AS Level English Literature - OCR

H072/01 Sample Ma
Question
‘The pardoning of Angelo at the play's end is
3 (b) view?

In Section 1, the dominant assessment objective i

AO2, Analyse ways in which meanings are shape
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showin
play (AO2) blended into a coherent argument (AO
make reference to the views of other audiences a

time. (AO5). Answers should be informed by an u

contemporary performances of the play (AO3).

Candidates will need to look closely at the ways in
initially the embodiment of moral rectitude, he is a
way in which Angelo is introduced to us in the pla
questioned, and at the process of his complete m
at his subsequent history, as he tries to entrap Isa
question’s focus centres on the effect of Angelo’s
sense of desire for justice and an appetite for an u
audience's reaction to him in the final scenes also
induces in an audience precisely the sense of mo
deserve mercy? Is the Duke’s pardoning of him sh
possible to see pardon as a punishment for a falle

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mu
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

18

ark Scheme June 20XX
Guidance Marks

shocking.’ How far and in what ways do you agree with this 30

is: AO2.

ed in literary texts. Answers are also assessed for AO1, Articulate
g associated concepts and terminology, and coherent, accurate
ormed by different interpretations; and AO3, Demonstrate
f the contexts in which literary texts are written and received.

ng understanding of ways in the author shapes meaning in the
O1). The answer is in itself a response to a critical view, but may
and readers and discuss changing critical views of the play over
understanding of contexts, which can include both historic and

n which Angelo is presented: undoubtedly highly intelligent, and
a surgical user of logic. Candidates need to look closely at the
ay: at the ways in which his self-doubt is both expressed and
moral disintegration when he meets Isabella. Answers should look
abella before himself becoming entrapped in 'the bed trick'. The

behaviour on an audience: the way in which the play creates a
unmasking. His conduct when confronted by his actions and the
o need to be looked at closely: it is possible to argue that the play
oral condemnation which is its subject matter: so does Angelo
hocking, and, given the play’s concerns, why it is so? Is it
en man who, by his own estimation, deserves death?

ects of questions which may feature in candidates’ answers. It is
ust be careful to reward original but well-focused answers and
. This guidance should be used in conjunction with the Level

18

H072/01 Sample Ma

Question ‘There is always humour in the cruelty of the p
4 (a) this view?

In Section 1, the dominant assessment objective i

AO2, Analyse ways in which meanings are shape
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showin
play (AO2) blended into a coherent argument (AO
make reference to the views of other audiences an

time. (AO5). Answers should be informed by an u

contemporary performances of the play (AO3).

Crucial to this task is the idea that for a villain ‘bot
and the almost child-like delight he takes in machi
communicated - the direct appeal to the audience
which Richard takes in his deliberate villainy - his
the audience’s amusement, and perhaps its comp
almost melodramatic tone of much of the play whe
seems to take delight, is sometimes grotesque (as
sometimes blatantly and comically hypocritical (as
episodes approaching comedy in its effect. At time
Lady Anne): sad moments can also approach the
the hauntings of Richard's last night and his fate o
similar ambiguity of feeling characterises an audie
Richmond’s verdict ‘the bloody dog is dead’, thoug

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mus
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

19

ark Scheme June 20XX

Guidance Marks

play Richard III.’ How far and in what ways do you agree with 30

is: AO2.

ed in literary texts. Answers are also assessed for AO1, Articulate
associated concepts and terminology, and coherent, accurate

ormed by different interpretations; and AO3, Demonstrate
f the contexts in which literary texts are written and received.

ng understanding of ways in the author shapes meaning in the
O1). The answer is in itself a response to a critical view, but may

nd readers and discuss changing critical views of the play over
understanding of contexts, which can include both historic and

ttled spider’ Richard is supremely engaging: his use of soliloquy
ination. Candidates need to look at the means by which this is
e, and the use of rhetoric. The pervasive and energetic delight
ironically humorous view of his own actions, which elicits both
plicity - needs to be documented and discussed, together with the
en dealing with innocence and doom. His behaviour, in which he
s in his enjoying the tale of the Princes’ death over dinner) and
s in the show of piety before the people of London) - in both
es the humour is blatant and shocking (such as in the wooing of
melodramatic, as in the description of the Princes’ death. Even
on the battlefield are ambiguous, approaching melodrama, and a
ence's reaction to his villainy. Candidates may feel that
gh forceful, is less than adequate as an epitaph.

ects of questions which may feature in candidates’ answers. It is
st be careful to reward original but well-focused answers and
. This guidance should be used in conjunction with the Level

19

H072/01 Sample Ma
Question
‘The women in Richard III are more than just v
4 (b) view?

