LITERATUREWritten examination
Monday 11 November 2019 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)
TASK BOOK
Structure of bookSection Number of
questionsNumber of questions
to be answeredNumber of
marks
A 30 1 20B 30 1 20
Total 40
• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.
• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.
• Nocalculatorisallowedinthisexamination.
Materials supplied• Taskbookof68pages,includingassessment criteriaonpage68• Oneormoreanswerbooks
The task• Youarerequiredtocompletetwopiecesofwriting:oneforSectionAandoneforSectionB.• Eachpieceofwritingmustbebasedonatextselectedfromthelistonpages2and3ofthistaskbook.• Eachselectedtextmustbefromadifferentcategory(novels,plays,shortstories,otherliterature,
poetry).Youmustnotwriteontwotextsfromthesamecategory.Studentswhowriteontwotextsfromthesamecategorywillreceiveascoreofzeroforoneoftheirresponses.
Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Intheanswerbook(s),indicatewhichsectionyouarerespondingtoandthetextnumberofyour
selectedtext.• AllwrittenresponsesmustbeinEnglish.
At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.
Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.
©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2019
Victorian Certificate of Education 2019
2019LITERATUREEXAM 2
Table of contents
Novels Page
Text number Section A Section B
1. JaneAusten Northanger Abbey 4 8–9
2. RobynCadwallader The Anchoress 4 10–11
3. ItaloCalvino Baron in the Trees 4 12–13
4. JosephConrad Heart of Darkness 4 14–15
5. ElizabethGaskell North and South 4 16–17
6. ChristinaStead The Man Who Loved Children 4 18–19
7. JuanGabrielVásquez The Sound of Things Falling 4 20–21
8. JeanetteWinterson The Passion 4 22–23
9. AlexisWright Carpentaria 4 24–25
Plays
Text number
10. AndrewBovell Speaking in Tongues 5 26–27
11. ShelaghDelaney A Taste of Honey 5 28–29
12. Euripides Hippolytus 5 30–31
13. ToniMorrison Desdemona 5 32–33
14. YasminaReza Art 5 34–35
15. WilliamShakespeare Othello 5 36–37
16. WilliamShakespeare Twelfth Night 5 38–39
17. SamShepard Buried Child 5 40–41
18. TennesseeWilliams Cat on a Hot Tin Roof 5 42–43
Short stories
Text number
19. MaxineBenebaClarke Foreign Soil 5 44–45
20. CeridwenDovey Only the Animals 5 46–47
21. NikolayGogol The Diary of a Madman, The Government Inspector and Selected Stories
5 48–49
3 2019LITERATUREEXAM
TURN OVER
Other literature Page
Text number Section A Section B
22. SheilaFitzpatrick My Father’s Daughter: Memories of an Australian Childhood
6 50–51
23. Voltaire Candide, or Optimism 6 52–53
24. VirginiaWoolf A Room of One’s Own 6 54–55
Poetry
Text number
25. RobertBrowning Selected Poems 6 56–57
26. TinaChang, NathalieHandaland RaviShankar(eds)
Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
6 58–59
27. SylviaPlath Ariel 6 60–61
28. ChrisWallace-Crabbe New and Selected Poems 6 62–63
29. SamuelWaganWatson Smoke Encrypted Whispers 6 64–65
30. PetraWhite A Hunger 6 66–67
Assessment criteria 68
2019LITERATUREEXAM 4
SECTION A – continued
SECTION A – Literary perspectives
Instructions for Section AYouarerequiredtocompleteonepieceofwritinginresponsetothetopicsetforonetext.Yourselectedtextmustbeusedasthebasisforyourresponsetothetopic.Youarerequiredtoproduceaninterpretationofthetextusingoneliteraryperspectivetoinformyourview.YourselectedtextforSectionAmustbefromadifferentcategorythanyourselectedtextforSectionB.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionAisworth20marks.
Novels
1. Jane Austen, Northanger Abbey Austen’sNorthanger Abbeyusesanunconventionalheroinetoexposesociety’sfocusonappearances.
Discuss.
2. Robyn Cadwallader, The Anchoress Cadwallader’sThe Anchoresssuggeststhatrelationshipsshapepeople.Towhatextentdoyouagree?
3. Italo Calvino, Baron in the Trees InCalvino’sBaron in the Trees,individualfreedomisvaluedmorethanthedemandsofsociety.
Discuss.
4. Joseph Conrad, Heart of Darkness Conrad’sHeart of Darknessisdisturbingbecauseitquestionswhatitmeanstobecivilised.Towhat
extentdoyouagree?
5. Elizabeth Gaskell, North and South ConsiderthepropositionthatGaskell’sNorth and Southpresentschangeaschallengingbutessential.
6. Christina Stead, The Man Who Loved Children InStead’sThe Man Who Loved Children,Sam’swifeandchildrencanonlybethemselveswhenthey
directlyopposehim.Towhatextentdoyouagree?
7. Juan Gabriel Vásquez, The Sound of Things Falling ThecentralcharactersinVásquez’sThe Sound of Things Fallingaredamaged‘innocents’withalackof
controlovertheirlives.Discuss.
8. Jeanette Winterson, The Passion Reflectontheideathat,inWinterson’sThe Passion,nothingiseverquitewhatitseems.
9. Alexis Wright, Carpentaria Wright’sCarpentariashowshowpeople’srivalriescanblindthemtomoresignificantdangers.Towhat
extentdoyouagree?
5 2019LITERATUREEXAM
SECTION A – continuedTURN OVER
Plays
10. Andrew Bovell, Speaking in Tongues InBovell’sSpeaking in Tongues,asenseofuneaseanddissatisfactionisevidentinthelivesofthe
characters.Discuss.
11. Shelagh Delaney, A Taste of Honey InDelaney’sA Taste of Honey,thecharactersareaffectedbyprejudiceasmuchasbypoverty.Towhat
extentdoyouagree?
12. Euripides, Hippolytus ReflectontheideathatthemortalcharactersinEuripides’sHippolytusarevictimsoftheirownchoices.
13. Toni Morrison, Desdemona InMorrison’sDesdemona,thedesireforreconciliationisstrongerthanthesenseofbetrayal.Towhat
extentdoyouagree?
14. Yasmina Reza, Art Reza’sArtsuggeststhatrelationshipscanfallapartbecauseeachpersonhastheirownwayofseeing.
Discuss.
15. William Shakespeare, Othello InShakespeare’sOthello,thetitlecharacter’stragicfallisaresultofhisfailuretounderstandhimself.
Towhatextentdoyouagree?
16. William Shakespeare, Twelfth Night InShakespeare’sTwelfth Night,lovehasthepowertodisrupt.Towhatextentdoyouagree?
17. Sam Shepard, Buried Child Considerthepropositionthat,inShepard’sBuried Child,thefamilyisdestroyedbysecrecy.
18. Tennessee Williams, Cat on a Hot Tin Roof InWilliams’sCat on a Hot Tin Roof,thecharactersareisolatedbytheirfears.Towhatextentdoyou
agree?
Short stories
19. Maxine Beneba Clarke, Foreign Soil InForeign Soil,Clarke’sstoriesexplorehumanrestlessnessandaneedforpeace.Discuss.
20. Ceridwen Dovey, Only the Animals ReflectontheideathatthestoriesinDovey’sOnly the Animalsexposetheflawsinhumanbeings.
21. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories Gogol’sThe Diary of a Madman, The Government Inspector and Selected Storiesshowsreadersthat
appearancescanbemisleading.Towhatextentdoyouagree?
2019LITERATUREEXAM 6
END OF SECTION A
Other literature
22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood Fitzpatrick’sMy Father’s Daughter: Memories of an Australian Childhoodsuggeststhatpeoplecannot
escapetheinfluenceoftheirparents.Discuss.
23. Voltaire, Candide, or Optimism Voltaire’sCandide, or Optimismsuggeststhat,intimesofadversity,peopleareextremelyresilient.To
whatextentdoyouagree?
24. Virginia Woolf, A Room of One’s Own Woolf’sA Room of One’s Ownsuggeststhatchallengingsociety’sexpectationsisessentialforsocial
progress.Discuss.
Poetry
25. Robert Browning, Selected Poems ReflectontheideathatthemisuseofpowerisstronglycondemnedinBrowning’sSelected Poems.
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
InLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond, identityisshapedbyforcesbeyondtheindividual’scontrol.Discuss.
27. Sylvia Plath, Ariel Considerthepropositionthat,inPlath’sAriel,thespeakerspresentableakandunjustworldwithonly
fleetingmomentsofjoy.
28. Chris Wallace-Crabbe, New and Selected Poems CentraltoWallace-Crabbe’spoetryinNew and Selected Poemsarerelationshipsbetweenpeopleand
connectionswithplaces.Discuss.
29. Samuel Wagan Watson, Smoke Encrypted Whispers InWatson’sSmoke Encrypted Whispers,modernurbancultureispresentedasanuglyandawkward
intrusionuponAustralia.Discuss.
30. Petra White, A Hunger Reflectontheideathatasearchingexaminationofthe‘self’isattheheartofWhite’spoemsin
A Hunger.
7 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
SECTION B – Close analysis
Instructions for Section BYouarerequiredtocompleteonepieceofwritingbasedononetextinresponsetothetaskset.Threepassageshavebeensetforeverytext.Thesetpassagesarepresentedintheorderinwhichtheyappearinthenominatedversionofthetext.Thesetpassagesarealsoreproducedastheyappearinthenominatedversionofthetext.Youmustusetwo or moreofthesetpassagesasthebasisforadiscussionabouttheselectedtext.Inyourresponse,referindetailtothesetpassagesandtheselectedtext.Youmayincludeminorreferencestoothertexts.YourselectedtextforSectionBmustbefromadifferentcategorythanyourselectedtextforSectionA.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionBisworth20marks.
2019LITERATUREEXAM 8
SECTION B – continued
Novels
1. Jane Austen, Northanger Abbey
Use two or more of the set passages as the basis for a discussion of Northanger Abbey.
1.
HeretheywereinterruptedbyarequestfromMrs.ThorpetoMrs.Allen,thatshewouldmovealittletoaccommodateMrs.HughesandMissTilneywithseats,astheyhadagreedtojointheirparty.Thiswasaccordinglydone,Mr.Tilneystillcontinuing standing before them; and after a fewminutesconsideration, he askedCatherine to dancewith him.Thiscompliment,delightfulasitwas,producedseveremortificationtothelady;andingivingherdenial,sheexpressedhersorrowontheoccasionsoverymuchasifshereallyfeltit,thathadThorpe,who joinedher just afterwards,beenhalf aminuteearlier,hemighthavethoughthersufferingsrathertooacute.Theveryeasymannerinwhichhethentoldherthathehadkeptherwaiting,didnotbyanymeansreconcilehermoretoherlot;nordidtheparticularswhichheenteredintowhiletheywerestandingup,ofthehorsesanddogsofthefriendwhomhehadjustleft,andofaproposedexchangeofterriersbetweenthem,interesthersomuchastopreventherlookingveryoftentowardsthatpartoftheroomwhereshehadleftMr.Tilney.OfherdearIsabella,towhomsheparticularlylongedtopointoutthatgentleman,shecouldseenothing.Theywereindifferentsets. Shewas separated fromall her party, and away fromallher acquaintance;—onemortification succeededanother,andfromthewholeshededucedthisusefullesson,thattogopreviously engaged to a ball, does not necessarily increaseeitherthedignityorenjoymentofayounglady.Fromsuchamoralizingstrainasthis,shewassuddenlyrousedbyatouchon the shoulder, and turning round,perceivedMrs.Hughesdirectlybehindher,attendedbyMissTilneyandagentleman.“Ibegyourpardon,MissMorland,”saidshe,“forthisliberty,—butIcannotanyhowgettoMissThorpe,andMrs.Thorpesaidshewassureyouwouldnothavetheleastobjectiontolettinginthisyoungladybyyou.”Mrs.HughescouldnothaveappliedtoanycreatureintheroommorehappytoobligeherthanCatherine.Theyoungladieswereintroducedtoeachother,MissTilneyexpressingapropersenseofsuchgoodness,MissMorlandwiththerealdelicacyofagenerousmindmakinglightoftheobligation;andMrs.Hughes,satisfiedwithhavingsorespectablysettledheryoungcharge,returnedtoherparty. MissTilneyhadagoodfigure, apretty face, andaveryagreeablecountenance;andherair,thoughithadnotallthedecidedpretension,theresolutestilishnessofMissThorpe’s,hadmorerealelegance.Hermannersshewedgoodsenseandgoodbreeding;theywereneithershy,noraffectedlyopen;andsheseemedcapableofbeingyoung,attractive,andataball,withoutwantingtofixtheattentionofeverymannearher,andwithoutexaggeratedfeelingsofextaticdelightorinconceivablevexationoneverylittletriflingoccurrence.Catherine,interestedatoncebyherappearanceandherrelationshiptoMr.Tilney,wasdesirousofbeingacquaintedwithher,andreadilytalkedthereforewhenevershecouldthinkofanythingtosay,andhadcourageandleisureforsayingit.
* * *
2.
“Northanger is notmore than halfmy home; I have anestablishmentatmyownhouseinWoodston,whichisnearlytwentymiles frommy father’s, and some ofmy time isnecessarilyspentthere.” “Howsorryyoumustbeforthat!” “IamalwayssorrytoleaveEleanor.” “Yes;butbesidesyouraffectionforher,youmustbesofondoftheabbey!—Afterbeingusedtosuchahomeastheabbey,anordinaryparsonage-housemustbeverydisagreeable.” Hesmiled,andsaid,“Youhaveformedaveryfavourableideaoftheabbey.” “TobesureIhave.Isnotitafineoldplace,justlikewhatonereadsabout?” “Andareyoupreparedtoencounterallthehorrorsthatabuildingsuchas‘whatonereadsabout’mayproduce?—Haveyouastoutheart?—Nervesfitforslidingpannelsandtapestry?” “Oh! yes—I do not think I should be easily frightened,because therewouldbe somanypeople in thehouse—andbesides, it hasneverbeenuninhabited and left deserted foryears,andthenthefamilycomebacktoitunawares,withoutgivinganynotice,asgenerallyhappens.” “No,certainly.—Weshallnothavetoexploreourwayintoahalldimlylightedbytheexpiringembersofawoodfire—norbeobligedtospreadourbedsonthefloorofaroomwithoutwindows,doors,orfurniture.Butyoumustbeawarethatwhenayoungladyis(bywhatevermeans)introducedintoadwellingofthiskind,sheisalwayslodgedapartfromtherestof thefamily.Whiletheysnuglyrepairtotheirownendofthehouse,sheisformallyconductedbyDorothytheancienthousekeeperupadifferentstaircase,andalongmanygloomypassages,intoanapartmentneverusedsincesomecousinorkindiedinitabouttwentyyearsbefore.Canyoustandsuchaceremonyasthis?Willnotyourmindmisgiveyou,whenyoufindyourselfinthisgloomychamber—tooloftyandextensiveforyou,withonlythefeebleraysofasinglelamptotakeinitssize—itswallshungwithtapestryexhibitingfiguresaslargeaslife,andthebed,ofdarkgreenstufforpurplevelvet,presentingevenafunerealappearance.Willnotyourheartsinkwithinyou?” “Oh!butthiswillnothappentome,Iamsure.”
* * *
9 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
1. Jane Austen, Northanger Abbey
3.
ThenextmorningbroughtthefollowingveryunexpectedletterfromIsabella:—
Bath, April— MydearestCatherine, Ireceivedyourtwokindletterswiththegreatestdelight,andhaveathousandapologiestomakefornotansweringthemsooner.Ireallyamquiteashamedofmyidleness;butinthishorridplaceonecanfindtimefornothing.IhavehadmypeninmyhandtobeginalettertoyoualmosteverydaysinceyouleftBath,buthavealwaysbeenpreventedbysomesillytriflerorother.Praywritetomesoon,anddirecttomyownhome.ThankGod!weleavethisvileplaceto-morrow.Sinceyouwentaway,Ihavehadnopleasureinit—thedustisbeyondanything;andeverybodyonecaresforisgone.IbelieveifIcouldseeyouIshouldnotmindtherest,foryouaredearertomethananybodycanconceive.Iamquiteuneasyaboutyourdearbrother,nothavingheardfromhimsincehewenttoOxford;andamfearfulofsomemisunderstanding.Yourkindofficeswillsetallright:—heistheonlymanIeverdidorcouldlove,andItrustyouwillconvincehimofit.Thespringfashionsarepartlydown;andthehatsthemostfrightfulyoucanimagine.Ihopeyouspendyourtimepleasantly,butamafraidyouneverthinkofme.IwillnotsayallthatIcouldofthefamilyyouarewith,becauseIwouldnotbeungenerous,orsetyouagainstthoseyouesteem;butitisverydifficulttoknowwhomtotrust,andyoungmenneverknowtheirmindstwodaystogether.Irejoicetosay,thattheyoungmanwhom,ofallothers,Iparticularlyabhor,hasleftBath.Youwillknow,fromthisdescription,ImustmeanCaptainTilney,who,asyoumayremember,wasamazinglydisposedtofollowandteaseme,beforeyouwentaway.Afterwardshegotworse,andbecamequitemyshadow.Manygirlsmight have been taken in, for neverwere suchattentions;butIknewtheficklesextoowell.Hewentawaytohisregimenttwodaysago,andItrustIshallneverbeplaguedwithhimagain.HeisthegreatestcoxcombIeversaw,andamazinglydisagreeable.ThelasttwodayshewasalwaysbythesideofCharlotteDavis:Ipitiedhistaste,buttooknonoticeofhim.ThelasttimewemetwasinBath-street,andIturneddirectlyintoashopthathemightnotspeaktome;—Iwouldnotevenlookathim.HewentintothePump-roomafterwards;butIwouldnothavefollowedhimforalltheworld.Suchacontrastbetweenhimandyourbrother!—praysendmesomenewsofthelatter—Iamquiteunhappyabouthim,heseemedsouncomfortablewhenhewentaway,withacold,orsomethingthataffectedhisspirits.Iwouldwritetohimmyself,buthavemislaidhisdirection;and,asIhintedabove,amafraidhetooksomethinginmyconductamiss.Prayexplaineverythingtohissatisfaction;or,ifhestillharboursanydoubt,alinefromhimselftome,oracallatPutneywhennextintown,mightsetalltorights.IhavenotbeentotheRoomsthisage,nortothePlay,exceptgoinginlastnightwiththeHodges’s,forafrolic,athalf-price:theyteasedmeintoit;andIwasdeterminedtheyshouldnotsayIshutmyselfupbecauseTilneywasgone.WehappenedtositbytheMitchells,andtheypretendedtobequitesurprizedtoseemeout.Iknewtheirspite:—atonetimethey
couldnotbeciviltome,butnowtheyareallfriendship;butIamnotsuchafoolastobetakeninbythem.YouknowIhaveaprettygoodspiritofmyown.AnneMitchellhadtriedtoputonaturbanlikemine,asIworeittheweekbeforeattheConcert,butmadewretchedworkofit—ithappenedtobecomemyoddfaceIbelieve,atleastTilneytoldmesoatthetime,andsaideveryeyewasuponme;butheisthelastmanwhosewordIwouldtake.Iwearnothingbutpurplenow:IknowIlookhideousinit,butnomatter—itisyourdearbrother’sfavouritecolour.Losenotime,mydearest,sweetestCatherine,inwritingtohimandtome,
Whoeveram,&c.
SuchastrainofshallowartificecouldnotimposeevenuponCatherine.
* * *
2019LITERATUREEXAM 10
SECTION B – continued
Novels
2. Robyn Cadwallader, The Anchoress
Use two or more of the set passages as the basis for a discussion of The Anchoress.
1.
