019 braggart, there you blow but tell me ere your bagpipes crack how you can make so brave a show, full-fed in february, and dressed like a rich merchant at a feast. one-half the world, or so they say, knows not how half the world may live; so sing your song and go your way, and still in february contrive as bright as gabriel to smile on elder-spray by broken tile.  (ruth pitter )5 10 15 20 25 30 35 40",
            "8": "8 0486/13/o/n/19 \u00a9 ucles 2019 gillian clarke: from collected poems remember to support your ideas with details from the writing. either  5 read this poem, and then answer the question that follows it: neighbours that spring was late. we watched the sky and studied charts for shouldering isobars. birds were late to pair. crows drank from the lamb\u2019s eye. over finland small birds fell: song-thrushes steering north, smudged signatures on light, migrating warblers, nightingales. wing-beats failed over fjords, each lung a sip of gall. children were warned of their dangerous beauty. milk was spilt in poland. each quarrel the blowback from some old story, a mouthful of bitter air from the ukraine brought by the wind out of its box of sorrows. this spring a lamb sips caesium on a welsh hill. a child, lifting her face to drink the rain, takes into her blood the poisoned arrow. now we are all neighbourly, each little town in europe twinned to chernobyl, each heart with the burnt fireman, the child on the moscow train. in the democracy of the virus and the toxin we wait. we watch for bird migrations, one bird returning with green in its voice, glasnost golau glas, a first break of blue.    in what ways does clarke make this such a memorable poem?5 10 15 20",
            "9": "9 0486/13/o/n/19 \u00a9 ucles 2019 [turn over or  6 how does clarke\u2019s writing strikingly portray the animal in friesian bull ? friesian bull he blunders through the last dream of the night. i hear him, waking. a brick and concrete stall, narrow as a heifer\u2019s haunches. steel bars between her trap and his small yard. a froth of slobbered hay droops from the stippled muzzle. in the slow rolling mass of his skull his eyes surface like fish bellies. he is chained while they swill his floor. his stall narrows to rage. he knows the sweet smell of a heifer\u2019s fear. remembered summer haysmells reach him, a trace of the herd\u2019s freedom, clover- loaded winds. the thundering speed blows up the dee breathing of plains, of cattle wading in shallows. his crazy eyes churn with their vision.5 10 15",
            "10": "10 0486/13/o/n/19 \u00a9 ucles 2019 section b: prose answer one question from this section. jane austen: mansfield park remember to support your ideas with details from the writing. either  7 read this extract, and then answer the question that follows it: sir thomas could not give so instantaneous and unqualified a  consent. he debated and hesitated;\u2014it was a serious charge;\u2014a girl so  brought up must be adequately provided for, or there would be cruelty  instead of kindness in taking her from her family. he thought of his own  four children\u2014of his two sons\u2014of cousins in love, &c.;\u2014but no sooner had  he deliberately begun to state his objections, than mrs norris interrupted  him with a reply to them all whether stated or not. \u2018my dear sir thomas, i perfectly comprehend you, and do justice to  the generosity and delicacy of your notions, which indeed are quite of a  piece with your general conduct; and i entirely agree with you in the main  as to the propriety of doing every thing one could by way of providing for  a child one had in a manner taken into one\u2019s own hands; and i am sure   i should be the last person in the world to withhold my mite upon such   an occasion. having no children of my own, who should i look to in any   little matter i may ever have to bestow, but the children of my sisters?\u2014   and i am sure mr norris is too just\u2014but you know i am a woman of few  words and professions. do not let us be frightened from a good deed by a  trifle. give a girl an education, and introduce her properly into the world, and  ten to one but she has the means of settling well, without farther expense  to any body. a niece of our\u2019s, sir thomas, i may say, or, at least of your\u2019s ,  would not grow up in this neighbourhood without many advantages. i don\u2019t  say she would be so handsome as her cousins. i dare say she would not;  but she would be introduced into the society of this country under such  very favourable circumstances as, in all human probability, would get her  a creditable establishment. you are thinking of your sons\u2014but do not you  know that of all things upon earth that is the least likely to happen; brought  up, as they would be, always together like brothers and sisters? it is morally  impossible. i never knew an instance of it. it is, in fact, the only sure way  of providing against the connection. suppose her a pretty girl, and seen by  tom or edmund for the first time seven years hence, and i dare say there  would be mischief. the very idea of her having been suffered to grow up  at a distance from us all in poverty and neglect, would be enough to make  either of the dear sweet-tempered boys in love with her. but breed her up  with them from this time, and suppose her even to have the beauty of an  angel, and she will never be more to either than a sister.\u2019 \u2018there is a great deal of truth in what you say,\u2019 replied sir thomas,  \u2018and far be it from me to throw any fanciful impediment in the way of a  plan which would be so consistent with the relative situations of each.   i only meant to observe, that it ought not to be lightly engaged in, and that  to make it really serviceable to mrs price, and creditable to ourselves, we  must secure to the child, or consider ourselves engaged to secure to her  hereafter, as circumstances may arise, the provision of a gentlewoman, if  no such establishment should offer as you are so sanguine in expecting.\u2019 \u2018i thoroughly understand you,\u2019 cried mrs norris; \u2018you are every thing 5 10 15 20 25 30 35 40",
            "11": "11 0486/13/o/n/19 \u00a9 ucles 2019 [turn over that is generous and considerate, and i am sure we shall never disagree  on this point. whatever i can do, as you well know, i am always ready  enough to do for the good of those i love; and, though i could never feel for  this little girl the hundredth part of the regard i bear your own dear children,  nor consider her, in any respect, so much my own, i should hate myself if   i were capable of neglecting her. is not she a sister\u2019s child? and could i  bear to see her want, while i had a bit of bread to give her? my dear sir  thomas, with all my faults i have a warm heart; and, poor as i am, would  rather deny myself the necessaries of life, than do an ungenerous thing.  so, if you are not against it, i will write to my poor sister to-morrow, and  make the proposal; and, as soon as matters are settled, i will engage to get  the child to mansfield; you shall have no trouble about it. my own trouble,  you know, i never regard. i will send nanny to london on purpose, and  she may have a bed at her cousin, the sadler\u2019s, and the child be appointed  to meet her there. they may easily get her from portsmouth to town by  the coach, under the care of any creditable person that may chance to be  going. i dare say there is always some reputable tradesman\u2019s wife or other  going up.\u2019  [from chapter 1]     how does austen make this such a striking introduction to mrs norris? or  8  in what ways does austen persuade you that henry crawford would be an unsuitable  husband for fanny?45 50 55 60",
            "12": "12 0486/13/o/n/19 \u00a9 ucles 2019 willa cather: my \u00e1ntonia remember to support your ideas with details from the writing. either  9 read this extract, and then answer the question that follows it: \u2018i expect you hardly know me, jim.\u2019 the voice seemed familiar, but i did not recognize her until she  stepped into the light of my doorway and i beheld\u2014lena lingard! she was  so quietly conventionalized by city clothes that i might have passed her on  the street without seeing her. her black suit fitted her figure smoothly, and  a black lace hat, with pale-blue forget-me-nots, sat demurely on her yellow  hair. i led her toward cleric\u2019s chair, the only comfortable one i had,  questioning her confusedly. she was not disconcerted by my embarrassment. she looked  about her with the na\u00efve curiosity i remembered so well. \u2018you are quite  comfortable here, aren\u2019t you? i live in lincoln now, too, jim. i\u2019m in business  for myself. i have a dressmaking shop in the raleigh block, out on o  street. i\u2019ve made a real good start.\u2019 \u2018but, lena, when did you come?\u2019 \u2018oh, i\u2019ve been here all winter. didn\u2019t your grandmother ever write you?  i\u2019ve thought about looking you up lots of times. but we\u2019ve all heard what  a studious young man you\u2019ve got to be, and i felt bashful. i didn\u2019t know  whether you\u2019d be glad to see me.\u2019 she laughed her mellow, easy laugh,  that was either very artless or very comprehending, one never quite knew  which. \u2018you seem the same, though\u2014except you\u2019re a young man, now, of  course. do you think i\u2019ve changed?\u2019 \u2018maybe you\u2019re prettier\u2014though you were always pretty enough.  perhaps it\u2019s your clothes that make a difference.\u2019 \u2018you like my new suit? i have to dress pretty well in my business.\u2019 she took off her jacket and sat more at ease in her blouse, of some  soft, flimsy silk. she was already at home in my place, had slipped quietly  into it, as she did into everything. she told me her business was going  well, and she had saved a little money. \u2018this summer i\u2019m going to build the house for mother i\u2019ve talked about  so long. i won\u2019t be able to pay up on it at first, but i want her to have it before  she is too old to enjoy it. next summer i\u2019ll take her down new furniture and  carpets, so she\u2019ll have something to look forward to all winter.\u2019 i watched lena sitting there so smooth and sunny and well-cared-for,  and thought of how she used to run barefoot over the prairie until after the  snow began to fly, and how crazy mary chased her round and round the  cornfields. it seemed to me wonderful that she should have got on so well  in the world. certainly she had no one but herself to thank for it. \u2018you must feel proud of yourself, lena,\u2019 i said heartily. \u2018look at me;  i\u2019ve never earned a dollar, and i don\u2019t know that i\u2019ll ever be able to.\u2019 \u2018tony says you\u2019re going to be richer than mr harling some day. she\u2019s  always bragging about you, you know.\u2019 \u2018tell me, how is tony?\u2019  [from book 3 chapter 2]    how does cather make this such a memorable and significant moment in the novel?5 10 15 20 25 30 35 40",
            "13": "13 0486/13/o/n/19 \u00a9 ucles 2019 [turn over or  10 explore the ways in which cather strikingly portrays peter and pavel.",
            "14": "14 0486/13/o/n/19 \u00a9 ucles 2019 anita desai: in custody remember to support your ideas with details from the writing. either  11 read this extract, and then answer the question that follows it: when the mat in the doorway was lifted aside by a boy in striped  pyjamas and a vest bringing in a tumbler of tea, that miraculous intimacy  came to an abrupt end. it was not to be recovered. nur angrily sent the  boy away again to fetch tea for the guest but other people began to come  in who must have been in the building all that time, asleep or biding their  time, and took the bringing in of tea as a signal to come swarming up  the stairs, into the room, filling it with noise. deven looked across at the  figure on the bed, helplessly, regretting that he had not even discussed  the proposed interview with him. now others demanded his attention  while someone thrust a metal tumbler of scalding tea into deven\u2019s hand.  he nearly dropped it in agony, then recovered himself and clutched it with  blistering fingertips while waiting for an opportunity to have another word  with nur. there seemed little chance of that since the servant boy was  demanding to know what nur wanted for his dinner tonight, whether it was  to be prepared at home or ordered from the bazaar; a child \u2013 too young  to be his son, deven thought, and wondered if it could be a grandchild \u2013  wandered around, whining petulantly for some money but when he was  given it, flung it upon the floor and cried; then there were some young girls  who came to pick up the crying child and carry him off, and were evidently  surprised to find the room full of men for they hastily covered their heads  with their veils and hurried away, grumbling at the invasion; also several  loutish young men who stated they had been waiting downstairs to be  summoned, had been playing cards at which all claimed to have lost  money and demanded their host make up to them for their losses since  he was responsible for them. deven was scandalized by their audacity  but the poet did not mind at all. laughing, he reprimanded them for their  dissolute habits and threatened them with expulsion from his home which  was, he said, a temple of domesticity as they could see. \u2018since when has nur become the resident of such a temple?\u2019  challenged one of the men, pock-marked and not so young. \u2018we met in a  temple of another sort. have you forgotten?\u2019 deven flushed; it was not possible to misunderstand their innuendoes,  they grew more blatant and ribald by the minute. it was the kind of talk  deven heard plenty of in and around the college, and had had much of  when he had himself been a student, but he was not used to hearing it  in the presence of the aged whom he had been brought up to consider  very near sacred. the frequent use of the word temple made it still more  blasphemous. when he could stand it no longer, he got up to go. this movement  attracted nur\u2019s attention and he raised his hand to stop the chatter and  asked deven to help him out on to the terrace, \u2018to escape from these \u2013  these devils from the gambling dens and drinking houses of my past\u2019.  deven came forward eagerly to support him but the poet, after placing his  hand on deven\u2019s shoulder, grew angry when it became clear that deven  did not know the procedure, the routine, and left behind such essential aids  to his comfort as a footstool and a favourite bolster, so that the servant boy  had to be sent for after all and deven made to feel inadequate. when the 5 10 15 20 25 30 35 40 45",
            "15": "15 0486/13/o/n/19 \u00a9 ucles 2019 [turn over boy appeared, more sullen than before, deven tried to help him gather all  the necessary cushions and bolsters to carry out to the terrace but found  himself either ignored or rudely pushed out of the way. was he wanted or  not? he wondered. then his bewilderment and resentment were sent spinning with a few  hard words from the poet that he brought out of the depths of his being  as if they were the bile that had collected there. \u2018wait till you are my age,\u2019  he spat, \u2018you \u2013 you boy without hair. wait till you experience the afflictions   i know. i sit upon them daily \u2013 not my crown but my throne of thorns. that  is what piles are, my friend \u2013 oh, the pain, the suffering \u2013\u2019 he nearly wept,  standing there in the middle of the room, wringing his hands while he  waited to be led out. deven hung his head, then lowered himself on to his knees beside  the bed, running his fingers over the poet\u2019s slippers and trying not to hear  the poet\u2019s curses, wondering what he could pick up and offer.  [from chapter 3]    what does desai\u2019s writing make you feel towards deven at this moment in the novel? or  12  explore two moments in the novel that desai\u2019s writing makes particularly entertaining for  you.    do not use the extract for question 11 in answering this question.50 55 60",
            "16": "16 0486/13/o/n/19 \u00a9 ucles 2019 charles dickens: hard times remember to support your ideas with details from the writing. either  13 read this extract, and then answer the question that follows it: louisa turned upon her pillow, and heard no more. when her sister  had withdrawn, she turned her head back again, and lay with her face  towards the door, until it opened and her father entered. he had a jaded anxious look upon him, and his hand, usually steady,  trembled in hers. he sat down at the side of the bed, tenderly asking how  she was, and dwelling on the necessity of her keeping very quiet after her  agitation and exposure to the weather last night. he spoke in a subdued  and troubled voice, very different from his usual dictatorial manner; and  was often at a loss for words. \u2018my dear louisa. my poor daughter.\u2019 he was so much at a loss at that  place, that he stopped altogether. he tried again. \u2018my unfortunate child.\u2019 the place was so difficult to get over, that he  tried again. \u2018it would be hopeless for me, louisa, to endeavour to tell you how  overwhelmed i have been, and still am, by what broke upon me last night.  the ground on which i stand has ceased to be solid under my feet. the  only support on which i leaned, and the strength of which it seemed and  still does seem, impossible to question, has given way in an instant. i am  stunned by these discoveries. i have no selfish meaning in what i say; but  i find the shock of what broke upon me last night, to be very heavy indeed.\u2019 she could give him no comfort herein. she had suffered the wreck of  her whole life upon the rock. \u2018i will not say, louisa, that if you had by any happy chance undeceived  me some time ago, it would have been better for us both; better for your  peace, and better for mine. for i am sensible that it may not have been a  part of my system to invite any confidence of that kind. i have proved my  \u2013 my system to myself, and i have rigidly administered it; and i must bear  the responsibility of its failures. i only entreat you to believe, my favourite  child, i have meant to do right.\u2019 he said it earnestly, and to do him justice he had. in gauging  fathomless deeps with his little mean excise-rod, and in staggering over  the universe with his rusty stiff-legged compasses, he had meant to do  great things. within the limits of his short tether he had tumbled about,  annihilating the flowers of existence with greater singleness of purpose  than many of the blatant personages whose company he kept. \u2018i am well assured of what you say, father. i know i have been your  favourite child. i know you have intended to make me happy. i have never  blamed you, and i never shall.\u2019 he took her outstretched hand, and retained it in his. \u2018my dear, i have remained all night at my table, pondering again and  again on what has so painfully passed between us. when i consider your  character; when i consider that what has been known to me for hours, has  been concealed by you for years; when i consider under what immediate  pressure it has been forced from you at last; i come to the conclusion that  i cannot but mistrust myself.\u2019 he might have added more than all, when he saw the face now  looking at him. he did add it in effect, perhaps, as he softly moved her  scattered hair from her forehead with his hand. such little actions, slight in 5 10 15 20 25 30 35 40 45",