In Section 1, the dominant assessment objective i

AO2, Analyse ways in which meanings are shape
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showin
play (AO2) blended into a coherent argument (AO
make reference to the views of other audiences a

time. (AO5). Answers should be informed by an u

contemporary performances of the play (AO3).

There is no doubt the women are victims in the pl
and an effect than may at first appear. Candidates
may note that some (such as Lady Anne) are inde
killed both her husband and her father. The flagra
enjoyment of it: normal morality seems swept asid
lesson both in his technique and in his callousnes
catalogues his evils and his accomplices. In the f
her devastating catalogue of his evils ‘I had an Ed
of his downfall. As Queen Margaret and the Duch
condemnation in the play: a third, Queen Elizabet

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mu
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

20

ark Scheme June 20XX

Guidance Marks

victims.’ How far and in what ways do you agree with this 30

is: AO2.

ed in literary texts. Answers are also assessed for AO1, Articulate
g associated concepts and terminology, and coherent, accurate
ormed by different interpretations; and AO3, Demonstrate
f the contexts in which literary texts are written and received.

ng understanding of ways in the author shapes meaning in the
O1). The answer is in itself a response to a critical view, but may
and readers and discuss changing critical views of the play over
understanding of contexts, which can include both historic and

lay: but they are more than that, and they have more of a voice
s will need to trace the roles and fate of women in the play. They
eed victims: she is both repelled and wooed by Richard, who has
ant audacity of this scene is breathtaking, as is Richard’s
de by flattery, in a mixture of bravado and rhetoric, and it is a
ss. This happens early in the play: and in 1.3 Queen Margaret
fourth act, Queen Margaret appears in the role of nemesis, and in
dward till a Richard killed him...’ she becomes part of the process
hess of York take their revenge by becoming the voices of
th, actually manages to outwit him, and secures the succession.

ects of questions which may feature in candidates’ answers. It is
ust be careful to reward original but well-focused answers and
. This guidance should be used in conjunction with the Level

20

H072/01 Sample Ma
Question
‘A play about self-discovery.’ How far and in w
5 (a)
In Section 1, the dominant assessment objective i

AO2, Analyse ways in which meanings are shape
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showin
play (AO2) blended into a coherent argument (AO
make reference to the views of other audiences an

time. (AO5). Answers should be informed by an u

contemporary performances of the play (AO3).

In an historical sense, The Tempest is a play abou
about the effects of an island on its inhabitants an
'learning a lesson about oneself' - and it demands
principal characters. Candidates may see Prosper
repentance: this certainly is the impression that he
to explain himself, and candidates may wish to co
groups of arriving shipwrecked visitors changes as
management. This is not, however, always secure
endangered Miranda’s innocence by misjudging C
the play’s action. Answers need to look at the exte
clearly Ferdinand and Miranda have been altered,
and repentant. Many may see Prospero himself a
magic, and apparently sees the limitations of reve
Caliban, seem changed: others (notably Antonio)

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mus
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

21

ark Scheme June 20XX

Guidance Marks

what ways do you agree with this view of The Tempest? 30

is: AO2.

ed in literary texts. Answers are also assessed for AO1, Articulate
associated concepts and terminology, and coherent, accurate

ormed by different interpretations; and AO3, Demonstrate
f the contexts in which literary texts are written and received.