Acatjumpedinthroughthemaids’windowasAnnaspoke,struttedthroughmycell,sniffingatthisandthat,andscratchedatthefewdrystrandsofstrawinfrontofthefireplace.Shecircled,laydowninthenestshehadmade,andbeganlickingtherainoffherlegsandpaws. Annalaughedassheturnedaway.‘Sheknowswhere’sliketobedry.’ Iwouldnothaveacatinhere.Howcouldacat,acreatureoftheoutsideworld,stayinthisplace,aplaceofdeathinlife?CarefulofherclawsIpickedherup,hissing‘Scat!’asIdroppedherbackthroughthewindow.AshorttimelaterInoticedherbackbythefireplace,curledupasleep,herdampfurturningtoorangefluff,herheadonherpawsbuttiltedtowardmeasifshehaddozedoffasshewatchedmeread. ‘Scat!’ I threwher out again and again, and always shecameback,throughthemaids’windowortheparlourwindow,whicheverwasopen,orsqueezing tight throughthenarrowsquint.FordaysIfoughtwithher,makingsurethedoorsandwindowswereclosed,evenaskingAnnatobesurethechurchdoorstayedshut,determinedthatnothingwouldcomeinsidemyfourwallstodistractme.Stillthecatfoundaway.Intearsof frustration, I’d throwher out, thenwould lookup fromreadingtoseeherasleepinhernestofstraw. WhenFatherPeternextvisited,thecatjumpedpastmeandontotheledgeoftheparlourwindow,pokingherheadthroughthecurtain,hertailquiveringwithpleasure,orangeagainsttheblackcloth. ‘Iwon’tletthecatstay,Father.I’vetriedandtriedto…’ But,‘Hellopuss,’Iheardthroughthecurtain,andthenthehumofthecat’svictory.‘Youliketopray,doyou?Aholycat,hmmm?Ah,child,acatmightbeagift,andyoumusthavereadinyourRulethatacatispermittedinananchorhold.Theprioryhasafamilyofcatsthatgrowsgreaterinnumbereachyear.Wefeedthemscraps,theyhangaboutthemilkingpails,gobbleupthefishentrails,butmostofalltheycatchthemiceinthelarder.PriorWaltershoosthemfromthechapelbuttheyhavewaysofsneakinginundertheseats.Doesthisonehaveaname?’ HelaughedwhenItoldhimScatsuitedherbest,andshewasusedtoit.Hedoesn’tunderstand,Ithought:theleper,Eleanor,andnowScat.Whetheracatwasallowedornot,Iwantedtokeeptheworldoutofmycell.ButScathadwon.
* * *
2.
Ranaulfthoughtofthevoicebehindthecurtain:tears,anger,contrition,thesharpprickleofherquestioningmind,thedespairheturnedawayfrom.‘WhywouldSirGeoffreyagreetoanotherrecluse,aftersuchafailure?’ Peterturnedhisheadagain.‘IwonderedthatmyselfwhenIheardthestory.Butit’sPriorWalter’sdutytoobeyAbbotWulfrumandtobeastewardofGod’sprovisions;tobuildthepriorytoGod’sglory,ashesays.Soweneedanincome,andtheprior,asyouknow,canbepersuasive.Deathhoversaroundusall,butespeciallythoseofuswhoareold:me,SirGeoffrey…heknewhewasn’twell.Perhapstheurgencytopreparefordeath,tothinkofhissoul,tohavesomeonetoprayforhimeachdaywascompelling.’Hebegantowheeze. ‘Ishouldleaveyou,’Ranaulfsaid,butstayedonhisstool,theearlymorninglightkneadingsomesoftnessintothecoldair,theonlysoundsPeter’sstrainingbreathandashoutortwofromthemenworkingoutside.RanaulfhadheardofSirGeoffrey’ssternwayswhenitcametomoneyandland,butevenpowerful,wealthymen—perhapsthosemenmorethanothers—worriedaboutwhattheycouldn’tseeortouch,especiallywhendeathbegantostalkthem.Theywouldn’thesitatetolavishmoneyonapatronageifitboughtthemalittlereassuranceinmattersofthesoul.Aholywomantoprayforthem,beforeandafterdeath,wouldbeacomfort,andsomenodoubteventhoughtofitasinsurance. ‘Besides,’Peterspokeagain,‘thistimeSirGeoffreyhadlessinvolvement.Youknowallthis,ofcourse.Thecorrodymakestheanchoressentirelyourresponsibility:food,wood,spiritualcare.SirGeoffreywasstillSisterSarah’spatron,butfromadistance.Andnow,ofcourse,SirThomas.Ifanythinggoeswrong,thelandtheprioryreceivedrevertstohim.SirGeoffreynodoubt felt itwasworth it, for the sakeof his soul.Andmaybe,whocansay,hesawthepatronageofanewanchoressaspenanceforthemannerofSisterIsabella’sdeparture.’ ‘Butwasn’titherdecisiontoleave?Nocausetoblamethelord?’ ‘Herdecisionwasherown.Ihearthatshedecidedshewasunsuitedtothelife.Itwasthemanneroftheunsealingofhercell that causedconcern.Thereare stories.’Peterhesitated.‘Thevillagelovedher,butthere’stalkofanger,evenviolenceassheleft.Whoknowswhathappened.’ RanaulfstraightenedonthetinystoolandpeeredatPeter.‘Violence?Towardsananchoress?’ ‘Apparently.Talk ofwhat had happenedwaswhisperedwidelyinthevillageuntilthebishopcameandthreatened.Notexactlythreatened,ofcourse:hementionedtheshamesuchgossipwouldbringtoIsabellaandtothevillage.Wordscanbindusjustasmuchastheycanfreeus.Theywon’ttalknow,inthevillage.’ ‘Violence?’Ranaulfrepeated.‘Butwho?’ ‘NotSirGeoffrey,I’msure.’HelookedintentlyatRanaulf.‘OurMotherChurchprotectsusandherbishopskeeporder,butherangerissevere.Youmustbewiseinthis,FatherRanaulf.Walkcarefullyforthesakeofoursister…andtheyoungmaid.’
* * *ReproducedbypermissionofHarperCollinsPublishersAustraliaPtyLtd
11 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
2. Robyn Cadwallader, The Anchoress
3.
‘WhenIwasalittlebitolderthanyou,Isawajongleuratamarket,andhecouldjumpandtumbleandflythroughtheair.’Iwasstartledatmyself,atthisstoryIknew.‘IcalledhimSwallow,becauseIthoughtthat’swhathelookedlike.Iwantedtobelikehim.’ ‘Swallow,that’sagoodname.Whatelsecouldhedo?’ ‘Hecoulddanceandjuggleandbalanceswords,andhetoldstories,butthethingIlikedbestwaswhenthreemenstoodinalineandtwomenstoodontheirshoulders,andthenSwallowclimbedupontothem,asifhewasclimbingaladder.Hestoodtall,stretchedouthisarmslikethis,lookedupattheskyandjumped,flew,didasomersaultintheair.’ ‘I’dbescaredupthathigh.’ ‘Hewasn’t.Helookedlikehewasflying,likeheneverhadtocomebacktotheground,andhecouldneverfall.That’swhatIloved.’ ‘Sodidheneverfall,then?’ ‘Well,hedidonce,hetoldme,andbrokehisnose.’ ‘Likethatbirdthattriedtoflyandcouldn’t.’ Ididn’tanswer,angryatherquestionsthatmadeitseemsoordinary. Eleanorranherfingerdownafoldinthecurtain,thenpokedatittomakeitbillow,asshealwaysdid,thinking.‘EventhoughyouwantedtobelikeSwallow,theymadeyoucomeandstayhere,inthedark.That’smean.’ ‘No,I’vetoldyouIwantedtocomehere.AndIcanleave,ifIwantto.’ ‘Doyoulikethedarkbest,then?’ ItoldEleanoritwastimeforhertogo,andsatdownonthestrawbeneathmyparlourwindow,ablanketwrappedaroundme.HadIthoughtSwallowcouldneverfall?PerhapswhenIwasten,butIbegantounderstand,asIcrouchedinmycelljustwhythatleaphadmademegasp.Hedaredhimselfintheair,knowinghecouldfall;thatwaswhatIloved.IthoughtIhadcometotheanchorholddaringeverything—tolookattheground,toleapintotheair,tofacemydeathandgoonliving.ButIhadcomelikeabirdtakingfrightandhidinginitsnest,tobesafefrommyownbody.IhadgivenupSwallow’schanceofdying,andwithitthechancetofly. Ilookeddownatthestrawbeneathmyfeet,shuffleditapartuntilIsawthedirtbelow.FatherRanaulf’svoicehunginmymind:Don’t come to God and ask to be safe.Islippedoffmyshoes,curledmytoesintothesoil.
* * *
ReproducedbypermissionofHarperCollinsPublishersAustraliaPtyLtd
2019LITERATUREEXAM 12
SECTION B – continued
Novels
3. Italo Calvino, Baron in the Trees
Use two or more of the set passages as the basis for a discussion of Baron in the Trees.
1.
‘WhereIamisn’tlandandisn’tyours!’proclaimedCosimo[…]‘ViolantebuttheycallmeViola.’
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.92and93
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Amongthebookshesentfor[…]andnoCosimowilleverwalkonthetreesagain.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.172and173
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
13 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
3. Italo Calvino, Baron in the Trees
3.
Shehurriedtothehouse,packedherbags[…]thistimeCosimoreallyhadgonemad.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.246and247
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2019LITERATUREEXAM 14
SECTION B – continued
2.
“[…]Thereachesopenedbeforeusandclosedbehind,asiftheforesthadsteppedleisurelyacrossthewatertobarthewayforourreturn.Wepenetrateddeeperanddeeperintotheheartofdarkness.Itwasveryquietthere.Atnightsometimestherollofdrumsbehindthecurtainoftreeswouldrunuptheriverandremainsustainedfaintly,asifhoveringintheairhighoverourheads,tillthefirstbreakofday.Whetherthismeantwar,peace,orprayerwecouldnottell.Thedawnswereheraldedbythedescentofachillstillness;thewoodcuttersslept,theirfiresburnedlow;thesnappingofatwigwouldmakeyoustart.Wewerewanderersonaprehistoricearth,onanearththatworetheaspectofanunknownplanet.Wecouldhavefanciedourselvesthefirstofmentakingpossessionofanaccursedinheritance,tobesubduedatthecostofprofoundanguishandofexcessivetoil.Butsuddenly,aswestruggledroundabend,therewouldbeaglimpseofrushwalls,ofpeakedgrass-roofs,aburstofyells,awhirlofblacklimbs,amassofhandsclapping,offeetstamping,ofbodiesswaying,ofeyesrolling,underthedroopof heavy andmotionless foliage.The steamer toiled alongslowlyontheedgeofablackandincomprehensiblefrenzy.Theprehistoricmanwascursingus,prayingtous,welcomingus—whocouldtell?Wewerecutofffromthecomprehensionofoursurroundings;weglidedpastlikephantoms,wonderingandsecretlyappalled,assanemenwouldbebeforeanenthusiasticoutbreak inamadhouse.Wecouldnotunderstand,becausewewere too farandcouldnot remember,becauseweweretravellinginthenightoffirstages,ofthoseagesthataregone,leavinghardlyasign—andnomemories. “Theearthseemedunearthly.Weareaccustomedtolookupontheshackledformofaconqueredmonster,butthere—there you could look at a thingmonstrous and free. Itwasunearthly,andthemenwere——No,theywerenotinhuman.Well,youknow,thatwastheworstofit—thissuspicionoftheirnotbeinginhuman.Itwouldcomeslowlytoone.Theyhowled,andleaped,andspun,andmadehorridfaces;butwhatthrilledyouwasjustthethoughtoftheirhumanity—likeyours—thethoughtofyourremotekinshipwiththiswildandpassionateuproar.[…]”
* * *
1.
“[…]‘Afterall,’saidtheboiler-makerinareasonabletone,‘whyshouldn’twegettherivets?’Whynot,indeed!Ididnotknowofanyreasonwhyweshouldn’t.‘They’llcomeinthreeweeks,’Isaid,confidently. “Buttheydidn’t.Insteadofrivetstherecameaninvasion,aninfliction,avisitation.Itcameinsectionsduringthenextthreeweeks,eachsectionheadedbyadonkeycarryingawhitemaninnewclothesandtanshoes,bowingfromthatelevationrightandlefttotheimpressedpilgrims.Aquarrelsomebandoffootsoresulkyniggerstrodontheheelsofthedonkey;alotoftents,camp-stools,tinboxes,whitecases,brownbaleswouldbeshotdowninthecourtyard,andtheairofmysterywoulddeepenalittleoverthemuddleofthestation.Fivesuchinstalments came,with their absurd air of disorderlyflightwiththelootofinnumerableoutfitshopsandprovisionstores,that,onewouldthink,theywerelugging,afteraraid,intothewildernessforequitabledivision.Itwasaninextricablemessofthingsdecentinthemselvesbutthathumanfollymadelooklikethespoilsofthieving. “This devotedband called itself theEldoradoExploringExpedition,andIbelievetheyweresworntosecrecy.Theirtalk,however,wasthetalkofsordidbuccaneers:itwasrecklesswithouthardihood,greedywithoutaudacity,andcruelwithoutcourage; therewas not an atomof foresight or of seriousintentioninthewholebatchofthem,andtheydidnotseemawarethesethingsarewantedfortheworkoftheworld.Totear treasureoutof thebowelsof the landwas theirdesire,withnomoremoralpurposeatthebackofitthanthereisinburglarsbreakingintoasafe.WhopaidtheexpensesofthenobleenterpriseIdon’tknow;buttheuncleofourmanagerwasleaderofthatlot. “Inexteriorheresembledabutcherinapoorneighbourhood,andhiseyeshadalookofsleepycunning.Hecarriedhisfatpaunchwithostentationonhisshortlegs,andduringthetimehisganginfestedthestationspoketonoonebuthisnephew.Youcouldseethesetworoamingaboutalldaylongwiththeirheadsclosetogetherinaneverlastingconfab. “Ihadgivenupworryingmyself about the rivets.One’scapacityforthatkindoffollyismorelimitedthanyouwouldsuppose.IsaidHang!—andletthingsslide.Ihadplentyoftimeformeditation,andnowandthenIwouldgivesomethoughttoKurtz.Iwasn’tveryinterestedinhim.No.Still,Iwascurioustoseewhetherthisman,whohadcomeoutequippedwithmoralideasofsomesort,wouldclimbtothetopafterall,andhowhewouldsetabouthisworkwhenthere.”
* * *
Novels
4. Joseph Conrad, Heart of Darkness
Use two or more of the set passages as the basis for a discussion of Heart of Darkness.
15 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
“[…]Ididn’tsaytomyself,‘NowIwillneverseehim,’or‘NowIwillnevershakehimbythehand,’but,‘NowIwillneverhearhim.’Themanpresentedhimselfasavoice.NotofcoursethatIdidnotconnecthimwithsomesortofaction.Hadn’tIbeentoldinallthetonesofjealousyandadmirationthathehadcollected,bartered,swindled,orstolenmoreivorythanalltheotheragentstogether.Thatwasnotthepoint.Thepointwasinhisbeingagiftedcreature,andthatofallhisgiftstheonethatstoodoutpre-eminently,thatcarriedwithitasenseofrealpresence,washisabilitytotalk,hiswords—thegiftofexpression,thebewildering,theilluminating,themostexaltedand themostcontemptible, thepulsatingstreamof light,orthedeceitfulflowfromtheheartofanimpenetrabledarkness. “The other shoewent flying unto the devil-god of thatriver.Ithought,ByJove!it’sallover.Wearetoolate;hehasvanished—the gift has vanished, bymeans of some spear,arrow,orclub.Iwillneverhearthatchapspeakafterall—andmysorrowhadastartlingextravaganceofemotion,evensuchasIhadnoticedinthehowlingsorrowofthesesavagesinthebush.Icouldn’thavefeltmoreoflonelydesolationsomehow,hadIbeenrobbedofabelieforhadmissedmydestinyinlife....Whydoyousighinthisbeastlyway,somebody?Absurd?Well,absurd.GoodLord!mustn’tamanever——Here,givemesometobacco.”... Therewas a pause of profound stillness, then amatchflared, andMarlow’s lean face appeared—worn, hollow,withdownwardfoldsanddroppedeyelids,withanaspectofconcentratedattention;andashetookvigorousdrawsathispipe,itseemedtoretreatandadvanceoutofthenightintheregularflickerofthetinyflame.Thematchwentout. “Absurd!”hecried.“Thisistheworstoftryingtotell...Hereyouallare,eachmooredwithtwogoodaddresses,likeahulkwithtwoanchors,abutcherroundonecorner,apolicemanroundanother,excellentappetites,andtemperaturenormal—youhear—normalfromyear’sendtoyear’send.Andyousay,Absurd!Absurdbe—exploded!Absurd!Mydearboys,whatcanyouexpectfromamanwhooutofsheernervousnesshadjustflungoverboardapairofnewshoes.NowIthinkofit,itisamazingIdidnotshedtears.Iam,uponthewhole,proudofmyfortitude.IwascuttothequickattheideaofhavinglosttheinestimableprivilegeoflisteningtothegiftedKurtz.OfcourseIwaswrong.Theprivilegewaswaitingforme.Ohyes,Iheardmorethanenough.AndIwasright,too.Avoice.Hewasverylittlemorethanavoice.AndIheard—him—it—thisvoice—othervoices—allofthemweresolittlemorethanvoices—andthememoryofthattimeitselflingersaroundme,impalpable,likeadyingvibrationofoneimmensejabber,silly,atrocious,sordid,savage,orsimplymean,withoutanykindofsense.Voices,voices—eventhegirlherself—now——” Hewassilentforalongtime. “I laid theghostofhisgiftsat lastwitha lie,”hebegansuddenly.“Girl!What?DidImentionagirl?Oh,sheisoutofit—completely.They—thewomenImean—areoutofit—shouldbeoutofit.Wemusthelpthemtostayinthatbeautifulworldoftheirown,lestoursgetsworse.[…]”
* * *
Novels
4. Joseph Conrad, Heart of Darkness
2019LITERATUREEXAM 16
SECTION B – continued
Novels
5. Elizabeth Gaskell, North and South
Use two or more of the set passages as the basis for a discussion of North and South.
1.
MrThorntonknewthehouse.Hehadseentheadvertisement,andbeentolookatit,incompliancewitharequestofMrBell’sthathewouldassistMrHaletothebestofhispower:andalsoinstigatedbyhisowninterestinthecaseofaclergymanwhohadgivenuphislivingundercircumstancessuchasthoseofMrHale.MrThorntonhadthoughtthatthehouseinCramptonwasreallyjustthething;butnowthathesawMargaret,withhersuperbwaysofmovingandlooking,hebegantofeelashamedofhavingimaginedthatitwoulddoverywellfortheHales,inspiteofacertainvulgarityinitwhichhadstruckhimatthetimeofhislookingitover. Margaretcouldnothelpherlooks;buttheshortcurledupperlip,theround,massiveup-turnedchin,themannerofcarryingher head, hermovements, full of a soft feminine defiance,alwaysgavestrangerstheimpressionofhaughtiness.Shewastirednow,andwouldratherhaveremainedsilent,andtakentherestherfatherhadplannedforher;but,ofcourse,sheowedit toherself tobeagentlewoman,and tospeakcourteouslyfromtimetotimetothisstranger;notover-brushed,noroverpolished,itmustbeconfessed,afterhisroughencounterwithMiltonstreetsandcrowds.Shewishedthathewouldgo,ashehadoncespokenofdoing,insteadofsittingthere,answeringwithcurtsentencesalltheremarksshemade.Shehadtakenoffhershawl,andhungitoverthebackofherchair.Shesatfacinghimandfacingthelight;herfullbeautymethiseye;herroundwhiteflexilethroatrisingoutofthefull,yetlithefigure;herlips,movingsoslightlyasshespoke,notbreakingthecoldserenelookofherfacewithanyvariationfromtheonelovelyhaughtycurve;hereyes,withtheirsoftgloom,meetinghiswithquietmaidenfreedom.Healmostsaidtohimselfthathedidnotlikeher,beforetheirconversationended;hetriedsotocompensatehimselfforthemortifiedfeeling,thatwhilehelookeduponherwithanadmirationhecouldnotrepress,shelookedathimwithproudindifference,takinghim,hethought,forwhat,inhisirritation,hetoldhimselfhewas–agreatroughfellow,withnotagraceorarefinementabouthim.Herquietcoldnessofdemeanourheinterpretedintocontemptuousness,andresenteditinhishearttothepitchofalmostinclininghimtogetupandgoaway,andhavenothingmoretodowiththeseHales,andtheirsuperciliousness. Just asMargaret had exhausted her last subject ofconversation–andyetconversationthatcouldhardlybecalledwhichconsistedofsofewandsuchshortspeeches–herfathercamein,andwithhispleasantgentlemanlycourteousnessofapology,reinstatedhisnameandfamilyinMrThornton’sgoodopinion.
