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BLANK PAGE
BLANK PAGE
A guide to key words/phrases in the questions
Key words / phrase
‘Explore how…’
‘List…’
‘How does/has the writer…’
‘To what extent do you agree?’
‘Write a summary about…’
‘Compare how the writers
convey their different feelings/
attitudes/perspectives…’
‘Write a description…’
‘Write a story…’
‘Explore’ means that you need to explore
a range of evidence and ideas; ‘how’
means that you need to identify and
explain the methods that the writer is
using – you will be expected to make
reference to the text as evidence.
This means that you don’t need to explain,
just select and write down information.
‘How means that you need to identify and
explain the methods that the writer is
using – you will be expected to make
reference to the text as evidence.
This means that you need to give your
opinion and decide how much agreement
you want to make. You can agree entirely,
or to some extent.
This means that you should concentrate
on the content of the extracts. This is not
language analysis.
‘Compare’ means that you have to look
for similarities or differences in the
methods the writers use; ‘convey’ means
to communicate, so you are being asked
how the writers are using language to get
their feelings/attitudes/perspectives
across to the readers.
This means that your writing should be
descriptive, but this doesn’t mean you
should avoid narrative. You can be
descriptive and have some narrative in
your writing.
This means that your writing should have
a narrative, but it doesn’t mean that you
should avoid description. Your writing
should contain descriptive elements.
BLANK PAGE
 English Literature Paper 2, Section B: Poetry

Power and conflict

The poems you have studied are:

Percy Bysshe Shelley Ozymandias

William Blake London
William Wordsworth Extract from The Prelude
Robert Browning My Last Duchess
Alfred Lord Tennyson The Charge of the Light Brigade
Wilfred Owen Exposure
Seamus Heaney Storm on the Island
Ted Hughes Bayonet Charge
Simon Armitage Remains
Jane Weir Poppies
Carol Ann Duffy War Photographer
Imtiaz Dharker Tissue
Carol Rumens The Emigrée
John Agard Checking Out Me History
Beatrice Garland Kamikaze
 English Literature Paper 1, Section A: Shakespeare

Macbeth

Read the following extract from Act 5 Scene 2 of Macbeth and then answer the
question that follows.

At this moment in the play, the rebel Thanes have arrived at Birnam Wood to join
Malcolm and the English army, where they are discussing Macbeth.

MENTEITH
What does the tyrant?
CAITHNESS
Great Dunsinane he strongly fortifies.
Some say he’s made; others that lesser hate him Do
call it valiant fury. But for certain
5 He cannot buckle his distempered cause
Within the belt of rule.
ANGUS
Now does he feel His secret murders sticking on his
hands.
Now minutely revolts upbraid his faith-breach.
10
Those he commands move only in command,
Nothing in love. Now does he feel his title Hang loose
about him, like a giant’s robe Upon a dwarfish thief.
MENTEITH
Who, then, shall blame His pestered senses to recoil
15 and start
When all that is within him does condemn
Itself for being there?
CAITHNESS
Well, march we on To give obedience where ‘tis truly
owed. Meet we the med’cine of the sickly weal,
20 And with him pour we in our country’s purge Each
drop of us.

0 1 Starting with this moment in the play, explore how Shakespeare presents ideas
about kingship in Macbeth.

Write about:

• how Shakespeare presents ideas about kingship at this moment in the play
• how Shakespeare presents ideas about kingship in the play as a whole.
[30 marks]
AO4 [4 marks]
 This extract is from the novel, ‘I’m the King of the Castle’, by Susan Hill. Kingshaw is
a schoolboy who has just found out he has to change schools/ His new school is attended by
a boy called Hooper. Kingshaw knows Hooper and is frightened of him, so he has run away.

Kingshaw walked forward very cautiously into the shed, smelling his way like an animal.

It was airless and very dark. When the door swung open, a scissor of daylight fell on to the
concrete floor, showing clumps of trodden-down straw, and mud. Kingshaw took another step
inside, looking anxiously round him. Nothing. Nobody. A pile of old sacks in one corner. He
5 went slowly over to them and sat down. He was shivering a little.

Seconds later, the door slammed shut. Kingshaw leaped up and ran forward, but as he put
his hand out to the door, he heard the click of the padlock. After that, silence.

For a moment or two, he waited. Then he said, ‘Hooper?’

Silence.

10 ‘Look, I know it’s you.’

Silence.

He raised his voice. ‘I can get out of here, you needn’t think I’m bothered if you’ve locked the
stupid door. I know a way to get out any time I like.’'

Silence.

15 He thought, perhaps it isn’t Hooper

The allotment1 led towards a thick hedge, and then into the fields. It was right away from the
village, there never seemed to be anyone up here. But now there might be. Last year,
someone had been strangled to death twenty miles away. Hooper had told him that. Twenty
miles wasn’t far.

20 He imagined tramps and murderers, and the cowman at Barr Farm, with bad teeth and hands
like raw red meat. Anybody might have been hanging about behind the shed, and locked him
in. Later, they might come back.

Sometimes, they were not allowed to see the newspapers, at school, because of things like
murder trial reports, but they had them all in the Senior Library, and Lower School boys got
25 sent in there, on messages. If you began to read something, your eyes went on and
on, you couldn’t stop them until you knew every terrible thing about it, and then you had
thoughts and nightmares, you could never return to the time of not-knowing.

He remembered that he was not going back to his own school. That was all finished. He went
about the building in his mind, thinking about the smells inside all the rooms. Perhaps he
30 didn’t mind so much about the people, except for Devereux and Lynch. And Mr Gardner.
People didn’t matter. But he couldn’t separate any part of it, now, it was the whole of his
existence there, that jelled together in his mind, time and place and people, and the way he
felt about them.

He was still standing by the door of the hut. Somebody had used it for animals, once. It
smelled faintly of pig muck, and old, dried hen pellets2. The walls and roof were made of
 corrugated metal, bolted together. There was no window, no light at all from
35 anywhere, except for a thin line beneath the door. Kingshaw put out his hands and began
to grope his way slowly round until he came to the corner with the sacks. He sat down.

Perhaps they wouldn’t wait until night before they came back. Anybody could walk down the
allotment and into the shed, and never be seen. They could do anything to him, in here, choke
him, or hit him with an axe, or hang him, or stab him, they could get a saw and saw off both
40 his feet and then leave him to bleed. Kingshaw stuffed his fist in his mouth, in terror.
Somebody had done that, he’d read it in one of the blood-bath books Ickden had had, last
term. Ickden lent them out, at 2d3. for four days. Kingshaw had read it in the bogs4, and
wished that he could stop himself and dreaded the nights that came after.

Now, he said to himself, it’s Hooper, it’s Hooper, there’s nobody else it could be. Hooper
45 would be creeping through the grass, back up to the house. Then, he would just wait. Hours
and hours, all day, maybe, wait until he decided it was time to let him out.

Kingshaw said aloud, ‘I’m not scared of being by myself in the bloody dark.’ His voice echoed.

But it was not the dark, only the thoughts which passed through his head, the pictures in front
of his eyes. He remembered why he had come here, remembered Mr Hooper’s face,
50 smiling at him, that morning, over the breakfast table. ‘You will be going to school with
Edmund.’ He knew nothing about the place, except its name. It was called Drummonds. They
were the ones who knew.

The sacks at the bottom of the pile were damp, and now the damp was coming through.
Kingshaw stood up. His jeans felt wet, over his behind. He went back towards the door,
55 and lay down on his side, trying to see out. But the crack was much thinner than he’d thought,
now he got down to it, he could see nothing except a faint greyness. He stayed there, pressing
his ear to the cold concrete floor of the hut, and straining for the sound of movement, for
footsteps. There was nothing.