ng understanding of ways in the author shapes meaning in the
O1). The answer is in itself a response to a critical view, but may

nd readers and discuss changing critical views of the play over
understanding of contexts, which can include both historic and

ut finding oneself on an island - in terms of character, a play
nd unwilling visitors. The question may be taken in the sense of
s an examination of the effects of the action of the play on its
ro as having ‘set up’ the situation to provoke change or
e gives Miranda in their first scene together. He takes great care
onsider the ways in which the experience of each of the separated
s they encounter the island, under Prospero’s stage
e - as he lost his Dukedom to neglect, Prospero has in the past
Caliban, and at times he may seem only precariously in control of
ent to which characters are changed by the events of the play:
, and in the case of the 'bad' characters, most emerge chastened
as learning about his limitations - he eventually renounces his
enge, and of his 'rough magic'. While some characters, such as

seem little altered by what has happened.

ects of questions which may feature in candidates’ answers. It is
st be careful to reward original but well-focused answers and
. This guidance should be used in conjunction with the Level

21

H072/01 Sample Ma

Question ‘At crucial moments, Prospero misuses his po

5 (b) In Section 1, the dominant assessment objective i

AO2, Analyse ways in which meanings are shape
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showin
play (AO2) blended into a coherent argument (AO
make reference to the views of other audiences a

time. (AO5). Answers should be informed by an u

contemporary performances of the play (AO3).

The question invites candidates to look at the way
play, both by his use of magic, with the agency of
and events. The answer needs to look in some de
Prospero's project as a whole, as partially reveale
from near-sentimentality to rage - especially when
tender). They might discuss the violence of his thr
devices such as the storm (which certainly frighte
tyrannical impulses and language - especially whe
didactic tendency, and his (perhaps arrogant) des
look at his apparent difficulty in controlling his mo
involved with what he is doing to be in control at ti
and his urge to control by the use of magic. In rea
renunciation of magic at the play's resolution, and

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mu
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

22

ark Scheme June 20XX

Guidance Marks

ower.’ How far and in what ways do you agree with this view? 30

is: AO2.

ed in literary texts. Answers are also assessed for AO1, Articulate
g associated concepts and terminology, and coherent, accurate
ormed by different interpretations; and AO3, Demonstrate
f the contexts in which literary texts are written and received.

ng understanding of ways in the author shapes meaning in the
O1). The answer is in itself a response to a critical view, but may
and readers and discuss changing critical views of the play over
understanding of contexts, which can include both historic and

ys in which Prospero manages events and relationships in the
f Ariel, and by his manipulation and controlling of personalities
etail at specific moments in the play. Candidates may discuss
ed to Miranda in their first scene together: his changes of mood,
n dealing with Ariel (to whom he is sometimes cruel, sometimes
reats to Ariel and Caliban, and the use of dramatic and terrifying
ens Miranda) and the harpy. They may consider at his apparently
en dealing with Caliban. They may also discuss his heavily
sire to reveal his antagonists to themselves. Answers may also
oods, his misplaced focusing of attention (he becomes too heavily
imes - as seems to have been the case when he lost his title),
aching a judgement, answers need to consider Prospero's
d may also discuss the appeal he makes in the epilogue.

ects of questions which may feature in candidates’ answers. It is
ust be careful to reward original but well-focused answers and
. This guidance should be used in conjunction with the Level

22

H072/01 Sample Ma

Question ‘A play driven by disguise and deception.’ How
Twelfth Night?
6 (a)
In Section 1, the dominant assessment objective is

AO2, Analyse ways in which meanings are shaped
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showing
play (AO2) blended into a coherent argument (AO1
make reference to the views of other audiences an

time. (AO5). Answers should be informed by an un

contemporary performances of the play (AO3).

Viola’s gender disguise as Cesario is clearly centra
Viola's disguise acts as a catalyst in the emotional
ambassador to Olivia, she provokes love herself: t
transfer itself to Olivia's entire household. Howeve
disguise as Sir Thopas and Antonio’s need - for his
disguise’ calls for a look at Viola’s motives for her a
may choose to look at the ways in which she plays
Olivia. Disguise leads to farce when it seems that
disguise by its very nature leads to deception: how
tricking Malvolio, which upsets domestic and socia
treatment of Malvolio almost becomes disturbing. C
ambiguous character: The word ‘driven’ is designe
and deception are important as catalysts to the sha

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mus
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

