2016 Literature Written · PDF fileLITERATURE Written examination Friday 4 November 2016...

LITERATUREWritten examination

Friday 4 November 2016 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)

TASK BOOK

Structure of book

Task Marks

1 202 20

Total 40

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Taskbookof64pages,includingtheassessment criteriaandachecklistonpage64.• Oneormoreanswerbooks.Allanswerbookscontainunruled(roughworkonly)pagesformaking

notes,plansanddraftsifyouwish.

The task• Youarerequiredtocompletetwopiecesofwritingbasedontwo textsselectedfromtheliston

pages2and3ofthistaskbook.• Eachtextmustbechosenfrom a different section.• Eachpieceofwritingisworthhalfofthetotalassessmentfortheexamination.

Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Inyouranswerbook(s),clearlyindicatethetext numbersofyourselectedtexts.• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2016

Victorian Certificate of Education 2016

2016LITERATUREEXAM 2

InstructionsYouarerequiredtocompletetwopiecesofwritingbasedontwo textsselectedfromthelistonpages2and3.Thelistisdividedintofivesections.Thetextsyouselectmustbechosenfromdifferentsections.You must not write on two texts from the same section.Ifyouanswerontwotextsfromthesamesection,oneofthepieceswillbeawardedzeromarks.1. Findthetextsonwhichyouwishtowrite.2. Threepassageshavebeensetforeverytext.3. Thepassagesareprintedintheorderinwhichtheyappearinthetexts.4. Foreachofyourselectedtexts,youmustuseoneormoreofthepassagesasthebasisforadiscussionofthat

text.5. Inyourpiecesofwriting,referindetailtothepassageorpassagesandthetexts.Youmayincludeminorreferences

toothertexts.Inyouranswerbook(s),clearlyindicatethetext numbersofyourselectedtexts.

Table of contents

Section A – NovelsText number Page

1. JaneAusten Persuasion 4–5

2. CharlotteBrontë Jane Eyre 6–7

3. JosephConrad Heart of Darkness 8–9

4. MilesFranklin My Brilliant Career 10–11

5. CormacMcCarthy All the Pretty Horses 12–13

6. MichaelOndaatje The Cat’s Table 14–15

7. KimScott That Deadman Dance 16–17

8. ChristinaStead The Man Who Loved Children 18–19

9. GiuseppeTomasidiLampedusa The Leopard 20–21

Section B – PlaysText number

10. Aeschylus Agamemnon 22–23

11. EdwardAlbee Who’s Afraid of Virginia Woolf? 24–25

12. HenrikIbsen A Doll’s House 26–27

13. EugèneIonesco Rhinoceros 28–29

14. WilliamShakespeare Antony and Cleopatra 30–31

15. WilliamShakespeare Coriolanus 32–33

16. GeorgeBernardShaw Pygmalion 34–35

17. TomStoppard Arcadia 36–37

3 2016LITERATUREEXAM

Section C – Short storiesText number Page

18. NikolayGogol The Diary of a Madman, The Government 38–39 Inspector and Selected Stories

19. CateKennedy Dark Roots 40–41

20. AnnieProulx Close Range: Brokeback Mountain and 42–43 Other Stories

Section D – Other literatureText number

21. JulianBarnes A History of the World in 10½ Chapters 44–45

22. SheilaFitzpatrick My Father’s Daughter: Memories of an 46–47 Australian Childhood

23. GeorgeOrwell Down and Out in Paris and London 48–49

24. WEHStanner The Dreaming & Other Essays 50–51

Section E – PoetryText number

25. RobertBrowning Selected Poems 52–53

26. RosemaryDobson Collected 54–55

27. SeamusHeaney Opened Ground: Poems 1966–1996 56–57

28. ChristinaRossetti Selected Poems 58–59

29. WisławaSzymborska Sounds, Feelings, Thoughts: Seventy Poems by 60–61 Wisława Szymborska

30. ChrisWallace-Crabbe New and Selected Poems 62–63

Assessment criteria 64

A checklist for planning and revising 64

TURN OVER

NoteAllpassagesinthisexaminationarereproducedastheyappearinthenominatedversionofthetext.


Section A – Novels1. Jane Austen: Persuasion

Use one or more of the passages selected as the basis for a discussion of Persuasion.

THISQUESTIONISCONTINUEDONPAGE5

1.

Theyknewnoteachother’sopinion,eitheritsconstancyoritschange,ontheoneleadingpointofAnne’sconduct,forthesubjectwasneveralludedto,—butAnne,atsevenandtwenty,thoughtverydifferentlyfromwhatshehadbeenmadetothinkat nineteen.—Shedid not blameLadyRussell, she did notblameherselfforhavingbeenguidedbyher;butshefeltthatwereanyyoungperson,insimilarcircumstances,toapplytoherforcounsel,theywouldneverreceiveanyofsuchcertainimmediatewretchedness, suchuncertain future good.—Shewaspersuadedthatundereverydisadvantageofdisapprobationathome,andeveryanxietyattendinghisprofession,alltheirprobablefears,delaysanddisappointments,sheshouldyethavebeenahappierwomaninmaintainingtheengagement,thanshehadbeeninthesacrificeofit;andthis,shefullybelieved,hadtheusualshare,hadevenmorethanausualshareofallsuchsolicitudesandsuspensebeentheirs,withoutreferencetotheactualresultsoftheircase,which,asithappened,wouldhavebestowedearlierprosperitythancouldbereasonablycalculatedon.Allhissanguineexpectations,allhisconfidencehadbeenjustified.Hisgeniusandardourhadseemedtoforeseeandtocommandhisprosperouspath.Hehad,verysoonaftertheirengagementceased,gotemploy;andallthathehadtoldherwouldfollow,hadtakenplace.Hehaddistinguishedhimself,andearlygained theother step in rank—andmustnow,bysuccessivecaptures,havemadeahandsomefortune.Shehadonlynavylistsandnewspapersforherauthority,butshecouldnotdoubthisbeingrich;—and,infavourofhisconstancy,shehadnoreasontobelievehimmarried. HoweloquentcouldAnneElliothavebeen,—howeloquent,atleast,wereherwishesonthesideofearlywarmattachment,and a cheerful confidence in futurity, against that over-anxiouscautionwhich seems to insult exertionanddistrustProvidence!—Shehadbeenforcedintoprudenceinheryouth,shelearnedromanceasshegrewolder—thenaturalsequelofanunnaturalbeginning.

* * *

2.

AnnefoundCaptainBenwickagaindrawingnearher.LordByron’s“darkblueseas”couldnotfailofbeingbroughtforwardbytheirpresentview,andshegladlygavehimallherattentionaslongasattentionwaspossible.Itwassoondrawnperforceanotherway. TherewastoomuchwindtomakethehighpartofthenewCobbpleasantfortheladies,andtheyagreedtogetdownthestepstothelower,andallwerecontentedtopassquietlyandcarefullydownthesteepflight,exceptingLouisa;shemustbejumpeddownthembyCaptainWentworth.Inalltheirwalks,hehadhadtojumpherfromthestiles;thesensationwasdelightfultoher.Thehardnessofthepavementforherfeet,madehimlesswillinguponthepresentoccasion;hedidit,however;shewassafelydown,and instantly, toshewherenjoyment, ranupthestepstobejumpeddownagain.Headvisedheragainstit,thoughtthejartoogreat;butno,hereasonedandtalkedinvain;shesmiledandsaid,“IamdeterminedIwill:”heputouthishands;shewastooprecipitatebyhalfasecond,shefellonthepavementontheLowerCobb,andwastakenuplifeless! Therewasnowound,noblood,novisiblebruise;buthereyeswereclosed,shebreathednot,herfacewaslikedeath.—Thehorrorofthatmomenttoallwhostoodaround! CaptainWentworth,whohadcaughtherup,kneltwithherinhisarms,lookingonherwithafaceaspallidasherown,inanagonyofsilence.“Sheisdead!sheisdead!”screamedMary,catchingholdofherhusband,andcontributingwithhisownhorrortomakehimimmoveable;andinanothermoment,Henrietta,sinkingundertheconviction,losthersensestoo,andwouldhavefallenonthesteps,butforCaptainBenwickandAnne,whocaughtandsupportedherbetweenthem. “Istherenoonetohelpme?”werethefirstwordswhichburstfromCaptainWentworth,inatoneofdespair,andasifallhisownstrengthweregone. “Gotohim,gotohim,”criedAnne,“forheaven’ssakegotohim.Icansupporthermyself.Leaveme,andgotohim.Rubherhands, rubher temples;herearesalts,—take them,takethem.” CaptainBenwickobeyed,andCharlesatthesamemoment,disengaginghimselffromhiswife,theywerebothwithhim;andLouisawasraisedupandsupportedmorefirmlybetweenthem,andeverythingwasdonethatAnnehadprompted,butinvain;whileCaptainWentworth,staggeringagainstthewallforhissupport,exclaimedinthebitterestagony, “OhGod!herfatherandmother!” “Asurgeon!”saidAnne. Hecaughttheword;itseemedtorousehimatonce,andsayingonly“True,true,asurgeonthisinstant,”wasdartingaway,whenAnneeagerlysuggested, “CaptainBenwick,would not it be better for CaptainBenwick?Heknowswhereasurgeonistobefound.”

* * *


Section A – Novels1. Jane Austen: Persuasion

3.

Asuddenrecollectionseemedtooccur,andtogivehimsometaste of that emotionwhichwas reddeningAnne’s cheeksandfixinghereyesontheground.—Afterclearinghisthroat,however,heproceededthus, “Iconfess that Ido think there isadisparity, toogreatadisparity,andinapointnolessessentialthanmind.—IregardLouisaMusgrove as a very amiable, sweet-tempered girl,andnotdeficientinunderstanding;butBenwickissomethingmore.Heisacleverman,areadingman—andIconfessthatIdoconsiderhisattachinghimselftoher,withsomesurprise.Haditbeentheeffectofgratitude,hadhelearnttoloveher,becausehebelievedhertobepreferringhim,itwouldhavebeenanotherthing.ButIhavenoreasontosupposeitso.Itseems,onthecontrary,tohavebeenaperfectlyspontaneous,untaughtfeelingonhisside,andthissurprisesme.Amanlikehim,inhissituation!Withaheartpierced,wounded,almostbroken!FannyHarvillewasaverysuperiorcreature;andhisattachmenttoherwasindeedattachment.Amandoesnotrecoverfromsuchadevotionofthehearttosuchawoman!—Heoughtnot—hedoesnot.” Either from the consciousness, however, that his friendhadrecovered,orfromsomeotherconsciousness,hewentnofarther;andAnne,who,inspiteoftheagitatedvoiceinwhichthelatterparthadbeenuttered,andinspiteofallthevariousnoisesoftheroom,thealmostceaselessslamofthedoor,andceaselessbuzzofpersonswalkingthrough,haddistinguishedeveryword,wasstruck,gratified,confused,andbeginningtobreatheveryquick,andfeelanhundredthingsinamoment.Itwasimpossibleforhertoenteronsuchasubject;andyet,afterapause,feelingthenecessityofspeaking,andhavingnotthesmallestwishforatotalchange,sheonlydeviatedsofarastosay, “YouwereagoodwhileatLyme,Ithink?” “Aboutafortnight.IcouldnotleaveittillLouisa’sdoingwellwasquiteascertained.Ihadbeentoodeeplyconcernedinthemischieftobesoonatpeace.Ithadbeenmydoing—solelymine.ShewouldnothavebeenobstinateifIhadnotbeenweak.ThecountryroundLymeisveryfine.Iwalkedandrodeagreatdeal;andthemoreIsaw,themoreIfoundtoadmire.” “IshouldverymuchliketoseeLymeagain,”saidAnne. “Indeed!IshouldnothavesupposedthatyoucouldhavefoundanythinginLymetoinspiresuchafeeling.Thehorroranddistressyouwere involvedin—thestretchofmind, thewearofspirits!—IshouldhavethoughtyourlastimpressionsofLymemusthavebeenstrongdisgust.” “Thelast fewhourswerecertainlyverypainful,”repliedAnne: “butwhenpain is over, the remembranceof it oftenbecomesapleasure.Onedoesnot loveaplace the less forhavingsufferedinit,unlessithasbeenallsuffering,nothingbutsuffering—whichwasbynomeansthecaseatLyme.Wewereonlyinanxietyanddistressduringthelasttwohours;and,previously,therehadbeenagreatdealofenjoyment.[…]

* * *


Section A – Novels2. Charlotte Brontë: Jane Eyre

Use one or more of the passages selected as the basis for a discussion of Jane Eyre.


1.

