ENGLISH HL P2 PREP SEPT 2 (FINAL QP) - EDITED (Final) )

PREPARATORY EXAMINATION
GRADE 12
ENGLISH HOME LANGUAGE P2
AUGUST 2023
MARKS: 80
TIME: 2½ HOURS
This QUESTION PAPER consists of 26 pages.
Copyright reserved Please turn over

English HL P2 2 JS/September 2023 (QP)
Grade 12 Prep. Exam.
INSTRUCTIONS AND INFORMATION
1. Read these instructions carefully before you begin to answer the questions.
2. Do not attempt to read the entire question paper. Consult the table of contents
on page 4 and mark the numbers of the questions set on texts you have
studied this year. Thereafter, read these questions and choose the ones you
wish to answer.
3. This question paper consists of THREE sections:
SECTION A: Poetry (30)

SECTION B: Novel (25)
SECTION C: Drama (25)
4. Answer FIVE questions in all: THREE in SECTION A, ONE in SECTION B

and ONE in SECTION C as follows:
SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POEM – COMPULSORY question
SECTION B: NOVEL
Answer ONE question.
SECTION C: DRAMA
Answer ONE question.
5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):
• Answer questions ONLY on the novel and the drama you have studied.
• Answer ONE ESSAY QUESTION and ONE CONTEXTUAL QUESTION.
If you answer the essay question in SECTION B, you must answer the
contextual question in SECTION C.
If you answer the contextual question in SECTION B, you must answer
the essay question in SECTION C.
Use the checklist to assist you.
6. LENGTH OF ANSWERS:
• The essay question on Poetry should be answered in about 250–300

words.
• Essay questions on the Novel and Drama sections should be answered
in 400–450 words.
• The length of answers to contextual questions should be determined by
the mark allocation. Candidates should aim for conciseness and
relevance.

7. Follow the instructions at the beginning of each section carefully.
8. Number your answers correctly according to the numbering system used in

this question paper.
9. Start EACH section on a NEW page.
10. Suggested time management:
SECTION A: approximately 40 minutes

SECTION B: approximately 55 minutes
SECTION C: approximately 55 minutes
11. Write neatly and legibly.

TABLE OF CONTENTS
SECTION A: POETRY
Prescribed Poetry: Answer ANY TWO questions.
QUESTION NO. QUESTION MARKS PAGE NO.
1. 'The child who was shot dead Essay question 10 6
by soldiers in Nyanga' – Ingrid
Jonker
2. 'The Morning Sun is Shining' – Contextual question 10 7

Olive Schreiner
3. 'It’s a beauteous evening, calm

and free’ – Contextual question 10 8
William Wordsworth
4. ‘Talk To The Peach Tree’ - Contextual question 10 9

Sipho Sepamla
AND
Unseen Poem: COMPULSORY question

5. 'Dreams' – Langston Hughes Contextual question 10 10
SECTION B: NOVEL
Answer ONE question.*

6. The Picture of Dorian Gray Essay question 25 11
7. The Picture of Dorian Gray Contextual question 25 11-13
8. Life of Pi Essay question 25 14
9. Life of Pi Contextual question 25 14-16

SECTION C: DRAMA
Answer ONE question.*

10. Hamlet Essay question 25 17
11. Hamlet Contextual question 25 17-19
12. Othello Essay question 25 20
13. Othello Contextual question 25 20-23
14. The Crucible Essay question 25 24
15. The Crucible Contextual question 25 24-26
*NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL

question.
You may NOT answer TWO essay questions or TWO contextual
questions.
CHECKLIST
Use this checklist to ensure that you have answered the correct number of questions.
SECTION QUESTION NO. OF TICK

NUMBERS QUESTIONS (√)
ANSWERED
A: Poetry
(Prescribed Poetry) 1–4 2
A: Poetry
(Unseen Poem) 5 1
B: Novel
(Essay OR Contextual) 6–9 1
C: Drama
(Essay OR Contextual) 10–15 1
NOTE: In SECTIONS B and C, ensure that you have answered ONE ESSAY and
ONE CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.
SECTIONS B & C ONE ESSAY AND ONE CONTEXTUAL?