* * *
2.
MrsThorntonandFannywereinthedining-room;thelatterinaflutterofsmallexultation,asthemaidhelduponeglossymaterialafteranother,totrytheeffectofthewedding-dressesby candlelight.Hermother really tried to sympathizewithher,butcouldnot.Neithertastenordresswereinherlineofsubjects, and she heartilywished that Fanny had acceptedher brother’s offer of having thewedding clothes providedby somefirst-rateLondondressmaker,without the endless,troublesomediscussions,andunsettledwavering, thataroseoutofFanny’sdesire tochooseand superintendeverythingherself.MrThorntonwasonlytoogladtomarkhisgratefulapprobation of any sensibleman,who could be captivatedbyFanny’ssecond-rateairsandgraces,bygivingheramplemeansforprovidingherselfwiththefinery,whichcertainlyrivalled,ifitdidnotexceed,theloverinherestimation.WhenherbrotherandMrBellcamein,Fannyblushedandsimpered,andflutteredoverthesignsofheremployment,inawaywhichcouldnothavefailedtodrawattentionfromanyoneelsebutMrBell.Ifhethoughtaboutherandhersilksandsatinsatall,itwastocompareherandthemwiththepalesorrowhehadleftbehindhim,sittingmotionless,withbentheadandfoldedhands,inaroomwherethestillnesswassogreatthatyoumightalmostfancytherushinyourstrainingearswasoccasionedbythespiritsofthedead,yethoveringroundtheirbeloved.For,whenMrBellhadfirstgoneup-stairs,MrsShawlayasleeponthesofa;andnosoundbrokethesilence. MrsThorntongaveMrBellherformal,hospitablewelcome.Shewasneversograciousaswhenreceivingherson’sfriendsinher son’shouse; and themoreunexpected theywere themorehonourtoheradmirablehousekeepingpreparationsforcomfort. ‘HowisMissHale?’sheasked. ‘Aboutasbrokendownbythislaststrokeasshecanbe.’ ‘Iamsureitisverywellforherthatshehassuchafriendasyou.’ ‘IwishIwereheronlyfriend,madam.Idaresayitsoundsverybrutal;butherehaveIbeendisplaced,andturnedoutofmypostofcomforterandadviserbyafineladyaunt;andtherearecousinsandwhatnotclaimingherinLondon,asifshewerealap-dogbelongingtothem.Andsheistooweakandmiserabletohaveawillofherown.’ ‘Shemust indeedbeweak,’ saidMrsThornton,with animpliedmeaningwhichhersonunderstoodwell.‘Butwhere,’continuedMrsThornton, ‘have these relationsbeenall thistimethatMissHalehasappearedalmostfriendless,andhascertainlyhadagooddealofanxietytobear?’Butshedidnotfeelinterestenoughintheanswertoherquestiontowaitforit.Shelefttheroomtomakeherhouseholdarrangements. ‘Theyhavebeen livingabroad.Theyhave somekindofclaimuponher.Iwilldothemthatjustice.Theauntbroughtherup,andsheandthecousinhavebeenlikesisters.Thethingvexingme,yousee,isthatIwantedtotakeherforachildofmyown;andIamjealousofthesepeople,whodon’tseemtovaluetheprivilegeoftheirright.NowitwouldbedifferentifFrederickclaimedher.’
17 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
5. Elizabeth Gaskell, North and South
‘Frederick!’ exclaimedMrThornton. ‘Who is he?Whatright–?’Hestoppedshortinhisvehementquestion.
* * *
3.
Theparsonagewassoaltered,bothinsideandout,thattherealpainwaslessthanshehadanticipated.Itwasnotlikethesameplace.Thegarden,thegrass-plat,formerlysodaintilytrimthatevenastrayrose-leafseemedlikeafleckonitsexquisitearrangementandpropriety,wasstrewedwithchildren’sthings;abagofmarbleshere,ahoopthere;astraw-hatforceddownupon a rose-tree as on a peg, to the destruction of a longbeautifultenderbranchladenwithflowers,whichinformerdayswouldhavebeentraineduptenderly,asifbeloved.Thelittlesquaremattedhallwasequallyfilledwithsignsofmerryhealthyroughchildhood. ‘Ah!’saidMrsHepworth,‘youmustexcusethisuntidiness,MissHale.Whenthenurseryisfinished,Ishall insistuponalittleorder.Wearebuildinganurseryoutofyourroom,Ibelieve.Howdidyoumanage,MissHale,withoutanursery?’ ‘Wewerebuttwo,’saidMargaret.‘Youhavemanychildren,Ipresume?’ ‘Seven.Lookhere!wearethrowingoutawindowtotheroadonthisside.MrHepworthisspendinganimmensedealofmoneyonthishouse;butreallyitwasscarcelyhabitablewhenwecame–forsolargeafamilyasoursImean,ofcourse.’Everyroominthehousewaschanged,besidestheoneofwhich MrsHepworth spoke, which had beenMrHale’s studyformerly;andwherethegreengloomanddeliciousquietoftheplacehadconduced,ashehadsaid,toahabitofmeditation,but,perhaps,insomedegreetotheformationofacharactermorefittedforthoughtthanaction.Thenewwindowgaveaviewoftheroad,andhadmanyadvantages,asMrsHepworthpointedout. From it thewandering sheepof her husband’sflockmight be seen,who straggled to the tempting beer-house, unobserved as theymight hope, but not unobservedinreality;fortheactiveVicarkepthiseyeontheroad,evenduringthecompositionofhismostorthodoxsermons,andhadahatandstickhangingreadyathandtoseize,beforesallyingoutafterhisparishioners,whohadneedofquicklegsiftheycould take refuge in the ‘JollyForester’ before the teetotalVicarhadarrestedthem.Thewholefamilywerequick,brisk, loud-talking,kind-hearted,andnottroubledwithmuchdelicacyofperception.MargaretfearedthatMrsHepworthwouldfindoutthatMrBellwasplayinguponher,intheadmirationhethoughtfittoexpressforeverythingthatespeciallygratedonhistaste.Butno!shetookitallliterally,andwithsuchgoodfaith,thatMargaretcouldnothelpremonstratingwithhimastheywalkedslowlyawayfromtheparsonagebacktotheirinn. ‘Don’tscold,Margaret.Itwasallbecauseofyou.Ifshehadnotshownyoueverychangewithsuchevidentexultationintheirsuperiorsense,inperceivingwhatanimprovementthisandthatwouldbe,Icouldhavebehavedwell.Butifyoumustgoonpreaching,keepittillafterdinner,whenitwillsendmetosleep,andhelpmydigestion.’ Theywerebothofthemtired,andMargaretherselfsomuchso, thatshewasunwillingtogooutasshehadproposedtodo,andhaveanotherrambleamongthewoodsandfieldssoclosetothehomeofherchildhood.And,somehow,thisvisittoHelstonehadnotbeenall–hadnotbeenexactlywhatshehadexpected.
* * *
2019LITERATUREEXAM 18
SECTION B – continued
Novels
6. Christina Stead, The Man Who Loved Children
Use two or more of the set passages as the basis for a discussion of The Man Who Loved Children.
1.
“You’reupporingoverabook[…]howcouldIpickoutawomanwhowouldhatemesomuch!”
ChristinaStead,The Man Who Loved Children, TheMiegunyahPress,2011
pp.18and19
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Samswamuptothesurfaceoftheriver[…]IamsorrythatthekindoffatherIcanbeislimited.”
ChristinaStead,The Man Who Loved Children, TheMiegunyah,Press2011
pp.209and210
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
19 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
6. Christina Stead, The Man Who Loved Children
3.
“ClareandIaregoingonawalkingtrip[…]wentcheerfullybacktopokethefireunderthecopper.
ChristinaStead,The Man Who Loved Children, TheMiegunyahPress,2011
pp.470and471
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2019LITERATUREEXAM 20
SECTION B – continued
2.
Rightnowthereisachainofcircumstances,ofguiltymistakesor lucky decisions,whose consequences awaitme aroundthe corner; andeven though Iknow it, although Ihave theuncomfortablecertaintythatthosethingsarehappeningandwillaffectme,thereisnowayIcananticipatethem.StrugglingagainsttheireffectsisallIcando:repairthedamage,takebestadvantageofthebenefits.Weknowit,weknowitverywell;nevertheless it’s always somewhat dreadfulwhen someonerevealstousthechainthathasturnedusintowhatweare,it’salwaysdisconcertingtodiscover,whenit’sanotherpersonwhobringsustherevelation,theslightorcompletelackofcontrolwehaveoverourownexperience. That’swhathappenedtomeoverthecourseofthatsecondafternoonatLasAcacias,thepropertyformerlyknownasVillaElena,whosenamenolongersuiteditonefinedayandhadtobeurgentlyreplaced.ThatwaswhathappenedtomeduringthatSaturdaynightwhenMayaandIweretalkingaboutthedocumentsinthewickerchest,abouteveryletterandeveryphoto,abouteverytelegramandeverybill.Theconversationtaughtmeallthatthedocumentshadn’tconfessed,orratherorganizedthecontentsofthedocuments,gaveanorderandameaningandfilledinafewofitsgaps,althoughnotallofthem,withthestoriesthatMayahadinheritedfromhermotherintheyearstheylivedtogether.Andalso,ofcourse,withthestorieshermotherhadmadeup. ‘Madeup?’Isaid. ‘Oh,yeah,’ saidMaya. ‘StartingwithDad.She inventedhimentirely,orrather,hewasaninventionofhers.Anovel,understand?Aflesh-and-blood novel, her novel. She did itbecauseofme,ofcourse,orforme.’ ‘Youmeanyoudidn’tknowthetruth?’Isaid.‘Elainedidn’ttellyou?’ ‘Shemusthavethoughtitwouldbebetterthatway.Andmaybeshewasright,Antonio.Idon’thavechildren.Ican’timaginewhatit’sliketohavechildren.Idon’tknowwhatapersonmightbecapableofdoingforthem.Myimaginationdoesn’tstretchthatfar.Haveyougotkids,Antonio?’ Maya askedme that. Itwas Sundaymorning, that dayChristians call Easter and on which they celebrate orcommemorate theResurrection of Jesus ofNazareth,whohadbeencrucifiedtwodaysbefore(moreorlessatthesametimeasIbeganmyfirstconversationwithRicardoLaverde’sdaughter)andwhofromthismomentonbegantoappeartotheliving:tohismother,totheApostlesandtocertainwomenwellchosenfortheirmerit.‘Haveyougotkids,Antonio?’
* * *
1.
Ialsolearnedthatthehippopotamushadnotescapedalone:atthetimeofhisflighthe’dbeenaccompaniedbyhismateandtheirbaby–orwhat,inthesentimentalversionofthelessscrupulousnewspapers,werehismateandtheirbaby–whosewhereaboutswere nowunknown and the search forwhomimmediatelytookonaflavourofmediatragedy,thepersecutionof innocent creaturesby aheartless system.Andononeofthosedays,while following thehunt in thepapers, I foundmyselfrememberingamanwho’dbeenoutofmythoughtsforalongwhile,inspiteofthefactthattherehadbeenatimewhennothinginterestedmeasmuchasthemysteryofhislife. During theweeks that followed, thememoryofRicardoLaverdewentfrombeingaminorcoincidence,oneofthosedirtytricksourmindsplayonus,tobecomingafaithfulanddevoted,ever-presentghost,standingbymybedwhileIslept,watchingfromafarinthedaylighthours.Onthemorningradioprogrammesandtheeveningnews,intheopinioncolumnsthateverybodyreadandontheblogsthatnobodyread,everyonewasaskingifitwasnecessarytokillthelosthippos,iftheycouldn’troundthemup,anaesthetizethemandsendthembacktoAfrica;inmyapartment,farfromthedebatebutfollowingitwithamixtureoffascinationandrepugnance,Iwasthinkingmore andmore intensely aboutRicardoLaverde, about thedayswhenwe’dknowneachother,aboutthebrevityofouracquaintance and the longevity of its consequences.WhileinthepressandontheTVscreenstheauthoritieslistedthediseases that could be spread by an artiodactyl – and theyused thatword:artiodactyl, new tome – and in the richneighbourhoodsofBogotápeopleworeT-shirtssayingSave the Hippos,inmyapartment,onlongdrizzlynights,orwalkingdown the street towards the city centre, I began to thinkstubbornlyaboutthedayRicardoLaverdedied,andeventoforcemyselftoremembertheprecisedetails.IwassurprisedbyhowlittleeffortittookmetosummonupthewordsIhadspokenorheard, thingsI’dseen,painI’dsufferedandnowovercome;Iwasalsosurprisedbythealacrityanddedicationwedevotetothedamagingexerciseofremembering,whichafterallbringsnothinggoodandservesonlytohinderournormalfunctioning,likethosebagsofsandathletestiearoundtheircalvesfortraining.BitbybitIbegantonotice,notwithoutsomeastonishment, that thedeathof thathippopotamusputanendtoanepisodeofmylifethathadbegunquiteawhileago,moreorlesslikesomeonecominghometocloseadoorcarelesslyleftopen.
* * *
Novels
7. Juan Gabriel Vásquez, The Sound of Things Falling
Use two or more of the set passages as the basis for a discussion of The Sound of Things Falling.
©JuanGabrielVásquez,The Sound of Things Falling(trans.2012AnneMcLean),London,2012;MethuenDrama,animprintofBloomsburyPublishingPlc.
21 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
ThecoolearlymorningfilledupwithMaya’sweeping,softandfine,andalsowiththesingingofthefirstbirds,andalsowiththesoundthatwasthemotherofallsounds,thesoundoflivesdisappearingastheypitchovertheedgeintotheabyss,thesoundmadebyFlight965andallitcontainedastheyfallintotheAndesandthatinsomeabsurdwaywasalsothesoundofLaverde’slife,tiedirremediablytothatofElenaFritts.Andmylife?Didmyownlifenotbegintothrowitselftothegroundatthisveryinstant,wasthatsoundnotthesoundofmyowndownfall,whichbegantherewithoutmyknowledge?‘Soyoufelloutofthesky,too?’theLittlePrinceasksthepilotwhotellsthestory,andIthoughtyes,I’dfallenoutoftheskytoo,buttherewasnopossibletestimonyofmyfall,therewasnoblackboxthatanybodycouldconsult,norwasthereanyblackboxofRicardoLaverde’sfall,humanlivesdon’thavethesetechnologicalluxuriestofallbackon.‘Maya,howisit thatwe’rehearingthis?’Isaid.Shelookedatmeinsilence(hereyesredandflooded,hermouthlookingdevastated).Ithoughtshehadn’tunderstoodme.‘Idon’tmean...WhatIwanttoknowishowthisrecordingcame...’Mayatookadeepbreath.‘Healwayslikedmaps,’shesaid. ‘What?’ ‘Maps,’saidMaya.‘Healwayslikedthem.’ RicardoLaverde had always likedmaps. In school healwaysdidwell(alwaysinthetopthreeofhisclass),buthedidnothingaswellashedrewmaps,thoseexercisesinwhichthestudenthadtodraw,withasoftleadedpenciloraniboradrawingpen,ontracingpaperandsometimesonwaxpaper,thegeographiesofColombia.HelikedthesuddenstraightlineoftheAmazontrapezoid,helikedthetemperedPacificcoastlikeabowwithoutanarrow,hecoulddrawfrommemorythepeninsulaofLaGuajiraandblindfoldedhecouldstickapininasketch,asothersmightpinthetailonthedonkey,withoutasecondthought,toshowtheexactlocationoftheNudodeAlmaguer.InallofRicardo’sscholastichistory,theonlycallsfromthedisciplineprefectcamewhentheyhadtodrawmaps,forRicardowouldfinishhisinhalftheallottedtimeandfortherestoftheclasshe’ddrawhisfriends’mapsinexchangefora50-centavocoin,ifitwasamapofthepoliticaladministrativedivisionofColombia,orapeso, if itwashydrographyoradistributionofthermiclevels. ‘Whyareyoutellingmethis?’Isaid.‘What’sitgottodowith?’ WhenhecamebacktoColombia,afternineteenyearsinprison,andhadtofindwork,themostlogicalthingwastolookwheretherewereplanes.Heknockedonvariousdoors:flyingclubs, aviationacademiesand found themall closed.Then,following a sort of epiphany,went to theAgustínCodazziGeographicalInstitute.Theygavehimacoupleoftests,andtwoweeks later hewas flying a twin-engineCommander690Awhosecrewwascomposedofpilot andco-pilot, twogeographers, two specialized technicians and sophisticated
Novels
7. Juan Gabriel Vásquez, The Sound of Things Falling
aero-photographyequipment.Andthat’swhathewasdoingforthelastmonthsofhislife:takingoffintheearlymorningfromElDoradoAirport, flying overColombian airspacewhile the camera in the back took23by23negatives thatwould eventually, after a long laboratory and classificationprocess,endupintheatlasesfromwhichthousandsofchildrenwouldlearnthetributariesoftheRiverCaucaandwheretheOccidentalCordillerabegins.‘Childrenlikeourchildren,’saidMaya,‘ifeitherofuseverhasanykids.’
* * *
©JuanGabrielVásquez,The Sound of Things Falling(trans.2012AnneMcLean),London,2012;MethuenDrama,animprintofBloomsburyPublishingPlc.
2019LITERATUREEXAM 22
SECTION B – continued
Novels
8. Jeanette Winterson, The Passion
Use two or more of the set passages as the basis for a discussion of The Passion.
1.
Weareonparadetoday[…]pleadingwithustoprovehimright.
JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)
pp.23–25
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Tokisswellonemustkisssolely[…]Iwouldkeephercarduntilsheneededit.
JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)
pp.59and60
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
23 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
8. Jeanette Winterson, The Passion
3.
Love,theysay,enslaves[…]thegeraniummightneverhavecometoFrance.
JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)
pp.154and155
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2019LITERATUREEXAM 24
SECTION B – continued
2.
AtthispointBruiser,stickingtohisscript,shuthismouth.Helookedintothecrowdwithfeignedinnocenceonhisface.Hesearchedtheeyesfornon-believersoftheChristianfaith.Therehadtobesomeone.Where?Where?Whowasitgoingto be this time? Instead, toValance’s astonishment, peoplestartedbabbling all of their hiddenprayers, praying loudlyforGordie.AndBruiser,whosescarredfaceusuallygavehimtheimpressionofbeingadescendantfromaliens,nowlookeddifferenttoo.Valancewasatalosstounderstandwhathehaddone tohis face.Hebegan toseewhatotherswerealreadyseeing;itwaslikelookingataholyman. ‘Hushnowfolks,’Bruiserfinallyspoke,repeatinghisrequestoverandover,untilheregainedthefullattentionofthemeeting.‘Saveyourprayersforlaterfolks,wehavegotalottahardworktodoherefirst.First,weneedtogetorganisedwithputtingsomementogether,becausewearegoingtoarrestthoselittlepetrolsnifferswhodidthistoGordie,toorightweare.Whosenameswegotcomingnow?’ Theairbristled.EveryoneknewwhatBruiserwasreferringto.ItwasplaineasytoreminiscethekindofyesterdayanticsofWillPhantom:arsonist,stirrer,troublemaker,carsrunningupanddownthestreet inthemiddleofthenight.Somuchtrouble,fightsandwhathaveyou,allbecauseonepersonkepttellingtheworldhedidnotwanttheminetobebuilt.Theverybuildingtheyweresittinginfrontof,thebeautifulnewCounciloffices,hadreplacedtheonetheyallreckonedheburntdown.Someonehadtohavedoneit.Itcouldnothaveburntdownbyitself.Happilyforeveryone,thegoodneighbourminecametotherescue.Ithonoureditsword:saiditwasgoingtodonateabrand-newbuildingwhenitgotthegreenlightonNativetitleproblems.TheyhadWillPhantomtoblameforthattoo.Well!Itlookedasthoughsomethinglikethatwasstirringitsuglyheadaboutracerelationsagain. ‘Yagottanipitinthebudthistime,yahearme,yahonour?’ ‘Wearen’tgonnaputupwith thatsametrouble.Turningeveryoneinsideout.’ ‘No,’Bruiserwasthefirsttoagree.‘JustlikeIsaid.Wewilldoitdifferentlythistime,won’twe?’
* * *
1.