‘ButIfeelthis,Helen:Imustdislikethosewho,whateverIdotopleasethem,persistindislikingme;Imustresistthosewhopunishmeunjustly.ItisasnaturalasthatIshouldlovethosewhoshowmeaffection,orsubmittopunishmentwhenIfeelitisdeserved.’ ‘Heathensandsavagetribesholdthatdoctrine;butChristiansandcivilisednationsdisownit.’ ‘How?Idon’tunderstand.’ ‘Itisnotviolencethatbestovercomeshate–norvengeancethatmostcertainlyhealsinjury.’ ‘Whatthen?’ ‘ReadtheNewTestament,andobservewhatChristsays,andhowHeacts;makeHiswordyourrule,andHisconductyourexample.’ ‘WhatdoesHesay?’ ‘Loveyourenemies;blessthemthatcurseyou;dogoodtothemthathateyouanddespitefullyuseyou.’ ‘ThenIshouldloveMrsReed,whichIcannotdo:IshouldblesshersonJohn,whichisimpossible.’ In her turn, Helen Burns askedme to explain; and Iproceededforthwithtopourout,inmyownway,thetaleofmysufferingsandresentments.Bitterandtruculentwhenexcited,IspokeasIfelt,withoutreserveorsoftening. Helenheardmepatientlytotheend;Iexpectedshewouldthenmakearemark,butshesaidnothing. ‘Well,’Iaskedimpatiently,‘isnotMrsReedahard-hearted,badwoman?’ ‘Shehasbeenunkindtoyou,nodoubt,because,yousee,shedislikesyourcastofcharacter,asMissScatcherddoesmine;buthowminutelyyourememberallshehasdoneandsaidtoyou!Whatasingularlydeepimpressionherinjusticeseemstohavemadeonyourheart!Noill-usagesobrandsitsrecordonmyfeelings.Wouldyounotbehappierifyoutriedtoforgetherseverity,togetherwiththepassionateemotionsitexcited?Lifeappearstometooshorttobespentinnursinganimosity,orregisteringwrongs.[…]

* * *

2.

‘Youneverfelt jealously,didyou,MissEyre?Ofcoursenot:Ineednotaskyou;becauseyouneverfeltlove.Youhavebothsentimentsyettoexperience:yoursoulsleeps;theshockisyettobegivenwhichshallwakenit.Youthinkallexistencelapsesinasquietaflowasthatinwhichyouryouthhashithertoslidaway.Floatingonwithclosedeyesandmuffledears,youneitherseetherocksbristlingnotfaroffinthebedoftheflood,norhearthebreakersboilattheirbase.ButItellyou–andyoumaymarkmywords–youwillcomesomedaytoacraggypassinthechannel,wherethewholeoflife’sstreamwillbebrokenupintowhirlandtumult,foamandnoise:eitheryouwillbedashedtoatomsoncragpoints,orliftedupandborneonbysomemaster-waveintoacalmercurrent–asIamnow. ‘Ilikethisday;Ilikethatskyofsteel;Ilikethesternnessandstillnessoftheworldunderthisfrost.IlikeThornfield,itsantiquity,itsretirement,itsoldcrow-treesandthorn-trees,itsgrayfaҫade,andlinesofdarkwindowsreflectingthatmetalwelkin:andyethowlonghaveIabhorredtheverythoughtofit,shunneditlikeagreatplague-house?HowIdostillabhor—’ Hegroundhisteethandwassilent:hearrestedhisstepandstruckhisbootagainstthehardground.Somehatedthoughtseemedtohavehiminitsgrip,andtoholdhimsotightlythathecouldnotadvance.– Wewereascendingtheavenuewhenhethuspaused;thehallwasbeforeus.Liftinghiseyetoitsbattlements,hecastoverthemaglaresuchasIneversawbeforeorsince.Pain,shame,ire–impatience,disgust,detestation–seemedmomentarilytoholdaquiveringconflictinthelargepupildilatingunderhis ebon eyebrow.Wildwas thewrestlewhich should beparamount;butanotherfeelingroseandtriumphed:somethinghardandcynical;self-willedandresolute:itsettledhispassionandpetrifiedhiscountenance:hewenton– ‘DuringthemomentIwassilent,MissEyre,Iwasarrangingapointwithmydestiny.Shestoodthere,bythatbeech-trunk–ahaglikeoneofthosewhoappearedtoMacbethontheheathofForres.“YoulikeThornfield?”shesaid,liftingherfinger;andthenshewroteintheairamemento,whichraninluridhieroglyphicsallalongthehouse-front,betweentheupperandlowerrowofwindows,“Likeitifyoucan!Likeitifyoudare!” ‘“Iwilllikeit,”saidI;“Idarelikeit;”and’(hesubjoinedmoodily) ‘Iwill keepmyword: Iwill break obstacles tohappiness,togoodness–yes,goodness.IwishtobeabettermanthanIhavebeen,thanIam;asJob’sleviathanbrokethespear, thedart, and thehabergeon,hindranceswhichotherscountasironandbrassIwillesteembutstrawandrottenwood.’

* * *


Section A – Novels2. Charlotte Brontë: Jane Eyre

3.

Iinterruptedhim.Anythinglikeatangiblereproachgavemecourageatonce.‘Keeptocommonsense,StJohn:youarevergingonnonsense.YoupretendtobeshockedbywhatIhavesaid.Youarenotreallyshocked:for,withyoursuperiormind,youcannotbeeithersodullorsoconceitedastomisunderstandmymeaning.Isayagain,Iwillbeyourcurate,ifyoulike,butneveryourwife.’ Againheturnedlividlypale;but,asbefore,controlledhispassionperfectly.Heansweredemphaticallybutcalmly– ‘Afemalecurate,whoisnotmywife,wouldneversuitme.Withme,then,itseems,youcannotgo:butifyouaresincereinyouroffer,Iwill,whileintown,speaktoamarriedmissionary,whosewifeneedsacoadjutor.Yourownfortunewillmakeyouindependentof theSociety’said; and thusyoumaystillbesparedthedishonourofbreakingyourpromiseanddesertingthebandyouengagedtojoin.’ Now I never had, as the reader knows, either given anyformal promise or entered into any engagement; and thislanguagewasallmuchtoohardandmuchtoodespoticfortheoccasion.Ireplied– ‘Thereisnodishonour,nobreachofpromise,nodesertioninthecase.IamnotundertheslightestobligationtogotoIndia,especiallywith strangers.With you Iwould have venturedmuch,becauseIadmire,confidein,and,asasister,Iloveyou;butIamconvincedthat,gowhenandwithwhomIwould,Ishouldnotlivelonginthatclimate.’ ‘Ah!youareafraidofyourself,’hesaid,curlinghislip. ‘Iam.Goddidnotgivememylifetothrowaway;andtodoasyouwishmewould,Ibegintothink,bealmostequivalenttocommittingsuicide.Moreover,beforeIdefinitivelyresolveonquittingEngland,IwillknowforcertainwhetherIcannotbeofgreaterusebyremaininginitthanbyleavingit.’ ‘Whatdoyoumean?’ ‘Itwouldbefruitlesstoattempttoexplain;butthereisapointonwhichIhavelongenduredpainfuldoubt,andIcangonowheretillbysomemeansthatdoubtisremoved.’ ‘Iknowwhereyourheartturnsandtowhatitclings.Theinterestyoucherishislawlessandunconsecrated.Longsinceyououghttohavecrushedit:nowyoushouldblushtoalludetoit.YouthinkofMrRochester?’ Itwastrue.Iconfesseditbysilence.

* * *


Section A – Novels3. Joseph Conrad: Heart of Darkness

Use one or more of the passages selected as the basis for a discussion of Heart of Darkness.


1.

“Theyweredyingslowly—itwasveryclear.Theywerenotenemies,theywerenotcriminals,theywerenothingearthlynow—nothingbutblackshadowsofdiseaseandstarvation,lyingconfusedlyinthegreenishgloom.Broughtfromalltherecessesofthecoastinallthelegalityoftimecontracts,lostin uncongenial surroundings, fed on unfamiliar food, theysickened,becameinefficient,andwerethenallowedtocrawlawayandrest.Thesemoribundshapeswerefreeasair—andnearlyasthin.Ibegantodistinguishthegleamofeyesunderthetrees.Then,glancingdown,Isawafacenearmyhand.The black bones reclined at full lengthwith one shoulderagainst thetree,andslowlytheeyelidsroseandthesunkeneyeslookedupatme,enormousandvacant,akindofblind,whiteflickerinthedepthsoftheorbs,whichdiedoutslowly.Themanseemedyoung—almostaboy—butyouknowwiththemit’shardtotell.IfoundnothingelsetodobuttoofferhimoneofmygoodSwede’sship’sbiscuitsIhadinmypocket.Thefingersclosedslowlyonitandheld—therewasnoothermovement andnoother glance.Hehad tied a bit ofwhiteworstedroundhisneck—Why?Wheredidhegetit?Wasitabadge—anornament—acharm—apropitiatoryact?Wasthereanyideaatallconnectedwithit?Itlookedstartlingroundhisblackneck,thisbitofwhitethreadfrombeyondtheseas. “Nearthesametreetwomore,bundlesofacuteangles,satwiththeirlegsdrawnup.One,withhischinproppedonhisknees,staredatnothing,inanintolerableandappallingmanner:hisbrotherphantomresteditsforehead,asifovercomewithagreatweariness;andallaboutotherswerescatteredineveryposeofcontortedcollapse,asinsomepictureofamassacreorapestilence.WhileIstoodhorror-struck,oneofthesecreaturesrosetohishandsandknees,andwentoffonall-fourstowardstherivertodrink.Helappedoutofhishand,thensatupinthesunlight,crossinghisshinsinfrontofhim,andafteratimelethiswoollyheadfallonhisbreastbone. “Ididn’twantanymoreloiteringintheshade,andImadehastetowardsthestation.WhennearthebuildingsImetawhiteman,insuchanunexpectedeleganceofget-upthatinthefirstmomentItookhimforasortofvision.Isawahighstarchedcollar,whitecuffs,alightalpacajacket,snowytrousers,aclearsilknecktie,andvarnishedboots.Nohat.Hairparted,brushed,oiled,underagreen-linedparasolheldinabigwhitehand.Hewasamazing,andhadapenholderbehindhisear. “Ishookhandswiththismiracle,andIlearnedhewastheCompany’schiefaccountant,andthatallthebook-keepingwasdoneatthisstation.[…]

* * *

2.

“Trytobecivil,Marlow,”growledavoice,andIknewtherewasatleastonelistenerawakebesidesmyself. “Ibegyourpardon.Iforgottheheartachewhichmakesuptherestoftheprice.Andindeedwhatdoesthepricematter,ifthetrickbewelldone?Youdoyourtricksverywell.AndIdidn’tdobadlyeither,sinceImanagednottosinkthatsteamboatonmyfirsttrip.It’sawondertomeyet.Imagineablindfoldedmansettodriveavanoverabadroad.Isweatedandshiveredoverthatbusinessconsiderably,Icantellyou.Afterall,foraseaman,toscrapethebottomofthethingthat’ssupposedtofloatallthetimeunderhiscareistheunpardonablesin.Noonemayknowofit,butyouneverforgetthethump—eh?Ablowontheveryheart.Yourememberit,youdreamofit,youwakeupatnightandthinkofit—yearsafter—andgohotandcoldallover.Idon’tpretendtosaythatsteamboatfloatedallthetime.Morethanonceshehadtowadeforabit,withtwentycannibalssplashingaroundandpushing.Wehadenlistedsomeofthesechapsonthewayforacrew.Finefellows—cannibals—intheirplace.Theyweremenonecouldworkwith,andIamgratefultothem.And,afterall,theydidnoteateachotherbeforemyface:theyhadbroughtalongaprovisionofhippo-meatwhichwentrotten,andmadethemysteryofthewildernessstinkinmynostrils.Phoo!Icansniffitnow.Ihadthemanageronboardand three or four pilgrimswith their staves—all complete.Sometimeswecameuponastationclosebythebank,clingingtotheskirtsoftheUnknown,andthewhitemenrushingoutofatumble-downhovel,withgreatgesturesofjoyandsurpriseandwelcome,seemedverystrange—hadtheappearanceofbeingheldtherecaptivebyaspell.Theword‘ivory’wouldringintheairforawhile—andonwewentagainintothesilence,alongemptyreaches,roundthestillbends,betweenthehighwallsofourwindingway,reverberatinginhollowclapstheponderousbeatofthesternwheel.Trees,trees,millionsoftrees,massive,immense,runninguphigh;andattheirfoot,huggingthebankagainstthestream,creptthelittlebegrimedsteamboat,likeasluggishbeetlecrawlingonthefloorofaloftyportico.Itmadeyoufeelverysmall,very lost,andyet itwasnotaltogetherdepressingthatfeeling.Afterall,ifyouweresmall,thegrimybeetlecrawledon—whichwasjustwhatyouwantedittodo.WherethepilgrimsimagineditcrawledtoIdon’tknow.Tosomeplacewheretheyexpectedtogetsomething,Ibet!FormeitcrawledtowardsKurtz—exclusively;butwhenthesteam-pipesstartedleakingwecrawledveryslow.[…]

* * *


Section A – Novels3. Joseph Conrad: Heart of Darkness

3.

