Citadel International School

KS 3- Stage 7

Term one
Reading Revision
Mark Scheme

Part one: Non-fiction

Text A
 Answer the following questions.
Read Text A in the Insert, and answer questions 1–6.
1. Give one word and one phrase from the first paragraph (lines 1–3) that tell the reader
that climbing El Capitan is not easy.
word: monster
phrase: (providing the) ultimate challenge

2. Look at the second paragraph (lines 4–7).

(a) How did the ‘Dawn Wall’ get its name?
It the first place on El Capitan to get sun (from the east) / the sun shines on it at
dawn.
(b) Give one word that means dangerous.
treacherous
3. Look at the third paragraph (lines 8–14).
(a) Give one word that introduces a contrasting idea.
However

(b) Give one phrase that means only.

(with) nothing more than

(c) Give one two-word phrase that tells the reader Caldwell and Jorgeson worked
together.
joined forces

4. Look at the fourth paragraph (lines 15–23).

(a) Explain in your own words what makes the Dawn Wall such a difficult climb. Give
one quotation from the text to support your answer.
Explanation:
Explanation:
Award 1 mark for the idea that there is nothing to hang onto / it is a very smooth
surface / has sharp pieces of rocks sticking out

Quotation: Award 1 mark one of the following:

• slippery footholds
• razor-sharp edges
• smooth rock
• forced to hang on by their fingertips
• there is almost nothing to cling onto

(b) After completing the challenge, Caldwell and Jorgeson became famous.
Give one phrase from the text that tells the reader this.
into the history books

What type of sentences is the above one?

complex sentence

Why did the writer use a comma in the previous sentence?

To separate the dependent clause from the independent one

5. Look at the heading. Why do you think this heading is suitable for this text?
Give two ideas.
Award 1 mark for each of the following up to 2 marks:
• hanging on is what they are doing
• no threads allowed because it is free climbing
• the colloquial saying is hanging by a thread but these are free climbers so they
can’t use anything to hang by for their climb.
Read Text B, in the Insert, and answer questions 7–10. 7
6. What is the purpose of Text B? Tick () one box.

to advise

7. Give one word from the second paragraph (lines 4–14) that introduces a
contrasting and surprising idea.
• Actually

8. (a) Look at line 12 in Text B.

Why has a colon ( : ) been used? Give one reason.
• to give more information
(b) Why has a dash ( – ) been used in line 13? Give one reason.
for emphasis
 Text A

Great movie – „City Lights‟

If only one of Charlie Chaplin's films could be preserved, his black-and-white silent classic
„City Lights‟ (1931) should be it. „City Lights‟ comes closest to representing the different
aspects of his genius, as a film-maker and actor. It contains the slapstick comedy*, the
sadness and, of course, The Little Tramp – the character played by Chaplin himself. At
one time, The Little Tramp was said to be the most famous image on earth. 5

When he made „City Lights‟, Chaplin was aware of the growing popularity of films with
dialogue; he considered making a talkie but actually decided against it. Although the film
has music and sound effects, it has no speech.
Speech was not how The Little Tramp expressed himself. He interacts with the world
mostly through his actions, and is judged on his shabby appearance, which sets him 10
apart. The Tramp is an outcast, an onlooker, a loner. In „City Lights‟, his only encounters
are with people who don't or can't see him: a millionaire who ignores him, and a blind
flower girl.
That's what makes his relationship with the flower girl so heart-warming; does she
accept and treasure him only because she can't see what he looks like? The last scene 15
of „City Lights‟ is deservedly famous as one of the great emotional moments in cinema
history. The girl, whose sight has been restored, sees him now for the first time – but smiles
at him anyway. She gives him a rose and some money, and accepts him for who he is.
Chaplin and other silent filmmakers were globally successful. Their films were shown
everywhere – language was no barrier. I witnessed the widespread appeal of Chaplin's 20
art in one of my most treasured experiences, as a movie-goer at the 1972 Venice film
festival in Italy.
One night, the usually brightly lit St Mark‟s Square in Venice was darkened, and „City
Lights‟ was shown on a vast screen. The moment in the film that the flower girl recognises
The Tramp, I heard much snuffling and blowing of noses around me; there wasn't a dry 25
eye in the square. Then complete darkness fell, and a spotlight singled out a balcony
overlooking the square. The real-life Charlie Chaplin walked forward and bowed. I‟ve
never heard such cheering in my life.
There was a time when Chaplin was considered to be the greatest popular artist of the
20th century, and his films were known to everyone. Having just viewed „City Lights‟
again, I am still under its spell. Chaplin's gift was truly magical.