Withtheclockinthebag,shewaspreparingtoleaveherlittleworldofwhitepaperanddecayingfoliage,whensomethingelsecaughthereye.Firstofallshesawthebaseofthestatuewithahandwrittendate–1947.Ithadtobebrokenshethought,asshepushedtherubbishaway,butfounditwasnotevencracked,assheinspectedastatueoftheVirginMary.Thestatuelookedoldandthepaintwaschippedinplaces.AngelthoughtNormmighthavesomesparepaintshecouldusetorepaintthestatue,particularlywherethelinesofgoldandsilverhaddisappearedonthecloak.TheVirginMarywasdressedinawhite-paintedgownandbluecloak.Her righthandwas raised,offeringapermanent blessing,while her left handheldgold-colouredrosarybeads.AngelDaywasbreathless.‘Thisismine,’shewhispered,disbelievingtheluckofherordinarymorning. ‘Thisismine,’sherepeatedherclaimloudlytotheassembledseagullswaitingaroundtheoleanders.Sheknewshecouldnotleavethisbehindeither,otherwisesomeoneelsewouldgetit,andnowshehadtocarrythestatuehome,forsheknewthatwiththeVirginMaryinprideofplace,nobodywouldbeabletointerferewiththepoweroftheblessingsitwouldbestowonherhome.‘Luckwasgoingtochangeforsure,fromthismomentonwards,’shetoldtheseagulls,becauseshe,MrsAngelDay,nowownedtheluckofthewhitepeople. Notonlywouldherfamilybeabletotellthetime,andbeable to tellotherpooroutsiderpeople like themselveswhatthetimewas,buttheywouldalsobeprosperous.TheywouldbecomelikethewhitepeoplewhoprayedandsaidtheywereoftheChristianfaith.ThiswasthedifferencebetweenthepooroldPricklebushpeopleandUptown.Thiswashowwhitepeoplehadbecomerichbysavingupenoughmoney,sotheycouldlookdownonothers,bykeepingstatuesoftheirholyonesintheirhomes.Theirspiritualancestorswouldperformmiraclesiftheysawhowhardsomepeoplewereprayingallthetime,andforthiskindofdevotion,rewardthemwithmoney.Blessedwiththeprophecyofrichness,moneybefallsthem,andthatwasthereasonwhytheyownedallthebusinessesintown. The seagulls, liftingoff all over the dump, in themind-bendingsoundstheymadeseemedtobesingingahymn,Glory! Glory, Magnificat.Theatmospherewashaunting,withsteamrisingfromtheground,hoveringbirdsineverydirection,andshesimplyappearedfromnowhere,walkingoutoftheoleander.
* * *
Novels
9. Alexis Wright, Carpentaria
Use two or more of the set passages as the basis for a discussion of Carpentaria.
ReproducedbypermissionofGiramondoPublishing
25 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
AndWillPhantomwasrighttothinkhewaslucky,leaninghisskinnybodyoutofthebuilding,barelyholdingontothedoorway,andnotcaringifhefell,becauseanysecondheknewhecouldsimplyletgo,withfullcertaintyoffallingstraightintothedestinyhehadprescribedforhimself.Hehadnotfiguredfate,whenthetopfloorunderhisfeetsuddenlymoved.Thefloorboardshadbeenshakensoviolently,hewassentflyingintothefloodwaters.Hehit thewaterhard,wentunderintothebillowingyellowwaters,whereherolledblindlyin vacuo withthedeadofthedeep,beforebeingreturnedinafrenzyofbreathlessnesstothesurface.Somewhere,inallofthatwatersweepinghimtowardsthesea,hewasabletoturntoseewhathadhappenedtohislittleoasis. Hesawnotahotelleftfarbehindbutasmallcastlefortherecreationofspirits.Thisnewrealityhadnothingtodowiththeorderofman.TherewasnotownofDesperance.Itwasgone.Amonsterfollowedhiminstead.Thehouses,theloadingport,theboatsandcars,everybitofeveryso-and-so’sthisorthat,alongwiththeremainsofthepipelinefortheorefromthemine,andeventhebargesandcargosnatchedupbythecyclonehadtravelledinland,andwerecomingback.Everybitofithadbeencrushedintoarollingmountainouswallthatnowincludedthehotelwhereonlymomentsago,WillPhantomhadbeenstanding. It was at this point he realised how history could beobliteratedwhentheGodsmovethecountry.Hesawhistoryrolled,reshaped,undoneandmauledasthegreatcreatorsofthenaturalworldengineeredthebountyofeverythingmanhadeverdoneinthispartoftheworldintosomethingmoreoftheirownmaking.Washeshocked?Buggerthehotel,hethought,itcouldgowiththerest.Thebulwarkofthespiritsrosefromthewaters,andhesawnothingmonstrousorhideousinthisnewcreationtakingshape,moving,rolling,changingappearance,andbeautyinitsstridentcrashingbackintothewater. Thesightofthedevastationwasnothingshortofsalubriousas far as he was concerned. Themacabre constructionresembled a long-helddreamof thewaterworldbelow thegroundwheretheancientspiritsofthecreationperiodrested,whileAboriginalmanwassupposedtocarefortheland.Hewrestledwiththoughtsofthefuture.Whenthewatersrecededwhatmanwouldwalktothesaltmarshtoscratchthesurface?Whatmandiggingunderthesurface,underlayersofsilt,wouldannouncethediscoveryofthedevil’spollutedpalace?Thenhisviewwasgone.
* * *
Novels
9. Alexis Wright, Carpentaria
ReproducedbypermissionofGiramondoPublishing
2019LITERATUREEXAM 26
SECTION B – continued
Plays
10. Andrew Bovell, Speaking in Tongues
Use two or more of the set passages as the basis for a discussion of Speaking in Tongues.
1.
Two bars. The city._________
Music rises… a little sexy. Latin. Two couples are dancing. pete and sonja are in one bar. leon and jane are in the other. The dancing is close… and it’s good, more than a simple shuffle. The dancing is identical. Both couples are like mirrors of the other. The lights fade on the couples dancing.Two rooms. Cheap. Spartan. Faded.sonja and jane enter. They look around the room. pete and leon follow. They look around the room. Each couple holds a stillness for a moment.pete/leon:It’snotmuch.sonja:It’swhat/Iexpected.jane:Iexpected—Idon’tknowwhatIexpected.Itmakesme
feel/cheap.sonja:Cheap.Sordid.pete/leon:Doyouwanttoleave?sonja/jane:No.sonja:Ilikeit./Doyou?jane:Doyou?leon:Wecouldgosomewhereelse.pete:I’mnotsure.jane:We’reherenow.pete:I’msorry.sonja:Why?pete:It’sjustthat/Ihaven’tdonethissortofthingbefore.leon:Ihaven’tdonethissortofthingbefore.sonja/jane:NorhaveI.
leon looks at jane.pete looks at sonja. They both look away. leon and pete each touch their heart.
leon:I’vegotthispainin/mychest.pete:Mychestispounding.sonja/jane:Areyoualright?pete/leon:Yes.sonja/jane:Areyousure?pete:Isaid/I’malright.leon:I’malright.pete:I’msorry.Ididn’tmeantosnap.jane:You’renothaving/aheartattack?sonja:AheartattackissomethingIcouldn’tcopewith/right
now.leon:RightnowIcoulddowith/adrink.pete:Adrinkwouldgodownwell.jane:Do/youwanttogoback?sonja:Youwanttogo/back?leon:Backtothebar?pete:No.jane:Yes.leon:No.pete:We’reherenow.jane:Good.pete:Whatwouldyoudo?jane:BecausenordoI.pete:IfIwashavingaheartattack?
sonja:What?leon:Good.pete:IfIwashavingaheartattack,whatwouldyoudo?sonja:I’dgethelp.pete:It’sjustthat/wehardlyknoweachother.jane:Wehardlyknoweachother.sonja:I’dhelpastranger.pete:Yes.Butitwouldmeanbeingfoundout.Therewouldbe
anambulance,perhapspolice.I’mnotsure,butyouwouldhavetoexplain.
sonja:Butifitwasamatteroflifeanddeath.jane:Ifeelalittleawkward.pete:Yes.Iwasn’tsure.ForamomentIwasn’tsure./I’msorry.leon:I’msorry.sonja/jane:Don’tbe.pete:Itwasastupidthingtoask.
An awkward silence passes between them.sonja/jane:Haveyoureallyneverdonethisbefore?pete/leon:No.jane:That’sreassuring.leon:Why?jane:Idon’tknow.sonja:Iwishyouhad.Iwishjane:Isupposesonja:Youwereanexpert.Thenatleastoneofuswouldknow
wheretostart.jane:It’sreassuringtoknowthatI’mnotoneofmany.leon:Thatyou’respecial?jane:Yes.leon:Youare.jane:Thankyou.
* * *
ReproducedbypermissionofCurrencyPress
27 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
10. Andrew Bovell, Speaking in Tongues
2.
sarah:HesaysthatIwrotetohimwhileIwasinEurope.Well,Idon’trememberthat.Therecouldhavebeenletterssentandthingssaid.Iwasaway.Iwasfeelinglonely,soIcouldhavewrittentohim.ButIdon’tremembermakinganypromises.
neil:Whydidyouwritethoseletters,Sarah?sarah:Idon’tknow…neil:WhenIre-readthemtheyremindedmeofsomethingI
hadforgotten.sarah:IthinkIhurtthisguy.neil:Yourlettersremindedmeofwhatitfeltliketobeloved.
AndIguess,Sarah,I’veheldontothat.sarah:ButIcan’tbelievehedidn’tmoveon.Imeanwe’re
bigpeoplenow,wegethurtandwemoveon.neil:BecauseI’veneverbeenlovedlikethatsince.Notinthe
waythatyoulovedme.sarah:AtleastIdo.neil:Andalthoughit’sbeenyearssinceweweretogether,I
stillholdontothat.sarah:Imean,doesthisguythinkIhaven’tbeenhurt?neil:IneverycrowdedroomthefirstthingIdoissearchthe
faceslookingforyou.EverytimeIwalkdownthestreetorwalkalongthebeachorsitintrafficonmywaytowork,Isearchthefaceslookingforyou.AndatnightIrehearsethethingsIwillsay.AndtheconversationalwaysreachesthesamepointwhereIsay
sarah:ButIdon’tknowanymore.neil:Comebackandyousaysarah:Idon’tknowwhat’srightanymore.neil:Yes.sarah:Idon’tknowwhattofeelanymore.neil:AndIwanttobefreeofit,Sarah.sarah:SoI’mgettingtheselettersfromthisguyneil:Iwanttobefreeofthatconversationsarah:Who’stellingmeaboutmylifeneil:SoIjustwanttoknowsarah:Andhisversionisjustsodifferentfromminesarah/neil:Andneil:Ijustwanttoknowsarah:Now,afteralltheseyears,hewantstoknowneil/sarah:Why.sarah:ImeanIcouldwriteandtellhimneil/sarah:Why.sarah: I couldwrite and say I’m sorry, but I never loved
you.That’sjustsomethingyouwantedtobelievein.Iwastwenty-threeyearsold.Yourtalkofloveandmarriagedidn’tmeananythingtome.Imean,that’swhyIwenttoEurope.Toget away fromyou.Toend it.Didn’t youunderstandthat?MaybeIshouldhavetoldhimallthatwhenIleft,butreally,doyouthinkhewouldhavebelievedme?EvenifIcould,evenifIhadthewords,theunderstandingtoknowwhatwashappening,doyouthinkhewouldhavebelievedme?Anyway,ittakescouragetobecruelandIdon’thavethat.Youknow,Ithinktheproblemwiththisguyisthathe’slazy.He’sjusttoolazytomoveon.Eitherthatorhejustlikespain.Imean,whatIwanttoknowis,whatIreallywanttoknow is,doeshestillhave the right to loveme?Don’t Ihaveasayinthat?
* * *
3.
valerie:[answering machine]There’sthiswomanI’mseeing,aclient.I’mnothandlingherverywell.
john:Thisisit.sarah:Igetthesensethatyoudon’tlikeme.valerie:IsitimportantthatIlikeyou?sarah:Iwouldhavethoughtthatifyouweregoingtohelp
meyouwouldneedtolikeme.valerie:Idon’tagree.IthinkIcanonlyhelpyouifIremain
asobjectiveaspossible.WhetherIlikeyouornotisquiteseparatetothat.
sarah:ButIwantyoutolikeme.valerie: [answering machine]From themoment she came
intomyofficeIthoughtIdon’tlikeyou.Idon’twantyouhereandIdon’tcareaboutthepainyou’rein.
valerie:Themost important element of the relationshipbetweentherapistandclientistrust.Notfriendship.Idon’tthinkyouknowhowtotrust,Sarah.Ithinksomethingorsomeonehasdamagedyouandthatyou’velosttheabilitytotrust.
valerie:[answering machine]What’shappeningtome,John?What’shappeningtous.Wedon’ttalkanymore.Whendidthathappen?Iremembersuchdeepconversationswithyou.
valerie:Andnowyou’vetakenrefugeinarelationshipwithamanwhocan’tgivehimselfentirelytoyou.
valerie: [answering machine] I’m scared, John… that I’mlosingyou.
valerie:Becausehehasanother.valerie:[answering machine]HaveIlostyou,John?valerie:Hiswife.leon:Doyouwanttostopforawhile?john:No.valerie:[answering machine]Haveyoustoppedlovingme,
John?john:[quietly]No.valerie:[answering machine]BecauseIfeelthatsomething
hasbeentakenfromme.sarah:Thefunnythingis,Valerie,Ithinkaboutherallthe
time.I’vebecomesocurioustoknowher,tounderstandtheholdshehasoverhim.HewantstoleavehereventhoughItellhimthat’snotnecessary,atleastnotonmyaccount.Buteverytimehesummonsthecouragetoleave,sheengineerssomecrisis,whichforceshimtostay.
* * *
ReproducedbypermissionofCurrencyPress
2019LITERATUREEXAM 28
SECTION B – continued
2.
jo:HowoldwasIwhenyourhusbandthrewyouout?helen:Change the subject.When I thinkofher fatherand
myhusbanditmakesmewonderwhyIeverbothered,itdoesreally.
jo:Hewasrich,wasn’the...helen:Hewasarat!jo:Hewasyourhusband.Whydidyoumarryhim?helen:AtthetimeIhadnothingbettertodo.Thenhedivorced
me;thatwasyourfault.jo:Iagreewithhim.IfIwasamanandmywifehadababy
thatwasn’tmineI’dslingherout.helen:Wouldyou?It’safunnythingbutIdon’tthinkIwould.
Still,whyworry?jo [reading from magazine]:ItsaysherethatSheikAhmed–an
Arabianmystic–will,freeofallcharge,drawupforyouacompleteanalysisofyourcharacteranddestiny.
helen:Let’shavealook.jo:There’shisphotograph.helen:Oh!Helookslikeadirtylittlespiv.ListenJo,don’t
botheryourheadaboutArabianmystics.There’stwow’sinyourfuture.Workorwant,andnoArabianKnightcantellyoudifferent.We’reallatthesteeringwheelofourowndestiny.Careeringalonglikedrunkendrivers.I’mgoingtogetmarried.[The news is received in silence.]Isaid,I’mgoingtogetmarried.
jo:Yes,Iheardyouthefirsttime.Whatdoyouwantmetodo,laughandthrowpennies?IsitthatPeterSmith?
helen:He’stheunluckyman.jo:You’recenturiesolderthanhim.helen:Onlytenyears.jo:Whatusecanawomanofthatagebetoanybody?helen:Iwishyouwouldn’ttalkaboutmeasifI’manimpotent,
shrivelledoldwomanwithoutaclueleftinherhead.jo:You’renotexactlyachildbride.helen:Ihavebeenoneonce,ornearenough.jo:Justimagineit,you’refortyyearsold.Ihopetobedead
andburiedbeforeIreachthatage.You’vebeenlivingforfortyyears.
helen:Yes,itmustbeabiologicalphenomena.jo:Youdon’tlookforty.Youlookasortofwell-preservedsixty.
[Music. Enter peter carrying a large bouquet and a box of chocolates and looking uncomfortable.]
helen:Ohlook,andit’sallmine!jo:Hello,Daddy.peter:Oh!Soyoutoldher.helen:Ofcourse.Comeinandsitdown.Onsecondthoughts
liedown,youlookmarvellous.
* * *
1.
jo:Drink,drink,drink,that’sallyou’refitfor.Youmakemesick.
helen:Othersmayprayfortheirdailybread,Iprayfor...jo:Isthatthebedroom?helen:Itis.Yourhealth,Jo.jo:We’resharingabedagain,Isee.helen:Ofcourse,youknowIcan’tbeartobepartedfromyou.jo:What Iwouldn’tgive fora roomofmyown!God! It’s
freezing!Isn’tthereanysortoffireanywhere,Helen?helen:Yes,there’sagas-propelledthingsomewhere.jo:Where?helen:Where?Whatwereyougiveneyesfor?Doyouwant
metocarryyouabout?Don’tstandthereshivering;havesomeofthisifyou’resocold.
jo:YouknowIdon’tlikeit.helen:Haveyoutriedit?jo:No.helen:Thengetitdownyou![She wanders around the room
searching for fire.]“Where!”shesays.Shecanneverseeanythingtillshefallsoverit.Now,where’sitgotto?IknowIsawitheresomewhere . . .oneof thoseshilling in theslotaffairs;thelandladypointeditouttomeaspartofthefurnitureandfittings.Idon’tknow.Oh!It’llturnup.What’supwithyounow?
jo:Idon’tlikethesmellofit.helen:Youdon’tsmellit,youdrinkit!Itconsolesyou.jo:Whatdoyouneedconsolingabout?helen:Life!Comeon,giveittomeifyou’vedonewithit.I’ll
soonputitinasafeplace.[Drinks.]jo:You’reknockingitbackworsethanever.helen:Oh!Well,it’sonewayofpassingtimewhileI’mwaiting
forsomethingtoturnup.AnditusuallydoesifIdrinkhardenough.OhmyGod! I’ve caught a shocking cold fromsomebody.Haveyougotacleanhanky,Jo?Mine’swringingwetwithdabbingatmynoseallday.
jo:Havethis,it’snearlyclean.Isn’tthatlightawful?Idohateto see anunshaded electric light bulbdangling from theceilinglikethat.
helen:Well,don’tlookatitthen.jo:CanIhavethatchair,Helen?I’llputmyscarfroundit. [jo takes chair from helen, stands on it and wraps her scarf
round light bulb – burning herself in the process.]helen:Wouldn’t she get onyour nerves? Justwhen Iwas
goingtotaketheweightoffmyfeetforfiveminutes.Oh!mypooroldnose.
jo:Christ!It’shot.helen:Whycan’tyouleavethingsalone?
* * *
Plays
11. Shelagh Delaney, A Taste of Honey
Use two or more of the set passages as the basis for a discussion of A Taste of Honey.
©ShelaghDelaney,A Taste of Honey,London,2016;MethuenDrama,animprintofBloomsburyPublishingPlc.
29 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
helen:It’sallright,love,I’mhereandeverything’sallright.Areyouawakenow?
jo:Hello.Yes...What’sitlike?helen:What?jo:Istheremuchpain?helen:No!It’snotsomuchpainashardwork,love.Iwas
puttingmyChristmaspuddinguponashelfwhenyoustartedonme.ThereIwasstandingonachairsingingawaymerryasthedayislong...
jo:Didyouyell?helen:No,Iran.jo:Doyouknow,Ihadsuchafunnydreamjustnow.helen:OhJo,you’realwaysdreaming,aren’tyou.Well,don’t
let’stalkaboutyourdreamsorwe’llgetmorbid.jo:Wherewouldyoulikethoseflowersputting?helen:Over...overthere...Comeon,youcomeanddo
it,love.jo:Hasn’tGeofcomebackyet?helen:No,hehasn’t.jo:Well,whereareyougoingtosleep,Helen?helen:It’sallright,love.Don’tfallover,now.jo:Youknow,I’vegotsousedtooldGeoflyingthereonthat
couchlike—likeanoldwatchdog.Youaren’t...helen:It’sallright,love,don’tyouworryaboutme,I’llfind
somewhere.jo:Iwonderwhereheis...Oh!helen:OhJo,careful...Holdon,love,holdon!It’llbeall
right.Thefirstonedoesn’tlastlong.OhmyGod,Icoulddowithadrinknow.Holdon.
