English Home Language/P1 2 DBE/November 2014 NSC

INSTRUCTIONS AND INFORMATION

1. This question paper consists of THREE sections: GRAAD 12 SECTION A: Comprehension (30) SECTION B: Summary (10) SECTION C: Language Structures and Conventions (30)

2. Answer ALL the questions.

3. Start EACH section on a NEW page. NATIONAL SENIOR CERTIFICATE 4. Rule off after each section.

5. Number the answers correctly according to the numbering system used in this question paper.

6. Leave a line after EACH answer. GRADE 12 7. Pay special attention to spelling and sentence construction.

8. Suggested time allocation:

ENGLISH HOME LANGUAGE P1 SECTION A: 50 minutes SECTION B: 30 minutes SECTION C: 40 minutes NOVEMBER 2014 9. Write neatly and legibly.

MARKS: 70

TIME: 2 hours

This question paper consists of 13 pages.

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SECTION A: COMPREHENSION 5 One of the most significant innovations in the last decade has been Europe's carbon-emission trading scheme: some 12 000 companies, responsible for 35 QUESTION 1: READING FOR MEANING AND UNDERSTANDING more than half of the European Union's emissions, have been assigned quotas. Companies with unused allowances can then sell them; the higher the Read TEXTS A AND B below and answer the set questions. price, the greater the incentive for firms to cut their use of fossil fuels. The system seemed to work for about a year – but now it turns out that Europe's TEXT A governments allocated far too many credits, which will likely hinder the 40 programme's effectiveness for years. WHY SHOULD I BE GOOD? If the world is to slow global warming, individuals need a helping hand. 6 Perhaps the real reason that well-intentioned consumers don't change is that they don't see any benefit. Climate change may be a frightening, irreversible 1 The question is at least as old as Socrates1: if we know what the right thing to calamity, but its worst effects will not be felt next week or next year. The do is, why do we not do it? It's an especially acute question when applied to planet looks the same whether I buy a sky-choking petrol-powered car or an 45 global warming. The science showing that carbon dioxide emissions are electric hybrid2 – except that I've got to pay (at least pay far more) for the already changing the planet's climate, and are likely to have severe effects hybrid. (melting ice caps, sea-level rise, species extinction), is compelling and now 5 barely disputed. 7 And so there's something that governments and environmentalists ought to agree on, right now: give consumers a motivation to go green. If I switch to 2 And yet, as was widely discussed at a conference of environmentalists, renewable, I should be given a discount, which the government can subsidise 50 geologists and writers last week in Ankelohe, Germany, public understanding with a tax break. It can't be more expensive than building a nuclear power has not translated into even the simplest of public actions. Less than 1% of station. Similarly, Britain gives motorists breaks on efficient cars, but new Britons, for example, have switched their home electricity to renewable 10 guidelines make the programme so restrictive that it's useless. Instead, sources, even though it requires little more than a phone call to one's existing governments should be moving in the opposite direction: give me a cash provider (I should know – I did it last week). Proportions on the Continent are rebate for buying a highly efficient car, and charge me a tax if I don't. Such 55 slightly higher, but there's clearly no rush to go green or – shudder – stop 'feebates' are gaining popularity with state governments in the US. driving cars. 8 Yes, consumerism itself is part of the global-warming problem – but so are 3 Why such a disconnect between information and action? Part of the problem 15 population growth, agriculture and a host of other realities that aren't going to is that environmental advocates emit mixed messages. In mid-May, Britain's go away just because environmentalists disapprove of them. If climate Guardian published a front-page story showing that five companies in Britain change can be slowed, it's going to require an attack on all fronts. Getting the 60 produce more carbon dioxide pollution in a year than all the country's public genuinely involved in modest but effective solutions will not only cut the motorists combined. That's a strong argument for targeting industry, but the growth in carbon emissions, but help build the constituency for the larger average reader could hardly be blamed for thinking, 'Why should I bother to 20 tasks needed. Even the virtuous need an incentive, as Socrates would surely cut down on my driving?' admit if he were still around. [Source: Adapted from Time, 5 June 2006] 4 Similarly, not enough thought has been devoted to the best role for government. Climate change is too vast a problem for individuals to solve Glossary: alone, and some big businesses have an incentive not to solve it. That leaves 1 governments to take the lead, which is tricky, because over-reliance on 25 Socrates: An ancient Greek philosopher (469–399 BC) 2 government can allow individuals to fob off their own responsibilities. What's hybrid: combination of two technologies, such as electricity and fuel worse, government power seems to tickle autocratic fantasies. In my experience, environmentalists spend far too much energy advocating hard- AND line government 'solutions' that don't stand a chance of being enacted. Sure, it might be good for the planet if governments banned the use of sport-utility 30 vehicles – or, for that matter, of all fossil fuels. Yet not only is it hard to sell outright prohibitions to voters, but the sad truth is that governments have a woeful record in even the mildest interventions.

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TEXT B QUESTIONS: TEXT A

1.1 Explain why the writer uses the personal pronoun, 'I', in the headline of the article. (2)

1.2 What is the implication of the phrase, 'now barely disputed' (lines 5–6)? (2)

1.3 Why does the writer make reference to himself, in 'I should know – I did it last week' (line 12)? (2)

1.4 Discuss the effectiveness of the word, 'emit' in the context of the passage (line 16). (2)

1.5 Comment on the writer's attitude in lines 20–21: 'Why should I bother to cut down on my driving?' (3)

1.6 Do you agree with the writer's claim that 'not enough thought has been devoted to the best role for government' with regard to climate change (lines 22–23)? Justify your response. (3)

1.7 Critically evaluate the diction used in paragraph 6. (3)

1.8 Suggest why the writer makes reference to Socrates in both the opening and the closing sentence. (3)

QUESTIONS: TEXT B

1.9 Which response does the writer wish to elicit from the reader by using the heading, 'Is it too late?'?

Choose the most appropriate response from the list below:

A Resentment B Terror C Alarm D Anger (1)

1.10 How does the reference to statistics support the question, 'Is it too late?'? (2)

1.11 Discuss how the image conveys the seriousness of global warming. (3)

QUESTION: TEXTS A AND B

[Source: http://joshquid22.deviantart.com] 1.12 Both TEXT A and TEXT B address the issue of global warming. The above text reads: In your view, which text is likely to have a greater impact on the reader? th The rate of global warming is increasing. The 20 century's last two decades were the Justify your response by comparing the styles of the texts. (4) hottest in 400 years and possibly the warmest for several millennia, according to a number of climate studies. And the United Nations' Intergovernmental Panel on TOTAL SECTION A: 30 Climate Change (IPCC) reports that 11 of the past 12 years are among the dozen warmest since 1850.

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SECTION B: SUMMARY SECTION C: LANGUAGE STRUCTURES AND CONVENTIONS

QUESTION 2: SUMMARISING IN YOUR OWN WORDS QUESTION 3: ANALYSING ADVERTISING

Carefully read TEXT C below, which explores the impact of technology on education. Study the advertisement (TEXT D) below and answer the set questions.

NOTE: You are required to do the following: TEXT D

1. Summarise why the writer believes that technology will not serve as a substitute for a teacher. 2. You must write a fluent paragraph, using your own words. 3. Your summary should include SEVEN points and NOT exceed 90 words. 4. You are NOT required to include a title for the summary. 5. Indicate your word count at the end of your summary.

TEXT C

WHY TECHNOLOGY WON'T BE ABLE TO REPLACE TEACHERS

With South Africa's needing 25 000 new educators annually, it is tempting to try to imagine that technology might be able to plug this gap. According to Masennya Dikotla, CEO of the Molteno Institute of Language and Literacy, this would be not only impossible but also an assumption that would be disastrous for education.

Dikotla claims that technology is a tool that can enable more effective teaching and learning, but in order for it to be used to greatest effect, a competent teacher's role is invaluable. Just as the advent of books many centuries ago was no competition for teachers, technology should be viewed as an enhancer, and never a replacement.

Well-trained teachers are still needed to adapt their lessons to learners' needs and provide more comprehensive feedback to students – a factor that is essential to learning. Dikotla points out that, when we use the products of technology as the only teaching tools, we stop figuring out why a child does not understand. Moreover, it requires a person to appreciate another person's unique characteristics and, therefore, how the learning process might need to be adjusted in order for a child to grasp a particular concept. Dikotla says that a computer program might be excellent at analysing test scores, but it can't take into account the human aspect. 'The Internet can go down and systems can fail; but in my experience it is only a teacher who can properly mark a written essay and talk to the student afterwards about the result.' [Source: http://media02.hongkiat.com]

It is also important to note that humans actively seek human contact. Children enjoy positive The text in the advertisement reads: engagement with an adult: the ability to make eye contact and receive the warm encouragement of someone – this is the kind of input that makes all the difference when it A wise man once said that it's the mountain as much as your own two feet that carries comes to motivating a child. In addition, it takes human teachers to impart soft skills such as you upwards. While that may be true, something tells us that wise men are also smart respect, communication, socialisation, interactive abilities and conflict resolution. enough to have someone else haul their stuff. For the rest of us, every ounce counts. So we made a jacket so light you'll forget you have it on. 'Where's my jacket?' On your 'Computers cannot be passionate,' concludes Dikotla. 'They are merely a tool, and as back. 'Oh.' See what we mean? It took us twenty years to arrive at the new Nike ACG teachers we show children how to use them to make their lives easier, but we cannot expect Superlight Jacket. And, as always, it's still a departure. them to be the primary teachers themselves.'

[Source: Adapted from Education Southern Africa, Volume 7 No. 6, June 2013]

TOTAL SECTION B: 10

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QUESTION 4: UNDERSTANDING OTHER ASPECTS OF THE MEDIA QUESTIONS: TEXT D Study TEXTS E AND F and answer the set questions.

3.1 Closely examine the image of the jacket. Explain the advertiser's intention in TEXT E: CARTOON using this image. (2)

3.2 Account for the advertiser's reference to 'twenty years'. (2)

3.3 Comment on the advertiser's technique in using the catch-phrase, 'Heavy as a feather'. Refer to both the image and the words. (3)

3.4 Refer to the written text, 'A wise man ... still a departure'.

In your view, is the style of expression effective in promoting the product? Justify your response. (3) [10] FRAME 1 FRAME 2

YOU HAD A GREAT IDEA I DON'T ABOUT UPGRADING OUR REMEMBER IT WAS CUSTOMER SUPPORT HAVING GENIUS. SOFTWARE. THAT IDEA.

FRAME 3 FRAME 4 FRAME 5

WE'LL NEED BUDGET WELL, THAT DUH, OBVIOUSLY APPROVAL, BUT THAT DOES SOUND LIKE I'LL FUND MY IDEA. SHOULD BE NO PROBLEM SOMETHING I WOULD IT'S GENIUS. FOR YOU. SUGGEST.

FRAME 6 FRAME 7 FRAME 8

HOW DID I'LL NEED TO DELAY IT WAS YOU GET MY OTHER PROJECTS, VERY I SAID FUNDING BUT, AS YOU SAID, WISE OF I HAD TO THAT? FOR YOUR THOSE ARE LOWER YOU. BOSSIFY PRIORITIES. IDEA?

[Source: Sunday Times, 19 January, 2014]

Dilbert: Character with white shirt and spectacles

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QUESTIONS: TEXT E QUESTION 5: USING LANGUAGE CORRECTLY

4.1 Describe the change in Dilbert's body language in the course of the Read TEXT G, which contains some deliberate errors, and answer the set questions. cartoon. (2) TEXT G 4.2 Explain the difference between Dilbert's and his boss's use of the word, 'genius'. (2) NOWADAYS The more things change, the more they stay the same. 4.3 Do you think the cartoonist succeeds in creating humour? Substantiate your response. (3) 1 The hipster is the perfect metaphor for things changing, yet staying the same. It is the personification of nostalgia. TEXT F: CARTOON 2 Last year I ended up at an unbearable New Year's Eve party where a group of people were ironically dancing to the Worst Music of the 'Nineties. They were spinning tracks like Aqua's Barbie Girl and Baja 5 Men's Who Let the Dogs Out? I felt a rising panic. I'd lived through this error. These tunes were hideous in the 'Nineties and they're still hideous today. What were these moustachioed freaks thinking? I'd like to throw all of them with a rock.

3 I can understand longing sentimentally for past times gone by. But turning 10 nostalgia into an intellectualised fashion statement? Let's remove those oversized rose-tinted glasses.

4 'In olden times it was different.' That expression has been recycled over the centuries, altering slightly, but meaning the same thing: the idyllic, dreamy days of yore are over. 15

5 Back in the good ol' days, everything was better – children only played outside and were courteous. We sat down and thoughtfully wrote letters, took hours to eat our meals, we walked everywhere and were never in a rush.

[Source: www.polyp.org.uk] 6 While it's true that the only constant is change, it's also true that every 20 generation thinks of the past as being easier, safer and filled with more leisure time. QUESTION: TEXT F [Source: Adapted from Sawubona, August 2013] 4.4 Comment on the cartoonist's use of satire in the above cartoon. (3) [10] QUESTIONS: TEXT G

5.1 Correct the error of concord in paragraph 2. (1)

5.2 Rewrite the colloquial expression 'spinning tracks' (line 5) in formal English. (1)

5.3 Provide alternative punctuation for Barbie Girl (line 5). (1)

5.4 Correct the malapropism in paragraph 2. (1)

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5.5 'I'd like to throw all of them with a rock' (lines 8–9). GRAAD 12 Correct the expression in the above sentence. (1)

5.6 'I can understand longing sentimentally for past times gone by' (line 10).

Rewrite the above sentence, removing the redundancy. (1)

5.7 Give the adverbial form of 'intellectualised' (line 11). (1)

5.8 Refer to lines 16–17. Explain the difference in meaning between the following: NATIONAL 5.8.1 Children only played outside. SENIOR CERTIFICATE

5.8.2 Only children played outside. (2)

5.9 'the only constant is change' (line 20) is an example of ...

A antithesis. GRADE 12 B oxymoron. C anti-climax. D paradox. (1) [10] ENGLISH HOME LANGUAGE P1 TOTAL SECTION C: 30 GRAND TOTAL: 70 NOVEMBER 2015

MARKS: 70

TIME: 2 hours

This question paper consists of 13 pages.

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INSTRUCTIONS AND INFORMATION SECTION A: COMPREHENSION

1. This question paper consists of THREE sections: QUESTION 1: READING FOR MEANING AND UNDERSTANDING

SECTION A: Comprehension (30) Read TEXTS A AND B below and answer the questions set. SECTION B: Summary (10) SECTION C: Language Structures and Conventions (30) TEXT A

2. Read ALL the instructions carefully. MEDIA – THE GAME-CHANGER IN EVERY HOUSEHOLD

3. Answer ALL the questions. 1 We've all seen the toys and the clothes and the movies ... and the adverts for those toys and clothes and movies. Pink versus blue; passive versus 4. Start EACH section on a NEW page. aggressive; sedentary versus active; pretty versus smart. Girls versus boys.

5. Rule off after each section. 2 It's so insanely formulaic1 and a lot of adults are laughing all the way to the bank at the expense of our children's self-definition. The strategy is simple: 5 6. Number the answers correctly according to the numbering system used in this convince children of both genders that they are very different from each other. question paper. They need different products with different colours and different labels, and they will naturally want only what they've been told is 'for' them and what has 7. Leave a line after each answer. been spoon-fed to them since birth. Parents will then dole out double the money buying separate products for their sons and daughters, ensuring that 10 8. Pay special attention to spelling and sentence construction. the retailers and marketers double their profits and cash in on the stereotyped messaging. And why wouldn't they? It's brilliant. It's lucrative. It's also a 9. Suggested time allocation: breathtaking act of psychological vandalism against our children. The media shape perception and perception becomes reality. SECTION A: 50 minutes SECTION B: 30 minutes 3 How has the influence of the media grown? How has parenting become 15 SECTION C: 40 minutes harder?

10. Write neatly and legibly. 4 Time-travel with me for a moment. Let's go back to an era when media played a minimal role in people's lives. How about the year 1900? The telephone had been invented but was not yet commonplace in the average home. Television would not arrive for decades. No Internet, smartphones, computer games, 20 blogging or social media existed anywhere but in the creative imaginations of inventors, scientists and authors. What kind of media did exist?

5 The telegraph and snail mail were still huge. The printing press had been around for almost 500 years, so there were books, newspapers and magazines. Photography was coming along nicely. Radio was brand new and 25 not yet widely available. Motion pictures were still years away. If you think about the different ways of receiving or transmitting information that could be found in the typical middle-class home in 1900, there were books, magazines and newspapers for receiving information about the world and letter-writing for sending it. Good old-fashioned person-to-person gossip travelled in both 30 directions and was the only form of communication available that could ever be described as viral.

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TEXT B 6 Fast-forward 100 years to the year 2000 and beyond. What communication technologies can currently be found in the average home? Does anyone think this is not the single biggest game-changer in the lives of adults and 35 especially today's children, who are spending all of their formative years in a digital world, saturated by every manner of screen and dead-tree advertisement our capitalistic society can shove in front of their faces? The media are the greatest source of information, and perhaps the greatest untamed beast, the world has ever known. 40

7 You bet the media matter in any conversation we have about today's childhood. It is the third parent in the room. It is sadly sometimes the only parent in the room. That is why it is so important to be an informed parent who is paying attention and not passively accepting corporate definitions of boyhood and girlhood. By being informed parents, we can lessen the power of 45 that unwanted third parent. I recently came across a striking quotation by Neil Postman on the Pigtail Pals-Ballcap Buddies Facebook page: 'If parents wish to preserve childhood for their own children, they must conceive of parenting as an act of rebellion against culture.'

8 Rebellion has never been more urgent. 50

9 I often hear older people saying things like 'every generation of parents has its own challenges', in response to the assertion that it has never been harder to raise children. In some ways that is true. But in the 'olden days' parents had more positive influence on their children without having to try as hard, simply because without the media, the outside world could not intrude into their 55 home lives the way it does now.

10 Are the media going away? No. Should it? Absolutely not. Media literacy is therefore very important, because the media are pervasive in our culture and affect everyone. No one, except a cave-dweller, remains above its reach.

11 Today's parents have to pull off parenting by exercising some degree of 60

control over how much pop culture gets to their children, while also giving [Source: www.lego.com] them, as they get older, the increased freedom they need to develop media literacy and critical thinking skills. It's a tough balancing act. And it's unfair that The text in small font reads as follows: this burden lands squarely on the shoulders of well-intentioned parents who are outgunned by conscience-free corporations. 65 What it is is beautiful. 12 So let's hear it for our youngest generation of parents, who make a go of it in Have you ever seen anything like it? Not just what she's made, but how proud it's the Internet Age – self-high-fives! made her. It's a look you'll see whenever children build something all by themselves. No matter what they've created. [Adapted from www.huffingtonpost.com] Younger children build for fun. ® LEGO Universal Building Sets for children ages 3 to 7 have colourful bricks, wheels, GLOSSARY: and friendly LEGO people for lots and lots of fun. 1 formulaic: rigid Older children build for realism. LEGO Universal Building Sets for children 7–12 have more detailed pieces, like gears, AND rotors, and treaded tires for more realistic building. One set even has a motor. LEGO Universal Building Sets will help your children discover something very, very special: themselves.

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SECTION B: SUMMARY QUESTIONS: TEXT A QUESTION 2: SUMMARISING IN YOUR OWN WORDS 1.1 Account for the repetition of 'and' in the opening sentence of the passage (lines 1–2). (2) TEXT C addresses the positive outcomes of peer pressure. Summarise in your own words the benefits of being exposed to peer pressure. 1.2 Refer to paragraph 2. NOTE: 1. Your summary should include SEVEN points and NOT exceed 90 words. Explain the results of the formulaic gender stereotyping used by business. (2) 2. You must write a fluent paragraph. 3. You are NOT required to include a title for the summary. 1.3 Suggest why the writer uses the phrase, 'breathtaking act of psychological 4. Indicate your word count at the end of your summary. vandalism against our children' (line 13). (2) TEXT C 1.4 Discuss the effectiveness of paragraph 3 in the context of the passage. (3) PEER PRESSURE – AN ALTERNATIVE VIEW

1.5 Why does the writer invite the reader to 'time-travel' (line 17) with him/her? (2) Ten years ago, Joe Allen began studying a diverse group of seventh grade learners.

One of his main concerns was how children deal with peer pressure and how deeply 1.6 Refer to paragraph 6. they feel the need to conform to the crowd.

Comment on the effectiveness of the diction used in discussing the media. (3) According to every popular theory of adolescence, peer pressure is peril; being able to resist it should be considered a sign of character strength. Yet when Allen followed up 1.7 Does the statement, 'Rebellion has never been more urgent' (paragraph 8) on these children for the next ten years, he found that children exposed to more peer support the views presented in paragraph 7? Justify your response. (3) pressure early on were turning out better than their counterparts. Notably, they had higher-quality relationships with friends, parents and romantic partners. Their need to fit 1.8 Choose the correct response from the options provided below. Write down in, in the early teens, later manifested itself as a willingness to accommodate others – a only the letter of your choice. necessary component of reciprocal relationships.

Refer to paragraph 10 ('Are the media ... above its reach'). The writer's The self-conscious child who spent seventh grade convinced that everyone was tone is ... watching her, learned to be attuned to subtle changes in others' moods. That heightened sensitivity later led to empathy and social adeptness. Meanwhile, those children who did A aggressive. not experience much peer pressure to smoke or drink did not turn out to be the B assertive. independent-minded stars we would imagine. The child who could say no to his peers C hostile. turned out to be less engaged socially. If he were too detached to care what his peers D offensive. (1) thought, he probably was not motivated by what society expected of him, either.

1.9 Is paragraph 12 an effective conclusion to the text? Substantiate your view. (3) Allen found that vulnerability to peers' influence can be as much of an asset as a liability. Many pressures felt by teens pull them in the right direction – to perform well at school QUESTIONS: TEXT B and sport and act maturely. Susceptibility to peer pressure is not the only danger. Merely resisting peer pressure could sever relationships, while negotiating with one's peers 1.10 Discuss how the 'building sets' are intended to promote a child's development. (2) teaches true negotiation skills. Children who are able to stand up to friends, maintaining their autonomy while doing so in an amicable way, preserve their friendships. In simple 1.11 Critically comment on the manner in which the girl in the advertisement terms, if two peers can agree to disagree, that is an excellent sign. Teens who have is presented. (3) always backed down to avoid conflict later exhibit many negative outcomes, including depression and anxiety.

QUESTION: TEXTS A AND B The skills a child needs to handle peer pressure come from the home. When parents and children focus on the reasons why they disagree, rather than resorting to personal 1.12 Does the message of TEXT B support the writer's view as expressed in attacks, a meeting of minds is possible. Children who learn a positive conflict style from paragraph 2 of TEXT A? Justify your response. (4) interactions with their parents are positioned to use skilful negotiation tactics when dealing with peer pressure. TOTAL SECTION A: 30 [Adapted from www.thedailybeast.com]

TOTAL SECTION B: 10

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SECTION C: LANGUAGE STRUCTURES AND CONVENTIONS QUESTIONS: TEXT D QUESTION 3: ANALYSING ADVERTISING 3.1 Account for the use of 'very best' in 'Compared only to the very best, the F29 Study the advertisement (TEXT D) below and answer the questions set. is pure speed'. (2)

TEXT D 3.2 Discuss the persuasive appeal of 'Same Blood'. (2)

3.3 Critically discuss the effectiveness of the words, 'handcrafted'/'hand built' and 'unique'/'exclusively'. (3)

3.4 In your view, do the visuals support the advertiser's message? Justify your response. (3) [10]

[Source: www.thebicyclecompany.co.za]

The text in small font reads as follows:

ITALIAN MADE FULL-DYNAMIX RACE BIKES F29 Compared only to the very best, the F29 is pure speed. The carbon fibre components of this Italian race machine are passionately handcrafted in the same production facility that manufactures Ferrari, Ducatti andF Augusta Helicopters in Varese, Italy. What's unique to the bloodline of Full-Dynamix is that each bike is exclusively hand built with nothing but speed in mind. Winning across Olympics, XC, Marathon and Cape Epic podiums, no wonder the F29 is the preferred choice of world champions. F29 and Swat29 available now at leading cycle retailers. Visit www.full-dynamix.co.za

The Bicycle Company are exclusive distributors of Full Dynamix mountain bikes, www.thebicyclecompany.co.za 9 Queenspark Ave, Salt River, Cape Town, 7925/Trade Enquiries – Shan Wilson 082 584 2761/ Scott Fraser 082 378 8853

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QUESTION 4: UNDERSTANDING OTHER ASPECTS OF THE MEDIA TEXT F: CARTOON

Study TEXT E and TEXT F, and answer the questions set. CURTIS by Ray Billingsley

FRAME 1 FRAME 2 TEXT E: CARTOON

CURTIS by Ray Billingsley

FRAME 1 FRAME 2

FRAME 3 FRAME 4

FRAME 3 FRAME 4

[Source: www.comicskingdom.com]

QUESTION: TEXT F [Source: www.shenow.org] 4.3 Refer to frames 1 to 3. QUESTIONS: TEXT E Explain why Curtis does not respond to the girl. (2) 4.1 Explain how the setting contributes to the message of the cartoon. (2) QUESTION: TEXTS E and F 4.2 Discuss what the cartoonist conveys about Curtis's attitude in frame 2. Focus on both his body language and his speech. (3) 4.4 Refer to both TEXT E and TEXT F.