Then, minutes later, the faint sound of a truck, going down the lane. Kingshaw leaped up, and
60 began to pound and beat upon the door, and then on the corrugated walls, until they crashed
and rang in his ears, to scream and yell to be let out, he thought Oh God, God, God, please let
somebody come, please let somebody come down the lane, or into the garden, please, Oh
God, God, God, God...

He gave up. The palms of his hand were hot and throbbing, and the skin had come off one of
65 his knuckles. He sucked at the loose edge, tasting blood. Silence.

Hooper might have decided to leave him in the shed for ever. There was nothing and nobody
who could stop him, nothing that he would not be capable of.

Eventually, Kingshaw crawled on his hands and knees back over the concrete and the mucky
straw, on to the sacks. He pulled out the bottom ones, which were the dampest, and
70 started to spread the others over the floor. He meant to lie down. He could see nothing at all,
only feel clumsily at what he was doing. Then, something ran out of the sacks over his hands.
He screamed, and began to beat them desperately against his trousers, terrified of what it
might be. In the end, he was certain that it had gone. His fingers, when he opened them out
again, were slimy and sticky.

1. allotment: a rented piece of land for growing vegetables or flowers 2. hen pellets: hen food
3. 2d: two pence, in old English money 4. bogs: toilets
 English Language Paper 1, Section A: Reading

Read the extract from the novel, ‘I’m the King of the Castle’ by Susan Hill.

1. Read again the first part of the source, lines 1 to 5.

List four things from this part of the text that we learn about the shed.
(4 marks)

2. Look again in detail at this extract from lines 6 to 18 of the source.

How does the writer use language here to describe Kingshaw’s feelings?

You could include the writer’s use of:

• words and phrases

• language features and techniques
• sentence forms.
(8 marks)

3. You now need to think about the whole of the source.

How has the writer structured the text to interest you as a reader?

You could write about:

• what the writer focuses your attention on at the beginning

• how and why the writer changes this focus as the source develops
• any other structural features that interest you.
(8 marks)

4. Focus this part of your answer on the second part of the source, from line 35
to the end.

A student, having read this section of the text, said: “The presentation of
Kingshaw as a coward stops me feeling any sympathy for him.”

To what extent do you agree?

In your response, you could:

• write about your own impressions of Kingshaw

• evaluate how the writer has created these impressions
• support your opinions with quotations from the text.
(20 marks)
 English Literature Paper 1, Section B: The 19th century novel

Robert Louis Stevenson: The Strange Case of Dr. Jekyll and Mr. Hyde

Read the following extract from Chapter 1 (Story of the Door) of The Strange
Case of Dr. Jekyll and Mr. Hyde and then answer the question that follows.

This extract is from the opening of the novel, where we are first introduced to the
characters of Utterson and Mr. Richard Enfield.

Utterson the lawyer was a man of a rugged countenance that was never
lighted by a smile; cold, scanty and embarrassed in discourse; backward in
sentiment; lean, long, dusty, dreary and yet somehow lovable. At friendly
meetings, and when the wine was to his taste, something eminently human
5 beaconed from his eye; something indeed which never found its way into
his talk, but which spoke not only in these silent symbols of the after-dinner
face, but more often and loudly in the acts of his life. He was austere with
himself; drank gin when he was alone, to mortify a taste for vintages; and
though he enjoyed the theatre, had not crossed the doors of one for twenty
10 years. But he had an approved tolerance for others; sometimes wondering,
almost with envy, at the high pressure of spirits involved in their misdeeds;
and in any extremity inclined to help rather than to reprove. ‘I incline to
Cain’s heresy,’ he used to say quaintly: ‘I let my brother go to the devil in
his own way.’ In this character, it was frequently his fortune to be the last
15 reputable acquaintance and the last good influence in the lives of
downgoing men. And to such as these, so long as they came about his
chambers, he never marked a shade of change in his demeanour.
No doubt the feat was easy to Mr. Utterson; for he was undemonstrative at
the best, and even his friendship seemed to be founded in a similar
20 catholicity of good-nature. It is the mark of a modest man to accept his
friendly circle ready-made from the hands of opportunity; and that was the
lawyer’s way. His friends were those of his own blood or those whom he
had known the longest; his affections, like ivy, were the growth of time, they
implied no aptness in the object. Hence, no doubt the bond that united him
25 to Mr. Richard Enfield, his distant kinsman, the well-known man about town.
It was a nut to crack for many, what these two could see in each other, or
what subject they could find in common. It was reported by those who
encountered them in their Sunday walks, that they said nothing, looked
singularly dull and would hail with obvious relief the appearance of a friend.

0 7 Starting with this extract, explore how Stevenson presents Victorian gentlemen.

Write about:

• how Stevenson presents Victorian gentlemen in this extract

• how Stevenson presents Victorian gentlemen in the novel as a whole.
[30 marks]
 English Literature Paper 2, Section A: Modern prose or drama

JB Priestley: An Inspector Calls

Either

0 1 How does Priestley present men’s attitudes towards women in An Inspector

Calls?

Write about:

• examples of men’s attitudes towards women in the play

• how Priestley presents men’s attitudes towards
women. [30 marks]
AO4 [4 marks]

Either

0 2 How far does Priestley present Mr Birling as an unlikeable character?

Write about:

• what Mr Birling says and does in the play

• how Priestley presents him by the way he writes.
[30 marks]
AO4 [4 marks]
 English Literature Paper 2, Section B: Poetry

Power and conflict

2 6 Compare how poets present the effects of conflict in ‘Poppies’ and in one other
poem from ‘Power and conflict’.
[30 marks]

Poppies

Three days before Armistice Sunday

and poppies had already been placed
on individual war graves. Before you left,
I pinned one onto your lapel, crimped petals,
5 spasms of paper red, disrupting a blockade
of yellow bias binding around your blazer.

Sellotape bandaged around my hand,

I rounded up as many white cat hairs
as I could, smoothed down your shirt's
10 upturned collar, steeled the softening
of my face. I wanted to graze my nose
across the tip of your nose, play at
being Eskimos like we did when
you were little. I resisted the impulse
15 to run my fingers through the gelled
blackthorns of your hair. All my
words flattened, rolled, turned into
felt,

slowly melting. I was brave, as I walked

with you, to the front door, threw
20 it open, the world overflowing
like a treasure chest. A split second
and you were away, intoxicated.
After you'd gone I went into your bedroom,
released a song bird from its cage.
25 Later a single dove flew from the pear tree,
and this is where it has led me,
skirting the church yard walls, my stomach busy
making tucks, darts, pleats, hat-less, without
a winter coat or reinforcements of scarf, gloves.

26 On reaching the top of the hill I traced

the inscriptions on the war memorial,
leaned against it like a wishbone.
The dove pulled freely against the sky,
an ornamental stitch. I listened, hoping to hear
30 your playground voice catching on the wind.
Jane Weir
 English Language Paper 1, Section B: Writing

You are advised to spend about 45 minutes on this section.

Write in full sentences.

You are reminded of the need to plan your answer.

You should leave enough time to check your work at the end.

5. Your school or college is asking students to contribute some creative writing for
its website.

Either:

Write a description suggested by this picture:

Or:

Describe an occasion when you felt threatened by your surroundings. Focus on

the thoughts and feelings you had at the that time.
(24 marks are awarded for content and organisation
16 marks are awarded for technical accuracy)
(20 marks)
 English Literature Paper 1, Section A: Shakespeare

Macbeth

Read the following extract from Act 1 Scene 5 of Macbeth and then answer the
question that follows.