“One evening coming inwith a candle Iwas startled tohearhimsayalittletremulously,‘Iamlyinghereinthedarkwaitingfordeath.’Thelightwaswithinafootofhiseyes.Iforcedmyselftomurmur,‘Oh,nonsense!’andstoodoverhimasiftransfixed. “Anything approaching the change that came over hisfeaturesIhaveneverseenbefore,andhopenevertoseeagain.Oh,Iwasn’ttouched.Iwasfascinated.Itwasasthoughaveilhadbeenrent.Isawonthativoryfacetheexpressionofsombrepride,ofruthlesspower,ofcraventerror—ofanintenseandhopelessdespair.Didhelivehislifeagainineverydetailofdesire,temptation,andsurrenderduringthatsuprememomentofcompleteknowledge?Hecriedinawhisperatsomeimage,atsomevision—hecriedouttwice,acrythatwasnomorethanabreath— “‘Thehorror!Thehorror!’ “Iblewthecandleoutandleftthecabin.Thepilgrimsweredining in themess-room, and I tookmyplaceopposite themanager,wholiftedhiseyestogivemeaquestioningglance,which I successfully ignored.He leanedback, serene,withthatpeculiarsmileofhissealingtheunexpresseddepthsofhismeanness.Acontinuousshowerofsmallfliesstreameduponthelamp,uponthecloth,uponourhandsandfaces.Suddenlythemanager’sboyputhisinsolentblackheadinthedoorway,andsaidinatoneofscathingcontempt— “‘MistahKurtz—hedead.’ “Allthepilgrimsrushedouttosee.Iremained,andwentonwithmydinner.IbelieveIwasconsideredbrutallycallous.However,Ididnoteatmuch.Therewasalampinthere—light,don’tyouknow—andoutsideitwassobeastly,beastlydark.Iwentnomoreneartheremarkablemanwhohadpronouncedajudgmentupontheadventuresofhissoulonthisearth.Thevoicewasgone.Whatelsehadbeenthere?ButIamofcourseawarethatnextdaythepilgrimsburiedsomethinginamuddyhole. “Andthentheyverynearlyburiedme.[…]

* * *


Section A – Novels4. Miles Franklin: My Brilliant Career

Use one or more of the passages selected as the basis for a discussion of My Brilliant Career.


1.

Hard graft is a great leveller. Household drudgery, wood-cutting,milking,andgardeningsoonroughenthehandsanddimtheoutsidepolish.When thebody isweariedwithmuchtoilthedesiretocultivatethemind,orthecultivationithasalreadyreceived,isgraduallywipedout.Thusitwaswithmyparents.Theyhaddroppedfromswelldomtopeasantism.Theywereamongandofthepeasantry.Noneoftheirformeracquaintances camewithin their circle now, for the ironungodlyhandofclassdistinctionhassettledsurelydownuponAustraliansociety—Australia’sdemocracyisonlyatraditionofthepast. Isaynaughtagainstthelowerlife.Thepeasantryarethebulwarksofeverynation.Thelifeofapeasantis,toapeasantwhoisapeasantwithapeasant’ssoul,whentimesaregoodandwhenseasonssmile,agrandlife.Itishonest,clean,andwholesome.Butthelifeofapeasanttomeispurgatory.Thosearoundmeworkedfrommorningtillnightandthenenjoyedtheirwell-earnedsleep.Theyhadbuttwostatesofexistence—workandsleep. Therewasathirdpartinmewhichcriedouttobefed.Ilongedforthearts.Musicwasapassionwithme.Iborrowedeverybookintheneighbourhoodandstolehoursfromresttoreadthem.Thistolduponmeandmademyphysicalburdensharderformethanforotherchildrenofmyyearsaroundme.Thatthirdwasthestrongestpartofme.InitIlivedadream-lifewithwriters,artists,andmusicians.Hope,sweet,cruel,delusiveHope,whisperedinmyearthatlifewaslongwithmuchbyandby,andinthatbyandbymydream-lifewouldbereal.SoonIwentwiththatgleaminglakeinthedistancebeckoningmetocomeandsailonitssilverwaters,andInexperience,conceited,blindInexperience,failingtoshowtheimpassablepitbetweenitandme. Toreturntothedairying. Oldandyoungalikeweearnedourscantlivelihoodbytheheavysweatofourbrows.Still,wedidgainanhonestliving.Wewerenotashamedtolookdayintheface,andfoughtourwayagainstalloddswiththestubbornindependenceofourBritishancestors.

* * *

2.

IerectedmyparasolandhelditsoastoteaseHarold.Iputitdownsothathecouldnotseethehorses.Hequietlyseizedmywristandhelditoutofhiswayforatime,andthenloosingmesaid,“Now,behave.” Iflouteditnow,sothathisearsandeyeswereendangered,andhewasforcedtoholdhishaton. “I’llgiveyouthreeminutestobehave,orI’llputyouout,”hesaidwithmockseverity. “Shureit’smewot’sbehavin’beautiful,”Ireplied,continuingmynonsense. Hepulledrein,seizedmeinonearm,andliftedmelightlytotheground. “Now,youcanwalktillyoupromisetoconductyourselflikeaChristian!”hesaid,drivingatawalk. “IfyouwaittillIpromiseanything,you’llwaittilltheendofthecentury.I’mquitecapableofwalkinghome.” “You’llsoongettiredofwalkinginthisheat,andyourfeetwillbeblisteredinamilewiththosebitsofpaper.” Thebitsofpapertowhichhealludedwereapairofthin-soledwhitecanvasslippers—notatallfittedforwalkingtheeightmilesonthehardhotroadaheadofme.Iwalkedresolutelyon,withoutdeigningaglanceatHarold,whohadsloweddowntoacrawlingwalk. “Aren’tyoureadytogetupnow?”heinquiredpresently. Ididnotreply.Attheendofaquarterofamilehejumpedoutofthebuggy,seizeduponme,liftedmein,andlaughed,saying,“You’reaveryslashinglittleconcern,butyouarenotbigenoughtodomuchdamage.” Wewere about half-way homewhen Barney gave atremendouslurch,breakingatraceandsomeotherstraps.MrBeechamwasattheheadoftheplunginghorseinatwinkling.Theharnessseemedtobescatteredeverywhere. “IexpectIhadbetterwalkonnow,”Iremarked. “Walk,begrannied!Withtwofatlazyhorsestodrawyou?”returnedMrBeecham. Menareclumsy,stupidcreaturesregardinglittlethings,butintheirrightplacetheyarewonderfulanimals.Ifabuggywassmashedtosmithereens,fromoneoftheirmanymysteriouspocketstheywouldproduceaknifeandsomestring,andputthewreckintoworkingorderinnotime.

* * *


Section A – Novels4. Miles Franklin: My Brilliant Career

3.

EverynightunfailinglywhenathomeM‘Swatsat in thebosomofhisfamilyandspeculatedastohowmuchricherhewasthanhisneighbours,whatoldReecelivedon,andwhohadthebestbreedofsheepandwhowasthesmartestatcountingtheseanimals,untilthesordidnessofitturnedmedizzy,andIwouldstealoutunder thestars to tryandcoolmyheatedspirit.Thisbecameapracticewithme,andeverynightIwouldslipawayoutofhearingofthehouseholdtosingthesongsIhadheardatCaddagat,andinimaginationtoreliveeverydayandhourthere,tillthethingbecametoomuchforme,andIwasscarcelyresponsibleformyactions.OftenIkneltontheparchedgroundbeneaththebalmysummerskytopray—wildpassionateprayersthatwereneveranswered. Iwasundertheimpressionthatmynightlyramblewasnotspeciallynoticedbyanyone,butIwasmistaken.MrM‘Swat,itappears,suspectedmeofhavingalover,butwasneverabletocatchmered-handed. Thepossibilityofagirlgoingoutatnight togazeat thestarsanddreamwasasimprobableathoughtforhimasflyingistome,andhavingnosoulabovemud,hadIattemptedanexplanationhewouldhaveconsideredmemad,anddangeroustohaveabouttheplace. Peter,junior,hadasweetheart,oneSusieDuffy,wholivedsomemilesontheothersideoftheMurrumbidgee.HewasinthehabitofcourtinghereverySundayandtwoorthreenightsduringtheweek,andIoftenheardtheclangofhisstirrup-ironsandtheclinkofhobble-chainwhenhereturnedlate;butononeoccasionIstayedoutlaterthanusual,andhepassedmegoinghome.Istoodstillandhedidnotseeme,buthishorseshiedviolently.IthoughthewouldimagineIwasaghost,socalledout: “ItisI.” “Well,I’llbehanged!Whatareyedoin’atthistimeevnight.Ain’tyuzafraidofghosts?” “Ohdearno.Ihadabadheadacheandcouldn’tsleep,socameouttotryifawalkwouldcureit,”Iexplained. Wewereaquarterofamileorsofromthehouse,soPeterslackened his speed that Imight keep pacewith him.Hisknowledgeofetiquettedidnotextendasfarasdismounting.Thereisagreatdifferencebetweenrudenessandignorance.Peterwasnotrude;hewasmerelyignorant.Forthesamereasonhelethismotherfeedthepigs,cleanhisboots,andchopwood,whilehesatdownandsmokedandspat.Itwasnotthathewasunmanly,asthatthiswastheonlymanlinesshehadknown.

* * *


Section A – Novels5. Cormac McCarthy: All the Pretty Horses

Use one or more of the passages selected as the basis for a discussion of All the Pretty Horses.


1.

Wheredoyoureckonthatparadiseisat…Iknowedyouwasainfidel,saidBlevins.

CormacMcCarthy,All the Pretty Horses, PanMacmillan,2010

pp.61and62

Due to copyright restrictions, theVCAA is unable toreproduce the full passagewhen this examination ispublishedon theVCAAwebsite. Instead, theopeningandclosingwordsofthepassagehavebeenprovided.

2.

Whenhetookthemareback…Theysatforalongtime.


pp.121–123



Section A – Novels5. Cormac McCarthy: All the Pretty Horses

3.

Ifiguredyoumightwantyouroldhorseback…butafterawhilehewasgone.


pp.306and307



Section A – Novels6. Michael Ondaatje: The Cat’s Table

Use one or more of the passages selected as the basis for a discussion of The Cat’s Table.


1.

Likeme,inordertobeacceptedintoanEnglishschool…butIwouldneverunlearnthewhisperofCassius.

MichaelOndaatje,The Cat’s Table, JonathanCape,2011

pp.43–45


2.

NarayanandGunepala,thecook…beforebeingcalledbymyaunttodosomethingorother.


pp.59–61



Section A – Novels6. Michael Ondaatje: The Cat’s Table

3.

Wecreptoutofourcorner…asifabouttojumpofftheshipintothedarksea.


pp.260and261



Section A – Novels7. Kim Scott: That Deadman Dance

Use one or more of the passages selected as the basis for a discussion of That Deadman Dance.


1.

Plungeyourhandsintothatwhaleheart,leanintoitandsqueezeandletyourvoicejointhewhale’sroar.Singthatsongyourfathertaughtyouasthewhaledives,down,deep. Howdarkitisbeneaththesea,andlookingthroughthewhale’seyesyouseebubblesslidepastyoulike...

Buttherewasnoneofthat.Bobbywasonlyimagining,onlywriting.Heldintheskyonarockyheadland,Bobbydrewchalkcirclesonslate,drewbubbles. Bubelz. Roze a wail. Heerased themarkswith theheelofhishand. Itwasn’ttrue,itwasjustanoldstory,andhecouldn’tevenrememberthepropersong.Therewasnowhale.Andthiswasnosunnyday. Instead, thewindplucked atBobby’s small shelter ofbrushwood and canvas, and rain spat on thewalls. In theheadland’sleeimmediatelybelowhimtheseawassmooth,butalittlefurtherfromland—afewboatlengths,nomore—itwasscuffedandagitated,andscribblesoffoamspilledinapatternhewasstilllearning.Rainmadesharpsilverthorns,andthentherewasnosea,noskyandtheworldhadcompresseditselfintoadiagonallygrainedgreyspacebeforehim. Bobby heard the heavy tread, andKongkChaine thrusthimselfintothelittlehut.Hardlyspaceforthetwoofthembeneath this roof, these threeflimsywalls.Bobby smelledtobaccoandrum;ifKongkbreathesindeep,standsupstraight,thisshelter’llexplode.Chainesteamedwithrainandbodyheatandruddyhealth;watercascadedoverthebrimofhishatandgushedfromhisbristlingbeard. Youneedafirehere,Bobby. Helookedoutacrosstheangryoceanasitreappeared,andattherainracingaway. Nothing,huh? They sat, each in the smell of the other, anddespite thewarmthofthebodybesidehim,Bobbyfeltthecoldseepingintohisbones.Hisfingerswerechalk,butwithlooseandwrinkledskin.Hedrewonthewetslatewithhisfinger. Fine we kild a wail. Chainebarked.Laughed.Bobbyfelttheman’sarmaroundhisback,thetoughandcallousedpawsqueezinghim. Ihopetokillmyselfawhale,myboy.Morethanone,cometothat.Morethanone.ButrightnowIwishforsunlightandaclearsky. Bobbygrinnedandnodded.DrCrossmightbegone,butGeordieChainelivedon,anothernewoldman.