[jo kneels on bed, helen strokes her hair.]
jo:That’sbetter.helen:Areyouallrightnow?Thereweare.[Children sing
outside.]Canyouhearthosechildrensingingoverthereonthecroft,Jo?
jo:Yes,youcanalwayshearthemonstilldays.helen:YouknowwhenIwasyoungweusedtoplayallday
longatthistimeoftheyear;inthesummerwehadsinginggamesand in thespringweplayedwith topsandhoops,andthenintheautumntherewastheFifthofNovember,thenweusedtohavebonfiresinthestreet,andgingerbreadandallthat.HaveIevertoldyouaboutthetimewhenwewent toaplacecalledShiningClough?Oh, Imusthavedone.Iusedtoclimbupthereeverydayandsitonthetopofthehill,andyoucouldseethemillsinthedistance,butthecloughitselfwascoveredinmoss.Isn’titfunnyhowyourememberthesethings?Doyouknow,I’dsittherealldaylongandnobodyeverknewwhereIwas.ShallIgoandmakeusacupoftea?
[helen enters kitchen and fiddles with stove.]
Plays
11. Shelagh Delaney, A Taste of Honey
OhJo,I’veforgottenhowweusedtolightthisthing.jo:Turnonalltheknobs.Mindyoudon’tgasyourself.helen:Istillcan’tdoit.jo:Geof’llfixit.helen:No,it’sallright.jo:Helen.helen:Yes.jo:Mybabymaybeblack.helen:Youwhat,love?jo:Mybabywillbeblack.helen: Oh, don’t be silly, Jo.You’ll be giving yourself
nightmares.jo:Butit’strue.Hewasblack.helen:Who?jo:Jimmie.helen:Youmeantosaythat...thatsailorwasablackman?
...OhmyGod!Nothingelsecanhappentomenow.Canyouseemewheelingapramwitha.. .OhmyGod.I’llhavetohaveadrink.
* * *
©ShelaghDelaney,A Taste of Honey,London,2016;MethuenDrama,animprintofBloomsburyPublishingPlc.
2019LITERATUREEXAM 30
SECTION B – continued
2.
hippolytus […]Soyou,vilewoman,cameheretometobargainandtotrafficinthesanctityofmyfather’smarriagebed.I’llgotoarunningstreamandpouritswatersintomyeartopurgeawaythefilth.ShallIwhocannotevenhearsuchimpurity,andfeelmyselfuntouched—shallIturnwicked?Woman,knowthis.Itismypietysavesyou.Hadyounotcaughtmeoffguardandboundmylipswithanoath,byheavenIwouldnotrefrainfromtellingthistomyfather.NowIwillgoandleavethishouseuntilTheseusreturnsfromhisforeignwanderings,andI’llbesilent.ButI’llwatchyouclose.I’llwalkwithmyfatherstepbystepandseehowyoulookathim...youandyourmistressboth.Ihavetastedofthedaringofyourinfamy.I’llknowitforthefuture.Cursesonyou!I’llhateyouwomen,hateandhateandhateyou,andneverhaveenoughofhating... SomesaythatItalkofthiseternally,yes,buteternal,too,iswoman’swickedness.Eitherletsomeoneteachthemtobetemperate,orallowmetotrampleonthemforever.
(Exit Hippolytus to the side.)
phaedra [singing]
antistrophe
Bitter indeed is woman’s destiny!I have failed. What trick is there now, what cunning plea to loose the knot around my neck?I have had justice. Oh, earth and the sunlight!Where shall I escape from my fate?How shall I hide my trouble, dear friends?What God or man would appear to bear hand or part in my crime?There is a limit to all suffering and I have reached it.I am the unhappiest of women.
* * *
1.
phaedra Hearme,youwomenofTroezenwholiveinthisextremityofland,thisanteroomtoArgos.Manyatimeinnight’slongemptyspacesIhaveponderedonthecausesofalife’sshipwreck.Ithinkthatourlivesareworsethanthemind’squalitywouldwarrant.Therearemanywhoknowgoodsense.Butlook.Weknowthegood,weseeitclear.Butwecan’tbringittoachievement.Somearebetrayedbytheirownlaziness,andothersvaluesomeotherpleasureabovevirtue.Therearesomanypleasuresinthislife—longgossipingtalksandleisure,thatsweetcurse.Thenthereisshamethatthwartsus.Shameisoftwokinds.Theoneisharmless,buttheother’saplague.Forclarity’ssake,weshouldnottalkof“shame,”asinglewordfortwoquitedifferentthings.Thesethenaremyviews.Nothingcannowseducemetotheoppositeopinion.Iwilltellyouinmyowncasethetrackwhichmymindfollowed. Atfirstwhenlovehadstruckme,Ireflectedhowbesttobearit.Silencewasmyfirstplan:toconcealthatillness.ForIknewthetongueisnottobetrusted:itcancriticizeanother’sfaultythoughts,butonitsowneritbringsathousandtroubles. Next,IbelievedthatIcouldconquerlove,conqueritwithdiscretionandgoodsense.Andwhenthattoofailedme,Iresolvedtodie.Anddeathisthebestplan.Noonewilldisputethat.Iwanttohavemyvirtuesknownandhonored—notmanywitnesseswhenIdosomethingwrong!Iknowwhatisinvolved:Iknowthescandal;andalltoowellIknowthatIamawoman,objectofhatetoall.
* * *
Plays
12. Euripides, Hippolytus
Use two or more of the set passages as the basis for a discussion of Hippolytus.
ReproducedbypermissionoftheUniversityofChicagoPress(viaCCC-Marketplace)
31 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
theseus I shall no longer hold this secret prisoner in the gates of my mouth. It is horrible, yet I will speak.Citizens!Hippolytushasdaredtorapemywife.HehasdishonoredZeus’sholysunlight.FatherPoseidon,onceyougavetomethreecurses....Nowwithoneofthese,Ipray,killmyson.Sufferhimnottoescapethisveryday,ifyouhavepromisedtruly.
chorus leader Callbackyourcurses,King,callbackyourcurses.Elseyouwillrealizethatyouwerewronganotherday,toolate.Iprayyou,trustme.
theseus Iwillnot.AndInowmakethisaddition:Ibanishhimfromthisland’sboundaries.Sofateshallstrikehim,onewayortheother,eitherPoseidonwillrespectmycurse,andsendhimdeadintothehouseofHades,orexiledfromthisland,abeggarwandering,onforeignsoil,hislifeshallsuckthedregsofsorrow’scup.
chorus leader Herecomesyourson,attherightmoment,KingTheseus.Giveoveryourdeadlyanger,youwillbestdetermineforthewelfareofyourhouse.
(Enter Hippolytus with cosmpanions from the side.)
hippolytus Iheardyoucrying,father,andcamequickly.Iknownocausewhyyoushouldmourn.Tellme.
* * *
Plays
12. Euripides, Hippolytus
ReproducedbypermissionoftheUniversityofChicagoPress(viaCCC-Marketplace)
2019LITERATUREEXAM 32
SECTION B – continued
1.
desdemona […]Iexistinbetween,now:betweenbeingkilled
[…]
woman with weakness?
ToniMorrison,Desdemona, OberonModernPlays,2012
pp.14–16
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
desdemona Barbary!Barbary.Comecloser[…]
sa’ran […]Sing willow, willow, willow –
ToniMorrison,Desdemona, OberonModernPlays,2012
pp.45–47
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
13. Toni Morrison, Desdemona
Use two or more of the set passages as the basis for a discussion of Desdemona.
33 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
desdemona Yourcloakistattered.
[…]
othello […]withit;turneditinto–intospectacle.
ToniMorrison,Desdemona, OberonModernPlays,2012
pp.50and51
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
13. Toni Morrison, Desdemona
2019LITERATUREEXAM 34
SECTION B – continued
1.
Marc It’sstrangehowyou’remissingthebasic[…]Yvan He’lllaugh,youjustwait.
YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996
pp.9–11
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Marc WereyoumovedbySerge’spainting?[…]
Marc […]Fromnowon,I’monmybestbehaviour.
YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996
pp.19and20
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
14. Yasmina Reza, Art
Use two or more of the set passages as the basis for a discussion of Art.
35 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
[Yvan] […]Imadeyoulaugh,oh,yes[…] (to Marc)Goon. Silence.
YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996
pp.58–60
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
14. Yasmina Reza, Art
2019LITERATUREEXAM 36
SECTION B – continued
Plays
15. William Shakespeare, Othello
Use two or more of the set passages as the basis for a discussion of Othello.
1.
brabantio […]Sheisabused,stol’nfromme,andcorrupted Byspellsandmedicinesboughtofmountebanks; Fornaturesopreposterouslytoerr, Beingnotdeficient,blind,orlameofsense, Sanswitchcraftcouldnot.duke Whoe’erhebethatinthisfoulproceeding Haththusbeguiledyourdaughterofherself, Andyouofher,thebloodybookoflaw Youshallyourselfreadinthebitterletter Afteryourownsense,yea, thoughourproper
son Stoodinyouraction.brabantio HumblyIthankyourgrace. Hereistheman:thisMoor,whomnowitseems Yourspecialmandateforthestateaffairs Hathhitherbrought.all Weareverysorryfor’t.duke [To Othello]Whatinyourownpartcanyousay
tothis?brabantio Nothing,butthisisso.othello Mostpotent,grave,andreverendsigniors, Myverynobleandapprovedgoodmasters, ThatIhavetaneawaythisoldman’sdaughter, Itismosttrue;trueIhavemarriedher; Theveryheadandfrontofmyoffending Hath this extent, nomore.Rude am I inmy
speech Andlittleblessedwiththesoftphraseofpeace, Forsincethesearmsofminehadsevenyears’
pith Till nowsomeninemoonswasted, theyhave
used Theirdearestactioninthetentedfield; AndlittleofthisgreatworldcanIspeak Morethanpertainstofeatsofbroilandbattle; AndthereforelittleshallIgracemycause In speaking formyself.Yet,byyourgracious
patience, Iwillaroundunvarnishedtaledeliver Ofmywholecourseoflove:whatdrugs,what
charms, Whatconjurationandwhatmightymagic– ForsuchproceedingsIamchargedwithal– Iwonhisdaughter.brabantio Amaidenneverbold; Ofspiritsostillandquietthathermotion Blushedatherself;andshe,inspiteofnature, Ofyears,ofcountry,credit,everything, Tofallinlovewithwhatshefearedtolookon? Itisajudgementmaimedandmostimperfect Thatwillconfessperfectionsocoulderr Againstallrulesofnature,andmustbedriven Tofindoutpracticesofcunninghell Whythisshouldbe.Ithereforevouchagain Thatwithsomemixturespowerfulo’ertheblood Orwithsomedramconjuredtothiseffect Hewroughtuponher.
* * *
2.
iago ForMichaelCassio, IdarebeswornIthinkthatheishonest.othello Ithinksotoo.iago Menshouldbewhattheyseem; Or those that be not,would theymight seem
none!othello Certain,menshouldbewhattheyseem.iago Whythen,IthinkCassio’sanhonestman.othello Nay,yetthere’smoreinthis. Ipritheespeaktomeastothythinkings, As thoudost ruminate, andgive thyworst of
thoughts Theworstofwords.iago Goodmylord,pardonme; ThoughIamboundtoeveryactofduty, Iamnotboundtothatallslavesarefreeto. Uttermythoughts!Why,saytheyarevileand
false? Aswhere’sthatpalace,whereintofoulthings Sometimesintrudenot?Whohasabreastsopure, Butsomeuncleanlyapprehensions Keepleetsandlaw-days,andinsessionsit Withmeditationslawful?othello Thoudostconspireagainstthyfriend,Iago, Ifthoubutthink’sthimwronged,andmak’sthis
ear Astrangertothythoughts.iago Idobeseechyou, ThoughIperchanceamviciousinmyguess– AsIconfessitismynature’splague Tospyintoabuses,andoftmyjealousy Shapesfaults thatarenot– thatyourwisdom
then, Fromonethatsoimperfectlyconceits, Wouldtakenonotice,norbuildyourselfatrouble Outofhisscatteringandunsureobservance. Itwerenotforyourquiet,noryourgood, Norformymanhood,honesty,andwisdom, Toletyouknowmythoughts.othello Whatdostthoumean?iago Goodnameinmanandwoman,dearmylord, Istheimmediatejeweloftheirsouls. Whostealsmypurse,stealstrash;’tissomething,
nothing, ’Twasmine, ’tis his, and has been slave to
thousands: Buthethatfilchesfrommemygoodname Robsmeofthatwhichnotenricheshim Andmakesmepoorindeed.othello Byheaven,I’llknowthythoughts.iago Youcannot,ifmyheartwereinyourhand, Norshallnot,while’tisinmycustody.othello Ha!
37 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
15. William Shakespeare, Othello
iago Obeware,mylord,ofjealousy: Itisthegreen-eyedmonsterwhichdothmock Themeatitfeedson.Thatcuckoldlivesinbliss Whocertainofhisfatelovesnothiswronger; ButO,whatdamnèdminutestellsheo’er Who dotes, yet doubts, suspects, yet fondly
loves?othello Omisery!
* * *
3.
Enter othello, with a light, and desdemona in bed.
othello Itisthecause,itisthecause,mysoul: Letmenotnameittoyou,youchastestars. Itisthecause.YetI’llnotshedherblood, Norscarthatwhiterskinofhersthansnow Andsmoothasmonumentalalabaster– Yetshemustdie,elseshe’llbetraymoremen. Putoutthelight,andthenputoutthelight: IfIquenchthee,thouflamingminister, Icanagainthyformerlightrestore, ShouldIrepentme;butonceputoutthylight, Thoucunning’stpatternofexcellingnature, IknownotwhereisthatPrometheanheat Thatcanthylightrelume.WhenIhaveplucked
thyrose, Icannotgiveitvitalgrowthagain; Itneedsmustwither.I’llsmellitonthetree. He kisses her. Obalmybreath,thatdostalmostpersuade Justicetobreakhersword!Onemore,onemore! Bethuswhenthouartdead,andIwillkillthee Andlovetheeafter.Onemore,andthisthelast. Sosweetwasne’ersofatal.Imustweep. Buttheyarecrueltears:thissorrow’sheavenly– Itstrikeswhereitdothlove.Shewakes.
* * *
2019LITERATUREEXAM 38
SECTION B – continued
Plays
16. William Shakespeare, Twelfth Night
Use two or more of the set passages as the basis for a discussion of Twelfth Night.
1.
olivia Yourlorddoesknowmymind.Icannotlovehim. YetIsupposehimvirtuous,knowhimnoble, Ofgreatestate,offreshandstainlessyouth; Invoiceswelldivulged,free,learned,andvaliant, Andindimension,andtheshapeofnature, Agraciousperson.ButyetIcannotlovehim. Hemighthavetookhisanswerlongago.viola IfIdidloveyouinmymaster’sflame, Withsuchasuff’ring,suchadeadlylife, InyourdenialIwouldfindnosense; Iwouldnotunderstandit.olivia Why,whatwouldyou?viola Makemeawillowcabinatyourgate, Andcalluponmysoulwithinthehouse; Writeloyalcantonsofcontemnèdlove, Andsingthemloudeveninthedeadofnight; Hallowyournametothereverberatehills, Andmakethebabblinggossipoftheair Cryout‘Olivia!’Oyoushouldnotrest Betweentheelementsofairandearth Butyoushouldpityme!olivia Youmightdomuch. Whatisyourparentage?viola Abovemyfortunes,yetmystateiswell: Iamagentleman.olivia Getyoutoyourlord. Icannotlovehim.Lethimsendnomore– Unless(perchance)youcometomeagain, Totellmehowhetakesit.Fareyouwell. Ithankyouforyourpains.Spendthisforme.viola Iamnofee’dpost,lady;keepyourpurse; Mymaster,notmyself,lacksrecompense. Lovemakehisheartofflintthatyoushalllove, Andletyourfervourlikemymaster’sbe Placedincontempt.Farewell,faircruelty. Exitolivia ‘Whatisyourparentage?’ ‘Abovemyfortunes,yetmystateiswell: Iamagentleman.’I’llbeswornthouart; Thytongue,thyface,thylimbs,actions,andspirit Dogivetheefive-foldblazon.Nottoofast!Soft,
soft! Unlessthemasterweretheman–Hownow? Evensoquicklymayonecatchtheplague? MethinksIfeelthisyouth’sperfections Withaninvisibleandsubtlestealth Tocreepinatmineeyes.Well,letitbe.
* * *
2.
olivia Wiltthougotobed,Malvolio?malvolio Tobed?Ay,sweetheart,andI’llcometothee.olivia Godcomfortthee!Whydostthousmilesoandkiss
thyhandsooft?maria Howdoyou,Malvolio?malvolio Atyourrequest! Yes,nightingalesanswerdaws!maria Whyappearyouwiththisridiculousboldnessbefore
mylady?malvolio ‘Benotafraidofgreatness’:’twaswellwrit.olivia Whatmean’stthoubythat,Malvolio?malvolio ‘Someareborngreat–’olivia Ha?malvolio ‘Someachievegreatness–’olivia Whatsay’stthou?malvolio ‘Andsomehavegreatnessthrustuponthem.’olivia Heavenrestorethee!malvolio ‘Remember who commended thy yellow
stockings–’olivia Thyyellowstockings?malvolio ‘Andwishedtoseetheecross-gartered.’olivia Cross-gartered?malvolio ‘Goto,thouartmade,ifthoudesir’sttobeso–’olivia AmImade?malvolio ‘Ifnot,letmeseetheeaservantstill.’olivia Why,thisisverymidsummermadness.
Enter servant
servant Madam,theyounggentlemanoftheCountOrsino’sis returned; I could hardly entreat himback.Heattendsyourladyship’spleasure.
olivia I’llcometohim.
[Exit Servant]
GoodMaria,letthisfellowbelookedto.Where’smycousinToby?Letsomeofmypeoplehaveaspecialcareofhim;Iwouldnothavehimmiscarryforthehalfofmydowry.
[Exeunt Olivia and Maria]
malvolio Oho,doyoucomenearmenow?NoworsemanthanSirTobytolooktome!Thisconcursdirectlywiththeletter:shesendshimonpurposethatImayappearstubborntohim;forsheincitesmetothatintheletter.‘Castthyhumbleslough’,saysshe;‘beoppositewithakinsman,surlywithservants,letthytonguetangwithargumentsofstate,putthyselfintothetrickofsingularity’,andconsequentlysetsdownthemannerhow:asasadface,areverendcarriage,aslowtongue,inthehabitofsomesirofnote,andsoforth.Ihavelimedher,butitisJove’sdoing,andJovemakemethankful!Andwhenshewentawaynow,‘Letthisfellowbelookedto’–‘Fellow’!Not‘Malvolio’,noraftermydegree,but‘fellow’.
* * *
39 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
16. William Shakespeare, Twelfth Night
3.
Enter olivia and Attendantsorsino Here comes the countess; nowheavenwalkson
earth. But for thee, fellow – Fellow, thywords are
madness. Threemonthsthisyouthhathtendeduponme, Butmoreofthatanon.Takehimaside.olivia Whatwouldmylord,butthathemaynothave, WhereinOliviamayseemserviceable? Cesario,youdonotkeeppromisewithme.viola Madam!orsino GraciousOlivia–olivia Whatdoyousay,Cesario?Goodmylord–viola Mylordwouldspeak;mydutyhushesme.olivia Ifitbeaughttotheoldtune,mylord, Itisasfatandfulsometomineear Ashowlingaftermusic.orsino Stillsocruel?olivia Stillsoconstant,lord.orsino What,toperverseness?Youuncivillady, Towhoseingrateandunauspiciousaltars Mysoulthefaithfull’stoff’ringshavebreathedout Thate’erdevotiontendered!WhatshallIdo?olivia Evenwhatitpleasemylordthatshallbecomehim.orsino WhyshouldInot–hadIthehearttodoit– Liketoth’Egyptianthiefatpointofdeath KillwhatIlove–asavagejealousy Thatsometimessavoursnobly?Buthearmethis. Sinceyoutonon-regardancecastmyfaith, AndthatIpartlyknowtheinstrument Thatscrewsmefrommytrueplaceinyourfavour, Liveyouthemarble-breastedtyrantstill. Butthisyourminion,whomIknowyoulove, Andwhom,byheavenIswear,Itenderdearly, HimwillItearoutofthatcrueleye Wherehesitscrownèdinhismaster’sspite. Come, boy,withme;my thoughts are ripe in
mischief. I’llsacrificethelambthatIdolove, Tospitearaven’sheartwithinadove.[Leaving]viola AndImostjocund,apt,andwillingly, Todoyourest,athousanddeathswoulddie.