23

ark Scheme June 20XX

Guidance Marks

w far and in what ways do you do agree with this view of 30

s: AO2.

d in literary texts. Answers are also assessed for AO1, Articulate
associated concepts and terminology, and coherent, accurate
ormed by different interpretations; and AO3, Demonstrate
the contexts in which literary texts are written and received.

g understanding of ways in the author shapes meaning in the
1). The answer is in itself a response to a critical view, but may
nd readers and discuss changing critical views of the play over
nderstanding of contexts, which can include both historic and

al to the question: candidates need to look at the ways in which
lly enervate world of Illyria. Sent by the love-sick Orsino as
the ensuing misunderstanding and emotional upset seems to
er, there are other forms of disguise in the play, such as Feste’s
s safety in Illyria - to disguise his identity. ‘Deception and
assumed identity: once she has become Cesario, candidates
s with her role of ‘page’ in her dealings both with Orsino and with
Viola is to be involved in her duel with Sir Andrew. Olivia’s
wever, other elements of deception also drive the plot: the subplot
al order, and which is followed through to a point where the
Candidates may wish to consider Feste as a particularly
ed to encourage candidates to look at the ways in which disguise
ape and comic effects of the play.

ects of questions which may feature in candidates’ answers. It is
st be careful to reward original but well-focused answers and
This guidance should be used in conjunction with the Level

23

H072/01 Sample Ma
Question
‘In the end, the audience sympathises with Ma
6 (b) view?

In Section 1, the dominant assessment objective i

AO2, Analyse ways in which meanings are shape
informed, personal and creative responses, using
written expression; AO5, Explore literary texts info
understanding of the significance and influence of

Answers should be informed and relevant, showin
play (AO2) blended into a coherent argument (AO
make reference to the views of other audiences a

time. (AO5). Answers should be informed by an u

contemporary performances of the play (AO3).

To evaluate the statement, candidates need to loo
socially ordered world of Illyria and in Olivia’s hou
bringing contextual knowledge to bear on his char
moralistic and aggressive behaviour and his sens
Repeatedly engaged in sanctimoniously upbraidin
conspirators and by the audience, in a way in whi
particular, his decoding of the letter to fit his privat
the ways in which his behaviour transgresses soc
fantasies which may in themselves be found ludic
characters’ reactions to him: he provokes strong v
candidates may be aware of differing attitudes to
audiences. Candidates may refer to their experien
to social hierarchy and to the treatment of madnes

The indicative content is intended to indicate aspe
not prescriptive, not is it exclusive; examiners mu
implicit as well as explicit responses to questions.
Descriptors: Shakespeare.

24

ark Scheme June 20XX

Guidance Marks

alvolio.’ How far and in what ways do you agree with this 30

is: AO2.

ed in literary texts. Answers are also assessed for AO1, Articulate
g associated concepts and terminology, and coherent, accurate
ormed by different interpretations; and AO3, Demonstrate
f the contexts in which literary texts are written and received.

ng understanding of ways in the author shapes meaning in the
O1). The answer is in itself a response to a critical view, but may
and readers and discuss changing critical views of the play over
understanding of contexts, which can include both historic and

ok at Malvolio's part in the play as whole, looking at his role in the
usehold. The may look at his self-absorbed ‘puritanism’, (perhaps
racterisation.) In answers, candidates might wish to weigh his
se of self-importance against the humiliation of his fate.
ng the ‘rioters’, Malvolio is also observed, both by the
ich no other character is seen, indulging his private fantasies. In
te fantasies is worthy of close attention. Answers need to look at
cial hierarchy and the ways in which he allows himself to harbour
crous and alienating. Good answers might also consider other
views, not least in Olivia. Some may feel sympathy for him, and

the Malvolio sub-plot over time, among different critics and
nce of performance, and also have some knowledge of attitudes
ss in Shakespeare’s time.

ects of questions which may feature in candidates’ answers. It is
ust be careful to reward original but well-focused answers and
. This guidance should be used in conjunction with the Level

24

H072/01 Sample Ma
Question
Discuss Chaucer’s portrayal of Damyan and his
7 In your answer explore the author’s use of langu
you find this extract characteristic of The Merch

In Section 2, the dominant assessment objective is:

AO2, Analyse ways in which meanings are shaped
Articulate informed, personal and creative response
and coherent, accurate written expression; AO4, Ex
understanding of the significance and influence of th

Answers should explore the author's use of lan
appropriate terminology and articulating a coherent
extract to the text as a whole (AO4), and may mak
(AO3).