* * *

2.

Ononesuchstuffyevening,thetwomenwentoutunderthenightsky—notfar,becauseWunyeranlikedtokeepfiresorlight close at hand—andCross tried to followWunyeran’swordsofwhatwasintheglitteringsky:theoriginsofdifferentstars,thestoriesofdarkspacesbetween,thewaytheskyanditsslowlyshiftingconstellationssignalledthatrainwasdue,whaleswouldbeappearing,emusnestinginland...Hetoldskystoriesofhowthingsbecamethetruthstheyare. Thetwomensateithersideofthehut’sdoorway,thecandlesinsideflickering,andthedarkshapesmassedaroundthem—huts,aheapofwood,tents,shrubs,trees—contrastedwiththesky,whichloweredanetofstarstoenmeshandwelcomethem. YoupeopleinEngland,theydie? ThequestioncameafterasilencebetweenthemandCrosshad hardly replied that yes, they did,whenWunyeran, thetimbreofhisvoiceeloquentwithmelancholy,continuedthathisownpeopleweredyingingreatnumbers.Hecoughedandwheezed,mimickingcommonsymptoms.Mimicking,butheknewthesymptomstoowell.Hescratchedhimself. Andwhatthen?Crosstriedtoask.Whatofaheavenandhell?Angels?AGod? Doctor-Sunday-book-paper? Wunyeranhadpolitelysatthroughseveralchurchservicesandnow,brokenEnglishinterspersedwithhisownlanguageand againwith song, he expressed something of his elderbrothersthekangaroos,andthattreesorwhalesorfishmightalso be family.Or soCross understood.The sunwas theirmother...Cross’sfaceshowedhedidnotunderstand. Doctor-Sunday-book-service,Wunyeran said, smiling attheclumsinessofhisownlanguage.Itwasanewlanguageofsortstheyweredeveloping.Wunyeranpeopledwongkabet. Ah,Crossunderstood.Wunyeran’speopleweredeaftothechurch;theydidnotunderstand. NowWunyerantalk,Drdwongkabet. Crossnodded,noddedagain,andwassuddenlyspeakingpassionately, as if hewas a youngman again andwantingWunyerantoknowhisheart,theweaveofhisinnergalaxy,hisChristianbeliefs.Wunyeranunderstoodsomethingofhowindividualsdiedandwenttoaplaceinthesky,butwhenDrCrosstriedtospeakofheaven,andchains-of-being,andofaplaceofconstantsufferingwithintheearthwhereabigspirit-mansentbadpeople . . .WunyeranlaidhishandgentlyonCross’sshoulder. Youinthewrongportnow,Doctor.

* * *

ExtractsfromThat Deadman DancebyKimScottreprintedbypermissionofPanMacmillanAustraliaPtyLtd; ©KimScott,2010


Section A – Novels7. Kim Scott: That Deadman Dance

3.

BobbyWabalanginyhadbeenafriend.Fancy,anativeasbestfriend!Howisolatedtheywereinthisbackwater.Shehadbeenachild,innocent. Thatchildhoodfriendwasinprisonnow,Papasaid.He’devenbeentoseehim.BobbyhadgotintosomesortoftroubleattheSailor’sRest,whichwasreallynosurprisetoChristine,whoalwaystooktotheothersideofthestreetwhenshepassedthe tavern,becauseof themess,andbecauseof thepeople.Peopleaffectedbyliquorwereunpleasant,butitwasthenativesthatmostbotheredher:menandwomenalikedressedinrags,andsometimesscarcelydressedatall.Thewomenwerequiteshameless,shethought. Lawswerebeingenforcednow,thankfully.Nativesmustbeclothedandwithoutspearsiftheyweretoentertown.Itwasonlydecent,andifwearetocivilisethem,asPapasaidistheonlyway,thenclothingisanimportantprecursor. Papa believedBobby had got into trouble because thepolicemanandhisnativeconstablehadtriedtopreventtheoldmanwithBobbyfromenteringtown.Theoldmanclaimeditwashisright,thatitwashistown!Papalaughedrecountingit,saiditwastrueinaway.Anditwasalsotrue,asBobbyapparentlyclaimed(shouted,she’dbeentold,andslappedthepoliceman),thattheoldmanhadreceivedarationofflourfrompreviousauthorities,andhadevenbeendressed,accommodatedand fed at government expense.Why?Becausehewas thelandlord. Itmightevenbetrue,inaway,buttowhatusedotheyputthisownershipasagainstwhatwehaveachievedinsoshortatime?Papacouldsometimesexplainthingssowell.Itmayhavebeenexpedientatonetime,butwasnolongernecessary.

* * *

ExtractfromThat Deadman DancebyKimScottreprintedbypermissionofPanMacmillanAustraliaPtyLtd; ©KimScott,2010



Section A – Novels8. Christina Stead: The Man Who Loved Children

Use one or more of the passages selected as the basis for a discussion of The Man Who Loved Children.

1.

Sam tried to impart everything he knew to the childrenandgrumbledthatthemothertaughtnothingatall:yettheirinfluenceontheboysandgirlswasequal.Thechildrengrabbedtricks and ideas according to the need of the day,withoutthinking at all ofwhere they got them,without gratitude;andHennysawthisandsodidnotbotherherheadaboutherchildren.She herself belonged to a grabbingbreed.Hennywould also tell fortunes, by the cards, over her tea, thoughneverforthechildren.WhileshewasdealingtotellthefortuneofAuntBonnie (Sam’s twenty-five-year-oldsisterand theirunpaidmaidofallwork),orMissSpearing(Henny’sold-maidfriendfromschooldays),shewouldalwaysbeginawonderfulyarnabouthowshewenttotown,“moredeadthanaliveandwithonlytencentsinmypurseandIwantedtocrackasafe,”andhow,inthestreetcar,was“adirtyshrimpofamanwithafishyexpressionwhopurposelyleanedovermeandpressedmybust,andacommonvulgarwomanbesidehim,anogress,bigasahippopotamus,withherbottomstickingout,whogrinnedlikeasharkandtriedtogivehimtheeye,”andhowthiswonderfuladventurewentonforhours,alwayswithnewcharactersofnewhorror.Initwouldinvariablybeawomanwithacowlikeexpression,agirllookingfrightenedasarabbit,ayellow-hairedfrumpwithhairlikeahaystackinafit,somewomanwhoboredHennywithhersillygassing,andimpudentflightyyounggirlsbehindcounters,andwaitressessmellinglikeatannery(orafishmarket),whogaveherlip,whichcausedherto“gotomarketandgivethemmorethantheybargainedfor.”Thereweremenandwomen,oldacquaintancesofhers,orfriendsofSamwhopresumedtoknowher,towhomshewouldgivethego-by,orthecoldshoulder,oradistantbow,orapolitegoodday,orablacklook,oralookblackasthunder,andthereweresillyoldroosters,creatureslikeadyingduckinathunderstorm,filthyoldpawers,andYMCAsickchickens,andwomenthinasarailandmenfatasaporkbarrel,andwomenwithblousessopuffedoutthatshewantedtostickpinsin,andmenlikecoalheavers,andwomenlikeboiledowlsandwomenwhohadfallenintoaflourbarrel;andallthesewonderfulcreatures,whoswarmedin thestreets,stores,andrestaurantsofWashington,ogling,leering,pulling,pushing,stinking,overscented,screamingandboasting,turningpaleatablacklookfromHenny,duckinganddiving, dodging and returning,were theonly creatures thatHennyeversaw. Whatadrearystodgyworldofadultsthechildrensawwhentheywentout!Andwhat amoral, high-mindedworld theirfathersaw!ButforHennytherewasawonderfulparticularworld,andwhentheywentwithhertheysawit:theysawthefisheyes,thecrocodilegrins,thehairlikeabirchbroom,themeanmencrawlingwithmaggots,andthechildrenrestlessasaneel,thatshesaw.

* * *

2.

AllthePollitslinedupbehindtheoldmaninorderofage,the children last in a long skeletal tail; and after stampingthunderously,theybegantoswayandweaveoutthelongsouthwindow,singingatthetopoftheirvoices,“Ohsoundablastforfreedom,boys,andsenditfarandwidel”Theycircledtheanimalcagesandtherockgardenand,circumnavigatingthehouse,cameinagainbythefrontdoor,theoldchiefenteringthelongdiningroomwherethebanquetwasspread,justastheycametothechorusofthesecondverse:“Hurrah,Hurrah,webringtheJubilee!”roaredthePollits,andtheraftersrang.Samandtheoldmanwereweepingtearsofemotion,andtherewereotherdampeyesinthecrowd.Thentherewasagreatrumblingofchairsandscurryingofwomen,allwedgingandhedgingin,fittingofelbowsandknees,groansandgigglesuntilthegreattribewasset totable.Theyhadfittedintothetablethetwodust-stained,extraleavesfromtheattic,andyetitwashardlybigenough.Atoneendofthetablestoodabroad-bottomedarmchairempty.OldCharles,afteroneglanceatit,wriggledoutofhisseatagain(hewasattheotherend,nexttoSam),saying,“Waitandsee,waitandsee:theOldGaffer’sgoingtogetourHenny.”Sam’sheadandlowerlipdroopedatthis,buttheothersurgedhimon,sayingwithhonestenthusiasm,“Yes,beghertocome,Father,”andexplainingtoeachother,“Yousee,poorthing,she’smiserableinhercondition,”and“Shehatestobeseen—it’sverynatural:Idon’tblamepoorPet,”andsoon.TherewasindeednomaliceinallPollitry,forHenny.Fromtimetotime,oneorotherofthemwasinspiredbytheawfulidoltheyworshiped,theirBoundingHealth,togoOntheWarpathagainstoneoftheirown;andwhenOntheWarpath,aPollitwasastrange,frightfulbeing,abeingofbrawnandnohumanunderstanding,armedwithamoralclub;buttheyhadnomaliceagainstthemwhohatedthem;theylovedandpitiedtheintractable,maliciousHenny. Afteralittlewhile,theyheardOldCharlie’svoiceonthestairsdescendingslowlyandinamomentheappeared,gallantlybendingandbringinginHennybythehand.Hennyhadwaitedtofixabitoflaceroundherthroatwithapearlbroochandtobrushupherhair,sothatasshecameinswayingslowlyonherhipsunderhernewrosepinkfloweredsmock,withatouchofrougeonhercheeks,shelookedimpressive.Hereyesweresetintoherskullandherfacedrawn,butherreluctanceandpridegaveheramatronlydignity.

* * *

BypermissionoftheEstateofChristinaStead


Section A – Novels8. Christina Stead: The Man Who Loved Children

3.