At this point in the play, Macbeth and Lady Macbeth are discussing their plans for
Duncan.

MACBETH
My dearest love, Duncan comes here tonight. LADY
MACBETH
And when goes hence?
MACBETH
Tomorrow, as he purposes.
LADY MACBETH
O, never
5 Shall sun that morrow see!
Your face, my thane, is a book where men May read
strange matters. To beguile the time, Look like the time.
Bear welcome in your eye,
Your hand, your tongue. Look like th’ innocent flower,
10
But be the serpent under ‘t. He that’s coming
Must be provided for; and you shall put
This night’s great business into my dispatch, Which shall
to all our nights and days to come Give solely the
15 sovereign sway and masterdom. MACBETH
We will speak further.
LADY MACBETH
Only look up clear.
To alter favor ever is to fear. Leave all the rest to me.
[They exit.]

0 1 Starting with this extract, explore how Shakespeare presents deception in Macbeth.

Write about:

• how Shakespeare presents deception in this extract

• how Shakespeare presents deception in the play as a
whole. [30 marks]
AO4 [4 marks]
 Source A: Danny Boyle’s new film, 127 Hours, tells how climber Aron Ralston
found himself trapped alone in a canyon and had to perform DIY surgery to save
his life.

The extraordinary story behind Danny Boyle’s 127 hours

For six days, Aron Ralston kept himself alive with fierce self-control and a conviction that only
logical thought could let him survive. But the epiphany when the 27-year-old climber realised
how he could save his own life came from an explosion of blind rage.

5 Ralston had been climbing the narrow canyons of Utah alone when a dislodged boulder fell on
to his right arm, trapping him against a rock. He was entombed in the wilderness of Bluejohn
Canyon, carrying a small rucksack with just one litre of water, two burritos and a few chunks
of chocolate. He had headphones and a video camera but no mobile phone – and there was
no reception anyway. Most foolishly of all, he had not told anyone where he was going. He
10 eked out his water, futilely chipping away at the 800lb rock and slowly entering a state of
delirium, until he was eventually forced to cut off his trapped arm, with the small knife from
his cheap multitool kit.

When his blunt knife pierced his skin but came to rest against solid bone, Ralston thought
there was no chance he could perform the gruesome amputation that would save his life. He
15 brushed some grit from his trapped thumb and a sliver of flesh peeled off “like the skin of
boiled milk”, he remembers. “I'm like, what the . . . ? I take my knife and I'm poking a bit more
and the knife just slips into the meat of my thumb like it's going into room-temperature
butter. My hand has almost jellified. The knife tip goes in and, ‘pssstt’, the gases from
decomposition escape and there's this putrid smell. I go into this rage. I'm in this hyper-
20 emotional state after all this regimented discipline to keep it together and in this moment,
when I'm trying to rip my arm out from the rock, I feel it bend and it stops me – ‘That's it! I
can use the boulder to break my bones!’”

The year before his accident, Ralston quit his job as an engineer with Intel to climb all
Colorado's “fourteeners” – its peaks over 14,000ft. In May 2003, he began “canyoneering” in
25 Utah, navigating the narrow passages of Bluejohn with a mixture of free-climbing, daring
jumps and climbing with ropes. He was negotiating a 10ft drop in a 3ft-wide canyon listening
to his favourite band, Fish, when he dislodged a boulder he thought was stable. “I go from
being out on a lark in a beautiful place and just being so happy and carefree to, like, oh shit. I
fell a few feet, in slow motion, I look up and the boulder is coming and I put my hands up and
30 try to push myself away and it collides and crushes my right hand.” Ralston was pinned in the
canyon, his right hand and lower arm crushed by the 800lb rock. “There was this stunned
moment of what-?” he laughs. “And it's almost comic.”

The next second, the pain struck. “If you've ever crushed your finger in a door accidentally,”
he says, this was "times 100". In an “adrenalised rage”, for 45 minutes he “cursed like a
35 pirate”. Then he reached for his water bottle. As he drank, he had to force himself to stop. “I
realise this water is the only thing that's going to keep myself alive,” he says. Having failed to
tell anyone where he was going, he knew he would not be found. “I put the lid back on the
water bottle and gathered myself. It was like, all right, brute force isn't going to do it. This is
the stop-think-observe-plan phase of rational problem-solving. I have to think my way out of
40 here.” As he describes how he thought through his options, he taps his prosthetic arm on his
fingers.

He ruled out the most drastic option – suicide – but the next most drastic alternative came to
him immediately. “There's this surreal conversation with myself. ‘Aron, you're gonna have to
 cut your arm off.’ ‘I don't want to cut my arm off!’ ‘Dude, you're gonna have to cut
35 your arm off.’ I said it to myself. That little back-and-forth. Then, ‘Wait a minute. Stop. I'm
not talking to myself. That's just crazy. You're not talking to yourself, Aron.’ Except I would
continue to talk to myself in various ways, to remind myself not to pass out.”

After two days spent fruitlessly chipping away at the rock with his knife and devising a clever
but futile system of pulleys with his climbing clips and ropes to hoist the boulder clear – he
40 was defeated because climbing rope is stretchy and he couldn't obtain the required tension –
he put his knife to his arm, only to find it was so blunt he couldn't even cut his body hair.

The next morning, finally, came the rage and its revelation – that Ralston could fling himself
against the boulder to break his own bones. From then, it was easy. The snap of his bones
“like, pow!” was a horrifying sound “but to me it was euphoric”, he recalls. “The detachment
45 had already happened in my mind – it's rubbish, it's going to kill you, get rid of it Aron. It's an
‘it’. It's no longer my arm. As I picked up the knife, I was very cool and collected." It took him
an hour to hack through his flesh. "As painful as it all was, the momentum of the euphoria was
driving it,” he says.

Patrick Barkham, The Guardian, 15 December 2010

Source B: This extract is from a diary entry written in 1840 by a captain of a ship.

A Voyage of Discovery and Research in the Southern

and Antarctic Regions
July 1840
During the night the wind and sea subsided, and we had a comparatively fine morning. We
were all anxiously looking out for the Terror*, and wondering how she had weathered the
breeze, when a wooden hoop of a cask1 was seen close to us. By this we felt certain that she
had
5 run past us during the time that we were hove-to2 for her, and was now probably far ahead;
we therefore pressed all sail on the ship to endeavour to overtake her. The day being very
favourable, we seized the opportunity of drying our sails and clothes, which had been most
thoroughly drenched, and of repairing the damages we had sustained.

In this and many other respects we felt the fine weather to be a great advantage to us; but this
10 afternoon it pleased God to visit us by an unlooked-for calamity, - Mr. Roberts, the
boatswain3, whilst engaged about the rigging, fell overboard and was drowned. The life-buoy
was
instantly let go, and two boats lowered down; they reached the spot where we saw him sink
only a few seconds too late! The gloom which the loss of one of our small party, at the outset of
our voyage, occasioned, was for a time merged in feelings of painful anxiety, and afterwards
of
15 heartfelt gratitude, for the merciful preservation of the whole crew of one of the boats, who in
their humane endeavours to save the life of our unfortunate shipmate, very nearly sacrificed
their own. Mr. Oakley, mate, and Mr. Abernethy, the gunner, had returned to the ship with
one boat, when the other, still at a considerable distance from us, was struck by a sea, which
washed four of the crew out of her. Mr. Abernethy immediately again pushed off from the
ship,
20 and succeeded in saving them from their perilous situation, completely benumbed and
stupefied with the cold. The boats were, with much difficulty, owing to the sea that was
running, hoisted up, and not until after one of them had been again swamped alongside.