DID YOU COMPLY? CROSS… YES NO

SECTION A: POETRY
PRESCRIBED POETRY
Answer any TWO of the following questions.
QUESTION 1: ESSAY QUESTION
Read the poem below and then answer the question that follows.
THE CHILD WHO WAS SHOT DEAD BY SOLDIERS AT NYANGA – Ingrid Jonker
1 The child is not dead

2 the child raises his fists against his mother
3 who screams Africa screams the smell
4 of freedom and heather
5 in the locations of the heart under siege
6 The child raises his fists against his father

7 in the march of the generations
8 who scream Africa scream the smell
9 of justice and blood
10 in the streets of his armed pride
11 The child is not dead

12 neither at Langa nor at Nyanga
13 nor at Orlando nor at Sharpeville
14 nor at the police station in Philippi
15 where he lies with a bullet in his head
16 The child is the shadow of the soldiers

17 on guard with guns saracens and batons
18 the child is present at all meetings and legislations
19 the child peeps through the windows of houses and into the hearts of mothers
20 the child who just wanted to play in the sun at Nyanga is everywhere
21 the child who became a man treks through all of Africa
22 the child who became a giant travels through the whole world
23 Without a pass
In the poem, 'The child who was shot dead by soldiers at Nyanga’ , the black
child, although dead, is portrayed as a symbol of resistance and hope for freedom,
against South Africa’s harsh apartheid laws.
With close reference to diction, tone and theme, critically discuss how the above
statement is reflected in the poem.
Your response should take the form of a well-constructed essay of 250–300 words
(about ONE page).
[10]

QUESTION 2: POETRY – CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
THE MORNING SUN IS SHINING – Olive Schreiner
1 The morning sun is shining on

2 The green, green willow tree,
3 And sends a golden sunbeam
4 To dance upon my knee.
5 The fountain bubbles merrily,
6 The yellow locusts spring,
7 Of life and light and sunshine
8 The happy brown birds sing.
9 The earth is clothed with beauty,

10 The air is filled with song,
11 The yellow thorn trees load the wind
12 With odours sweet and strong.
13 There is a hand I never touch
14 And a face I never see;
15 Now what is sunshine, what is song,
16 Now what is light to me?
2.1 Refer to lines 1–8: 'The morning sun … brown birds sing'.
What impression of the environment is created by these lines? (2)
2.2 How does the speaker use colour to create the mood of the first stanza? (2)
2.3 Refer to line 9–12: 'The earth is … sweet and strong'.

Comment on the effectiveness of the imagery in these lines. (3)
2.4 By referring to the last four lines, critically discuss the change in the
speaker’s tone to convey the central idea of the poem. (3)
[10]

IT’S A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth
1 It is a beauteous evening, calm and free,

2 The holy time is quiet as a Nun
3 Breathless with adoration; the broad sun
4 Is sinking down in its tranquility;
5 The gentleness of heaven broods o'er the Sea;
6 Listen! the mighty Being is awake,
7 And doth with his eternal motion make
8 A sound like thunder—everlastingly.
9 Dear child! dear Girl! that walkest with me here,
10 If thou appear untouched by solemn thought,
11 Thy nature is not therefore less divine:
12 Thou liest in Abraham's bosom all the year;
13 And worshipp'st at the Temple's inner shrine,
14 God being with thee when we know it not.
3.1 Refer to line 1: ‘It is a beauteous evening, calm and free,’

With close reference to the diction, describe the mood in the opening line
in your own words. (2)
3.2 Refer to line 2: ‘The holy time…as a Nun’

Discuss the effectiveness of the simile used here. (2)
3.3 Refer to lines 6: 'Listen! the mighty Being is awake,’

Comment on the effective use of the capital letter in the word ‘Being’ (3)
3.4 Critically discuss how the use of the sonnet structure supports the
message of this poem. (3)
[10]

TALK TO THE PEACH TREE – Sipho Sepamla

1 Let's talk to the swallows visiting us in summer
2 ask how it is in other countries
3 Let's talk to the afternoon shadow

4 ask how the day has been so far
5 Let's raise our pets to our level

6 ask them what they don't know of us
7 words have lost meaning

8 like all notations they've been misused
9 most people will admit

10 a whining woman can overstate her case
11 Talk to the paralysing heat in the air