*Glossary slapstick comedy: a type of comedy where actors behave in silly ways, for instance by throwing
things at each other
 Text B
Fame again
Was this the world's first film star?
According to new research, the very first film star was a French slapstick comedian.
Largely forgotten for decades, Max Linder was a handsome actor from the early silent
era. He not only starred in films but also directed, wrote and produced them.
Dr Andrew Shail, a lecturer at Newcastle University, has identified the first time an
actor was used to promote a film. He discovered a poster for the French film, Le Petit 5
Jeune Homme*. Featuring Linder, it was released in Europe in September 1909.
Linder was the first actor whose name became more important than the character he
was playing. „This makes Linder – as far as we can tell – the first film star anywhere,‟
says Shail. „The effects of the decision can still be seen on posters and billboards
around the world.‟ 10
Linder was born Gabriel-Maximilien Leuville in 1883 in France. He was drawn to the
stage and started working as an actor in 1901, before adopting the stage name Max
Linder in 1905 – which is when he is thought to have made his movie debut playing bit
parts.
There is a story that the producer Charles Pathé saw Linder on stage and sent him 15
this note: “In your eyes lies a fortune. Come and act in front of my cameras, and I will
help make it.” Linder did indeed have beautiful, soulful eyes, and his comedy was
more romantic than much contemporary slapstick.
After becoming a star in Europe, Linder went to Hollywood, where he made a handful
of films. 20
Linder was a major influence on Charlie Chaplin, who was arguably the biggest film
star of all time, making his own screen debut in 1914. In fact, Chaplin once sent
Linder a signed photograph addressed: “To Max, the Professor, from his disciple,
Charlie Chaplin.”

*Glossary Translation of Le Petit Jeune Homme: The Little Young Man

1. the year the film was released.

2. Look at the second paragraph (lines 6–8). Chaplin chose to make ‘City Lights’ a silent
film. Give one word that tells the reader that the writer is surprised by this.
actually

3. Look at the third paragraph.

(a) Why does the writer begin the third paragraph with the word Speech (line 9)?
• to link the third paragraph back to the second paragraph
• the first word of the third paragraph (‘speech’) is the same as the last word of the second
• to emphasise the point more

(b) Look at lines 10–11. How does the structure of this sentence emphasise the Tramp’s
character?
• tripling / by listing three words/nouns that mean the same thing (which emphasises
the Tramp’s character / his loneliness).

c. to introduce a list.

4. Look at the fourth paragraph (lines 14–18).

(a) The writer uses a question in the first sentence and answers it later. Why does
the writer do this?
• To show/describe/emphasise the (genuine/strong/positive) relationship between
the flower girl and The Tramp.
• to engage interest

Accept any suitable response based on information from the paragraph.

(b) Why does the writer use the present tense in the last two sentences (lines 16–
18)?
• he is describing/summarising the plot of the film / what happens in the film.

5. Look at lines 19–28.

Give one way in which these lines are different from the previous two paragraphs.
• They are autobiographical / about the writer’s experience / written in the first person.
• They are a narrative about past events.
6. Look at the sixth paragraph.
How does the writer repeat the idea that the last scene of ‘City Lights’ is one of the
most emotional moments in cinema history? Give one quotation from the text.
(I heard much) snuffling and blowing of noses / there wasn’t a dry eye (in the
square).
7. The writer suggests that Chaplin’s films are no longer popular. Explain why you
think this has happened. Support your answer with one quotation from Text A.