We resumed our course under all sail, although this calamitous detention of some hours
frustrated all our expectations of overtaking the Terror. A small iceberg, seen at a
considerable
25 distance just before dark, warned us to be vigilant during the night, which at this season
being fifteen hours long obliged us to run at all hazards, or to delay our voyage to a ruinous
extent. It has at all times a good effect upon those whose duty it is to look out, and an
advantageous stimulus even to the most diligent, occasionally to see real dangers; but they
were, in this instance, the cause of several false alarms, from the impression left upon our
30 minds.

July 31
The weather continued fine all night and the greater part of the next day. Numerous birds of the
petrel kind, which were flying about, seemed to enjoy the short-lived tranquillity, and were
eagerly employed searching the patches of floating sea-weed for small fish and marine insects,
35 which find a precarious security amongst its densely interwoven branches from
the persecutions of their enemies.
 *The Terror - another ship.

40 Captain Sir James Clark Ross

1. cask: barrel 2. hove-to: stopped 3. boatswain: a ship’s officer

 English Language Paper 2, Section A: Reading

Read the two extracts: Source A: ‘The extraordinary story behind Danny
Boyle’s 127 Hours’ and Source B: ‘A Voyage of Discovery and Research in
the Southern and Antarctic Regions’.

1. Read again Source A, from lines 1 to 18.

Choose four statements below which are TRUE.
• Shade the boxes of the ones that you think true.
• Choose a maximum of four statements.

A Aron kept himself alive by dislodging a boulder.

B Aron had been travelling for six days before the accident
C The boulder was 800lb.
D Danny Boyle helped to rescue Aron.
E Aron didn’t have a mobile phone.
F Aron had two chunks of chocolate left.
G No one knew where Aron was.
H Aron had been climbing in Utah.
(4 marks)

2. You need to refer to Source A and Source B for this question.

Use details from both sources. Write a summary of the differences between the
experiences of Aron Ralston and Sir James Clarke Ross.
(8 marks)

3. You now need to refer only to Source B.

How does the narrator use language to create excitement for the reader in his
voyage?
(12 marks)

4. For this question, you need to refer to the whole of Source A, together with the
whole of Source B .
Compare how the two writers convey their different feelings towards the disaster
they face.
In your answer, you could:
• compare the different feelings
• compare the methods they use to convey their feelings
• support your response with reference to both texts.
(16 marks)
 English Literature Paper 1, Section B: The 19th century novel

Robert Louis Stevenson: The Strange Case of Dr. Jekyll and Mr. Hyde

Read the following extract from Chapter 2 (Search for Mr. Hyde) of The Strange
Case of Dr. Jekyll and Mr. Hyde and then answer the question that follows.

In this extract, Utterson is at home thinking about the character of Edward Hyde,
having never met him before.

It was a night of little ease to his toiling mind, toiling in mere darkness and
beseiged by questions. Six o’clock stuck on the bells of the church that was
so conveniently near to Mr. Utterson’s dwelling, and still he was digging at
the problem. Hitherto it had touched him on the intellectual side alone; but
5 now his imagination also was engaged, or rather enslaved; and as he lay
and tossed in the gross darkness of the night and the curtained room, Mr.
Enfield’s tale went by before his mind in a scroll of lighted pictures. He
would be aware of the great field of lamps of a nocturnal city; then of the
figure of a man walking swiftly; then of a child running from the doctor’s;
10 and then these met, and that human juggernaut trod the child down and
passed on regardless of her screams. Or else he would see a room in a
rich house, where his friend lay asleep, dreaming and smiling at his
dreams; and then the door of that room would be opened, the curtains of
the bed plucked apart, the sleeper recalled, and lo! there would stand by his
15 side a figure to whom power was given, and even at that dead hour, he
must rise and do its bidding. The figure in these two phases haunted the
lawyer all night; and if at any time he dozed over, it was but to see it glide
more stealthily through sleeping houses, or move the more swiftly and still
the more swiftly, even to dizziness, through wider labyrinths of lamplighted
20 city, and at every street corner crush a child and leave her screaming. And
still the figure had no face by which he might know it; even in his dreams, it
had no face, or one that baffled him and melted before his eyes; and thus it
was that there sprang up and grew apace in the lawyer’s mind a singularly
strong, almost an inordinate, curiosity to behold the features of the real Mr.
25 Hyde. If he could but once set eyes on him, he thought the mystery would
lighten and perhaps roll altogether away, as was the habit of mysterious
things when well examined. He might see a reason for his friend’s strange
preference or bondage (call it which you please) and even for the startling
clause of the will. At least it would be a face worth seeing: the face of a man
30 who was without bowels of mercy: a face which had but to show itself to
raise up, in the mind of the unimpressionable Enfield, a spirit of enduring
hatred.
0 7 Starting with this extract, explore how Stevenson presents fear amongst the
Victorian middle classes.

Write about:

• how Stevenson presents middle class fear in this extract

• how Stevenson presents middle class fear in the novel as a whole.
[30 marks]
 English Literature Paper 2, Section A: Modern prose or drama

JB Priestley: An Inspector Calls

Either

0 1 How does Priestley present power in An Inspector Calls?

Write about:

• examples of men’s power in the play

• how Priestley presents power by the way he writes.
[30 marks]
AO4 [4 marks]

Either

0 2 How does Priestley use the younger characters to present ideas about change?

Write about:

• what the younger characters do and say throughout the play?

• how Priestley presents ideas about change through his presentation of the
younger characters.
[30 marks]
AO4 [4 marks]
 English Literature Paper 2, Section B: Poetry

Power and conflict

2 6 Compare how poets present the power of institutions over people in ‘London’ and in
one other poem from ‘Power and conflict’.
[30 marks]

London

I wander thro' each charter'd street,

Near where the charter'd Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.

5 In every cry of every Man, In every

Infants cry of fear, In every voice:
in every ban,
The mind-forg'd manacles I hear

How the Chimney-sweepers cry

10 Every blackning Church appalls, And
the hapless Soldiers sigh Runs in
blood down Palace walls

But most thro' midnight streets I hear How the

youthful Harlots curse Blasts the new-born
15 Infants tear
And blights with plagues the Marriage hearse
William Blake
 English Language Paper 2, Section B: Writing

You are advised to spend about 45 minutes on this section.

Write in full sentences.

You are reminded of the need to plan your answer.

You should leave enough time to check your work at the end.

5. ‘People who engage in dangerous explorations should be criticised for their

selfish actions, rather than being admired for their bravery.’

Write an article for your school magazine in which you argue for or against this
statement.

(24 marks are awarded for content and organisation

16 marks are awarded for technical accuracy)
(20 marks)
 English Literature Paper 1, Section A: Shakespeare

Macbeth

Read the following extract from Act 4 Scene 3 of Macbeth and then answer the
question that follows.

At this moment in the play, Macduff is in England with Malcolm. Ross has just
arrived to tell him that Macbeth has murdered his wife and children in Scotland.

MALCOLM
Be comforted.
Let us make med’cines of our great revenge
To cure this deadly grief.
MACDUFF
He has no children. All my pretty ones?
Did you say “all”? O hell-kite! All?
What, all my pretty chickens and their dam
At one fell swoop?
MALCOLM
Dispute it like a man.
MACDUFF
I shall do so,
But I must also feel it as a man.
I cannot but remember such things were
That were most precious to me. Did heaven look on
And would not take their part? Sinful Macduff,
They were all struck for thee! Naught that I am,
Not for their own demerits, but for mine,
Fell slaughter on their souls. Heaven rest them now.
MALCOLM
Be this the whetstone of your sword. Let grief
Convert to anger. Blunt not the heart; enrage it.
MACDUFF
O, I could play the woman with mine eyes
And braggart with my tongue! But, gentle heavens,
Cut short all intermission! Front to front
Bring thou this fiend of Scotland and myself.
Within my sword’s length set him. If he scape,
Heaven forgive him too.