12 inquire how long the mercilessness will last
13 Let's pick out items from the rubbish heap

14 ask how the stench is like down there
15 Let's talk to the peach tree

16 find out how it feels to be in the ground
17 Let's talk to the moon going down

18 ask if it isn't enough eyeing what's been going on
19 come on
20 let's talk to the devil himself
21 it's about time
4.1 Refer to lines 1–6: 'Let’s talk to the swallows/ … know of us.' (2)
Explain why the instructions in the opening lines of the poem can be considered
as satirical.
4.2 Refer to lines 7–10: 'words have lost … overstate her case.'
Discuss the change in tone in these lines. (2)
4.3 Refer to lines 17–18.'Let's talk to the moon… /…eyeing what's been going on.’
(3)
Discuss the significance of the imagery in these lines.
4.4 Critically comment on the appropriateness of the informal register used in this poem. (3)
AND
[10]
UNSEEN POEM (COMPULSORY)
QUESTION 5: CONTEXTUAL QUESTION
DREAMS – Langston Hughes (1902-1967)
Hold fast to dreams

For if dreams die
Life is a broken-winged bird
That cannot fly.
Hold fast to dreams

For when dreams go
Life is a barren field
Frozen with snow.
5.1 Discuss the two possible meanings of the title of the poem. (2)
5.2 Explain the effectiveness of the repetition of the line ‘Hold fast to dreams’ in
stanzas 1 and 2. (2)
Refer to line 3: ‘Life is a broken-winged bird” and line 7: ‘Life is a barren field’.
5.3
Discuss the importance of the imagery used here. (3)
5.4 Critically discuss how the diction supports the message and tone of the poem. (3)
[10]
TOTAL SECTION A: 30

SECTION B: NOVEL
Answer ONLY the novel you have studied.
THE PICTURE OF DORIAN GRAY – Oscar Wilde
Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual

question).
QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION
In the novel, The Picture of Dorian Gray, it is ironic that Basil Hallward, initially viewed as
influencer and mentor by the young Dorian Gray, transforms into a despised figure.
Critically discuss the extent to which you agree with the above statement.
(2–2½ pages). [25]
QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
Mother, Mother, I am so happy!” whispered the girl, burying her face in the lap
of the faded, tired-looking woman who, with back turned to the shrill intrusive
light, was sitting in the one arm-chair that their dingy sitting-room contained.
Mrs. Vane winced and put her thin, bismuth-whitened hands on her
daughter’s head. “Happy!” she echoed, “I am only happy, Sibyl, when I see 5
you act. You must not think of anything but your acting.
“Mr. Isaacs has advanced us fifty pounds to pay off our debts and to get a
proper outfit for James. You must not forget that, Sibyl. Fifty pounds is a very
large sum. Mr. Isaacs has been most considerate.”
Where shall we go? Let us go to the park.” “I am too shabby,” he answered, 10
frowning. “Only swell people go to the park.”
James Vane bit his lip. “Watch over Sibyl, Mother,” he cried, “watch over her.”
“My son, you distress me very much. Sibyl is always under my special care. Of
course, if this gentleman is wealthy, there is no reason why she should not
contract an alliance with him. I trust he is one of the aristocracy. He has all the 15
appearance of it, I must say. It might be a most brilliant marriage for Sibyl.
You have a new friend, I hear. Who is he? Why have you not told me about
him? He means you no good.”
“Stop, Jim!” she exclaimed. “You must not say anything against him. I love him.”
“Why, you don’t even know his name,” answered the lad. “Who is he? I have a 20
right to know.” “He is called Prince Charming. Don’t you like the name?’
“I want you to beware of him.”
“To see him is to worship him; to know him is to trust him.”
“Sibyl, you are mad about him.”
[Chapter 5]
7.1 Refer to lines 5-6: ‘“I am only happy, Sibyl, when… but your acting.’
Explain what Mrs. Vane’s hopes are for her daughter’s acting career. (3)
7.2 What evidence is there in the text to suggest that the Vane’s are not an
affluent family? (3)
7.3 Comment on how James and his mother differ in their care for Sybil
Vane. (3)
7.4 Refer to lines 15-16:’ ' I trust he is one of the aristocracy… care for me.'
Critically discuss the theme encapsulated in this line. (3)
7.5 Refer to line 24: “Sibyl, you are mad about him.”
Discuss how these lines become prophetic. (3)
AND