8. ‘City Lights’ is one of the writer’s favourite films. Give one quotation from the text
that shows this.
• If only one of Charlie Chaplin’s films could be preserved
• deservedly famous as one of the great emotional moments in cinema history
• one of my most treasured experiences as a movie-goer
• I am still under its spell.

Now read Text B in the insert, and answer questions 9–15. 9

9. The headline suggests that it took a long time for Linder to be rediscovered. How
does the writer reinforce this idea in the first paragraph (lines 1–3)?
(The writer mentions that Linder was,) ‘(largely) forgotten for decades’

10. The message of the subheadline suggests uncertainty. Give one phrase from
the second paragraph (lines 4–9) that supports this.

as far as we can tell (- the first film star anywhere)

11. Look at the third paragraph (lines 11–14). Give one phrase which means ‘small
and unimportant acting roles’.

bit parts.
12. metaphor.
13. Look at the final paragraph (lines 21–24). Which two words does Charlie
Chaplin use to say that Max Linder taught him a lot?
Award 1 mark for each of the following:
• Professor
• disciple
Do not accept ‘major influence’ as these were not words used by Charlie Chaplin.
Part two: Fiction

Read this passage from Escape from Shangri-La by Michael Morpurgo and then answer the questions
in the question paper.
A girl playing her violin notices an old man standing across the road from her house in the
pouring rain.

***

I was ambivalent about my violin. I loved playing my violin, but I had always hated practising,
and in particular I hated being told to practise. Once I could forget that I was practising, once I
could lose myself in the music, then I could play quite happily for hours on end.

I was just beginning to enjoy it, just beginning to feel at one with my violin. I was playing so well
I could feel the skin prickling with pleasure all down my arms. But then the doorbell rang. The 5
magic was broken. I was immediately back to hateful practising. The bell rang again.

I put the violin down on my bed and went to the top of the stairs to see who it was. I heard the
front door opening. There was a shadow down in the hallway, and my mother was standing
beside it, motionless.

‘Who is it?’ I said, as I came down the stairs. 10

The shadow moved suddenly into the light of the hallway and became the old man from across
the road. He was standing there, dripping. ‘I’m sorry,’ he said. ‘I know this is going to sound a
bit odd, but I’m your grandad. I’m your dad’s dad, so that makes me your grandad, doesn’t it?’

I felt my mother take my hand and hold on to it tightly, so tightly it was hurting me.

‘You can’t be,’ my mother whispered, pulling me close to her. ‘You can’t be him. Arthur hasn’t 15
got a father.’ The old man seemed suddenly unsteady on his feet. He swayed and staggered
forward. Instinctively we both backed away from him. He was dripping from his ears, from his
chin, from his fingers too. It was as if his whole body was weeping tears.

The old man was unbuttoning his jacket now, and fumbling deep inside. My mother still held
me by the hand in a grip of steel. The wallet he took out was stuffed full, like some battered 20
leather sandwich. He opened it up with great care, almost reverently. With shaky fingers he
pulled out an old photograph, faded to sepia, torn at the edges and criss-crossed with creases.
He gave it to us. A young man looked at me out of the photograph. Astride his shoulders sat a
small boy clutching his hair with both fists.

‘There’s me with little Arthur, your dad, that is, pulling my hair by the roots. He was always 25
doing that, little rascal. Summer 1950. That was the last summer we were all together.’

I felt a warm shiver creeping up the back of my neck. I looked up into his face. The eyes were
deep-set and gentle. They were blue. He had blue eyes. My father had blue eyes. I had blue
eyes. That was the moment the last doubts vanished. This man had to be my father’s father,
my grandfather. 30

‘You’d better come in,’ I said.

I broke free of my mother’s grasp, took my grandfather gently by the arm and led him into the
warmth of the kitchen.
 We sat watching him as he sipped and slurped, both hands holding the mug. He was savouring
it. In between sips he set about the plate of chocolate digestive biscuits, dunking every one till 35
it was soggy all through, and devouring one after another with scarcely a pause for breath. He
must have been really famished. His face was weathered brown and crinkled and craggy, like
the bark of an old oak tree. I‟d never seen a face like it. I couldn‟t take my eyes off him.