0 1 Starting with this moment in the play, explore how Shakespeare presents the
character of Macduff.

Write about:

• how Shakespeare presents the character of Macduff at this moment in the play
• how Shakespeare presents the character of Macduff in the play as a whole.
[30 marks]
AO4 [4 marks]
 This extract is from the opening of the novel, ‘Rebecca’, by Daphne du Maurier. It
was published in 1938. In this section, the narrator is dreaming of a home she once lived in,
Manderley.

Last night I dreamt I went to Manderley again. It seemed to me I stood by the iron gate
leading to the drive, and for a while I could not enter, for the way was barred to me. There
was a padlock and chain upon the gate. I called in my dream to the lodge-keeper, and had no
answer, and peering closer through the rusted spokes of the gate I saw that the lodge was
5 uninhabited.

No smoke came from the chimney, and the little lattice1 windows gaped forlorn. Then, like all
dreamers, I was possessed of a sudden with supernatural powers and passed like a spirit
through the barrier before me. The drive wound away in front of me, twisting and turning as it
had always done, but as I advanced I was aware that a change had come upon it; it was
10 narrow and unkempt, not the drive that we had known. At first I was puzzled and did not
understand, and it was only when I bent my head to avoid the low swinging branch of a tree
that I realized what had happened. Nature had come into her own again and, little by little, in
her stealthy, insidious2 way had encroached upon the drive with long, tenacious3 fingers. The
woods, always a menace even in the past, had triumphed in the end. They crowded, dark and
15 uncontrolled, to the borders of the drive. The beeches with white, naked limbs leant close to
one another, their branches intermingled in a strange embrace, making a vault above my
head like the archway of a church.

And there were other trees as well, trees that I did not recognize, squat oaks and tortured
elms that straggled cheek by jowl4 with the beeches, and had thrust themselves out of the
20 quiet earth, along with monster shrubs and plants, none of which I remembered.

The drive was a ribbon now, a thread of its former self, with gravel surface gone, and choked
with grass and moss. The trees had thrown out low branches, making an impediment to
progress; the gnarled roots looked like skeleton claws.

Scattered here and again amongst this jungle growth I would recognize shrubs that had been
25 landmarks in our time, things of culture and grace, hydrangeas whose blue heads had been
famous. No hand had checked their progress, and they had gone native now, rearing to
monster height without a bloom, black and ugly as the nameless parasites that grew beside
them.

On and on, now east now west, wound the poor thread that once had been our drive.
30 Sometimes I thought it lost, but it appeared again, beneath a fallen tree perhaps, or struggling
on the other side of a muddied ditch created by the winter rains. I had not thought the way so
long. Surely the miles had multiplied, even as the trees had done, and this path led but to a
labyrinth5, some choked wilderness, and not to the house at all. I came upon it suddenly; the
approach masked by the unnatural growth of a vast shrub that spread in all directions, and I
35 stood, my heart thumping in my breast, the strange prick of tears behind my eyes.

There was Manderley, our Manderley, secretive and silent as it had always been, the grey
stone shining in the moonlight of my dream, the mullioned6 windows reflecting the green
lawns and the terrace. Time could not wreck the perfect symmetry of those walls, nor the site
itself, a jewel in the hollow of a hand.

40 The terrace sloped to the lawns, and the lawns stretched to the sea, and turning I could see
the sheet of silver placid under the moon, like a lake undisturbed by wind or storm. No waves
would come to ruffle this dream water, and no bulk of cloud, wind-driven from the west,
 obscure the clarity of this pale sky. I turned again to the house, and though it stood
inviolate7, untouched, as though we ourselves had le but yesterday, I saw that the garden
45 had obeyed the jungle law, even as the woods had done. The rhododendrons stood fiy feet
high, twisted and entwined with bracken, and they had entered into alien marriage with a
host of nameless shrubs, poor, bastard things that clung about their roots as though conscious
of their spurious8 origin. A lilac had mated with a copper beech, and to bind them yet more
closely to one another the malevolent ivy, always an enemy to grace, had thrown her tendrils9
about
50 the pair and made them prisoners. Ivy held prior place in this lost garden, the long strands
crept across the lawns, and soon would encroach upon the house itself. There was another
plant too, some half-breed from the woods, whose seed had been scattered long ago beneath
the trees and then forgotten, and now, marching in unison with the ivy, thrust its ugly form
like a giant rhubarb towards the so grass where the daffodils had blown.

55 Nettles were everywhere, the vanguard of the army. They choked the terrace, they sprawled
about the paths, they leant, vulgar and lanky, against the very windows of the house. They
made indifferent sentinels10, for in many places their ranks had been broken by the rhubarb
plant, and they lay with crumpled heads and listless stems, making a pathway for the rabbits. I
left the drive and went on to the terrace, for the nettles were no barrier to me, a dreamer.

I walked enchanted, and nothing held me back.

1. lattice: a pattern of diamond shapes

2. insidious: slow and harmful
3. tenacious: keeping a tight hold
4. cheek by jowl: close together
5. labyrinth: maze
6. mullioned windows: windows with vertical bars between the panes of glass
7. inviolate: injury-free
8. spurious: illegitimate, unlawful
9. tendrils: thread-like parts of a climbing plant
10. sentinels: guards
 English Language Paper 1, Section A: Reading

Read the extract from the novel, ‘Rebecca’ by Daphne du Maurier.

1. Read again the first part of the source, lines 1 to 12.

List four things from this part of the text about Manderley in the narrator’s dream.
(4 marks)

2. Look again in detail at this extract from lines 21 to 35 of the source.

How does the writer use language here to present Manderley as somewhere to
be feared?

You could include the writer’s use of:

• words and phrases

• language features and techniques
• sentence forms.
(8 marks)

3. You now need to think about the whole of the source.

How has the writer structured the text to interest you as a reader?

You could write about:

• what the writer focuses your attention on at the beginning

• how and why the writer changes this focus as the source develops
• any other structural features that interest you.
(8 marks)

4. Focus this part of your answer on the second part of the source, from line 36
to the end.

A student, having read this section of the text, commented: “Manderley is

presented as a threatening place rather than somewhere special.”

To what extent do you agree?

In your response, you could:

• write about your impressions of Manderley

• evaluate how the writer has created these impressions
• support your opinions with quotations from the text.
(20 marks)
 English Literature Paper 1, Section B: The 19th century novel

Robert Louis Stevenson: The Strange Case of Dr. Jekyll and Mr. Hyde

Read the following extract from Chapter 2 (Search for Mr. Hyde) of The Strange
Case of Dr. Jekyll and Mr. Hyde and then answer the question that follows.

In this extract, Utterson is waiting outside the laboratory door for Hyde so that he
can meet him for the first time.