Comment on the use of stereotyping in both cartoons. (3) [10]

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QUESTION 5: USING LANGUAGE CORRECTLY 5.3 Rewrite the following question in the active voice:

Read TEXT G, which contains some deliberate errors, and answer the questions set. 'Has contentment ever been guaranteed by mansions and expensive cars?' (lines 7–8). (1) TEXT G 5.4 Provide the noun form of 'acquires' (line 10). (1) POSSESSIONS DON'T MAKE YOU RICH

5.5 Rewrite the following sentences so that they are grammatically correct: 1 A colleague of mine recently quoted a young girl as saying, 'I would rather cry in a BMW than smile on a bicycle.' 5.5.1 'Possessions, like the song goes, have a way of weighing one down' (line 9). (1) 2 That's one of the saddest comments about life you're likely to hear. I am not for a moment saying it is not a big deal for people to strive for a better 5.5.2 'Thinking about it, the times when you had little were often when you life (and heaven knows, we have millions of deprived people in this 5 were happiest' (lines 13–14). (1) country) but why is it that we believe material things will bring us happiness? Has contentment ever been guaranteed by mansions and 5.6 How would the meaning of the phrase 'a pretty, clever young woman' (line 16) expensive cars? change if the comma were omitted? (1)

3 Possessions, like the song goes, have a way of weighing one down. The 5.7 'We had very little when we were young and now, 31 years later, we still don't older one gets, the more one acquires, the more one grows layers of 10 have much in the way of cars and mansions' (lines 16–18). insensitivity. 'A mountain of things' (as another song calls it) helps recreate something approaching happiness, but it never quite does. Write down the adverbial clause in the above sentence. (1)

4 Thinking about it, the times when you had little were often when you were 5.8 Correct a colloquial redundancy in paragraph 6. (1) happiest. 5.9 A word has been incorrectly used in the last sentence: 'And one of ... not a 5 It was after a long, slow bicycle ride through a quiet spring afternoon with 15 BMW.' a pretty, clever young woman, that we decided we fitted together. We had very little when we were young and now, 31 years later, we still don't Correct the error. (1) have much in the way of cars and mansions. [10]

6 We've got two talented children, a fat cat and two dogs in the yard and TOTAL SECTION C: 30 the memories. And one of the best of this is of a bicycle, not a BMW. 20 GRAND TOTAL: 70

[Source: The Star, Wednesday 21 May 2014]

QUESTIONS: TEXT G

5.1 Rewrite the colloquial expression 'big deal' (line 4) in formal English. (1)

5.2 Choose the correct response from the options provided below. Write down only the letter of your choice.

The pair of brackets in lines 5 and 6 could be replaced by a pair of ...

A inverted commas. B hyphens. C semi-colons. D dashes. (1)

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INSTRUCTIONS AND INFORMATION

GRAAD 12 1. This question paper consists of THREE sections:

SECTION A: Comprehension (30) SECTION B: Summary (10) SECTION C: Language in context (30)

2. Read ALL the instructions carefully.

3. Answer ALL the questions. NATIONAL SENIOR CERTIFICATE 4. Start EACH section on a NEW page.

5. Rule off after each section.

6. Number the answers correctly according to the numbering system used in this question paper. GRADE 12 7. Leave a line after each answer.

8. Pay special attention to spelling and sentence construction.

ENGLISH HOME LANGUAGE P1 9. Suggested time allocation:

SECTION A: 50 minutes NOVEMBER 2016 SECTION B: 30 minutes SECTION C: 40 minutes

MARKS: 70 10. Write neatly and legibly.

TIME: 2 hours

This question paper consists of 12 pages.

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SECTION A: COMPREHENSION 6 While globalisation and greater access to media tend to create a new global 40

QUESTION 1: READING FOR MEANING AND UNDERSTANDING culture shared by youth all over the world, some young people, especially in less-developed countries, become more aware of the benefits they could Read TEXTS A and B below and answer the questions set. have if they lived in Western countries.

TEXT A 7 The experience of being young therefore sharply differs from the relative luxury of developed countries to the poverty of countries in transition. The 45 YOUTH IN CRISIS: COMING OF AGE IN THE 21ST CENTURY lack of economic opportunities in less-developed countries makes young people more dependent on their parents. This places them in a situation 1 'Youth' is hard to define. While UN legal standards consider individuals under where they are no longer children, but where they are also deprived of the 18 as children, youth is usually understood as a much 'looser' concept, independence they seek. generally encompassing the age group 15 to 24. Others consider age-based definitions arbitrary due to cultural differences. Some argue that Western 8 Without the opportunity to become productive, young people find themselves 50 definitions of age do not align with non-Western definitions of childhood and 5 in a permanent limbo, waiting for a chance to gain economic independence youth. In traditional African societies for instance, youth includes younger and psychological maturity. When lacking opportunities and means of ages such as 12 and older ages up to 35. expression, young people become susceptible to violence, a display of their wish to become more powerful, and have access to the material goods they 2 One can hardly speak about youth as a uniform category when across the crave. Out of work and out of school, many young people have to cope with 55 world the disparity of access to resources and lifestyles between different their lives in environments that offer insufficient incentives for them to feel groups of youths is so different. In many parts of the world, young people are 10 their future is secure. still suffering from hunger, as well as a lack of access to education, health services and job opportunities. To a large extent, the quality of life for the 9 At the root of youth unemployment lie serious problems related to illiteracy next generation and society will depend on how today's young people and the lack of technical skills. However, according to the 2005 World Youth manage their transition to economic independence in difficult environments, Report, evidence suggests that education is not a panacea1 per se, and 60 such as countries hit by economic recession, war or famine, or in areas 15 'labour markets in many countries are presently unable to accommodate the plagued by HIV/Aids. expanding pools of skilled young graduates'.

3 While most acknowledge the tremendous progress that has been achieved 10 How can young people become dynamic contributors to and participants in to improve young people's lives and ability to become catalysts for change, the society in which they are born? How is it possible to harness the there remain many obstacles for the next generation to overcome. These tremendous power of inventiveness of the developing countries' populous 65 obstacles include the plight of the estimated 14 million children orphaned by 20 new generation? Aids and the thriving human trafficking business. Another area of concern is the growing rate of urbanisation that is taking place, mostly in developing 11 In 1995, the UN World Programme of Action for Youth (WPAY) established nations, and that is predicted to peak in the years to come. Youth migrate to 10 priority areas for action, comprising education, employment, hunger and towns in search of a better life, but their future might be compromised by the poverty, health, the environment, drug abuse, juvenile delinquency, leisure- limited opportunities they find once there – urban settings offer insufficient 25 time activities, girls and young women, and full and effective participation of 70 infrastructures and school and health facilities for all. youth in society and decision-making.

4 Violence remains one of the leading causes of death for youth and young [Adapted from www.irinnews.org] adults. In many parts of the world, the loss of life in countries affected by armed conflict is high, particularly for the youth. Two million children have Glossary: been killed in conflicts in the last decade, one million orphaned, and six 30 million wounded. Three hundred thousand youths are serving as child 1panacea – a cure for all ailments/everything that is unhealthy soldiers. This means a great deal in terms of lost opportunities and uncertainty about the future. 'We don't know what we would like to be when AND we get older. We haven't thought about it, because we haven't been to school,' a group of young people in Uganda's Arum refugee camp said. 35

5 The frustration of youth is all the more poignant when it comes to migration opportunities – or the lack of them – which greatly affects thousands of young people in developing nations who are denied upward socio-economic mobility.

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TEXT B 1.8 Comment critically on the statement, 'education is not a panacea per se' (line 60), in context. (3)

1.9 Refer to paragraph 10.

In your view, are the rhetorical questions effective at this point in the passage? Justify your response. (3)

QUESTIONS: TEXT B

1.10 The attitude of the speaker can be defined as ...

A committed. B relaxed. C apathetic. D nonchalant. (1)

1.11 Comment on the irony in TEXT B. (3)

QUESTION: TEXTS A AND B

1.12 Both TEXT A and TEXT B address the issue of youth in crisis.

In your opinion, which text is likely to have the greater impact on the reader? [Source: http://www.frugal-cafe.com] Carefully justify your response. (4)

QUESTIONS: TEXT A TOTAL SECTION A: 30

1.1 With reference to paragraph 1, explain why the term 'youth' is 'hard to define'. (2)

1.2 Refer to paragraph 2.

Discuss how the disparity mentioned in this paragraph affects the youth. (2)

1.3 Explain the meaning of the phrase, 'catalysts for change' (line 18) in the context of paragraph 3. (2)

1.4 Refer to paragraph 4.

Why has the writer included statistics in this paragraph? (2)

1.5 Discuss the writer's intention in quoting 'We don't know … been to school' (lines 33–35). (2)

1.6 Comment on the impact of the contrast between paragraphs 5 and 6. (3)

1.7 Is the writer justified in using the expression, 'permanent limbo' (line 51) in the context of paragraph 8? Substantiate your response. (3)

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SECTION B: SUMMARY SECTION C: LANGUAGE STRUCTURES AND CONVENTIONS

QUESTION 2: SUMMARISING IN YOUR OWN WORDS QUESTION 3: ANALYSING ADVERTISING

TEXT C provides insight into the science behind using hand gestures. Summarise in Study the advertisements (TEXT D and TEXT E) below and answer the questions set. your own words why hand gestures are a crucial element in communication. TEXT D NOTE: 1. Your summary should include SEVEN points and NOT exceed 90 words. 2. You must write a fluent paragraph. BMW 3. You are NOT required to include a title for the summary. 4. Indicate your word count at the end of your summary.

TEXT C

THE FASCINATING SCIENCE BEHIND 'TALKING' WITH YOUR HANDS

If someone has ever made fun of you for making elaborate hand gestures while talking – or you've seen footage of yourself speaking, only to be horrified by your flailing forearms – don't be too concerned. According to psychologists, those gestures are probably helping you express your thoughts more effectively.

'Hand gestures are really a powerful aspect of communication, from both the speaker's and the listener's end,' says Dr Carol Kinsey Goman, body language expert. Last year, a study analysing human gestures found that the most popular, prolific speakers used an average of 465 hand gestures, which is nearly twice as many as the least popular speakers used. Other research has found that people who 'talk' with their hands tend to be viewed as warm, agreeable and energetic, while those who are less animated are seen as logical, cold and analytical.

Gesturing is a healthy and normal aspect of human communication. Hand gestures help us take what's in our mind and make it intelligible to others. 'Gesture is really linked to speech, and gesturing while you talk can really power up your thinking,' Kinsey Goman said. Gesturing can help people form clearer thoughts, speak in tighter sentences and use more declarative language. A brain region known as Broca's area is connected to speech production, but is also active when we wave our hands.

We gather information from others' body language, as well as from their specific words because gestures often underscore the important points someone is making. Furthermore, hand motions can reveal information that may be absent in our speech. Research demonstrates that the movements we make with our hands when we talk constitute a kind of second language, adding information that's absent from our [Source: http://www.oddee.com] words. Gesture reveals what we know. It also reveals what we don't know. The text in small font reads as follows: A child's use of hand gestures early in life can be a sign that she will later develop a strong vocabulary, as well as skills related to sentence structure and storytelling, DON'T TEXT AND DRIVE. according to a study published last year in the Journal of Child Language. From cradle to grave, body language is crucial in helping communicate our emotions and You can't count on a text message to reveal what's happening on the road in front of you. motivations to others. That's why, each year, an estimated 100 000 crashes have been tied to texting and driving, while an additional 1,2 million crashes involve other cell phone use. [Adapted from www.huffingtonpost.com] DON'T TXT & DRIVE TOTAL SECTION B: 10

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QUESTIONS: TEXT D QUESTION 4: UNDERSTANDING OTHER ASPECTS OF THE MEDIA

3.1 Why does the advertisement make reference to BMW? (2) Study TEXTS F and G below and answer the questions set.

TEXT F: CARTOON 3.2 Discuss how the written text reinforces the illustration in the advertisement. (3)

TEXT E

FRAME 1 FRAME 2 FRAME 3 FRAME 4

[Source: Madam & Eve Free at Last]

QUESTIONS: TEXT F

4.1 What does the officer's facial expression in FRAME 3 reveal about his attitude? (2) [Source: http://www.oddee.com] 4.2 Comment on the impact of the last frame in conveying the cartoonist's QUESTIONS: TEXT E message. (3)

3.3 Comment on the effectiveness of the slogan, 'STOP THE TEXTS. STOP THE TEXT G: CARTOON WRECKS'. (2)

3.4 Analyse the visual image and the written text, 'DON'T LET TEXTING BLIND YOU'.

Critically discuss whether the text and the image successfully convey the advertiser's message. (3) [10]

FRAME 1 FRAME 2 FRAME 3

[Source: The Star, October 2015] QUESTIONS: TEXT G

4.3 In FRAME 2, the cartoonist uses a technique that is different from those used in FRAMES 1 and 3.

Discuss the effectiveness of this technique. (2)

4.4 Discuss the humour in the cartoon by making reference to both the visual and the verbal elements. (3) [10]

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QUESTION 5: USING LANGUAGE CORRECTLY 5.6 Rewrite 'We've ramped up the hyperbole' (line 13) in the passive voice. (1)

Read TEXT H, which contains some deliberate errors, and answer the questions set. 5.7 Remove the tautology from lines 11–13: 'Their approving praise … any more.' (1)

TEXT H 5.8 'If your face leaks that easily, step away from the keyboard and call a plumber' (lines 15–16). EXAGGERATION IS THE OFFICIAL LANGUAGE OF THE INTERNET Identify the subordinate clause in the above sentence. (1) 1 When fans have witnessed a live performance, only the most strident 5.9 Give the adjectival form of 'pretend' (line 17). (1) statements have any impact. Oversell, all the time.

5.10 Explain the ambiguity in 'If an obsession with pop music does not enhance a 2 The feverish level of excitement – even on their way in, before a note had performance, dump it!' (lines 18–19). (1) been sung – was palpable. So majestic was the performance, all the [10] molecules in their bodies were disassembled and temporarily rearranged 5

into a pulsating jellyfish of pure enjoyment. Crawling from the venue on all TOTAL SECTION C: 30 fours, uncontrollably weeping all the way home. Maybe, with those GRAND TOTAL: 70 smartphones tucked away, a sizeable percentage of the audience were

being shocked by the reality of their first non-screen-parlayed expedience of the past five years. 10

3 Their approving praise of the performance reached deranged heights because nothing's allowed to simply be 'very good' or even 'great' any more. We've ramped up the hyperbole: it's amazing; it's awesome. We focus on the personal impact: it'll rock your world; it'll change your life.

4 Really? If your face leaks that easily, step away from the keyboard and 15 call a plumber.

5 It's enough to make you weep. Or rather not weep. And pretend you did. If an obsession with pop music does not enhance a performance, dump it!

[Adapted from www.theguardian.com]

QUESTIONS: TEXT H

5.1 Provide ONE word for the phrase, 'all the time' (line 2). (1)

5.2 Explain the function of the dashes in lines 3–4. (1)

5.3 'Crawling from the venue on all fours, uncontrollably weeping all the way home' (lines 6 and 7).

Rewrite this sentence so that it is grammatically correct. (1)

5.4 Correct the malapropism in lines 7–10: 'Maybe, with those … past five years.' (1)

5.5 Correct the error of concord in paragraph 2. (1)

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INSTRUCTIONS AND INFORMATION GRAAD 12 1. This question paper consists of THREE sections:

SECTION A: Comprehension (30 marks) SECTION B: Summary (10 marks) SECTION C: Language structures and conventions (30 marks)

2. Read ALL the instructions carefully.

3. Answer ALL the questions. NATIONAL SENIOR

CERTIFICATE 4. Start EACH section on a NEW page.

5. Rule off after each section.

6. Number the answers correctly according to the numbering system used in this question paper. GRADE 12 7. Leave a line after each answer.

8. Pay special attention to spelling and sentence construction.

9. Suggested time allocation: ENGLISH HOME LANGUAGE P1 SECTION A: 50 minutes NOVEMBER 2017 SECTION B: 30 minutes SECTION C: 40 minutes

10. Write neatly and legibly. MARKS: 70

TIME: 2 hours

This question paper consists of 12 pages.

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SECTION A: COMPREHENSION 6 For those speaking from positions of power, the idea of cultural appropriation 35 may be seen as an affront to their historical liberty to participate in cultures QUESTION 1: READING FOR MEANING AND UNDERSTANDING freely – a liberty that has often resulted in everything from cultural annihilation and loss to colonisation. That history occurred the way it did, Read TEXTS A AND B below and answer the questions set. has set us up for a cultural moment in which exchange between cultures cannot be viewed as simply occurring in a vacuum. This fact is certainly lost 40 TEXT A on novelist Lionel Shriver, who recently gave one of the most culturally tone-deaf speeches at the Brisbane Festival. CULTURAL APPROPRIATION 7 Shriver's words were nothing short of uneducated, lacking in empathy, and 1 In sections of the media concerned with representation and social justice, an intentional misappropriation of the concept. In her address, Shriver it seems we can barely endure a week without a newsworthy incident about commented, 'I hope that the concept of cultural appropriation is a passing 45 3 'cultural appropriation'. While examples of cultural appropriation can be fad,' and went on to wear a sombrero , while staking out her claim to do so, found in just about any cultural facet or artefact1, the true complexity of and discussing how writers of fiction are entitled to imagine the lives of cultural appropriation is often not fully appreciated or sufficiently articulated. 5 others. Her arguments suggest that awareness and cognisance of cultural appropriation would mean that fiction writers lose this right. 2 Cultural appropriation involves the use of one culture's elements by a group or individual that does not belong to that culture. However, this definition is 8 Shriver, like so many others, misses the point of cultural appropriation. 50 lacking because such an interaction may be labelled simply as cultural A sombrero is a cultural artefact of a culture she does not belong to, and exchange. And that argument would be difficult to defeat because, firstly, without understanding it carefully and approaching it cautiously, she can who 'owns' a culture? And secondly, borrowing from one culture and lending 10 misuse this artefact to represent or misrepresent a culture. But what Shriver to another has been the way of the world since human society began, fails to realise is that an entire nation of people is symbolised only by that according to recorded history and anthropologists. artefact because of the power of those from privileged cultures to exchange 55 in such a manner. 3 So what makes cultural exchange different from cultural appropriation? As with most points of cultural contention, the difference is power. 9 For those who care about culture, cultural appropriation is no passing fad. In particular, the power of the privileged to borrow and normalise a cultural 15 It is the concept that gives a label to the experience of being from a culture element of another group, while the group whose culture has been that has been disabused of its power by other cultures who now seek to appropriated is often demonised and excluded because of that very cultural borrow from it, at no cost, and with no reverence for history. If it's cultural 60 element. exchange you want, it's up to you to make every effort to learn as much as possible about a people's history and its artefacts. If you participate fully and 4 A recent example of cultural appropriation is the wearing of hairstyles graciously in another culture, to call it cultural exchange means that you are associated with global black culture. From cornrows and Senegalese twists 20 aware of your distance from and relationship to it. And if you choose to to knots and dreadlocks, which are all rooted in the African diaspora2 and borrow, hopefully you do so in such a way as to revere the culture and its 65 many of which have been a part of African cultures' heritage for centuries, people, and amplify the beauty of that culture, with an honest understanding black hairstyles in the current culture have been deemed 'fashionable' too of its shortcomings but, most importantly, ensuring that members of that by celebrities. On the face of it, it appears harmless. But in truth, it ignores culture are seen, heard and appreciated. That's the difference between the racial dynamics at work where black women are discredited or 25 cultural appropriation – 'borrowing', or even stealing, from another culture – overlooked for wearing black/African hairdos. This is power. This is cultural and cultural exchange, a fairer and more reciprocal transaction. 70 appropriation. [Adapted from www.alternet.org] 5 As a Nigerian, I could easily empathise. A few years ago, the popular English chef, Jamie Oliver, came out with his own recipe for Jollof rice, GLOSSARY: a West African dish. While West Africans themselves often debate who 30 1 makes the best rice, many all over the diaspora took to the Internet to reject artefact: made/manufactured thing that represents a culture/symbol 2 Jamie Oliver's recipe and let him know, thanks, but no thanks. If Jollof is to diaspora: scattering of nations 3 be the international sensation it ought to be, it will not be Jamie Oliver who sombrero: wide-brimmed Mexican hat

makes it so.

AND

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TEXT B QUESTIONS: TEXT B

1.9 Complete the statement below. Choose the answer and write only the letter (A–D) next to the question number (1.9) in the ANSWER BOOK.

The overall tone of TEXT B is …

A flippant. B matter-of-fact. C dismayed. D resentful. (1)

1.10 How does the image support the headline 'RESPECT OR THEFT?'? (2)

1.11 'MAKES REAL INDIGENOUS PEOPLE INVISIBLE'

Discuss the impact this statement is intended to have on the reader. (3)

QUESTION: TEXTS A AND B CULTURAL APPROPRIATION IS THE SAME AS CULTURAL THEFT. THERE IS NOTHING COOL, RESPECTFUL, OR FASHIONABLE ABOUT IT. WE CAN MAKE BETTER 1.12 Both TEXT A and TEXT B present a subjective view regarding 'cultural CHOICES! appropriation'.

[Adapted from www.awakeningthehorsewordpress.com] Do you agree with this statement? Justify your response with close reference to TEXT A and TEXT B. (4) QUESTIONS: TEXT A TOTAL SECTION A: 30 1.1 State, in your own words, the point the writer is making in paragraph 1. (2)

1.2 Provide an outline of the argument presented by the writer in paragraph 2. (2)

1.3 Refer to paragraph 3.

Explain the role that power plays in cultural appropriation. (2)

1.4 Refer to paragraph 4.

How do celebrities influence the perception of cultural appropriation? (2)

1.5 Suggest why the writer includes the aside, 'thanks, but no thanks' (line 32). (3)

1.6 How does the language used in paragraph 6 indicate the writer's attitude to 'cultural appropriation'? (3)

1.7 Critically comment on Shriver's hope that 'cultural appropriation is a passing fad' (lines 45–46). (3)

1.8 Is the writer justified in saying, 'If you participate fully and graciously in another culture, to call it cultural exchange means that you are aware of your distance from and relationship to it' (lines 62–64)?

Substantiate your answer by making close reference to paragraph 9. (3)

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SECTION B: SUMMARY SECTION C: LANGUAGE STRUCTURES AND CONVENTIONS

QUESTION 2: SUMMARISING IN YOUR OWN WORDS QUESTION 3: ANALYSING ADVERTISING

TEXT C provides insight into narcissism versus strength-based parenting. Summarise, Study the advertisements (TEXTS D and E) below and answer the set questions. in your own words, the differing perceptions of strength-based parenting. TEXT D NOTE: 1. Your summary should include SEVEN points and NOT exceed 90 words. 2. You must write a fluent paragraph. 3. You are NOT required to include a title for the summary. 4. Indicate your word count at the end of your summary.

TEXT C

ME! ME! ME! ARE WE LIVING THROUGH A NARCISSISM EPIDEMIC?

There is convincing evidence to show that narcissism is on the rise, especially in our youth. Some researchers say that it is occurring in epidemic proportions. The inflated ego of Generation Me is reflected in reality TV, celebrity worship and out-of-control consumerism.

We are correct to be concerned about this phenomenon but our fear that all children are budding narcissists has caused an unhelpful counter-reaction to approaches that seek to make our children and teens feel good about themselves.

According to researcher, Dr Lea Waters, it is common for people to wrongly label strength-based parenting as a recipe for self-entitlement. Their argument seems to be that children who know their strengths will automatically view themselves as better than everyone else. It is argued that the self-assurance that comes with identifying and using their positive qualities will make children arrogant, selfish and uncaring. Genuine confidence about one's strengths is categorised as over-confidence; desirable self-knowledge is branded as excessive self-admiration.

Why does this occur? It's partly because more is known about narcissism than strength-based parenting. While strengths-psychology has largely stayed within the confines of academic journals or has been applied only within certain contexts such as the workplace, research on narcissism has made its way into the mass media and into our collective conscience.