Samsaid, “Sit down,Looloo:blowmedown, if I knowwhat’sthematterwithyou.Insteadofgettingbetter,youaregettingmoreandmoresilly.”Hesuddenlyburstintoashout,“IfEuripidesoranyotherDagoplaywrightmakesyouascrazyasthat,you’dbettershutupyourbooksandcomehomeandlookafteryourbrothersandsister.Ican’tunderstanditwithafatherlikeyouhave.I’msorryIdidn’tinsistonyourlearningscience,andnothingbutscience.Whateveryourstepmother’sinfluence,you’vehadmytrainingandlovefromtheearliestdays,andIdidnotexpectyouabovealltobesosilly:youwerethechildofagreatlove.However,Isupposeyou’llgrowoutofit.”Hesighed,“Atleast,Ihopeso:you’regrowingoutofeverythingelse.Well,let’ssay,somedayyou’llbebetter.” Louiebegantosquirm,and,unconsciouslyholdingoutoneofherhandstohim,shecried,“Iamsomiserableandpoorandrottenandsovileandmelodramatic,Idon’tknowwhattodo.Idon’tknowwhattodo.Ican’tbearthedailymisery.Ican’tbearthehorrorofeverydaylife.”Shewasbawlingbrokenlyonthetablecloth,hershouldersheavingandherlonghair,brokenloose,plasteredoverherredface,“Nowondertheyalllaughatme,”shebellowed.“WhenIwalkalongthestreet,everyonelooksatme,andwhispersaboutme,becauseI’msomessy.MyelbowsareoutandIhavenoshoesandI’msobigandfatandit’llalwaysbethesame.Ican’thelpit,Ican’thelpit,”and,stillbellowing“Ican’thelpit”withthemannerandtoneofahalf-growncalf,Louiegotupandstaggeredtoherroom.Shestoodatthedoor,halfwayopen,andbeatonitwithhersofthalf-openfists,cryingbrokenly,“Ican’thelpit!”andweepingendlessly. Samsaidgravely,“Stopworkingyourselfupintohysteria.” “Theyalllaughatme,”criedLouie.“Theyalllaughatme:Ican’tstanditanymore.” Unexpectedly,Ernie burst out crying, his brown,merry,escutcheon-shapedfacebobbingupanddownandhiswidemouthgoneintoanoblong.Louieturnedroundtowardsthemandadvancedtowardsthem,hereyesdrownedwithtears,herhair straying everywhere anddarkenedwithwater and herfaceslobberedoverand,comingtothetable,astoajury,sheaskedinafirmervoice,butstillcrying,“Whatwillbecomeofme?Willlifegoonlikethis?WillIalwaysbelikethis?”SheappealedtoSam,“Ihavealwaysbeenlikethis:Ican’tliveandgoonbeinglikethis?” Samtestilycried,“Likewhat?Likewhat?Whatisallthisabout?Ineverheardsomuchidioticdrivelinmyborndays.Goandputyourfatheadundertheshower.IsitbecauseMissAideniscomingthatyou’remakingthis—excruciating—stupid,oh,Ican’tfindwordstodescribeit.Howcanyoubesostupid?”

* * *

BypermissionoftheEstateofChristinaStead


2.

Yes,DonFabriziohadcertainlyhadhisworries…“AndwhatnewsofthePrince?”

GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007

pp.68–70


1.

ThePrincehadoneofhisvisions…Tancrediwouldgoalongway:he’dalwaysthoughtso.


pp.19and20


Section A – Novels9. Giuseppe Tomasi di Lampedusa: The Leopard

Use one or more of the passages selected as the basis for a discussion of The Leopard.



3.

Fromthishewentontothink…Leavethechairsaloneandcomeanddance.”


pp.174and175


Section A – Novels9. Giuseppe Tomasi di Lampedusa: The Leopard


Section B – Plays10. Aeschylus: Agamemnon

Use one or more of the passages selected as the basis for a discussion of Agamemnon.


1.

chorus:[…]Zeushasledusontoknow,theHelmsmanlaysitdownaslawthatwemustsuffer,sufferintotruth.

Wecannotsleep,anddropbydropattheheartthepainofpainrememberedcomesagain,andweresist,butripenesscomesaswell.

Fromthegodsenthronedontheawesomerowing-benchtherecomesaviolentlove.

Soitwasthatdaytheking,thesteersmanatthehelmofGreece,

wouldneverblameawordtheprophetsaid−sweptawaybythewrenchingwindsoffortuneheconspired!Weatherboundwecouldnotsail,

ourstoresexhausted,fightingstrengthhard-pressed,andthesquadronsrodeintheshallowsoffChalkis

wheretheriptidecrashes,drags,

andwindsfromthenorthpinneddownourhullsatAulis,portofanguish...headwindsstarving,sheetsandthecablessnapped andthemen’smindsstrayed, thepride,thebloomofGreece wasrakedastimegroundon,grounddown,andthenthecureforthestormanditwasharsher−Calchascried,‘Mycaptains,Artemismusthaveblood!’− soharshthesonsofAtreus dashedtheirsceptresontherocks, couldnotholdbackthetears,

andIstillcanheartheolderwarlordsaying,‘Obey,obey,oraheavydoomwillcrushme!–Ohbutdoomwillcrushme onceIrendmychild, thegloryofmyhouse− afather’shandsarestained,bloodofayounggirlstreaksthealtar.Painbothwaysandwhatisworse?Desertthefleets,failthealliance? No,butstopthewindswithavirgin’sblood, feedtheirlust,theirfury?−feedtheirfury!− Lawislaw!− Letallgowell.’

AndonceheslippedhisneckinthestrapofFate,hisspiritveeringblack,impure,unholy,onceheturnedhestoppedatnothing, seizedwiththefrenzy blindingdrivingtooutrage−wretchedfrenzy,causeofallourgrief!Yes,hehadtheheart tosacrificehisdaughter, toblessthewarthatavengedawoman’sloss, abridalritethatspedthemen-of-war.

* * *

2.

clytaemnestra:Ogiveway!Thepowerisyoursifyousurrender,allofyourownfreewill,tome!

agamemnon: Enough.

Ifyouaresodetermined−

Turning to the women, pointing to his boots.

Letsomeonehelpmeoffwiththeseatleast.Oldslaves,they’vestoodmewell.

Hurry,andwhileItreadhissplendoursdyedredinthesea,maynogodwatchandstrikemedownwithenvyfromonhigh.Ifeelsuchshame−totreadthelifeofthehouse,akingdom’sworthofsilverintheweaving.

He steps down from the chariot to the tapestries and reveals cassandra, dressed in the sacred regalia, the fillets, robes, and sceptre of Apollo.

Doneisdone.Escortthisstrangerin,begentle.Conquerwithcompassion.Thenthegodsshinedownuponyou,gently.Noonechoosestheyokeofslavery,notofone’sfreewill–andsheleastofall.Thegiftofthearmies,flowerandprideofallthewealthwewon,shefollowsmefromTroy.

Andnow,sinceyouhavebroughtmedownwithyourinsistence,justthisonceIentermyfather’shouse,tramplingroyalcrimsonasIgo.

He takes his first steps and pauses.

clytaemnestra: Thereisthesea

andwhowilldrainitdry?Preciousassilver,inexhaustible,ever-new,itbreedsthemorewereapit–tidesontidesofcrimsondyeourrobesblood-red.Ourlivesarebasedonwealth,myking,thegodshaveseentothat.Destitution,ourhousehasneverheardtheword.Iwouldhavesworntotreadonlegaciesofrobes,atonecommandfromanoracle,depletethehouse–suffertheworsttobringthatdearlifeback!

Encouraged, agamemnon strides to the entrance.

* * *


Section B – Plays10. Aeschylus: Agamemnon

3.

clytaemnestra: Nomore,mydearest,

nomoregrief.Wehavetoomuchtoreaprighthere,ourmightyharvestofdespair.Ourlivesarebasedonpain.Nobloodshednow.

FathersofArgos,turnforhomebeforeyouactandsufferforit.Whatwedidwasdestiny.Ifwecouldendthesuffering,howwewouldrejoice.Thespirit’sbrutalhoofhasstruckourheart.Andthatiswhatawomanhastosay.Canyouacceptthetruth?

clytaemnestra turns to leave.

aegisthus: Butthese...mouths

thatbloominfilth–spittinginsultsinmyteeth.Youtemptyourfates,youinsubordinatedogs–tohurlabuseatme,yourmaster!

leader: NoGreek

worthhissaltwouldgrovelatyourfeet.

aegisthus:I–I’llstalkyouallyourdays!

leader:NotifthespiritbringsOresteshome.

aegisthus:Exilesfeedonhope–wellIknow.

leader: More,

gorgeyourselftobursting–soiljustice,whileyoucan.

aegisthus:Ipromiseyou,you’llpay,oldfools–ingoodtime,too!

leader:Strutonyourowndunghill,youcockbesideyourmate.

clytaemnestra:Letthemhowl–they’reimpotent.YouandIhavepowernow.Wewillsetthehouseinorderonceforall.

They enter the palace; the great doors close behind them; the old men disband and wander off.

* * *


2.

martha[consciously making rhymed speech]:Well,Georgie-boyhadlotsofbigambitions

[…]

george:…the game is over!

EdwardAlbee,Who’s Afraid of Virginia Woolf?,Vintage,2001

pp.70and71


1.

martha[to nick, as honey beams]:Hey,youmustbequiteaboy,gettingyourMasterswhenyouwere...what?...twelve?Youhearthat,George?

[…]

george:…but Iwillnot lightyourcigarette.And that, astheysay,isthat.


pp.25and27


Section B – Plays11. Edward Albee: Who’s Afraid of Virginia Woolf?

Use one or more of the passages selected as the basis for a discussion of Who’s Afraid of Virginia Woolf?.



3.

martha:[…]Thereisonlyonemaninmylifewhohasever...mademehappy.

[…]

martha:…butyoudon’tseewhatgoeson,doyou?


pp.101and102


Section B – Plays11. Edward Albee: Who’s Afraid of Virginia Woolf?


Section B – Plays12. Henrik Ibsen: A Doll’s House

Use one or more of the passages selected as the basis for a discussion of A Doll’s House.

1.

helmer[from his study]:Isthatmylittleskylarktwitteringoutthere?

nora[busy opening the parcels]:Itis.helmer:Scamperingaboutlikealittlesquirrel?nora:Yes.helmer:Whendidthesquirrelgethome?nora:Justthisminute.[She slips the bag of macaroons in her

pocket and wipes her mouth.]Comeinhere,Torvald,andyoucanseewhatI’vebought.

helmer: I’mbusy![A moment later he opens the door and looks out, pen in hand.]Didyousay‘bought’?What,allthat?Hasmylittlefeatherbrainbeenoutwastingmoneyagain?

nora:But,Torvald,surelythisyearwecanletourselvesgojustalittlebit?It’sthefirstChristmasthatwehaven’thadtoeconomize.

helmer:Still,wemustn’twastemoney,youknow.nora:Oh,Torvald, surelywecanwastea littlenow– just

theteeniestbit?Nowthatyou’regoingtoearnabigsalary,you’llhavelotsandlotsofmoney.

helmer:AfterNewYear’sDay,yes–butthere’llbeawholequarterbeforeIgetpaid.

nora:Pooh,wecanalwaysborrowtillthen.helmer:Nora![He goes to her and takes her playfully by the

ear.]Thesamelittlescatterbrain.JustsupposeIborrowedathousandkronertodayandyouwentandspentitallbyChristmas,andthenonNewYear’sEveatilefellonmyhead,andthereIlay–

nora [putting a hand over his mouth]:Sh!Don’t say suchhorridthings!

helmer:Butsupposesomethingofthesortweretohappen....nora: Ifanythingashorridas thatwere tohappen, Idon’t

expectIshouldcarewhetherIowedmoneyornot.helmer:ButwhataboutthepeopleI’dborrowedfrom?nora:Them?Whobothersaboutthem?They’rejuststrangers.helmer:Nora,Nora!Justlikeawoman!Butseriously,Nora,

youknowwhatIthinkaboutthatsortofthing.Nodebts,noborrowing.There’ssomethingconstrained,somethinguglyeven,aboutahomethat’sfoundedonborrowinganddebt.YouandIhavemanagedtokeepclearuptillnow,andweshallstilldosoforthelittletimethatisleft.

nora [going over to the stove]:Verywell,Torvald, if yousayso.

helmer[following her]:Now,now,mylittlesong-birdmustn’tbesocrestfallen.Well?Isthesquirrelsulking?[Taking out his wallet]Nora...guesswhatIhavehere!

nora[turning quickly]:Money!helmer:There![He hands her some notes.]Goodheavens,

IknowwhatalothastogoonhousekeepingatChristmastime.

nora[counting]:Ten–twenty–thirty–forty!Oh,thankyou,Torvald,thankyou!This’llkeepmegoingforalongtime!

helmer:Well,youmustseethatitdoes.

* * *

2.

nora[after a moment’s pause, throwing her head back and looking defiantly at him]:No, itwasnot. I wrotePapa’sname.

krogstad:Look,MrsHelmer,youknowthat that’saverydangerousadmission?

nora:Why?You’llsoongetyourmoney.krogstad:MayIaskyousomething?Whydidn’tyousend

thepapertoyourfather?nora:Icouldn’t;hewasfartooillIfI’daskedhimforhis

signature, I shouldhavehad to tellhimwhat themoneywasfor–andwhenhewassoillhimself,Icouldn’ttellhimthatmyhusband’slifewasindanger–Icouldn’tpossibly.

krogstad:Thenitwouldhavebeenbetterforyouifyou’dgivenupyourtripabroad.

nora:Icouldn’tdothat.Thejourneywastosavemyhusband’slife–howcouldIgiveitup?

krogstad:Butdidn’titoccurtoyouthatyouweretrickingme?nora:Icouldn’tworryaboutthat–Iwasn’tthinkingabout

youatall.Icouldn’tbearthewayyouweresocold-blooded– thewayyoumadedifficultiesalthoughyouknewhowdesperatelyillmyhusbandwas.

krogstad:MrsHelmer, you obviously don’t realizewhatyou’vebeenguiltyof;butletmetellyouthatthethingthatIoncedidthatruinedmyreputationwasnothingmore–andnothingworse–thanthat.

nora:You?Areyoutryingtotellmethatyouwouldhavedoneabravedeedtosaveyourwife’slife?

krogstad:Thelawisnotconcernedwithmotives.nora:Thenitmustbeaverystupidlaw.krogstad:Stupidornot,it’sthelawthatyou’llbejudgedby

ifIproducethispaperincourt.nora:Isimplydon’tbelievethat.Hasn’tadaughtertheright

toprotectherdyingfatherfromworryandanxiety?Hasn’tawife theright tosaveherhusband’s life?Idon’tknowmuchaboutthelaw,butI’mquitecertainthatitmustsaysomewherethatthingslikethatareallowed.Don’tyou,alawyer,knowthat?Youmustbeaverystupidlawyer,MrKrogstad.

krogstad: Possibly.But you’ll admit that I dounderstandbusiness– the sortofbusiness thatyouand Ihavebeenengagedin?Verywell,youdoasyouplease.ButItellyouthis–ifI’mtobeflungoutforthesecondtime,you’llkeepmecompany![He bows and goes out through the hall.]

nora[after a moment’s thought, with a toss of her head]:Whatnonsense!Tryingtofrightenmelikethat!I’mnotassillyasallthat.[She starts to busy herself by tidying the children’s clothes, but soon stops.]But...No,itisn’tpossible...Ididitforlove!