[Following]olivia WheregoesCesario?viola AfterhimIlove MorethanIlovetheseeyes,morethanmylife, More,byallmores,thane’erIshalllovewife. IfIdofeign,youwitnessesabove Punishmylifefortaintingofmylove!olivia Ayme,detested!HowamIbeguiled!viola Whodoesbeguileyou?Whodoesdoyouwrong?olivia Hastthouforgotthyself?Isitsolong? Callforththeholyfather.
* * *
2019LITERATUREEXAM 40
SECTION B – continued
Plays
17. Sam Shepard, Buried Child
Use two or more of the set passages as the basis for a discussion of Buried Child.
1.
halie: You’regoingtogetkickedoutofthishouse,Tilden,ifyoudon’ttellmewhereyougotthatcorn!(tilden starts crying softly to himself but keeps husking corn. Pause.)
dodge:(To halie.)Why’dyouhavetotellhimthat?Whocareswherehegotthecorn?Why’dyouhavetogoandthreatenhimwithexpulsion?
halie: (To dodge.)It’syourfault,youknow!You’retheonethat’sbehindallofthis!Isupposeyouthoughtit’dbefunny!Somejoke!Coverthehousewithcornhusks.YoubettergetthiscleanedupbeforeBradleyseesit.
dodge:Bradley’snotgettinginthefrontdoor!
halie: (Kicking husks, striding back and forth.)Bradley’sgoingtobeveryupsetwhenheseesthis.Hedoesn’tliketoseethehouseindisarray.Hecan’tstanditwhenonethingisoutofplace.Theslightestthing.Youknowhowhegets.
dodge:Bradleydoesn’tevenlivehere!
halie: It’shishomeasmuchasours.Hewasborn in thishouse!
dodge:Hewasborninahogwallow.
halie: Don’tyousaythat!Don’tyoueversaythat!
dodge:Hewasborninagoddamnhogwallow!That’swherehewasbornandthat’swherehebelongs!Hedoesn’tbelonginthishouse!(halie stops.)
halie: Idon’tknowwhat’scomeoveryou,Dodge.Idon’tknowwhatintheworld’scomeoveryou.You’vebecomeanevil,spiteful,vengefulman.Youusedtobeagoodman.
dodge:Sixofone,ahalfdozenofanother.
halie: You sit here day and night, festering away!Decomposing! Smelling up the housewith your putridbody!Hackingyourheadoff’tilallhoursofthemorning!Thinkingupmean,evil,stupidthingstosayaboutyourownfleshandblood!
dodge:He’snotmyfleshandblood!Myfleshandblood’soutthereinthebackyard!(They freeze. Long pause. The men stare at her.)
halie: (Quietly.)That’senough,Dodge.That’squiteenough.You’vebecomeconfused.I’mgoingoutnow.I’mgoingtohavelunchwithFatherDewis.I’mgoingtoaskhimaboutamonumentforAnsel.Astatue.Atleastaplaque.
* * *
2.
dodge:[…](To shelly.)Whatpartofthecountrydoyouhailfrom,girlie?
shelly:Originally?
dodge:That’sright.Originally.Attheverystart.
shelly:LA.
dodge:LA.Stupidcountry.
shelly:Ican’tstandthis,Vince!Thisisreallyunbelievable!
dodge:It’s stupid! LA is stupid! So is Florida.All thoseSunshineStates.They’re all stupid!Do you knowwhythey’restupid?
shelly:Illuminateme.
vince: Shelly.Don’t!
dodge:I’lltellyouwhy.Becausethey’refullofsmart-asses!That’swhy.(shelly turns her back to dodge, crosses to staircase and sits on bottom step. To vince.)Now she’sinsulted.
shelly:Vince?
dodge:She’sinsulted!Lookather!Inmyhouseshe’sinsulted!She’sovertheresulkingbecauseIinsultedher!
vince: Grandpa—
shelly:(To vince.)Thisisreallyterrific.Thisiswonderful.And youwereworried aboutmemaking the right firstimpression!
dodge:(To vince.)She’safireball,isn’tshe?Regularfireball.Ihadsomeatheminmyday.Temporarystuff.Neverlastedmorethanaweek.
vince: Grandpa—look—
dodge:Stop callingmeGrandpa,will ya! It’s sickening.“Grandpa.”I’mnobody’sgrandpa!Leastofallyours.
vince: Ican’tbelieveyoudon’t recognizeme. I justcan’tbelieve it. Itwasn’t that long ago. (dodge starts feeling around under the cushion for the bottle of whiskey. shelly gets up from the staircase.)
shelly:(To vince.)Maybeyou’vegotthewronghouse.Didyoueverthinkofthat?Maybethisisthewrongaddress!
vince: It’snotthewrongaddress!Irecognizetheyard.Theporch.Theelmtree.Thehouse.Iwasstandingrighthereinthishouse.Rightinthisveryspot.
©1977,1979,1997,2006bySamShepard;usedbypermissionofVintageBooks,animprintoftheKnopfDoubledayPublishingGroup,adivisionofPenguinRandomHouseLLC;allrightsreserved
41 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
17. Sam Shepard, Buried Child
shelly:Yeah,butdoyourecognizethepeople?Hesayshe’snotyourgrandfather.
vince: He ismygrandpa! I knowhe’smygrandpa!He’salwaysbeenmygrandpa.Healwayswill bemygrandpa!
dodge:(Digging for the bottle.)Where’sthatbottle?!
vince: He’s just sick or something. I don’t knowwhat’shappenedtohim.Delirious.
dodge:Where’smygoddamnbottle?!(dodge gets up from the sofa and starts tearing the cushions off it and throwing them downstage, looking for the whiskey.)They’vestolemybottle!
shelly:Can’twejustdriveontoNewMexico?Thisisterrible,Vince!Idon’twanttostayhere.Inthishouse.Ithoughtitwasgoingtobeturkeydinnersandapplepieandallthatkindastuff.
vince: Well,Ihatetodisappointyou!
* * *
3.
dodge:(To vince.)Goahead!Takeoverthehouse!Takeoverthewholegoddamnhouse!Youcanhaveit!It’syours!It’sbeenapainintheneckeversincetheveryfirstmortgage.I’mgonna die any secondnow.Any second.Youwon’tevennotice.SoI’llsettlemyaffairsonceandforall.(As dodge proclaims his last will and testament, vince climbs into the room, knife in his mouth, and strides slowly around the space, inspecting his inheritance. He casually notices bradley as he crawls toward his leg. vince moves to the leg and keeps pushing it with his foot so that it’s out of bradley’s reach, then goes on with his inspection. He picks up the roses and carries them around smelling them. shelly can be seen outside on the porch, moving slowly center and staring in at vince.vince ignores her.)Thehousegoestomygrandson,Vincent.That’sfairandsquare.Allthefurnishings,accoutrements,andparaphernaliatherein.Everythingtackedtothewallsorotherwiserestingunderthisroof.Mytools—namelymybandsaw,myskillsaw,mydrillpress,mychainsaw,mylathe,myelectricsander—allgotomyeldestson,Tilden.Thatis,ifheevershowsupagain.MyBennyGoodmanrecords,myharnesses,mybits,myhalters,mybrace,myroughrasp,myforge,myweldingequipment,myshoeingnails,mylevelsandbevels,mymilkingstool—no,notmymilkingstool—myhammersandchiselsandallrelatedmaterialsaretobepushedintoagiganticheapandsetablazeintheverycenterofmyfields.Whentheblazeisatitshighest,preferablyonacold,windlessnight,mybodyistobepitchedintothemiddleofitandburned’tilnothingremainsbutash.(Pause. vince takes the knife out of his mouth and smells the roses. He’s facing toward the audience and doesn’t turn around to shelly. He folds up the knife and pockets it.)
shelly:(From the porch.)I’mleaving,Vince.Whetheryoucomeornot,I’mleaving.Ican’tstayhere.
vince: (Smelling the roses.)You’llnevermakeit.You’llsee.
shelly:(Moving toward the hole in the screen.)You’renotcoming?(vince stays downstage, turns and looks at her.)
vince: Ijustinheritedahouse.I’vefinallybeenrecognized.Didn’tyouhear?
shelly:(Through the hole, from the porch.)Youwanttostayhere?
vince: (As he pushes bradley’s leg out of reach.)I’vegottacarryontheline.It’sintheblood.I’vegottaseetoitthatthingskeeprolling.(bradley looks up at him from the floor, keeps pulling himself toward his leg. vince keeps moving it.)
shelly:Whathappenedtoyou,Vince?Youjustdisappeared.
* * *
©1977,1979,1997,2006bySamShepard;usedbypermissionofVintageBooks,animprintoftheKnopfDoubledayPublishingGroup,adivisionofPenguinRandomHouseLLC;allrightsreserved
2019LITERATUREEXAM 42
SECTION B – continued
Plays
18. Tennessee Williams, Cat on a Hot Tin Roof
Use two or more of the set passages as the basis for a discussion of Cat on a Hot Tin Roof.
1.
big mama:Don’tlaughaboutit![…]
[She stands before the long oval mirror, touches her breast and then her hips with her two hands.]
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.20and21
2.
brick:Ineverliedtoyou,BigDaddy.
[…]
Skipper died to disavow between them.[…]]
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.59–61
43 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
18. Tennessee Williams, Cat on a Hot Tin Roof
3.
mae:Oh,Mommy,Mommy,BigMommy![…]
gooper:[…]I’mjustappealingtoasenseofcommondecencyandfairplay.
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.82and83
2019LITERATUREEXAM 44
SECTION B – continued
Short stories
19. Maxine Beneba Clarke, Foreign Soil
Use two or more of the set passages as the basis for a discussion of Foreign Soil.
1.
David
Hours,hoursmustbepassing[…]wereracingmyDavid,forthefun.
MaxineBenebaClarke,Foreign Soil, Hachette,2014
pp.11–14
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
45 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Short stories
19. Maxine Beneba Clarke, Foreign Soil
2.
Big Islan
ImbrotherCurtiswasalldressup[…]italwaysgwanstandfehome.
MaxineBenebaClarke,Foreign Soil, Hachette,2014
pp.183–185
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
3.
The Sukiyaki Book Club
Markie’sdeepinthetunenow[…]thenrunsofftowardsherclassroom.
MaxineBenebaClarke,Foreign Soil, Hachette,2014
pp.264and265
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2019LITERATUREEXAM 46
SECTION B – continued
2.
Plautus: A Memoir of My Years on Earth and Last Days in Space
Soul of Tortoise
Which part of the trip was the hardest […]
ugolyok: […]Theywill come at youworse than everbefore.
CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014
pp.148and149
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Somewhere Along the Line the Pearl Would be Handed to Me
Soul of Mussel
Thenthesmelloffestyspring[…]solvedmosteverything.
CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014
pp.101and102
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Short stories
20. Ceridwen Dovey, Only the Animals
Use two or more of the set passages as the basis for a discussion of Only the Animals.
47 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Psittacophile
Soul of Parrot
MyownerwaswatchingMarty[…]Youshouldnevertakeitlightly,lifeintheEast.
CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014
pp.242and243
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Short stories
20. Ceridwen Dovey, Only the Animals
2019LITERATUREEXAM 48
SECTION B – continued
Short stories
21. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories
Use two or more of the set passages as the basis for a discussion of The Diary of a Madman, The Government Inspector and Selected Stories.
1.
How Ivan Ivanovich Quarrelled with Nikiforovich
Sweepingchangestookplace:ifaneighbour’sdogstrayedintotheyarditwasbeatenwiththefirstthingthatcametohand;childrenwhoclimbedoverthefencecamebackhowling,theirshirtslifteduptoshowwheretheyhadbeenthrashed.Eventheoldpeasantwoman,whenIvanIvanovichwantedtoaskhersomethingorother,gavesuchanobscenereplythatIvanIvanovich,beinganextremelysensitiveperson, spaton thegroundandmuttered:‘Whatafilthywoman!Worsethanhermaster!’ Finally,toaddinsulttoinjury,hishatefulneighbourhadagooseshedbuiltjustwhereheusedtoclimboverthefence,apparentlywiththespecificintentionofmakingtheinsultevenworse.ThisshedthatIvanIvanovichfoundperfectlyhideouswasbuiltwithdevilishspeed–inasingleday. AllthisfilledIvanIvanovichwithmaliceandalongingforvengeance.However,hedidnotshowanysignsofannoyance,despitethefactthattheshedactuallyencroachedonhisland.Buthisheartbegantobeatsofastthathefounditverydifficulttokeepupthisoutwardshowofcalm.Thiswashowhespenttherestoftheday. Nightcame.Oh,ifonlyIwereapainterIcouldportraytowonderfuleffectalltheenchantmentofnight!IwouldpaintthewholeofMirgorod as it slept; the countlessmotionlessstars lookingdownupon it; thealmostvisibledistance; thelovelorn sexton rushing past and climbing over the fencewith the boldness of knights of old; thewhitewalls of thehousescaughtbymoonlightbecomingevenwhiter,andtheoverhangingtreesturningevendarkerandcastingevendeepershadows;theflowersandsilentgrasssmellingmorefragrant;andthecrickets,thoserestlesscavaliersofthenight,singingtheirfriendlychirrupingsongsinunisonineverycorner. Iwouldpainttheblack-browedvillagemaidentossingaboutonherlonelybedinoneofthetinylow-roofedclaycottages,herbosomheavingasshedreamtofsomehussar’smoustacheand spurs. Iwould paint the black shadows of batsflittingalongthewhiteroadandsettlingonchimneypotsblanchedinthemoonlight.ButtopaintIvanIvanovichashewentoutthatnight,sawinhand,isbeyondmypowers.Hisfaceregisteredahundreddifferentexpressions.Quietly,quietly,hecreptupandcrawledunderthegooseshed.IvanNikiforovich’sdogshadnotyetheardaboutthequarrelsotheytreatedhimasanoldfriendandlethimgouptotheshedwhichwassupportedbyfouroakposts.Hecrawledovertothenearestoneandstartedsawing.Thenoiseproducedbythesawmadehimconstantlylookround,butthethoughtoftheinsultrestoredhiscourage. Thefirst postwas sawn through; he started on another.Hiseyesseemedtobeonfireandhewasblindedwithterror.Suddenly Ivan Ivanovichcriedout loudandwentnumballover:hethoughthehadseenaghost.Buthequicklyrecoveredwhenherealizeditwasagoosestickingitsneckoutathim.Hespatwithannoyanceandcarriedonwithhiswork.
* * *
2.
Nevsky Prospekt
NowheredopeoplebowsonoblyandnaturallyasonNevskyProspekt.Hereyouwill seeaunique smile that is theverypinnacle of art, thatwill sometimesmake youmeltwithpleasure,sometimesmakeyoubowyourheadandfeellowerthangrass,orhold ithigh,makingyou feel loftier than theAdmiraltyspire.Hereyouwillhearpeoplediscussingaconcertor theweatherwith extraordinary refinement and sense oftheir own importance.Here youwill encounter a thousandincrediblecharactersandevents.Goodheavens!WhatstrangetypesyouwillmeetonNevskyProspekt!Manyarethosewhowillnotfailtolookatyourbootsonmeetingandwhenyouhavepassedwilllookaroundtoinspectyourcoat-tails.TothisdayIcannotunderstandwhythisshouldbe.AtfirstIthoughttheywerebootmakers–butno,farfromit.Forthemostpartthey are clerks in various departments;many of them candraftamemorandumfromonedepartmenttotheotherwithconsummateskill.Ortheyaresimplepeoplewhostrollalongor read the paper in pastry shops: in otherwords, they arenormallyhighlyrespectablecitizens. Atthisblessedhour,betweentwoandthreeo’clockintheafternoon,wheneverythingonNevskyProspekt reaches itsclimax,thefinestproductsofman’sgeniusaremostgrandlydisplayed. Someonewill sport a dandyish frock-coatwiththebestbeavercollar,another–ahandsomeGreeknose,athird–superbwhiskers,afourth–apairofprettyeyesandawonderfulhat,afifth–asignetringwithseal,ostentatiouslywornonthelittlefinger,asixth–adaintyfootinanenchantingshoe,aseventh–astunningtie,aneighth–simplyastoundingmoustaches.Butonthestrokeofthreetheexhibitionisover,thecrowdbeginstothinout.Atthreeo’clockthereisafreshtransformation:springhassuddenlycometoNevskyProspekt!
* * *
49 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Short stories
21. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories
3.
The Carriage
The small courtyard at the general’s quarterswas packedwithdroshkiesandothercarriages.Thecompanywasmale,consisting of officers and sundry local landowners.Mosteminent among the latter was one Pifagor PifagorovichChertokutsky,oneoftheforemostaristocratsinB—province,whomadehisvoiceheardaboveallothersat theelections,turningup in avery fancycarriage.Oncehehad served inacavalryregimentandhadbeenoneofitsmostnotableandprominentofficers.Atleast,hewasseenatnumerousballsandgatheringswhereverhisregimenthappenedtobestationed:theyoungladiesofTambovandSimbirskprovincescanvouchforthat.Hemightequallyhaveacquiredfameinotherprovinceshadhenotbeenobligedtoresignhiscommissionasaresultof one of those incidents commonly called ‘an unpleasantbusiness’.Whetherhehadslappedsomeone’sfaceintheolddays,orwhethersomeonehadslappedhis,Icannotsayforcertain.Whatever the facts, hehad to resign.However, hisauthoritywasnotdiminishedonebit.Hegallivantedaroundinamilitary-style,high-waistedtail-coat,worespursonhisbootsandsportedamoustacheunderhisnose,forwithoutonethelocalgentrymightthinkthathehadservedintheinfantry,whichhesometimescontemptuouslyreferredtoas‘infantillery’and sometimes as ‘infantery’.He visited all the crowdedfairs,wheretheveryheartofRussia,consistingofmammas,daughtersandfatsquires,wouldflocktoamusethemselves,intheirbrichkas,tarantassesandsuchpreposterouscarriagesasyouwouldneverevenseeinyourdreams.Hehadapronouncedtalent forsniffingoutacavalryregiment’squarters, leapingwiththeutmostaplombfromhislightcarriageordroshky,andinnotimeatallhewouldmaketheofficers’acquaintance.Atthelastelectionhehadgivenasplendiddinnerforthegentry,atwhichheannouncedthatifonlyhewereelectedmarshalhewouldnotfailto‘setthemup’.Byandlarge,helordeditlikearealgentleman,astheysayintheprovinces,marriedaprettygirlwithadowryoftwohundredserfsandseveralthousandincash.Thesefundswereimmediatelylavishedonateamofsixtrulyexcellenthorses,giltlocksforthedoors,atamemonkeyforthehouseandaFrenchbutler.Theyounglady’stwohundredserfs,togetherwithtwohundredofhisown,weremortgagedforsomebusinesstransaction.Inbrief,hewasanexemplarylandowner,arealparagon.Apartfromhim,therewereseveralotherlandownersatthegeneral’sdinner,butthereisnothingmuchtosayaboutthem.Theremainingguestswereofficersfromthesameregiment,andtwostaffofficers:acolonelandarathercorpulentmajor.Thegeneralhimselfwasratherstoutandstocky,but,inthewordsofhisofficers,agoodcommander.Hespokeinaratherthick,portentousbass.
* * *
2019LITERATUREEXAM 50
SECTION B – continued
2.
Mylasttwoyearsattheuniversityweredifferent[…]athreattobeathimathisowngame?
SheilaFitzpatrick,My Father’s Daughter: Memories of an Australian Childhood, MelbourneUniversityPress,2010
pp.148–150
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Mysenseofmyselfandmyplaceintheworld[…]namelyattractivenessorsexappeal
SheilaFitzpatrick,My Father’s Daughter: Memories of an Australian Childhood, MelbourneUniversityPress,2010
pp.67and68
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Other literature
22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood
Use two or more of the set passages as the basis for a discussion of My Father’s Daughter: Memories of an Australian Childhood.
51 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Re-readingthecorrespondence[…] AsifIweremyfather,anditwasmydaughterwhohaddied.