The passage is largely concerned with Damyan - his
returns to the hall to eat, (as is customary) four days
dramatic description of Damyan’s passion, which ‘so
turns to verse: is Chaucer satirising Damyan's hand
or a lay', and his secreting it in 'a purs of silke..leyed
sorrow (in the courtly tradition - allowing AO3 comm
episode, which reflects contemporary aristocratic m
wealthy household. After mass on the fourth day, a
May sitting beside that ‘good‘ man (more irony here
Januarie who remembers Damyan. Damyan’s fellow
other reason. Certainly not, says Januarie ‘he is a g
for Damyan's gentility - ‘wys, discreet, and secree’, a
may also deserve comment. The extract is clearly c
Damyan’s love is established, but it is also helpful in

The indicative content is intended to indicate aspect
not prescriptive, not is it exclusive; examiners must
implicit as well as explicit responses to questions Th
Descriptors: Poetry.

25

ark Scheme June 20XX

Guidance Marks

situation in the following extract from The Merchant’s Tale. 30
uage, imagery and verse form, and consider ways in which
hant’s Prologue and Tale.

: AO2.

in literary texts. Answers will also be assessed for AO1,
es to literary texts, using associated concepts and terminology,
xplore connections across literary texts; and AO3, Demonstrate
he contexts in which literary texts are written and received.

nguage, imagery and verse form in the extract (AO2), using
t, accurate and relevant response (AO1). They should relate the
e reference to the significance and influence of relevant contexts

s yearning for May, and his absence from his duties when she
s after her marriage. Candidates may choose to comment on the
o brenneth that he dyen for desyr.’ In true courtly tradition he
dling of his emotions by penning a letter 'in manner of a complaynt
d...at his herte’ '? Candidates may thus comment on his silent
ment). The workings of the planets signal the move into the next
marital practice: and it also establishes the ‘new order’ in the
tableau reveals all the household present at table, with ‘fressh’
e?), Januarie. Though Damyan can think of nothing but May, it is
w squires make his excuse: he is sick. He would be absent for no
gentil squier’. Candidates may note the irony of Januarie's praise
and Januarie’s admiration for his 'manly' 'servysable' qualities
entral to the narrative, being the point in the poem at which
n its depiction of the life of the household and in its ironies.

ts of questions which may feature in candidates’ answers. It is
be careful to reward original but well-focused answers and
his guidance should be used in conjunction with the Level

25

H072/01 Sample Ma

Question Discuss Milton’s portrayal of Adam and Eve's ac
Paradise Lost Book 9. In your answer explore th
8 consider ways in which you find this extract cha

In Section 2, the dominant assessment objective is:

AO2, Analyse ways in which meanings are shaped
Articulate informed, personal and creative response
and coherent, accurate written expression; AO4, Ex
understanding of the significance and influence of th

Answers should explore the author's use of lan
appropriate terminology and articulating a coherent
extract to the text as a whole (AO4), and may mak
(AO3).

The extract takes place just after the fall, and shows
sexuality. Eve and Adam, both now fully aware of w
shows - willingly indulge themselves, taking ‘their fill
lyricism ‘Flowers were the couch’ with which Milton
emphasised, and sex is seen as a ‘solace of their si
in pleasure - they glut themselves ‘They their fill.....t
describe the hangover: they had been intoxicated by
‘eyes opene’ and their ‘minds... darkened’ language
Fruit' and in line 15 'grosser sleep'. The corruption o
them aware of their true nakedness. The compariso
‘destitute and bare’ and in his closing speech Adam
promised rising’ they have changed - 'our wonted or
signs/of foul concupiscence’. Clearly candidates will
book as a whole, and depicts a tragic transition from

The indicative content is intended to indicate aspect
not prescriptive, not is it exclusive; examiners must
implicit as well as explicit responses to questions. T
Descriptors: Poetry.