The fear that a strength-based approach will cause narcissism also occurs because we unwittingly fall prey to binary thinking. We mistakenly believe that one cannot be both confident and humble. We focus on Donald Trump, the President of the USA, and Kim Kardashian, a reality-TV star, rather than Mahatma Gandhi and Mother Teresa. Gandhi and Mother Teresa could not have achieved what they did without confidence in their strengths, and yet they are both pillars of humility and selflessness. [Source: www.skechers.com]

The text in small font reads as follows: Therefore, when we assume that strength-focus is the same as self-focus, we fail to entertain the idea that people who know their strengths are, actually, more likely to be See what people are saying. pro-social and focus on helping others. It's tempting to conclude that every young person is at risk of becoming a narcissist but there are thousands of young children who 'I am on my feet nine to ten 'I've had my Shape-Ups about 'I recommend these shoes to are caring, thoughtful and humble – even when they use their strengths. hours daily and my body a month and I already feel a anyone who wants to tighten doesn't ache at the end of the difference in the way my up their legs and butt.' [Adapted from www.theguardian.com] day.' jeans fit!' Jazzy, Wisconsin Lisa, Missouri Leah, North Carolina TOTAL SECTION B: 10

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QUESTIONS: TEXT D QUESTION 4: UNDERSTANDING OTHER ASPECTS OF THE MEDIA

3.1 What is the advertiser's intention in the sentence, 'Get in shape without Study TEXT F and answer the set questions. setting foot in a gym'? (2) TEXT F: CARTOON 3.2 Account for the inclusion of the personal testimonies in the advertisement. (2)

FRAME 2 3.3 Comment on the effectiveness of the image used in this advertisement. (3) FRAME 1

TEXT E

FRAME 3 FRAME 4 FRAME 5 FRAME 6

FRAME 7 FRAME 8 FRAME 9 FRAME 10

[Source: www.gocomics.com]

QUESTIONS: TEXT F

4.1 Refer to Frame 1.

What does the boy's (Calvin's) speech reveal about his attitude toward the tiger (Hobbes)? (2) Making Every Day Sweeter 4.2 Refer to Frames 2 and 3. [Adapted from SA Rugby, September 2016] QUESTION: TEXT E Discuss how the tiger's reaction to the game is different from that of the boy's. (2)

3.4 Comment on the presentation of the phrase 'Huletts sweetness' as an advertising technique. (3) [10]

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4.3 Refer to Frames 4–7. 5.4 '…the only thing that can exist is an uninterested person' (lines 8–9).

Critically discuss the effectiveness of any ONE technique used by the Explain how the change in prefix, from un- (in 'uninterested') to dis- (in cartoonist to illustrate the boy's behaviour. (3) 'disinterested'), changes the meaning of the sentence. (2)

4.4 In your view, is Frame 10 an effective conclusion to the cartoon? Substantiate 5.5 'Think of completing your tax return, learning PowerPoint and attending safety your response by a close study of the visual and verbal elements in this seminars that involves dull interactions' (lines 9–11). frame. (3) [10] 5.5.1 Identify the part of speech of the underlined word. (1)

QUESTION 5: USING LANGUAGE CORRECTLY 5.5.2 Correct the grammatical error in this sentence. (1)

Read TEXT G, which contains some deliberate errors, and answer the set questions. 5.6 Correct the malapropism in paragraph 3. (1)

TEXT G 5.7 Replace 'it' in line 18 with an appropriate noun/noun phrase. (1) [10] THE EXPERIENCE OF BOREDOM TOTAL SECTION C: 30 1 American researchers just published what they're calling 'the most GRAND TOTAL: 70 all-inclusive, comprehensive empirical account of the experience of boredom' ever conducted.

2 They've solved the mystery of what causes boredom: people feel bored, they concluded, when they're doing boring things! Which is a less boring finding 5 than it seems, since it puts paid to one of the favourite admonishments of teachers and parents: 'There are no boring things, only boring people.' (Or, as GK Chesterton said, 'There is no uninteresting subject; the only thing that can exist is an uninterested person.') But of course there are boring things. Think of completing your tax return, learning PowerPoint and attending safety 10 seminars that involves dull interactions.

3 Boredom feels more intolerable, these days, because there's so much stimulation to be had. Your forbears were prisoners of mundane tasks; they wrote with pens and they did addition. In contrast, we're free to choose more exciting lives with excess to real-time feedback on social media. No wonder, 15 then, that more meaningful things – reading books, communicating with people you love – start to feel boring. Consider stepping away from time-sucking digital addiction: it will make the rest of your life more interesting.

[Adapted from www.theguardian.com]

QUESTIONS: TEXT G

5.1 Correct the error of tense in line 1. (1)

5.2 Remove the tautology in lines 1–3. (1)

5.3 Differentiate between the use of the colon in line 4 and line 7. (2)

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INSTRUCTIONS AND INFORMATION

Read this page carefully before you begin to answer the questions.

1. Do NOT attempt to read the entire question paper. Consult the Table of Contents on the next page and mark the numbers of the questions set on the texts you have studied this year.

2. This question paper consists of FOUR sections:

SECTION A: Novel (35) NATIONAL SECTION B: Drama (35) SENIOR CERTIFICATE SECTION C: Short stories (35) SECTION D: Poetry (35)

3. Answer questions from TWO sections, as follows:

SECTION A: NOVEL GRADE 12 Answer the question on the novel that you have studied.

SECTION B: DRAMA Answer the question on the drama that you have studied.

SECTION C: SHORT STORIES ENGLISH FIRST ADDITIONAL LANGUAGE P2 Answer the questions on BOTH extracts.

NOVEMBER 2014 SECTION D: POETRY Answer the questions on BOTH poems.

Use the checklist to assist you. MARKS: 70 4. Follow the instructions at the beginning of each section carefully. TIME: 2 hours 5. Number your answers exactly as the questions are numbered in the question paper.

6. Start EACH section on a NEW page.

7. Spend approximately 60 minutes on each section.

This question paper consists of 26 pages. 8. Write neatly and legibly.

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TABLE OF CONTENTS CHECKLIST

SECTION A: NOVEL NOTE:

Answer ANY ONE question. x Answer questions from ANY TWO sections. QUESTION NO. MARKS PAGE NO. x Tick the sections you have answered. 1. To Kill a Mockingbird 35 5 SECTION QUESTION NO. OF TICK 2. Lord of the Flies 35 8 NUMBERS QUESTIONS (9) TO ANSWER 3. A Grain of Wheat 35 11 A: Novel 1–3 1

B: Drama 4–5 1 SECTION B: DRAMA C: Short Stories 6 1 Answer ANY ONE question. 4. Romeo and Juliet 35 14 D: Poetry 7 1

5. Nothing but the Truth 35 17 NOTE: Ensure that you have answered questions on TWO sections only.

SECTION C: SHORT STORIES

Answer the questions set on BOTH extracts. 6.1 The Dube train 18 20

6.2 The coffee-cart girl 17 21

SECTION D: POETRY

Answer the questions set on BOTH poems. 7.1 Death be not proud 18 23

7.2 Auto wreck 17 24

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SECTION A: NOVEL 1.1.1 Choose a description from COLUMN B that matches the word in COLUMN A. Write only the letter (A–D) next to the question In this section, there are contextual questions set on the following novels: number (1.1.1(a)–1.1.1(c)) in the ANSWER BOOK. x TO KILL A MOCKINGBIRD by Harper Lee COLUMN A COLUMN B x LORD OF THE FLIES by William Golding (a) Mockingbird A a symbol of hope and beauty in the x A GRAIN OF WHEAT E\1JNJJƭZD7KLRQJ'o novel (b) Prejudice Answer ALL the questions on the novel you have studied. B cruel treatment over a period of time (c) Flowers QUESTION 1 C an unfavourable opinion formed based on limited knowledge TO KILL A MOCKINGBIRD D true goodness and innocence that Read the following extracts from the novel and answer the questions set on each. The should always be protected (3) number of marks allocated to each question serves as a guide to the expected length of your answer. 1.1.2 Refer to lines 1–6 ('Dill and Jem ... to get loose').

NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 1.1 AND (a) Where are the children at this moment? (1) QUESTION 1.2. (b) Explain what they are doing there. (1) 1.1 [The children are running away.] (c) Refer to lines 5–6 ('kicking his pants'). Dill and Jem dived beside me. Jem's breath came in sobs: 'Fence by the school yard! – hurry, Scout!' Choose the correct answer to complete the following Jem held the bottom wire; Dill and I rolled through and were halfway to sentence. Write only the letter (A–D) in the ANSWER BOOK. the shelter of the school yard's solitary oak when we sensed that Jem was not with us. We ran back and found him struggling in the fence, kicking his 5 Jem's pants are returned to him by ... pants off to get loose. He ran to the oak tree in his shorts. Safely behind it, we gave way to numbness, but Jem's mind was racing: A Nathan Radley. 'We gotta get home, they'll miss us.' B Miss Maudie. We ran across the school yard, crawled under the fence to Deer's C Miss Crawford. Pasture behind our house, climbed our back fence and were at the back 10 D Boo Radley. (1) steps before Jem would let us pause to rest. Respiration normal, the three of us strolled as casually as we could to (d) What does the incident reveal about the person who returns the front yard. We looked down the street and saw a circle of neighbours at the pants? (1) the Radley front gate. 'We better go down there,' said Jem. 'They'll think it's funny if we don't 15 1.1.3 Discuss the difference between Mr Nathan Radley and Atticus show up.' Finch in their treatment of children. (4) Mr Nathan Radley was standing inside his gate, a shotgun broken across his arm. Atticus was standing beside Miss Maudie and Miss 1.1.4 Discuss how the title of the novel is relevant to Boo Radley. (4) Stephanie Crawford. Miss Rachel and Mr Avery were near by. None of them saw us come up. 20 1.1.5 Do you think the children's actions in this extract are acceptable? [Chapter 6] Discuss your view. (3)

AND

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1.2 [Atticus questions Mayella at the trial of Tom Robinson.] 1.2.5 At the end of the trial Tom is found guilty.

'Miss Mayella,' said Atticus, in spite of himself, 'a nineteen-year-old girl Identify and discuss the theme which is shown by this verdict. (3) like you must have friends. Who are your friends?' The witness frowned as if puzzled. 'Friends?' 1.2.6 Do you think Mayella can be blamed for what happens to Tom? 'Yes, don't you know anyone near your age, or older, or younger? Boys Discuss your view. (4) and girls? Just ordinary friends?' 5 [35] Mayella's hostility, which had subsided to grudging neutrality, flared again. 'You makin' fun o' me agin, Mr Finch?' OR Atticus let her question answer his. 'Do you love your father, Miss Mayella?' was his next. QUESTION 2 'Love him, whatcha mean?' 10 'I mean, is he good to you, is he easy to get along with?' LORD OF THE FLIES 'He does tollable, 'cept when – ' 'Except when?' Read the following extracts from the novel and answer the questions set on each. The Mayella looked at her father, who was sitting with his chair tipped number of marks allocated to each question serves as a guide to the expected length against the railing. He sat up straight and waited for her to answer. 15 of your answer. 'Except when nothin',' said Mayella. 'I said he does tollable.' Mr Ewell leaned back again. NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 2.1 AND 'Except when he's drinking?' asked Atticus so gently that Mayella QUESTION 2.2. nodded. 'Does he ever go after you?' 20 2.1 [The boys have a meeting.] 'How you mean?' 'When he's – riled, has he ever beaten you?' Mayella looked around, down at the court reporter, up at the judge. His speech made, he allowed Piggy to lift the conch out of his hands. 'Answer the question, Miss Mayella,' said Judge Taylor. Then he retired and sat as far away from the others as possible. 'My paw's never touched a hair o' my head in my life,' she declared 25 Piggy was speaking now with more assurance and with what, if the firmly. 'He never touched me.' circumstances had not been so serious, the others would have recognised [Chapter 18] as pleasure. 5 'I said we could all do without a certain person. Now I say we got to decide on what can be done. And I think I could tell you what Ralph's going 1.2.1 Refer to the first FIVE lines of the extract ('Miss Mayella,' said ... to say next. The most important thing on the island is the smoke and you Just ordinary friends?'). can't have no smoke without a fire.'

Ralph made a restless movement. 10 (a) Explain why Mayella responds in the way she does. (2) 'No go, Piggy. We've got no fire. That thing sits up there – we'll have to stay here.' (b) Why is this question important to the trial? (2) Piggy lifted the conch as though to add power to his next words. 'We got no fire on the mountain. But what's wrong with a fire down here? 1.2.2 Explain the relationship between Mayella and her father. (2) A fire could be built on them rocks. On the sand, even. We'd make smoke 15 just the same.' 1.2.3 What effect does Bob Ewell's behaviour have on Mayella in 'That's right!' lines 14–15 ('Mayella looked at ... her to answer')? (2) 'Smoke!' 'By the bathing-pool!' 1.2.4 Using your OWN words, explain why the following statement The boys began to babble. Only Piggy could have the intellectual daring 20 is TRUE: to suggest moving the fire from the mountain. [Chapter 8] Mayella gives contradictory evidence in this extract. (2)

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2.1.1 Choose a description from COLUMN B that matches the name in 2.2 [Ralph and Piggy talk after Simon's death.]

COLUMN A. Write only the letter (A–D) next to the question Ralph climbed on to the platform carefully. The coarse grass was still number (2.1.1(a)–2.1.1(c)) in the ANSWER BOOK. worn away where the assembly used to sit; the fragile white conch still

gleamed by the polished seat. Ralph sat down in the grass facing the COLUMN A COLUMN B Chief's seat and the conch. Piggy knelt at his left, and for a long minute (a) Jack A thinker there was silence. 5 At last Ralph cleared his throat and whispered something. Piggy (b) Ralph B discovers the beast whispered back. 'What you say?' (c) Piggy C chosen as leader Ralph spoke up. 'Simon.' 10 D hunter (3) Piggy said nothing but nodded, solemnly. They continued to sit, gazing with impaired sight at the chief's seat and the glittering lagoon. The green 2.1.2 Refer to lines 1–2 ('His speech made ... others as possible'). light and the glossy patches of sunshine played over their befouled bodies. At length Ralph got up and went to the conch. He took the shell (a) What suggestion does Simon make in 'his speech' (line 1)? (1) caressingly with both hands and knelt, leaning against the trunk. 15 'Piggy.' (b) Why does Simon sit 'as far away from the others as possible' 'Uh?' in line 2? (1) 'What we going to do?' Piggy nodded at the conch. 2.1.3 Choose the correct answer to complete the following sentence. 'You could – ' 20 Write only the letter (A–D) in the ANSWER BOOK. 'Call an assembly?' Ralph laughed sharply as he said the word and Piggy frowned. Piggy 'speaking now with more assurance' (line 3), shows that 'You're still Chief.' he is ... Ralph laughed again. 'You are. Over us.' 25 A humorous. 'I got the conch.' B funny. 'Ralph! Stop laughing like that. Look there ain't no need, Ralph! What's C arrogant. the others going to think?' D confident. (1) At last Ralph stopped. He was shivering. 'Piggy.' 30 2.1.4 Using your own words, explain why the outcome of Piggy's request 'Uh?' to move the fire from the mountain to the bathing-pool has a 'That was Simon.' positive effect on the boys. (2) 'You said that before.' [Chapter 10] 2.1.5 Refer to lines 14–15 ('But what's wrong ... the sand, even'). 2.2.1 Refer to lines 1–6 ('Ralph climbed on ... and whispered How does the suggestion to build a fire on the beach affect Jack? (1) something').

2.1.6 Explain the role of the conch in this novel. (3) (a) Give ONE word to describe how Ralph feels in these lines. (1)

2.1.7 Do you think Piggy could be a good leader? Discuss your view. (4) (b) Explain why he feels this way. State THREE points. (3)

2.2.2 Refer to lines 11–13 ('Piggy said nothing ... their befouled bodies'). AND (a) Quote ONE word from these lines to show that the following statement is TRUE:

Piggy and Ralph are very serious. (1)

(b) Explain both the LITERAL and FIGURATIVE meaning of 'their befouled bodies' in line 13. (2)

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2.2.3 Why does Ralph laugh at Piggy's suggestion to 'call an assembly' 3.1.1 Choose a description from COLUMN B that matches the name in in line 21? (1) COLUMN A. Write only the letter (A–D) next to the question number (3.1.1(a)–3.1.1(c)) in the ANSWER BOOK. 2.2.4 State TWO differences between Jack and Ralph's leadership styles. (4) COLUMN A COLUMN B (a) Harambee A political movement in Kenya 2.2.5 Identify Ralph's tone in line 32 ('That was Simon'). (1) (b) Mau-Mau B Mugo's village 2.2.6 Identify and discuss the theme which is evident in Ralph and Piggy's reaction to Simon's killing. (3) (c) Thabai C member of the homeguard

2.2.7 Why does the author include the character Simon in this novel? D in favour of a united Discuss your view. (3) community (3) [35] 3.1.2 Using your OWN words, explain why Mugo is 'marked as a chosen OR man' (line 5). (1)

QUESTION 3 3.1.3 Explain why the following statement is TRUE:

A GRAIN OF WHEAT Mugo is extremely nervous. (1)

Read the following extracts from the novel and answer the questions set on each. The 3.1.4 Quote a sentence from the passage to show that Mugo had visitors number of marks allocated to each question serves as a guide to the expected length the previous night. (1) of your answer. 3.1.5 Refer to line 15 ('The words spoken'). NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 3.1 AND

QUESTION 3.2. Explain the 'words spoken' being referred to in this line. (1)

3.1 [People talk about Mugo.] 3.1.6 Discuss how Kihika and Mugo's personalities differ. (4)

Two days later, people were to talk about Mugo in the eight ridges 3.1.7 Identify and discuss the theme which is evident in the way people around Thabai: they told with varying degrees of exaggeration how he talk about Mugo in this extract. (3) organised the hunger-strike in Rira, an action which made Fenna Brokowi raise questions in the British House of Commons. His solitary habits and 3.1.8 Do you think Mugo is a hero? Discuss your view. (3) eccentric behaviour at meetings marked him as a chosen man. Remember 5 also that the years in detention and suffering had enhanced rather than AND diminished his powerful build. He was tall with large dark eyes; the lines of his face were straight, clearly marked, almost carved in stone – one of those people who induce hope and trust on the evidence of their looks. But neither on Sunday nor on Monday had Mugo any premonition that 10 general worship was coming his way. In fact, the sudden proposal from the Party threw him off his balance. He woke up in the morning hoping that last night's experience was another dream. But the sight of the stools on which the delegates had sat dispelled such illusions. The words spoken passed through his head with a 15 nightmarish urgency. Why did they want him to lead the Uhuru celebrations? Why not Gikonyo, Warui, or one of the forest fighters? Why Mugo? Why? Why? [Chapter 6]

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3.2 [Gikonyo and Karanja participate in the second race.] SECTION B: DRAMA

As he ran, Gikonyo tried to hold on to other things; the half-familiar faces In this section, there are contextual questions set on the following dramas: in the crowd; the new Rung'ei shops further down; the settled area across. Would Uhuru bring the land into African hands? And would that make a x ROMEO AND JULIET by William Shakespeare difference to the small man in the village? He heard a train rumbling at x NOTHING BUT THE TRUTH by John Kani Rung'ei station. He thought of his father in the Rift Valley provinces. Was he 5 still alive? What did he look like? He traversed the wide field of his Answer the question on the drama you have studied. childhood, early manhood, romance with Mumbi; Kihika, the Emergency, the detention camps, the stones on the pavement, the return home to QUESTION 4 (CONTEXTUAL QUESTION)

betrayal passed through his mind in rapid succession. How Mumbi had ROMEO AND JULIET dominated his life. Her very absence had almost unarmed him and made 10 him break down. He angrily jerked his head, compelling himself to Read the following extracts from the play and answer the questions set on each. The concentrate on the present race. He and Karanja were rivals again. But number of marks allocated to each question serves as a guide to the expected length rivals for what? For whom were they competing? of your answer. Karanja is only mocking me, he thought. He seethed with hatred as he panted and mopped sweat away from his forehead. He ran on, the desire to 15 NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 4.1 AND win inflamed him. He maintained his place close behind Karanja. QUESTION 4.2. [Chapter 14] 4.1 [Romeo and Juliet are enquiring about each other after the ball.] 3.2.1 Choose the correct answer to complete the following sentence. Write only the letter (A–D) in the ANSWER BOOK. ROMEO: What is her mother? NURSE: Marry, bachelor, The race being run here is to celebrate ... Her mother is the lady of the house, And a good lady, and a wise and virtuous. A Christmas. I nursed her daughter that you talked withal. 5 B Uhuru. I tell you, he that can lay hold of her C the Emergency. Shall have the chinks. D Easter. (1) ROMEO: Is she a Capulet?

3.2.2 Refer to lines 3–4 ('Would Uhuru bring ... in the village'). O dear account! My life is my foe's debt. BENVOLIO: Away, be gone! The sport is at the best. 10 Using your OWN words, explain Gikonyo's thoughts in these lines. (2) ROMEO: Ay, so I fear. The more is my unrest. CAPULET: Nay, gentlemen, prepare not to be gone. 3.2.3 Gikonyo and Karanja participated in another race earlier in the We have a trifling foolish banquet towards. novel. Benvolio whispers in his ear. Is it e'en so? Why then, I thank you all. 15 Why are both races important to the two men? (1) I thank you, honest gentlemen. Good night.

3.2.4 Refer to lines 9–10 ('How Mumbi had dominated'). More torches here! Come on then, let's to bed. Ah sirrah, by my fay, it waxes late. Explain how Mumbi 'had dominated' Gikonyo's life when he was in I'll to my rest. Exeunt all but Juliet and Nurse. detention. (3) JULIET: Come hither, Nurse. What is yond gentleman? 20 NURSE: The son and heir of old Tiberio. 3.2.5 Describe the relationship between Mumbi and Gikonyo at this point JULIET: What's he that now is going out of door? in the novel. (4) NURSE: Marry, that I think be young Petruchio. JULIET: What's he that follows here, that would not dance? 3.2.6 Why does the author include the character Mumbi in this novel? NURSE: I know not. 25 Discuss your view. (3) JULIET: Go ask his name. If he be marrièd, My grave is like to be my wedding bed. 3.2.7 Do you think the title of this novel is appropriate? Discuss your NURSE: His name is Romeo, and a Montague, view. (4) The only son of your great enemy. [35] JULIET: My only love, sprung from my only hate! 30 TOTAL SECTION A: 35 [Act 1 Scene 5]

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4.1.1 Complete the following sentence by using the words in the PRINCE: What fear is this which startles in our ears? list below. Write only the word next to the question number st (4.1.1(a)–4.1.1(c)) in the ANSWER BOOK. 1 WATCH: Sovereign, here lies the County Paris slain, And Romeo dead, and Juliet, dead before, 15 happy; Rosaline; burial; depressed; feast; Juliet Warm and new killed. PRINCE: Search, seek, and know how this foul murder comes. st Romeo is extremely (a) ... about losing his beloved (b) ... He 1 WATCH: Here is a friar, and slaughtered Romeo's man, attends the Capulet's (c) ... hoping to see her. (3) With instruments upon them fit to open These dead men's tombs. 20 4.1.2 Describe the Nurse's relationship with the Capulets. State TWO CAPULET: O heavens! O wife, look how our daughter bleeds! points. (2) This dagger hath mista'en, for lo, his house Is empty on the back of Montague, 4.1.3 Refer to line 10 ('Away, be gone!'). And it mis-sheathèd in my daughter's bosom! LADY CAPULET: O me! This sight of death is a bell 25 How do Benvolio's words show the difference between Romeo and That warns my old age to a sepulchre. Benvolio? (2) Enter Montague and others. 4.1.4 If you were the director of this play, what would you tell Juliet to do PRINCE: Come, Montague, for thou art early up when saying line 20 ('Come hither, Nurse. What is yond To see thy son and heir now early down. gentleman?'). (1) MONTAGUE: Alas, my liege, my wife is dead tonight! 30

Grief of my son's exile hath stopped her breath. 4.1.5 Refer to line 27 ('My grave is like to be my wedding bed'). What further woe conspires against mine age? (a) Identify the figure of speech. (1) PRINCE: Look, and thou shalt see. [Act 5 Scene 3] (b) Explain how this figure of speech becomes relevant later in the play. (2) 4.2.1 In line 1, the Friar 'trembles, sighs and weeps'.