SheilaFitzpatrick,My Father’s Daughter: Memories of an Australian Childhood, MelbourneUniversityPress,2010
pp.230and231
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Other literature
22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood
2019LITERATUREEXAM 52
SECTION B – continued
Other literature
23. Voltaire, Candide, or Optimism
Use two or more of the set passages as the basis for a discussion of Candide, or Optimism.
1.
How Candide was obliged to part from the lovely Cunégonde and from the old woman
Presently they reached port atBuenosAires.Cunégonde,CaptainCandide and the oldwomanwent to call on theGovernor,DonFernandod’IbaraayFigueorayMascarenesyLampourdosySouza.Thisgrandeehadthepridebefittingapersonwhoboresomanynames.Hespoketoeveryonewiththemostaristocraticdisdain,pointedhisnosesoloftily,projectedhisvoicesoraspingly,adoptedsosuperioratoneandaffectedsohaughtyagaitthatallwhomethimweresorelytemptedtothrashhim.Headoredwomentothepointofmania.Cunégondeseemedtohimthemostbeautifulhehadeverseen.Thefirstthing he didwas to inquirewhether shewere not perhapsCaptainCandide’swife?ThemannerwithwhichheaskedthisquestiondisturbedCandide,whodarednotsayyes, for shewasnotinfacthiswife,andwhoneitherdaredtocallherhissister,forshewasnotthateither;andalthoughthiswhiteliewasonceveryfashionableamongtheAncients,andcouldstillhaveitsusesfortheModerns,hisheartwastoopuretobetraythetruth.‘MademoiselleCunégonde,’hesaid,‘haspromisedtodomethehonourofmarryingme,andwehumblybegYourExcellencytoconducttheceremony.’ Don Fernando d’Ibaraa y Figueora yMascarenes yLampourdosySouzatwirledhismoustache,smiledsardonically,andorderedCaptainCandidetogoandreviewhiscompany.Candide obeyed, and theGovernor stayed behind in thecompanyofCunégonde.Hedeclaredhispassiontoher,andassured her that tomorrow hewouldmarry her,with theChurch’s blessingor anyone else’s, however it pleasedhercharmingperson.Cunégondeaskedhimforaquarterofanhourtocollectherself,toconsulttheoldwoman,andcometoadecision. TheoldwomansaidtoCunégonde:‘Mademoiselle,youhaveseventy-twoquarterings,andnotafarthingtoyourname;itisinyourpoweralonetobecomethewifeofthemostpowerfulnobleman in theAmericas,whomoreover has a veryfinemoustache; is this themoment foryou toprideyourselfonyourunswervingfidelity?[…]’
* * *
2.
What happened to Candide and Martin at sea
So the old scholar,whowas calledMartin, embarked forBordeauxwithCandide.Bothhad seenand sufferedmuch;andevenhadtheirshipbeenscheduledtosailfromSurinamto Japanvia theCapeofGoodHope, they could still haveoccupiedthewholevoyagediscussingmoralandphysicalevil. CandidehadonegreatadvantageoverMartin,however,forhestillhopedtoseeMademoiselleCunégondeagain,whereasMartinhadnothingtohopefor;moreover,Candidehadsomegoldanddiamonds;andalthoughhehadlostahundredlargered sheep ladenwith the greatest treasures on earth, andalthoughtheknaveryoftheDutchcaptaingnawedathisheart,nevertheless,whenhethoughtofwhatremainedinhispockets,andwhenhespokeofCunégonde,especiallyattheendofagoodmeal,hestillinclinedtowardsthesystemofPangloss. ‘Butyou,MonsieurMartin,’hesaidtothescholar,‘whatdoyoumakeofallthis?Whatisyourideaofphysicalevilandmoralevil?’– ‘Sir,’ repliedMartin, ‘thepriestsaccusedmeofbeingaSocinian;butthetruthofthematteristhatIamaManichean.’–‘Nowyouaremakingfunofme,’saidCandide,‘therearesurelynoManicheans left in theworld.’– ‘Well,here isone,’saidMartin. ‘Icannothelp it,but Icannotseethingsinanyotherway.’–‘Thenyoumusthavethedevilinyou,’saidCandide.–‘Hetakessogreatashareintheaffairsofthisworld,’saidMartin,‘thathemaywellbeapartofme,asofeverythingelse;butIassureyou,whenIlookaroundatthisglobe,orratherthisglobule,IthinkthatGodhasindeedabandoned it all to somemalign being – all except yourEldorado,ofcourse.Ihavescarcelyseenatownthatdidnotdesiretheruinofthenexttown,norafamilythatdidnotwishtoexterminatesomeotherfamily.Everywheretheweakloathethestrong,beforewhomtheycringe,andthestrongtreatthemlikesomanysheeptobesoldfortheirmeatandtheirwool.AmillionassassinsinregimentalformationrunfromoneendofEuropetotheother,murderingandpillagingunderorders,asawayofearningtheirbread,sincethereisnoprofessionmorehonourable; andeven in thosecitieswhichappear to enjoypeace,andwheretheartsflourish,menaremoredevouredbyenvy,caresandanxietythanallthetribulationsvisiteduponacitadelundersiege.Privategriefsarecruellereventhanpublicmiseries.Inshort,Ihaveseensomuch,andenduredsomuch,thatIambecomeaManichean.’ ‘Andyetthereissomegoodintheworld,’Candidewouldreply.–‘Thatmaybeso,’Martinwouldsay,‘butIhavenotexperiencedit.’ Inthemidstofthisdiscussionthesoundofcannonwasheard.Thenoisegrewlouderwitheachpassingmoment.Everyonereached for their spyglasses.Twovesselswere to be seenengagingincombatatadistanceofaboutthreemiles:thewindbroughtthembothsoclosetotheFrenchvesselthateveryonehad the pleasure ofwatching the engagement in completecomfort.Presentlyoneofthevesselsfiredabroadside,solowdownandsoaccurateastosinktheotheroutright.CandideandMartincoulddistinctlymakeoutahundredorsomenonthedeckofthesinkingvessel,allraisingtheirarmstoheavenand
53 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Other literature
23. Voltaire, Candide, or Optimism
utteringthemostfearfulshrieks;thenextmomenteverythingwasswallowed. ‘Well, thereyouhave it,’ saidMartin. ‘That ishowmenbehavetowardseachother.’–‘Certainly,’saidCandide,‘thedevilhadahandinthisbusiness,atleast.’Ashewasspeaking,henoticedsomethingbrightredinthewater,swimmingclosetotheirship.Thelaunchwasloweredtoseewhatitmightbe.ItwasoneofCandide’ssheep.Hefeltmorejoyatrecoveringthisonesheepthantheafflictionhehadsufferedatlosingahundred,eachladenwiththefatdiamondsofEldorado. TheFrenchcaptainsoonascertainedthatthecaptainoftheshipdoingthesinkingwasaSpaniard,andthatthecaptainoftheshipbeingsunkwasaDutchpirate:theverysamewhohadrobbedCandide.Theimmenserichesseizedbythisscoundrelwereengulfedalongwithhim,andnothingsavedbutasinglesheep.‘Yousee,’saidCandidetoMartin,‘crimeissometimespunished; thatblackguardofaDutchownergot the fatehedeserved.’–‘Yes,’saidMartin,‘butdidthepassengersonboardhavetoperishtoo?Godpunishedthethief,thedevildrownedtherest.’
* * *
3.
How Candide was reunited with Cunégonde and the old woman
WhileCandide,theBaron,Pangloss,MartinandCacamboweredescribingtheiradventures,anddisputingas towhether theeventsinthisuniversearecontingentornon-contingent,andarguingabouteffectsandcauses,moralevilandphysicalevil,freewillandnecessity,nottomentiontheconsolationstobefoundaboardaTurkishgalley,theyreachedtheshoresofthePropontide,closebythehouseofthePrinceofTransylvania.ThefirstthingtheysawwasCunégondeandtheoldwoman,whowerehangingtowelsouttodryonaline. TheBaron turned pale at the sight.Candide, the tenderlover,onseeinghisbeautifulCunégondeallweather-beaten,hereyesbloodshot,herbreastssunken,hercheekslined,herarms red and chapped,was seizedwith horror; he recoiledthreepaces, thenadvancedoutof sheergoodmanners.SheembracedCandide and her brother; they embraced the oldwoman;Candideransomedthepairofthem. Therewas a small holding in the neighborhood: the oldwomansuggestedtoCandidethatheavailhimselfofitforthetimebeing,untilthefortunesoftheirwholecompanyshouldimprove.Cunégondewasunawareofhowuglyshehadbecome,no one having told her. She now remindedCandide of hispromises,andinsoperemptoryafashionthatthegoodCandidedarenottorefuseher.SoheinformedtheBaronofhisintentiontomarryhissister.‘Never,’saidtheBaron,‘willItoleratesuchbasenessonherpart,norsuchinsolenceonyours.NevershallIbereproachedwithcondoningthisinfamousunion:mysister’schildrenwouldbeunabletoshowtheirfacesintheChaptersofGermany.No,mysistershallnevermarryunlessshemarryabaronoftheEmpire.’Cunégondethrewherselfathisfeetandbathedthemwithhertears:hewasinflexible.–‘Youabsoluteass,’saidCandide.‘Ihaverescuedyoufromthegalleys;Ihavepaidforyourfreedom;Ihavepaidforyoursister’sfreedom.Shewaswashingdisheshere;sheisugly;Ihavethegoodnesstomakehermywife,andstillyoupresumetoopposeit!IwouldkillyoualloveragainwereItogivewaytomyanger!’–‘Youmaykillmealloveragain,’saidtheBaron,‘butyouwillnevermarrymysisterwhileIamliving.’
* * *
2019LITERATUREEXAM 54
SECTION B – continued
Other literature
24. Virginia Woolf, A Room of One’s Own
Use two or more of the set passages as the basis for a discussion of A Room of One’s Own.
1.
Haveyouanynotionofhowmanybooksarewrittenaboutwomeninthecourseofoneyear?Haveyouanynotionhowmanyarewrittenbymen?Areyouawarethatyouare,perhaps,themostdiscussedanimalintheuniverse?HerehadIcomewithanotebookandapencilproposingtospendamorningreading,supposingthatattheendofthemorningIshouldhavetransferredthetruthtomynotebook.ButIshouldneedtobeaherdof elephants, I thought, and awildernessof spiders,desperatelyreferringto theanimals thatarereputedlongestlivedandmostmultitudinouslyeyed,tocopewithallthis.Ishouldneedclawsofsteelandbeakofbrasseventopenetratethehusk.HowshallIeverfindthegrainsoftruthembeddedinallthismassofpaper?Iaskedmyself,andindespairbeganrunningmyeyeupanddownthelonglistoftitles.Eventhenamesof the booksgaveme food for thought.Sex and itsnaturemightwellattractdoctorsandbiologists;butwhatwassurprisinganddifficultofexplanationwasthefactthatsex–woman,thatistosay–alsoattractsagreeableessayists,light-fingerednovelists,youngmenwhohavetakentheM.A.degree;menwhohavetakennodegree;menwhohavenoapparentqualificationsavethattheyarenotwomen.Someofthesebookswere,onthefaceofit,frivolousandfacetious;butmany,ontheotherhand,wereseriousandprophetic,moralandhortatory.Merelytoreadthetitlessuggestedinnumerableschool-masters,innumerableclergymenmountingtheirplatformsandpulpitsandholdingforthwithloquacitywhichfarexceededthehourusuallyallottedtosuchdiscourseonthisonesubject.Itwasamoststrangephenomenon;andapparently–hereIconsultedtheletterM–oneconfinedtothemalesex.Womendonotwritebooksaboutmen–afactthatIcouldnothelpwelcomingwithrelief,forifIhadfirsttoreadallthatmenhavewrittenaboutwomen,thenallthatwomenhavewrittenaboutmen,thealoethatflowersonceinahundredyearswouldflowertwicebeforeIcouldsetpentopaper.So,makingaperfectlyarbitrarychoiceofadozenvolumesorso,Isentmyslipsofpapertolieinthewiretray,andwaitedinmystall,amongtheotherseekersfortheessentialoiloftruth.
* * *
2.
Atthismoment,assooftenhappensinLondon,therewasacompletelullandsuspensionoftraffic.Nothingcamedownthestreet;nobodypassed.Asingleleafdetacheditselffromtheplanetreeattheendofthestreet,andinthatpauseandsuspensionfell.Somehowitwaslikeasignalfalling,asignalpointing to a force in thingswhich one had overlooked. Itseemedtopointtoariver,whichflowedpast,invisibly,roundthecorner,downthestreet,andtookpeopleandeddiedthemalong,asthestreamatOxbridgehadtakentheundergraduateinhisboatandthedeadleaves.Nowitwasbringingfromonesideofthestreettotheotherdiagonallyagirlinpatentleatherboots,andthenayoungmaninamaroonovercoat;itwasalsobringingataxi-cab;anditbroughtallthreetogetheratapointdirectlybeneathmywindow;wherethetaxistopped;andthegirlandtheyoungmanstopped;andtheygotintothetaxi;andthenthecabglidedoffasifitweresweptonbythecurrentelsewhere. Thesightwasordinaryenough;whatwasstrangewastherhythmicalorderwithwhichmyimaginationhadinvestedit;andthefactthattheordinarysightoftwopeoplegettingintoacabhadthepowertocommunicatesomethingoftheirownseemingsatisfaction.Thesightoftwopeoplecomingdownthestreetandmeetingatthecornerseemstoeasethemindofsomestrain,Ithought,watchingthetaxiturnandmakeoff.Perhapstothink,asIhadbeenthinkingthesetwodays,ofonesexasdistinctfromtheotherisaneffort.Itinterfereswiththeunityofthemind.Nowthatefforthadceasedandthatunityhadbeen restoredby seeing twopeople come together andget intoa taxi-cab.Themindiscertainlyaverymysteriousorgan, I reflected, drawingmy head in from thewindow,aboutwhichnothingwhateverisknown,thoughwedependuponitsocompletely.WhydoIfeelthatthereareseverancesandoppositionsinthemind,astherearestrainsfromobviouscausesonthebody?Whatdoesonemeanby‘theunityofthemind’?Ipondered,forclearlythemindhassogreatapowerofconcentratingatanypointatanymomentthatitseemstohavenosinglestateofbeing.Itcanseparateitselffromthepeopleinthestreet,forexample,andthinkofitselfasapartfromthem,atanupperwindowlookingdownonthem.Or itcanthinkwithotherpeoplespontaneously,as,forinstance,inacrowdwaitingtohearsomepieceofnewsreadout.Itcanthinkbackthroughitsfathersorthroughitsmothers,asIhavesaidthatawomanwritingthinksbackthroughhermothers.Againifoneisawomanoneisoftensurprisedbyasuddensplittingoffofconsciousness, say inwalkingdownWhitehall,when frombeingthenaturalinheritorofthatcivilization,shebecomes,onthecontrary,outsideofit,alienandcritical.Clearlythemindisalwaysalteringitsfocus,andbringingtheworldintodifferentperspectives.Butsomeofthesestatesofmindseem,evenifadoptedspontaneously,tobelesscomfortablethanothers.Inordertokeeponeselfcontinuinginthemoneisunconsciouslyholdingsomethingback,andgraduallytherepressionbecomesaneffort.Buttheremaybesomestateofmindinwhichonecouldcontinuewithouteffortbecausenothingisrequiredtobeheldback.Andthisperhaps,Ithought,cominginfromthewindow,isoneofthem.ForcertainlywhenIsawthecouple
55 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Other literature
24. Virginia Woolf, A Room of One’s Own
getintothetaxi-cabthemindfeltasif,afterbeingdivided,ithadcometogetheragaininanaturalfusion.Theobviousreasonwouldbethatitisnaturalforthesexestoco-operate.Onehasaprofound,ifirrational,instinctinfavourofthetheorythattheunionofmanandwomanmakesforthegreatestsatisfaction,themostcompletehappiness.Butthesightofthetwopeoplegettingintothetaxiandthesatisfactionitgavememademealsoaskwhethertherearetwosexesinthemindcorrespondingtothetwosexesinthebody,andwhethertheyalsorequiretobeunitedinordertogetcompletesatisfactionandhappiness?
* * *
3.
ItoldyouinthecourseofthispaperthatShakespearehadasister;butdonotlookforherinSirSidneyLee’slifeofthepoet.Shediedyoung–alas,sheneverwroteaword.Sheliesburiedwheretheomnibusesnowstop,oppositetheElephantandCastle.Nowmybeliefisthatthispoetwhoneverwroteawordandwasburiedatthecross-roadsstilllives.Shelivesinyouandinme,andinmanyotherwomenwhoarenothereto-night, for theyarewashingupthedishesandputtingthechildrentobed.Butshelives;forgreatpoetsdonotdie;theyarecontinuingpresences; theyneedonly theopportunity towalk amongus in theflesh.This opportunity, as I think, itisnowcomingwithinyourpowertogiveher.Formybeliefisthatifweliveanothercenturyorso–Iamtalkingofthecommonlifewhichisthereallifeandnotofthelittleseparateliveswhichweliveasindividuals–andhavefivehundredayeareachofusandroomsofourown;ifwehavethehabitoffreedomandthecouragetowriteexactlywhatwethink;ifweescapealittlefromthecommonsitting-roomandseehumanbeingsnotalwaysintheirrelationtoeachotherbutinrelationtoreality;andthesky,too,andthetreesorwhateveritmaybeinthemselves;ifwelookpastMilton’sbogey,fornohumanbeingshouldshutouttheview;ifwefacethefact,foritisafact,thatthereisnoarmtoclingto,butthatwegoaloneandthatourrelationistotheworldofrealityandnotonlytotheworld ofmen andwomen, then the opportunitywill comeandthedeadpoetwhowasShakespeare’ssisterwillputonthebodywhichshehassooftenlaiddown.Drawingherlifefromthelivesoftheunknownwhowereherforerunners,asherbrotherdidbeforeher,shewillbeborn.Asforhercomingwithoutthatpreparation,withoutthateffortonourpart,withoutthatdeterminationthatwhensheisbornagainsheshallfinditpossibletoliveandwriteherpoetry,thatwecannotexpect,forthatwouldbeimpossible.ButImaintainthatshewouldcomeifweworkedforher,andthatsotowork,eveninpovertyandobscurity,isworthwhile.
* * *
2019LITERATUREEXAM 56
SECTION B – continued
Poetry
25. Robert Browning, Selected Poems
Use two or more of the set passages as the basis for a discussion of the poetry of Robert Browning.
1.
Soliloquy of the Spanish Cloister
iGr-r-r–therego,myheart’sabhorrence! Wateryourdamnedflower-pots,do!Ifhatekilledmen,BrotherLawrence, God’sblood,wouldnotminekillyou!What?yourmyrtle-bushwantstrimming? Oh,thatrosehaspriorclaims–Needsitsleadenvasefilledbrimming? Helldryyouupwithitsflames!
iiAtthemealwesittogether: Salve tibi!ImusthearWisetalkofthekindofweather, Sortofseason,timeofyear:Not a plenteous cork-crop: scarcely Dare we hope oak-galls, I doubt:What’s the Latin name for ‘parsley’? What’stheGreeknameforSwine’sSnout?
iiiWhew!We’llhaveourplatterburnished, Laidwithcareonourownshelf!Withafire-newspoonwe’refurnished, Andagobletforourself,Rinsedlikesomethingsacrificial Ere’tisfittotouchourchaps–MarkedwithL.forourinitial! (He-he!Therehislilysnaps!)
ivSaint,forsooth!WhilebrownDolores SquatsoutsidetheConventbankWithSanchicha,tellingstories, Steepingtressesinthetank,Blue-black,lustrous,thicklikehorsehairs, –Can’tIseehisdeadeyeglow,Brightas’twereaBarbarycorsair’s? (Thatis,ifhe’dletitshow!)
vWhenhefinishesrefection, KnifeandforkheneverlaysCross-wise,tomyrecollection, AsdoI,inJesu’spraise.ItheTrinityillustrate, Drinkingwateredorange-pulp–InthreesipstheArianfrustrate;
Whilehedrainshisatonegulp.
viOh,thosemelons?Ifhe’sable We’retohaveafeast!sonice!OnegoestotheAbbot’stable, Allofusgeteachaslice.Howgoonyourflowers?Nonedouble? Notonefruit-sortcanyouspy?Strange!–AndI,too,atsuchtrouble, Keepthemclose-nippedonthesly!
viiThere’sagreattextinGalatians, Onceyoutriponit,entailsTwenty-ninedistinctdamnations, Onesure,ifanotherfails:IfItriphimjusta-dying, Sureofheavenassurecanbe,Spinhimroundandsendhimflying Offtohell,aManichee?
viiiOr,myscrofulousFrenchnovel Ongreypaperwithblunttype!Simplyglanceatit,yougrovel HandandfootinBelial’sgripe:IfIdoubledownitspages Atthewoefulsixteenthprint,Whenhegathershisgreengages, Opeasieveandslipitin’t?
ixOr,there’sSatan!–onemightventure Pledgeone’ssoultohim,yetleaveSuchaflawintheindenture Ashe’dmisstill,pastretrieve,Blastedlaythatrose-acacia We’resoproudof!Hy, Zy, Hine...’St,there’sVespers!Plena gratiâ Ave, Virgo!Gr-r-r–youswine!