From that time forward, Mr. Utterson began to haunt the door in the by-
street of shops. In the morning before office hours, at noon when business
was plenty, and time scarce, at night under the face of the fogged city
moon, by all lights and at all hours of solitude or concourse, the lawyer was
5 to be found on his chosen post.
‘If he be Mr. Hyde,’ he had thought, ‘I shall be Mr. Seek.’
And at last his patience was rewarded. It was a fine dry night; frost in the
air; the streets as clean as a ballroom floor; the lamps, unshaken, by any
wind, drawing a regular pattern of light and shadow. By ten o’clock, when
10 the shops were closed, the by-street was very solitary and, in spite of the
low growl of London from all round, very silent. Small sounds carried far;
domestic sounds out of the houses were clearly audible on either side of
the roadway; and the rumour of the approach of any passenger preceded
him by a long time. Mr. Utterson had been some minutes at his post, when
15 he was aware of an odd, light footstep drawing near. In the course of his
nightly patrols, he had long grown accustomed to the quaint effect with
which the footfalls of a single person, while he is still a great way off,
suddenly spring out distinct from the vast hum and clatter of the city. Yet his
attention had never before been so sharply and decisively arrested; and it
20 was with a strong, superstitious prevision of success that he withdrew into
the entry of the court.
The steps drew swiftly nearer, and swelled out suddenly louder as they
turned the end of the street. The lawyer, looking forth from the entry, could
soon see what manner of man he had to deal with. He was small and very
25 plainly dressed, and the look of him, even at that distance, went somehow
strongly against the watcher’s inclination. But he made straight for the door,
crossing the roadway to save time; and as he came, he drew a key from his
pocket like one approaching home.
Mr. Utterson stepped out and touched him on the shoulder as he passed.’
30 Mr. Hyde, I think?’

0 7 Starting with this extract, explore how Stevenson uses setting to convey ideas
about character(s) in the novel.

Write about:

• how Stevenson uses setting to present ideas about character(s) in this extract
• how Stevenson uses setting to present ideas about character(s) in the novel as a
whole.
[30 marks]
 English Literature Paper 2, Section A: Modern prose or drama

JB Priestley: An Inspector Calls

Either

0 1 How does Priestley present ideas about responsibility in An Inspector Calls?

Write about:

• some ideas about responsibility in the play

• how Priestley presents ideas about responsibility by the way he writes.
[30 marks]
AO4 [4 marks]

Either

02 How does Priestley use the Birling family to present ideas about social class?

Write about:

• what the Birlings say and do throughout the play

• how Priestley presents ideas about social class through his presentation of the
Birlings.
[30 marks]
AO4 [4 marks]
 English Literature Paper 2, Section B: Poetry

Power and conflict

2 6 Compare how poets present the reality of war in ‘Exposure’ and in one other poem
from ‘Power and conflict’.
[30 marks]

Exposure

Our brains ache, in the merciless iced east winds that knive us…
Wearied we keep awake because the night is silent…
Low, drooping flares confuse our memories of the salient…
Worried by silence, sentries whisper, curious, nervous,
5 But nothing happens.

Watching, we hear the mad gusts tugging on the wire,

Like twitching agonies of men among its brambles.
Northward, incessantly, the flickering gunnery rumbles,
Far off, like a dull rumour of some other war.
10 What are we doing here?

The poignant misery of dawn begins to grow…

We only know war lasts, rain soaks, and clouds sag stormy.
Dawn massing in the east her melancholy army
Attacks once more in ranks on shivering ranks of grey,
15 But nothing happens.

Sudden successive flights of bullets streak the silence.

Less deadly than the air that shudders black with snow,
With sidelong flowing flakes that flock, pause, and renew,
We watch them wandering up and down the wind’s nonchalance,
20 But nothing happens.

Pale flakes with fingering stealth come feeling for our faces –
We cringe in holes, back on forgotten dreams, and stare, snow-dazed,
Deep into grassier ditches. So we drowse, sun-dozed,
Littered with blossoms trickling where the blackbird fusses.
25 Is it that we are dying?

Slowly our ghosts drag home: glimpsing the sunk fires, glozed
With crusted dark-red jewels; crickets jingle there;
For hours the innocent mice rejoice: the house is theirs;
Shutters and doors, all closed: on us the doors are closed, –
30 We turn back to our dying.

Since we believe not otherwise can kind fires burn;

Nor ever suns smile true on child, or field, or fruit.
For God’s invincible spring our love is made afraid;
Therefore, not loath, we lie out here; therefore were born,
35 For love of God seems dying.

Tonight, His frost will fasten on this mud and us,

Shrivelling many hands, puckering foreheads crisp.
The burying party, picks and shovels in the shaking grasp,
Pause over half-known faces. All their eyes are ice,
40 But nothing happens.
Wilfred Own
 English Language Paper 1, Section B: Writing

You are advised to spend about 45 minutes on this section.

Write in full sentences.

You are reminded of the need to plan your answer.

You should leave enough time to check your work at the end.

5. Your school or college is asking students to contribute some creative writing for
its website.

Either:

Write a description suggested by this picture:

Or:

Write a story about a child during wartime.

(24 marks are awarded for content and organisation

16 marks are awarded for technical accuracy)
(20 marks)
 English Literature Paper 2, Section C: Unseen poetry

Answer both questions in this section.

Don't Say I Said

Next time you speak to you-know-who

I’ve got a message for him.
Tell him that I have lost a stone
Since the last time I saw him.
5 Tell him that I’ve got three new books
Coming out soon, but play it
Cool, make it sound spontaneous.
Don’t say I said to say it.

He might ask if I’ve mentioned him.

10 Say I have once, in passing.
Memorise everything he says
And, no, it won’t be grassing
When you repeat his words to me—
It’s the only way to play it.
15 Tell him I’m toned and tanned and fine.
Don’t say I said to say it.

Say that serenity and grace

Have taken root inside me.
My top-note is frivolity
20 But beneath, dark passions guide me.
Tell him I’m radiant and replete
And add that every day it
Seems I am harder to resist.
Don’t say I said to say it.

25 Tell him that all my ancient faults

Have been eradicated.
I do not carp or analyse
As I might have when we dated.
Say I’m not bossy any more
30 Or, better still, convey it
Subtly, but get the point across.
Don’t say I said to say it.
Sophie Hannah

2 7 .2 In ‘Don’t Say I Said’, how does the poet present the way people react when a
relationship ends?
[24 marks]
 English Literature Paper 2, Section C: Unseen poetry

Answer both questions in this section.

Flowers

Some men never think of it. You did. You’d

come along
And say you’d nearly brought me flowers
But something had gone wrong.

5 The shop was closed. Or you had doubts – The

sort that minds like ours
Dream up incessantly. You thought I might not
want your flowers.

It made me smile and hug you then. Now I

10 can only smile.
But, look, the flowers you nearly brought
Have lasted all this while.
Wendy Cope

2 7 .2 In ‘Don't Say I Said’ and ‘Flowers‘, the speakers describe their feelings about the
end of a relationship. What are the similarities and/or differences between the
ways the poets present these feelings?
[8 marks]
 Source A: This source is an article from a newspaper discussing the effectiveness of prisons.

Prison doesn’t work 50% of the time, so why do we keep sending people there?
The Mirror, 24 June 2014
By Anna Leach
If something didn’t work 50% of the time would you keep on doing it?
One in every two criminals leaving prison will commit another crime within one year of
walking out the prison gates.
If the aim of prison is to stop people committing crimes, it’s not really working.
5 • 47% of offenders leaving prison reoffend within one year
• 58% of prisoners on short sentences reoffend within a year of leaving jail
• 70% of under-18s given a prison sentence reoffend within 12 months

What works better?

From a cold look at the statistics, this does not look like a successful way to reduce crime.
10 Especially not for young offenders, and especially not for people on short-term sentences.
Here are some things that work slightly better.