* * *



Section B – Plays12. Henrik Ibsen: A Doll’s House

3.

nora:Whenthatwasdone,Ithought–Iwascompletelycertain–thatyouwouldcomeforwardandtakealltheblame–thatyou’dsay‘I’mtheguiltyone.’

helmer:Nora!nora:YouthinkthatIshouldneverhaveacceptedasacrifice

likethatfromyou?No,ofcourseIshouldn’t.Butwhowouldhavetakenmywordagainstyours?ThatwasthemiracleIhopedfor...anddreaded.ItwastopreventthatthatIwasreadytokillmyself.

helmer:Nora, I’dgladlyworknight andday foryou, andendurepovertyandsorrowforyoursake.Butnomanwouldsacrificehishonourfortheoneheloves.

nora:Thousandsofwomenhave.helmer:Oh,you’retalkingandthinkinglikeastupidchild.nora:Perhaps...Butyoudon’ttalkorthinklikethemanI

couldbindmyselfto.Whenyourfirstpanicwasover–notaboutwhatthreatenedme,butaboutwhatmighthappentoyou–andwhentherewasnomoredanger,then,asfarasyouwereconcerned,itwasjustasifnothinghadhappenedatall.Iwassimplyyourlittlesongbird,yourdoll,andfromnowonyouwouldhandleitmoregentlythaneverbecauseitwassodelicateandfragile.[Rising]Atthatmoment,Torvald,I realizedthatforeightyearsI’dbeenlivingherewithastrangeman,andthatI’dbornehimthreechildren.Oh,Ican’tbeartothinkofit–Icouldtearmyselftolittlepieces!

helmer[sadly]:Yes.Isee–Isee.Theretrulyisagulfbetweenus....Oh,butNora,couldn’twesomehowbridgeit?

nora:AsIamnow,I’mnotthewifeforyou.helmer:Icouldchange...nora:Perhaps–ifyourdollistakenawayfromyou.helmer:Buttoloseyou–toloseyou,Nora!No,no,Ican’t

evenimagineit...nora[going out to the right]:That’sjustwhyitmusthappen.

[She returns with her outdoor clothes, and a little bag which she puts on a chair by the table.]

helmer:Nora!Notnow,Nora–waittillmorning.nora [putting on her coat]: Icouldn’t spend thenight ina

strangeman’shouse.helmer:Butcouldn’twelivehereasbrotherandsister?nora [putting her hat on]:You knowquitewell that that

wouldn’tlast.[She pulls her shawl round her.]Good-bye,Torvald.Iwon’tseemychildren–I’msurethey’reinbetterhandsthanmine.AsIamnow,I’mnogoodtothem.

helmer:Butsomeday,Nora–someday...?nora:HowcanIsayit?I’venoideawhatwillbecomeofme.helmer:Butyou’remywife–now,andwhateverbecomes

ofyou.nora:Listen,Torvald:I’veheardthatwhenawifeleavesher

husband’shouseasIamdoingnow,he’slegallyfreedfromallhisobligationstoher.Anyhow,I setyoufreefromthem.You’renottofeelyourselfboundinanyway,andnorshallI.Wemustbothbeperfectlyfree.Look,here’syourringback–givememine.

helmer:Eventhat?nora:Eventhat.

* * *


Section B – Plays13. Eugène Ionesco: Rhinoceros

Use one or more of the passages selected as the basis for a discussion of Rhinoceros.

1.

jean[interrupting him]:Ican’tbearpeopletotryandmakefunofme!

berenger[hand on his heart]:ButmydearJean,I’dneverallowmyselfto...

jean[interrupting him]:MydearBerenger,youareallowingyourself...

berenger:Ohno,never.I’dneverallowmyselfto.jean:Yes,youwould;you’vejustdoneso.berenger:Buthowcouldyoupossiblythink...jean[interrupting him]:Ithinkwhatistrue!berenger:ButIassureyou...jean[interrupting him]:...thatyouweremakingfunofme!berenger:Youreallycanbeobstinate,sometimes.jean:Andnowyou’recallingmeamuleintothebargain.Even

youmustseehowinsultingyou’rebeing.berenger:Itwouldneverhaveenteredmymind.jean:Youhavenomind!berenger:Allthemorereasonwhyitwouldneverenterit.jean:Therearecertainthingswhichenterthemindsevenof

peoplewithoutone.berenger:That’simpossible.jean:Andwhy,pray,isitimpossible?berenger:Becauseit’simpossible.jean:Thenkindlyexplaintomewhyit’simpossible,asyou

seemtoimagineyoucanexplaineverything.berenger:Idon’timagineanythingofthekind.jean:Thenwhydoyouactasifyoudo?And,Irepeat,why

areyoubeingsoinsultingtome?berenger:I’mnotinsultingyou.Farfromit.Youknowwhat

tremendousrespectIhaveforyou.jean:Inthatcase,whydoyoucontradictme,makingoutthat

it’snotdangeroustoletarhinocerosgoracingaboutinthemiddleofthetown–particularlyonaSundaymorningwhenthestreetsarefullofchildren...andadults,too...

berenger:Alotofthemareinchurch.Theydon’trunanyrisk...

jean[interrupting him]:Ifyouwillallowmetofinish...andatmarkettime,too.

berenger:Ineversaiditwasn’tdangeroustoletarhinocerosgoracingaboutthetown.IsimplysaidI’dpersonallyneverconsideredthedanger.Ithadnevercrossedmymind.

jean:Youneverconsideranything.berenger:Allright,Iagree.Arhinocerosroamingaboutis

notagoodthing.jean:Itshouldn’tbeallowed.berenger:Iagree.Itshouldn’tbeallowed.It’saridiculous

thingallright!Butit’snoreasonforyouandmetoquarrel.Whygoonatmejustbecausesomewretchedperissodactylehappenstopassby.Astupidquadrupednotworthtalkingabout.Andferociousintothebargain.Andwhichhasalreadydisappeared,which doesn’t exist any longer.We’re notgoingtobotheraboutsomeanimalthatdoesn’texist.Let’stalkaboutsomethingelse,Jean,please;[He yawns.]thereareplentyofothersubjectsforconversation.[He takes his glass.]Toyou!

* * *


2.

botard:Ineverbelievejournalists.They’reallliars.Idon’tneedthemtotellmewhattothink;IbelievewhatIseewithmyowneyes.Speakingasaformerteacher,Ilikethingstobeprecise,scientificallyvalid;I’vegotamethodicalmind.

dudard:What’samethodicalmindgottodowithit?daisy[to Botard]:Ithinkit’sstatedveryprecisely,MrBotard.botard:Youcallthatprecise?Andwhat,pray,doesitmeanby

apachyderm?Whatdoestheeditorofadeadcatscolumnunderstandbyapachyderm?Hedoesn’tsay.Andwhatdoeshemeanbyacat?

dudard:Everybodyknowswhatacatis.botard:Doesitconcernamalecatorafemale?Whatbreed

wasit?Andwhatcolour?ThecolourbarissomethingIfeelstronglyabout.Ihateit.

papillon:Whathasthecolourbartodowithit,MrBotard?It’squitebesidethepoint.

botard:Pleaseforgiveme,MrPapillon.Butyoucan’tdenythatthecolourproblemisoneofthegreatstumblingblocksofourtime.

dudard:Iknowthat,weallknowthat,butithasnothingtodowith...

botard:It’snotanissuetobedismissedlightly,MrDudard.Thecourseofhistoryhasshownthatracialprejudice...

dudard:Itellyouitdoesn’tenterintoit.botard:I’mnotsosure.papillon:Thecolourbarisnottheissueatstake.botard:Oneshouldnevermissanoccasiontodenounceit.daisy:Butwetoldyouthatnoneofusisinfavourofthecolour

bar.You’reobscuringtheissue;it’ssimplyaquestionofacatbeingrunoverbyapachyderm–inthiscase,arhinoceros.

botard:I’maNorthernermyself.Southernershavegottoomuchimagination.Perhapsitwasmerelyaflearunoverbyamouse.Peoplemakemountainsoutofmolehills.

papillon[to Dudard]:Letustryandgetthingsclear.Didyouyourself,with your own eyes, see a rhinoceros strollingthroughthestreetsofthetown?

daisy:Itdidn’tstroll,itran.dudard:No,Ididn’tseeitpersonally.Butalotofveryreliable

people...!botard[interrupting him]:It’sobvioustheywerejustmaking

itup.Youputtoomuchtrustinthesejournalists;theydon’tcarewhat they invent to sell theirwretched newspapersandpleasethebossestheyserve!Andyoumeantotellmethey’vetakenyouin–you,aqualifiedmanoflaw!Forgivemeforlaughing!Ha!Ha!Ha!

daisy:ButIsawit,Isawtherhinoceros.I’dtakemyoathonit.botard:Getawaywithyou!AndIthoughtyouwereasensible

girl!daisy:MrBotard,Icanseestraight!AndIwasn’ttheonly

one;therewereplentyofotherpeoplewatching.

* * *

EugèneIonesco,‘Rhinoceros’,translatedbyDerekProuse,inRhinoceros, The Chairs, The Lessons, PenguinModernClassics,2000;Rhinocéros©EditionsGallimard,Paris,1959


Section B – Plays13. Eugène Ionesco: Rhinoceros

3.

berenger: [...]Andwhat if it’s truewhatDaisy said, andthey’retheonesintheright?[He turns back to the mirror.]Aman’snotuglytolookat,notuglyatall![He examines himself, passing his hand over his face.]What a funny-lookingthing!WhatdoIlooklike?What?[He darts to a cupboard, takes out some photographs which he examines.]Photographs?Whoareallthesepeople?IsitMrPapillon–orisitDaisy?AndisthatBotardorDudardorJean?Orisitme?[He rushes to the cupboard again and takes out two or three pictures.]NowI recognizeme: that’sme, that’sme! [He hangs the pictures on the back wall, beside the rhinoceros heads.]That’sme,that’sme!

[When he hangs the pictures one sees that they are of an old man, a huge woman, and another man. The ugliness of these pictures is in contrast to the rhinoceros heads which have become very beautiful. berenger steps back to contemplate the pictures.]

I’mnotgood-looking,I’mnotgood-looking.[He takes down the pictures, throws them furiously to the ground, and goes over to the mirror.]They’rethegood-lookingones.Iwaswrong!Oh,howIwishIwaslikethem!Ihaven’tgotanyhorns,more’sthepity!Asmoothbrowlookssougly.Ineedoneor twohorns togivemysaggingfacea lift.PerhapsonewillgrowandIneedn’tbeashamedanymore–thenIcouldgoandjointhem.Butitwillnevergrow![He looks at the palms of his hands.]Myhandsaresolimp–oh,whywon’t theyget rough! [He takes his coat off, undoes his shirt to look at his chest in the mirror.]Myskinissoslack.Ican’tstandthiswhite,hairybody.OhI’dlovetohaveahardskininthatwonderfuldullgreencolour–askinthatlooksdecentnakedwithoutanyhaironit,liketheirs![He listens to the trumpetings.]Theirsongischarming–abitraucousperhaps,butitdoeshavecharm!IwishIcoulddoit![He tries to imitate them.]Ahh,Ahh,Brr!No,that’snotit!Tryagain,louder!Ahh,Ahh,Brr!No,that’snotit,it’stoofeeble,it’sgotnodrivebehindit.I’mnottrumpetingatall;I’mjusthowling.Ahh,Ahh,Brr.There’sabigdifferencebetweenhowlingandtrumpeting.I’veonlymyselftoblame;Ishouldhavegonewith themwhile therewasstill time.Nowit’stoolate!NowI’mamonster,justamonster.NowI’llneverbecomearhinoceros,never,never!I’mgonepastchanging.Iwantto,Ireallydo,butIcan’t,Ijustcan’t.Ican’tstandthesightofme.I’mtooashamed![He turns his back on the mirror.]I’msougly!Peoplewhotrytohangontotheirindividualityalwayscometoabadend!