4.1.6 Romeo says 'My life is my foes' debt' (line 9) and Juliet says 'My Explain the reasons for the Friar's actions. (2) only love, sprung from my only hate!' (line 30). 4.2.2 Quote TWO lines to show that the following statement is TRUE: Identify and discuss the theme shown in these lines. (3) The Prince is annoyed at being disturbed. (1) 4.1.7 In your opinion, is Romeo immature and impulsive? Discuss your view. (3) 4.2.3 Choose the correct answer to complete the following sentence. Write only the letter (A–D) in the ANSWER BOOK. AND

4.2 [Romeo, Juliet and Paris die.] In lines 10–12 ('O, the people ... toward our monument.') Lord and Lady Capulet may be described as being ... 3rd WATCH: Here is a friar that trembles, sighs and weeps. We took this mattock and this spade from him A excited. As he was coming from this churchyard's side. B concerned. 1st WATCH: A great suspicion! Stay the friar too. C unconcerned. D happy. (1) Enter the Prince and Attendants. 5 PRINCE: What misadventure is so early up, 4.2.4 Refer to lines 25–26 ('This sight of ... to a sepulchre'). That calls our person from our morning rest? (a) The above is an example of a comparison. Enter Capulet, Lady Capulet and others. CAPULET: What should it be, that is so shrieked abroad? Explain this comparison. (2) LADY CAPULET: O the people in the street cry 'Romeo', 10 Some 'Juliet', and some 'Paris'; and all run (b) Identify Lady Capulet's tone in these lines. (1) With open outcry toward our monument.

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4.2.5 Refer to lines 30–32 ('Alas, my liege ... against mine age?'). 5.1.1 Complete the following sentence by using the words in the (a) Why has Romeo been banished? (1) list below. Write only the word next to the question number (5.1.1(a)–5.1.1(c)) in the ANSWER BOOK. (b) How does this affect his family? (1) Themba; Sipho; love; conflict; reconcile; forgive 4.2.6 How does the Apothecary contribute to the tragedy in this play? (1)

4.2.7 In no more than TWO sentences, say why Romeo and Juliet are The drama primarily focuses on the inner (a) ... experienced by responsible for the tragic events in the play. (2) (b) ... to (c) ... his brother. (3)

4.2.8 Discuss how the Prince's feelings affect his behaviour in this 5.1.2 Write down ONE sentence to describe the relationship between extract. (2) Sipho and his parents as it is portrayed in this extract. (1)

4.2.9 Do you sympathise with the parents of Romeo and Juliet? Discuss 5.1.3 Write down ONE word which describes Sipho's feelings in your view. (4) lines 1–8 ('He must have ... told me too'). (1) [35] 5.1.4 Explain how Themba and Sipho were treated by their parents when OR they were children. (2)

QUESTION 5 5.1.5 Explain why the following statement is TRUE:

NOTHING BUT THE TRUTH Themba was popular in the community. (1)

Read the following extracts from the play and answer the questions set on each. The number of marks allocated to each question serves as a guide to the expected length 5.1.6 Refer to the last two lines of the passage. 'HE LEFT THE ... asking of your answer. these questions?' (lines 19–20).

NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 5.1 AND (a) Give TWO possible reasons why Themba 'LEFT THE QUESTION 5.2. COUNTRY!'. (2)

5.1 [Thando and Mandisa discuss their families.] (b) If you were the stage director of this play, what would you tell Sipho to do when saying these lines? (1) THANDO: He must have been very close to Grandpa. Uncle Themba, that's all he talked about. 5.1.7 Identify and discuss the theme which is evident in the way Sipho SIPHO: Of course my father always talked about Themba. When talks about Themba in this extract. (3) Themba left the country, at first my father blamed me for not stopping him. 5 5.1.8 Sipho is blamed by their father when Themba leaves the country. THANDO: Really? I never knew that Grandpa felt that way. To me he said Do you think this is fair? Discuss your view. (3) he loved you very much. SIPHO: I wish he had told me too. AND THANDO: You mean Grandpa never said he loved you? SIPHO: We African men don't find it easy to say that to our sons. 10 5.2 [Mandisa is upset.] It's taken for granted that we do. THANDO: Was Uncle Themba close to Mom? THANDO: Mandisa, we had a choice. We could have gone for revenge. We SIPHO: What do you mean? could have gone for Nuremberg-style trials but how would that THANDO: People say they got along very well. have made us different from them? SIPHO: Who are these people saying these things to you? 15 MANDISA: For what in return? THANDO: Well everybody ... THANDO: Peace, stability, reconciliation. 5 SIPHO: I suppose they were close, very close. He was my brother. MANDISA: You mean international reconciliation. They were so dying for THANDO: Why did Uncle Themba go into exile? international approval that they sold out. Did anyone of them SIPHO: HE LEFT THE COUNTRY! Leave it at that. [Pause.] Why are think about the people? Did someone warn them that the people you asking these questions? 20 might want that revenge? [Act 1, Scene 1]

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THANDO: We have a country to rebuild. A nation to take care of. An 10 SECTION C: SHORT STORIES

economy to grow, jobs to create, houses to build, clinics, In this section, there are contextual questions set on the following short stories: hospitals, schools and our lives. Where would revenge get us except more violence? Besides we did not want to give those x THE DUBE TRAIN by Can Themba bastards the honour of taking up arms against us in their defence x THE COFFEE-CART GIRL by Es'kia Mphahlele and calling it a legitimate struggle. There was one Struggle, the 15 struggle for liberation, our Struggle. QUESTION 6 MANDISA: Then why is Craig Williamson a free man? He committed murder. Read the following extracts from the TWO short stories and answer the questions set THANDO: Because according to the rules and requirements for amnesty ... on each. The number of marks allocated to each question serves as a guide to the MANDISA: He disclosed all? Yes. He told us nothing new except that he 20 expected length of your answer. sent the parcel bombs. Who gave the order? Do we know that? Does that make him innocent? NOTE: Answer the questions set on BOTH extracts, i.e. QUESTION 6.1 AND THANDO: No, it does not. He met the conditions set for amnesty. QUESTION 6.2. MANDISA: Then why was there an outcry against him receiving amnesty? Why was everybody angry? 25 THE DUBE TRAIN [Act 2 Scene 1] 6.1 [The people are travelling on the train.] 5.2.1 Briefly explain why Mandisa is upset in this extract. (2) 'Hela, you street-urchin, that woman is your mother,' came the 5.2.2 Discuss the difference between the 'Nuremberg-style trials' (line 2) shrill voice of the big hulk of a man, who had all the time sat and the Truth and Reconciliation Commission. (2) quietly opposite me, humming his lewd little township ditty. Now he moved towards where the tsotsi stood rooted. 5.2.3 Explain how the Truth and Reconciliation Commission is relevant There was menace in every swing of his clumsy movements, and 5 to Sipho and his family in this drama. (3) the half-mumbled tune of his song sounded like under-breath cursing

for all its calmness. The carriage froze into silence. 5.2.4 Thando and Mandisa are very different. Suddenly, the woman shrieked and men scampered on to seats.

(a) Write down ONE difference between Mandisa and Thando The tsotsi had drawn a sheath-knife, and he faced the big man. which is evident in this extract. (2) There is something odd that a knife does to various people in a 10 crowd. Most women go into pointless clamour, sometimes even (b) Explain the reason for this difference between the two women. hugging round the arms the men who might fight for them. Some State TWO points. (2) men make gangway, stampeding helter-skelter; but with that hulk of man the sight of the gleaming blade in the tsotsi's hand drove him 5.2.5 Choose the correct answer to complete the following sentence. beserk. The splashing people left a sort of arena. There was an evil 15 Write only the letter (A–D) in the ANSWER BOOK. leer in his eye, much as if he was experiencing satanic satisfaction. Croesus Cemetery flashed past. Sipho changes from a bitter man to a man at ... 6.1.1 Complete the following sentence by filling in the missing words. A home. Write only the word next to the question number (6.1.1(a)–6.1.1(b)) B peace. in the ANSWER BOOK. C heart. D leisure. (1) The setting of this short story is a (a) ...-class carriage of a train making its way from (b) ... station. (2) 5.2.6 Explain what lines 24–25 ('Then why was ... was everybody angry?') reveal about the Truth and Reconciliation Commission. (2) 6.1.2 Refer to lines 1–4 ('Hela, you street-urchin, ... tsotsi stood rooted).

5.2.7 Do you think the character Mandisa is necessary in this play? (a) Why does the big man shout at the tsotsi? (1) Discuss your view. (4) [35] (b) Are the man's words in line 1 ('that woman is your mother'), used LITERALLY or FIGURATIVELY? Give a reason for your answer. (2) TOTAL SECTION B: 35

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(c) Give TWO reasons why the woman the big man refers to can 6.2.1 Briefly explain why China is angry with Pinkie. (2) be admired. (2) 6.2.2 Explain how Pinkie and China meet. (2) (d) Explain why the tsotsi 'stood rooted' (line 4). (1)

6.1.3 Refer to line 7 ('The carriage froze into silence'). 6.2.3 Quote ONE word from the first EIGHT lines of the extract to show that the knife looked threatening. (1) (a) Choose the correct answer to complete the following sentence. Write only the letter (A–D) in the ANSWER BOOK. 6.2.4 'She panted like a timid little mouse cornered by a cat' (line 16) is an example of a simile. 'The carriage froze into silence', means that ... Explain what the writer is comparing. (2) A the train broke down. B it was very cold. 6.2.5 Explain how the coffee-cart is a symbol of the relationship between C everyone became quiet. China and Pinkie. (2) D they were passing a cemetery. (1) 6.2.6 Discuss how Pinkie and China's personalities differ. (4) (b) Briefly explain why 'the carriage froze into silence'. (2) 6.2.7 This story is set during the apartheid era, a very violent period in 6.1.4 Using your OWN words, explain why the following is FALSE: South African history.

The big man becomes afraid when the tsotsi draws a knife. (1) Do you think this has an effect on China's behaviour? Discuss your view. (4) 6.1.5 Identify and discuss ONE of the themes of this short story which is evident in this passage. (3) TOTAL SECTION C: 35

6.1.6 Do you think the big man is a hero for confronting the tsotsi? Discuss your view. (3)

AND

THE COFFEE-CART GIRL

6.2 [China is very angry.]

'Yes, you lie! Now listen, Pinkie, you're in love with that cheapjack. Every time I found him here he's been damn happy with you, grinning and making eyes at you. Yes, I've watched him every moment.' He approached the step leading into the cart. 'Do you see me? I've loved you since I first saw you, the day of 5 the strike.' He was going to say more, but something rose inside him and choked him. He couldn't utter a word more. He walked slowly; a knife drawn out, with a menacing blade, pointed towards her throat. Pinkie retreated deeper into her cart, too frightened to plead her case. At that very moment she realised fully the ghastliness of a man's 10 jealousy, which gleamed and glanced on the blade and seemed to have raised a film which steadied the slit eyes. Against the back wall she managed to speak. 'All right, China, maybe you've done this many times before. Go ahead and kill me; I won't cry for help, do what you like with me.' 15 She panted like a timid little mouse cornered by a cat. He couldn't finish the job he had set out to do. Why?

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SECTION D: POETRY 7.1.3 'Die not, poor death' (line 4).

In this section, there are contextual questions set on the following poems: Choose the correct answer to complete the following sentence. Write only the letter (A–D) in the ANSWER BOOK. x 'Death be not proud' by John Donne x 'Auto wreck ' by Karl Shapiro The underlined word suggests that death should be ...

NOTE: Answer the questions set on BOTH poems, i.e. QUESTION 7.1 AND A pampered. QUESTION 7.2. B pitied. C patronised. QUESTION 7 D praised. (1)

7.1 Read the poem carefully and then answer the questions which follow. The 7.1.4 Explain the comparison in lines 5–6 ('From rest and ... more must number of marks allocated to each question serves as a guide to the flow'). (2) expected length of your answer. 7.1.5 Using your OWN words, give TWO examples from the poem of Death Be Not Proud – John Donne causes associated with death. (2)

Death be not proud, though some have called thee 7.1.6 Identify the tone of the speaker in the last half of line 12 ('why Mighty and dreadful, for thou art not so, swell'st thou then?'). (1) For those, whom thou think'st thou dost overthrow, Die not, poor death, nor yet canst thou kill me. 7.1.7 Discuss the message of this poem. (3) From rest and sleep, which but thy pictures be, 5 Much pleasure, then from thee much more must flow, 7.1.8 Do you agree with the speaker's view of death in this poem? And soonest our best men with thee do go, Discuss your view. (3) Rest of their bones, and souls' delivery. Thou art slave to Fate, Chance, kings, and desperate men, AND And dost with poison, war, and sickness dwell. 10 And poppy or charms can make us sleep as well, 7.2 Read the poem carefully and then answer the questions which follow. The And better than thy stroke; why swell'st thou then? number of marks allocated to each question serves as a guide to the One short sleep past, we wake eternally, expected length of your answer. And death shall be no more; death, thou shalt die. Auto wreck – Karl Shapiro 7.1.1 Complete the following sentence by filling in the missing words. Write only the word next to the question number (7.1.1(a)–7.1.1(b)) Its quick soft silver bell beating, beating, in the ANSWER BOOK. And down the dark one ruby flare Pulsing out red light like an artery, This poem is a sonnet and consists of an (a) ... of eight lines and a The ambulance at top speed floating down (b) ... of six lines. (2) Past beacons and illuminated clocks 5 Wings in a heavy curve, dips down, 7.1.2 Refer to 'Death be not proud,' in line 1. And brakes speed, entering the crowd. The doors leap open, emptying light; (a) Identify the figure of speech. (1) Stretchers are laid out, the mangled lifted And stowed into the little hospital. 10 (b) Give TWO reasons why death may be 'proud'. (2) Then the bell, breaking the hush, tolls once, And the ambulance with its terrible cargo Rocking, slightly rocking, moves away, As the doors, an afterthought, are closed.

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We are deranged, walking among the cops 15 7.2.7 Refer to the last stanza. Who sweep glass and are large and composed. One is still making notes under the light. (a) Using your OWN words, say what the onlookers are One with a bucket douches ponds of blood concerned about. (1) Into the street and gutter. One hangs lanterns on the wrecks that cling, 20 (b) Identify the tone of the speaker in the last four lines of the Empty husks of locusts, to iron poles. poem. (1)

Our throats were tight as tourniquets, 7.2.8 Discuss how both the title and the content of the poem are relevant Our feet were bound with splints, but now, to modern readers. (4) Like convalescents intimate and gauche, We speak though sickly smiles and warn 25 TOTAL SECTION D: 35 With the stubborn saw of common sense, GRAND TOTAL: 70 The grim joke and the banal resolution. The traffic moves around with care, But we remain, touching a wound That opens to our richest horror. 30

Already old, the question Who shall die? Becomes unspoken Who is innocent? For death in war is done by hands; Suicide has cause and stillbirth, logic; And cancer, simple as a flower, blooms. 35 But this invites the occult mind, Cancels our physics with a sneer, And spatters all we knew of denouement Across the expedient and wicked stones.

7.2.1 Using your OWN words, describe the arrival of the ambulance in lines 1–4 ('Its quick soft ... speed floating down'). (3)

7.2.2 Why is the ambulance described as 'the little hospital' (line 10)? State TWO points. (2)

7.2.3 Compare the reaction of the onlookers to that of the policemen in lines 15–17 ('We are deranged, ... under the light.'). Use your OWN words. (2)

7.2.4 What does 'wrecks' in line 20 refer to? (1)

7.2.5 Refer to line 22 ('Our throats were tight as tourniquets').

(a) Identify the sound device. (1)

(b) Explain why this sound device is used. (2)

7.2.6 Give a reason why 'the traffic moves around with care' (line 28). (1)

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INSTRUCTIONS AND INFORMATION

1. Read this page 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: NATIONAL SECTION A: Poetry (30) SENIOR CERTIFICATE 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: GRADE 12 SECTION A: POETRY PRESCRIBED POETRY – Answer TWO questions. UNSEEN POETRY – COMPULSORY question.

SECTION B: NOVEL ENGLISH HOME LANGUAGE P2 Answer ONE question.

SECTION C: DRAMA NOVEMBER 2015 (R) Answer ONE question.

5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA): MARKS: 80 x Answer questions ONLY on the novel and the drama you have studied. TIME: 2½ hours x 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:

This question paper consists of 23 pages. x The essay question on Poetry should be answered in about 250–300 words. x Essay questions on the Novel and Drama sections should be answered in 400–450 words. x The length of answers to contextual questions should be determined by the mark allocation. Candidates should aim for conciseness and relevance.

7. Carefully follow the instructions at the beginning of each section.

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8. Number your answers correctly according to the numbering system used in TABLE OF CONTENTS this question paper. SECTION A: POETRY 9. Start EACH section on a NEW page. Prescribed Poetry: Answer ANY TWO questions. 10. Suggested time management: QUESTION NO. QUESTION MARKS PAGE NO. 1. 'Futility' Essay question 10 6 SECTION A: approximately 40 minutes SECTION B: approximately 55 minutes 2. 'Lake morning in autumn' Contextual question 10 7 SECTION C: approximately 55 minutes 3. 'Rugby league game' Contextual question 10 8 11. Write neatly and legibly. 4. 'When I have fears that I Contextual question 10 9 may cease to be' AND

Unseen Poetry: COMPULSORY question 5. 'Touched by an angel' Contextual question 10 10

SECTION B: NOVEL

Answer ONE question.* 6. Animal Farm Essay question 25 11

7. Animal Farm Contextual question 25 11

8. Pride and Prejudice Essay question 25 13

9. Pride and Prejudice Contextual question 25 13

10. The Great Gatsby Essay question 25 15

11. The Great Gatsby Contextual question 25 15

SECTION C: DRAMA

Answer ONE question.* 12. Othello Essay question 25 18

13. Othello Contextual question 25 18

14. The Crucible Essay question 25 21

15. The Crucible Contextual question 25 21

*NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question. You may NOT answer TWO essay questions or TWO contextual questions.

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CHECKLIST SECTION A: POETRY

Use this checklist to ensure that you have answered the correct number of questions. PRESCRIBED POETRY

SECTION QUESTION NO. OF TICK Answer any TWO of the following questions. NUMBERS QUESTIONS (9) ANSWERED QUESTION 1: POETRY – ESSAY QUESTION A: Poetry (Prescribed Poetry) 1–4 2 Read the poem below and then answer the question that follows. A: Poetry (Unseen Poetry) 5 1 FUTILITY – Wilfred Owen B: Novel (Essay or Contextual) 6–11 1 Move him into the sun – C: Drama Gently its touch awoke him once, (Essay or Contextual) 12–15 1 At home, whispering of fields unsown,

Always it woke him, even in France, NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question. Until this morning and this snow. 5 You may NOT answer TWO essay questions or TWO contextual questions. If anything might rouse him now The kind old sun will know.

Think how it wakes the seeds – Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, 10 Full-nerved – still warm – too hard to stir? Was it for this the clay grew tall? O what made fatuous sunbeams toil To break earth's sleep at all?

Wilfred Owen said of his poetry, 'My subject is War, and the pity of War.'

By close reference to the diction, imagery and tone used in this poem, discuss how the above statement is reflected in the poem, 'Futility'.

Your response should take the form of a well-constructed essay of 250–300 words (about ONE page). [10]

OR

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QUESTION 2: POETRY – CONTEXTUAL QUESTION QUESTION 3: POETRY – CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow. Read the poem below and then answer the questions that follow.

LAKE MORNING IN AUTUMN – Douglas Livingstone RUGBY LEAGUE GAME – James Kirkup

Before sunrise the stork was there Sport is absurd, and sad. resting the pillow of his body Those grown men. Just look, on stick legs growing from the water. In those dreary long blue shorts, Those ringed stockings, Edwardian, A flickering gust of pencil-slanted rain Balding pates, and huge 5 swept over the chill autumn morning; 5 Fat knees that ought to be heroes'. and he, too tired to arrange Grappling, hooking, gallantly tackling – his wind-buffeted plumage, Is all this courage really necessary? – perched swaying a little Taking their good clean fun neck flattened, ruminative, So solemnly, they run each other down 10 With earnest keenness, for the honour of beak on chest, contemplative eye 10 Virility, the cap, the county side. filmy with star vistas and hollow black migratory leagues, strangely, Like great boys they roll each other, In the mud of public Saturdays, ponderously alone and some weeks Groping their blind way back 15 early. The dawn struck and everything, To noble youth, away from the bank, sky, water, bird, reeds 15 The wife, the pram, the spin drier, Back to the Spartan freedom of the field. was blood and gold. He sighed. Stretching his wings he clubbed Back, back to the days when boys the air; slowly, regally, so very tired, Were men, still hopeful and untamed. 20 That was then: a gay aiming his beak he carefully climbed And golden age ago. inclining to his invisible tunnel of sky, 20 Now in vain, domesticated, his feet trailing a long, long time. Men try to be boys again.

2.1 What impression of the stork is created by the phrase, 'stick legs' (line 3)? (2) 3.1 What impression of the rugby players is created by the word, 'dreary' (line 3)? (2) 2.2 What does the word, 'regally' (line 18) suggest about the speaker's attitude toward the stork? (2) 3.2 Account for the inclusion of the rhetorical question in line 8: 'Is all this courage really necessary? –' (2) 2.3 Refer to lines 10–12: 'beak on chest … black migratory leagues'. 3.3 Refer to line 18: 'Back to the Spartan freedom of the field.' Discuss how these words contribute to the image of the stork that the speaker wishes to convey. (3) Discuss the appropriateness of this image in the context of the poem as a whole. (3) 2.4 Refer to lines 16–21: 'He sighed. Stretching … long, long time.' 3.4 Critically discuss how the tone of the last stanza reinforces the central idea of

Critically discuss how the tone of these lines reinforces a central idea of the the poem. (3) poem. (3) [10] [10] OR OR

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QUESTION 4: POETRY – CONTEXTUAL QUESTION UNSEEN POETRY (COMPULSORY)

Read the poem below and then answer the questions that follow. QUESTION 5: CONTEXTUAL QUESTION

WHEN I HAVE FEARS THAT I MAY CEASE TO BE – John Keats Read the poem below and then answer the questions that follow.

When I have fears that I may cease to be TOUCHED BY AN ANGEL – Maya Angelou Before my pen has gleaned my teeming brain, Before high-pilèd books, in charactery, We, unaccustomed to courage Hold like rich garners the full ripened grain; exiles from delight When I behold, upon the night's starred face, 5 live coiled in shells of loneliness Huge cloudy symbols of a high romance, until love leaves its high holy temple And think that I may never live to trace and comes into our sight 5 Their shadows, with the magic hand of chance; to liberate us into life. And when I feel, fair creature of an hour, That I shall never look upon thee more, 10 Love arrives Never have relish in the faery power and in its train come ecstasies Of unreflecting love; – then on the shore old memories of pleasure Of the wide world I stand alone, and think ancient histories of pain. 10 Till love and fame to nothingness do sink. Yet if we are bold, love strikes away the chains of fear 4.1 Account for the poet's choice of the expression, 'cease to be' (line 1) instead from our souls. of the word 'die'. (2) We are weaned from our timidity 4.2 What does the use of the word, 'gleaned' (line 2) convey about the speaker's In the flush of love's light 15 attitude toward achieving his goals? (2) we dare be brave And suddenly we see 4.3 Refer to lines 7–8: 'I may never ... hand of chance'. that love costs all we are and will ever be. Discuss how these words help to convey the speaker's concerns as Yet it is only love 20 expressed in the second quatrain. (3) which sets us free.

4.4 Critically discuss how the tone of the rhyming couplet reinforces the central 5.1 Account for love described as leaving from a 'high holy temple' (line 4). (2) idea of the poem. (3) [10] 5.2 What change in outlook does the word, 'Yet' (line 11) introduce? (2)

AND 5.3 Refer to lines 12–13: 'love strikes away … from our souls'.

Comment on the effectiveness of the diction used in these lines. (3)

5.4 Refer to lines 14–16: 'We are weaned ... dare be brave'.

Critically discuss how these lines reinforce the central idea of the poem. (3) [10]

TOTAL SECTION A: 30

AND

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SECTION B: NOVEL 7.2 How is the depiction of Snowball in this extract typical of his character? (3)

Answer ONLY on the novel you have studied. 7.3 Explain how this extract introduces the power struggle between Snowball and Napoleon. (3) ANIMAL FARM – George Orwell

7.4 Discuss the symbolism of the windmill in the novel as a whole. (3) Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual question). AND

QUESTION 6: ANIMAL FARM – ESSAY QUESTION EXTRACT B

'Power cannot be used for good. It can only be used for keeping power.' But still, neither pigs nor dogs produced any food by their own labour; and there were (Miklas Jansko) very many of them, and their appetites were always good.