            "17": "17 0486/13/o/n/19 \u00a9 ucles 2019 [turn over another man, were very noticeable in him; and his daughter received them  as if they had been words of contrition. \u2018but,\u2019 said mr gradgrind, slowly, and with hesitation, as well as with a  wretched sense of helplessness, \u2018if i see reason to mistrust myself for the  past, louisa, i should also mistrust myself for the present and the future.  to speak unreservedly to you, i do. i am far from feeling convinced now,  however differently i might have felt only this time yesterday, that i am fit   for the trust you repose in me; that i know how to respond to the appeal you  have come home to make to me; that i have the right instinct \u2013 supposing  it for the moment to be some quality of that nature \u2013 how to help you, and  to set you right, my child.\u2019  [from book 3 chapter 1]     how does dickens make this such an emotional and significant moment for mr  gradgrind? or  14 \u2018young tom gradgrind is completely despicable.\u2019    to what extent does dickens persuade you to agree with this judgement?50 55",
            "18": "18 0486/13/o/n/19 \u00a9 ucles 2019 kate grenville: the secret river remember to support your ideas with details from the writing. either 15 read this extract, and then answer the question that follows it: one morning the turnkey came to the cell door and bawled out his  name.   and may god have mercy  on her soul! [from part 1] content removed due to copyright restrictions.",
            "19": "19 0486/13/o/n/19 \u00a9 ucles 2019 [turn over    how does grenville make this such a dramatic ending to the thornhills\u2019 life in london? or  16  explore the ways in which grenville strikingly portrays blackwood.",
            "20": "20 0486/13/o/n/19 \u00a9 ucles 2019 john knowles: a separate peace remember to support your ideas with details from the writing. either  17 read this extract, and then answer the question that follows it: \u2018everybody in this place is either a draft-dodging kraut or a \u2026 a \u2026\u2019  the scornful force of his tone turned the word into a curse, \u2018a nat-u-ral-ist! \u2019  brinker grabbed my arm agitatedly. \u2018i\u2019m giving it up, i\u2019m going to enlist.  tomorrow.\u2019 i felt a thrill when he said it. this was the logical climax of the whole  misbegotten day, this whole out-of-joint term at devon. i think i had been  waiting for a long time for someone to say this so that i could entertain  these decisive words myself. to enlist. to slam the door impulsively on the past, to shed everything  down to my last bit of clothing, to break the pattern of my life\u2014that  complex design i had been weaving since birth with all its dark threads, its  unexplainable symbols set against a conventional background of domestic  white and schoolboy blue, all those tangled strands which required the  dexterity of a virtuoso to keep flowing\u2014i yearned to take giant military  shears to it, snap! bitten off in an instant, and nothing left in my hands but  spools of khaki which could weave only a plain, flat, khaki design, however  twisted they might be. not that it would be a good life. the war would be deadly all right.  but i was used to finding something deadly in things that attracted me;  there was always something deadly lurking in anything i wanted, anything  i loved. and if it wasn\u2019t there, as for example with phineas, then i put it  there myself. but in the war, there was no question about it at all; it was there. i separated from brinker in the quadrangle, since one of his clubs   was meeting and he could not go back to the dormitory yet\u2014\u2018i\u2019ve got   to preside at a meeting of the golden fleece debating society tonight,\u2019   he said in a tone of amazed contempt, \u2018the golden fleece debating  society! we\u2019re mad here, all mad,\u2019 and he went off raving to himself in the  dark. it was a night made for hard thoughts. sharp stars pierced singly  through the blackness, not sweeps of them or clusters or milky ways as  there might have been in the south, but single, chilled points of light, as  unromantic as knife blades. devon, muffled under the gentle occupation of  the snow, was dominated by them; the cold yankee stars ruled this night.  they did not invoke in me thoughts of god, or sailing before the mast,  or some great love as crowded night skies at home had done; i thought  instead, in the light of those cold points, of the decision facing me. why go through the motions of getting an education and watch  the war slowly chip away at the one thing i had loved here, the peace,  the measureless, careless peace of the devon summer? others, the  quackenbushes of this world, could calmly watch the war approach them  and jump into it at the last and most advantageous instant, as though  buying into the stock market. but i couldn\u2019t. there was no one to stop me but myself. putting aside soft  reservations about what i owed devon and my duty to my parents and so  on, i reckoned my responsibilities by the light of the unsentimental night  sky and knew that i owed no one anything. i owed it to myself to meet this  crisis in my life when i chose, and i chose now.5 10 15 20 25 30 35 40 45",
            "21": "21 0486/13/o/n/19 \u00a9 ucles 2019 [turn over i bounced zestfully up the dormitory stairs. perhaps because my mind  still retained the image of the sharp night stars, those few fixed points  of light in the darkness, perhaps because of that the warm yellow light  streaming from under my own door came as such a shock. it was a simple  case of a change of expectation. the light should have been off. instead,  as though alive itself, it poured in a thin yellow slab of brightness from  under the door, illuminating the dust and splinters of the hall floor. i grabbed the knob and swung open the door. he was seated in my  chair at the desk, bending down to adjust the gross encumbrance of his  leg, so that only the familiar ears set close against his head were visible,  and his short-cut brown hair. he looked up with a provocative grin, \u2018hi pal,  where\u2019s the brass band?\u2019 everything that had happened throughout the day faded like that first  false snowfall of the winter. phineas was back.  [from chapter 7]     how does knowles vividly convey gene\u2019s thoughts and feelings at this moment in the  novel? or  18  in what ways does knowles strikingly portray the changes in finny after his first fall?50 55 60",
            "22": "22 0486/13/o/n/19 \u00a9 ucles 2019 alan paton: cry, the beloved country remember to support your ideas with details from the writing. either  19 read this extract, and then answer the question that follows it: he passed again through the great gate in the grim high wall, and  they brought the boy to him. again he took the lifeless hand in his own,  and was again moved to tears, this time by the dejection of his son. \u2013 are you in health, my son? the son stood and moved his head to one side, and looked for a  while at the one window, and then moved and looked at the other, but not  at his father. \u2013 i am in health, my father. \u2013 i have some business for you, my son. are you certain that you wish  to marry this girl? \u2013 i can marry her. \u2013 there is a friend of mine, a white priest, and he will see if it can be  arranged, and he will see the bishop to see if it can be done quickly. and  he will get a lawyer for you. there is a spark of life in the eyes, of some hope maybe. \u2013 you would like a lawyer? \u2013 they say one can be helped by a lawyer. \u2013 you told the police that these other two were with you? \u2013 i told them. and now i have told them again. \u2013 and then? \u2013 and then they sent for them and fetched them from their cells. \u2013 and then? \u2013 and then they were angry with me, and cursed me in front of the  police, and said that i was trying to bring them into trouble. \u2013 and then? \u2013 and then they asked what proof i had. and the only proof i had was  that it was true, it was these two and no other and they stood there with  me in the house, i here and they yonder. he showed his father with his hands, and the tears came into his  eyes, and he said, then they cursed me again, and stood looking angrily  at me, and said one to the other, how can he lie so about us? \u2013 they were your friends? \u2013 yes, they were my friends. \u2013 and they will leave you to suffer alone? \u2013 now i see it. \u2013 and until this, were they friends you could trust? \u2013 i could trust them. \u2013 i see what you mean. you mean they were the kind of friends that a  good man could choose, upright, hard-working, obeying the law? old man, leave him alone. you lead him so far and then you spring  upon him. he looks at you sullenly, soon he will not answer at all. \u2013 tell me, were they such friends? but the boy made no answer. \u2013 and now they leave you alone? silence, then \u2013 i see it. \u2013 did you not see it before? reluctantly the boy said, i saw it. the old man was tempted to ask,  then why, why did you continue with them? but the boy\u2019s eyes were filled 5 10 15 20 25 30 35 40 45",
            "23": "23 0486/13/o/n/19 \u00a9 ucles 2019 [turn over with tears, and the father\u2019s compassion struggled with the temptation and  overcame it. he took his son\u2019s hands, and this time they were not quite  lifeless, but there was some feeling in them, and he held them strongly  and comfortingly. \u2013 be of courage, my son. do not forget there is a lawyer. but it is only  the truth you must tell him. \u2013 i shall tell him only the truth, my father. he opened his mouth as though there were something he would say,  but he did not say it. \u2013 do not fear to speak, my son. \u2013 he must come soon, my father. he looked at the window, and his eyes filled again with tears. he tried  to speak carelessly. or it may be too late, he said. \u2013 have no fear of that. he will come soon. shall i go now to see when  he will come? \u2013 go now, soon, soon, my father.  [from book 1 chapter 17]    in what ways does paton make this moment in the novel so sad? or  20  explore the ways in which paton makes stephen\u2019s friendship with arthur jarvis\u2019s young  son so memorable.50 55 60",
            "24": "24 0486/13/o/n/19 \u00a9 ucles 2019 from stories of ourselves remember to support your ideas with details from the writing. either  21  read this extract from secrets  (by bernard maclaverty), and then answer the question  that follows it: he carefully opened one and took out the letter and unfolded it, frail,  khaki-coloured. my dearest mary, it began, i am so tired i can hardly write to you.  i have spent what seems like all day censoring letters (there is a  howitzer about 100 yds away firing every 2 minutes). the letters are  heartrending in their attempt to express what they cannot. some of  the men are illiterate, others almost so. i know that they feel as much  as we do, yet they do not have the words to express it. that is your  job in the schoolroom to give us generations who can read and write  well. they have \u2026 the boy\u2019s eye skipped down the page and over the next. he read the  last paragraph. mary i love you as much as ever \u2013 more so that we cannot be together.  i do not know which is worse, the hurt of this war or being separated  from you. give all my love to brendan and all at home. it was signed, scribbles with what he took to be john. he folded the  paper carefully into its original creases and put it in the envelope. he  opened another. my love, it is thinking of you that keeps me sane. when i get a moment  i open my memories of you as if i were reading. your long dark hair  \u2013 i always imagine you wearing the blouse with the tiny roses, the  white one that opened down the back \u2013 your eyes that said so much  without words, the way you lowered your head when i said anything  that embarrassed you, and the clean nape of your neck.  the day i think about most was the day we climbed the head at  ballycastle. in a hollow, out of the wind, the air full of pollen and the  sound of insects, the grass warm and dry and you lying beside me  your hair undone, between me and the sun. you remember that that  was where i first kissed you and the look of disbelief in your eyes that  made me laugh afterwards.  it makes me laugh now to see myself savouring these memories  standing alone up to my thighs in muck. it is everywhere, two, three  feet deep. to walk ten yards leaves you quite breathless.  i haven\u2019t time to write more today so i leave you with my feet in the  clay and my head in the clouds.  i love you, john. he did not bother to put the letter back into the envelope but opened  another. my dearest, i am so cold that i find it difficult to keep my hand steady  enough to write. you remember when we swam the last two fingers of 5 10 15 20 25 30 35 40",
            "25": "25 0486/13/o/n/19 \u00a9 ucles 2019 your hand went the colour and texture of candles with the cold. well  that is how i am all over. it is almost four days since i had any real  sensation in my feet or legs. everything is frozen. the ground is like  steel.  forgive me telling you this but i feel i have to say it to someone.  the worst thing is the dead. they sit or lie frozen in the position they  die. you can distinguish them from the living because their faces are  the colour of slate. god help us when the thaw comes \u2026 this war is  beginning to have an effect on me. i have lost all sense of feeling. the  only emotion i have experienced lately is one of anger. sheer white  trembling anger. i have no pity or sorrow for the dead and injured.   i thank god it is not me but i am enraged that it had to be them. if   i live through this experience i will be a different person.  the only thing that remains constant is my love for you.  today a man died beside me. a piece of shrapnel had pierced his  neck as we were moving under fire. i pulled him into a crater and  stayed with him until he died. i watched him choke and then drown in  his blood.  i am full of anger which has no direction. he sorted through the pile and read half of some, all of others. the  sun had fallen low in the sky and shone directly into the room onto the  pages he was reading making the paper glare. he selected a letter from  the back of the pile and shaded it with his hand as he read. dearest mary, i am writing this to you from my hospital bed. i hope  that you were not too worried about not hearing from me. i have been  here, so they tell me, for two weeks and it took another two weeks  before i could bring myself to write this letter.  i have been thinking a lot as i lie here about the war and about  myself and about you. i do not know how to say this but i feel deeply  that i must do something, must sacrifice something to make up for the  horror of the past year. in some strange way christ has spoken to me  through the carnage \u2026 suddenly the boy heard the creak of the stair and he frantically tried  to slip the letter back into its envelope but it crumpled and would not fit. he  bundled them all together.    how does maclaverty make this such a moving and significant moment in the story? or  22  explore the ways in which la guma\u2019s writing makes the lemon orchard  such a  horrifying story.45 50 55 60 65 70 75",
            "26": "26 0486/13/o/n/19 \u00a9 ucles 2019 blank page",
            "27": "27 0486/13/o/n/19 \u00a9 ucles 2019 blank page",
            "28": "28 0486/13/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_w19_qp_21.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl (go)) 165600/1 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *5517609874*literature (english)  0486/21 paper 2  drama  october/november 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks.",