26

ark Scheme June 20XX

Guidance Marks

ctions and their consequences in the following extract from 30
he author’s use of language, imagery and verse form, and
aracteristic of Paradise Lost Books 9 and 10.

: AO2.

in literary texts. Answers will also be assessed for AO1,
es to literary texts, using associated concepts and terminology,
xplore connections across literary texts; and AO3, Demonstrate
he contexts in which literary texts are written and received.

nguage, imagery and verse form in the extract (AO2), using
t, accurate and relevant response (AO1). They should relate the
e reference to the significance and influence of relevant contexts

s the act and the aftermath of the first experience of ‘fallen’
what they are doing - as the ‘contagious fire’ of their mutual look

l’ of sensuality. Candidates may comment on the horticultural
describes the first guilty act of sex. Mutuality - ‘mutual guilt’ - is
in’: they are compensating for their transgression by indulgence
took largely’. Then they sleep. The next nine lines in effect
y the ‘exhilarating vapour bland’ - now they awake, with their
e itself turning darker in lines 12 to 13 with 'oppressed', 'fallacious
of their vision now they have lost the ‘veil’ of innocence makes
on with the weakened Samson shows them 'stricken mute'.
m articulates with awful precision how ‘true in our Fall, false in our
rnaments now soiled and stained' and ‘in our faces evident the
l find this a pivotal episode: it reflects the central concerns of the
m the unfallen to the fallen state.

ts of questions which may feature in candidates’ answers. It is
be careful to reward original but well-focused answers and
This guidance should be used in conjunction with the Level

26

H072/01 Sample Ma
Question
Discuss ways in which extraordinary thoughts a
9 answer explore the author’s use of language, im
the poem characteristic of Coleridge’s work in y

In Section 2, the dominant assessment objective is:

AO2, Analyse ways in which meanings are shaped
Articulate informed, personal and creative response
and coherent, accurate written expression; AO4, Ex
understanding of the significance and influence of th

Answers should explore the author's use of languag
terminology and articulating a coherent, accurate an
group they have studied as a whole (AO4), and may
contexts (AO3).

The poem is explicitly addressed by Coleridge to his
poet's situation in the first twelve lines - the cottage,
arching presence encloses it. They may observe the
the lyrical and sensual description of the action of th
fairyland ('honey-dropping flowers') takes Coleridge
which he seems to find a kind of joyful synaesthesia
‘one life’: then, in a circular motion, his thoughts retu
state of meditative relaxation, and in effect describe
breeze’ ‘trembles into thought’. In line 50 we are rec
his glittering ‘bubbles' of thought. In the final section
of his ‘unregenerate’ mind: the poem ends on a note
the company of his wife. The poem offers elegant m
transcendant through an everyday situation. Candid
its concern with the idea of nature and the transcend
‘conversation’ poems in its gentle meditativeness, it
meditative experience.

The indicative content is intended to indicate aspect
not prescriptive, not is it exclusive; examiners must
implicit as well as explicit responses to questions. T
Descriptors: Poetry

27

ark Scheme June 20XX
Guidance Marks

arise from ordinary situations in The Aeolian Harp. In your 30
magery and verse form, and consider ways in which you find
your selection.

: AO2.

in literary texts. Answers will also be assessed for AO1,
es to literary texts, using associated concepts and terminology,
xplore connections across literary texts; and AO3, Demonstrate
he contexts in which literary texts are written and received.

ge, imagery and verse form in the poem (AO2), using appropriate
nd relevant response (AO1). They should relate the poem to the
y make reference to the significance and influence of relevant

s wife, Sara. Candidates need to explore the evocation of the
, the garden with its symbolic plants, and the sky whose over-
e key word ‘silence’, at the end of the first part, which leads into
he wind on the Aeolian harp in the window. The language of
e to the greater philosophical observations of line 26 onwards in
a (‘a light in sound, a sound-like power in light’) in the concept of
urn to the harp. in the final section, from line 35, he celebrates his
es the associative process of the poem itself, as the ‘intellectual
called to the present as the poet sees his wife's 'mild reproof' for
n the poet appears to be reproving himself for these wanderings
e of thankfulness where it began, with peace, the cottage, and
meditative circularity, discursiveness, and the discovery of the
dates may well find this poem very characteristic of his works in
dental, and characteristic in particular of Coleridge’s
ts episodic structure, and its circularity, which offers a ‘completed’

ts of questions which may feature in candidates’ answers. It is
be careful to reward original but well-focused answers and
This guidance should be used in conjunction with the Level

