ENGLISH ADDITIONAL LANGUAGEPAPER 2PRESCRIBED WORKNOVEMBER 200580 MARKSTIME: 2 HOURS

INSTRUCTIONS Draw a margin on the right hand side of the page Leave a line open between answers. Begin each Section on a new page. There are three sections. You only have to answer two sections.

CONTENTS OF PAPER Section A: Poetry (40) Section B: Arms and the man (40) Section C: Shrek Film Study (40)

SECTION APOETRY

Answer all the questions.

QUESTION 1

Cambodia James FentonOne man shall smile one day and say goodbyeTwo shall be left, two shall be left to die

One man shall give his best adviceTwo men shall pay the price

One man shall live, live to regret.Four men shall meet the debt.

One man shall wake from terror to his bed.Five men shall be dead.

One man to five. A million men to one.And still tye die. And still the war goes on.

1.1 Which event in Cambodia’s history does this poem refer to?(1)

1.2 Which party ruled Cambodia?A Red Dragons

B Khmer RougeC Socialists

(1)1.3 Who was the leader of Cambodia at this time?

(1)1.4 Who is the “One man”, the poem refers to?

(1)1.5 Explain why you can say the second line of each couplet shows progression.

(2)1.6 What is the poet trying to express with the line that says “ A million men to one”?

(2)[8]

QUESTION 2

Funeral Blues Stop all the clocks, cut off the telephone,Prevent the dog from barking with a juicy bone,Silence the pianos and with muffled drumBring out the coffin, let the mourners come.

Let aeroplanes circle moaning overheadScribbling on the sky the message He Is Dead,Put crepe bows round the white necks of the public doves,Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,My working week and my Sunday rest,My noon, my midnight, my talk, my song;I thought that love would last for ever; I was wrong.

The stars are not wanted now: put out every one;Pack up the moon and dismantle the sun;Pour away the ocean and sweep up the wood,For nothing now can ever come to any good.

W. H. Auden

2.1 What does the word “blues” refer to?(1)

2.2 Quote all the words in the poem that may be linked to the finality of death.(5)

2.3 What does the clock represent?(1)

2.4 What does the telephone represent?(1)

2.5 Who must know that someone close to the poet has died?(1)

2.6 How must the city react?(1)

2.7 How important was this person according to stanza 3?(1)

2.8 Why can love not last forever?(1)

2.9 How does the poet feel in the last stanza?(1)

2.10 If you do to the world what the poet suggests in the last stanza, what would become of the world?

(1)[12]

Question 3

Horses on the Camarque

1. In the grey wastes of dread,2. The haunt of shattered gulls where nothing moves3. But in a shroud of silence like the dead4. I heard a sudden harmony of hooves,5. And, turning, saw afar,6. A hundred snowy horses unconfined,7. The silver runaways of Neptune’s car8. Racing, spray-curled, like waves before the wind.9. Sons of the Mistral, fleet10. As him with whose strong gusts they love to flee,11. Who shod the flying thunders on their feet12. And plumed them with the snortings of the sea;13. Theirs is no earthly breed14. Who only haunt the verges of the earth15. And only on the sea’s salt herbage feed-16. Surely the great white breakers gave them birth.17. For when for years a slave,18. A horse of the Camargue, in alien lands,19. Should catch some far-off fragrance of the wave20. Carried far inland from his native sands,21. Many have told the tale22. Of how in fury, foaming at the rein,23. He hurls his rider; and with lifted tail,24. With coal-red eyes and cataracting mane,25. Heading his course for home,26. Though sixty foreign leagues before him sweep,27. Will never rest until he breathes the foam28. And hears the native thunder of the deep.29. But when the great gusts rise30. And lash their anger on these arid coasts,31. When the scared gulls career with mournful cries32. And whirl across the waste like driven ghosts:

33. When hail and fire converge,34. The only souls to which they strike no pain35. Are the white-crested fillies of the surge36. And the white horses of the windy plain.37. Then in their strength and pride38. The stallions of the wilderness rejoice;39. They feel their Master’s trident in their side,40. And high and shrill they answer to his voice.41. With white tails smoking free,42. Long streaming mains, and arching necks, they show43. Their kinship to their sisters of the sea-44. And forward hurl their thunderbolts of snow.45. Still out of hardship bred,46. Spirits of power and beauty and delight47. Have ever on such frugal pastures fed48. And loved to course with tempests through the night.

Part One: Lines 1-163.1 Explain the image of the ‘shattered gulls’ in your own words.