            "2": "2 0486/21/o/n/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either  *1 read this passage carefully, and then answer the question that follows it: [ruth  comes in forlornly and pulls off her coat with  dejection. they both look at her. ] ruth  [dispiritedly ]: well, i guess from all the happy faces \u2013  everybody knows. beneatha:  you pregnant? mama:  lord have mercy, i sure hope it\u2019s a little old girl. travis ought  to have a sister. [beneatha  and ruth  give her a hopeless look for this  grandmotherly enthusiasm. ] beneatha:  how far along are you? ruth:  two months. beneatha:  did you mean to? i mean did you plan it or was it an  accident? mama:  what do you know about planning or not planning? beneatha:  oh, mama. ruth  [wearily ]: she\u2019s twenty years old, lena. beneatha:  did you plan it, ruth? ruth:  mind your own business. beneatha:  it is my business \u2013 where is he going to live, on the roof?  [there is silence following the remark as the three women  react to the sense of it. ] gee \u2013 i didn\u2019t mean that, ruth,  honest. gee, i don\u2019t feel like that at all. i \u2013 i think it is  wonderful. ruth  [dully ]: wonderful. beneatha:  yes \u2013 really. mama  [looking at  ruth , worried ]: doctor say everything going to  be all right? ruth  [far away ]: yes \u2013 she says everything is going to be fine \u2026 mama  [immediately suspicious ]: \u2018she\u2019 \u2013 what doctor you went to? [ruth  folds over, near hysteria. ] mama  [worriedly hovering over  ruth ]: ruth honey \u2013 what\u2019s the  matter with you \u2013 you sick? [ruth  has her fists clenched on her thighs and is fighting  hard to suppress a scream that seems to be rising in her. ] beneatha:  what\u2019s the matter with her, mama? mama  [working her fingers in  ruth \u2019s shoulder to relax her ]: she  be all right. women gets right depressed sometimes when  they get her way. [ speaking softly, expertly, rapidly. ] now  you just relax. that\u2019s right \u2026 just lean back, don\u2019t think \u2019bout  nothing at all \u2026 nothing at all \u2013 ruth:  i\u2019m all right \u20265 10 15 20 25 30 35 40",
            "3": "3 0486/21/o/n/19 \u00a9 ucles 2019 [turn over [the glassy-eyed look melts and then she collapses into a fit  of heavy sobbing. the bell rings. ] beneatha:  oh, my god \u2013 that must be asagai. mama  [to ruth ]: come on now, honey. you need to lie down and  rest awhile \u2026 then have some nice hot food. [they go out, ruth \u2019s weight on her mother-in-law.  beneatha , herself profoundly disturbed, opens the door  to admit a rather dramatic-looking young man with a large  parcel. ] asagai:  hello, alaiyo \u2013 beneatha  [holding the door open and regarding him with pleasure ]:  hello \u2026 [ long pause. ] well \u2013 come in. and please excuse  everything. my mother was very upset about my letting  anyone come here with the place like this. asagai  [coming into the room ]: you look disturbed too \u2026 is  something wrong? beneatha  [still at the door, absently ]: yes \u2026 we\u2019ve all got acute ghetto- itus. [ she smiles and comes towards him, finding a cigarette  and sitting. ] so \u2013 sit down! how was canada?  [from act 1, scene 2 ]   in what ways does hansberry make this such an upsetting moment in the play? or \u20202 how does hansberry make the differences between joseph asagai and george  murchison so fascinating?45 50 55 60",
            "4": "4 0486/21/o/n/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: alfieri: he was as good a man as he had to be in a life that was hard  and even.  content removed due to copyright restrictions.",
            "5": "5 0486/21/o/n/19 \u00a9 ucles 2019 [turn over rodolpho [smiling at the smallness of his town ]: in our town there are  no piers, only the beach, and little fishing boats. [from act 1 ]   in what ways does miller make this moment in the play so memorable? or \u20204  what do you find moving about miller\u2019s portrayal of the relationship between eddie and  beatrice? content removed due to copyright restrictions.",
            "6": "6 0486/21/o/n/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  *5 read this passage carefully, and then answer the question that follows it: [violet  goes out. ] violet  [off ]: it\u2019s no good. no more statements. [voices answer her, fading at length into silence. grace   puts a rug over ronnie , now sleeping very soundly. ] arthur:  grace, dear \u2013 grace:  yes? arthur:  i fancy this might be a good opportunity of talking to violet. grace  [quite firmly ]: no, dear. arthur:  meaning that it isn\u2019t a good opportunity? or meaning that  you have no intention at all of ever talking to violet? grace:  i\u2019ll do it one day, arthur. tomorrow, perhaps. not now. arthur:  i believe you\u2019d do better to grasp the nettle. delay only adds  to your worries \u2013 grace  [bitterly ]: my worries? what do you know about my worries? arthur:  a good deal, grace. but i feel they would be a lot lessened if  you faced the situation squarely. grace:  it\u2019s easy for you to talk, arthur. you don\u2019t have to do it. arthur:  i will, if you like. grace:  no, dear. arthur:  if you explain the dilemma to her carefully \u2013 if you even show  her the figures i jotted down for you yesterday \u2013 i venture to  think you won\u2019t find her unreasonable. grace:  it won\u2019t be easy for her to find another place. arthur:  we\u2019ll give her an excellent reference. grace:  that won\u2019t alter the fact that she\u2019s never been properly  trained as a parlourmaid and \u2013 well \u2013 you know yourself how  we\u2019re always having to explain her to people. no, arthur, i  don\u2019t mind how many figures she\u2019s shown, it\u2019s a brutal thing  to do. arthur:  facts are brutal things. grace  [a shade hysterically ]: facts? i don\u2019t think i know what facts  are any more \u2013 arthur:  the facts, at this moment, are that we have a half of the  income we had a year ago and we\u2019re living at nearly the  same rate. however you look at it that\u2019s bad economics \u2013 grace:  i\u2019m not talking about economics, arthur. i\u2019m talking about  ordinary, common or garden facts \u2013 things we took for  granted a year ago and which now don\u2019t seem to matter any  more. arthur:  such as? grace  [with rising voice ]: such as a happy home and peace  and quiet and an ordinary respectable life, and some sort  of future for us and our children. in the last year you\u2019ve 5 10 15 20 25 30 35 40",
            "7": "7 0486/21/o/n/19 \u00a9 ucles 2019 [turn over thrown all that overboard, arthur. there\u2019s your return for it, i  suppose. [ she indicates the headline in the paper. ] and it\u2019s  all very exciting and important, i\u2019m sure, but it doesn\u2019t bring  back any of the things that we\u2019ve lost. i can only pray to god  that you know what you\u2019re doing. [ronnie  stirs in his sleep. grace  lowers her voice at the  end of her speech. there is a pause. ] arthur:  i know exactly what i\u2019m doing, grace. i\u2019m going to publish  my son\u2019s innocence before the world, and for that end i am  not prepared to weigh the cost. grace:  but the cost may be out of all proportion \u2013 arthur:  it may be. that doesn\u2019t concern me. i hate heroics, grace,  but you force me to say this. an injustice has been done. i  am going to set it right, and there is no sacrifice in the world  i am not prepared to make in order to do so. grace  [with sudden violence ]: oh, i wish i could see the sense of  it all! [ pointing to  ronnie .] he\u2019s perfectly happy, at a good  school, doing very well. no one need ever have known about  osborne, if you hadn\u2019t gone and shouted it out to the whole  world. as it is, whatever happens now, he\u2019ll go through the  rest of his life as the boy in that winslow case \u2013 the boy who  stole that postal order \u2013 arthur  [grimly ]: the boy who didn\u2019t steal that postal order.  [from act 2, scene 1 ]    how does rattigan powerfully portray the conflict between grace and arthur winslow at  this moment in the play? or \u20206  how does rattigan\u2019s portrayal of ronnie winslow contribute to the dramatic impact of  the play?45 50 55 60 65",
            "8": "8 0486/21/o/n/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it:  [enter banquo , and fleance  with a torch before him. ] banquo:  how goes the night, boy? fleance:  the moon is down; i have not heard the clock. banquo:  and she goes down at twelve. fleance:                i take \u2019t, \u2019tis later, sir. banquo:  hold, take my sword. there\u2019s husbandry in heaven;  their candles are all out. take thee that too.  a heavy summons lies like lead upon me,  and yet i would not sleep. merciful powers  restrain in me the cursed thoughts that nature  gives way to in repose!  [enter macbeth  and a servant with a torch. ]             give me my sword.  who\u2019s there? macbeth:  a friend. banquo:  what, sir, not yet at rest? the king\u2019s a-bed.  he hath been in unusual pleasure, and  sent forth great largess to your offices.  this diamond he greets your wife withal,  by the name of most kind hostess; and shut up  in measureless content. macbeth:              being unprepar\u2019d,  our will became the servant to defect;  which else should free have wrought. banquo:                   all\u2019s well.  i dreamt last night of the three weird sisters.  to you they have show\u2019d some truth. macbeth :                  i think not of them;  yet, when we can entreat an hour to serve,  we would spend it in some words upon that business,  if you would grant the time. banquo:               at your kind\u2019st leisure. macbeth:  if you shall cleave to my consent, when \u2019tis,  it shall make honour for you. banquo:               so i lose none  in seeking to augment it, but still keep  my bosom franchis\u2019d and allegiance clear,  i shall be counsell\u2019d. macbeth:           good repose the while! banquo:  thanks, sir; the like to you!  [exeunt banquo  and fleance . macbeth:  go bid thy mistress, when my drink is ready,  she strike upon the bell. get thee to bed.  [exit servant.5 10 15 20 25 30 35 40",
            "9": "9 0486/21/o/n/19 \u00a9 ucles 2019 [turn over macbeth:  is this a dagger which i see before me,  the handle toward my hand? come, let me clutch thee.  i have thee not, and yet i see thee still.  art thou not, fatal vision, sensible  to feeling as to sight? or art thou but  a dagger of the mind, a false creation,  proceeding from the heat-oppressed brain?  i see thee yet, in form as palpable  as this which now i draw.  thou marshall\u2019st me the way that i was going;  and such an instrument i was to use.  [from act 2, scene 1 ]    in what ways does shakespeare build tension at this moment in the play? or \u20208  how does shakespeare\u2019s portrayal of lady macduff and her children contribute to the  dramatic impact of the play?45 50 55",
            "10": "10 0486/21/o/n/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: lady capulet:              good night.  get thee to bed, and rest; for thou hast need.  [exeunt lady capulet and nurse. juliet:  farewell! god knows when we shall meet again.  i have a faint cold fear thrills through my veins,  that almost freezes up the heat of life;  i\u2019ll call them back again to comfort me.  nurse! \u2013 what should she do here?  my dismal scene i needs must act alone.  come, vial.  what if this mixture do not work at all?  shall i be married, then, to-morrow morning?  no, no; this shall forbid it. lie thou there.  [laying down her dagger.  what if it be a poison which the friar  subtly hath minist\u2019red to have me dead,  lest in this marriage he should be dishonour\u2019d,  because he married me before to romeo?  i fear it is; and yet methinks it should not,  for he hath still been tried a holy man.  how if, when i am laid into the tomb,  i wake before the time that romeo  come to redeem me? there\u2019s a fearful point.  shall i not then be stifled in the vault,  to whose foul mouth no healthsome air breathes in,  and there die strangled ere my romeo comes?  or, if i live, is it not very like  the horrible conceit of death and night,  together with the terror of the place \u2013  as in a vault, an ancient receptacle  where for this many hundred years the bones  of all my buried ancestors are pack\u2019d;  where bloody tybalt, yet but green in earth,  lies fest\u2019ring in his shroud; where, as they say,  at some hours in the night spirits resort \u2013  alack, alack, is it not like that i,  so early waking \u2013 what with loathsome smells,  and shrieks like mandrakes\u2019 torn out of the earth,  that living mortals, hearing them, run mad \u2013  o, if i wake, shall i not be distraught,  environed with all these hideous fears,  and madly play with my forefathers\u2019 joints,  and pluck the mangled tybalt from his shroud,  and, in this rage, with some great kinsman\u2019s bone,  as with a club, dash out my desp\u2019rate brains?5 10 15 20 25 30 35 40 45",
            "11": "11 0486/21/o/n/19 \u00a9 ucles 2019  o, look! methinks i see my cousin\u2019s ghost  seeking out romeo, that did spit his body  upon a rapier\u2019s point. stay, tybalt, stay.  romeo, i come. this do i drink to thee.  [she drinks and falls upon her bed within the curtains.  [from act 4, scene 3 ]    how does shakespeare powerfully convey juliet\u2019s thoughts and feelings at this moment  in the play? or \u202010 what does shakespeare\u2019s portrayal of the nurse make you feel about her?50",
            "12": "12 0486/21/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_w19_qp_22.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl (go)) 165599/3 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *6894866497*literature (english)  0486/22 paper 2  drama  october/november 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks.",
            "2": "2 0486/22/o/n/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either  *1 read this passage carefully, and then answer the question that follows it: walter:  [stares at the money ]: you trust me like that, mama? mama:\t i\tain\u2019t\tnever\tstop\ttrusting\tyou.\tlike\ti\tain\u2019t\tnever\tstop\tloving\tyou. [she goes out, and walter  sits looking at the money on the  table as the music continues in its idiom, pulsing in the room.  finally, in a decisive gesture, he gets up, and, in mingled joy  and desperation, picks up the money. at the same moment,  travis  enters for bed. ] travis:\t what\u2019s \tthe\tmatter,\tdaddy?\tyou\tdrunk? walter:  [sweetly, more sweetly than we have ever known him ]: no,  daddy\tain\u2019t\tdrunk.\tdaddy\tain\u2019t\tgoing\tto\tnever\tbe\tdrunk\tagain\t\u2026 travis:  well, good night, daddy. [walter  has come from behind the couch and leans over,  embracing his son. ] walter:  son, i feel like talking to you tonight. travis:  about what? walter:  oh, about a lot of things. about you and what kind of man you  going\tto\tbe\twhen\tyou\tgrow\tup\t\u2026\tson\t\u2026\tson,\twhat\tdo\tyou\twant\t to be when you grow up? travis:  a bus driver. walter:  [laughing a little ]:\ta\twhat?\tman,\tthat\tain\u2019t\tnothing\tto\twant\tto\tbe! travis:  why not? walter:\t \u2019cause, \tman\t\u2013\tit\tain\u2019t\tbig\tenough\t\u2013\tyou\tknow\twhat\ti\tmean. travis:\t i\tdon\u2019t\tknow\tthen.\ti\tcan\u2019t\tmake\tup\tmy\tmind.\tsometimes \tmama\t asks me that too. and sometimes when i tell her i just want to  be\tlike\tyou\t\u2013\tshe\tsays\tshe\tdon\u2019t\twant\tme\tto\tbe\tlike\tthat\tand\t sometimes \tshe\tsays\tshe\tdoes\t\u2026 walter:  [gathering him up in his arms ]: you know what, travis? in seven  years you going to be seventeen years old. and things is going  to\tbe\tvery\tdifferent\twith\tus\tin\tseven\tyears.\ttravis\t\u2026\tone\tday\t when\tyou\tare\tseventeen \ti\u2019ll\tcome\thome\t\u2013\thome\tfrom\tmy\toffice\t downtown \tsomewhere \t\u2013 travis:\t you\tdon\u2019t\twork\tin\tno\toffice,\tdaddy. walter:\t no\t\u2013\tbut\tafter\ttonight.\tafter\twhat\tyour\tdaddy\tgonna\tdo\ttonight,\t there\u2019s\tgoing\tto\tbe\toffices\t\u2013\ta\twhole\tlot\tof\toffices\t\u2026 travis:  what you gonna do tonight, daddy? walter:\t you\twouldn\u2019t\tunderstand \tyet,\tson,\tbut\tyour\tdaddy\u2019s\tgonna\tmake\t a\ttransaction \t\u2026\ta\tbusiness \ttransaction \tthat\u2019s\tgoing\tto\tchange\t our\tlives\t\u2026\tthat\u2019s\thow\tcome\tone\tday\twhen\tyou\t\u2019bout\tseventeen \t years\told\ti\u2019ll\tcome\thome\tand\ti\u2019ll\tbe\tpretty\ttired,\tyou\tknow\twhat\ti\t mean, after a day of conferences and secretaries getting things  wrong\tthe\tway\tthey\tdo\t\u2026\t\u2019cause\tan\texecutive\u2019s \tlife\tis\thell,\tman\t \u2013\t[the more he talks the further away he gets. ]\tand\ti\u2019ll\tpull\tthe\t car\tup\ton\tthe\tdriveway \t\u2026\tjust\ta\tplain\tblack\tchrysler, \ti\tthink\t with\twhite\twalls\t\u2013\tno\t\u2013\tblack\ttyres.\tmore\telegant.\trich\tpeople\t5 10 15 20 25 30 35 40",
            "3": "3 0486/22/o/n/19 \u00a9 ucles 2019 [turn over don\u2019t\thave\tto\tbe\tflashy\t\u2026\tthough\ti\u2019ll\thave\tto\tget\tsomething \ta\t little\tsportier\tfor\truth\t\u2013\tmaybe\ta\tcadillac\tconvertible \tto\tdo\ther\t shopping \tin\t\u2026\tand\ti\u2019ll\tcome\tup\tthe\tsteps\tto\tthe\thouse\tand\tthe\t gardener \twill\tbe\tclipping\taway\tat\tthe\thedges\tand\ti\u2019ll\tsay\t\u2018hello,\t jefferson, \thow\tare\tyou\tthis\tevening?\u2019 \tand\ti\u2019ll\tgo\tinside\tand\truth\t will\tcome\tdownstairs \tand\tmeet\tme\tat\tthe\tdoor\tand\twe\u2019ll\tkiss\t each\tother,\tshe\u2019ll\ttake\tmy\tarm\tand\twe\u2019ll\tgo\tup\tto\tyour\troom\tto\t see you sitting on the floor with the catalogues of all the great  schools\tin\tamerica\taround\tyou\t\u2026\tall\tthe\tgreat\tschools\tin\tthe\t world!\tand\t\u2013\tand\ti\u2019ll\tsay,\tall\tright,\tson\t\u2013\tit\u2019s\tyour\tseventeenth \t birthday, \twhat\tis\tit\tyou\u2019ve\tdecided? \t\u2026\tjust\ttell\tme,\twhat\tit\tis\t you\twant\tto\tbe\t\u2013\tand\tyou\u2019ll\tbe\tit\t\u2026\twhatever \tyou\twant\tto\tbe\t\u2013\t yessir!\t[he holds his arms open for  travis .] you just name it,  son\t\u2026\t[travis  leaps into them. ]\tand\ti\thand\tyou\tthe\tworld! [walter\u2019 s voice has risen in pitch and hysterical promise and  on the last line he lifts travis  high. ] curtain  [from act 2, scene 2 ] \t \t \t \thow\tdoes\thansberry \tpowerfully \tportray\twalter\u2019s\tthoughts \tand\tfeelings\tat\tthis\tmoment\tin\t the play? or  \u20202 \thow\tdoes\thansberry\u2019s \tportrayal \tof\tkarl\tlindner\tmake\thim\tsuch\tan\tunpleasant \t  character?45 50 55 60",