* * *
57 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
25. Robert Browning, Selected Poems
2.
Fra Lippo Lippi
‘So,boy,you’reminded,’quoththegoodfatfatherWipinghisownmouth,’twasrefection-time,–‘Toquitthisverymiserableworld?Willyourenounce’...‘themouthfulofbread?’thoughtI;Bynomeans!Brief,theymadeamonkofme;Ididrenouncetheworld,itsprideandgreed,Palace,farm,villa,shopandbanking-house,Trash,suchasthesepoordevilsofMediciHavegiventheirheartsto–allateightyearsold.Well,sir,Ifoundintime,youmaybesure,’Twasnotfornothing–thegoodbellyful,Thewarmsergeandtheropethatgoesallround,Andday-longblessedidlenessbeside!‘Let’sseewhattheurchin’sfitfor’–thatcamenext.Notovermuchtheirway,Imustconfess.Suchato-do!Theytriedmewiththeirbooks:Lord,they’dhavetaughtmeLatininpurewaste!Flower o’ the clove,All the Latin I construe is, ‘amo’ I love!But,mindyou,whenaboystarvesinthestreetsEightyearstogether,asmyfortunewas,Watchingfolk’sfacestoknowwhowillflingThebitofhalf-strippedgrape-bunchhedesires,Andwhowillcurseorkickhimforhispains,–Whichgentlemanprocessionalandfine,HoldingacandletotheSacrament,WillwinkandlethimliftaplateandcatchThedroppingsofthewaxtosellagain,OrhollafortheEightandhavehimwhipped,–HowsayI?–nay,whichdogbites,whichletsdropHisbonefromtheheapofoffalinthestreet,–Why,soulandsenseofhimgrowsharpalike,Helearnsthelookofthings,andnonethelessForadmonitionfromthehunger-pinch.Ihadastoreofsuchremarks,besure,Which,afterIfoundleisure,turnedtouse.Idrewmen’sfacesonmycopy-books,Scrawledthemwithintheantiphonary’smarge,Joinedlegsandarmstothelongmusic-notes,FoundeyesandnoseandchinforA’sandB’s,AndmadeastringofpicturesoftheworldBetwixttheinsandoutsofverbandnoun,Onthewall,thebench,thedoor.Themonkslookedblack.‘Nay,’quoththePrior,‘turnhimout,d’yesay?Innowise.Loseacrowandcatchalark.Whatifatlastwegetourmanofparts,WeCarmelites,likethoseCamaldoleseAndPreachingFriars,todoourchurchupfineAndputthefrontonitthatoughttobe!’Andhereuponhebademedaubaway.
* * *
3.
Confessions
iWhatishebuzzinginmyears? ‘NowthatIcometodie,DoIviewtheworldasavaleoftears?’ Ah,reverendsir,notI!
iiWhatIviewedthereonce,whatIviewagain WherethephysicbottlesstandOnthetable’sedge,–isasuburblane, Withawalltomybedsidehand.
iiiThatlanesloped,muchasthebottlesdo, FromahouseyoucoulddescryO’erthegarden-wall:isthecurtainblue Orgreentoahealthyeye?
ivTomine,itservesfortheoldJuneweather Blueabovelaneandwall;Andthatfarthestbottlelabelled‘Ether’ Isthehouseo’ertoppingall.
vAtaterrace,somewherenearthestopper, Therewatchedforme,oneJune,Agirl:Iknow,sir,it’simproper, Mypoormind’soutoftune.
viOnly,therewasaway...youcrept Closebytheside,tododgeEyesinthehouse,twoeyesexcept: Theystyledtheirhouse‘TheLodge.’
viiWhatrighthadaloungeruptheirlane? But,bycreepingveryclose,Withthegoodwall’shelp,–theireyesmightstrain AndstretchthemselvestoOes,
viiiYetnevercatchherandmetogether, Asshelefttheattic,there,Bytherimofthebottlelabelled‘Ether,’ Andstolefromstairtostair,
ixAndstoodbytherose-wreathedgate.Alas, Weloved,sir–usedtomeet:Howsadandbadandmaditwas– Butthen,howitwassweet!
* * *
2019LITERATUREEXAM 58
SECTION B – continued
2.
Parsed into Colors
Ravi Shankar
Exile
There’snowhereelseI’drathernotbethanhere,ButhereIamnonetheless,dispossessed,Thoughnotquite,becauseIneverownedWhat’sbeentakenfromme,neverhavebelongedInandtoaplace,apeople,acommonhistory.EvenasachildwhenIwasslurredinschool—Towelhead,dotboy,cameljockey—Noneoftheabusewasprecise:onlySikhsWearturbans,widowsandyounggirlsbindis,NotonespeciesofcamelisindigenoustoIndia...If,asSimoneWeilwrites,toberootedIsthemostimportantandleastrecognizedneedOfthehumansoul,behold:Iamanepiphyte.IconjuresustenancefromthinairandthesmellOfbothcamphorandmeatloafequallyrepelme.I’vewornalungipulledbetweenmylegs,Donedesignerdrugswhilesubwoofersthrobbed,Sippedmasalachaisteamingfromatincup,DrivenaDodgeacrosstheVerrazanoinrushhour,Andalwaystosomedegreefeltextraneous,Likeameteoritehappeneduponbingonight.Thisalienfeeling,honedinalonenesstoanedge,Usesmetocarveanappropriatemaskeachmorning.I’mstillunsurewhateffectithasonmysoul.
* * *
Poetry
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
Use two or more of the set passages as the basis for a discussion of the poetry set from this text.
1.
In the Grasp of Childhood Fields
Xuân Quỳnh
The Blue Flower
WerethoseblueflowersthereornotInthetrampledfieldofyourchildhood?Alazystreamflowedintothedistancefromthestillvalley.Amistroseoverthewindows.
WerethosebluedaisiesthereornotInthatlittleschoolhouse,farfromtheworld?Wasthatourdream,orwasittheflower’sTobesogentle,sodear?
Thegrasssproutsforasmallbirdintheforest.TheclearwatermurmursinafieldofreedsAndmyheartisasyoungasdawnlight,Undiminishedasyetbysorrow.AutumnscomeandgoontheoldverandasLifeisnotyetmarredbysuddenseparation.Thewholeofthetrampledfieldisbluewithflowers.Theirfragrancefillstheworld.Countrygirlswithsilkenskin,Villageboyseagerintheirtwenties.Loveeverywhere,amongpeople,flowers,grass,earth.Taketurnstotheseasonsofthefruitharvests....
WerethoseblueflowersthereornotInthosemonthsandyearsofourchildhood?WasthevalleythereornotWhenIvisitedyou?Greengrasshoppers,thetinyreddragonfliesHummedabovetheroadsofsummerwind.Thisthekingdomofourpast,
Freshandsmoothasgrassinadream....
Youmusthavebelievedthoseflowerswerethere.Andthatthevalleyofouryouthwasbluewiththem.
* * *
Poem©2002XuânQuỳnh;translation©2002NguyênBáChungandCarolynForché;firstpublished2002byCurbstonePress;allrightsreserved
59 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
3.
Slips and Atmospherics
Marjorie Evasco
Dreamweavers
Weareentitledtoourowndefinitionsoftheworldwehaveincommon:
earth house (stay)water well (carry)fire stove (tend)air song (sigh)ether dream (die)
andtryoutnewcombinationswithkeywordsunlockingpower
houseonfire sing!stoveunderwater stay,earthfilledwell die.
Thespellsandspellingsofourvocabulariesareoracularintranslation.
OnewomaninPagnito-ananotherinSolentinamestillanotherinHarxheimnaminghalftheworldtogether
can movetheirearthmust housetheirfirebe watertotheirsongwill theirdreamswell.
* * *
2019LITERATUREEXAM 60
SECTION B – continued
2.
Letter in November
Love,theworld
[…]
Goldsbleedanddeepen,themouthsofThermopylae.
SylviaPlath,Ariel, FaberModernClassics,2015
pp.45and46
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Morning Song
Lovesetyougoinglikeafatgoldwatch.
[…]
Theclearvowelsriselikeballoons.
SylviaPlath,Ariel, FaberModernClassics,2015
p.3
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
27. Sylvia Plath, Ariel
Use two or more of the set passages as the basis for a discussion of the poetry of Sylvia Plath.
61 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
The Munich Mannequins
Perfectionisterrible,itcannothavechildren.
[…]
Voicelessness.Thesnowhasnovoice.
SylviaPlath,Ariel, FaberModernClassics,2015
pp.69and70
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
27. Sylvia Plath, Ariel
2019LITERATUREEXAM 62
SECTION B – continued
Poetry
28. Chris Wallace-Crabbe, New and Selected Poems
Use two or more of the set passages as the basis for a discussion of the poetry of Chris Wallace-Crabbe.
1.
In Light and Darkness
In Light and Darkness
Nothingisquitesorococo
[…]
cleartilltheendofourdays.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
pp.62and63
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
63 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
28. Chris Wallace-Crabbe, New and Selected Poems
2.
The Emotions Are Not Skilled Workers
Now That April’s Herefor Peter Steele
Wheremonotonewas,thetipsandfledgesareuncurling,
[…]
carryingtheircarnivalcoloursbrilliantlythroughmyhead.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
pp.84and85
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
3.
Rungs of Time
Sunset Sky Near Coober Pedy
Streak,dash,fluff,apricotradiation,
[…]
themeaningofwhattheyareismerelyIS.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
p.137
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2019LITERATUREEXAM 64
SECTION B – continued
Poetry
29. Samuel Wagan Watson, Smoke Encrypted Whispers
Use two or more of the set passages as the basis for a discussion of the poetry of Samuel Wagan Watson.
1.
2000 of muse, meandering and midnight
white stucco dreaming
sprinkledinthehappydarkofmymindisearlychildhoodandblackhumourwhitestuccodreamingandablacklabradoranorangeandblackpanel-vancalledthe‘blackbanana’withtwentyblackfellashangingoutthebackblastingthroughthewhitestuccoumbilicalofaworkingclasstribefrontyardsstuddedwitholdblacktyresthatbecamemutantswansovernightattackedwithacaneknifeandabadwhitepaintjob
whitestuccodreamingandsnakesthatmorphedintonylonhosesattheterrorofMum’sscornsnakeswhosecoolvenomwesprayedontothewhitestucco,temporarilyblushingitpinkamidanatmosphereofSaturdaymorninggrasscuttingsandflirtatiousmelodiesofice-creamtrucksthatechoedthroughlittleblackmindsandsentthelabradorinsane
chocolatehandprintslikedreamtimefraudlaidacrosswhitestuccoandmudcakesonthecampstovethatjustmadeDadseeblacknotreesafefromtreehousesprawlandthepolicecarsthatcrawledupanddownthebackstreets,peeringintoourwhitestuccococoonwishingtheywerewithus
* * *
2.
2000 of muse, meandering and midnight
cheap white-goods at the dreamtime sale
ifonlythealloy-wingedangelscouldperformbetterandliftUluru;asitewithgrandeurtheneolithicadditivemissingfromthatseventhwonderofthe worldexpo,underthearmsofaneongoddess,underthehammerin London,murderersturningtrusteesapossessionfromadeathestatemaybefloggedofftothesweetseductionofyentositinthehallsofaSwissbankorbeparadedaroundParis’LeftBankwherethenativesbelievethatartbreathedforthefirsttime;culture,bohemianandbareandmaybebrutalandhowthecriticsneglecttheRubenesqueroundnessofa bora-ringunfoldedtoanacademiaofartyes,thatpuresoilinfrontofyouthedealersinManhattanlaybackandvomitthey’rethegeniusbehinddotpaintingsandochrehandprintsrattlingstudiosfromtheEastSidetotheVillageandacrosstheassofdesignerjeansporcelaindollsfromSohowantingapartinitsobadasthesamescenediscardstheirshellsuponthecatwalkslikeinthelandoftheoriginalDreamingcomatosetotemslitterthelandscapebargainsandhalf-truthssimmeroverauthenticitycopyrightandcopiouscharacterassassinationonthemenusacreddancesavailableoutoftheyellowpagesandcheapwhite-goodsattheDreamtimesale!
* * *
©SamuelWaganWatson,Smoke Encrypted Whispers,UniversityofQueenslandPress,StLucia, Queensland,Australia,2014;reproducedbypermission
65 2019LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
29. Samuel Wagan Watson, Smoke Encrypted Whispers
3.
2001 hotel bone
hotel bone
thestreetresemblesaneckfromawaywardguitarwithHotelBonesittingidleonavein,wedgedbetweentwofrets wherethebadtunescanreachher
thesewhitestuccowalls,Iimagine,oncecarriedavisionofpearlnowagourdforasylumseekers Iraqi,Indonesian,SriLankanandonecrazyAboriginal…wholiveswithatypewriterbutnotwiththebrevityofavisaonmyhead;no,mylongevitywasguaranteedbeforeIwasborn inthe1967referendum thefreedomtopracticethevoodooofsemanticswithinthemarrowofHotelBone
existenceonly2minuteswalkfromsomeofthebestlatteloungesinthecity yet,whitefacesdon’tcomedownhereuntilthey’vebeenclassifiedunfitfordutynolongerpermitteduponthechorusline ofthecappuccinosong wheremulti-culturalismisinanairlineformatfirst-class,businessandeconomyseating
butthoseofuswhosubmittothechanceofmystery-flights enduponthetar,ofHotelBone
ahavenfromSaddam,Suharto,theTamilTigers andOneNation thisHotelBone; itishard
itisreachable
itishome
* * *
©SamuelWaganWatson,Smoke Encrypted Whispers,UniversityofQueenslandPress,StLucia, Queensland,Australia,2014;reproducedbypermission
2019LITERATUREEXAM 66
SECTION B – continued
Poetry
30. Petra White, A Hunger
Use two or more of the set passages as the basis for a discussion of the poetry of Petra White.
1.
A Hunger (New poems 2014) Thirteen Love Poems
Ode on Love
WhathehastakenofmeIdon’tevenwantback,Idon’twanttowantback.Thisnewhappinessholdsupanovelmischiefthatwaitsinthenear.Whysoindispensible?BeforeIknewhimIdidnotneedhim:ifhegoesImustreplacehim,asifIcould.Andthatcirclingbody-mashingdoubt.Howhethrowsmeintodarkandretrievesme!Andwithgazeslikelittleriffingflamesinhabitsme.
Whatdoesthebottom-mostsoulknowofthis–thatbasinofusconcernedonlywithsurvival,collectingresidualpassionandwashingclean,shiningupthatbitofusthatcaresnothing?
Heiscoastingalonghisownmidnight.Thetrappingofhisbreath,theonlyoutwardsign,Idevouritlikemeat,asifitwerehim,tenderlyandwatchfullyinalllove’screepiness.
Thatideathateveryloveristhesame,thatthere’satemplate,atype,thatwhatIorbitisanall-manmanlikelytobejustlikemyfather,manydesiresfoldedintoonebrightbouquetofobsessionthatspringsfromtheheartlikeSpring.
Loveisathing,theself’sundoingthatitbegsfor.Hetwitchesouthotshiversofloveheshiftsawayfrom,exaltsandvoidsmewith the economyof awaiter emptyingawhole tablewith
onehand.
Powertolovedrawsthelongbreathfromme.Petrarchmadethisajoy,anOtherqueeningdistance,lovenevershakenbyreality,neverwhittledbyexchange.Ifearwhateverwehavewillpufflikeathistle.Andifnot?Mutuality,mutability,lovenuancedandgrappled,hard.Thisseamofencounterscan’tpegitselfdown,itisorisn’t,itishighorlow,ascytheswingingin,orout.
Theselftriestolocatehim,anditselfinallthemovingsignifiersoflove,loverandlove,meaningandfeeling,thingthatsays,lovethisone,notanother.Ilieinbedscratchingatthenight.Absent,hisbeautyevaporates.Heflickersbeforeme,knowable-unknowable,centrallover,man-figureskatingsosweetlyattheedgeofabeauty.HowIhopeagainst.HowIwanttoknowifhe.Andlovedarestheself.Toriskwhatthereisinhopeofhavockingmoretorisk.Tryingnottotrytopurloinhimwholebutkeephimnear–totellmyheartsostupid!Thedrawbridgeclattersup.
* * *
ReproducedbypermissionofJohnLeonardPress
67 2019LITERATUREEXAM
END OF SECTION BTURN OVER
Poetry
30. Petra White, A Hunger
2.
The Simplified World (2010)
Woman and Dog
Awomanandadogwalkedalldaybesidethenon-movingcanal.Peoplewhowalkdogsdisplacethemselves:
thedogsniffsandleads,harnessesahumansoul,spiritandfleshwillingornot.Itshuman-dogeyes
cradlethewalkableworld–ahappyplace–abrimminghere-and-yet.Thecanalneitherfollowednorlaggedbehind.
Therewasthesimplifiedworld,oneitherside,greenfieldsandredhouses.Therewasthelittlepubtheyalwaysgotto.
Solongtheytrudged,twobodiesandonesoul,somanymiles,thepawsbegantobleed.
Littleflecksofrubybloodglitteredtheblackrubberypads,asifthedogwasinkingoutallthesadnessofthewoman.
Andthewoman,beingjuststrongenough,gatheredupthedog(notasmallone)andcarrieditallthewayhome,whereverthatwas.
* * *
3.
The Incoming Tide (2007)
Southbank
9
Skilltugsatthemuscles,drivesthebones,themindkeen,thechildperfectingherscales,blockingthedin.
Thechildunderstandstheadults,ignoresthem,thinkssheisinnocent,makingherself.Shereadsthedictionary,thebible,dinnerplatesoflanguage,atschooldwarfsherselfwithlongwords.Priggish,pigeon-toed,shewalksherbookintheschoolyard,stalksblindthroughnetball.
Thethingweworkfor(rarelyworkforitsownsake)vanishes;workpersists,thentooislost:theblackholeofenergyburnsthroughhandsandminds.
Aheavensomewhere,apalmtree,abeach,achild,anapartment,thequiethumofone’spowerofbeingthatflexesarounddays,carriesfutures,sayingworld is made for me as I make it:smallenoughtogardenbyhand,largeenoughtooutscopeme,forImustnotlosesurprise:thisillusionIwithmylabourcansustain.
10
Elevatorsdim-lit,dark-polishedalldaybyawomanfromBosnia,cheerfulasSisyphus,
whogreetsyouwithasuicidalsmile,hertrolleyofrankcleaningproductsmakeshersneeze,
fillshereyeswithredwires;sheapologises,grins.Shescaleshernever-donejob,amoonwalker
trailinghercargothroughthesemi-mirroredobsidiantangleofoffices,herselfglowingbackather.
Yourideupwithher,pin-prickhalogenlights,mirroredwallsyouvanishinto,shepolishes.
* * *
ReproducedbypermissionofJohnLeonardPress
2019LITERATUREEXAM 68
Assessment criteriaSectionAwillbeassessedagainstthefollowingcriteria:• developmentofaninformed,relevantandplausibleinterpretationofthetext• understandingandanalysisofthetext,demonstratedthroughtheuseoftextualevidence• analysisandevaluationoftheviewsandvaluesforegroundedinthetopicandunderlyingoneliterary
perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas
SectionBwillbeassessedagainstthefollowingcriteria:• understandingofthetext,demonstratedinarelevantandplausibleinterpretation• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation• understandingofhowviewsandvaluesmaybesuggestedinthetext• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation• analysisofthefeaturesofthetextandhowtheycontributetoaninterpretation• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext
END OF TASK BOOK