(2)3.2 What does the word ‘unconfined’ means in this context?

(1)3.3 Whose ‘sons’ are the horses according to the poet?

(1)3.4 What does the poet believe about the background of these horses?

(2)3.5 What had given birth to these horses?

(1)Part Two: Lines 17-283.6 Prove that these horses are not tamable.

(2)3.7 What do they never lose?

(1)3.8 Explain the antithesis found in line 17.

(2)3.9 How does the horses react to the smell of the sea?

(1)3.10 How does the smell of the sea reach the horse in the ‘alien-land’?

(1)Part Three: Lines 29-483.11 What are the ‘great gusts’?

(1)3.12 Which are the only things which are not filled with fear?

(1)3.13 In what way are the waves and the horses personified?

(2)

3.14 Why do the stallions rejoice in the storm?(1)

3.15 What spirits are they, according to the poet?(1)

[20]END OF SECTION A: TOTAL 40

SECTION BARMS AND THE MAN

Read the following extract from Arms and the Man and answer the questions that follow:

THE MAN [ravenously] Youre an angel! [He gobbles the contents]. Creams! Delicious! [He looks anxiously to see whether there are any more. There are none: he can only scrape the box with his fingers and suck them. When that nourishment is ezhausted he accepts the inevitable with pathetic good humor, and say, with grateful emotion]Bless you, dear lady! You can always tell an old soldier by the inside of his holsters and cartridge boxes. The young ones carry pistols and cartridges! the old ones, grub. Thank you. [He hands back the box. She snatches it contemptuously from him and throws it away. He shies again, as if she had meant to strike him]. Ugh! Dont do things so suddenly, gracious lady. It's mean to revenge yourself because I frightened you just now.

RAINA [loftily] Frighten me! Do you know, sir, that though I am only a woman, I think I am at heart as brave as you.

THE MAN. I should think so. You havnt been under fire for three days as I have. I can stand two days without shewing it much; but no man can stand three days: I'm as nervous as a mouse. [He sits down on the ottoman, and takes his head in his hands]. Would you like to see me cry?

RAINA [alarmed] No.THE MAN. If you would, all you have to do is to scold me just as if I were a little boy and you

my nurse. If I were in camp now, theyd play all sorts of tricks on me.RAINA [a little moved] I'm sorry. I wont scold you. [Touchedby the sympathy in her tone, he

raises his head and looks gratefully at her: she immediately draws back and says stiffly] You must excuse me: o u r soldiers are not like that. [She moves away from the ottoman].

THE MAN. Oh yes they are. There are only two sorts of soldiers: old ones and young ones. Ive served fourteen years: half of your fellows never smelt powder before. Why, how is it that youve just beaten us? Sheer ignorance of the art of war, nothing else. [Indignantly] I never saw anything so unprofessional.

RAINA [ironically] Oh! was it unprofessional to beat you?THE MAN. Well, come! is it professional to throw a regiment of cavalry on a battery of machine

guns, with the dead certainty that if the guns go off not a horse or man will ever get within fifty yards of the fire? I couldnt believe my eyes when I saw it.

RAINA [eagerly turning to him, as all her enthusiasm and herdreams of glory rush back on her] Did you see the great cavalry charge? Oh, tell me about it. Describe it to me.

THE MAN. You never saw a cavalry charge, did you?RAINA. How could I?THE MAN. Ah, perhaps not. No: of course not! Well, it's a funny sight. It's like slinging a handful

of peas against a window pane: first one comes; then two or three close behind him; and then all the rest in a lump.

RAINA [her eyes dilating as she raises her clasped hands ecstatically] Yes, first One! the bravest of the brave!

THE MAN [prosaically} Hm! you should see the poor devil pulling at his horse.RAINA. Why should he pull at his horse?

THE MAN [impatient of so stupid a question] It's running away with him, of course: do you suppose the fellow wants to get there before the others and be killed? Then they all come. You can tell the young ones by their wildness and their slashing. The old ones come bunched up under the number one guard: they know that theyre mere projectiles, and that it's no use trying to fight. The wounds are mostly broken knees, from the horses cannoning together.