            "4": "4 0486/22/o/n/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: eddie: you used to be different, beatrice.  content removed due to copyright restrictions. ",
            "5": "5 0486/22/o/n/19 \u00a9 ucles 2019 [turn over eddie: i\u2019m\tgoin\u2019,\ti\u2019m\tgoin\u2019\tfor\ta\twalk. [from act 2 ] how\tdoes\tmiller\tmake\tthis\tsuch\ta\tmemorable\tmoment\tin\tthe\tplay? or  \u20204 does\tmiller\u2019s\tportrayal\tof\tthe\trelationship\tbetween\tcatherine\tand\trodolpho\tencourage\t you to feel hopeful about their future happiness? content removed due to copyright restrictions.",
            "6": "6 0486/22/o/n/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  *5 read this passage carefully, and then answer the question that follows it: catherine: \t desmond \tcurry,\tour\tfamily\tsolicitor.\toh,\tlord!\t[in a hasty  whisper. ]\tdarling\u2014be \tpolite\tto\thim,\twon\u2019t\tyou? john:  why? am i usually so rude to your guests? catherine: \t no,\tbut\the\tdoesn\u2019t\tknow\tabout\tus\tyet\u2014\u2014 john:  who does? catherine:  [still in a whisper ]:\tyes,\tbut\the\u2019s\tbeen\tin\tlove\twith\tme\tfor\t years\u2014it\u2019s \ta\tfamily\tjoke\u2014\u2014 [violet  comes in. ] violet:  [announcing ]: mr curry. [desmond curry comes in. he is a man of about forty- five, with the figure of an athlete gone to seed. he has a  mildly furtive manner, rather as if he had just absconded with  his\tfirm\u2019s\tpetty\tcash,\tand\thopes\tno\tone\tis\tgoing\tto\tbe\ttoo\t angry about it. \tjohn , when he sees him, cannot repress a  faint smile at the thought of him loving \tcatherine. \tviolet\t goes out. ] catherine: \t hullo, \tdesmond. \t[they shake hands. ]\ti\tdon\u2019t\tthink\tyou\tknow\t john watherstone\u2014 \u2014 desmond: \t no\u2014but, \tof\tcourse,\ti\u2019ve\theard\ta\tlot\tabout\thim\u2014\u2014 john:\t how \tdo\tyou\tdo? [john\twipes the smile off his face, as he meets  catherine \u2019s\tglance.\the\tand\tdesmond  shake hands.  there is a pause. ] desmond: \t well,\twell,\twell.\ti\ttrust\ti\u2019m\tnot\tearly. catherine:  no. dead on time, desmond\u2014as always. desmond:  capital. capital. [there is another pause. ] john    } [together ]: pretty ghastly this rain. catherine        tell me, desmond\u2014 \u2014 john:\t i\u2019m \tso\tsorry. catherine: \t it\u2019s\tquite\tall\tright.\ti\twas\tonly\tgoing\tto\task\thow\tyou\tdid\tin\tyour\t cricket match yesterday, desmond. desmond: \t not\ttoo\twell,\ti\u2019m\tafraid.\tmy\tshoulder\u2019s \tstill\tgiving\tme\t trouble\u2014 \u2014 [there is another pause. ]  [at length. ]\twell,\twell.\ti\thear\ti\u2019m\tto\tcongratulate \tyou\tboth\u2014\u2014 catherine:  desmond\u2014you know? desmond:  violet told me, just now\u2014in the hall. yes\u2014i must congratulate  you both. catherine:  thank you so much, desmond. john:  thank you.5 10 15 20 25 30 35 40",
            "7": "7 0486/22/o/n/19 \u00a9 ucles 2019 [turn over desmond: \t of\tcourse,\tit\u2019s\tquite\texpected, \ti\tknow.\tquite\texpected. \tstill,\tit\t was rather a surprise, hearing it like that\u2014from violet in the  hall. catherine:  we were going to tell you, desmond dear. it was only official  this\tmorning, \tyou\tknow.\tin\tfact\tyou\u2019re\tthe\tfirst\tperson\tto\t  hear it. desmond: \t am\ti?\tam\ti,\tindeed?\twell,\ti\u2019m\tsure\tyou\u2019ll\tboth\tbe\tvery\thappy. catherine } [murmuring   thank you, desmond. john     together ]:  thank you. desmond:  only this morning? fancy. [grace  comes in. ] grace:\t hullo, \tdesmond \tdear. desmond: \t hullo, \tmrs\twinslow. grace:  [to catherine]: \ti\u2019ve\tgot\thim\tto\tbed\u2014 \u2014 catherine:  good. desmond:  nobody ill, i hope? grace:  no, no. nothing wrong at all\u2014 \u2014 [arthur \tcomes in. he carries a bottle under his arm and  has a corkscrew. ] arthur:  grace, when did we last have the cellars seen to? grace:\t i\tcan\u2019t\tremember, \tdear. arthur:\t well, \tthey\u2019re\tin\ta\tshocking \tcondition. \thullo,\tdesmond. \thow\t are\tyou?\tyou\u2019re\tnot\tlooking\twell. desmond: \t am\ti\tnot?\ti\u2019ve\tstrained\tmy\tshoulder, \tyou\tknow. arthur:  well, why do you play these ridiculous games of yours?  resign yourself to the onrush of middle age and abandon  them, my dear desmond. [ he rings the bell and prepares to  draw the cork. ] desmond:  oh, i could never do that. not give up cricket. not altogether. john:  [making conversation ]:\tare\tyou\tany\trelation\tof\td\tw\th\tcurry\t who\tused\tto\tplay\tfor\tmiddlesex? desmond:  [whose moment has come ]:\ti\tam\td\tw\th\tcurry. grace:\t didn\u2019t \tyou\tknow\twe\thad\ta\tgreat\tman\tin\tthe\troom?  [from act 1, scene 1 ]    in what ways does rattigan make this such a tense moment in the play? or  \u20206 \thow\tdoes\trattigan\tmake\tthe\trelationship \tbetween \tarthur\tand\tgrace\twinslow\tsuch\ta\t fascinating part of the play?45 50 55 60 65 70",
            "8": "8 0486/22/o/n/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it: macbeth:  so foul and fair a day i have not seen. banquo:  how\tfar\tis\u2019t\tcall\u2019d\tto\tforres?\twhat\tare\tthese, \t so\twither\u2019d, \tand\tso\twild\tin\ttheir\tattire, \t that\tlook\tnot\tlike\tth\u2019\tinhabitants \to\u2019\tth\u2019\tearth, \t and\tyet\tare\ton\u2019t?\tlive\tyou,\tor\tare\tyou\taught  that man may question? you seem to understand me,  by each at once her choppy finger laying  upon her skinny lips. you should be women,  and yet your beards forbid me to interpret  that you are so. macbeth:  speak, if you can. what are you? 1 witch:\t all\thail,\tmacbeth! \thail\tto\tthee,\tthane\tof\tglamis! 2 witch:\t all\thail,\tmacbeth! \thail\tto\tthee,\tthane\tof\tcawdor! 3 witch:\t all\thail,\tmacbeth, \tthat\tshalt\tbe\tking\thereafter! banquo:  good sir, why do you start, and seem to fear \t things\tthat\tdo\tsound\tso\tfair?\ti\u2019\tth\u2019\tname\tof\ttruth,  are ye fantastical, or that indeed  which outwardly ye show? my noble partner  you greet with present grace and great prediction  of noble having and of royal hope,  that he seems rapt withal. to me you speak not.  if you can look into the seeds of time  and say which grain will grow and which will not,  speak then to me, who neither beg nor fear  your favours nor your hate. 1 witch:  hail! 2 witch:  hail! 3 witch:  hail! 1 witch:  lesser than macbeth, and greater. 2 witch:  not so happy, yet much happier. 3 witch:   thou shalt get kings, though thou be none. \t so,\tall\thail,\tmacbeth \tand\tbanquo! 1 witch:\t banquo \tand\tmacbeth, \tall\thail! macbeth:  stay, you imperfect speakers, tell me more. \t by\tsinel\u2019s\tdeath\ti\tknow\ti\tam\tthane\tof\tglamis;  but how of cawdor? the thane of cawdor lives, \t a\tprosperous \tgentleman; \tand\tto\tbe\tking  stands not within the prospect of belief,  no more than to be cawdor. say from whence  you owe this strange intelligence, or why  upon this blasted heath you stop our way  with such prophetic greeting? speak, i charge you.  [witches  vanish. banquo:  the earth hath bubbles, as the water has, \t and\tthese\tare\tof\tthem.\twhither\tare\tthey\tvanish\u2019d?5 10 15 20 25 30 35 40 45",
            "9": "9 0486/22/o/n/19 \u00a9 ucles 2019 [turn over macbeth:  into\tthe\tair;\tand\twhat\tseem\u2019d\tcorporal\tmelted \t as\tbreath\tinto\tthe\twind.\twould\tthey\thad\tstay\u2019d! banquo:  were such things here as we do speak about?  or have we eaten on the insane root  that takes the reason prisoner? macbeth:  your children shall be kings. banquo:               you\tshall\tbe\tking. macbeth:  and\tthane\tof\tcawdor\ttoo;\twent\tit\tnot\tso? banquo:  to\tth\u2019\tself-same \ttune\tand\twords.  [from act 1, scene 3 ] \t \t \t how \tdoes\tshakespeare \tmake\tthis\tearly\tmoment\tin\tthe\tplay\tso\tdisturbing? or  \u20208 to\twhat\textent\tdoes\tshakespeare\u2019s \tportrayal \tof\tlady\tmacbeth \tencourage \tyou\tto\tfeel\t pity for her?50",
            "10": "10 0486/22/o/n/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: [enter  nurse .] nurse:  mistress! \twhat,\tmistress! \tjuliet!\tfast,\ti\twarrant\ther,\tshe. \t why,\tlamb!\twhy,\tlady!\tfie,\tyou\tslug-a-bed! \t why,\tlove,\ti\tsay!\tmadam!\tsweetheart! \twhy,\tbride!  what, not a word? you take your penny-worths now \t sleep\tfor\ta\tweek;\tfor\tthe\tnext\tnight,\ti\twarrant,  the county paris hath set up his rest \t that\tyou\tshall\trest\tbut\tlittle.\tgod\tforgive\tme! \t marry,\tand\tamen.\thow\tsound\tis\tshe\tasleep! \t i\tneeds\tmust\twake\ther.\tmadam,\tmadam,\tmadam! \t ay,\tlet\tthe\tcounty\ttake\tyou\tin\tyour\tbed; \t he\u2019ll\tfright\tyou\tup,\ti\u2019\tfaith.\twill\tit\tnot\tbe?  [draws the curtains. \t what,\tdress\u2019d,\tand\tin\tyour\tclothes,\tand\tdown\tagain! \t i\tmust\tneeds\twake\tyou.\tlady!\tlady!\tlady! \t alas,\talas!\thelp,\thelp!\tmy\tlady\u2019s\tdead! \t o\twell-a-day \tthat\tever\ti\twas\tborn! \t some\taqua-vitae, \tho!\tmy\tlord!\tmy\tlady! [enter  lady capulet .] lady capulet:  what noise is here? nurse:           o\tlamentable \tday! lady capulet:  what is the matter? nurse:           look,\tlook!\to\theavy\tday! lady capulet:  o\tme,\to\tme!\tmy\tchild,\tmy\tonly\tlife, \t revive,\tlook\tup,\tor\ti\twill\tdie\twith\tthee! \t help,\thelp!\tcall\thelp. [enter  capulet .] capulet:  for\tshame,\tbring\tjuliet\tforth;\ther\tlord\tis\tcome. nurse:  she\u2019s\tdead,\tdeceas\u2019d, \tshe\u2019s\tdead;\talack\tthe\tday! lady  capulet:  alack\tthe\tday,\tshe\u2019s\tdead,\tshe\u2019s\tdead,\tshe\u2019s\tdead! capulet:  ha!\tlet\tme\tsee\ther.\tout,\talas!\tshe\u2019s\tcold; \t her\tblood\tis\tsettled,\tand\ther\tjoints\tare\tstiff.  life and these lips have long been separated.  death lies on her like an untimely frost  upon the sweetest flower of all the field. nurse:\t o \tlamentable \tday! lady capulet:           o\twoeful\ttime! capulet:  death,\tthat\thath\tta\u2019en\ther\thence\tto\tmake\tme\twail,  ties up my tongue and will not let me speak. [enter friar lawrence  and county paris , with  musicians. ] friar lawrence:  come, is the bride ready to go to church?5 10 15 20 25 30 35 40",
            "11": "11 0486/22/o/n/19 \u00a9 ucles 2019 capulet:  ready to go, but never to return.  o son, the night before thy wedding day \t hath\tdeath\tlain\twith\tthy\twife.\tthere\tshe\tlies,  flower as she was, deflowered by him. \t death\tis\tmy\tson-in-law, \tdeath\tis\tmy\their; \t my\tdaughter \the\thath\twedded; \ti\twill\tdie, \t and\tleave\thim\tall;\tlife,\tliving,\tall\tis\tdeath\u2019s. paris:\t have\ti\tthought\tlong\tto\tsee\tthis\tmorning\u2019s \tface,  and doth it give me such a sight as this? lady capulet: \t accurs\u2019d, \tunhappy, \twretched, \thateful\tday! \t most\tmiserable \thour\tthat\te\u2019er\ttime\tsaw \t in\tlasting\tlabour\tof\this\tpilgrimage!  but one, poor one, one poor and loving child,  but one thing to rejoice and solace in, \t and\tcruel\tdeath\thath\tcatch\u2019d\tit\tfrom\tmy\tsight!  [from act 4, scene 5 ] \t \t \t\t how \tdoes\tshakespeare \tmake\tthis\tsuch\ta\tdramatic \tmoment\tin\tthe\tplay? or  \u202010 in\twhat\tways\tdoes\tshakespeare\u2019s \tportrayal \tof\ttybalt\tmake\thim\tsuch\ta\tmemorable \t character?45 50 55",
            "12": "12 0486/22/o/n/19 \u00a9 ucles 2019 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 \tinternational \teducation \tcopyright \tacknowledgements \tbooklet.\tthis\tis\tproduced \tfor\teach\tseries\tof\texaminations \tand\tis\tfreely\tavailable \tto\tdownload \t at\twww.cambridgeinternational.org \tafter\tthe\tlive\texamination \tseries. cambridge assessment international education is part of the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge \tlocal\texaminations \tsyndicate \t(ucles), \twhich\titself\tis\ta\tdepartment \tof\tthe\tuniversity \tof\tcambridge."
        },
        "0486_w19_qp_23.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (rcl/go) 165598/4 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education literature (english)  0486/23 paper 2  drama  october/november 2019  1 hour 30 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer two questions. you must answer one passage-based question (marked *) and one essay question (marked \u2020). your questions must be on two different plays. all questions in this paper carry equal marks. *7207859760*",
            "2": "2 0486/23/o/n/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either  *1 read this passage carefully, and then answer the question that follows it: [\u03b1 long minute passes and walter  slowly gets up. ] lindner:  [coming to the table with efficiency, putting his briefcase on  the table and starting to unfold papers and unscrew fountain  pens ]: well, i certainly was glad to hear from you people.  [walter has begun to trek out of the room, slowly and  awkwardly, rather like a small boy, passing the back of his  sleeve across his mouth from time to time. ] life can really  be so much simpler than people let it be most of the time.  well \u2013 with whom do i negotiate? you, mrs younger, or your  son here? [ mama  sits with her hands folded on her lap and  her eyes closed as walter advances.  travis goes close  to lindner  and looks at the paper curiously. ] just some  official papers, sonny. ruth:  travis, you go downstairs. mama:  [opening her eyes and looking into  walter \u2019s]: no. travis,  you stay right here. and you make him understand what you  doing, walter lee. you teach him good. like willy harris  taught you. you show where our five generations done come  to. go ahead, son \u2013 walter:  [looks down into his boy\u2019s eyes.  travis grins at him merrily  and walter draws him beside him with his arm lightly  around his shoulder ]: well, mr lindner. [ beneatha  turns  away. ] we called you [ there is a profound, simple groping  quality in his speech ] because, well, me and my family \u2026  [he looks around and shifts from one foot to the other. ] well  \u2013 we are very plain people \u2026 lindner:  yes \u2013 walter:  i mean \u2013 i have worked as a chauffeur most of my life \u2013 and  my wife here, she does domestic work in people\u2019s kitchens.  so does my mother. i mean \u2013 we are plain people \u2026 lindner:  yes, mr younger \u2013 walter:  [really like a small boy, looking down at his shoes and then  up at the man ]: and \u2013 uh \u2013 well, my father, well, he was a  labourer most of his life. lindner:  [absolutely confused ]: uh, yes \u2013 walter:  [looking down at his toes once again ]: my father almost beat  a man to death once because this man called him a bad  name or something, you know what i mean? lindner:  no, i\u2019m afraid i don\u2019t. walter:  [finally straightening up ]: well, what i mean is that we come  from people who had a lot of pride. i mean \u2013 we are very  proud people. and that\u2019s my sister over there and she\u2019s  going to be a doctor \u2013 and we are very proud \u2013 lindner:  well \u2013 i am sure that is very nice, but \u20135 10 15 20 25 30 35 40",
            "3": "3 0486/23/o/n/19 \u00a9 ucles 2019 [turn over walter:  [starting to cry and facing the man eye to eye ]: what i am  telling you is that we called you over here to tell you that we  are very proud and that this is \u2013 this is my son, who makes  the sixth generation of our family in this country, and that  we have all thought about your offer and we have decided  to move into our house because my father \u2013 my father \u2013  he earned it. [ mama  has her eyes closed and is rocking  back and forth as though she were in church, with her head  nodding the amen yes. ] we don\u2019t want to make no trouble  for nobody or fight no causes \u2013 but we will try to be good  neighbours. that\u2019s all we got to say. [ he looks the man  absolutely in the eyes. ] we don\u2019t want your money. [ he turns  and walks away from the man. ] lindner:  [looking around at all of them ]: i take it then that you have  decided to occupy. beneatha:  that\u2019s what the man said. lindner:  [to mama  in her reverie ]: then i would like to appeal to you,  mrs younger. you are older and wiser and understand things  better i am sure \u2026 mama:  [rising ]: i am afraid you don\u2019t understand. my son said we  was going to move and there ain\u2019t nothing left for me to say.  [shaking her head with double meaning. ] you know how  these young folks is nowadays, mister. can\u2019t do a thing with  \u2019em. good-bye.  [from act 3 ]   how does hansberry bring the play to such a dramatic climax here? or \u20202 in what ways does hansberry powerfully portray the relationship between ruth and  walter?45 50 55 60 65",
            "4": "4 0486/23/o/n/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either *3 read this passage carefully, and then answer the question that follows it: beatrice: they ain\u2019t goin\u2019 to come any quicker if you stand in the street.  content removed due to copyright restrictions.",
            "5": "5 0486/23/o/n/19 \u00a9 ucles 2019 [turn over catherine stops him at the door.] [from act 1 ]   how does miller make this moment in the play so revealing? or \u20204  how does miller use eddie\u2019s visits to alfieri to contribute to the dramatic impact of the  play? content removed due to copyright restrictions.",