I did all the talking. Someone had to. I can‟t stand silences – they make me uncomfortable. He
was obviously too intent on his tea and biscuits to say anything at all, and my mother just sat
there staring across the kitchen table at him. How many times had she told me not to stare at 40
people? And here she was gawping at him shamelessly.

I had to think of something sensible to talk about, and I reasoned that he might want to know
something about me, about his new-found granddaughter. After all, he had my whole life to
catch up on.

Read the Text in the Insert and then answer questions 1–15.

1. What does the narrator dislike about the violin?

practising / being told to practise.

2. In lines 1–3, which word does the writer use to show the narrator has mixed
feelings about her violin?
‘ambivalent’

3. In lines 1–6, what effect does playing the violin have on the narrator? Support your
answer with a quotation.
Award 1 mark for answers that identify the powerful effect of the violin.
Award 1 mark for supporting their answer with one of the following:
• ‘(I could) lose myself in the music.’
• ‘(just beginning to) feel at one with my violin.’
• ‘(I could) feel the skin prickling (with pleasure all down my arms.)’
• ‘The magic was broken.

4. Explain in your own words why the narrator stops playing her violin when the
doorbell rings for the first time.

Award 1 mark for an answer that identifies that the doorbell:

• brings her back to the real world / breaks the spell.
Do not accept the quotation ‘the magic was broken’.

5. Look at lines 8–12. Explain in your own words two ways the writer creates suspense
in these lines.
Explain in your own words two ways the writer creates suspense in these lines.
Award 1 mark for an answer that recognises any of the following, up to a maximum of 2
marks:
• the use of a shadow (before the old man is revealed) / the narrator can’t see what is
happening as she comes down the stairs / the narrator asking ‘Who is it?’
• the stillness of the mother / the use of the word ‘motionless’ at the end of the sentence
• repetition of the word ‘shadow’ • the shadow moving suddenly / the shadow suddenly
turning into the old man.

6. Why doesn’t the mother believe what the old man is saying?
Award 1 mark for correctly identifying that:
• her mother believes that ‘Arthur hasn’t got a father’.

7. ‘It was as if his whole body was weeping tears.’ (line 18)
(a) What literary technique is this an example of?

simile
(b) How does the writer want the reader to feel about the old man?
 sympathy for the old man
• feel sorry for the old man
• sadness for the old man.
Do not accept that he is wet.

8. Why does the old man open his wallet ‘… with great care, almost reverently’ (line
21)?
• because his wallet contains something important / a special photograph
• because his wallet is full (of money)
• because he is worried something may fall out of his wallet.

9. Who is the ‘young man’ in the photograph (line 23)?

• the old man

• any correct description of the old man’s relationship with the girl or her mother or
father, e.g. the girl’s/narrator’s grandfather / Arthur’s father.

11. onomatopoeia

12 Give two things the writer suggests about the old man from the way he drinks and
eats. Support each suggestion with a different quotation.
Award 1 mark for a different quotation that supports each point, up to a maximum of 2
marks.
• He is very hungry. / He eats and drinks very quickly. (‘devouring’ / ‘set about’ /
‘scarcely a pause for breath’ / ‘famished’)
• He does not eat very politely. / He does not have good manners. / He makes a lot of
noise when he eats and drinks. (‘sipped and slurped’ / ‘dunking’)
• He is very much enjoying the tea and biscuits. (‘both hands holding the mug’ /
‘savouring it’)
• He does not care what other people think.
 13. Give one sentence from the text that shows the narrator is fascinated by her
grandfather.

• ‘I’d never seen a face like it.’

• ‘I couldn’t take my eyes off him.’