Critically assess the validity of the above statement in relation to Animal Farm. As for the others, their life, so far as they knew, was as it had always been. They were

Your response should take the form of a well-constructed essay of 400–450 words generally hungry, they slept on straw, they drank from the pool, they laboured in the (2–2½ pages). [25] fields; in winter they were troubled by the cold, and in summer by the flies. Sometimes 5 the older ones among them racked their dim memories and tried to determine whether OR in the early days of the Rebellion, when Jones's expulsion was still recent, things had been better or worse than now. They could not remember. There was nothing with QUESTION 7: ANIMAL FARM – CONTEXTUAL QUESTION which they could compare their present lives: they had nothing to go upon except Squealer's lists of figures, which invariably demonstrated that everything was getting 10 Read the extracts below and then answer the questions that follow. better and better. The animals found the problem insoluble; in any case they had little time for speculating on such things now. Only old Benjamin professed to remember EXTRACT A every detail of his long life and to know that things never had been, nor ever could be, much better or much worse – hunger, hardship and disappointment being, so he said, Within a few weeks Snowball's plans for the windmill were fully worked out. The the unalterable law of life. 15 mechanical details came mostly from three books which had belonged to Mr Jones – And yet the animals never gave up hope. More, they never lost, even for an instant, ... their sense of honour and privilege in being members of Animal Farm. They were still the only farm in the whole country – in all England! – owned and operated by animals. Snowball used as his study a shed which had once been used for incubators and had Not one of them, not even the youngest, not even the newcomers who had been a smooth wooden floor, suitable for drawing on. He was closeted there for hours at a brought from farms ten or twenty miles away, ever ceased to marvel at that. 20 time. With his books held open by a stone, and with a piece of chalk gripped between 5 [Chapter 10] the knuckles of his trotter, he would move rapidly to and fro, drawing in line after line and uttering little whimpers of excitement. Gradually the plans grew into a complicated 7.5 How does this extract highlight the betrayal of old Major's dream? (3) mass of cranks and cog-wheels, covering more than half the floor, which the other animals found completely unintelligible but very impressive. All of them came to look at 7.6 Earlier in the novel, old Major says that the Seven Commandments 'would Snowball's drawings at least once a day. Even the hens and ducks came, and were at 10 form an unalterable law by which all the animals ... must live for ever after'. pains not to tread on the chalk marks. Only Napoleon held aloof. He had declared himself against the windmill from the start. One day, however, he arrived unexpectedly Explain the irony of Benjamin's use of the phrase, 'the unalterable law of life' to examine the plans. He walked heavily round the shed, looked closely at every detail (line 15) in the light of old Major's words. (3) of the plans and snuffed at them once or twice, then stood for a little while contemplating them out of the corner of his eye; then suddenly he lifted his leg, 15 7.7 Refer to line 16: 'And yet the animals never gave up hope.' urinated over the plans and walked out without uttering a word.

[Chapter 5] By referring to the novel as a whole, critically discuss whether the animals are

7.1 The pigs are the cleverest and most cunning animals on the farm. justified in never giving up hope. (3)

Give evidence from elsewhere in the novel to support this statement. (3)

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7.8 In Animal Farm the corruption and failure of the revolution are presented as 9.1 Explain how Elizabeth's concerns about Lydia's visit to Brighton will prove to inevitable. be well-founded. (3)

Do you agree with this point of view? Present your argument with close 9.2 Refer to lines 7–8: ' "Already arisen?" repeated Mr Bennet. "What, has she reference to the novel. (4) frightened away some of your lovers?" ' [25]

OR How is Mr Bennet's tone in these lines consistent with his character? (3)

PRIDE AND PREJUDICE – Jane Austen 9.3 Discuss what the words, 'importance' and 'respectability' (line 12) convey about what is expected of women in Austen's society. (3) Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual question). 9.4 Comment on the extent to which Elizabeth's concerns, as expressed in this extract, are typical of her. (3)

QUESTION 8: PRIDE AND PREJUDICE – ESSAY QUESTION AND

Pride and Prejudice is a commentary on the power relations between families and EXTRACT B individuals in their attempts to realise their ambitions. To complete the favourable impression, she then told him [Mr Bennet] what Mr Darcy

Critically assess the validity of the above statement. had voluntarily done for Lydia. He heard her with astonishment.

Your response should take the form of a well-constructed essay of 400–450 words 'This is an evening of wonders, indeed! And so, Darcy did everything – made up the (2–2½ pages). [25] match, gave the money, paid the fellow's debts, and got him his commission! So much OR the better. It will save me a world of trouble and economy. Had it been your uncle's 5 doing, I must and would have paid him; but these violent young lovers carry everything QUESTION 9: PRIDE AND PREJUDICE – CONTEXTUAL QUESTION their own way. I shall offer to pay him to-morrow: he will rant and storm about his love for you, and there will be an end of the matter.' He then recollected her embarrassment Read the extracts below and then answer the questions that follow. a few days before, on his reading Mr Collins's letter … .

EXTRACT A …

'Lydia will never be easy till she has exposed herself in some public place or other, and [Mrs Bennet said] 'Good gracious! Lord bless me! Only think! Dear me! Mr Darcy! Who 10 we can never expect her to do it with so little expense or inconvenience to her family would have thought it? And is it really true? Oh, my sweetest Lizzy! How rich and how as under the present circumstances.' great you will be! What pin-money, what jewels, what carriages you will have! Jane's is nothing to it – nothing at all. I am so pleased – so happy! Such a charming man! – so 'If you were aware,' said Elizabeth, 'of the very great disadvantage to us all, which handsome! So tall! – Oh, my dear Lizzy! Pray apologise for my having disliked him so must arise from the public notice of Lydia's unguarded and imprudent manner – nay, 5 much before, I hope he will overlook it. Dear, dear Lizzy! A house in town! Everything 15 which has already arisen from it, I am sure you would judge differently in the affair.' that is charming! Three daughters married! Ten thousand a year! Oh, Lord! What will become of me? I shall go distracted.' 'Already arisen?' repeated Mr Bennet. 'What, has she frightened away some of your [Chapter 59] lovers? Poor little Lizzy! But do not be cast down. Such squeamish youths as cannot bear to be connected with a little absurdity are not worth a regret. Come, let me see 9.5 Refer to lines 3–4: 'Darcy did everything ... him his commission!' the list of pitiful fellows who have been kept aloof by Lydia's folly.' 10 What has motivated Darcy's decision to act in this way? (3) 'Indeed you are mistaken. I have no such injuries to resent. It is not of peculiar, but of general evils, which I am now complaining. Our importance, our respectability in the 9.6 By referring to the letter mentioned in line 9, critically comment on Mr Collins's world, must be affected by the wild volatility, the assurance and disdain of all restraint being a self-appointed counsellor to the Bennet family. (3) which mark Lydia's character. Excuse me, – for I must speak plainly. If you, my dear father, will not take the trouble of checking her exuberant spirits, and of teaching her 15 9.7 Refer to lines 10–17: '[Mrs Bennet said] ... shall go distracted.' that her present pursuits are not to be the business of her life, she will soon be beyond the reach of amendment.' Using the above lines as a point of departure, discuss how the character of [Chapter 41] Mrs Bennet is satirised. (3)

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9.8 Austen provides a critical commentary on the need for women to have I insisted on paying the check. As the waiter brought my change I caught sight of Tom a favourable social status. Buchanan across the crowded room.

Do you agree with this point of view? Present your argument with close 'Come along with me for a minute,' I said; 'I've got to say hello to someone.' 15 reference to the novel. (4) [25] When he saw us Tom jumped up and took half a dozen steps in our direction.

OR 'Where've you been?' he demanded eagerly. 'Daisy's furious because you haven't called up.' THE GREAT GATSBY – F Scott Fitzgerald 'This is Mr Gatsby, Mr Buchanan.' Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual question). They shook hands briefly, and a strained, unfamiliar look of embarrassment came over 20 Gatsby's face. QUESTION 10: THE GREAT GATSBY – ESSAY QUESTION [Chapter 4]

Wealth and status are the dominant sources of power in the society presented 11.1 Refer to lines 1–2: 'Gatsby hesitated, then … back in 1919.' in The Great Gatsby. Account for Gatsby's hesitation in these lines. (3) Critically assess the validity of the above statement. 11.2 Refer to lines 20–21: 'They shook hands ... over Gatsby's face.' Your response should take the form of a well-constructed essay of 400–450 words (2–2½ pages). [25] Explain how Gatsby's reaction to Tom will later prove to be justifiable. (3)

OR 11.3 Explain what the fixing of the World's Series suggests about the American Dream. (3) QUESTION 11: THE GREAT GATSBY – CONTEXTUAL QUESTION 11.4 Refer to lines 4–6: 'I remembered, of … some inevitable chain.' Read the extracts below and then answer the questions that follow. Discuss whether Nick's response, as expressed in these lines, is typical EXTRACT A of him. (3)

AND 'Meyer Wolfshiem? No, he's a gambler.' Gatsby hesitated, then added coolly: 'He's the man who fixed the World's Series back in 1919.' EXTRACT B

'Fixed the World's Series?' I repeated. 'Who is this Gatsby anyhow?' demanded Tom suddenly. 'Some big bootlegger?'

The idea staggered me. I remembered, of course, that the World's Series had been 'Where'd you hear that?' I inquired. fixed in 1919, but if I had thought of it at all I would have thought of it as a thing that 5 merely happened, the end of some inevitable chain. It never occurred to me that one 'I didn't hear it. I imagined it. A lot of these newly rich people are just big bootleggers, man could start to play with the faith of fifty million people – with the single-mindedness you know.' of a burglar blowing a safe. 'Not Gatsby,' I said shortly. 5 'How did he happen to do that?' I asked after a minute. He was silent for a moment. The pebbles of the drive crunched under his feet. 'He just saw the opportunity.' 10 'Well, he certainly must have strained himself to get this menagerie together.' 'Why isn't he in jail?' A breeze stirred the grey haze of Daisy's fur collar. 'They can't get him, old sport. He's a smart man.' 'At least they are more interesting than the people we know,' she said with an effort.

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'You didn't look so interested.' 10 SECTION C: DRAMA

… Answer ONLY on the play you have studied.

Daisy began to sing with the music in a husky, rhythmic whisper, bringing out a OTHELLO – William Shakespeare meaning in each word that it had never had before and would never have again. When the melody rose her voice broke up sweetly, following it, in a way contralto voices Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual have, and each change tipped out a little of her warm human magic upon the air. question).

'Lots of people come who haven't been invited,' she said suddenly. 'That girl hadn't 15 QUESTION 12: OTHELLO – ESSAY QUESTION been invited. They simply force their way in and he's too polite to object.' Referring to Cassio, Iago says: 'He hath a daily beauty in his life,/That makes me ugly'. 'I'd like to know who he is and what he does,' insisted Tom. 'And I think I'll make a point of finding out.' Critically discuss how Othello demonstrates that, when characters feel inferior to others, the results are destructive. 'I can tell you right now,' she answered. 'He owned some drugstores, a lot of drugstores. He built them up himself.' 20 Your response should take the form of a well-constructed essay of 400–450 words [Chapter 6] (2–2½ pages). [25]

11.5 Refer to line 11: 'Daisy began to sing'. OR

Account for Daisy's choosing to start singing at this point in the conversation. (3) QUESTION 13: OTHELLO – CONTEXTUAL QUESTION

11.6 Refer to line 5: ' "Not Gatsby," I said shortly.' Read the extracts below and then answer the questions that follow.

Critically discuss Nick's defence of Gatsby. (3) EXTRACT A

11.7 Refer to lines 17–18: 'I'd like to … of finding out.' OTHELLO Why did I marry? This honest creature doubtless Comment on the irony of Tom's determination to investigate Gatsby's Sees and knows more, much more, than he unfolds. business deals. (3) IAGO (Returning) My lord, I would I might entreat your honour 11.8 Fitzgerald provides a critical commentary on how money and power corrupt To scan this thing no further. Leave it to time. social values and morality. Though it be fit that Cassio have his place 5 (For sure he fills it up with great ability) Do you agree with this point of view? Present your argument with close Yet if you please to hold him off a while, reference to the novel. (4) You shall by that perceive him and his means; [25] Note if your lady strain his entertainment With any strong or vehement importunity. 10 TOTAL SECTION B: 25 Much will be seen in that. In the meantime, Let me be thought too busy in my fears AND (As worthy cause I have to fear I am) And hold her free, I do beseech your honour. OTHELLO Fear not my government. 15 IAGO I once more take my leave. Off

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OTHELLO EXTRACT B This fellow's of exceeding honesty, And knows all qualities, with a learned spirit, DESDEMONA Of human dealing. If I do prove her haggard, 20 O good Iago, Though that her jesses were my dear heart-strings, What shall I do to win my lord again? I'd whistle her off, and let her down the wind Good friend, go to him, for by this light of heaven To prey at fortune. Haply, for I am black I know not how I lost him. Here I kneel. And have not those soft parts of conversation If e'er my will did trespass 'gainst his love 5 That chamberers have, or for I am declined 25 Either in discourse of thought or actual deed, Into the vale of years (yet that's not much), Or that mine eyes, mine ears, or any sense, She's gone. I am abused, and my relief Delighted them in any other form, Must be to loathe her. O, curse of marriage, Or that I do not yet, and ever did, That we can call these delicate creatures ours And ever will (though he do shake me off 10 And not their appetites! I had rather be a toad 30 To beggarly divorcement) love him dearly, And live upon the vapour of a dungeon Comfort forswear me! Unkindness may do much, Than keep a corner in the thing I love And his unkindness may defeat my life, For others' uses. Yet 'tis the plague of great ones: But never taint my love. I cannot say 'whore'; Prerogatived are they less than the base. It does abhor me now I speak the word. 15 'Tis destiny unshunnable, like death. 35 To do the act that might the addition earn Even then this forked plague is fated to us Not the world's mass of vanity could make me. When we do quicken. Look where she comes: IAGO Re-enter Desdemona and Emilia I pray you, be content; 'tis but his humour. If she be false, O, then heaven mocks itself! The business of the State does him offence, I'll not believe't. 40 And he does chide with you. 20 [Act 3, Scene 3] [Act 4, Scene 2]

13.1 Explain why it is possible for Othello to so readily believe Iago. (3) 13.6 Refer to lines 1–2: 'O good Iago, … my lord again?'

13.2 Refer to lines 3–4: 'My lord, I ... thing no further.' Explain why Desdemona appeals to Iago for assistance. (3)

Account for Iago's plea in these lines. (3) 13.7 In line 4, Desdemona says, 'Here I kneel.'

13.3 Refer to lines 5–6: 'Though it be ... with great ability)'. Earlier in the play, Othello also kneels as he takes what he regards as a sacred vow. Explain the irony of Iago's words. (3) Critically compare and contrast the two vows. (3) 13.4 Refer to lines 18–20: 'This fellow's of … Of human dealing.' 13.8 In EXTRACT A, lines 39–40, Othello says of Desdemona, 'If she be … I'll not In your opinion, is Othello's assessment of Iago's character justified? believe't.' Substantiate your response. (3) Is this assessment of Desdemona's character reinforced in EXTRACT B? 13.5 Refer to lines 30–33: 'I had rather … For others' uses.' Justify your response. (4) [25] Discuss how Othello's tone in these lines reflects a change in his state of mind. (3) OR

AND

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THE CRUCIBLE – Arthur Miller 15.1 Refer to lines 1–2: 'I have good reason to think before I charge fraud on Abigail'. Answer EITHER QUESTION 14 (essay question) OR QUESTION 15 (contextual question). Explain why Proctor is reluctant to 'charge fraud on Abigail'. (3)

QUESTION 14: THE CRUCIBLE – ESSAY QUESTION 15.2 Refer to lines 8–9: 'and still an everlasting funeral marches round your heart'.

What does Proctor's comment suggest about Elizabeth's attitude toward him? (3) The Crucible demonstrates that human behaviour is all too often directed by ulterior motives that result in destruction. 15.3 Refer to the stage direction in line 21: 'Strangely, she doesn't resist him'.

Critically discuss the extent to which you agree with the above statement. Suggest why Mary Warren's reaction might be considered strange. (3)

Your response should take the form of a well-constructed essay of 400–450 words 15.4 The trials are referred to as 'proceedings' (line 24) rather than as 'witch trials'. (2–2½ pages). [25]

OR Comment on the implications of the choice of the word, 'proceedings'. (3)

QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION 15.5 Refer to line 12: 'The magistrate sits in your heart that judges you.'

Read the extracts below and then answer the questions that follow. Discuss the validity of Elizabeth's assessment of Proctor in light of later events in the play. (3)

EXTRACT A AND

PROCTOR (with solemn warning): You will not judge me more, Elizabeth. I have EXTRACT B good reason to think before I charge fraud on Abigail, and I will think on it. Let you look to your own improvement before you go to judge your PROCTOR Then who will judge me? (Suddenly clasping his hands.) God in Heaven, husband any more. I have forgot Abigail, and – what is John Proctor, what is John Proctor? (He moves as an animal, and ELIZABETH And I. 5 a fury is riding in him, a tantalized search.) I think it is honest, I think so; I PROCTOR Spare me! You forget nothin' and forgive nothin'. Learn charity, woman. am no saint. (As though she had denied this he calls angrily at her.) Let I have gone tiptoe in this house all seven month since she is gone. I have Rebecca go like a saint; for me it is fraud! 5 not moved from there to there without I think to please you, and still an everlasting funeral marches round your heart. I cannot speak but I am Voices are heard in the hall, speaking together in suppressed excitement. doubted, every moment judged for lies, as though I come into a court 10 ELIZABETH I am not your judge, I cannot be. (As though giving him release) Do as you when I come into this house! will, do as you will! ... PROCTOR Would you give them such a lie? Say it. Would you ever give them this? (She cannot answer.) You would not; if tongs of fire were singeing you 10 ELIZABETH I do not judge you. The magistrate sits in your heart that judges you. you would not! It is evil. Good, then – it is evil, and I do it! I never thought you but a good man, John – (with a smile) – only somewhat bewildered. HATHORNE enters with DANFORTH, and, with them, CHEEVER, PROCTOR (laughing bitterly): Oh, Elizabeth, your justice would freeze beer! (He turns 15 PARRIS, and HALE. It is a businesslike, rapid entrance, as though the ice suddenly toward a sound outside. He starts for the door as MARY had been broken. WARREN enters. As soon as he sees her, he goes directly to her and grabs her by her cloak, furious.) How do you go to Salem when I forbid it? DANFORTH (with great relief and gratitude): Praise to God, man, praise to God; you 15 Do you mock me? (Shaking her.) I'll whip you if you dare leave this house shall be blessed in Heaven for this. (CHEEVER has hurried to the bench again! 20 with pen, ink, and paper. PROCTOR watches him.) Now then, let us have it. Are you ready, Mr Cheever? Strangely, she doesn't resist him, but hangs limply by his grip. PROCTOR (with a cold, cold horror at their efficiency): Why must it be written? DANFORTH Why, for the good instruction of the village, Mister; this we shall post upon 20 MARY I am sick, I am sick, Mr Proctor. Pray, pray, hurt me not. (Her strangeness the church door! (To Parris, urgently.) Where is the marshal? throws him off, and her evident pallor and weakness. He frees her.) My PARRIS (runs to the door and calls down the corridor): Marshal! Hurry! insides are all shuddery; I am in the proceedings all day, sir. [Act 4] [Act 2]

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15.6 Refer to line 19: 'Why must it be written?'

With reference to the extract as a whole, critically comment on Proctor's conflicting feelings about the confession. (3)

15.7 Comment on the significance of 'cold, cold horror' (line 19) in the context of the play as a whole. (3)

15.8 In EXTRACT A, line 13, Elizabeth says, 'I never thought you but a good man, John'.

Is this assessment of Proctor's character reinforced in EXTRACT B? Justify NATIONAL your response. (4) SENIOR CERTIFICATE [25]

TOTAL SECTION C: 25 GRAND TOTAL: 80

GRADE 12

ENGLISH HOME LANGUAGE P2

NOVEMBER 2016

MARKS: 80

TIME: 2½ hours

This question paper consists of 26 pages.

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INSTRUCTIONS AND INFORMATION 8. Number your answers correctly according to the numbering system used in this question paper. 1. Read this page carefully before you begin to answer the questions. 9. Start EACH section on a NEW page. 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 10. Suggested time management: studied this year. Thereafter, read these questions and choose the ones you wish to answer. SECTION A: approximately 40 minutes SECTION B: approximately 55 minutes 3. This question paper consists of THREE sections: SECTION C: approximately 55 minutes

SECTION A: Poetry (30 marks) 11. Write neatly and legibly. SECTION B: Novel (25 marks) SECTION C: Drama (25 marks)

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 POETRY – 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):

x Answer questions ONLY on the novel and the drama you have studied. x 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:

x The essay question on Poetry should be answered in about 250–300 words. x Essay questions on the Novel and Drama sections should be answered in 400–450 words. x 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.

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TABLE OF CONTENTS CHECKLIST

Use this checklist to ensure that you have answered the correct number of questions. SECTION A: POETRY SECTION QUESTION NO. OF TICK Prescribed Poetry: Answer ANY TWO questions. NUMBERS QUESTIONS (9) QUESTION NO. QUESTION MARKS PAGE NO. ANSWERED 1. 'On the Move' Essay question 10 6 A: Poetry (Prescribed Poetry) 1–4 2 2. 'Lake Morning in Autumn' Contextual question 10 8 A: Poetry (Unseen Poem) 5 1 3. 'The Wild Doves at Louis Trichardt' Contextual question 10 9 B: Novel (Essay or Contextual) 6–11 1 4. 'London' Contextual question 10 10 C: Drama AND (Essay or Contextual) 12–15 1

Unseen Poetry: COMPULSORY question NOTE: In Sections B and C, ensure that you have answered ONE ESSAY and 5. 'Two Birds' Contextual question 10 11 ONE CONTEXTUAL question. You may NOT answer TWO essay or TWO contextual questions. SECTION B: NOVEL

Answer ONE question.* 6. Animal Farm Essay question 25 12

7. Animal Farm Contextual question 25 12

8. Pride and Prejudice Essay question 25 15

9. Pride and Prejudice Contextual question 25 15

10. The Great Gatsby Essay question 25 17

11. The Great Gatsby Contextual question 25 17

SECTION C: DRAMA

Answer ONE question.* 12. Othello Essay question 25 20

13. Othello Contextual question 25 20

14. The Crucible Essay question 25 24

15. The Crucible Contextual question 25 24

*NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question. You may NOT answer TWO essay or TWO contextual questions.

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SECTION A: POETRY A minute holds them, who have come to go: The self-defined, astride the created will PRESCRIBED POETRY They burst away; the towns they travel through 35 Are home for neither bird nor holiness, Answer any TWO of the following questions. For birds and saints complete their purposes. At worst, one is in motion; and at best, QUESTION 1: POETRY – ESSAY QUESTION Reaching no absolute, in which to rest, One is always nearer by not keeping still. 40 Read the poem below and then answer the question that follows. In 'On the Move', the speaker suggests that humanity's constant search for purpose is ON THE MOVE – Thom Gunn never achieved.

'Man, you gotta Go.' By close reference to diction, imagery and tone, critically discuss this statement.

The blue jay scuffling in the bushes follows Your response should take the form of a well-constructed essay of 250–300 words Some hidden purpose, and the gust of birds (about ONE page). [10] That spurts across the field, the wheeling swallows, Have nested in the trees and undergrowth. Seeking their instinct, or their poise, or both, 5 One moves with an uncertain violence Under the dust thrown by a baffled sense Or the dull thunder of approximate words.

On motorcycles, up the road, they come: Small, black, as flies hanging in heat, the Boys, 10 Until the distance throws them forth, their hum Bulges to thunder held by calf and thigh. In goggles, donned impersonality, In gleaming jackets trophied with the dust, They strap in doubt – by hiding it, robust – 15 And almost hear a meaning in their noise.

Exact conclusion of their hardiness Has no shape yet, but from known whereabouts They ride, direction where the tires press. They scare a flight of birds across the field: 20 Much that is natural, to the will must yield. Men manufacture both machine and soul, And use what they imperfectly control To dare a future from the taken routes.

It is part solution, after all. 25 One is not necessarily discord On earth; or damned because, half animal, One lacks direct instinct, because one wakes Afloat on movement that divides and breaks. One joins the movement in a valueless world, 30 Choosing it, till, both hurler and the hurled, One moves as well, always toward, toward.