EXTRACT B
The next day he did not leave the house, and, indeed, spent most of the
time in his own room, sick with a wild terror of dying, and yet indifferent to
life itself. The consciousness of being hunted, snared, tracked down, had
begun to dominate him. If the tapestry did but tremble in the wind, he shook.
'I wish I could love,' cried Dorian Gray with a deep note of pathos in his 5
voice. 'But I seem to have lost the passion and forgotten the desire. I am too
much concentrated on myself. My own personality has become a burden to
me. I want to escape, to go away, to forget. It was silly of me to come down
here at all. I think I shall send a wire to Harvey to have the yacht got ready.
On a yacht one is safe.' 10
'Safe from what, Dorian? You are in some trouble. Why not tell me what it
is? You know I would help you.'
'I can't tell you, Harry,' he answered sadly. 'And I dare say it is only a
fancy of mine. This unfortunate accident has upset me. I have a horrible
presentiment that something of the kind may happen to me.' 15
'What nonsense!'
[Chapter 18]
7.6 Place this extract in context. (3)
7.7 State why Dorian would believe that one is 'safe on a yacht' (line 10). (3)
7.8 Refer to lines 13–15: 'I can't tell … happen to me.'
Using these lines as a starting point, comment on how Dorian's

premonition foreshadows his own fate in the novel. (4)
[25]

LIFE OF PI – Yann Martel

question).
QUESTION 8: LIFE OF PI – ESSAY QUESTION
In the novel, Life of Pi, it is ironic how Richard Parker who is initially a formidable foe
to Pi, brings him peace, purpose and wholeness during his ordeal at sea.
(2–2½ pages). [25]
QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION
EXTRACT C
A few days after the meeting on the esplanade, I took my courage into my hands
and went to see Father at his office.
'Father?' 'Yes,
Piscine.'
'I would like to be baptised and I would like a prayer rug.' 5
My words intruded slowly. He looked up from his papers after some seconds. 'A
what? What?'
'I would like to pray outside without getting my pants dirty. And I'm attending a
Christian school without having received the proper baptism of Christ.'
'Why do you want to pray outside? In fact, why do you want to pray at all?' 10
'Because I love God.'
…
‘But Piscine!’ she said. She settled back into her chair, a path-of-least- resistance
look on her face, which meant I had to put up a stiff fight in precisely the right
spots. She adjusted a cushion. ‘Father and I find your religious zeal a bit of a
mystery.’ 15
‘It is a Mystery.’
‘Hmmm. I don’t mean it that way. Listen, my darling, if you’re going to be religious,
you must be either a Hindu, a Christian or a Muslim. You heard what they said on
the esplanade.’
‘I don’t see why I can’t be all three. Mamaji has two passports. He’s Indian and 20
French. Why can’t I be a Hindu, a Christian and a Muslim?’
‘That’s different. France and India are nations on earth.’ ‘How many nations are
there in the sky?’
[Chapter 26]

9.1 Explain the encounter that took place on ‘the esplanade’ to which Pi
refers in line 1. (3)
9.2 Refer to line 10: ‘Why do you … pray at all?’
Discuss the significance of these questions and what they reveal about
Pi’s father. (3)
9.3 Refer to lines 14–15: ‘Father and I … is a Mystery.
Comment on the different implications on the word, ‘mystery’ in these

lines, between Pi and his mother. (3)
9.4 Refer to line 20: ‘I don’t see … has two passports.’
Critically discuss how Pi links Mamaji to his interpretation of religion. (3)
AND

EXTRACT D
"Richard Parker, a ship!"