            "6": "6 0486/23/o/n/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  *5 read this passage carefully, and then answer the question that follows it: sir robert:  what were you thinking about outside the c.o.\u2019s office for  twenty-five minutes? ronnie:  [wildly ]: i don\u2019t even know if i was there. i can\u2019t remember.  perhaps i wasn\u2019t there at all. sir robert:  no. perhaps you were still in the locker room rifling elliot\u2019s  locker \u2013 arthur:  [indignantly ]: sir robert, i must ask you \u2013 sir robert:  quiet! ronnie:  i remember now. i remember. someone did see me outside  the c.o.\u2019s office. a chap called casey. i remember i spoke  to him. sir robert:  what did you say? ronnie:  i said: \u2018come down to the post office with me. i\u2019m going to  cash a postal order.\u2019 sir robert:  [triumphantly ]: cash  a postal order. ronnie:  i mean get. sir robert:  you said cash. why did you say cash if you meant get? ronnie:  i don\u2019t know. sir robert:  i suggest cash was the truth. ronnie:  no, no. it wasn\u2019t. it wasn\u2019t really. you\u2019re muddling me. sir robert:  you seem easily muddled. how many other lies have you  told? ronnie:  none. really i haven\u2019t. sir robert:  [bending forward malevolently ]: i suggest your whole  testimony is a lie. ronnie:  no! it\u2019s the truth. sir robert:  i suggest there is barely one single word of truth in anything  you have said either to me, or to the judge advocate or to  the commander. i suggest that you broke into elliot\u2019s locker,  that you stole the postal order for five shillings belonging to  elliot, and you cashed it by means of forging his name. ronnie:  [wailing ]: i didn\u2019t. i didn\u2019t. sir robert:  i suggest you did it for a joke, meaning to give elliot the five  shillings back, but that when you met him and he said he  had reported the matter that you got frightened and decided  to keep quiet. ronnie:  no, no, no. it isn\u2019t true. sir robert:  i suggest that by continuing to deny your guilt you are  causing great hardship to your own family, and considerable  annoyance to high and important persons in this country \u2013 catherine:  [on her feet ]: that\u2019s a disgraceful thing to say! arthur:  [rising ]: i agree.5 10 15 20 25 30 35 40",
            "7": "7 0486/23/o/n/19 \u00a9 ucles 2019 [turn over sir robert:  [leaning forward and glaring at ronnie  with utmost venom ]:  i suggest that the time has at last come for you to undo some  of the misery you have caused by confessing to us all now  that you are a forger, a liar and a thief. [grace  rises, crosses swiftly to ronnie  and envelops  him.] ronnie:  [in tears ]: i\u2019m not! i\u2019m not! i\u2019m not! i didn\u2019t do it. arthur:  this is outrageous, sir. [desmond  crosses above sir robert  to the table and  collects the documents. john  enters. he is dressed in  evening clothes. ] john : kate, dear, i\u2019m late. i\u2019m terribly sorry \u2013          [he stops short as he takes in the scene. ronnie  is  sobbing hysterically on his mother\u2019s breast. arthur  and  catherine  are glaring indignantly at sir robert , who is  putting his papers together. ] sir robert:  [to desmond ]: can i drop you anywhere? my car is at the  door. desmond : er\u2014no\u2014i thank you. sir robert:  [carelessly ]: well, send all this stuff round to my chambers  to-morrow morning, will you? desmond : but\u2014but will you need it now? sir robert:  oh, yes. the boy is plainly innocent. i accept the brief. [sir robert  bows to arthur  and catherine  and  walks languidly to the door past the bewildered john ,  to whom he gives a polite nod as he goes out. ronnie   continues to sob hysterically. ] quick curtain  [from act 1, scene 2\u200a ]   in what ways does rattigan make this such a powerful moment in the play? or \u20206  how far does rattigan\u2019s portrayal of arthur winslow encourage you to feel that he is a  good father?45 50 55 60 65 70",
            "8": "8 0486/23/o/n/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  *7 read this passage carefully, and then answer the question that follows it: m a c b e t h :              prithee, peace;  i dare do all that may become a man;  who dares do more is none. lady macbeth:               what beast was\u2019t then  that made you break this enterprise to me?  when you durst do it, then you were a man;  and to be more than what you were, you would  be so much more the man. nor time nor place  did then adhere, and yet you would make both;  they have made themselves, and that their fitness now  does unmake you. i have given suck, and know  how tender \u2019tis to love the babe that milks me \u2013  i would, while it was smiling in my face,  have pluck\u2019d my nipple from his boneless gums,  and dash\u2019d the brains out, had i so sworn  as you have done to this. macbeth:  if we should fail? lady macbeth:          we fail!  but screw your courage to the sticking place,  and we\u2019ll not fail. when duncan is asleep \u2013  whereto the rather shall his day\u2019s hard journey  soundly invite him \u2013 his two chamberlains  will i with wine and wassail so convince  that memory, the warder of the brain,  shall be a fume, and the receipt of reason  a limbec only. when in swinish sleep  their drenched natures lie as in a death,  what cannot you and i perform upon  th\u2019 unguarded duncan? what not put upon  his spongy officers, who shall bear the guilt  of our great quell? macbeth:           bring forth men-children only;  for thy undaunted mettle should compose  nothing but males. will it not be receiv\u2019d,  when we have mark\u2019d with blood those sleepy two  of his own chamber, and us\u2019d their very daggers,  that they have done \u2019t? lady macbeth:             who dares receive it other,  as we shall make our griefs and clamour roar  upon his death? macbeth:          i am settled, and bend up  each corporal agent to this terrible feat.  away, and mock the time with fairest show;  false face must hide what the false heart doth know.  [exeunt.  [from act 1, scene 7 ]5 10 15 20 25 30 35 40 45",
            "9": "9 0486/23/o/n/19 \u00a9 ucles 2019 [turn over    how does shakespeare powerfully portray lady macbeth at this moment in the play? or \u20208 to what extent does shakespeare encourage you to feel that macbeth\u2019s fate is inevitable?",
            "10": "10 0486/23/o/n/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  *9 read this passage carefully, and then answer the question that follows it: [enter nurse  and her man, peter .] mercutio:  a sail, a sail! benvolio:  two, two; a shirt and a smock. nurse:  peter! peter:  anon. nurse:  my fan, peter. mercutio:  good peter, to hide her face; for her fan\u2019s the fairer face. nurse:  god ye good morrow, gentlemen. mercutio:  god ye good den, fair gentlewoman. nurse:  is it good den? mercutio:  \u2019tis no less, i tell ye; for the bawdy hand of the dial is now  upon the prick of noon. nurse:  out upon you! what a man are you? romeo:  one, gentlewoman, that god hath made himself to mar. nurse:  by my troth, it is well said. \u2018for himself to mar\u2019 quoth \u2019a!  gentlemen, can any of you tell me where i may find the  young romeo? romeo:  i can tell you; but young romeo will be older when you  have found him than he was when you sought him. i am the  youngest of that name, for fault of a worse. nurse:  you say well. mercutio:  yea, is the worst well? very well took, i\u2019 faith; wisely, wisely. nurse:  if you be he, sir, i desire some confidence with you. benvolio:  she will indite him to some supper. mercutio:  a bawd, a bawd, a bawd! so ho! romeo:  what hast thou found? mercutio:  no hare, sir; unless a hare, sir, in a lenten pie, that is  something stale and hoar ere it be spent.  [he walks by them and sings.  an old hare hoar,  and an old hare hoar,  is very good meat in lent;  but a hare that is hoar  is too much for a score,  when it hoars ere it be spent.  romeo, will you come to your father\u2019s? we\u2019ll to dinner thither. romeo:  i will follow you. mercutio:  farewell, ancient lady; farewell, [ sings ] lady, lady, lady.  [exeunt mercutio  and benvolio . nurse:  i pray you, sir, what saucy merchant was this that was so full  of his ropery?5 10 15 20 25 30 35 40",
            "11": "11 0486/23/o/n/19 \u00a9 ucles 2019 romeo:  a gentleman, nurse, that loves to hear himself talk, and will  speak more in a minute than he will stand to in a month. nurse:  an \u2019a speak anything against me, i\u2019ll take him down, an  \u2019a were lustier than he is, and twenty such jacks; and if i  cannot, i\u2019ll find those that shall. scurvy knave! i am none  of his flirt-gills; i am none of his skains-mates. and thou  must stand by too, and suffer every knave to use me at his  pleasure? peter:  i saw no man use you at his pleasure; if i had, my weapon  should quickly have been out, i warrant you. i dare draw as  soon as another man, if i see occasion in a good quarrel,  and the law on my side. nurse:  now, afore god, i am so vex\u2019d that every part about me  quivers. scurvy knave! \u2013 pray you, sir, a word; and as i told  you, my young lady bid me enquire you out; what she bid me  say i will keep to myself. but first let me tell ye, if ye should  lead her in a fool\u2019s paradise, as they say, it were a very  gross kind of behaviour, as they say; for the gentlewoman  is young; and, therefore, if you should deal double with her,  truly it were an ill thing to be off\u2019red to any gentlewoman,  and very weak dealing.  [from act 2, scene 4 ]    how does shakespeare make this such an entertaining moment in the play? or \u202010 does shakespeare\u2019s writing encourage you to feel more sympathy for juliet than for  romeo?45 50 55 60",
            "12": "12 0486/23/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_w19_qp_31.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (cj) 183970 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *7952454459*literature (english)  0486/31 paper 3  drama (open text)  october/november 2019  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/31/o/n/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either  1 read this passage carefully, and then answer the question that follows it: [ruth  comes in forlornly and pulls off her coat with  dejection. they both look at her. ] ruth  [dispiritedly ]: well, i guess from all the happy faces \u2013  everybody knows. beneatha:  you pregnant? mama:  lord have mercy, i sure hope it\u2019s a little old girl. travis ought  to have a sister. [beneatha  and ruth  give her a hopeless look for this  grandmotherly enthusiasm. ] beneatha:  how far along are you? ruth:  two months. beneatha:  did you mean to? i mean did you plan it or was it an  accident? mama:  what do you know about planning or not planning? beneatha:  oh, mama. ruth  [wearily ]: she\u2019s twenty years old, lena. beneatha:  did you plan it, ruth? ruth:  mind your own business. beneatha:  it is my business \u2013 where is he going to live, on the roof?  [there is silence following the remark as the three women  react to the sense of it. ] gee \u2013 i didn\u2019t mean that, ruth,  honest. gee, i don\u2019t feel like that at all. i \u2013 i think it is  wonderful. ruth  [dully ]: wonderful. beneatha:  yes \u2013 really. mama  [looking at  ruth , worried ]: doctor say everything going to  be all right? ruth  [far away ]: yes \u2013 she says everything is going to be fine \u2026 mama  [immediately suspicious ]: \u2018she\u2019 \u2013 what doctor you went to? [ruth  folds over, near hysteria. ] mama  [worriedly hovering over  ruth ]: ruth honey \u2013 what\u2019s the  matter with you \u2013 you sick? [ruth  has her fists clenched on her thighs and is fighting  hard to suppress a scream that seems to be rising in her. ] beneatha:  what\u2019s the matter with her, mama? mama  [working her fingers in  ruth \u2019s shoulder to relax her ]: she  be all right. women gets right depressed sometimes when  they get her way. [ speaking softly, expertly, rapidly. ] now  you just relax. that\u2019s right \u2026 just lean back, don\u2019t think \u2019bout  nothing at all \u2026 nothing at all \u2013 ruth:  i\u2019m all right \u20265 10 15 20 25 30 35 40",
            "3": "3 0486/31/o/n/19 \u00a9 ucles 2019 [turn over [the glassy-eyed look melts and then she collapses into a fit  of heavy sobbing. the bell rings. ] beneatha:  oh, my god \u2013 that must be asagai. mama  [to ruth ]: come on now, honey. you need to lie down and  rest awhile \u2026 then have some nice hot food. [they go out, ruth \u2019s weight on her mother-in-law.  beneatha , herself profoundly disturbed, opens the door  to admit a rather dramatic-looking young man with a large  parcel. ] asagai:  hello, alaiyo \u2013 beneatha  [holding the door open and regarding him with pleasure ]:  hello \u2026 [ long pause. ] well \u2013 come in. and please excuse  everything. my mother was very upset about my letting  anyone come here with the place like this. asagai  [coming into the room ]: you look disturbed too \u2026 is  something wrong? beneatha  [still at the door, absently ]: yes \u2026 we\u2019ve all got acute ghetto- itus. [ she smiles and comes towards him, finding a cigarette  and sitting. ] so \u2013 sit down! how was canada?  [from act 1, scene 2 ]   in what ways does hansberry make this such an upsetting moment in the play? or 2 how does hansberry make the differences between joseph asagai and george  murchison so fascinating?45 50 55 60",
            "4": "4 0486/31/o/n/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: alfieri: he was as good a man as he had to be in a life that was hard  and even.   content removed due to copyright restrictions.",
            "5": "5 0486/31/o/n/19 \u00a9 ucles 2019 [turn over rodolpho [smiling at the smallness of his town ]: in our town there are  no piers, only the beach, and little fishing boats. [from act 1 ]   in what ways does miller make this moment in the play so memorable? or 4  what do you find moving about miller\u2019s portrayal of the relationship between eddie and  beatrice? content removed due to copyright restrictions.",
            "6": "6 0486/31/o/n/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it: [violet  goes out. ] violet  [off ]: it\u2019s no good. no more statements. [voices answer her, fading at length into silence. grace   puts a rug over ronnie , now sleeping very soundly. ] arthur:  grace, dear \u2013 grace:  yes? arthur:  i fancy this might be a good opportunity of talking to violet. grace  [quite firmly ]: no, dear. arthur:  meaning that it isn\u2019t a good opportunity? or meaning that  you have no intention at all of ever talking to violet? grace:  i\u2019ll do it one day, arthur. tomorrow, perhaps. not now. arthur:  i believe you\u2019d do better to grasp the nettle. delay only adds  to your worries \u2013 grace  [bitterly ]: my worries? what do you know about my worries? arthur:  a good deal, grace. but i feel they would be a lot lessened if  you faced the situation squarely. grace:  it\u2019s easy for you to talk, arthur. you don\u2019t have to do it. arthur:  i will, if you like. grace:  no, dear. arthur:  if you explain the dilemma to her carefully \u2013 if you even show  her the figures i jotted down for you yesterday \u2013 i venture to  think you won\u2019t find her unreasonable. grace:  it won\u2019t be easy for her to find another place. arthur:  we\u2019ll give her an excellent reference. grace:  that won\u2019t alter the fact that she\u2019s never been properly  trained as a parlourmaid and \u2013 well \u2013 you know yourself how  we\u2019re always having to explain her to people. no, arthur, i  don\u2019t mind how many figures she\u2019s shown, it\u2019s a brutal thing  to do. arthur:  facts are brutal things. grace  [a shade hysterically ]: facts? i don\u2019t think i know what facts  are any more \u2013 arthur:  the facts, at this moment, are that we have a half of the  income we had a year ago and we\u2019re living at nearly the  same rate. however you look at it that\u2019s bad economics \u2013 grace:  i\u2019m not talking about economics, arthur. i\u2019m talking about  ordinary, common or garden facts \u2013 things we took for  granted a year ago and which now don\u2019t seem to matter any  more. arthur:  such as? grace  [with rising voice ]: such as a happy home and peace  and quiet and an ordinary respectable life, and some sort  of future for us and our children. in the last year you\u2019ve 5 10 15 20 25 30 35 40",
            "7": "7 0486/31/o/n/19 \u00a9 ucles 2019 [turn over thrown all that overboard, arthur. there\u2019s your return for it, i  suppose. [ she indicates the headline in the paper. ] and it\u2019s  all very exciting and important, i\u2019m sure, but it doesn\u2019t bring  back any of the things that we\u2019ve lost. i can only pray to god  that you know what you\u2019re doing. [ronnie  stirs in his sleep. grace  lowers her voice at the  end of her speech. there is a pause. ] arthur:  i know exactly what i\u2019m doing, grace. i\u2019m going to publish  my son\u2019s innocence before the world, and for that end i am  not prepared to weigh the cost. grace:  but the cost may be out of all proportion \u2013 arthur:  it may be. that doesn\u2019t concern me. i hate heroics, grace,  but you force me to say this. an injustice has been done. i  am going to set it right, and there is no sacrifice in the world  i am not prepared to make in order to do so. grace  [with sudden violence ]: oh, i wish i could see the sense of  it all! [ pointing to  ronnie .] he\u2019s perfectly happy, at a good  school, doing very well. no one need ever have known about  osborne, if you hadn\u2019t gone and shouted it out to the whole  world. as it is, whatever happens now, he\u2019ll go through the  rest of his life as the boy in that winslow case \u2013 the boy who  stole that postal order \u2013 arthur  [grimly ]: the boy who didn\u2019t steal that postal order.  [from act 2, scene 1 ]    how does rattigan powerfully portray the conflict between grace and arthur winslow at  this moment in the play? or 6  how does rattigan\u2019s portrayal of ronnie winslow contribute to the dramatic impact of  the play?45 50 55 60 65",