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QUESTION 3: POETRY – CONTEXTUAL QUESTION QUESTION 2: POETRY – CONTEXTUAL QUESTION Read the poem below and then answer the questions that follow. Read the poem below and then answer the questions that follow. THE WILD DOVES AT LOUIS TRICHARDT – William Plomer

LAKE MORNING IN AUTUMN – Douglas Livingstone Morning is busy with long files Of ants and men, all bearing loads. Before sunrise the stork was there The sun's gong beats, and sweat runs down. resting the pillow of his body A mason-hornet shapes his hanging house. on stick legs growing from the water. In a wide flood of flowers 5 Two crested cranes are bowing to their food. A flickering gust of pencil-slanted rain From the north today there is ominous news. swept over the chill autumn morning: 5 and he, too tired to arrange Midday, the mad cicada-time. Sizzling from every open valve his wind-buffeted plumage, Of the overheated earth 10 perched swaying a little The stridulators din it in – neck flattened, ruminative, Intensive and continuing praise Of the white-hot zenith, shrilling on beak on chest, contemplative eye 10 Toward a note too high to bear. filmy with star vistas and hollow black migratory leagues, strangely, Oven of afternoon, silence of heat. 15 In shadow, or in shaded rooms, ponderously alone and some weeks This face is hidden in folded arms, early. The dawn struck and everything, That face is now a sightless mask, sky, water, bird, reeds 15 Tree-shadow just includes those legs. The people have all lain down, and sleep 20 was blood and gold. He sighed. In attitudes of the sick, the shot, the dead.

Stretching his wings he clubbed And now in the grove the wild doves begin, the air; slowly, regally, so very tired, Whose neat silk heads are never still, Bubbling their coolest colloquies. aiming his beak he carefully climbed The formulae they liquidly pronounce 25 inclining to his invisible tunnel of sky, 20 In secret tents of leaves imply his feet trailing a long, long time. (Clearer than man-made music could) Men being absent, Africa is good. 2.1 What does the word, 'growing' (line 3) suggest about the stork's relationship with nature? (2) 3.1 What does the word, 'mad' (line 8) suggest about man's reaction to 'midday' (line 8)? (2) 2.2 Explain the effect of the repetition of the word, 'long' in the final line of the poem. (2) 3.2 Refer to line 6: 'Two crested cranes are bowing to their food.'

2.3 Refer to lines 17–18: 'Stretching his wings he clubbed/the air'. Explain what the description conveys about nature. (2)

3.3 Refer to line 25: 'The formulae they liquidly pronounce'. Comment on the appropriateness of this image in the context of the poem. (3) Comment on the appropriateness of 'liquidly pronounce' in the context of the 2.4 Livingstone expresses his admiration of the stork's ability to overcome poem. (3) adversity. 3.4 The speaker's attitude is that man does not belong in Africa. Do you agree with this statement? Justify your response by referring to imagery and/or diction. (3) Do you agree with this statement? Justify your response by referring to [10] imagery and/or diction. (3) [10] Copyright reserved Please turn over Copyright reserved Please turn over English Home Language/P2 10 DBE/November 2016 English Home Language/P2 11 DBE/November 2016 NSC NSC

QUESTION 4: POETRY – CONTEXTUAL QUESTION UNSEEN POETRY (COMPULSORY)

QUESTION 5: CONTEXTUAL QUESTION Read the poem below and then answer the questions that follow. Read the poem below and then answer the questions that follow. LONDON – William Blake TWO BIRDS – David Farrell I wander thro' each charter'd street, Near where the charter'd Thames does flow. I And mark in every face I meet Marks of weakness, marks of woe. Punched out of the sky by a BB pellet the sparrow I mended as a boy In every cry of every Man, 5 ignorant of Darwin In every Infant's cry of fear, carted its splint like a veteran In every voice: in every ban, drank hugely from a dropper; 5 The mind-forg'd manacles I hear began one morning to throb like a valve and freed, groped up the air How the Chimney-sweeper's cry beat over beat, accelerating Every blackening Church appalls, 10 circled once and chopped away cleanly And the hapless Soldier's sigh as a salute. 10 Runs in blood down Palace walls II

But most thro' midnight streets I hear Fear pistoned the wagtail I found How the youthful Harlot's curse washed down by a thunderstorm Blasts the new-born Infant's tear 15 banging shocked from brick to brick on the stoep And blights with plagues the Marriage hearse. till I scooped it up: pounding wet in my fist as a plucked out heart. 15 4.1 What does the word, 'marks' (line 4) suggest about the relationship between A live jewel in cotton wool the people and the city? (2) all afternoon the body strummed in silence except when it hacked wildly at the dropper: 4.2 Explain the effect of the word, 'hapless' (line 11) in the context of the poem. (2) my nearness polished the flat eyes with hate and experience stretched the ready neck 20 4.3 Refer to line 8: 'The mind-forg'd manacles I hear'. as I nursed the wagtail into its death – for knowledge, after all, fitted both of us Comment on the appropriateness of this image in the context of the poem. (3) for nothing else.

4.4 In the fourth stanza, the speaker expresses his horror of living in the London of his time. 5.1 How does the word, 'Punched' (line 1), contribute to your understanding of what happened to the sparrow? (2)

Do you agree with this statement? Justify your response by referring to 5.2 Explain what the word, 'groped' (line 7), conveys about the sparrow's imagery and/or diction. (3) movement. (2) [10] 5.3 Refer to line 17: 'all afternoon the body strummed in silence'. AND Explain the appropriateness of the image in the context of the poem. (3)

5.4 Refer to lines 20–21: 'and experience stretched ... into its death – '.

Discuss the paradox in these lines. (3) [10]

TOTAL SECTION A: 30

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SECTION B: NOVEL But sometimes you might make the wrong decisions, comrades, and then where should we be? Suppose you had decided to follow Snowball, with his moonshine of Answer ONLY on the novel you have studied. windmills – Snowball, who, as we now know, was no better than a criminal?'

ANIMAL FARM – George Orwell … Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual question). One false step, and our enemies would be upon us. Surely, comrades, you do not want Jones back?' 25 QUESTION 6: ANIMAL FARM – ESSAY QUESTION [Chapter 5]

The animals on Animal Farm are victims of circumstance rather than of their own flaws. 7.1 Refer to line 5: 'Even Boxer was vaguely troubled.'

Critically discuss the extent to which you agree with the above statement. What does this line imply about the announcement that has just been made by Napoleon? (3) Your response should take the form of a well-constructed essay of 400–450 words (2–2½ pages). [25] 7.2 Contrast the mood of this meeting and that of the initial meeting at which old Major had shared his vision for the future. (3) QUESTION 7: ANIMAL FARM – CONTEXTUAL QUESTION 7.3 Discuss fully the effect of any ONE of the propaganda techniques used by Read the extracts below and then answer the questions that follow. Squealer in this extract. (3)

EXTRACT A 7.4 Refer to line 6: '[Boxer] tried hard to marshal his thoughts'.

[Napoleon] announced that from now on the Sunday-morning Meetings would come to With reference to the novel as a whole, comment on how Boxer's difficulty in an end. They were unnecessary, he said, and wasted time. 'marshal[ling] his thoughts' allows him and, by implication, the other animals to be exploited by the pigs. (3) ... AND In spite of the shock that Snowball's expulsion had given them, the animals were dismayed by this announcement. Several of them would have protested if they could EXTRACT B have found the right arguments. Even Boxer was vaguely troubled. He set his ears 5 back, shook his forelock several times, and tried hard to marshal his thoughts; but in But as the animals outside gazed at the scene, it seemed to them that some strange the end he could not think of anything to say. Some of the pigs themselves, however, thing was happening. What was it that had altered in the faces of the pigs? Clover's old were more articulate. Four young porkers in the front row uttered shrill squeals of dim eyes flitted from one face to another. Some of them had five chins, some had four, disapproval, and all four of them sprang to their feet and began speaking at once. But some had three. But what was it that seemed to be melting and changing? Then, the suddenly the dogs sitting round Napoleon let out deep, menacing growls, and the pigs 10 applause having come to an end, the company took up their cards and continued the 5 fell silent and sat down again. Then the sheep broke out into a tremendous bleating of game that had been interrupted, and the animals crept silently away. 'Four legs good, two legs bad!' which went on for nearly a quarter of an hour and put an end to any chance of discussion. But they had not gone twenty yards when they stopped short. An uproar of voices was coming from the farmhouse. They rushed back and looked through the window again. Afterwards Squealer was sent round the farm to explain the new arrangement to the Yes, a violent quarrel was in progress. There were shoutings, bangings on the table, others. 15 sharp suspicious glances, furious denials. The source of the trouble appeared to be 10 that Napoleon and Mr Pilkington had each played an ace of spades simultaneously. 'Comrades,' he said, 'I trust that every animal here appreciates the sacrifice that Comrade Napoleon has made in taking this extra labour upon himself. Do not imagine, Twelve voices were shouting in anger, and they were all alike. No question, now, what comrades, that leadership is a pleasure! On the contrary, it is a deep and heavy had happened to the faces of the pigs. The creatures outside looked from pig to man, responsibility. No one believes more firmly than Comrade Napoleon that all animals and from man to pig, and from pig to man again: but already it was impossible to say are equal. He would be only too happy to let you make your decisions for yourselves. 20 which was which. 15 [Chapter 10]

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7.5 Refer to lines 3–4: 'Some of them had five chins, some had four, some had PRIDE AND PREJUDICE – Jane Austen three.' Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual What does this description suggest about the pigs' lifestyle at this point in the question).

novel? (3) QUESTION 8: PRIDE AND PREJUDICE – ESSAY QUESTION

7.6 Refer to line 1: 'But as the animals outside gazed at the scene'. The characters in Pride and Prejudice are victims of circumstance rather than of their own flaws. Explain the irony of the animals' being on the 'outside' of the house. (3) Critically discuss the extent to which you agree with the above statement. 7.7 Refer to lines 10–11: 'The source of the trouble ... ace of spades simultaneously.' Your response should take the form of a well-constructed essay of 400–450 words (2–2½ pages). [25] Comment on the significance of this statement in the context of the novel as a whole. (3) QUESTION 9: PRIDE AND PREJUDICE – CONTEXTUAL QUESTION

7.8 In EXTRACT A, Squealer portrays Napoleon as a caring leader while Read the extracts below and then answer the questions that follow. Snowball is 'no better than a criminal' (line 23). EXTRACT C

Using your knowledge of the novel as a whole, critically discuss the validity of 'His pride,' said Miss Lucas, 'does not offend me so much as pride often does, because this portrayal. (4) there is an excuse for it. One cannot wonder that so very fine a young man, with family, [25] fortune, everything in his favour, should think highly of himself. If I may so express it,

he has a right to be proud.'

'That is very true,' replied Elizabeth, 'and I could easily forgive his pride, if he had not 5 mortified mine.'

'Pride,' observed Mary, who piqued herself upon the solidity of her reflections, 'is a very common failing, I believe. By all that I have ever read, I am convinced that it is very common indeed; that human nature is particularly prone to it, and that there are very few of us who do not cherish a feeling of self-complacency on the score of some 10 quality or the other, real or imaginary. Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves, vanity to what we would have others think of us.' [Chapter 5]

9.1 What has prompted this discussion of Darcy? (3)

9.2 Refer to lines 3–4: 'If I may so express it, he has a right to be proud.'

How is this statement characteristic of Miss Lucas? (3)

9.3 Refer to lines 5–6: 'I could easily forgive his pride, if he had not mortified mine.'

Comment on how this humiliation of Elizabeth influences her later behaviour. (3)

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EXTRACT D THE GREAT GATSBY – F Scott Fitzgerald

In spite of having been at St James's Sir William was so completely awed by the Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual grandeur surrounding him, that he had but just courage enough to make a very low question). bow, and take his seat without saying a word; and his daughter, frightened almost out of her senses, sat on the edge of her chair, not knowing which way to look. Elizabeth QUESTION 10: THE GREAT GATSBY – ESSAY QUESTION found herself quite equal to the scene, and could observe the three ladies before her 5 composedly. – Lady Catherine was a tall, large woman, with strongly-marked features, The characters in The Great Gatsby are victims of circumstance rather than of their which might once have been handsome. Her air was not conciliating, nor was her own flaws. manner of receiving them such as to make her visitors forget their inferior rank. She was not rendered formidable by silence; but whatever she said was spoken in so Critically discuss the extent to which you agree with the above statement. authoritative a tone, as marked her self-importance, and brought Mr Wickham 10 immediately to Elizabeth's mind; and from the observation of the day altogether, she Your response should take the form of a well-constructed essay of 400–450 words believed Lady Catherine to be exactly what he had represented. (2–2½ pages). [25]

… QUESTION 11: THE GREAT GATSBY – CONTEXTUAL QUESTION The dinner was exceedingly handsome, and there were all the servants and all the articles of plate which Mr Collins had promised; and, as he had likewise foretold, he Read the extracts below and then answer the questions that follow. took his seat at the bottom of the table, by her ladyship's desire, and looked as if he felt 15 that life could furnish nothing greater. He carved, and ate, and praised with delighted EXTRACT E alacrity; and every dish was commended, first by him and then by Sir William, who was now enough recovered to echo whatever his son-in-law said, in a manner which Then [Myrtle] flounced over to the dog, kissed it with ecstasy, and swept into the Elizabeth wondered Lady Catherine could bear. But Lady Catherine seemed gratified kitchen, implying that a dozen chefs awaited her orders there. by their excessive admiration, and gave most gracious smiles, especially when any 20 dish on the table proved a novelty to them. 'I've done some nice things out on Long Island,' asserted Mr McKee. [Chapter 29] … 9.4 Account for the discomfort experienced by Sir William and his daughter. (3) 'I'd like to do more work on Long Island, if I could get the entry. All I ask is that they 9.5 Refer to lines 4–5: 'Elizabeth found herself quite equal to the scene'. should give me a start.' 5

How does this information prepare the reader for Elizabeth's later interaction 'Ask Myrtle,' said Tom, breaking into a short shout of laughter as Mrs Wilson entered with Lady Catherine? (3) with a tray. 'She'll give you a letter of introduction, won't you, Myrtle?'

9.6 Refer to lines 7–8: 'Her air was … their inferior rank.' 'Do what?' she asked, startled.

Critically discuss this portrayal of Lady Catherine in the context of Austen's 'You'll give McKee a letter of introduction to your husband, so he can do some studies society. (3) of him.' His lips moved silently for a moment as he invented, ' "George B. Wilson at the 10 Gasoline Pump", or something like that.' 9.7 Refer to lines 10–11: 'and brought Mr Wickham immediately to Elizabeth's mind'. Catherine leaned close to me and whispered in my ear:

Explain, in the light of later events, why Elizabeth's belief in the validity of 'Neither of them can stand the person they're married to.' Wickham's pronouncements is ironic. (3) … 9.8 In EXTRACT C, Mary draws a distinction between pride and vanity. Myrtle pulled her chair close to mine, and suddenly her warm breath poured over me Using EXTRACT D as a starting point, comment on whether the novel makes the story of her first meeting with Tom. 15 a distinction between pride and vanity. (4) [25]

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'It was on the two little seats facing each other that are always the last ones left on the And all the time something within her was crying for a decision. She wanted her life train. I was going up to New York to see my sister and spend the night. He had on a shaped now, immediately – and the decision must be made by some force – of love, of dress suit and patent leather shoes, and I couldn't keep my eyes off him, but every money, of unquestionable practicality – that was close at hand. time he looked at me I had to pretend to be looking at the advertisement over his head. When we came into the station he was next to me, and his white shirt-front pressed 20 That force took shape in the middle of spring with the arrival of Tom Buchanan. There 15 against my arm, and so I told him I'd have to call a policeman, but he knew I lied. I was was a wholesome bulkiness about his person and his position, and Daisy was flattered. so excited that when I got into a taxi with him I didn't hardly know I wasn't getting into a Doubtless there was a certain struggle and a certain relief. The letter reached Gatsby subway train. All I kept thinking about, over and over, was "You can't live forever; you while he was still at Oxford. can't live forever." ' [Chapter 8] [Chapter 2]

11.1 Suggest why Myrtle purchased the dog referred to in line 1. (3) 11.6 Refer to line 1: 'But he knew … a colossal accident.'

11.2 Refer to lines 9–11: 'You'll give McKee … something like that.' Explain why Gatsby's presence in Daisy's house is a 'colossal accident'. (3)

How is this statement characteristic of Tom? (3) 11.7 Refer to lines 8–9: 'He knew that Daisy was extraordinary'.

11.3 Refer to line 13: 'Neither of them can stand the person they're married to.' Comment on Gatsby's perception of Daisy in the context of the novel as a whole. (3) Comment on Catherine's assertion about Tom's marriage to Daisy and Myrtle's marriage to George. (3) 11.8 Gatsby and Myrtle have similar aspirations.

11.4 While at Tom and Myrtle's apartment, Nick remarks that he is 'simultaneously Using material from EXTRACT E and EXTRACT F as a starting point, enchanted and repelled by the inexhaustible variety of life' of New York. critically discuss the validity of this statement. (4) [25] Critically discuss what this statement suggests about Nick's attitude toward

the 'variety of life' of New York. (3) TOTAL SECTION B: 25 11.5 Refer to lines 23–24: 'You can't live forever; you can't live forever.'

Discuss how Myrtle's statement here reflects a widespread attitude in Fitzgerald's America. (3)

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EXTRACT F

But he knew that he was in Daisy's house by a colossal accident. However glorious might be his future as Jay Gatsby, he was at present a penniless young man without a past, and at any moment the invisible cloak of his uniform might slip from his shoulders. So he made the most of his time. He took what he could get, ravenously and unscrupulously – eventually he took Daisy one still October night, took her 5 because he had no real right to touch her hand.

…

He had intended, probably, to take what he could and go – but now he found that he had committed himself to the following of a grail. He knew that Daisy was extraordinary, but he didn't realize just how extraordinary a 'nice' girl could be. She vanished into her rich house, into her rich, full life, leaving Gatsby – nothing. He felt 10 married to her, that was all.

…

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SECTION C: DRAMA DUKE Whoe'er he be that in this foul proceeding Answer ONLY on the play you have studied. Hath thus beguiled your daughter of herself

OTHELLO – William Shakespeare And you of her, the bloody book of law You shall yourself read in the bitter letter Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual After its own sense, yea, though our proper son 25 question). Stood in your action. BRABANTIO QUESTION 12: OTHELLO – ESSAY QUESTION Humbly I thank your grace. Here is the man, this Moor, whom now it seems Egotism is one of the centrally important issues in Othello. Your special mandate for the state affairs Hath hither brought. 30 Critically assess the validity of this statement. ALL We are very sorry for it. Your response should take the form of a well-constructed essay of 400–450 words DUKE (2–2½ pages). [25] (To Othello) What in your own part can you say to this?

BRABANTIO QUESTION 13: OTHELLO – CONTEXTUAL QUESTION Nothing, but this is so.

[Act 1, Scene 3] Read the extracts below and then answer the questions that follow.

EXTRACT G 13.1 Refer to lines 1–2: 'Valiant Othello … general enemy Ottoman.'

DUKE Explain why Othello has been sent for by the Duke and the senate. (3) Valiant Othello, we must straight employ you Against the general enemy Ottoman. 13.2 Refer to line 1: 'Valiant Othello'. (To Brabantio) I did not see you. Welcome, gentle signior. We lacked your counsel and your help tonight. Explain how the Duke's attitude toward Othello differs from that of Iago and BRABANTIO Roderigo earlier in the play. (3) So did I yours. Good your grace, pardon me. 5 Neither my place nor aught I heard of business 13.3 Refer to lines 16–20: 'She is abused … witchcraft could not.' Hath raised me from my bed, nor doth the general care Take hold on me, for my particular grief Comment on Brabantio's reaction to Desdemona's elopement. (3) Is of so floodgate and o'erbearing nature That it engluts and swallows other sorrows 10 13.4 Refer to line 28: 'Here is the man, this Moor'. And yet is still itself. DUKE If you were the director of a production of Othello, how would you instruct the Why, what's the matter? actor to deliver these lines? Motivate your instructions with reference to both BRABANTIO body language and tone. (3) My daughter! O, my daughter! SENATORS 13.5 Refer to lines 21–25: 'Whoe'er he be … its own sense'. Dead? BRABANTIO Using your knowledge of the play as a whole, discuss the extent to which the Ay, to me. 15 portrayal of Venice in these lines is accurate. (3) She is abused, stolen from me, and corrupted By spells and medicines bought of mountebanks; AND For nature so preposterously to err, Being not deficient, blind, or lame of sense, Sans witchcraft could not. 20

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EXTRACT H OTHELLO I cry you mercy then, OTHELLO I took you for that cunning whore of Venice … But there where I have garnered up my heart, That married with Othello. Where either I must live or bear no life, [Act 4, Scene 2] The fountain from the which my current runs Or else dries up – to be discarded thence! 13.6 Refer to line 14: 'Alas, what ignorant sin have I committed?' Or to keep it as a cistern for foul toads 5 To knot and gender in! Turn thy complexion there; In your view, is Desdemona's question typical of her character? Motivate your Patience, thou young and rose-lipped cherubin, response. (3) Ay, there look grim as hell! DESDEMONA 13.7 Refer to lines 15–25: 'Was this fair paper … Impudent strumpet!' I hope my noble lord esteems me honest. OTHELLO Comment on how Othello's use of language in these lines reflects a change in O, ay! as summer flies are in the shambles, 10 his attitude toward Desdemona. (3) That quicken even with blowing. O, thou black weed, Who art so lovely fair and smell'st so sweet 13.8 Using EXTRACT H as a starting point, comment on the extent to which it That the sense aches at thee, would thou hadst ne'er been born! would be justifiable for the audience to feel pity for Othello. (4) DESDEMONA [25] Alas, what ignorant sin have I committed? OTHELLO Was this fair paper, this most goodly book, 15 Made to write 'whore' on? What, committed! Committed! O, thou public commoner! I should make very forges of my cheeks, That would to cinders burn up modesty, Did I but speak thy deeds. What committed! 20 Heaven stops the nose at it, and the moon winks; The bawdy wind, that kisses all it meets, Is hushed within the hollow mine of earth And will not hear it. What committed! Impudent strumpet! 25 DESDEMONA By heaven, you do me wrong. OTHELLO Are you not a strumpet? DESDEMONA No, as I am a Christian. If to preserve this vessel for my lord From any hated foul unlawful touch, 30 Be not to be a strumpet, I am none. OTHELLO What, not a whore? DESDEMONA No, as I shall be saved. OTHELLO Is't possible? DESDEMONA O, heaven forgive us! 35

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THE CRUCIBLE – Arthur Miller PARRIS A wide opinion's running in the parish that the Devil may be among us, and I would satisfy them that they are wrong. 25 Answer EITHER QUESTION 14 (essay question) OR QUESTION 15 (contextual PROCTOR Then let you come out and call them wrong. Did you consult the question). wardens before you called this minister to look for devils? PARRIS He is not coming to look for devils! QUESTION 14: THE CRUCIBLE – ESSAY QUESTION [Act 1]

Egotism is one of the centrally important issues in The Crucible. 15.1 Refer to line 1: 'The psalm! The psalm! She cannot bear to hear the Lord's name!' Critically assess the validity of this statement.

Account for Betty's state of mind. (3) Your response should take the form of a well-constructed essay of 400–450 words

(2–2½ pages). [25] 15.2 Refer to line 4: 'Mark it for a sign, mark it!'

QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION Explain how Mrs Putnam's attitude toward the situation differs from that of Read the extracts below and then answer the questions that follow. Rebecca Nurse. (3)

EXTRACT I 15.3 Refer to line 17: 'No one here can testify I've said a word.'

MRS PUTNAM The psalm! The psalm! She cannot bear to hear the Lord's name! Comment on Giles's reaction to Rebecca's request that he 'keep the quiet' PARRIS No, God forbid. Mercy, run to the doctor! Tell him what's happened (lines 15–16). (3) here! (MERCY LEWIS rushes out.) MRS PUTNAM Mark it for a sign, mark it! 15.4 Refer to lines 5–6: 'Rebecca Nurse … her walking-stick.'