14. The text is narrated by the girl. The mother does not say much. How does the writer
show the mother’s feelings? Give three quotations from the text and explain what each
one shows about the mother’s feelings at that point.
Award 1 mark for each of the following quotations and matching explanations, up to a
maximum of 3 marks:
• ‘(my mother was standing beside it) motionless’ The mother is
shocked/disconcerted/scared.
• ‘I felt my mother take my hand and hold on to it tightly, so tightly it was hurting me.’ /
‘My mother still held me by the hand in a grip of steel.’ / ‘pulling me close to her.’ The
mother feels protective of her daughter.
• ‘My mother just sat there staring’ / ‘she was gawping at him shamelessly.’ The mother
is shocked/worried (about how Arthur will react to his father).

15. ‘He was obviously too intent on his tea and biscuits to say anything at all.’ (lines 39–
40)

What does the phrase ‘intent on’ mean in this quotation?

• focused on / obsessed with / pre-occupied with (his tea and biscuits)

• his tea and biscuits are all he’s interested in.
Text for Section A

Extract from ‘Riding Icarus’ by Lily Hyde.

Birds whistled. Those were the ones with heads as grey and furry-looking as little mice. There
was an endless shushing noise, as if the Dnieper River had slipped the chains of its bank in the
night and lay sighing on the doorstep. The goats in their pen made sleepy bleating sounds.
Faintly, from the car park above, came the banging and scraping of garage doors, the rattle
of engines and the soft squishing of tyres in the sand. The trolleybus wires sang their thin, 5
twanging song.

That was what Masha woke up to every morning. She liked to lie listening before she opened
her eyes; she had a running bet with herself to see if she could predict the weather from what it
sounded like.

‘Sunny,’ she said. ‘Cotton wool sky.’ 10

‘Get yourself out of bed; the kasha’s burning. You and your cotton wool,’ said Granny, who had
no intention of rewarding even correct weather predictions. Granny knew such things as
instinctively as cows, or crows.

Masha sighed and opened her eyes. Kasha was buckwheat boiled with butter. Filling and
cheap, but boring. Next to it on the table, though, Granny had laid out the remains of Masha’s 15
birthday cake. Feeling her stomach rumble, she hopped out of bed.

It was too hazy to be sunny. Less cotton wool than curdled milk. Thunderstorm weather. How
do you work out the differences like that from sounds, Masha pondered, as she slipped out of
the open door, which was covered with a curtain against mosquitoes, and into the morning air.
Why do the trolleybus wires sing even when there’s no wind, she wondered. She returned to her 20
home: Icarus the trolleybus. Lots of buses that drove around had the name ICARUS written on
their fronts, but there was only one trolleybus called Icarus. And only this one trolleybus was
home to a little girl called Masha and her very old grandmother.

Icarus had not gone anywhere for a long time. He was parked among meadows and allotments
on the very edge of Kiev, by the Dnieper River. With no overhead electric wires to fix onto, the 25
two long spring rods attached to the roof waved in the air like antennae, forever searching for a
new source of power on which to drive away. There were no seats inside any more, and in their
place were two cosy beds, two chairs and a table, and a little cooker which ran off a gas
cylinder. A bookcase was tucked between two windows, and a broom handle strung from the
ceiling made a rack for the two occupants to hang up their few clothes. The floor was covered 30
with a strip of red carpet, and embroidered Ukrainian cloths were draped across the window.
This mid-summer morning he was a cheerful, bright home with the birdsong pouring in through
the open windows.

Masha eyed her pile of birthday presents from yesterday as she ate breakfast. It was a very
small pile. Nothing at all from her mother, even now she was ten, into double figures: a one as 35
skinny as she was; a fat zero for a peephole onto the world. ‘A good round number,’ Granny
had said approvingly, as if it were an achievement to reach ten.

Masha didn’t want to think about her mother’s missing present. She reached over and pulled a
big glossy book out of the pile. It was an encyclopaedia of animals. Uncle Igor had given it to
her, but she was sure it was not really from Igor at all, but from his wife, Anya. She knew this 40
because she actually liked it – in contrast to Uncle Igor’s second present, a hideous, pink frilly
dress his daughter Anastasia had worn once or twice and then got tired of, or grown out of.
 „Planning your travels?‟ Granny said, as Masha opened the book to look through the
Galapagos, where you could ride on giant turtles; the African jungle, full of sleek, patterned
45
snakes dripping from the trees. Then she got to Siberian tigers, and Granny sighed and turned
away.