            "8": "8 0486/31/o/n/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it:  [enter banquo , and fleance  with a torch before him. ] banquo:  how goes the night, boy? fleance:  the moon is down; i have not heard the clock. banquo:  and she goes down at twelve. fleance:                i take \u2019t, \u2019tis later, sir. banquo:  hold, take my sword. there\u2019s husbandry in heaven;  their candles are all out. take thee that too.  a heavy summons lies like lead upon me,  and yet i would not sleep. merciful powers  restrain in me the cursed thoughts that nature  gives way to in repose!  [enter macbeth  and a servant with a torch. ]             give me my sword.  who\u2019s there? macbeth:  a friend. banquo:  what, sir, not yet at rest? the king\u2019s a-bed.  he hath been in unusual pleasure, and  sent forth great largess to your offices.  this diamond he greets your wife withal,  by the name of most kind hostess; and shut up  in measureless content. macbeth:              being unprepar\u2019d,  our will became the servant to defect;  which else should free have wrought. banquo:                   all\u2019s well.  i dreamt last night of the three weird sisters.  to you they have show\u2019d some truth. macbeth :                  i think not of them;  yet, when we can entreat an hour to serve,  we would spend it in some words upon that business,  if you would grant the time. banquo:               at your kind\u2019st leisure. macbeth:  if you shall cleave to my consent, when \u2019tis,  it shall make honour for you. banquo:               so i lose none  in seeking to augment it, but still keep  my bosom franchis\u2019d and allegiance clear,  i shall be counsell\u2019d. macbeth:           good repose the while! banquo:  thanks, sir; the like to you!  [exeunt banquo  and fleance . macbeth:  go bid thy mistress, when my drink is ready,  she strike upon the bell. get thee to bed.  [exit servant.5 10 15 20 25 30 35 40",
            "9": "9 0486/31/o/n/19 \u00a9 ucles 2019 [turn over macbeth:  is this a dagger which i see before me,  the handle toward my hand? come, let me clutch thee.  i have thee not, and yet i see thee still.  art thou not, fatal vision, sensible  to feeling as to sight? or art thou but  a dagger of the mind, a false creation,  proceeding from the heat-oppressed brain?  i see thee yet, in form as palpable  as this which now i draw.  thou marshall\u2019st me the way that i was going;  and such an instrument i was to use.  [from act 2, scene 1 ]    in what ways does shakespeare build tension at this moment in the play? or 8  how does shakespeare\u2019s portrayal of lady macduff and her children contribute to the  dramatic impact of the play?45 50 55",
            "10": "10 0486/31/o/n/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: lady capulet:              good night.  get thee to bed, and rest; for thou hast need.  [exeunt lady capulet and nurse. juliet:  farewell! god knows when we shall meet again.  i have a faint cold fear thrills through my veins,  that almost freezes up the heat of life;  i\u2019ll call them back again to comfort me.  nurse! \u2013 what should she do here?  my dismal scene i needs must act alone.  come, vial.  what if this mixture do not work at all?  shall i be married, then, to-morrow morning?  no, no; this shall forbid it. lie thou there.  [laying down her dagger.  what if it be a poison which the friar  subtly hath minist\u2019red to have me dead,  lest in this marriage he should be dishonour\u2019d,  because he married me before to romeo?  i fear it is; and yet methinks it should not,  for he hath still been tried a holy man.  how if, when i am laid into the tomb,  i wake before the time that romeo  come to redeem me? there\u2019s a fearful point.  shall i not then be stifled in the vault,  to whose foul mouth no healthsome air breathes in,  and there die strangled ere my romeo comes?  or, if i live, is it not very like  the horrible conceit of death and night,  together with the terror of the place \u2013  as in a vault, an ancient receptacle  where for this many hundred years the bones  of all my buried ancestors are pack\u2019d;  where bloody tybalt, yet but green in earth,  lies fest\u2019ring in his shroud; where, as they say,  at some hours in the night spirits resort \u2013  alack, alack, is it not like that i,  so early waking \u2013 what with loathsome smells,  and shrieks like mandrakes\u2019 torn out of the earth,  that living mortals, hearing them, run mad \u2013  o, if i wake, shall i not be distraught,  environed with all these hideous fears,  and madly play with my forefathers\u2019 joints,  and pluck the mangled tybalt from his shroud,  and, in this rage, with some great kinsman\u2019s bone,  as with a club, dash out my desp\u2019rate brains?5 10 15 20 25 30 35 40 45",
            "11": "11 0486/31/o/n/19 \u00a9 ucles 2019  o, look! methinks i see my cousin\u2019s ghost  seeking out romeo, that did spit his body  upon a rapier\u2019s point. stay, tybalt, stay.  romeo, i come. this do i drink to thee.  [she drinks and falls upon her bed within the curtains.  [from act 4, scene 3 ]    how does shakespeare powerfully convey juliet\u2019s thoughts and feelings at this moment  in the play? or 10 what does shakespeare\u2019s portrayal of the nurse make you feel about her?50",
            "12": "12 0486/31/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_w19_qp_32.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (kn) 187526/1 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *3291027796*literature (english)  0486/32 paper 3  drama (open text)  october/november 2019  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks.",
            "2": "2 0486/32/o/n/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either  1 read this passage carefully, and then answer the question that follows it: walter:  [stares at the money ]: you trust me like that, mama? mama:\t i\tain\u2019t\tnever\tstop\ttrusting\tyou.\tlike\ti\tain\u2019t\tnever\tstop\tloving\tyou. [she goes out, and walter  sits looking at the money on the  table as the music continues in its idiom, pulsing in the room.  finally, in a decisive gesture, he gets up, and, in mingled joy  and desperation, picks up the money. at the same moment,  travis  enters for bed. ] travis:\t what\u2019s \tthe\tmatter,\tdaddy?\tyou\tdrunk? walter:  [sweetly, more sweetly than we have ever known him ]: no,  daddy\tain\u2019t\tdrunk.\tdaddy\tain\u2019t\tgoing\tto\tnever\tbe\tdrunk\tagain\t\u2026 travis:  well, good night, daddy. [walter  has come from behind the couch and leans over,  embracing his son. ] walter:  son, i feel like talking to you tonight. travis:  about what? walter:  oh, about a lot of things. about you and what kind of man you  going\tto\tbe\twhen\tyou\tgrow\tup\t\u2026\tson\t\u2026\tson,\twhat\tdo\tyou\twant\t to be when you grow up? travis:  a bus driver. walter:  [laughing a little ]:\ta\twhat?\tman,\tthat\tain\u2019t\tnothing\tto\twant\tto\tbe! travis:  why not? walter:\t \u2019cause, \tman\t\u2013\tit\tain\u2019t\tbig\tenough\t\u2013\tyou\tknow\twhat\ti\tmean. travis:\t i\tdon\u2019t\tknow\tthen.\ti\tcan\u2019t\tmake\tup\tmy\tmind.\tsometimes \tmama\t asks me that too. and sometimes when i tell her i just want to  be\tlike\tyou\t\u2013\tshe\tsays\tshe\tdon\u2019t\twant\tme\tto\tbe\tlike\tthat\tand\t sometimes \tshe\tsays\tshe\tdoes\t\u2026 walter:  [gathering him up in his arms ]: you know what, travis? in seven  years you going to be seventeen years old. and things is going  to\tbe\tvery\tdifferent\twith\tus\tin\tseven\tyears.\ttravis\t\u2026\tone\tday\t when\tyou\tare\tseventeen \ti\u2019ll\tcome\thome\t\u2013\thome\tfrom\tmy\toffice\t downtown \tsomewhere \t\u2013 travis:\t you\tdon\u2019t\twork\tin\tno\toffice,\tdaddy. walter:\t no\t\u2013\tbut\tafter\ttonight.\tafter\twhat\tyour\tdaddy\tgonna\tdo\ttonight,\t there\u2019s\tgoing\tto\tbe\toffices\t\u2013\ta\twhole\tlot\tof\toffices\t\u2026 travis:  what you gonna do tonight, daddy? walter:\t you\twouldn\u2019t\tunderstand \tyet,\tson,\tbut\tyour\tdaddy\u2019s\tgonna\tmake\t a\ttransaction \t\u2026\ta\tbusiness \ttransaction \tthat\u2019s\tgoing\tto\tchange\t our\tlives\t\u2026\tthat\u2019s\thow\tcome\tone\tday\twhen\tyou\t\u2019bout\tseventeen \t years\told\ti\u2019ll\tcome\thome\tand\ti\u2019ll\tbe\tpretty\ttired,\tyou\tknow\twhat\ti\t mean, after a day of conferences and secretaries getting things  wrong\tthe\tway\tthey\tdo\t\u2026\t\u2019cause\tan\texecutive\u2019s \tlife\tis\thell,\tman\t \u2013\t[the more he talks the further away he gets. ]\tand\ti\u2019ll\tpull\tthe\t car\tup\ton\tthe\tdriveway \t\u2026\tjust\ta\tplain\tblack\tchrysler, \ti\tthink\t with\twhite\twalls\t\u2013\tno\t\u2013\tblack\ttyres.\tmore\telegant.\trich\tpeople\t5 10 15 20 25 30 35 40",
            "3": "3 0486/32/o/n/19 \u00a9 ucles 2019 [turn over don\u2019t\thave\tto\tbe\tflashy\t\u2026\tthough\ti\u2019ll\thave\tto\tget\tsomething \ta\t little\tsportier\tfor\truth\t\u2013\tmaybe\ta\tcadillac\tconvertible \tto\tdo\ther\t shopping \tin\t\u2026\tand\ti\u2019ll\tcome\tup\tthe\tsteps\tto\tthe\thouse\tand\tthe\t gardener \twill\tbe\tclipping\taway\tat\tthe\thedges\tand\ti\u2019ll\tsay\t\u2018hello,\t jefferson, \thow\tare\tyou\tthis\tevening?\u2019 \tand\ti\u2019ll\tgo\tinside\tand\truth\t will\tcome\tdownstairs \tand\tmeet\tme\tat\tthe\tdoor\tand\twe\u2019ll\tkiss\t each\tother,\tshe\u2019ll\ttake\tmy\tarm\tand\twe\u2019ll\tgo\tup\tto\tyour\troom\tto\t see you sitting on the floor with the catalogues of all the great  schools\tin\tamerica\taround\tyou\t\u2026\tall\tthe\tgreat\tschools\tin\tthe\t world!\tand\t\u2013\tand\ti\u2019ll\tsay,\tall\tright,\tson\t\u2013\tit\u2019s\tyour\tseventeenth \t birthday, \twhat\tis\tit\tyou\u2019ve\tdecided? \t\u2026\tjust\ttell\tme,\twhat\tit\tis\t you\twant\tto\tbe\t\u2013\tand\tyou\u2019ll\tbe\tit\t\u2026\twhatever \tyou\twant\tto\tbe\t\u2013\t yessir!\t[he holds his arms open for  travis .] you just name it,  son\t\u2026\t[travis  leaps into them. ]\tand\ti\thand\tyou\tthe\tworld! [walter\u2019 s voice has risen in pitch and hysterical promise and  on the last line he lifts travis  high. ] curtain  [from act 2, scene 2 ] \t \t \t \thow\tdoes\thansberry \tpowerfully \tportray\twalter\u2019s\tthoughts \tand\tfeelings\tat\tthis\tmoment\tin\t the play? or  2 \thow\tdoes\thansberry\u2019s \tportrayal \tof\tkarl\tlindner\tmake\thim\tsuch\tan\tunpleasant \t  character?45 50 55 60",
            "4": "4 0486/32/o/n/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: eddie: you used to be different, beatrice.  content removed due to copyright restrictions. ",
            "5": "5 0486/32/o/n/19 \u00a9 ucles 2019 [turn over eddie: i\u2019m\tgoin\u2019,\ti\u2019m\tgoin\u2019 \tfor\ta\twalk. [from act 2 ] how\tdoes\tmiller\tmake\tthis\tsuch\ta\tmemorable\tmoment\tin\tthe\tplay? or  4 does\tmiller\u2019s\tportrayal\tof\tthe\trelationship\tbetween\tcatherine\tand\trodolpho\tencourage\t you to feel hopeful about their future happiness? content removed due copyright restrictions.",
            "6": "6 0486/32/o/n/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either  5 read this passage carefully, and then answer the question that follows it: catherine: \t desmond \tcurry,\tour\tfamily\tsolicitor.\toh,\tlord!\t[in a hasty  whisper. ]\tdarling\u2014be \tpolite\tto\thim,\twon\u2019t\tyou? john:  why? am i usually so rude to your guests? catherine: \t no,\tbut\the\tdoesn\u2019t\tknow\tabout\tus\tyet\u2014\u2014 john:  who does? catherine:  [still in a whisper ]:\tyes,\tbut\the\u2019s\tbeen\tin\tlove\twith\tme\tfor\t years\u2014it\u2019s \ta\tfamily\tjoke\u2014\u2014 [violet  comes in. ] violet:  [announcing ]: mr curry. [desmond curry comes in. he is a man of about forty- five, with the figure of an athlete gone to seed. he has a  mildly furtive manner, rather as if he had just absconded with  his\tfirm\u2019s\tpetty\tcash,\tand\thopes\tno\tone\tis\tgoing\tto\tbe\ttoo\t angry about it. \tjohn , when he sees him, cannot repress a  faint smile at the thought of him loving \tcatherine. \tviolet\t goes out. ] catherine: \t hullo, \tdesmond. \t[they shake hands. ]\ti\tdon\u2019t\tthink\tyou\tknow\t john watherstone\u2014 \u2014 desmond: \t no\u2014but, \tof\tcourse,\ti\u2019ve\theard\ta\tlot\tabout\thim\u2014\u2014 john:\t how \tdo\tyou\tdo? [john\twipes the smile off his face, as he meets  catherine \u2019s\tglance.\the\tand\tdesmond  shake hands.  there is a pause. ] desmond: \t well,\twell,\twell.\ti\ttrust\ti\u2019m\tnot\tearly. catherine:  no. dead on time, desmond\u2014as always. desmond:  capital. capital. [there is another pause. ] john    } [together ]: pretty ghastly this rain. catherine        tell me, desmond\u2014 \u2014 john:\t i\u2019m \tso\tsorry. catherine: \t it\u2019s\tquite\tall\tright.\ti\twas\tonly\tgoing\tto\task\thow\tyou\tdid\tin\tyour\t cricket match yesterday, desmond. desmond: \t not\ttoo\twell,\ti\u2019m\tafraid.\tmy\tshoulder\u2019s \tstill\tgiving\tme\t trouble\u2014 \u2014 [there is another pause. ]  [at length. ]\twell,\twell.\ti\thear\ti\u2019m\tto\tcongratulate \tyou\tboth\u2014\u2014 catherine:  desmond\u2014you know? desmond:  violet told me, just now\u2014in the hall. yes\u2014i must congratulate  you both. catherine:  thank you so much, desmond. john:  thank you.5 10 15 20 25 30 35 40",
            "7": "7 0486/32/o/n/19 \u00a9 ucles 2019 [turn over desmond: \t of\tcourse,\tit\u2019s\tquite\texpected, \ti\tknow.\tquite\texpected. \tstill,\tit\t was rather a surprise, hearing it like that\u2014from violet in the  hall. catherine:  we were going to tell you, desmond dear. it was only official  this\tmorning, \tyou\tknow.\tin\tfact\tyou\u2019re\tthe\tfirst\tperson\tto\t  hear it. desmond: \t am\ti?\tam\ti,\tindeed?\twell,\ti\u2019m\tsure\tyou\u2019ll\tboth\tbe\tvery\thappy. catherine } [murmuring   thank you, desmond. john     together ]:  thank you. desmond:  only this morning? fancy. [grace  comes in. ] grace:\t hullo, \tdesmond \tdear. desmond: \t hullo, \tmrs\twinslow. grace:  [to catherine]: \ti\u2019ve\tgot\thim\tto\tbed\u2014 \u2014 catherine:  good. desmond:  nobody ill, i hope? grace:  no, no. nothing wrong at all\u2014 \u2014 [arthur \tcomes in. he carries a bottle under his arm and  has a corkscrew. ] arthur:  grace, when did we last have the cellars seen to? grace:\t i\tcan\u2019t\tremember, \tdear. arthur:\t well, \tthey\u2019re\tin\ta\tshocking \tcondition. \thullo,\tdesmond. \thow\t are\tyou?\tyou\u2019re\tnot\tlooking\twell. desmond: \t am\ti\tnot?\ti\u2019ve\tstrained\tmy\tshoulder, \tyou\tknow. arthur:  well, why do you play these ridiculous games of yours?  resign yourself to the onrush of middle age and abandon  them, my dear desmond. [ he rings the bell and prepares to  draw the cork. ] desmond:  oh, i could never do that. not give up cricket. not altogether. john:  [making conversation ]:\tare\tyou\tany\trelation\tof\td\tw\th\tcurry\t who used to play for middlesex? desmond:  [whose moment has come ]:\ti\tam\td\tw\th\tcurry. grace:\t didn\u2019t \tyou\tknow\twe\thad\ta\tgreat\tman\tin\tthe\troom?  [from act 1, scene 1 ]    in what ways does rattigan make this such a tense moment in the play? or  6 \thow\tdoes\trattigan\tmake\tthe\trelationship \tbetween \tarthur\tand\tgrace\twinslow\tsuch\ta\t fascinating part of the play?45 50 55 60 65 70",
            "8": "8 0486/32/o/n/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it: macbeth:  so foul and fair a day i have not seen. banquo:  how\tfar\tis\u2019t\tcall\u2019d\tto\tforres?\twhat\tare\tthese, \t so\twither\u2019d, \tand\tso\twild\tin\ttheir\tattire, \t that\tlook\tnot\tlike\tth\u2019\tinhabitants \to\u2019\tth\u2019\tearth, \t and\tyet\tare\ton\u2019t?\tlive\tyou,\tor\tare\tyou\taught  that man may question? you seem to understand me,  by each at once her choppy finger laying  upon her skinny lips. you should be women,  and yet your beards forbid me to interpret  that you are so. macbeth:  speak, if you can. what are you? 1 witch:\t all\thail,\tmacbeth! \thail\tto\tthee,\tthane\tof\tglamis! 2 witch:\t all\thail,\tmacbeth! \thail\tto\tthee,\tthane\tof\tcawdor! 3 witch:\t all\thail,\tmacbeth, \tthat\tshalt\tbe\tking\thereafter! banquo:  good sir, why do you start, and seem to fear \t things\tthat\tdo\tsound\tso\tfair?\ti\u2019\tth\u2019\tname\tof\ttruth,  are ye fantastical, or that indeed  which outwardly ye show? my noble partner  you greet with present grace and great prediction  of noble having and of royal hope,  that he seems rapt withal. to me you speak not.  if you can look into the seeds of time  and say which grain will grow and which will not,  speak then to me, who neither beg nor fear  your favours nor your hate. 1 witch:  hail! 2 witch:  hail! 3 witch:  hail! 1 witch:  lesser than macbeth, and greater. 2 witch:  not so happy, yet much happier. 3 witch:   thou shalt get kings, though thou be none. \t so,\tall\thail,\tmacbeth \tand\tbanquo! 1 witch:\t banquo \tand\tmacbeth, \tall\thail! macbeth:  stay, you imperfect speakers, tell me more. \t by\tsinel\u2019s\tdeath\ti\tknow\ti\tam\tthane\tof\tglamis;  but how of cawdor? the thane of cawdor lives, \t a\tprosperous \tgentleman; \tand\tto\tbe\tking  stands not within the prospect of belief,  no more than to be cawdor. say from whence  you owe this strange intelligence, or why  upon this blasted heath you stop our way  with such prophetic greeting? speak, i charge you.  [witches  vanish. banquo:  the earth hath bubbles, as the water has, \t and\tthese\tare\tof\tthem.\twhither\tare\tthey\tvanish\u2019d?5 10 15 20 25 30 35 40 45",