REBECCA NURSE, seventy-two, enters. She is white-haired, 5 Comment on the dramatic significance of the description of Rebecca Nurse in leaning upon her walking-stick. the light of later events. (3)

15.5 Refer to lines 26–27: 'Then let you … look for devils?' PUTNAM (pointing at the whimpering Betty): That is a notorious sign of

witchcraft afoot, Goody Nurse, a prodigious sign! Discuss how Proctor's tone in these lines reveals his character. (3) MRS PUTNAM My mother told me that! When they cannot bear to hear the name of – 10 AND PARRIS (trembling): Rebecca, Rebecca, go to her, we're lost. She suddenly cannot bear to hear the Lord's – EXTRACT J

GILES COREY, eighty-three, enters. He is knotted with muscle, DANFORTH (very politely): Goody Proctor. (She is silent.) I hope you are hearty? canny, inquisitive, and still powerful. ELIZABETH (as a warning reminder): I am yet six month before my time. DANFORTH Pray be at your ease, we come not for your life. We – (uncertain how to REBECCA There is hard sickness here, Giles Corey, so please to keep the 15 plead, for he is not accustomed to it.) Mr Hale, will you speak with the quiet. woman? 5 GILES I've not said a word. No one here can testify I've said a word. Is she HALE Goody Proctor, your husband is marked to hang this morning. going to fly again? I hear she flies. Pause. ELIZABETH (quietly): I have heard it. … HALE You know, do you not, that I have no connection with the court? (She seems to doubt it.) I come of my own, Goody Proctor. I would save your 10 MRS PUTNAM This is no silly season, Rebecca. My Ruth is bewildered, Rebecca; husband's life, for if he is taken I count myself his murderer. Do you she cannot eat. 20 understand me? REBECCA Perhaps she is not hungered yet. (To Parris.) I hope you are not ELIZABETH What do you want of me? decided to go in search of loose spirits, Mr Parris. I've heard promise HALE Goody Proctor, I have gone this three month like our Lord into the of that outside. wilderness. I have sought a Christian way, for damnation's doubled on 15 a minister who counsels men to lie.

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HATHORNE It is no lie, you cannot speak of lies. HALE It is a lie! They are innocent! DANFORTH I'll hear no more of that! HALE (continuing to Elizabeth): Let you not mistake your duty as I mistook my 20 own. I came into this village like a bridegroom to his beloved, bearing gifts of high religion; the very crowns of holy law I brought, and what I touched with my bright confidence, it died; and where I turned the eye of my great faith, blood flowed up. Beware, Goody Proctor – cleave to no faith when faith brings blood. It is mistaken law that leads you to 25 sacrifice. Life, woman, life is God's most precious gift; no principle, however glorious, may justify the taking of it. I beg you, woman, prevail upon your husband to confess. Let him give his lie. NATIONAL [Act 4] SENIOR CERTIFICATE

15.6 Refer to lines 9–10: '(She seems to doubt it.)'

Discuss how these lines reflect the change in the villagers' attitude toward religion and justice in Salem. (3) GRADE 12 15.7 Refer to lines 20–28: '(continuing to Elizabeth … give his lie.'

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) ENGLISH HOME LANGUAGE P2

15.8 Using EXTRACT J as a starting point, comment on the extent to which it would be justifiable for the audience to feel pity for Hale. (4) NOVEMBER 2017 [25]

TOTAL SECTION C: 25 MARKS: 80 GRAND TOTAL: 80 TIME: 2½ hours

This question paper consists of 27 pages.

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INSTRUCTIONS AND INFORMATION 8. Number your answers correctly according to the numbering system used in this question paper. 1. Read these instructions carefully before you begin to answer the questions. 9. Start EACH section on a NEW page. 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 10. Suggested time management: studied this year. Thereafter, read these questions and choose the ones you wish to answer. SECTION A: approximately 40 minutes SECTION B: approximately 55 minutes 3. This question paper consists of THREE sections: SECTION C: approximately 55 minutes

SECTION A: Poetry (30) 11. Write neatly and legibly. 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):

x Answer questions ONLY on the novel and the drama you have studied. x 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:

x The essay question on Poetry should be answered in about 250–300 words. x Essay questions on the Novel and Drama sections should be answered in 400–450 words. x 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.

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TABLE OF CONTENTS CHECKLIST

Use this checklist to ensure that you have answered the correct number of questions. SECTION A: POETRY

NO. OF Prescribed Poetry: Answer ANY TWO questions. QUESTION TICK SECTION QUESTIONS QUESTION NO. QUESTION MARKS PAGE NO. NUMBERS (9) ANSWERED 1. 'Felix Randal' Essay question 10 6 A: Poetry

(Prescribed Poetry) 1–4 2 2. 'Remember' Contextual question 10 7 A: Poetry

(Unseen Poem) 5 1 3. 'The Zulu Girl' Contextual question 10 8 B: Novel

(Essay OR Contextual) 6–9 1 4. 'Vultures' Contextual question 10 9 C: Drama

(Essay OR Contextual) 10–15 1 AND

*NOTE: In SECTIONS B and C, ensure that you have answered ONE ESSAY and Unseen Poem: COMPULSORY QUESTION ONE CONTEXTUAL question. 5. 'Wishing Leaves' Contextual question 10 11 You may NOT answer TWO essay questions or TWO contextual questions.

SECTION B: NOVEL

Answer ONE question.* 6. The Picture of Dorian Gray Essay question 25 12

7. The Picture of Dorian Gray Contextual question 25 12

8. Life of Pi Essay question 25 15

9. Life of Pi Contextual question 25 15

SECTION C: DRAMA

Answer ONE question.* 10. Hamlet Essay question 25 18

11. Hamlet Contextual question 25 18

12. Othello Essay question 25 21

13. Othello Contextual question 25 21

14. The Crucible Essay question 25 25

15. The Crucible Contextual question 25 25

*NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question. You may NOT answer TWO essay questions or TWO contextual questions.

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SECTION A: POETRY QUESTION 2: POETRY – CONTEXTUAL QUESTION

PRESCRIBED POETRY Read the poem below and then answer the questions that follow.

Answer any TWO of the following questions. REMEMBER – Christina Rossetti

QUESTION 1: POETRY – ESSAY QUESTION 1 Remember me when I am gone away, 2 Gone far away into the silent land; Read the poem below and then answer the question that follows. 3 When you can no more hold me by the hand, 4 Nor I half turn to go yet turning stay. FELIX RANDAL – Gerard Manley Hopkins 5 Remember me when no more day by day 6 You tell me of our future that you plann'd: 1 Felix Randal the farrier, O he is dead then? my duty all ended, 7 Only remember me; you understand 2 Who have watched his mould of man, big-boned and hardy-handsome 8 It will be late to counsel then or pray. 3 Pining, pining, till time when reason rambled in it and some 9 Yet if you should forget me for a while 4 Fatal four disorders, fleshed there, all contended? 10 And afterwards remember, do not grieve: 11 For if the darkness and corruption leave 5 Sickness broke him. Impatient he cursed at first, but mended 12 A vestige of the thoughts that once I had, 6 Being anointed and all; though a heavenlier heart began some 13 Better by far you should forget and smile 7 Months earlier, since I had our sweet reprieve and ransom 14 Than that you should remember and be sad. 8 Tendered to him. Ah well, God rest him all road ever he offended! 2.1 Refer to lines 1–2: 'gone away,/Gone far away'. 9 This seeing the sick endears them to us, us too it endears. 10 My tongue had taught thee comfort, touch had quenched thy tears, How do these words set the initial mood of the poem? (2) 11 Thy tears that touched my heart, child, Felix, poor Felix Randal; 2.2 Explain what the use of the phrase, 'the silent land' (line 2) conveys about the 12 How far from then forethought of, all thy more boisterous years, speaker's state of mind. (2) 13 When thou at the random grim forge, powerful amidst peers, 14 Didst fettle for the great grey drayhorse his bright and battering sandal! 2.3 Refer to line 4: 'Nor I half turn to go yet turning stay.'

In 'Felix Randal', the speaker contemplates what he sees as significant aspects of the Discuss the significance of this description in the context of the poem. (3) life and death of the farrier. 2.4 The speaker of this poem is self-centred. With close reference to diction, imagery and tone, discuss how the above statement is reflected in the poem. Do you agree with this statement? Justify your response by referring to imagery and/or diction. (3) Your response should take the form of a well-constructed essay of 250–300 words [10] (about ONE page). [10]

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QUESTION 3: POETRY – CONTEXTUAL QUESTION QUESTION 4: POETRY – CONTEXTUAL QUESTION

Read the poem below and then answer the questions that follow. Read the poem below and then answer the questions that follow.

THE ZULU GIRL – Roy Campbell VULTURES – Chinua Achebe

1 When in the sun the hot red acres smoulder, 1 In the greyness 2 Down where the sweating gang its labour plies, 2 and drizzle of one despondent 3 A girl flings down her hoe, and from her shoulder 3 dawn unstirred by harbingers 4 Unslings her child tormented by the flies. 4 of sunbreak a vulture 5 perching high on broken 5 She takes him to a ring of shadow pooled 6 bone of a dead tree 6 By thorn-trees: purpled with the blood of ticks, 7 nestled close to his 7 While her sharp nails, in slow caresses ruled, 8 mate his smooth 8 Prowl through his hair with sharp electric clicks. 9 bashed-in head, a pebble 10 on a stem rooted in 9 His sleepy mouth plugged by the heavy nipple, 11 a dump of gross 10 Tugs like a puppy, grunting as he feeds: 12 feathers, inclined affectionately 11 Through his frail nerves her own deep languors ripple 13 to hers. Yesterday they picked 12 Like a broad river sighing through its reeds. 14 the eyes of a swollen 15 corpse in a water-logged 13 Yet in that drowsy stream his flesh imbibes 16 trench and ate the 14 An old unquenched unsmotherable heat – 17 things in its bowel. Full 15 The curbed ferocity of beaten tribes, 18 gorged they chose their roost 16 The sullen dignity of their defeat. 19 keeping the hollowed remnant 20 in easy range of cold 17 Her body looms above him like a hill 21 telescopic eyes ... 18 Within whose shade a village lies at rest, 22 Strange 19 Or the first cloud so terrible and still 23 indeed how love in other 20 That bears the coming harvest in its breast. 24 ways so particular 25 will pick a corner 3.1 Refer to line 1: 'When in the sun the hot red acres smoulder'. 26 in that charnel-house 27 tidy it and coil up there, perhaps How does this line set the initial mood of the poem? (2) 28 even fall asleep – her face 29 turned to the wall! 3.2 Explain what the word, 'flings' (line 3) suggests about the girl's state of mind. (2) 30 ... Thus the Commandant at Belsen 31 Camp going home for 3.3 Refer to line 11: 'Through his frail nerves her own deep languors ripple'. 32 the day with fumes of 33 human roast clinging Discuss the significance of this description in the context of the poem. (3) 34 rebelliously to his hairy 35 nostrils will stop 3.4 The concluding stanza offers visions of the future. 36 at the wayside sweet-shop 37 and pick up a chocolate Do you agree with this statement? Justify your response by referring to 38 for his tender offspring imagery and/or diction. (3) 39 waiting at home for Daddy's [10] 40 return ... 41 Praise bounteous 42 providence if you will 43 that grants even an ogre 44 a tiny glow-worm

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45 tenderness encapsulated UNSEEN POEM (COMPULSORY) 46 in icy caverns of a cruel 47 heart or else despair QUESTION 5: CONTEXTUAL QUESTION 48 for in the very germ 49 of that kindred love is Read the poem below and then answer the questions that follow. 50 lodged the perpetuity 51 of evil. WISHING LEAVES – Wayne Visser

4.1 Refer to lines 1–3: 'In the greyness/and drizzle of one despondent/dawn'. 1 We sat upon the bench that autumn night 2 And basked beneath the moon's cool silver light How do these lines contribute to the mood of the first section? (2) 3 While waves of traffic lapped the park's green shore 4 And squirrels rushed to fill their acorn store 4.2 What do the words, 'cold/telescopic eyes' (lines 20–21) suggest about the nature of the vultures? (2) 5 A gust of wind set off a whispered sigh 6 Among the trees that leaned against the sky 4.3 Refer to lines 30–35: 'Thus the Commandant … his hairy/nostrils'. 7 We listened hard to catch their secret words 8 Between the chirping chatter of the birds Discuss the significance of this description in the context of the poem. (3) 9 Then as we turned our faces to the moon 4.4 The concluding lines, 'Praise bounteous/providence … perpetuity/of evil' 10 Our hands entwined, our hearts in sync, in tune (lines 41–51) offers options for human behaviour. 11 We felt the fingers of the silken breeze 12 And made our wishes on the falling leaves Do you agree with this statement? Justify your response by referring to imagery and/or diction. (3) 5.1 What impression does the word, 'basked' (line 2) create about the couple? (2) [10] 5.2 Refer to stanza 2. AND Discuss the speaker's attitude toward nature. (2)

5.3 Refer to line 3: 'While waves of traffic lapped the park's green shore'.

Comment on the effectiveness of this image in the context of the poem. (3)

5.4 The mood of the final stanza enhances the central idea of the poem.

Do you agree with this statement? Justify your response. (3) [10]

TOTAL SECTION A: 30

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SECTION B: NOVEL 7.1 Place the above extract in context. (3)

Answer ONLY on the novel you have studied. 7.2 Refer to lines 1–2: 'And now, Dorian, … Lord Henry says.'

THE PICTURE OF DORIAN GRAY – Oscar Wilde Explain how Basil's tone reflects his attitude toward Dorian. (3)

Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual 7.3 Refer to lines 18–19: 'a look had … seen there before.' question). Discuss the significance of Basil's observation in the light of later events. (3) QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION 7.4 Refer to line 9: 'There is no such thing as a good influence, Mr Gray. All The Picture of Dorian Gray is about Dorian Gray's loss of innocence. influence is immoral –'.

Critically discuss the extent to which you agree with the above statement. Do you agree with Lord Henry's view as expressed in this line? Justify your response by drawing on the novel as a whole. (3) Your response should take the form of a well-constructed essay of 400–450 words (2–2½ pages). [25] AND

QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION EXTRACT B

Read the extracts below and then answer the questions that follow. '… you finished a portrait of me that revealed to me the wonder of beauty. In a mad moment, that, even now, I don't know whether I regret or not, I made a wish, perhaps EXTRACT A you would call it a prayer ...'

'And now, Dorian, get up on the platform, and don't move about too much, or pay any 'I remember it! Oh, how well I remember it! No, the thing is impossible! The room is attention to what Lord Henry says. He has a very bad influence over all his friends, with damp. Mildew has got into the canvas. The paints I used had some wretched mineral 5 the single exception of myself.' poison in them. I tell you the thing is impossible.'

Dorian Gray stepped up on the dais, with the air of a young Greek martyr, and made 'Ah, what is impossible?' murmured the young man, going over to the window, and a little moue of discontent to Lord Henry, to whom he had rather taken a fancy. He was 5 leaning his forehead against the cold, mist-stained glass. so unlike Basil. They made a delightful contrast. And he had such a beautiful voice. After a few moments he said to him, 'Have you really a very bad influence, 'You told me you had destroyed it.' Lord Henry? As bad as Basil says?' 'I was wrong. It has destroyed me.' 10 'There is no such thing as a good influence, Mr Gray. All influence is immoral – immoral from the scientific point of view.' 10 'I don't believe it is my picture.'

'Why?' 'Can't you see your ideal in it?' said Dorian, bitterly.

'Because to influence a person is to give him one's own soul. He does not think his 'My ideal, as you call it ...' natural thoughts or burn with his natural passions. His virtues are not real to him. His sins, if there are such things as sins, are borrowed. He becomes an echo of some one 'As you called it.' else's music, an actor of a part that has not been written for him. The aim of life is 15 self-development. To realise one's nature perfectly – that is what each of us is here for. 'There was nothing evil in it, nothing shameful. You were to me such an ideal as I shall 15 never meet again. This is the face of a satyr.' …

'Just turn your head a little more to the right, Dorian, like a good boy,' said the painter, 'It is the face of my soul.' deep in his work, and conscious only that a look had come into the lad's face that he had never seen there before. 'Christ! What a thing I must have worshipped! It has the eyes of a devil.' [Chapter 2] 'Each of us has Heaven and Hell in him, Basil,' cried Dorian, with a wild gesture of despair. 20

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LIFE OF PI – Yann Martel Hallward turned again to the portrait, and gazed at it. 'My God! If it is true,' he exclaimed, 'and this is what you have done with your life, why, you must be worse Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual even than those who talk against you fancy you to be!' question). [Chapter 13]

QUESTION 8: LIFE OF PI – ESSAY QUESTION 7.5 Account for Dorian's decision to reveal the tainted picture to Basil. (3) The manner in which Pi fights to survive diminishes his humanity. 7.6 Refer to line 1: '… you finished a portrait of me that revealed to me the wonder of beauty.' Critically discuss the extent to which you agree with the above statement.

Explain what their pre-occupation with beauty suggests about aristocratic Your response should take the form of a well-constructed essay of 400–450 words Victorian society. (3) (2–2½ pages). [25]

7.7 Critically discuss the mood in this extract. (3) QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION

7.8 Refer to lines 1–3: 'In a mad ... it a prayer …'. Read the extracts below and then answer the questions that follow.

Critically discuss how Dorian's comment at this point in the novel is crucial to EXTRACT C your understanding of his moral degeneration. (4) [25] It was with pride that I waved the ticket collector's hand away and showed Mr Kumar into the zoo.

He marvelled at everything, at how to tall trees came tall giraffes, how carnivores were supplied with herbivores and herbivores with grass, how some creatures crowded the day and others the night, how some that needed sharp beaks had sharp beaks and 5 others that needed limber limbs had limber limbs. It made me happy that he was so impressed.

He quoted from the Holy Qur'an: 'In all this there are messages indeed for a people who use their reason.'

We came to the zebras. Mr Kumar had never heard of such creatures, let alone seen 10 one. He was dumbfounded.

'They're called zebras,' I said.

'Have they been painted with a brush?'

'No, no. They look like that naturally.'

'What happens when it rains?' 15

'Nothing.'

'The stripes don't melt?'

'No.'

I had brought some carrots. There was one left, a large and sturdy specimen. I took it out of the bag. At that moment I heard a slight scraping of gravel to my right. It was 20 Mr Kumar, coming up to the railing in his usual limping and rolling gait.

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EXTRACT D … 'What exactly do you intend to feed that tiger of yours? How much longer do you think Mr and Mr Kumar looked delighted. he'll last on three dead animals? Do I need to remind you that tigers are not carrion eaters? Granted, when he's on his last legs he probably won't lift his nose at much. But 'A zebra, you say?' said Mr Kumar. don't you think that before he submits to eating puffy, putrefied zebra he'll try the fresh, juicy Indian boy just a short dip away?' 5 'That's right,' I replied. 'It belongs to the same family as the ass and the horse.' … 'The Rolls-Royce of equids,' said Mr Kumar. 25 You may be astonished that in such a short period of time I could go from weeping 'What a wondrous creature,' said Mr Kumar. over the muffled killing of a flying fish to gleefully bludgeoning to death a dorado. I could explain it by arguing that profiting from a pitiful flying fish's navigational mistake 'This one's a Grant's zebra,' I said. made me shy and sorrowful, while the excitement of actively capturing a great dorado made me sanguinary and self-assured. But in point of fact the explanation lies 10 Mr Kumar said, 'Equus burchelli boehmi.' elsewhere. It is simple and brutal: a person can get used to anything, even to killing.

Mr Kumar said, 'Allahu akbar.' It was with a hunter's pride that I pulled the raft up to the lifeboat. I brought it along the side, keeping very low. I swung my arm and dropped the dorado into the boat. I said, 'It's very pretty.' 30 It landed with a heavy thud and provoked a gruff expression of surprise from Richard Parker. After a sniff or two, I heard the wet mashing sound of a mouth at work. 15 We looked on. I pushed myself off, not forgetting to blow the whistle hard several times, to remind [Chapter 31] Richard Parker of who had so graciously provided him with fresh food. [Chapter 61] 9.1 Refer to lines 1–2: 'It was with … into the zoo.' 9.5 Explain how Pi's upbringing has equipped him with the necessary skills for his Account for Pi's feeling of pride. (3) survival. (3)

9.2 Refer to line 27: ' "This one's a Grant's zebra," I said.' 9.6 Refer to lines 1–3: 'What exactly do … not carrion eaters?'

Explain the significance of the zebra in the context of the novel as a whole. (3) In your view, is Pi's survival linked to that of the tiger? Justify your response. (3)

9.3 Earlier in the novel, Pi says, 'Mr and Mr Kumar were the prophets of my 9.7 Refer to lines 16–17: 'I pushed myself … with fresh food.' Indian youth.' Critically discuss the contrast between Pi's current mood and his mood when Refer to the novel as a whole and comment on the impact of both men on he is first stranded on the lifeboat. (3) Pi's life. (3) 9.8 Refer to line 11: 'It is simple … even to killing.' 9.4 Refer to line 25: 'The Rolls-Royce of equids' and line 26: 'What a wondrous creature'. Critically discuss how Pi's comment at this point in the novel is crucial to your understanding of his plight on the lifeboat. (4) Despite their widely differing perspectives on life, both Mr Kumars display [25] a similar reaction to the zebra. TOTAL SECTION B: 25 Discuss the accuracy of this observation. (3)

AND

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SECTION C: DRAMA 11.1 Account for Hamlet's feelings toward Ophelia at this stage of the play. (2) Answer ONLY on the play you have studied. 11.2 Refer to lines 3–4: 'that it were better/my mother had not borne me.' HAMLET – William Shakespeare How does this statement reflect Hamlet's state of mind? (2) Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual question). 11.3 Refer to line 11: 'At home, my lord.'

QUESTION 10: HAMLET – ESSAY QUESTION Suggest a reason for Hamlet's annoyance at Ophelia's response. (2)

The problem of making moral choices is a significant issue in the play. 11.4 Discuss how the play demonstrates that Ophelia is subject to patriarchal Critically assess the validity of this statement. (male) domination in her home. (3)

Your response should take the form of a well-constructed essay of 400–450 words 11.5 Comment on the extent to which it would be justifiable to attribute Ophelia's (2–2½ pages). [25] suicide to Hamlet. (3)

QUESTION 11: HAMLET – CONTEXTUAL QUESTION AND

Read the extracts below and then answer the questions that follow. EXTRACT F

EXTRACT E CLAUDIUS Now must your conscience my acquittance seal, HAMLET And you must put me in your heart for friend, Get thee to a nunnery. Why wouldst thou be a Sith you have heard, and with a knowing ear, breeder of sinners? I am myself indifferent honest, but That he which hath your noble father slain yet I could accuse me of such things that it were better Pursued my life. 5 my mother had not borne me. I am very proud, LAERTES revengeful, ambitious, with more offences at my beck 5 It well appears. But tell me than I have thoughts to put them in, imagination to give Why you proceeded not against these feats, them shape, or time to act them in. What should such So crimeful and so capital in nature, fellows as I do crawling between heaven and earth? We As by your safety, wisdom, all things else, are arrant knaves, all. Believe none of us. Go thy ways You mainly were stirred up. 10 to a nunnery. Where's your father? 10 CLAUDIUS OPHELIA O, for two special reasons, At home, my lord. Which may to you perhaps seem much unsinewed, HAMLET And yet to me they're strong. The Queen his mother Let the doors be shut upon him, that he may play Lives almost by his looks; and for myself – the fool nowhere but in's own house. Farewell. My virtue or my plague, be it either which – 15 OPHELIA She's so conjunctive to my life and soul O help him, you sweet heavens! That, as the star moves not but in his sphere, HAMLET I could not but by her. The other motive If thou dost marry, I'll give thee this plague for 15 Why to a public count I might not go thy dowry: be thou as chaste as ice, as pure as snow, Is the great love the general gender bear him, 20 thou shalt not escape calumny. Get thee to a nunnery, Who, dipping all his faults in their affection, go, farewell. Or if thou wilt needs marry, marry a fool; Would, like the spring that turneth wood to stone, for wise men know well enough what monsters you Convert his guilts to graces; so that my arrows, make of them. To a nunnery, go, and quickly, too. 20 Too slightly timbered for so loud a wind, Farewell. Would have reverted to my bow again, 25 OPHELIA And not where I had aimed them. O heavenly powers, restore him! [Act 3, Scene 1] Copyright reserved Please turn over Copyright reserved Please turn over English Home Language/P2 20 DBE/November 2017 English Home Language/P2 21 DBE/November 2017 NSC NSC

LAERTES OTHELLO – William Shakespeare And so have I a noble father lost, A sister driven into desperate terms, Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual Who has, if praises may go back again, question). Stood challenger, on mount, of all the age 30 For her perfections. But my revenge will come. QUESTION 12: OTHELLO – ESSAY QUESTION CLAUDIUS Break not your sleeps for that. You must not The problem of making moral choices is a significant issue in the play. think That we are made of stuff so flat and dull Critically assess the validity of this statement. That we can let our beard be shook with danger, 35 And think it pastime. You shortly shall hear more. Your response should take the form of a well-constructed essay of 400–450 words I loved your father, and we love ourself. (2–2½ pages). [25] And that, I hope, will teach you to imagine – [Act 4, Scene 7] QUESTION 13: OTHELLO – CONTEXTUAL QUESTION

11.6 Refer to line 14: 'Lives almost by his looks'. Read the extracts below and then answer the questions that follow.

Explain how Gertrude's final act will clearly indicate her love for Hamlet. (3) EXTRACT G

11.7 Refer to line 2: 'And you must put me in your heart for friend'. OTHELLO If it were now to die, Discuss the irony in this line. (3) 'Twere now to be most happy, for I fear My soul hath her content so absolute 11.8 Refer to lines 27–31: 'And so have … revenge will come.' That not another comfort like to this Succeeds in unknown fate. 5 If you were the director of a production of Hamlet, describe how you would direct the actor playing Laertes to deliver these lines. Justify your answer with … reference to both body language and tone. (3) IAGO 11.9 Claudius is a villain without any redeeming qualities. That Cassio loves her, I do well believe't. That she loves him, 'tis apt and of great credit. Using your knowledge of the play as a whole, critically discuss the extent to The Moor, howbeit that I endure him not, which you agree with this statement. (4) Is of a constant, noble, loving nature, [25] And, I dare think, he'll prove to Desdemona 10 A most dear husband. Now, I do love her too– Not out of absolute lust (though peradventure I stand accountant for as great a sin) But partly led to diet my revenge, For that I do suspect the lusty Moor 15 Hath leaped into my seat, the thought whereof Doth like a poisonous mineral gnaw my inwards. And nothing can or shall content my soul Till I am evened with him, wife for wife, Or failing so, yet that I put the Moor 20 At least into a jealousy so strong That judgment cannot cure. Which thing to do, If this poor trash of Venice, whom I trash For his quick hunting, stand the putting on, I'll have our Michael Cassio on the hip, 25

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Abuse him to the Moor in the rank garb Emilia draws back the bed-curtains (For I fear Cassio with my nightcap too) Help, help, ho, help! O, lady, speak again! Make the Moor thank me, love me and reward me Sweet Desdemona, O sweet mistress, speak! For making him egregiously an ass DESDEMONA And practising upon his peace and quiet 30 A guiltless death I die. 15 Even to madness. 'Tis here but yet confused. EMILIA Knavery's plain face is never seen till used. O, who has done this deed? [Act 2, Scene 1] DESDEMONA Nobody; I myself. Farewell. 13.1 Refer to lines 1–2: 'If it were … be most happy'. Commend me to my kind lord. O, farewell!