Looking at the picture made Masha ache faintly inside. But it was not a new ache; it was already
four years old. Her father had grown up beyond Siberia in Kamchatka, thousands of kilometres
away to the east, where the tigers live. He said everything there was twice as big as anywhere
else. 50

Read the text in the Insert, and answer questions 1–11.

1. Look at the first paragraph (lines 1–6).
(a) Why does the writer make the first paragraph a description of different
sounds?
• the opening paragraph is describing all the sounds the girl / Masha can hear
when she wakes up / the girl / Masha has just woken up and is describing /
listing the sounds she can hear / listening before she opens her eyes (trying to
predict the weather) / the story starts in the morning describing what Masha
does every morning when she wakes up.
(b) The writer uses a number of literary features to describe the setting.
Complete the table below, describing the literary features the writer uses and
giving an example from the text.

2. What is Granny’s attitude towards Masha’s weather prediction?

Granny doesn’t think it’s clever / is not impressed (because she knows it
instinctively).
3. What does the writer mean by ‘less cotton wool than curdled milk’?
That the weather was not sunny / the clouds were not fluffy / the sky was completely hazy
/ that the sky was not blue with white fluffy clouds but completely cloudy / white / grey /
overcast.
4. • to build up descriptive detail
• to create a slow, relaxing pace

(b) Why do you think Granny named their home Icarus?

• because they live on a trolleybus and that (Icarus) is the name on the trolleybus
5. Explain in your own words how the writer makes Icarus seem like a
pleasant place to live. Give three ways.
Award 1 mark for each of the following ideas, up to a maximum of 3 marks:
• describes pleasant surroundings
• personification / makes the trolley bus sound like a person
• uses the word ‘cosy’ to describe the beds
• uses the word ‘tucked’ where the bookcase is
• makes the trolley bus sound homely with lots of textiles / red carpet /
Ukrainian textiles in the window
• describes as cheerful / bright in the sunshine
• birdsong pouring in through the open window
6. Do you think Masha’s aunt knows Masha better than her uncle? Explain
your answer and give evidence from the text to support your explanation.
Explanation:
• yes / she gives her a present that she knows she’ll like / gives her a book that
suits her daydreaming character / gives her a book about travelling which she
loves / (whereas) her uncle gives her a (pink) dress which she hates Award 1
mark for:
Quotation:
• she was sure it was not really from Igor at all, but from his wife, Anya. She
knew this because she actually liked it – in contrast to Uncle Igor’s second
present, a hideous, pink frilly dress
7. Explain why Granny sighs. Give two ideas.
• She knows that Masha gets upset when Masha looks at the tigers.
• Masha is always looking / thinking / talking / dreaming about Siberia
. • She knows that Masha is thinking about what her father said about Siberia.
8. Look at the last paragraph (lines 47–50).
(a) Why is a semi-colon ( ; ) used?
to join two closely related clauses / ideas together / to give more information
(b) Give one subordinate clause.
where the tigers live
(c) Masha has a slight ache. Why?
• Masha is desperate to see Siberia / go to a place twice as big as anywhere
else
• Masha is desperate to see the place her father had grown up in
9. The text is set in Ukraine, on the edge of Kiev, by the Dnieper River. Give
two other pieces of evidence from the text that tell you the text is set in
Ukraine.
• Ukrainian textiles (in the window)
• Names of the characters (Anastasia and Masha)
• Kasha (for breakfast)
10. (a): dreamy
10. (b): practical

11 Look at the structure of this text. Give two reasons why paragraphs are
used in this text.
Award 1 mark for each of the following up to a maximum of 2 marks

• change of scenery / setting / scene

• direct speech
• change of speaker
• change of topic / idea / subject