27

H072/01 Sample Ma
Question
Discuss Tennyson’s portrayal of his speaker's rese
10 Maud. In your answer explore the author’s use of l
which you find the extract characteristic of Maud.

In Section 2, the dominant assessment objective is: AO

AO2, Analyse ways in which meanings are shaped in l
informed, personal and creative responses to literary t
accurate written expression; AO4, Explore connections
the significance and influence of the contexts in which

Answers should explore the author's use of language,
terminology and articulating a coherent, accurate and r
text as a whole (AO4), and may make reference to the

Candidates may choose to comment on the bitter and
and exclamations, angrily denouncing both the ‘new-m
to be sickened by his own bitterness as the extract pro
embittered denunciation of 'the new-made lord' and ‘hi
blacker pit' - the result of his exploitation of men in ‘the
'gewgaw castle' on the moor provoke servile admiratio
ear'. Having denounced the Castle's owner, surrounde
second section- ‘what, has he found my jewel out?‘ - b
suspicion of the effect of his appearance on her. The s
scarecrow - ‘a padded shape/A bought commission, a
could be gracious too’ - does not seem to credit her wi
personal, base’ - because of a conviction that money c
war with myself and a wretched race'. The 'wretched ra
brimmed hawker of holy things' who spoke in the neigh
on individuals to a comment his own situation: 'at war w
forceful picture of thwarted love, jealousy and despair.
aspects of Maud as a whole: its forcefulness, its use o
and a preoccupation with social mores.

The indicative content is intended to indicate aspects o
prescriptive, not is it exclusive; examiners must be car
well as explicit responses to questions. This guidance
Poetry

28

ark Scheme June 20XX
Guidance Marks

entment of people and society in the following extract from 30
language, imagery and verse form, and consider ways in

O2.

literary texts. Answers will also be assessed for AO1, Articulate
exts, using associated concepts and terminology, and coherent,
s across literary texts; and AO3, Demonstrate understanding of
literary texts are written and received.

imagery and verse form in the extract (AO2), using appropriate
relevant response (AO1). They should relate the extract to the
e significance and influence of relevant contexts (AO3).

rancorous tone of the whole piece: rich in rhetorical questions
made lord’ and his attraction to Maud. The speaker seems almost
ogresses. It begins in the first section with a vigorous and
is noble line’: the description of his miner grandfather 'gone to a
e poisoned gloom’ of a 'gutted mine'. The new lord and his
on from 'all men' who 'simper' and admire it as it pricks 'a cockney
ed by sycophants, the speaker’s jealousy is provoked in the
by the sight of him accompanying Maud to the Hall, and by
speaker caricatures the ‘new-made lord’ as a sort of uniformed

waxen face/A rabbit mouth’ - though his view of her - ‘Maud
ith much discrimination. The writer admits that he is ‘splenetic,
can buy everything - including 'my jewel': he sees himself as 'at
ace' is exemplified in the third section by the preacher, a 'broad-
hbouring town. Thus the bitterness moves from personal attacks
with mankind'. The whole seems to offer a bitter and rhetorically
. Candidates may well find that the extract encapsulates several
of direct and vigorous language, allied to quite subtle verse-forms,

of questions which may feature in candidates’ answers. It is not
reful to reward original but well-focused answers and implicit as
e should be used in conjunction with the Level Descriptors:

28

H072/01 Sample Ma
Question
Discuss Rossetti’s portrayal of earthly and heavenly
11 language, imagery and verse form, and consider wa
work in your selection.