I had the pleasure of shouting that once. I was overwhelmed with happiness. All
hurt and frustration fell away and I positively blazed with joy.
"We've made it! We're saved! Do you understand, Richard Parker? WE'RE SAVED!
Ha, ha, ha, ha!" 5
I tried to control my excitement. What if the ship passed too far away to see us?
Should I launch a rocket flare? Nonsense!
"It's coming right towards us, Richard Parker! Oh, I thank you, Lord Ganesha!
Blessed be you in all your manifestations, Allah-Brahman!"
It couldn't miss us. Can there be any happiness greater than the happiness of 10
salvation? The answer-believe me-is No. I got to my feet, the first time in a long
time I had made such an effort.
"Can you believe it, Richard Parker? People, food, a bed. Life is ours once again.
Oh, what bliss!"
The ship came closer still. It looked like an oil tanker. The shape of its bow was 15
becoming distinct. Salvation wore a robe of black metal with white trim.
"And what if...?" I did not dare say the words.
In less than twenty minutes a ship of three hundred thousand tons became a speck
on the horizon. When I turned away, Richard Parker was still looking in its direction.
He did not see that it was salvation barely missed. He only saw that the alpha here, 20
this odd, unpredictable tiger, had been very excited. He settled down to another
nap. His sole comment on the event was a cranky meow.
"I love you!" The words burst out pure and unfettered, infinite. The feeling flooded
my chest. "Truly I do. I love you, Richard Parker.”
[Chapter 86]
9.6 Refer to lines 1-5: ‘Richard Parker…WE’RE SAVED/ Ha,ha, ha, ha!’
Explain the possible reasons for Pi expressing feelings of joy. (3)
9.7 Refer to line 17: "And what if...?" I did not dare say the words.’
Suggest reasons for the writer’s use of ellipses and why Pi ‘dares not to say the
(3)
words’.
9.8 Refer to lines 23-24: “I love you.” … Richard Parker.’
Critically comment on the significance of Pi’s declaration in the light of Richard
(4)
Parker being Pi’s alter-ego.
[25]
TOTAL SECTION B: 25

SECTION C: DRAMA
Answer ONLY the play you have studied.
HAMLET – WILLIAM SHAKESPEARE

question).
QUESTION 10: HAMLET – ESSAY QUESTION
In Shakespeare’s play, Hamlet, the character of Hamlet makes some critical mistakes
that have grave consequences but ultimately displays moral courage.
(2–2½ pages). [25]
QUESTION 11: HAMLET – CONTEXTUAL QUESTION
EXTRACT E
LORD POLONIUS
Mad for thy love? 1
OPHELIA
My lord, I do not know;
But truly, I do fear it.
LORD POLONIUS
What said he?
OPHELIA
He took me by the wrist and held me hard; 5
Then goes he to the length of all his arm;
And, with his other hand thus o’er his brow,
He falls to such perusal of my face
As he would draw it. Long stayed he so;
At last, a little shaking of mine arm 10
And thrice his head thus waving up and down,
He raised a sigh so piteous and profound
As it did seem to shatter all his bulk
And end his being: that done, he lets me go:
And, with his head over his shoulder turned, 15
He seemed to find his way without his eyes;
For out o’ doors he went without their help,
And, to the last, bended their light on me.
LORD POLONIUS
Come, go with me: I will go seek the king.

This is the very ecstasy of love, 20

Whose violent property fordoes itself
And leads the will to desperate undertakings
As oft as any passion under heaven
That does afflict our natures. I am sorry -
What, have you given him any hard words of late? 25
OPHELIA
No, my good lord, but, as you did command,
I did repel his letters and denied
His access to me.
[Act 2, Scene 1]
11.2 Discuss the conclusion Polonius reaches in this extract with regards to
Hamlet’s behaviour toward Ophelia. (3)
11.3 Refer to lines 26–28: ‘No, my good … access to me.’
Critically explain why Polonius instructed Ophelia to cut off ties with Hamlet
and reject his letters. (3)
11.4 Refer to lines 26-28: ‘ No, my good Lord…access to me.’ (3)