* * *

EugèneIonesco,‘Rhinoceros’,translatedbyDerekProuse,inRhinoceros, The Chairs, The Lessons, PenguinModernClassics,2000;Rhinocéros©EditionsGallimard,Paris,1959


Section B – Plays14. William Shakespeare: Antony and Cleopatra

Use one or more of the passages selected as the basis for a discussion of Antony and Cleopatra.

1.

charmian […]Enter antony

ButherecomesAntony.cleopatra Iamsickandsullen.antony Iamsorrytogivebreathingtomypurpose–cleopatra Helpmeaway,dearCharmian,Ishallfall.

Itcannotbethuslong;thesidesofnatureWillnotsustainit.

antony Now,mydearestqueen–cleopatra Prayyou,standfartherfromme.antony What’sthematter?cleopatra Iknowbythatsameeyethere’ssomegoodnews.

What,saysthemarriedwomanyoumaygo?Wouldshehadnevergivenyouleavetocome!Lethernotsay’tisIthatkeepyouhere.Ihavenopoweruponyou;hersyouare.

antony Thegodsbestknow–cleopatra O,neverwastherequeen

Somightilybetrayed!YetatthefirstIsawthetreasonsplanted.

antony Cleopatra–cleopatra WhyshouldIthinkyoucanbemine,andtrue,

Thoughyouinswearingshakethethronèdgods,WhohavebeenfalsetoFulvia?Riotousmadness,Tobeentangledwiththosemouth-madevows,Whichbreakthemselvesinswearing!

antony Mostsweetqueen–cleopatra Nay,prayyou,seeknocolourforyourgoing,

Butbidfarewellandgo.Whenyousuedstaying,Thenwasthetimeforwords.Nogoingthen.Eternitywasinourlipsandeyes,Blissinourbrows’bent;noneourpartssopoorButwasaraceofheaven.Theyaresostill,Orthou,thegreatestsoldieroftheworld,Artturnedthegreatestliar.

antony Hownow,lady?cleopatra IwouldIhadthyinches.Thoushouldstknow

TherewereaheartinEgypt.antony Hearme,queen:

ThestrongnecessityoftimecommandsOurservicesawhile,butmyfullheartRemainsinusewithyou.OurItalyShineso’erwithcivilswords;SextusPompeiusMakeshisapproachestotheportofRome;EqualityoftwodomesticpowersBreedscrupulousfaction;thehated,growntostrength,Arenewlygrowntolove;thecondemnedPompey,Richinhisfather’shonour,creepsapaceIntotheheartsofsuchashavenotthrivedUponthepresentstate,whosenumbersthreaten;Andquietness,grownsickofrest,wouldpurgeByanydesperatechange.Mymoreparticular,Andthatwhichmostwithyoushouldsafemygoing,IsFulvia’sdeath.

* * *

2.

antony Ihavefledmyself,andhaveinstructedcowardsTorunandshowtheirshoulders.Friends,begone.IhavemyselfresolveduponacourseWhichhasnoneedofyou.Begone.Mytreasure’sintheharbour.Takeit.O,IfollowedthatIblushtolookupon!Myveryhairsdomutiny,forthewhiteReprovethebrownforrashness,andtheythemForfearanddoting.Friends,begone.YoushallHavelettersfrommetosomefriendsthatwillSweepyourwayforyou.Prayyou,looknotsad,Normakerepliesofloathness.TakethehintWhichmydespairproclaims.LetthatbeleftWhichleavesitself.Totheseasidestraightway!Iwillpossessyouofthatshipandtreasure.Leaveme,Ipray,alittle.Prayyounow,Nay,doso,forindeedIhavelostcommand.ThereforeIprayyou.I’llseeyoubyandby.

[Exeunt Attendants. Antony] sits downEnter cleopatra led by charmian,[iras],and eros

eros Nay,gentlemadam,tohim,comforthim.iras Do,mostdearqueen.charmian Do.Why,whatelse?cleopatra Letmesitdown.OJuno!antony No,no,no,no,no.eros Seeyouhere,sir?antony Ofie,fie,fie!charmian Madam!iras Madam,Ogoodempress!eros Sir,sir!antony Yes,mylord,yes.HeatPhilippikept

Hissworde’enlikeadancer,whileIstruckTheleanandwrinkledCassius,and’twasIThatthemadBrutusended.HealoneDealtonlieutenantry,andnopracticehadInthebravesquaresofwar.Yetnow–nomatter.

cleopatra Ah,standby.eros Thequeen,mylord,thequeen.iras Gotohim,madam,speaktohim.

He’sunqualitiedwithveryshame.cleopatra Wellthen,sustainme.O!eros Mostnoblesir,arise.Thequeenapproaches.

Herhead’sdeclined,anddeathwillseizeherbutYourcomfortmakestherescue.

antony Ihaveoffendedreputation,Amostunnobleswerving.

eros Sir,thequeen.antony O,whitherhastthouledme,Egypt?See

HowIconveymyshameoutofthineeyesBylookingbackwhatIhaveleftbehind’Stroyedindishonour.

cleopatra Omylord,mylord,Forgivemyfearfulsails!IlittlethoughtYouwouldhavefollowed.

* * *



Section B – Plays14. William Shakespeare: Antony and Cleopatra

3.

antony SinceCleopatradiedIhavelivedinsuchdishonourthatthegodsDetestmybaseness.I,thatwithmyswordQuarteredtheworld,ando’ergreenNeptune’sbackWithshipsmadecities,condemnmyselftolackThecourageofawoman–lessnoblemindThanshewhichbyherdeathourCaesartells‘Iamconquerorofmyself.’Thouartsworn,Eros,Thatwhentheexigentshouldcome–whichnowIscomeindeed–whenIshouldseebehindmeTh’inevitableprosecutionofDisgraceandhorror,thatonmycommandThouthenwouldstkillme.Do’t.Thetimeiscome.Thoustrik’stnotme,’tisCaesarthoudefeat’st.Putcolourinthycheek.

eros Thegodswithholdme!ShallIdothatwhichalltheParthiandarts,Thoughenemy,lostaimandcouldnot?

antony Eros,WouldstthoubewindowedingreatRomeandseeThymasterthuswithpleachedarms,bendingdownHiscorrigibleneck,hisfacesubduedTopenetrativeshame,whilstthewheeledseatOffortunateCaesar,drawnbeforehim,brandedHisbasenessthatensued?

eros Iwouldnotsee’t.antony Come,then,forwithawoundImustbecured.

Drawthatthyhonestsword,whichthouhastwornMostusefulforthycountry.

eros O,sir,pardonme!antony WhenIdidmaketheefree,swor’stthounotthen

TodothiswhenIbadethee?Doitatonce,OrthyprecedentservicesareallButaccidentsunpurposed.Draw,andcome.

eros TurnfrommethenthatnoblecountenanceWhereintheworshipofthewholeworldlies.

antony Lothee![He turns from him]eros Myswordisdrawn.antony Thenletitdoatonce

Thethingwhythouhastdrawnit.eros Mydearmaster,

Mycaptain,andmyemperor,letmesayBeforeIstrikethisbloodystroke,farewell.

antony ’Tissaid,man,andfarewell.eros Farewell,greatchief.ShallIstrikenow?antony Now,Eros.eros (Kills himself )

Why,therethen!ThusIdoescapethesorrowOfAntony’sdeath.

antony Thricenoblerthanmyself!Thouteachestme,OvaliantEros,whatIshould,andthoucouldstnot.MyqueenandErosHavebytheirbraveinstructiongotuponmeAnoblenessinrecord.ButIwillbeAbridegroominmydeathandruninto’tAstoalover’sbed.Comethen,andEros,Thymasterdiesthyscholar.TodothusIlearnedofthee.

[He falls on his sword]

* * *


Section B – Plays15. William Shakespeare: Coriolanus

Use one or more of the passages selected as the basis for a discussion of Coriolanus.


1.

third citizen Areyouallresolvedtogiveyourvoices?Butthat’snomatter,thegreaterpartcarriesit.Isay,ifhewouldinclinetothepeople,therewasneveraworthierman.

Enter Coriolanus in a gown of humility, with Menenius.

Here he comes, and in the gownof humility.Mark hisbehavior.Wearenottostayalltogether,buttocomebyhimwherehestands,byones,bytwos,andbythrees.He’stomakehisrequestsbyparticulars;whereineveryoneofushasasinglehonor,ingivinghimourownvoiceswithourowntongues.Thereforefollowme,andI’lldirectyouhowyoushallgobyhim.

all Content,content. [Exeunt Citizens.]menenius

Osir,youarenotright.HaveyounotknownTheworthiestmenhavedone’t?

coriolanus WhatmustIsay?“Ipray,sir”–Plagueupon’t!IcannotbringMytonguetosuchapace.“Look,sir,mywounds.Igottheminmycountry’sservice,whenSomecertainofyourbrethrenroaredandranFromth’noiseofourowndrums.”

menenius Ome,thegods!Youmustnotspeakofthat.YoumustdesirethemTothinkuponyou.

coriolanus Thinkuponme?Hang’em!Iwouldtheywouldforgetme,likethevirtuesWhichourdivinesloseby’em.

menenius You’llmarall.I’llleaveyou.Prayyou,speakto’em,Iprayyou,Inwholesomemanner. Exit

coriolanus BidthemwashtheirfacesAndkeeptheirteethclean.

Enter three of the Citizens. So,herecomesabrace.

Youknowthecause,sir,ofmystandinghere.

* * *

2.

brutus [...]Herecomeshismother.sicinius Let’snotmeether.brutus Why?sicinius

Theysayshe’smad.Enter Volumnia, Virgilia, and Menenius.

brutusTheyhaveta’ennoteofus.Keeponyourway.

volumniaO,you’rewellmet.Thehoardedplagueo’th’godsRequiteyourlove!

menenius Peace,peace.Benotsoloud.volumnia

IfthatIcouldforweeping,youshouldhear–Nay,andyoushallhearsome.[To Sicinius] Willyoubegone?

virgilia [To Brutus]Youshallstaytoo.IwouldIhadthepowerTosaysotomyhusband.

sicinius Areyoumankind?volumnia

Ay,fool,isthatashame?Notebutthisfool:Wasnotamanmyfather?HadstthoufoxshipTobanishhimthatstruckmoreblowsforRomeThanthouhastspokenwords?

sicinius Oblessedheavens!volumnia

Moenobleblowsthaneverthouwisewords,AndforRome’sgood.I’lltelltheewhat–Yetgo.Nay,butthoushaltstaytoo.IwouldmysonWereinArabia,andthytribebeforehim,Hisgoodswordinhishand.

sicinius Whatthen?virgilia Whatthen?

He’dmakeanendofthyposterity.volumnia

Bastardsandall.Goodman,thewoundsthathedoesbearforRome!

meneniusCome,come,peace.

siciniusIwouldhehadcontinuedtohiscountryAshebegan,andnotunknithimselfThenobleknothemade.

brutus Iwouldhehad.volumnia

“Iwouldhehad”?’Twasyouincensedtherabble.Cats,thatcanjudgeasfitlyofhisworthAsIcanofthosemysterieswhichheavenWillnothaveearthtoknow!

* * *


Section B – Plays15. William Shakespeare: Coriolanus

3.

coriolanusWewillbeforethewallsofRometomorrowSetdownourhost.Mypartnerinthisaction,Youmustreporttoth’VolscianlordshowplainlyIhavebornethisbusiness.

aufidius OnlytheirendsYouhaverespected;stoppedyourearsagainstThegeneralsuitofRome;neveradmittedAprivatewhisper,no,notwithsuchfriendsThatthoughtthemsureofyou.

coriolanus Thislastoldman,WhomwithacrackedheartIhavesenttoRome,Lovedmeabovethemeasureofafather;Nay,goddedmeindeed.TheirlatestrefugeWastosendhim;forwhoseoldloveIhave–ThoughIshowedsourlytohim–oncemoreofferedThefirstconditions,whichtheydidrefuseAndcannotnowaccept.Togracehimonly,Thatthoughthecoulddomore,averylittleIhaveyieldedto.Freshembassiesandsuits,Norfromthestatenorprivatefriends,hereafterWillIlendearto.

Shout within. Ha!Whatshoutisthis?ShallIbetemptedtoinfringemyvowInthesametime’tismade?Iwillnot.

Enter Virgilia, Volumnia, Valeria, young Martius, with Attendants.