Account for Othello's feelings at this stage of the play. (2) Desdemona dies

… 13.2 Refer to lines 6–7: 'That Cassio loves … of great credit.' EMILIA Explain how Iago intends to use the friendship between Desdemona and Thou art rash as fire to say 20 Cassio to his benefit. (2) That she was false. O, she was heavenly true! OTHELLO 13.3 Refer to lines 11–19: 'Now, I do … wife for wife'. Cassio did top her – ask thy husband else. O, I were damned beneath all depth in hell Suggest what these lines indicate about Iago's character. (2) But that I did proceed upon just grounds 13.4 Refer to lines 8–11: 'The Moor, howbeit … most dear husband.' To this extremity. Thy husband knew it all. 25 EMILIA Explain what is ironic about Iago's words. (3) My husband! OTHELLO 13.5 Refer to lines 28–31: 'Make the Moor … Even to madness.' Thy husband. EMILIA In the light of the above statement, discuss why Iago will be successful in That she was false to wedlock? manipulating Othello. (3) OTHELLO AND Ay, with Cassio. Nay, had she been true, If heaven would make me another such world 30 EXTRACT H Of one entire and perfect chrysolite, EMILIA I'ld not have sold her for it. Cassio, my lord, hath killed a young Venetian EMILIA Called Roderigo. My husband! OTHELLO OTHELLO Roderigo killed? Ay, 'twas he that told me first. And Cassio killed? An honest man he is, and hates the slime 35 EMILIA That sticks on filthy deeds. No, Cassio is not killed. 5 EMILIA OTHELLO My husband! Not Cassio killed! Then murder's out of tune, OTHELLO And sweet revenge grows harsh. What needs this iteration? Woman, I say thy husband. DESDEMONA EMILIA O, falsely, falsely murdered! O mistress, villainy hath made mocks with love! EMILIA My husband say that she was false? 40 O Lord! What cry is that? OTHELLO OTHELLO He, woman. That? What? 10 I say thy husband – dost understand the word? EMILIA My friend, thy husband, honest, honest Iago. [Act 5, Scene 2] Out and alas! It is my lady's voice!

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THE CRUCIBLE – Arthur Miller 13.6 Refer to lines 6–7: 'Not Cassio killed! … revenge grows harsh.' Answer EITHER QUESTION 14 (essay question) OR QUESTION 15 (contextual Explain Othello's reactions in these lines. (3) question).

13.7 Refer to lines 13–14: 'Help, help, ho, … sweet mistress, speak!' QUESTION 14: THE CRUCIBLE – ESSAY QUESTION

The problem of making moral choices is a significant issue in the play. If you were the director of a production of Othello, how would you instruct the actress to deliver these lines? Justify your instructions with reference to both Critically assess the validity of this statement. body language and tone. (3) Your response should take the form of a well-constructed essay of 400–450 words 13.8 Refer to lines 17–18: 'Nobody; I myself … my kind lord.' (2–2½ pages). [25]

Discuss the extent to which Desdemona's own actions have contributed to the QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION tragedy. (3) Read the extracts below and then answer the questions that follow.

13.9 The death of Desdemona marks the ultimate victory of evil. EXTRACT I

Using your knowledge of the play as a whole, critically comment on the PROCTOR eats, then looks up. validity of this statement. (4) PROCTOR If the crop is good I'll buy George Jacob's heifer. How would that [25] please you? ELIZABETH Aye, it would. PROCTOR (with a grin): I mean to please you, Elizabeth. 5 ELIZABETH (it is hard to say): I know it, John. He gets up, goes to her, kisses her. She receives it. With a certain disappointment, he returns to the table. PROCTOR (as gently as he can): Cider? ELIZABETH (with a sense of reprimanding herself for having forgot): Aye! (She 10 gets up and goes and pours a glass for him. He now arches his back.)

…

ELIZABETH Mary Warren's there today. PROCTOR Why'd you let her? You heard me forbid her go to Salem any more! ELIZABETH I couldn't stop her. 15 PROCTOR (holding back a full condemnation of her): It is a fault, it is a fault, Elizabeth – you're the mistress here, not Mary Warren. ELIZABETH She frightened all my strength away. PROCTOR How may that mouse frighten you, Elizabeth? You – ELIZABETH It is a mouse no more. I forbid her go, and she raises up her chin like 20 the daughter of a prince and says to me, 'I must go to Salem, Goody Proctor; I am an official of the court!' PROCTOR Court! What court? ELIZABETH Aye, it is a proper court they have now. They've sent four judges out of Boston, she says, weighty magistrates of the General Court, and 25 at the head sits the Deputy Governor of the Province. PROCTOR (astonished): Why, she's mad. ELIZABETH I would to God she were. There be fourteen people in the jail now, she says. (PROCTOR simply looks at her, unable to grasp it.) And they'll be tried, and the court have power to hang them too, she says. 30 [Act 2]

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15.1 Refer to line 5: 'I mean to please you, Elizabeth.' 15.6 Refer to lines 27–28: 'Are you certain in your conscience'. Account for Proctor's need to please his wife. (2) Discuss how Proctor's action later in the play offers an answer to Danforth's 15.2 Refer to lines 20–22: 'It is a mouse … of the court!' question. (3)

Explain the changes that are observed in Mary Warren at this point in the play. (2) 15.7 Explain the irony of Danforth's assertion that it is the 'voice of Heaven' (line 5) that is 'speaking through the children' (line 6). (3) 15.3 What does this extract suggest about the current state of the Proctors' marriage? (2) 15.8 Refer to line 3: 'They've come to overthrow the court, sir! This man is –'.

15.4 Refer to lines 23–29: 'Court! What Court? … (unable to grasp it.)' If you were the director of a production of The Crucible, how would you By referring to both the stage directions and the dialogue, discuss instruct the actor to deliver this line? Justify your instructions with reference to John Proctor's attitude to the events taking place in Salem. (3) both body language and tone. (3)

15.5 Comment on the impact that the court trials have on the people of Salem. (3) 15.9 The nature of justice in Salem is questionable.

AND Using this extract as a starting point and drawing on your knowledge of the

EXTRACT J play as a whole, critically comment on the validity of this statement. (4)

PROCTOR She never saw no spirits, sir. TOTAL SECTION C: 25 DANFORTH (with great alarm and surprise, to Mary): Never saw no spirits! GRAND TOTAL: 80

…

PARRIS They've come to overthrow the court, sir! This man is –

DANFORTH I pray you, Mr Parris. Do you know, Mr Proctor, that the entire contention of the state in these trials is that the voice of Heaven 5 is speaking through the children? PROCTOR I know that, sir. DANFORTH (thinks, staring at Proctor, then turns to Mary Warren): And you, Mary Warren, how came you to cry out people for sending their spirits against you? 10 MARY It were pretence, sir. DANFORTH I cannot hear you. PROCTOR It were pretence, she says. DANFORTH Ah? And the other girls? Susanna Walcott, and – the others? They are also pretending? 15 MARY Aye, sir. DANFORTH (wide-eyed): Indeed. (Pause. He is baffled by this. He turns to study Proctor's face.) PARRIS (in a sweat): Excellency, you surely cannot think to let so vile a lie to spread in open court! 20 DANFORTH Indeed not, but it strike hard upon me that she will dare come here with such a tale. Now, Mr Proctor, before I decide whether I shall hear you or not, it is my duty to tell you this. We burn a hot fire here; it melts down all concealment. PROCTOR I know that, sir. 25 DANFORTH Let me continue. I understand well, a husband's tenderness may drive him to extravagance in defence of a wife. Are you certain in your conscience, Mister, that your evidence is the truth? [Act 3]

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INSTRUCTIONS AND INFORMATION

1. This question paper consists of TWO sections: GRAAD 12 SECTION A: Essay (50) SECTION B: Transactional Texts: 2 x 25 (50)

2. Answer ONE question from SECTION A and TWO questions from SECTION B.

3. Write in the language in which you are being assessed. NATIONAL SENIOR CERTIFICATE 4. Start EACH section on a NEW page.

5. You must plan (e.g. a mind map/diagram/flow chart/key words, etc.), edit and proof-read your work. The plan must appear BEFORE the answer.

6. All planning must be clearly indicated as such. It is advisable to draw a line GRADE 12 through all planning.

7. You are strongly advised to spend approximately:

x 80 minutes on SECTION A

x 70 minutes on SECTION B ENGLISH HOME LANGUAGE P3

8. Number each response as the topics are numbered in the question paper.

NOVEMBER 2014 (2)

9. The title/heading must NOT be considered when doing a word count.

10. Write neatly and legibly. MARKS: 100

TIME: 2½ hours

This question paper consists of 7 pages.

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SECTION A: ESSAY 1.6.1

QUESTION 1

Write an essay of 400–450 words (2–2½ pages) on ONE of the following topics. Write down the NUMBER and TITLE/HEADING of your essay.

1.1 'We desire to bequeath two things to our children – the roots and wings.' (Sudanese proverb) [50]

1.2 The stories that blind us [50]

1.3 A bully does not need a fist. [50]

1.4 To see a world in a grain of sand And a heaven in a wild flower Hold infinity in the palm of your hand And eternity in an hour. (William Blake) [50]

1.5 The flavour of my town [50]

1.6 The pictures reproduced on pages 4 and 5 may evoke a reaction or feeling in you or stir your imagination.

Select ONE picture and write an essay in response. Write the question number (1.6.1, 1.6.2 or 1.6.3) of your choice and give your essay a title.

NOTE: There must be a clear link between your essay and the picture you have chosen.

[Source: Reader's Digest, September 2013] [50]

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1.6.2 SECTION B: TRANSACTIONAL TEXTS

QUESTION 2

x Respond to TWO of the following topics. x The BODY of your answer should be 180–200 words (20–25 lines) in length. x Pay careful attention to the following: - Audience, register, tone and style - Choice of words and language structure - Format x Write down the NUMBER and TITLE/HEADING of the text you have chosen, e.g. 2.1 Letter to the Editor.

2.1 LETTER TO THE EDITOR

An offensive television advertisement has caused a public outcry. In a letter to the editor of a national newspaper, express your views on this controversy. [25]

2.2 INTERVIEW

As a radio or television talk-show host, you are interviewing a well-known person whose reputation has been tarnished.

Write the interview in dialogue form. [25] [Source: www.linkd.com] [50] 2.3 MAGAZINE ARTICLE

1.6.3 Examine the photograph below and then write an article for a magazine. Title your article 'The world is yours … or is it?'

[Source: www.asset1.itsnicethat.com] [50]

TOTAL SECTION A: 50

[Source: www.tumblrt.com] [25]

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2.4 MINUTES OF MEETING

There has been a spate of attacks on learners at neighbouring schools. As the secretary of the recently established Safety and Security Committee at GRAAD 12 your school, record the minutes of an urgent meeting. The agenda for this meeting appears below.

Agenda

1. Opening and Welcome 2. Attendance NATIONAL 3. Apologies SENIOR CERTIFICATE 4. Preventative strategies 5. Implementation of strategies 6. Closure [25]

2.5 LETTER OF REQUEST GRADE 12

The picture below, which appeared in a magazine, interested you. Write a letter to a travel agency, requesting more information on this remote tourist destination.

ENGLISH HOME LANGUAGE P3

NOVEMBER 2015

MARKS: 100

TIME: 2½ hours

[Source: www.businessinsider.com] [25] This question paper consists of 6 pages. 2.6 REVIEW

An amateur theatre group has staged a production titled Funnyside Up! Write a review of the production for the entertainment section of a newspaper. [25]

TOTAL SECTION B: 50 GRAND TOTAL: 100

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SECTION A: ESSAY INSTRUCTIONS AND INFORMATION QUESTION 1 1. This question paper consists of TWO sections: Write an essay of 400–450 words (2–2½ pages) on ONE of the following topics. SECTION A: Essay (50) Write down the NUMBER and TITLE/HEADING of your essay. SECTION B: Transactional Texts (2 x 25) (50) 1.1 There was no possibility of taking a walk that day. [50] 2. Answer ONE question from SECTION A and TWO questions from SECTION B. 1.2 The past is a foreign country. [50]

3. Write in the language in which you are being assessed. 1.3 'When she transformed into a butterfly, the caterpillars spoke not of her beauty, but of her weirdness. They wanted her to change back into what she 4. Start EACH section on a NEW page. always had been.'

5. You must plan (e.g. using a mind map/a diagram/a flow chart/key words), edit 'But she had wings.' (Dean Jackson) [50] and proofread your work. The plan must appear BEFORE the answer. 1.4 Gold is the dust that blinds all eyes. [50] 6. All planning must be clearly indicated as such. It is advisable to draw a line through all planning. 1.5 'There's a time for daring and there's a time for caution, and a wise man understands which is called for.' (In Dead Poets Society) [50] 7. You are strongly advised to spend your time as follows: 1.6 The pictures reproduced below may evoke a reaction or feeling in you or stir your imagination. x SECTION A: approximately 80 minutes x SECTION B: approximately 70 (2 x 35) minutes Select ONE picture and write an essay in response. Write the question number (1.6.1, 1.6.2 or 1.6.3) of your choice and give your essay a title. 8. Number the answers correctly according to the numbering system used in this question paper. NOTE: There must be a clear link between your essay and the picture you have chosen. 9. The title/heading must NOT be included when doing a word count. 1.6.1 10. Write neatly and legibly.

[Source: www.urdu-mag.com] [50]

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1.6.2 SECTION B: TRANSACTIONAL TEXTS

QUESTION 2

x Respond to TWO of the following topics. x The body of your answer should be 180–200 words (20–25 lines) in length. x Pay careful attention to the following: - Audience, register, tone and style - Choice of words and language structure - Format x Write down the NUMBER and TITLE/HEADING of the text you have chosen, e.g. 2.1 Magazine article.

2.1 MAGAZINE ARTICLE

You have been approached by the editor of a popular magazine to start a column for young South Africans entering the job market.

Write an article, titled 'Your future could be on-(the)-line', for publication in the

[Source: www.nostalgia.com] [50] next issue. [25]

2.2 OBITUARY 1.6.3 TEENAGER'S TRAGIC END

A seventeen-year-old teenager has died tragically. A parent's worst nightmare has become a reality.

Write the obituary of the teenager for publication in a local newspaper. [25]

2.3 LETTER TO THE PRESS

As a prospective student of a tertiary institution, you have been treated in an unprofessional manner.

Write a letter to the editor of a national newspaper, expressing your concern. [25] [Source: Entrepreneur, September 2014] [50] 2.4 DIALOGUE TOTAL SECTION A: 50 Young people have differing views on brand names. Wearing branded clothing is often seen as a status symbol.

Write a dialogue between two friends who have opposing views on this growing trend. [25]

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2.5 SPEECH GRAAD 12 As the chairperson of a Conservation Club, you have been requested to address important guests on the gravity of nature conservation in South Africa. Using the image below as a guide, write the speech you will deliver.

NATIONAL SENIOR CERTIFICATE

GRADE 12

ENGLISH HOME LANGUAGE P3

NOVEMBER 2016

MARKS: 100

[Source: www.theknowledgeplymouth.co.uk] [25] TIME: 2½ hours

2.6 FORMAL REPORT

A serious incident occurred at a recent sports event. As the captain of a participating team, you have been requested by the organisers to submit a report on the incident.

Write the formal report that you will present. [25]

TOTAL SECTION B: 50 This question paper consists of 7 pages. GRAND TOTAL: 100

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INSTRUCTIONS AND INFORMATION SECTION A: ESSAY

1. This question paper consists of TWO sections: QUESTION 1

SECTION A: Essay (50) Write an essay of 400–450 words (2–2½ pages) on ONE of the following topics. Write SECTION B: Transactional Text (2 x 25) (50) down the NUMBER and TITLE/HEADING of your essay.

2. Answer ONE question in SECTION A and TWO questions in SECTION B. 1.1 Embrace the magic of new beginnings. [50]

3. Write in the language in which you are being assessed. 1.2 'History, despite its wrenching pain, cannot be unlived, but if faced with courage, need not be lived again.' 4. Start EACH section on a NEW page. (Maya Angelou) [50]

5. You must plan (e.g. using a mind map/diagram/flow chart/key words), edit and 1.3 The unwritten rule [50] proofread your work. The plan must appear BEFORE the answer. 1.4 The world can be an amazing place when you are slightly strange. [50] 6. All planning must be clearly indicated as such. It is advisable to draw a line through all planning. 1.5 'Whoever wants music instead of noise, joy instead of pleasure 7. You are strongly advised to spend your time as follows: soul instead of gold … finds no home SECTION A: approximately 80 minutes in this trivial world of ours.' SECTION B: approximately 70 (2 x 35) minutes (Hermann Hesse) [50]

8. Number the answers correctly according to the numbering system used in this 1.6 The pictures reproduced below and on the next page may evoke a reaction or question paper. a feeling in you or stir your imagination.

9. The title/heading must NOT be included when doing a word count. Select ONE picture and write an essay in response. Write the question number (1.6.1, 1.6.2 or 1.6.3) of your choice and give your essay a title. 10. Write neatly and legibly. NOTE: There must be a clear link between your essay and the picture you have chosen.

1.6.1

[Source: www.jamcoretraining.com] [50]

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1.6.2 SECTION B: TRANSACTIONAL TEXTS

QUESTION 2

x Respond to TWO of the following topics. x The body of each of your answers should be 180–200 words (20–25 lines) in length. x Pay careful attention to the following:  Audience, register, tone and style  Choice of words and language structure  Format x Write down the NUMBER and TITLE/HEADING of the text you have chosen, e.g. 2.1 Dialogue.

2.1 DIALOGUE

Using the picture below as a stimulus, write the conversation that ensues between any two of the characters.

[Source: www.pastlifetourist.com] [50]

1.6.3

[Source: www.qingdaonese.com] [25]

[Source: http://api.ning.com] [50] 2.2 OBITUARY

TOTAL SECTION A: 50 A close friend of yours died after a short illness. He/She always reminded you that 'friendship has its roots in the soul and not in the size of your wallet'.

Write an obituary in celebration of his/her legacy. [25]

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2.3 LETTER OF REQUEST 2.6 SPEECH

As depicted in the image below, your community is plagued by derelict You are the chairperson of a youth organisation. The Child Protection Unit in buildings. At a meeting held by community members, certain interventions your area has invited you to deliver a speech on verbal abuse. were proposed. Using the picture below as a stimulus, write the speech. Write a letter to a wealthy member of your community, requesting funding to implement the suggested interventions.

[Source: www.facebook/jennasimon.com] [25]

TOTAL SECTION B: 50 GRAND TOTAL: 100 [Source: www.tinypic.com] [25]

2.4 MAGAZINE ARTICLE

A group of ex-convicts and former gang leaders started a youth development programme in your community. The success of this programme deserves praise.

Write an article, to be published in a magazine, in which you highlight the successes of the project and convince the readers that a similar project should be initiated in other communities. [25]

2.5 BOOK REVIEW

You recently read a remarkable novel that challenged your views on a wide array of issues.

Write a review of this book. [25]

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INSTRUCTIONS AND INFORMATION

GRAAD 12 1. This question paper consists of TWO sections:

SECTION A: Essay: (50) SECTION B: Transactional Texts (2 x 25) (50)

2. Answer ONE question from SECTION A and TWO questions from SECTION B.

3. Write in the language in which you are being assessed. NATIONAL SENIOR CERTIFICATE 4. Start EACH section on a NEW page.

5. You must plan (e.g. using a mind map/diagram/flow chart/key words), edit and proofread your work. The plan must appear BEFORE the answer.

6. All planning must be clearly indicated as such. It is advisable to draw a line GRADE 12 through all planning.

7. You are strongly advised to spend your time as follows:

SECTION A: approximately 80 minutes

ENGLISH HOME LANGUAGE P3 SECTION B: approximately 70 (2 x 35) minutes

8. Number the answers correctly according to the numbering system used in this NOVEMBER 2017 question paper.

9. The title/heading must NOT be included when doing a word count.

MARKS: 100 10. Write neatly and legibly.

TIME: 2½ hours

This question paper consists of 6 pages.

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SECTION A: ESSAY 1.6.2

QUESTION 1

Write an essay of 400–450 words (2–2½ pages) on ONE of the following topics. Write down the NUMBER and TITLE/HEADING of your essay.

1.1 That day, I told myself that sticks in a bundle are unbreakable. [50]

1.2 #Hashtag [50]

1.3 'I was angry with my friend; I told my wrath, my wrath did end. I was angry with my foe; I told it not, my wrath did grow.' (William Blake) [50]

1.4 Tradition and transformation cannot reconcile, unless transformation becomes the new tradition. [50] [Source: www.tblr.com] [50] 1.5 The tapestry of my culture [50] 1.6.3 1.6 The pictures reproduced below and on the next page may evoke a reaction or feeling in you or stir your imagination.

Select ONE picture and write an essay in response. Write the question number (1.6.1, 1.6.2 or 1.6.3) of your choice and give your essay a title.

NOTE: There must be a clear link between your essay and the picture you have chosen.

1.6.1

[Source: http://cdn1.omidoo.com] [50] [Source: www.explico.com] [50] TOTAL SECTION A: 50

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SECTION B: TRANSACTIONAL TEXTS 2.3 FORMAL LETTER QUESTION 2 As a regular commuter, using public transport, you are concerned about the x Respond to TWO of the following topics. unreliability of the service. x The body of each of your answers should be 180–200 words (20–25 lines) in length. Write a letter to the Mayor of your town/city in which you highlight solutions to x Pay careful attention to the following: your grievances. [25] - Audience, register, tone and style - Choice of words and language structure 2.4 FILM REVIEW - Format x Write down the NUMBER and the TITLE/HEADING of the text you have chosen, You watched a film that is based on a South African story and in which e.g. 2.1 Dialogue. international actors were cast in the main roles.

2.1 DIALOGUE Write a review of this film. [25]

The cover of a collection of humorous plays is depicted below. 2.5 LETTER TO THE EDITOR

Write the opening scene between two characters of one of the plays. There has been a spate of violent attacks on vulnerable members of society.

Write a letter to the Editor of a newspaper, in which you express your views on the matter. [25] (Rolling(R on the floor, laughing) A COLLECTION OF SIDE-SPLITTINGLY 2.6 SPEECH HUMOROUS ONE-ACT PLAYS The city council has decided to demolish a museum to make way for affordable housing. As the Chairperson of the Save Our Heritage Committee, you have been invited to a public-participation session at the community hall.

Write the speech that you would present. [25]

TOTAL SECTION B: 50 GRAND TOTAL: 100

[Adapted from www.wordpress.com] [25]

2.2 OBITUARY

As a recent sport event/concert ended, a stampede broke out and several people were injured and trampled to death. One of the deceased was an ardent supporter of the development of sport and culture in your community.

Write his/her obituary. [25]

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