Comment on what these words reveal about Ophelia’s character.
AND

EXTRACT F
HAMLE T
Get thee to a nunnery: why wouldst thou be a breeder of sinners? I am myself
indifferent honest; but yet I could accuse me of such things that it were better my
mother had not borne me: I am very proud, revengeful, ambitious, with more
offences at my beck than I have thoughts to put them in, imagination to give them
shape, or time to act them in. What should such fellows as I do crawling between
earth and heaven? We are arrant knaves, all; believe none of us. Go thy ways to
a nunnery. Where's your father? 7
OPHELIA
At home, my lord.
HAMLET
Let the doors be shut upon him, that he may play the fool nowhere but in's own
house. Farewell. 10
OPHELIA
O, help him, you sweet heavens!
HAMLET
If thou dost marry, I'll give thee this plague for thy dowry: be thou as chaste as
ice, as pure as snow, thou shalt not escape calumny. Get thee to a nunnery, go:
farewell. Or, if thou wilt needs marry, marry a fool; for wise men know well
enough what monsters you make of them. To a nunnery, go, and quickly too. 15
Farewell.
[ACT 3, SCENE 1]
11.4 Account for Hamlet’s anger towards Ophelia. (3)
11.5 Refer to Hamlet’s speech from lines 1 to 7 of Extract C.

If you were director of the production of Hamlet, how would you instruct the actor
to perform these lines? Attention should be given to the tone and body language
of the actor. Justify your comments by close reference to the text. (3)
11.6 How does Ophelia respond to Hamlet’s attack on her? (3)
11.7 Polonius has been spying on the interaction between Ophelia and Hamlet.
Using this extract as a starting point and drawing on your knowledge of the play,
critically comment on how Polonius’s behaviour leads to tragedy later in the play. (4)
[25]

OTHELLO – William Shakespeare

question).
QUESTION 12: OTHELLO – ESSAY QUESTION
In Shakespeare’s play, Othello, the character of Othello makes some critical mistakes
that have grave consequences but ultimately displays moral courage.
Critically discuss the extent to which you agree with this statement.
(2–2½ pages). [25]
QUESTION 13: OTHELLO – CONTEXTUAL QUESTION
EXTRACT G
OTHELLO
If thou dost slander her and torture me, 1
Never pray more; abandon all remorse,
On horror’s head horrors accumulate,
Do deeds to make heaven weep, all earth amazed,
For nothing canst thou to damnation add 5
Greater than that.
IAGO
O grace, O heaven forgive me!
Are you a man? Have you a soul or sense?
God buy you, take mine office. O wretched fool,
That lov’st to make thine honesty a vice! 10
O monstrous world take note, take note, O world,
To be direct and honest is not safe!
I thank you for this profit, and from hence
I’ll love no friend, sith love breeds such offence.
OTHELLO
Nay, stay. Thou shouldst be honest. 15
IAGO
I should be wise, for honesty’s a fool,
And loses that it works for.
OTHELLO
By the world,
I think my wife be honest, and think she is not.
I think that thou art just, and think thou art not. 20
I’ll have some proof. My name that was as fresh
As Dian’s visage, is now begrimed and black
As mine own face. If there be cords, or knives,
Poison, or fire, or suffocating streams,
I’ll not endure it. Would I were satisfied! 25
IAGO
I see, sir, you are eaten up with passion.
I do repent me that I put it to you.
You would be satisfied?
OTHELLO
Would? Nay, and I will.
[ACT 3, SCENE 3]
13.1 Explain why Iago slanders Desdemona’s reputation . (3)
13.2 Refer to line 28: ‘I do repent me that I put it to you.’

Discuss the irony of Iago’s words. (3)
13.3 Refer to line 29: ‘You would be satisfied?’

Explain how Iago will satisfy Othello’s need for certainty of Desdemona’s
unfaithfulness? (3)