In Section 2, the dominant assessment objective is: AO2

AO2, Analyse ways in which meanings are shaped in lite
informed, personal and creative responses to literary tex
accurate written expression; AO4, Explore connections
significance and influence of the contexts in which litera

Answers should explore the author's use of language
terminology and articulating a coherent, accurate and re
they have studied as a whole (AO4), and may make refe

In writing about this poem, candidates may comment on
heart is seen as an object, and its physical presence ‘I to
of the poem, The first stanza is tentative, dealing with e
unidentified other party 'O my love, O my love'. Setting d
smile’) offers a summary decision - 'it is still unripe'. Her
leads in stanza three to a silently broken heart. The spe
deeply - ‘I have not often smiled/since then’. As cornflow
behind, she turns to God. The poem divides symmetrica
the passionate tone of the first, offering herself for judge
seems to rededicate the heart which was once proffered
offered to the secure hold of God's hand 'where none ca
final affirmative stanza, commits herself to standing 'befo
Candidates may wish to discuss the ways in which the p
lines: the whole building to a conclusion which is both af
deprecating ‘Smile thou and I shall sing/But shall not qu
discuss Rossetti’s dramatic use of rhetoric and verse for
love, and the intense nature of her poetic language.

The indicative content is intended to indicate aspects of
prescriptive, not is it exclusive; examiners must be caref
as explicit responses to questions. This guidance shou

29

ark Scheme June 20XX

Guidance Marks

y love in Twice. In your answer explore the author’s use of 30
ays in which you find the poem characteristic of Rossetti’s

2.

erary texts. Answers will also be assessed for AO1, Articulate
xts, using associated concepts and terminology, and coherent,
across literary texts; and AO3, Demonstrate understanding of the
ary texts are written and received.

e, imagery and verse form in the poem (AO2), using appropriate
elevant response (AO1). They should relate the poem to the group
erence to the significance and influence of relevant contexts (AO3).

n the declamatory, confessional tone of its first person opening. The
ook’ ‘You took’ ‘I take‘ forms an almost choric opening to episodes
earthly love - 'a woman's words are weak' - its address is to an
down her hand, the ambiguous ‘other’ (‘critical eye’ but ‘friendly
earthly love has been rejected, and this tentative self-exposure
eaker internalises her hurt, "I smiled', yet is rejected: she is changed
wers and songbirds, representatives of the temporal world, are left
ally, as moving on to spiritual love in the fourth stanza it reiterates
ement in fiery terms ‘‘Yea, judge me now’. The penultimate stanza
d on a ‘heedless day’: now it is to be purged by 'refining fire', and
an pluck it out'. The author welcomes the fire's purgation: and in the
ore Thy face', offering herself singing, in response to God's smile.
poem’s effect is cumulative, with repetition and short, declaratory
ffirmative ’All that I have I bring’ and almost quizzically self-
uestion much’. For candidates the poem may well offer a chance to
rm, her preoccupation with the tension between human and divine

questions which may feature in candidates’ answers. It is not
ful to reward original but well-focused answers and implicit as well
uld be used in conjunction with the Level Descriptors: Poetry

29

H072/01 Sample Ma

APPENDIX 1
Assessment Objective weightings for this component are given as perce

Assessment Objectives Grid

Question AO1 % AO2 % AO3
1a 7.5 10 2.
1b 7.5 10 2.
2a 7.5 10 2.
2b 7.5 10 2.
3a 7.5 10 2.
3b 7.5 10 2.
4a 7.5 10 2.
4b 7.5 10 2.
5a 7.5 10 2.
5b 7.5 10 2.
6a 7.5 10 2.
6b 7.5 10 2.
7 7.5 10 2.
8 7.5 10 2.
9 7.5 10 2.
10 7.5 10 2.
11 7.5 10 2.
15% 20% 5%
Totals

30

ark Scheme AO5 % June 20XX
5
entages. 5 Total %
5 25
3 % AO4 % 5 25
.5 0 5 25
.5 0 5 25
.5 0 5 25
.5 0 5 25
.5 0 5 25
.5 0 5 25
.5 0 5 25
.5 0 5 25
.5 0 0 25
.5 0 0 25
.5 0 0 25
.5 0 0 25
.5 5 0 25
.5 5 5% 25
.5 5 25
.5 5 50%
.5 5
% 5%

30