Community sentences reduce reoffending by 6%

Okay, they’re seen as a softer option by offenders and by the public, but when people are up
in the dock convicted of an imprisonable crime (an indictable offence) they are less likely to
15 end up back in trouble if the judge gives them a community order1 rather than a prison
sentence. In 2010 it pulled reoffending rates for short-term sentences down by 6% from 62%
to 56%.
The range in effectiveness depends on the type of custodial sentence 2 that community orders
are compared to.
20 The Ministry of Justice compiled this data by comparing offenders with roughly similar crimes
and offence histories and then analyzing the outcomes of their different sentences.

Not sending offenders to prison reduces reoffending by 9%

Simply not sending someone to prison by giving them a suspended sentence instead of jailing
them works better too. People who get a suspended sentence are 9% less likely to reoffend
25 than someone who committed a similar crime but got sent to prison.

Getting prisoners to meet their victims reduces reoffending by 14%

Campaigners for restorative justice programmes where offenders engage with the impact of
their crime and often meet their victims - say it can reduce reoffending by up to 27%. A
government analysis puts the improvement at a more conservative 14%. One important
30 limitation on restorative justice is that it is only considered effective for more minor crimes
such as burglary. Restorative justice isn’t used for offences like domestic violence, murder or
rape.

Why does prison work so badly?

Prison reformers such as the Prison Reform Trust point to demographics of our prisoners as
35 part of the problem: poor education, mental health problems and fewer options for getting
their life back on the straight and narrow.
But there are also some simple things that the prison and probation services 3 can do that make
things better. Those involve helping prisoners maintain connections with the outside world.
 Prison reformers point to the differences between offenders leaving prison after a
40 long time and those leaving prison after a short sentence. Offenders who leave after a
longer time get more help readjusting to normal life.
Those on shorter sentences don’t.
And as we mention above, reoffending rates are significantly higher for people given short
term sentences than those given ones over a year.

45 Support? You can get Job Seeker’s Allowance?

6 months inside is enough to mean you’ve lost your job, your flat and possibly your
relationship. But because the sentence is comparatively short it means you don’t have any
support when you come out.
As this Home Office page on support for people leaving prison points out, offenders are
50 eligible for job seekers’ allowance. That’s about it. Scotland and Wales have more provisions
and then the government lists voluntary organizations who can help.

Criminals whose family don’t visit them are more likely to reoffend
What else helps? Family visits, according to the Trust. It’s something that helps prisoners keep
links with normal life while they’re inside and so makes it easier to adjust when they get out.
55 40% of prisoners stated that support from their family would help them stop reoffending in
the future. Research indicates that the likelihood of reoffending was 39% higher for prisoners
who had not received visits whilst in prison compared to those who had.

We’re shelling out for this system – shouldn’t it be working better?

Looking at all crimes including offences as minor as TV license infringement and driving
60 offenses the reoffending rate for all crimes and all types of sentences is 27% in a year.
There isn’t a magic bullet for stopping criminals committing new crimes, but considering how
expensive it is to keep someone in prison - £36,808 in 2012/13, you’d think there’d be an
economic incentive at least to try and improve the system.

1. community order: a sentence served in the community

2. custodial sentence: a prison sentence served in prison
3. probation services: those who supervise offenders in the community
 Source B: Sir Thomas Foxwell Buxton (1786-1845) was a humanitarian who reviewed
the state of prisons in the early nineteenth century, and who pushed for prison reform and to
reform criminal law.

T.F. Buxton on the state of the Prisons, 1818

The prisoner, after his commitment is made out, is handcuffed to a file of perhaps a dozen
wretched persons in a similar situation, and marched through the streets, sometimes a
considerable distance, followed by a crowd of impudent and insulting boys, exposed to the
gaze and to the stare of every passenger: the moment he enters prison, irons are hammered
5 on to him; then he is cast into the midst of a compound of all that is disgusting and depraved.
At night he is locked up in a narrow cell, with perhaps half a dozen of the worst thieves in
London, or as many vagrants1, whose rags are alive, and in actual motion with vermin2: he
may find himself in bed, and in bodily contact, between a robber and a murderer; or between
a man with a foul disease on one side, and one with an infectious disorder on the other. He
10 may spend his days deprived of free air and wholesome exercise. He may be prohibited from
following the handicraft on which the subsistence3 of his family depends. He may be half-
starved for want of food, and clothing and fuel. He may be compelled to mingle with the vilest
of mankind, and in self-defence, to adopt their habits, their language and their sentiments; he
may become a villain by actual compulsion4. His health must be impaired, and may be ruined,
15 by filth and contagion5; and as for his morals, purity itself could not continue pure, if exposed
for any length of time to the society with which he must associate.

His trial may be long protracted; he may be imprisoned on suspicion, and pine in jail while his
family is starving out of it, without any opportunity of removing that suspicion, and this for a
whole year: if acquitted, he may be dismissed from jail without a shilling in his pocket, and
20 without the means of returning home; if convicted, beyond the sentence awarded by the law,
he may be exposed to the most intolerable hardships, and these may amount to no less than
the destruction of his life now, and his soul forever. And in the violation of his rights, you
equally abandon your own interest. He is instructed in no useful branch of employment by
which he may earn an honest livelihood by honest labour. You have forbidden him to repent6
25 and to reflect, by withholding from him every opportunity of reflection and repentance.
Seclusion from the world has been only a closer intercourse with its very worst miscreants 7;
his mind has lain waste and barren for every weed to take root in; he is habituated to
idleness, reconciled to filth, and familiarised with crime. You give him leisure, and for the
employment of that leisure you give him tutors in every branch of iniquity8. You have taken
30 no pious9 pains to turn him from the error of his ways, and to save his soul alive. You have not
cherished the latent seeds of virtue, you have not profited by the opportunity of awakening
remorse for his past misconduct. His Saviour’s awful name becomes, indeed, familiar to his
lips, because he learns to use it, to give zest to his conversation and vigour to his
execrations10; but all that Saviour’s office, His tenderness and compassion, and mercy to the
35 returning sinner, are topics of which he learns no more than the beasts which perish. In short,
by the greatest possible degree of misery, you produce the greatest possible degree of
wickedness; you convert an act, perhaps of indiscretion11, into a settled taste and propensity
to vice12; receiving him, because he is too bad for society, you return him to the world
impaired in health, debased in intellect, and corrupted in principles.
1. vagrants: people without homes or jobs
2. vermin: wild animals that carry disease, like rats
3. subsistence: survival
4. compulsion: obligation, necessity
5. contagion: disease
6. repent: say sorry
7. miscreants: people who behave badly
8. iniquity: immoral or bad behaviour
9. pious: serious
10. execrations: curses
11. indiscretion: mistake
12. vice: immoral or wicked behaviour
 English Language Paper 2, Section A: Reading

Read the two extracts: Source A: ‘Prison doesn’t work 50% of the time,
so why do we keep sending people there?’ and Source B: ‘T.F. Buxton on
the state of the Prisons, 1818’.

1. Read again Source A, from lines 1 to 21.

Choose four statements below which are TRUE.
• Shade the boxes of the ones that you think true.
• Choose a maximum of four statements.

A About half of criminals leaving prison will reoffend within a year.