AND
EXTRACT H
OTHELLO
Behold, I have a weapon; 1
A better never did itself sustain
Upon a soldier’s thigh: I have seen the day,
That, with this little arm and this good sword,
I have made my way through more impediments 5
Than twenty times your stop: but, O vain boast!
Who can control his fate? ‘tis not so now.
Be not afraid, though you do see me weapon’d;
Here is my journey’s end, here is my butt,
And very sea-mark of my utmost sail. 10
Do you go back dismay’d? ‘tis a lost fear;
Man but a rush against Othello’s breast,
And he retires. Where should Othello go?
Now, how dost thou look now? O ill-starr’d wench!
Pale as thy smock! When we shall meet at compt, 15
This look of thine will hurl my soul from heaven,
And fiends will snatch at it. Cold, cold, my girl!
Even like thy chastity. O cursed slave!
Whip me, ye devils,
From the possession of this heavenly sight! 20
Blow me about in winds! Roast me in sulphur!
Wash me in steep-down gulfs of liquid fire!
O Desdemona! Desdemona! Dead! Oh! Oh! Oh!
[Enter LODOVICO. MONTANO, CASSIO carried in a chair, and Officers
with IAGO, prisoner.]
LODOVICO
Where is this rash and most unfortunate man?
OTHELLO 25
That’s he that was Othello. Here I am.
LODOVICO
Where is that viper? Bring the villain forth.
OTHELLO
I look down towards his feet; but that’s a fable.
If that thou be’st a devil, I cannot kill thee.
[Othello wounds Iago]
LODOVICO
Wrench his sword from him.
IAGO
30
I bleed, sir, but not killed.
OTHELLO
I am not sorry neither. I’d have thee live,
For in my sense ‘tis happiness to die.
[ACT 5, SCENE 2]

13.5 Refer to line 24: ‘Where is this … most unfortunate man?’
What does this line suggest about Othello’s character in context of the
play as a whole? (3)
13.6 Refer to lines 20–23: ‘From the possession … Oh! Oh! Oh!’
If you were the director of a production of Othello, how would you

instruct the actor playing Othello to deliver these lines? Motivate your
instructions with reference to both body language and tone. (3)
13.7 Refer to lines 27–28: ‘I look down … cannot kill thee?’
Using these lines as a starting point, discuss how Iago is an agent of

deception in the play. (3)
13.8 Refer to line 32: ‘For in my … happiness to die.’
Critically discuss why Othello feels that death is preferable to life. (4)
[25]

THE CRUCIBLE – ARTHUR MILLER

question).
QUESTION 14: THE CRUCIBLE – ESSAY QUESTION
John Proctor and Reverend Hale make some critical mistakes that have grave
consequences, but ultimately, they both display moral courage.
Critically assess the validity of this statement in relation to the play.
(2–2½ pages). [25]
QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION
EXTRACT I
HALE No, no. Now let me instruct you. We cannot look to superstition in this. The
Devil is precise; the marks of his presence are definite as stone, and I
must tell you all that I shall not proceed unless you are prepared to believe
me if I should find no bruise of hell upon her.
PARRIS It is agreed, sir - it is agreed - we will abide by your judgment. 5
HALE Good then. He goes to the bed, looks down at Betty. (To Parris): Now, sir,
what were your first warning of this strange-ness?
PARRIS Why, sir - I discovered her – (indicating Abigail)- and my niece and ten or
twelve of the other girls, dancing in the forest last night.
HALE (Surprised) You permit dancing? 10
PARRIS No, no, it were secret –
MRS (Unable to wait): Mr. Parris’s slave has knowledge of conjurin’,

PUTNAM sir.
PARRIS: We cannot be sure of that, Goody Ann –
MRS I know it, sir. I sent my child - she should learn from Tituba who murdered 15
PUTNAM her sisters.
REBECCA Goody Ann! You sent a child to conjure up the dead?
MRS Let God blame me, not you, not you, Rebecca! I’ll not have you judging
PUTNAM me anymore! (To Hale): Is it a natural work to lose seven children before
they live a day? 20
PARRIS Sssh! (Rebecca with great pain, turns her face away. There is a pause).
HALE Seven dead in childbirth.
MRS Aye. (Her voice breaks; she looks up at him)

PUTNAM
[ACT 1]
15.1 Account for the Reverend Hale’s visitation to Salem. (3)
15.2 , ‘No, no. Now… hell upon her’.

Discuss the irony that is prevalent in Reverend Hale’s perception of
(3)
witchcraft.
15.3 Refer to line 10: ‘(Surprised) You permit dancing?’