            "9": "9 0486/32/o/n/19 \u00a9 ucles 2019 [turn over macbeth:  into\tthe\tair;\tand\twhat\tseem\u2019d\tcorporal\tmelted \t as\tbreath\tinto\tthe\twind.\twould\tthey\thad\tstay\u2019d! banquo:  were such things here as we do speak about?  or have we eaten on the insane root  that takes the reason prisoner? macbeth:  your children shall be kings. banquo:               you shall be king. macbeth:  and\tthane\tof\tcawdor\ttoo;\twent\tit\tnot\tso? banquo:  to\tth\u2019\tself-same \ttune\tand\twords.  [from act 1, scene 3 ] \t \t \t how \tdoes\tshakespeare \tmake\tthis\tearly\tmoment\tin\tthe\tplay\tso\tdisturbing? or  8 to\twhat\textent\tdoes\tshakespeare\u2019s \tportrayal \tof\tlady\tmacbeth \tencourage \tyou\tto\tfeel\t pity for her?50",
            "10": "10 0486/32/o/n/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: [enter  nurse .] nurse:  mistress! \twhat,\tmistress! \tjuliet!\tfast,\ti\twarrant\ther,\tshe. \t why,\tlamb!\twhy,\tlady!\tfie,\tyou\tslug-a-bed! \t why,\tlove,\ti\tsay!\tmadam!\tsweetheart! \twhy,\tbride!  what, not a word? you take your penny-worths now \t sleep\tfor\ta\tweek;\tfor\tthe\tnext\tnight,\ti\twarrant,  the county paris hath set up his rest \t that\tyou\tshall\trest\tbut\tlittle.\tgod\tforgive\tme! \t marry,\tand\tamen.\thow\tsound\tis\tshe\tasleep! \t i\tneeds\tmust\twake\ther.\tmadam,\tmadam,\tmadam! \t ay,\tlet\tthe\tcounty\ttake\tyou\tin\tyour\tbed; \t he\u2019ll\tfright\tyou\tup,\ti\u2019\tfaith.\twill\tit\tnot\tbe?  [draws the curtains. \t what,\tdress\u2019d,\tand\tin\tyour\tclothes,\tand\tdown\tagain! \t i\tmust\tneeds\twake\tyou.\tlady!\tlady!\tlady! \t alas,\talas!\thelp,\thelp!\tmy\tlady\u2019s\tdead! \t o\twell-a-day \tthat\tever\ti\twas\tborn! \t some\taqua-vitae, \tho!\tmy\tlord!\tmy\tlady! [enter  lady capulet .] lady capulet:  what noise is here? nurse:           o\tlamentable \tday! lady capulet:  what is the matter? nurse:           look,\tlook!\to\theavy\tday! lady capulet:  o\tme,\to\tme!\tmy\tchild,\tmy\tonly\tlife, \t revive,\tlook\tup,\tor\ti\twill\tdie\twith\tthee! \t help,\thelp!\tcall\thelp. [enter  capulet .] capulet:  for\tshame,\tbring\tjuliet\tforth;\ther\tlord\tis\tcome. nurse:  she\u2019s\tdead,\tdeceas\u2019d, \tshe\u2019s\tdead;\talack\tthe\tday! lady  capulet:  alack\tthe\tday,\tshe\u2019s\tdead,\tshe\u2019s\tdead,\tshe\u2019s\tdead! capulet:  ha!\tlet\tme\tsee\ther.\tout,\talas!\tshe\u2019s\tcold; \t her\tblood\tis\tsettled,\tand\ther\tjoints\tare\tstiff.  life and these lips have long been separated.  death lies on her like an untimely frost  upon the sweetest flower of all the field. nurse:\t o \tlamentable \tday! lady capulet:           o\twoeful\ttime! capulet:  death,\tthat\thath\tta\u2019en\ther\thence\tto\tmake\tme\twail,  ties up my tongue and will not let me speak. [enter friar lawrence  and county paris , with  musicians. ] friar lawrence:  come, is the bride ready to go to church?5 10 15 20 25 30 35 40",
            "11": "11 0486/32/o/n/19 \u00a9 ucles 2019 capulet:  ready to go, but never to return.  o son, the night before thy wedding day \t hath\tdeath\tlain\twith\tthy\twife.\tthere\tshe\tlies,  flower as she was, deflowered by him. \t death\tis\tmy\tson-in-law, \tdeath\tis\tmy\their; \t my\tdaughter \the\thath\twedded; \ti\twill\tdie, \t and\tleave\thim\tall;\tlife,\tliving,\tall\tis\tdeath\u2019s. paris:\t have\ti\tthought\tlong\tto\tsee\tthis\tmorning\u2019s \tface,  and doth it give me such a sight as this? lady capulet: \t accurs\u2019d, \tunhappy, \twretched, \thateful\tday! \t most\tmiserable \thour\tthat\te\u2019er\ttime\tsaw \t in\tlasting\tlabour\tof\this\tpilgrimage!  but one, poor one, one poor and loving child,  but one thing to rejoice and solace in, \t and\tcruel\tdeath\thath\tcatch\u2019d\tit\tfrom\tmy\tsight!  [from act 4, scene 5 ] \t \t \t\t how \tdoes\tshakespeare \tmake\tthis\tsuch\ta\tdramatic \tmoment\tin\tthe\tplay? or  10 in\twhat\tways\tdoes\tshakespeare\u2019s \tportrayal \tof\ttybalt\tmake\thim\tsuch\ta\tmemorable \t character?45 50 55",
            "12": "12 0486/32/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_w19_qp_33.pdf": {
            "1": "this document consists of 11 printed pages, 1 blank page and 1 insert. dc (kn) 187522/1 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education literature (english)  0486/33 paper 3  drama (open text)  october/november 2019  45 minutes texts studied should be taken into the examination. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer one question. all questions in this paper carry equal marks. *1456120566*",
            "2": "2 0486/33/o/n/19 \u00a9 ucles 2019 lorraine hansberry: a raisin in the sun remember to support your ideas with details from the writing. either  1 read this passage carefully, and then answer the question that follows it: [\u03b1 long minute passes and walter  slowly gets up. ] lindner:  [coming to the table with efficiency, putting his briefcase on  the table and starting to unfold papers and unscrew fountain  pens ]: well, i certainly was glad to hear from you people.  [walter has begun to trek out of the room, slowly and  awkwardly, rather like a small boy, passing the back of his  sleeve across his mouth from time to time. ] life can really  be so much simpler than people let it be most of the time.  well \u2013 with whom do i negotiate? you, mrs younger, or your  son here? [ mama  sits with her hands folded on her lap and  her eyes closed as walter advances.  travis goes close  to lindner  and looks at the paper curiously. ] just some  official papers, sonny. ruth:  travis, you go downstairs. mama:  [opening her eyes and looking into  walter \u2019s]: no. travis,  you stay right here. and you make him understand what you  doing, walter lee. you teach him good. like willy harris  taught you. you show where our five generations done come  to. go ahead, son \u2013 walter:  [looks down into his boy\u2019s eyes.  travis grins at him merrily  and walter draws him beside him with his arm lightly  around his shoulder ]: well, mr lindner. [ beneatha  turns  away. ] we called you [ there is a profound, simple groping  quality in his speech ] because, well, me and my family \u2026  [he looks around and shifts from one foot to the other. ] well  \u2013 we are very plain people \u2026 lindner:  yes \u2013 walter:  i mean \u2013 i have worked as a chauffeur most of my life \u2013 and  my wife here, she does domestic work in people\u2019s kitchens.  so does my mother. i mean \u2013 we are plain people \u2026 lindner:  yes, mr younger \u2013 walter:  [really like a small boy, looking down at his shoes and then  up at the man ]: and \u2013 uh \u2013 well, my father, well, he was a  labourer most of his life. lindner:  [absolutely confused ]: uh, yes \u2013 walter:  [looking down at his toes once again ]: my father almost beat  a man to death once because this man called him a bad  name or something, you know what i mean? lindner:  no, i\u2019m afraid i don\u2019t. walter:  [finally straightening up ]: well, what i mean is that we come  from people who had a lot of pride. i mean \u2013 we are very  proud people. and that\u2019s my sister over there and she\u2019s  going to be a doctor \u2013 and we are very proud \u2013 lindner:  well \u2013 i am sure that is very nice, but \u20135 10 15 20 25 30 35 40",
            "3": "3 0486/33/o/n/19 \u00a9 ucles 2019 [turn over walter:  [starting to cry and facing the man eye to eye ]: what i am  telling you is that we called you over here to tell you that we  are very proud and that this is \u2013 this is my son, who makes  the sixth generation of our family in this country, and that  we have all thought about your offer and we have decided  to move into our house because my father \u2013 my father \u2013  he earned it. [ mama  has her eyes closed and is rocking  back and forth as though she were in church, with her head  nodding the amen yes. ] we don\u2019t want to make no trouble  for nobody or fight no causes \u2013 but we will try to be good  neighbours. that\u2019s all we got to say. [ he looks the man  absolutely in the eyes. ] we don\u2019t want your money. [ he turns  and walks away from the man. ] lindner:  [looking around at all of them ]: i take it then that you have  decided to occupy. beneatha:  that\u2019s what the man said. lindner:  [to mama  in her reverie ]: then i would like to appeal to you,  mrs younger. you are older and wiser and understand things  better i am sure \u2026 mama:  [rising ]: i am afraid you don\u2019t understand. my son said we  was going to move and there ain\u2019t nothing left for me to say.  [shaking her head with double meaning. ] you know how  these young folks is nowadays, mister. can\u2019t do a thing with  \u2019em. good-bye.  [from act 3 ]   how does hansberry bring the play to such a dramatic climax here? or 2 in what ways does hansberry powerfully portray the relationship between ruth and  walter?45 50 55 60 65",
            "4": "4 0486/33/o/n/19 \u00a9 ucles 2019 arthur miller: a view from the bridge remember to support your ideas with details from the writing. either 3 read this passage carefully, and then answer the question that follows it: beatrice: they ain\u2019t goin\u2019 to come any quicker if you stand in the street.   content removed due to copyright restrictions.",
            "5": "5 0486/33/o/n/19 \u00a9 ucles 2019 [turn over catherine stops him at the door.] [from act 1 ]   how does miller make this moment in the play so revealing? or 4  how does miller use eddie\u2019s visits to alfieri to contribute to the dramatic impact of the  play? content removed due to copyright restrictions.",
            "6": "6 0486/33/o/n/19 \u00a9 ucles 2019 terence rattigan: the winslow boy remember to support your ideas with details from the writing. either 5 read this passage carefully, and then answer the question that follows it: sir robert: what were you thinking about outside the c.o.\u2019s office for  twenty-five minutes? ronnie: [wildly ]: i don\u2019t even know if i was there. i can\u2019t remember.  perhaps i wasn\u2019t there at all. sir robert: no. perhaps you were still in the locker room rifling elliot\u2019s locker \u2013 arthur: [indignantly ]: sir robert, i must ask you \u2013 sir robert: quiet! ronnie: i remember now. i remember. someone did see me outside the c.o.\u2019s office. a chap called casey. i remember i spoke to him. sir robert: what did you say? ronnie: i said: \u2018come down to the post office with me. i\u2019m going to cash a postal order.\u2019 sir robert: [triumphantly ]: cash a postal order. ronnie: i mean get. sir robert: you said cash. why did you say cash if you meant get? ronnie: i don\u2019t know. sir robert: i suggest cash was the truth. ronnie: no, no. it wasn\u2019t. it wasn\u2019t really. you\u2019re muddling me. sir robert: you seem easily muddled. how many other lies have you told? ronnie: none. really i haven\u2019t. sir robert: [bending forward malevolently ]: i suggest your whole  testimony is a lie. ronnie: no! it\u2019s the truth. sir robert: i suggest there is barely one single word of truth in anything you have said either to me, or to the judge advocate or to the commander. i suggest that you broke into elliot\u2019s locker, that you stole the postal order for five shillings belonging to elliot, and you cashed it by means of forging his name. ronnie: [wailing ]: i didn\u2019t. i didn\u2019t. sir robert: i suggest you did it for a joke, meaning to give elliot the five shillings back, but that when you met him and he said he had reported the matter that you got frightened and decided to keep quiet. ronnie: no, no, no. it isn\u2019t true. sir robert: i suggest that by continuing to deny your guilt you are causing great hardship to your own family, and considerable annoyance to high and important persons in this country \u2013 catherine: [on her feet ]: that\u2019s a disgraceful thing to say! arthur: [rising ]: i agree.5 10 15 20 25 303540",
            "7": "7 0486/33/o/n/19 \u00a9 ucles 2019 [turn over sir robert:  [leaning forward and glaring at ronnie  with utmost venom ]:  i suggest that the time has at last come for you to undo some  of the misery you have caused by confessing to us all now  that you are a forger, a liar and a thief. [grace  rises, crosses swiftly to ronnie  and envelops  him.] ronnie:  [in tears ]: i\u2019m not! i\u2019m not! i\u2019m not! i didn\u2019t do it. arthur:  this is outrageous, sir. [desmond  crosses above sir robert  to the table and  collects the documents. john  enters. he is dressed in  evening clothes. ] john : kate, dear, i\u2019m late. i\u2019m terribly sorry \u2013          [he stops short as he takes in the scene. ronnie  is  sobbing hysterically on his mother\u2019s breast. arthur  and  catherine  are glaring indignantly at sir robert , who is  putting his papers together. ] sir robert:  [to desmond ]: can i drop you anywhere? my car is at the  door. desmond : er\u2014no\u2014i thank you. sir robert:  [carelessly ]: well, send all this stuff round to my chambers  to-morrow morning, will you? desmond : but\u2014but will you need it now? sir robert:  oh, yes. the boy is plainly innocent. i accept the brief. [sir robert  bows to arthur  and catherine  and  walks languidly to the door past the bewildered john ,  to whom he gives a polite nod as he goes out. ronnie   continues to sob hysterically. ] quick curtain  [from act 1, scene 2\u200a ]   in what ways does rattigan make this such a powerful moment in the play? or 6  how far does rattigan\u2019s portrayal of arthur winslow encourage you to feel that he is a  good father?45 50 55 60 65 70",
            "8": "8 0486/33/o/n/19 \u00a9 ucles 2019 william shakespeare: macbeth remember to support your ideas with details from the writing. either  7 read this passage carefully, and then answer the question that follows it: m a c b e t h :              prithee, peace;  i dare do all that may become a man;  who dares do more is none. lady macbeth:               what beast was\u2019t then  that made you break this enterprise to me?  when you durst do it, then you were a man;  and to be more than what you were, you would  be so much more the man. nor time nor place  did then adhere, and yet you would make both;  they have made themselves, and that their fitness now  does unmake you. i have given suck, and know  how tender \u2019tis to love the babe that milks me \u2013  i would, while it was smiling in my face,  have pluck\u2019d my nipple from his boneless gums,  and dash\u2019d the brains out, had i so sworn  as you have done to this. macbeth:  if we should fail? lady macbeth:          we fail!  but screw your courage to the sticking place,  and we\u2019ll not fail. when duncan is asleep \u2013  whereto the rather shall his day\u2019s hard journey  soundly invite him \u2013 his two chamberlains  will i with wine and wassail so convince  that memory, the warder of the brain,  shall be a fume, and the receipt of reason  a limbec only. when in swinish sleep  their drenched natures lie as in a death,  what cannot you and i perform upon  th\u2019 unguarded duncan? what not put upon  his spongy officers, who shall bear the guilt  of our great quell? macbeth:           bring forth men-children only;  for thy undaunted mettle should compose  nothing but males. will it not be receiv\u2019d,  when we have mark\u2019d with blood those sleepy two  of his own chamber, and us\u2019d their very daggers,  that they have done \u2019t? lady macbeth:             who dares receive it other,  as we shall make our griefs and clamour roar  upon his death? macbeth:          i am settled, and bend up  each corporal agent to this terrible feat.  away, and mock the time with fairest show;  false face must hide what the false heart doth know.  [exeunt.  [from act 1, scene 7 ]5 10 15 20 25 30 35 40 45",
            "9": "9 0486/33/o/n/19 \u00a9 ucles 2019 [turn over    how does shakespeare powerfully portray lady macbeth at this moment in the play? or 8 to what extent does shakespeare encourage you to feel that macbeth\u2019s fate is inevitable?",
            "10": "10 0486/33/o/n/19 \u00a9 ucles 2019 william shakespeare: romeo and juliet remember to support your ideas with details from the writing. either  9 read this passage carefully, and then answer the question that follows it: [enter nurse  and her man, peter .] mercutio:  a sail, a sail! benvolio:  two, two; a shirt and a smock. nurse:  peter! peter:  anon. nurse:  my fan, peter. mercutio:  good peter, to hide her face; for her fan\u2019s the fairer face. nurse:  god ye good morrow, gentlemen. mercutio:  god ye good den, fair gentlewoman. nurse:  is it good den? mercutio:  \u2019tis no less, i tell ye; for the bawdy hand of the dial is now  upon the prick of noon. nurse:  out upon you! what a man are you? romeo:  one, gentlewoman, that god hath made himself to mar. nurse:  by my troth, it is well said. \u2018for himself to mar\u2019 quoth \u2019a!  gentlemen, can any of you tell me where i may find the  young romeo? romeo:  i can tell you; but young romeo will be older when you  have found him than he was when you sought him. i am the  youngest of that name, for fault of a worse. nurse:  you say well. mercutio:  yea, is the worst well? very well took, i\u2019 faith; wisely, wisely. nurse:  if you be he, sir, i desire some confidence with you. benvolio:  she will indite him to some supper. mercutio:  a bawd, a bawd, a bawd! so ho! romeo:  what hast thou found? mercutio:  no hare, sir; unless a hare, sir, in a lenten pie, that is  something stale and hoar ere it be spent.  [he walks by them and sings.  an old hare hoar,  and an old hare hoar,  is very good meat in lent;  but a hare that is hoar  is too much for a score,  when it hoars ere it be spent.  romeo, will you come to your father\u2019s? we\u2019ll to dinner thither. romeo:  i will follow you. mercutio:  farewell, ancient lady; farewell, [ sings ] lady, lady, lady.  [exeunt mercutio  and benvolio . nurse:  i pray you, sir, what saucy merchant was this that was so full  of his ropery?5 10 15 20 25 30 35 40",