B The writer doesn’t think prison is an effective way to stop
reoffenders. C People on long-term prison sentences are more likely to
reoffend.
D The public think community orders are a softer option.
E Criminals are more likely to reoffend if given a community
order. F Only 6% of criminals reoffended in 2010.
G The data in this section was compiled by the Ministry of Defence.
H The data was compiled by comparing offenders with similar crimes.
(4 marks)

2. You need to refer to Source A and Source B for this question.

Use details from both sources. Write a summary of what you understand about
the different approaches to dealing with convicted criminals. (8 marks)

3. You now need to refer only to Source B.

How does the writer use language to create sympathy for the prisoners?
(12 marks)

4. For this question, you need to refer to the whole of Source A, together with the
whole of Source B .
Compare how the two writers convey their different attitudes to the prison system.
In your answer, you could:
• compare the different attitudes
• compare the methods they use to convey their attitudes
• support your response with reference to both texts.
(16 marks)
 English Literature Paper 1, Section A: Shakespeare

Macbeth

Read the following extract from Act 1 Scene 5 of Macbeth and then answer the
question that follows.

At this point in the play, Lady Macbeth has just received a letter from Macbeth,
telling her about the witches’ prophecy that he will be king.

LADY MACBETH
The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements. Come you spirits
That tend on mortal thoughts, unsex me here,
5 And fill me from the crown to the to toe top-full
Of direst cruelty. Make thick my blood.
Stop up th’ access and passage to remorse,
That no compunctious visitings of nature
Shake my fell purpose, nor keep peace between
10 Th’ effect and it. Come to my woman’s breasts
And take my milk for gall, you murd’ring ministers,
Wherever in your sightless substances
You wait on nature’s mischief. Come, thick night,
And pall thee in the dunnest smoke of hell,
15 That my keen knife see not the wound it makes,
Nor heaven peep through the blanket of the dark
To cry “Hold, hold!”

0 1 Starting with this moment in the play, explore how Shakespeare presents ideas
about gender in Macbeth.

Write about:

• how Shakespeare presents ideas about gender at this moment in the play
• how Shakespeare presents ideas about gender in the play as a whole.
[30 marks]
AO4 [4 marks]
 English Literature Paper 1, Section B: The 19th century novel

Robert Louis Stevenson: The Strange Case of Dr. Jekyll and Mr. Hyde

Read the following extract from Chapter 6 (Remarkable Incident of Dr. Lanyon) of
The Strange Case of Dr. Jekyll and Mr. Hyde and then answer the question that
follows.

In this extract, Utterson

A week afterwards Dr. Lanyon took to his bed, and in something less than
a fortnight he was dead. The night after the funeral, at which he had been
sadly affected, Utterson locked the door of his business room, and sitting
there by the light of a melancholy candle, drew out and set before him an
5 envelope addressed by the hand and sealed with the seal of his dead
friend. “PRIVATE: for the hands of G. J. Utterson ALONE, and in case of his
predecease to be destroyed unread,” so it was emphatically superscribed;
and the lawyer dreaded to behold the contents. “I have buried one friend to-
day,” he thought: “what if this should cost me another?”
10 And then he condemned the fear as a disloyalty, and broke the seal.
Within there was another enclosure, likewise sealed, and marked upon the
cover as “not to be opened till the death or disappearance of Dr. Henry
Jekyll.” Utterson could not trust his eyes. Yes, it was disappearance; here
again, as in the mad will which he had long ago restored to its author, here
15 again were the idea of a disappearance and the name of Henry Jekyll
bracketted. But in the will, that idea had sprung from the sinister suggestion
of the man Hyde; it was set there with a purpose all too plain and horrible.
Written by the hand of Lanyon, what should it mean? A great curiosity came
on the trustee, to disregard the prohibition and dive at once to the bottom of
20 these mysteries; but professional honour and faith to his dead friend were
stringent obligations; and the packet slept in the inmost corner of his private
safe.

0 7 Starting with this extract, explore how Stevenson presents ideas about secrecy in
the novel.

Write about:

• how Stevenson presents ideas about secrecy in this extract

• how Stevenson presents ideas about secrecy in the novel as a whole.
[30 marks]
 English Literature Paper 2, Section A: Modern prose or drama

JB Priestley: An Inspector Calls

Either

0 1 How does Priestley present the character of Inspector Goole in An

Inspector Calls?

Write about:

• what Inspector Goole says and does throughout the play

• how Priestley presents Inspector Goole by the way he
writes. [30 marks]
AO4 [4 marks]

Either

2 0 ‘Despite the play An Inspector Calls opening with a moment of unity, it is disunity
that is actually at the heart of the Birling family.’

How far do you agree with this view of the play?

Write about:

• examples of unity and disunity in the Birling family throughout the play
• how Priestley uses unity and disunity to present the Birling family.
[30 marks]
AO4 [4 marks]
 English Language Paper 2, Section B: Writing

You are advised to spend about 45 minutes on this section.

Write in full sentences.

You are reminded of the need to plan your answer.

You should leave enough time to check your work at the end.

5. ‘Exams should be scrapped because they do not give a fair and accurate
picture of a student’s real abilities.’

Write a letter to your MP in which you explain your point of view on this statement.

(24 marks are awarded for content and organisation

16 marks are awarded for technical accuracy)
(20 marks)
 English Literature Paper 2, Section B: Poetry

Power and conflict

2 6 Compare how poets present the power of nature in ‘Storm on the Island’ and in one
other poem from ‘Power and conflict’.
[30 marks]

Storm on the Island

We are prepared: we build our houses squat,

Sink walls in rock and roof them with good slate.
The wizened earth had never troubled us
With hay, so as you can see, there are no stacks
5 Or stooks that can be lost. Nor are there trees
Which might prove company when it blows full
Blast: you know what I mean - leaves and branches
Can raise a chorus in a gale
So that you can listen to the thing you fear
10 Forgetting that it pummels your house too.
But there are no trees, no natural shelter.
You might think that the sea is company,
Exploding comfortably down on the cliffs
But no: when it begins, the flung spray hits
15 The very windows, spits like a tame cat
Turned savage. We just sit tight while wind dives
And strafes invisibly. Space is a salvo.
We are bombarded by the empty air.
Strange, it is a huge nothing that we fear.
Seamus Heaney
 English Literature Paper 2, Section C: Unseen poetry

Answer both questions in this section.

The Way Through the Woods

They shut the road through the woods

Seventy years ago.
Weather and rain have undone it again,
And now you would never know
There was once a road through the woods
Before they planted the trees.
It is underneath the coppice and heath,
And the thin anemones*.
Only the keeper sees
That, where the ring-dove broods,
And the badgers roll at ease,
There was once a road through the woods.

Yet, if you enter the woods

Of a summer evening late,
When the night-air cools the trout-ringed pools
Where the otter whistles his mate,
(They fear not men in the woods,
Because they see so few.)
You will hear the beat of a horse’s feet,
And the swish of a skirt in the dew,
Steadily cantering through
The misty solitudes,
As though they perfectly knew
The old lost road through the woods…
But there is no road through the woods.

Rudyard Kipling

*anemones – flowers of the buttercup family

2 7 .1 In ‘The Way Through the Woods’, how does the poet present the way that
the closed road has changed over time?
[24 marks]
 English Literature Paper 2, Section C: Unseen poetry

Answer both questions in this section.

Echo

‘Who called?’ I said, and the words

Through the whispering glades,
Hither, thither, baffled the birds –
‘Who called? Who called?’

5 The leafy boughs on high

Hissed in the sun;
The dark air carried my cry
Faintingly on:

Eyes in the green, in the shade, In

10 the motionless brake,
Voices that said what I said, For
mockery’s sake:

‘Who cares?’ I bawled through my tears:

The wind fell low:
15 In the silence, ‘Who cares? Who cares?’
Wailed to and fro.

Walter de la Mare

2 7 .2 Both ‘The Way Through the Woods’ and ‘Echo‘ have a mysterious atmosphere.

Compare the methods the poets use to create this atmosphere.

[8 marks]