Explain what Reverend Hale’s question reveals about the Salem Society. (3)
15.4 Refer to line 14: ‘We cannot be sure of that, Goody Ann –‘
Comment what Parris’s response reveals about his character. (3)
15.5 Critically comment how Rebecca's moral standard is important to an

understanding of the outcome of the play. (4)
AND

EXTRACT J
PROCTOR (Wide-eyed) Oh, it is a black mischief.
ELIZABETH I think you must go to Salem, John. (He turns to her.) I think so.
You must tell them it is a fraud.
PROCTOR (Thinking beyond this) Aye, it is, it is surely.
ELIZABETH Let you go to Ezekiel Cheever – he knows you well. And tell him 5
what she said to you last week in her uncle’s house. She said it
had naught to do with witchcraft, did she not?
PROCTOR (In thought) Aye, she did, she did. (Now, a pause.)
ELIZABETH (Quietly, fearing to anger him by prodding) God forbid you keep
that from the court, John. I think they must be told. 10
PROCTOR (Quietly, struggling with his thought) Aye, they must, they must. It
is a wonder they do believe her.
ELIZABETH I would go to Salem now, John – let you go tonight.
PROCTOR I’ll think on it.
ELIZABETH You were alone with her? 15
PROCTOR (Stubbornly) For a moment alone, aye.
ELIZABETH Why, then, it is not as you told me.

…
PROCTOR (With a violent undertone) You doubt me yet?
[ACT 2]
15.7 Refer to line 14: ‘I’ll think on it.’
Account for Proctor’s response in this line.

(3)
15.8 Refer to line 18: ‘(with a violent … doubt me yet?’

If you were the director of a production of The Crucible, how would you
instruct the actor to deliver these lines? Motivate your instructions with
reference to both body language and tone. (3)
[25]
TOTAL SECTION C: 25
GRAND TOTAL: 80
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ENGLISH HL P2 PREP SEPT 2 (FINAL QP) - EDITED (Final) )

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ENGLISH HL P2 PREP SEPT 2 (FINAL QP) - EDITED (Final) )

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PREPARATORY EXAMINATION

ENGLISH HOME LANGUAGE P2

This QUESTION PAPER consists of 26 pages.

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INSTRUCTIONS AND INFORMATION

3. This question paper consists of THREE sections:

SECTION A: Poetry (30)

4. Answer FIVE questions in all: THREE in SECTION A, ONE in SECTION B

5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):

• The essay question on Poetry should be answered in about 250–300

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7. Follow the instructions at the beginning of each section carefully.

8. Number your answers correctly according to the numbering system used in

9. Start EACH section on a NEW page.

10. Suggested time management:

SECTION A: approximately 40 minutes

11. Write neatly and legibly.

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2. 'The Morning Sun is Shining' – Contextual question 10 7

3. 'It’s a beauteous evening, calm

4. ‘Talk To The Peach Tree’ - Contextual question 10 9

Unseen Poem: COMPULSORY question

Answer ONE question.*

7. The Picture of Dorian Gray Contextual question 25 11-13

8. Life of Pi Essay question 25 14

9. Life of Pi Contextual question 25 14-16

Answer ONE question.*

11. Hamlet Contextual question 25 17-19

12. Othello Essay question 25 20

13. Othello Contextual question 25 20-23

14. The Crucible Essay question 25 24

15. The Crucible Contextual question 25 24-26

*NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL

SECTION QUESTION NO. OF TICK

SECTIONS B & C ONE ESSAY AND ONE CONTEXTUAL?

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Answer any TWO of the following questions.

QUESTION 1: ESSAY QUESTION

1 The child is not dead

6 The child raises his fists against his father

11 The child is not dead

16 The child is the shadow of the soldiers

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THE MORNING SUN IS SHINING – Olive Schreiner

1 The morning sun is shining on

9 The earth is clothed with beauty,

2.3 Refer to line 9–12: 'The earth is … sweet and strong'.

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IT’S A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth

1 It is a beauteous evening, calm and free,

3.1 Refer to line 1: ‘It is a beauteous evening, calm and free,’

3.2 Refer to line 2: ‘The holy time…as a Nun’

3.3 Refer to lines 6: 'Listen! the mighty Being is awake,’

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TALK TO THE PEACH TREE – Sipho Sepamla

3 Let's talk to the afternoon shadow

5 Let's raise our pets to our level

7 words have lost meaning

9 most people will admit

11 Talk to the paralysing heat in the air

13 Let's pick out items from the rubbish heap

15 Let's talk to the peach tree

17 Let's talk to the moon going down