RAINA. Ugh! But I dont believe the first man is a coward. I know he is a hero!THE MAN [goodhumoredly] Thats what youd have said if youd seen the first man in the charge

today.RAINA [breathless, forgiving him everything] Ah, I knew it! Tell me. Tell me about him.THE MAN. He did it like an operatic tenor. A regular handsome fellow, with flashing eyes and lovely

moustache, shouting his war-cry and charging like Don Quixote at the windmills. We did laugh.RAINA. You dared to laugh!THE MAN. Yes; but when the sergeant ran up as white as a sheet, and told us theyd sent us the wrong

ammunition, and that we couldnt fire a round for the next ten minutes, we laughed at the other side of our mouths. I never felt so sick in my life; though Ive been in one or two very tight places. And I hadnt even a revolver cartridge: only chocolate. We’d no bayonets: nothing. Of course, they just cut us to bits. And there was Don Quixote flourishing like a drum major, thinking he’d done the cleverest thing ever known, whereas he ought to be courtmartialled for it. Of all the fools ever let loose on a field of battle, that man must be the very maddest. He and his regiment simply committed suicide; only the pistol missed fire: thats all.

QUESTION 4

4.1 What nickname does Raina give the man because he devours the cholates like this?(2)

4.2 What is “grub” and why do old soldiers prefer to carry grub in their holsters?(2)

4.3 Why is the man “as nervous as a mouse”?(2)

4.4 What from the extract shows that the man is very vulnerable at this stage?(2)

4.5 What does Raina mean when she says “our soldiers are not like that”?(2)

4.6 What is Raina’s idealistic view of their soldiers?(2)

4.7 What is the meaning of the expression: “never smelt powder before”?(2)

4.8 Why does Bluntchli describe the victory of Raina’s soldiers as “unprofessional”?(2)

4.9 Why is Raina enthusiastic about the charge the soldiers made on Bluntchli’s regiment?(2)

4.10 Why was the charge very irresponsible according to Bluntchli?(2)

4.11 What “dreams of glory” does Raina have?(2)

4.12 What simile does Bluntchli use to describe the cavalry charge?(2)

4.13 Raina calls the first one in the charge the braves of them all and Bluntchli calls him a poor devil. Why?

(2)4.14 Why is the one at the front of the charge pulling at his horse?

(2)4.15 How are young soldiers recognised?

(2)4.16 How are the old soldiers recognised in a charge?

(2)4.17 Why does Raina not believe that the first man in the charge is a coward?

(2)4.18 What news did Bluntchli’s sergeant bring them during the charge?

(2)4.19 What is the relationship between Raina and the man that led the foolish charge?

(2)4.20 Did Sergius continue with his military career? Give a reason for your answer?

(2)[40]

END OF SECTION B: TOTAL 40

SECTION CSHREK FILM STUDY

QUESTION 5

Look at the picture and answer the following questions.5.1 What information is Farquaad trying to get from the Gingerbreadman?

(1)5.2 How does he threaten the Gingerbreadman into talking?

(1)5.3 What information does the Gingerbreadman give to Farquaad?

(1)5.4 What does Farquaad want to change his kingdom into?

(2)5.5 Which shapes will you not find in Farquaad’s kingdom and why?

(2)5.6 What effect did the animators want to create with the expression in Farquaad’s eyes and

with the shape of the eyebrows?(2)

5.7 What problem did the animators have with Farquaad’s small stature and John Lithgow’s huge voice?

(3)

Look at the picture and answer the following questions:5.8 What did the magic mirror show to Farquaad?

(2)5.9 Of what is the show of the mirror a parody?

(2)5.10 What did Farquaad not allow the mirror to tell him?

(1)5.11 What is Farquaad thinking of in this picture?

(3)

Look at the picture and answer the questions that follow:5.12 Which technical problems did the animators experience in creating and animating Fiona?

(3)5.13 In this picture Fiona has an expression of expectation. What is she expecting?

(3)5.14 How was her expectation disappointed?

(3)5.15 Fiona desperately wants to be the perfect princess. What about Fiona is not in line with

what you would expect from the perfect princess. Mention only three things.(3)

5.16 Ogres are fearsome creatures and not usually the heroes in fairytales. How did the filmmakers succeed in making Shrek a loveable ogre? Mention two techniques.

(2)5.17 In what way is Shrek and Donkey the same?

(1)5.18 What lesson did Shrek learn from Donkey?

(1)General questions5.19 In the beginning of the movie they show the Three Bears. Later in the movie you see only

two bears. What became of the one bear?(1)

5.20 Which type of things did the animators find extremely difficult to animate? Mention two.(2)

5.21 Which colours are used in the castle scene to create a sense of evil?(1)

[40]END OF SECTION C:TOTAL 40

TOTAL OF PAPER [80]