            "11": "11 0486/33/o/n/19 \u00a9 ucles 2019 romeo:  a gentleman, nurse, that loves to hear himself talk, and will  speak more in a minute than he will stand to in a month. nurse:  an \u2019a speak anything against me, i\u2019ll take him down, an  \u2019a were lustier than he is, and twenty such jacks; and if i  cannot, i\u2019ll find those that shall. scurvy knave! i am none  of his flirt-gills; i am none of his skains-mates. and thou  must stand by too, and suffer every knave to use me at his  pleasure? peter:  i saw no man use you at his pleasure; if i had, my weapon  should quickly have been out, i warrant you. i dare draw as  soon as another man, if i see occasion in a good quarrel,  and the law on my side. nurse:  now, afore god, i am so vex\u2019d that every part about me  quivers. scurvy knave! \u2013 pray you, sir, a word; and as i told  you, my young lady bid me enquire you out; what she bid me  say i will keep to myself. but first let me tell ye, if ye should  lead her in a fool\u2019s paradise, as they say, it were a very  gross kind of behaviour, as they say; for the gentlewoman  is young; and, therefore, if you should deal double with her,  truly it were an ill thing to be off\u2019red to any gentlewoman,  and very weak dealing.  [from act 2, scene 4 ]    how does shakespeare make this such an entertaining moment in the play? or 10 does shakespeare\u2019s writing encourage you to feel more sympathy for juliet than for  romeo?45 50 55 60",
            "12": "12 0486/33/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge.blank page"
        },
        "0486_w19_qp_41.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 165597/1 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *8759885726*literature (english)  0486/41 paper 4  unseen  october/november 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/41/o/n/19 \u00a9 ucles 2019 answer either  question 1 or question 2. either 1 read carefully the poem opposite.  how does the poet strikingly convey different perspectives on respect for women?  to help you answer this question, you might consider: \u2022 how the male speaker expresses his perspective \u2022 how the female speaker replies to him \u2022 how you feel the writer conveys her own perspective.",
            "3": "3 0486/41/o/n/19 \u00a9 ucles 2019 [turn over respect what you don\u2019t understand, sister is that women are respected in africa    oh yes we call a woman the light of the house she is the one who fetches water she is the one who cooks the food she is the one who gives milk and brings wood she is the one we come to when we need satisfaction. we know where the light comes from women are respected  is that so, brother ?  is that why she is the last to drink from the gourd?1  is that why she is the last to eat from the bowl?  is that why she is the last to sleep and the first to rise?  is that why she is the one for whom the only satisfaction  is another mouth to feed?  and tell me, brother  if the woman is the light of the house  where does the darkness come from?  and tell me, brother  what will happen if the light fades  or simply refuses to shine? then, sister it must be made to shine again or cast out a light that does not shine is of no use to anyone    i see good, i knew you would understand in africa, my sister , women are respected 1  gourd : container made from the hard skin of the fruit of the calabash tree",
            "4": "4 0486/41/o/n/19 \u00a9 ucles 2019 or 2 read carefully the extract opposite. tom is a young man travelling on a luxury ship (paid for by  others) from the usa to europe. he is reflecting on his past life.  how does the writer make you feel about tom?  to help you answer this question, you might consider: \u2022 how the writer presents tom\u2019s thoughts about his past life \u2022 how the writer suggests the kind of person tom is \u2022 the extent to which you sympathise with tom.",
            "5": "5 0486/41/o/n/19 \u00a9 ucles 2019 lying in his deck-chair, fortified morally by the luxurious surroundings and  inwardly by the abundance of well-prepared food, he tried to take an objective look  at his past life. the last four years had been for the most part a waste, there was  no denying that. a series of haphazard jobs, long perilous intervals with no job at all  and consequent demoralization because of having no money, and then taking up with stupid, silly people in order not to be lonely, or because they could offer him something for a while, as marc priminger had. it was not a record to be proud of, considering he had come to new york with such high aspirations. he had wanted to be an actor, though at twenty he had not had the faintest idea of the difficulties,  the necessary training, or even the necessary talent. he had thought he had the  necessary talent and that all he would have to do was show a producer a few of his original one-man skits 1 but his first three rebuffs2 had killed all his courage and  his hope. he had had no reserve of money, so he had taken the job on the banana boat, which at least had removed him from new york. he had been afraid that aunt  dottie had called the police to look for him in new york, though he hadn\u2019t done  anything wrong in boston, just run off to make his own way in the world as millions of young men had done before him. his main mistake had been that he had never stuck to anything, he thought, like  the accounting job in the department store that might have worked into something, if he had not been so completely discouraged by the slowness of department-store  promotions. well, he blamed aunt dottie to some extent for his lack of perseverance,  never giving him credit when he was younger for anything he had stuck to \u2013 like his paper route when he was thirteen. he had won a silver medal from the newspaper for \u2018courtesy, service, and reliability\u2019. it was like looking back at another person to remember himself then, a skinny, snivelling wretch with an eternal cold in the  nose, who had still managed to win a medal for courtesy, service, and reliability.  aunt dottie had hated him when he had a cold; she used to take her handkerchief and nearly wrench his nose off, wiping it. tom writhed in his deck-chair as he thought of it, but he writhed elegantly,  adjusting the crease of his trousers. he remembered the vows he had made, even at the age of eight, to run away  from aunt dottie, the violent scenes he had imagined \u2013 aunt dottie trying to hold him in the house, and he hitting her with his fists, flinging her to the ground and throttling her, and finally tearing the big brooch off her dress and stabbing her a million times in the throat with it. he had run away at seventeen and had been brought back, and he had done it again at twenty and succeeded. and it was astounding and pitiful  how na\u00efve he had been, how little he had known about the way the world worked,  as if he had spent so much of his time hating aunt dottie and scheming how to escape her, that he had not had enough time to learn and grow. 1 skits : comic sketches or routines 2 rebuffs : rejections",
            "6": "6 0486/41/o/n/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/41/o/n/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/41/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_w19_qp_42.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 165596/2 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *6684119483*literature (english)  0486/42 paper 4  unseen  october/november 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/42/o/n/19 \u00a9 ucles 2019 answer either  question 1 or question 2. either 1 read carefully the poem opposite, which is part of a longer poem.  how does the poet vividly present fears about the future?  to help you answer this question, you might consider: \u2022 how the writing draws your attention to future dangers \u2022 how the poet powerfully portrays indifference to the future \u2022 the effect of presenting the reader with a series of questions.",
            "3": "3 0486/42/o/n/19 \u00a9 ucles 2019 [turn over signs from the old times what will we choose? mildly indif ferent to storm or sunlight? 1 anomie : lack of social values content removed due to copyright restrictions.",
            "4": "4 0486/42/o/n/19 \u00a9 ucles 2019 or 2 read carefully the extract opposite, in which the world is threatened by a growing covering of ice.  this has now reached the protective wall built to hold it back.  how does the writer powerfully portray a world under threat?  to help you answer this question, you might consider: \u2022 how the writer uses the narrator to represent the people\u2019s feelings \u2022 what makes the description of the birds so disturbing \u2022 how the writer presents a world that has changed.",
            "5": "5 0486/42/o/n/19 \u00a9 ucles 2019 had we really imagined that our guardian wall would contain all of the snow  and ice and storm on one side of it, leaving everything on the other side warm and  sweet? no, we had not; but we had not, either, really taken into our understandings  that the threat would strike so hard into where we now all lived \u2026 into where we were  crowding, massed, jostling together, with so much less of food and pleasantness that our former selves, our previous conditions, seemed like a dream of some distant and favoured planet that we only imagined we had known. we stood there, looking into hills and valleys where grass still grew, though  more thinly, and where the movement of water was still quick and free; we saw how  the herds of animals of the cold spread everywhere, making our ears ring and hurt  with their savage exulting bellowing because they had found some grass. we were a company of thin yellow light-boned birdlike creatures, engulfed in the thick pelts of the herds, wildly gazing at a landscape that no longer matched us. and, as we had taken to doing more and more, we gazed up, our eyes kept returning to the skies,  where the birds moved easily. no, they were not the small and pretty birds of the  warm times, flocks and groups and assemblies darting and swirling and swooping as one, moving as fast as water does when its molecules are dancing. they were the birds of this chilly time, individual, eagles and hawks and buzzards 1, moving  slowly on wings that did not beat, but balanced. they too had heavy shoulders and their eyes glared from thick feathers, and they circled and swept about the skies on  the breath of freezing winds that had killed our familiar flocks sometimes as they  flew; so that, seeing the little brightly coloured bodies drop from the air, we had looked up and imagined we could see, too, the freezing blast that had struck them down out of the sky. but they were birds, these great savage creatures; they could move; they could sweep from one end of a valley to the other in the time we could hold a breath. we had once been as they were, we told ourselves, as we stood  there on the wall slowed and clumsy in our thick skins \u2013 the wall which, on the side  towards the ice, was dimmed and clouded, no longer a brilliant shining black, but shades of grey. frosted grey. 1 eagles and hawks and buzzards : birds of prey",
            "6": "6 0486/42/o/n/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/42/o/n/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/42/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        },
        "0486_w19_qp_43.pdf": {
            "1": "this document consists of 5 printed pages, 3 blank pages and 1 insert. dc (rcl (go)) 165595/1 \u00a9 ucles 2019  [turn overcambridge assessment international education cambridge international general certificate of secondary education *2090645889*literature (english)  0486/43 paper 4  unseen  october/november 2019  1 hour 15 minutes no additional materials are required. read these instructions first an answer booklet is provided inside this question paper. you should follow the instructions on the front cover  of the answer booklet. if you need additional answer paper ask the invigilator for a continuation booklet. answer either  question 1 or question 2. you are advised to spend about 20 minutes reading the question paper and planning your answer. both questions in this paper carry equal marks.",
            "2": "2 0486/43/o/n/19 \u00a9 ucles 2019 answer either  question 1 or question 2. either 1 read carefully the poem opposite. the poet imagines what life is like for a baby in the womb and  what it is like to grow old.  how does the poet vividly convey his thoughts and feelings about the beginning and end  of life?  to help you answer this question, you might consider:   \u2022 the way the poet describes life before birth   \u2022 how he imagines the ending of life   \u2022 the effect of the final three lines of the poem.",
            "3": "3 0486/43/o/n/19 \u00a9 ucles 2019 [turn over new born the first thing i did against my will is see light. older, in my mother\u2019s belly with a good mind, i sometimes dreamed different kinds of darkness. i kicked, had sweet dreams and nightmares something like death, unborn happiness, blind hallucinations, memories i can\u2019t name that still push me to act with unborn hands, all before breathing. what last thing will cross my mind after last rights and wrongs? they say the grand finale1 is like sleep, i may feel love\u2019s nuts and bolts unscrewing \u2013 it\u2019s best to be held tight. a pillow does not kiss. may i never waver in peaceful unmindfulness. i\u2019ve seen passionate suffocation, i\u2019ve felt exquisite pain. far better doggerel2: \u201cnurse, nurse, i\u2019m getting worse!\u201d undone, i\u2019d like my last thoughts to rhyme:        i did not lend    you my love. the end. 1 finale : ending 2 doggerel : funny or badly written rhymes",
            "4": "4 0486/43/o/n/19 \u00a9 ucles 2019 or 2 read carefully the following extract from a novel. quinn is pretending to be a detective. he has  been following a man called stillman, who he thinks is a dangerous criminal. they now meet for  the first time.  how does the writer make this encounter so unsettling?  to help you answer this question, you might consider: \u2022 how the writer creates tension before they speak \u2022 what is both entertaining and disturbing about their conversation \u2022 the discussion of names at the end of the passage. the first meeting with stillman took place in riverside park. it was mid- afternoon, a saturday of bicycles, dog-walkers, and children. stillman was  sitting alone on a bench, staring out at nothing in particular, the little red  notebook on his lap. there was light everywhere, an immense light that  seemed to radiate outward from each thing the eye caught hold of, and  overhead, in the branches of the trees, a breeze continued to blow, shaking  the leaves with a passionate hissing, a rising and falling that breathed on  as steadily as surf. quinn had planned his moves carefully. pretending not to notice  stillman, he sat down on the bench beside him, folded his arms across  his chest, and stared out in the same direction as the old man. neither of  them spoke. by his later calculations, quinn estimated that this went on  for fifteen or twenty minutes. then, without warning, he turned his head  toward the old man and looked at him point blank, stubbornly fixing his  eyes on the wrinkled profile. quinn concentrated all his strength in his  eyes, as if they could begin to burn a hole in stillman\u2019s skull. this stare  went on for five minutes. at last stillman turned to him. in a surprisingly gentle tenor voice he  said, \u2018i\u2019m sorry, but it won\u2019t be possible for me to talk to you.\u2019 \u2018i haven\u2019t said anything,\u2019 said quinn. \u2018that\u2019s true,\u2019 said stillman. \u2018but you must understand that i\u2019m not in  the habit of talking to strangers.\u2019 \u2018i repeat,\u2019 said quinn, \u2018that i haven\u2019t said anything.\u2019 \u2018yes, i heard you the first time. but aren\u2019t you interested in knowing  why?\u2019 \u2018i\u2019m afraid not.\u2019 \u2018well put. i can see you\u2019re a man of sense.\u2019 quinn shrugged, refusing to respond. his whole being now exuded  indifference. stillman smiled brightly at this, leaned toward quinn, and said in a  conspiratorial voice, \u2018i think we\u2019re going to get along.\u2019 \u2018that remains to be seen,\u2019 said quinn after a long pause. stillman laughed \u2013 a brief, booming \u2018haw\u2019 \u2013 and then continued. \u2018it\u2019s not   that i dislike strangers per se1. it\u2019s just that i prefer not to speak to anyone  who does not introduce himself. in order to begin, i must have a name.\u2019 \u2018but once a man gives you his name, he\u2019s no longer a stranger.\u2019 \u2018exactly. that\u2019s why i never talk to strangers.\u2019 quinn had been prepared for this and knew how to answer. he was  not going to let himself be caught. since he was technically paul auster,  that was the name he had to protect. anything else, even the truth, would  be an invention, a mask to hide behind and keep him safe.",
            "5": "5 0486/43/o/n/19 \u00a9 ucles 2019 \u2018in that case,\u2019 he said, \u2018i\u2019m happy to oblige you. my name is quinn.\u2019 \u2018ah,\u2019 said stillman reflectively, nodding his head. \u2018quinn.\u2019\u2018yes, quinn. q-u-i-n-n.\u2019 \u2018i see. yes, yes, i see. quinn. hmmm. yes. very interesting. quinn. a  most resonant word. rhymes with twin, does it not?\u2019 \u2018that\u2019s right. twin.\u2019 \u2018and sin, too, if i\u2019m not mistaken.\u2019\u2018you\u2019re not.\u2019 1 per se : (latin) as such",
            "6": "6 0486/43/o/n/19 \u00a9 ucles 2019 blank page",
            "7": "7 0486/43/o/n/19 \u00a9 ucles 2019 blank page",
            "8": "8 0486/43/o/n/19 \u00a9 ucles 2019 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 the cambridge assessment group. cambridge assessment is the brand name of the university of  cambridge local examinations syndicate (ucles), which itself is a department of the university of cambridge."
        }
    }
}