Mywifecomesforemost;thenthehonoredmoldWhereinthistrunkwasframed,andinherhandThegrandchildtoherblood.Butout,affection!Allbondandprivilegeofnature,break!Letitbevirtuoustobeobstinate.Whatisthatcurt’syworth,orthosedoves’eyes,Whichcanmakegodsforsworn?Imelt,andamnotOfstrongerearththanothers.Mymotherbows,AsifOlympustoamolehillshouldInsupplicationnod;andmyyoungboyHathanaspectofintercessionwhichGreatnaturecries,“Denynot!”LettheVolscesPlowRomeandharrowItaly!I’llneverBesuchagoslingtoobeyinstinct,butstandAsifamanwereauthorofhimselfAndknewnootherkin.

virgilia Mylordandhusband!coriolanus

TheseeyesarenotthesameIworeinRome.virgilia

ThesorrowthatdeliversusthuschangedMakesyouthinkso.

* * *


Section B – Plays16. George Bernard Shaw: Pygmalion

Use one or more of the passages selected as the basis for a discussion of Pygmalion.

1.

pickering [in good-humored remonstrance]Doesitoccurtoyou,Higgins,thatthegirlhassomefeelings?

higgins [looking critically at her]Ohno,Idontthinkso.Notany feelings thatweneedbother about. [Cheerily]Haveyou,Eliza?

liza. Igotmyfeelingssameasanyoneelse.higgins [to Pickering, reflectively]Youseethedifficulty?pickering. Eh?Whatdifficulty?higgins. Togethertotalkgrammar.Themerepronunciation

iseasyenough.liza. Idontwanttotalkgrammar.Iwanttotalklikealady

inaflower-shop.mrs pearce. Willyoupleasekeeptothepoint,MrHiggins.I

wanttoknowonwhattermsthegirlistobehere.Isshetohaveanywages?Andwhatistobecomeofherwhenyouvefinishedyourteaching?Youmustlookaheadalittle.

higgins [impatiently]WhatstobecomeofherifIleaveherinthegutter?Tellmethat,MrsPearce.

mrs pearce. Thatsherownbusiness,notyours,MrHiggins.higgins. Well,whenIvedonewithher,wecanthrowherback

intothegutter;andthenitwillbeherownbusinessagain;sothatsallright.

liza. Oh, youve no feeling heart in you: you dont carefor nothing but yourself. [She rises and takes the floor resolutely].Here!Ivehadenoughofthis.I’mgoing[making for the door].Youought tobeashamedofyourself,youought.

higgins [snatching a chocolate cream from the piano, his eyes suddenly beginning to twinkle with mischief ]Havesomechocolates,Eliza.

liza [halting, tempted]HowdoIknowwhatmightbeinthem?Iveheardofgirlsbeingdruggedbythelikeofyou.

Higgins whips out his penknife; cuts a chocolate in two; puts one half into his mouth and bolts it; and offers her the other half.

higgins. Pledgeofgoodfaith,Eliza.Ieatonehalf:youeattheother.[Liza opens her mouth to retort: he pops the half chocolate into it].Youshallhaveboxesofthem,barrelsofthem,everyday.Youshallliveonthem.Eh?

liza [who has disposed of the chocolate after being nearly choked by it]Iwouldnthaveateit,onlyI’mtooladyliketotakeitoutofmymouth.

higgins. Listen,Eliza.Ithinkyousaidyoucameinataxi.liza. Well,whatifIdid?Iveasgoodarighttotakeataxias

anyoneelse.higgins. Youhave,Eliza;andinfutureyoushallhaveasmany

taxisasyouwant.Youshallgoupanddownandroundthetowninataxieveryday.Thinkofthat,Eliza.

mrs pearce. MrHiggins: youre tempting the girl. It’s notright.Sheshouldthinkofthefuture.

higgins. Atherage!Nonsense!Timeenoughtothinkofthefuturewhenyouhavntanyfuturetothinkof.No,Eliza:doasthisladydoes:thinkofotherpeople’sfutures;butneverthinkofyourown.Thinkofchocolates,andtaxis,andgold,anddiamonds.

* * *


2.

liza [darkly]Myauntdiedofinfluenza:sotheysaid.mrs eynsford hill [clicks her tongue sympathetically]!!!liza [in the same tragic tone]But it’smybelief theydone

theoldwomanin.mrs higgins [puzzled]Doneherin?liza. Y-e-e-e-es, Lord love you!Why should she die of

influenza?Shecomethroughdiphtheriarightenoughtheyearbefore.Isawherwithmyowneyes.Fairlybluewithit,shewas.Theyallthoughtshewasdead;butmyfatherhekeptladlinggindownherthroattilshecametososuddenthatshebitthebowloffthespoon.

mrs eynsford hill [startled]Dearme!liza [piling up the indictment]Whatcallwouldawomanwith

thatstrengthinherhavetodieofinfluenza?Whatbecomeofhernewstrawhatthatshouldhavecometome?Somebodypinchedit;andwhatIsayis,themaspincheditdoneherin.

mrs eynsford hill. Whatdoesdoingherinmean?higgins [hastily]Oh,thatsthenewsmalltalk.Todoaperson

inmeanstokillthem.mrs eynsford hill [to Eliza, horrified]You surely dont

believethatyourauntwaskilled?liza. DoInot!Themshelivedwithwouldhavekilledherfor

ahat-pin,letaloneahat.mrs eynsford hill. But it cant have been right for your

father to pour spirits downher throat like that. Itmighthavekilledher.

liza. Nother.Ginwasmother’smilk toher.Besides,he’dpoured somuch downhis own throat that he knew thegoodofit.

mrs eynsford hill. Doyoumeanthathedrank?liza. Drank!Myword!Somethingchronic.mrs eynsford hill. Howdreadfulforyou!liza. Notabit.ItneverdidhimnoharmwhatIcouldsee.

Butthenhedidnotkeepitupregular.[Cheerfully]Ontheburst,asyoumightsay,fromtimetotime.Andalwaysmoreagreeablewhenhehadadropin.Whenhewasoutofwork,mymotherusedtogivehimfourpenceandtellhimtogooutandnotcomebackuntilhe’ddrunkhimselfcheerfulandloving-like.Thereslotsofwomenhastomaketheirhusbandsdrunktomakethemfittolivewith.[Now quite at her ease]Yousee,it’slikethis.Ifamanhasabitofaconscience,italwaystakeshimwhenhe’ssober;andthenitmakeshimlow-spirited.Adropofboozejusttakesthatoffandmakeshimhappy.[To Freddy, who is in convulsions of suppressed laughter]Here!whatareyousniggeringat?

freddy. Thenewsmalltalk.Youdoitsoawfullywell.liza. IfIwasdoingitproper,whatwasyoulaughingat?[To

Higgins]HaveIsaidanythingIoughtnt?mrs higgins [interposing]Notatall,MissDoolittle.liza. Well, thats amercy, anyhow. [Expansively]What I

alwayssayis–higgins [rising and looking at his watch]Ahem!liza. [looking round at him; taking the hint; and rising]

Well:Imustgo.[They all rise. Freddy goes to the door].Sopleasedtohavemetyou.Goodbye.[She shakes hands with Mrs Higgins].

* * *


Section B – Plays16. George Bernard Shaw: Pygmalion

3.

higgins [arrogant] I can dowithout anybody. I havemyownsoul:myownsparkofdivinefire.But[with sudden humility] Ishallmissyou,Eliza. [He sits down near her on the ottoman].Ihavelearntsomethingfromyouridioticnotions:Iconfessthathumblyandgratefully.AndIhavegrown accustomed to your voice and appearance. I likethem,rather.

liza. Well,youhavebothofthemonyourgramophoneandinyourbookofphotographs.Whenyoufeellonelywithoutme,youcanturnthemachineon.It’sgotnofeelingstohurt.

higgins. Icantturnyoursoulon.Leavemethosefeelings;andyoucantakeawaythevoiceandtheface.Theyarenotyou.

liza. Oh,youareadevil.Youcantwisttheheartinagirlaseasyassomecouldtwistherarmstohurther.MrsPearcewarnedme.Timeandagainshehaswantedtoleaveyou;andyoualwaysgotroundheratthelastminute.Andyoudontcareabitforher.Andyoudontcareabitforme.

higgins. Icareforlife,forhumanity;andyouareapartofitthathascomemywayandbeenbuiltintomyhouse.Whatmorecanyouoranyoneask?

liza. Iwontcareforanybodythatdoesntcareforme.higgins. Commercialprinciples,Eliza.Like[reproducing her

Covent Garden pronunciation with professional exactness]s’yollinvoylets[sellingviolets],isntit?

liza. Dontsneeratme.It’smeantosneeratme.higgins. I have never sneered inmy life. Sneering doesnt

become either the human face or the human soul. I amexpressingmy righteous contempt forCommercialism. Idontandwonttradeinaffection.Youcallmeabrutebecauseyoucouldntbuyaclaimonmebyfetchingmyslippersandfindingmyspectacles.Youwereafool:Ithinkawomanfetchingaman’sslippersisadisgustingsight:didIeverfetchyourslippers?Ithinkagooddealmoreofyouforthrowingtheminmyface.Nouseslavingformeandthensayingyouwanttobecaredfor:whocaresforaslave?Ifyoucomeback,comebackforthesakeofgoodfellowship;foryoullgetnothingelse.YouvehadathousandtimesasmuchoutofmeasIhaveoutofyou;andifyoudaretosetupyourlittledog’stricksoffetchingandcarryingslippersagainstmycreationofaDuchessEliza,I’llslamthedoorinyoursillyface.

liza. Whatdidyoudoitforifyoudidntcareforme?higgins [heartily]Why,becauseitwasmyjob.liza. Youneverthoughtofthetroubleitwouldmakeforme.higgins. Wouldtheworldeverhavebeenmadeifitsmaker

had been afraid ofmaking trouble?Making lifemeansmakingtrouble.

* * *


Section B – Plays17. Tom Stoppard: Arcadia

Use one or more of the passages selected as the basis for a discussion of Arcadia.


1.

Hannah Thepointis,theCrooms

[…]

Bernard Yes,Isee.Areyousure?Youseemquitesentimentalovergeometry.

TomStoppard,Arcadia, FaberandFaber,1993

pp.38–40


2.

Jellaby (sighs)HerladyshipencounteredMrsChaterduringthenight.

[…]

Lady Croom … but have no doubt which is themoreintolerabletome.


pp.92–94



Section B – Plays17. Tom Stoppard: Arcadia

3.

Bernard IlookforwardtoThe Genius of the Place.

[…]

Septimus and Thomasina continue to dance, fluently, to the piano.End.


pp.131–133



Section C – Short stories18. Nikolay Gogol: The Diary of a Madman, The Government Inspector and Selected Stories

Use one or more of the passages selected as the basis for a discussion of The Diary of a Madman, The Government Inspector and Selected Stories.

1.

Ivan Fyodorovich Shponka and His Aunt

Behindthisstorythereisanotherone.WefirsthearditfromStepanIvanovichKurochkawhohad just travelledupfromGadyach.Now,one thingyoumust know is that I have anabsolutelyshockingmemory.Youcantalktomeuntilyouarebluein theface,buteverythinggoes inoneearandout theother.It’sliketryingtofillasievewithwater.AsIamonlytooawareofthisweaknessofmineIaskedourvisitortowritethestorydownformespeciallyinanexercisebook.Hewasalwayskindtome,Godgranthimgoodhealth,andhetookthebookandwroteeverythingout.Iputitonthesmalltable,whichIthinkyouknow:itstandsinthecornernearthedoor.Ohdear,Iquiteforgot,youhaveneverevenbeenhere!Myoldhousekeeper,whohasbeenwithmeforthirtyyearsnow,neverlearnedtoreadandwriteandthere’snopointintryingtodisguisethefact.OnceInoticedshelikedbakingpiesonpaper.Dearreader,shebakesabsolutelywonderfulpies,betterthanyou’lleatanywhere.SoIhadalookunderneaththemandwhatdoIseebutsomewriting.ItwasasifI’dknowndeepdownalready–Iwentuptothetableandtherewashalfoftheexercisebookgone!Shehadtornthepagesoutforherpiepaper!Whatcanyoudo?Youcan’tquarrelatourtimeoflife! LastyearIhadtopassthroughGadyach.SobeforeIevengotnear theplace I tiedaknot so I shouldn’t forget toaskStepanIvanovichaboutit.I’dassuredmyselfthatassoonasIsneezedinthetown,thiswouldmakemeremembertocallonhim.But itwasallnouse:I travelled throughthe town,sneezed,blewmynoseinmyhandkerchief,andstillforgottocall.Atleast,Ididn’trememberuntilIwasaboutfourorfivemilesfromthetowngates.Sothereremainednothingelsetodobutprintthestorywithoutanending.However,ifanyonereallywantstoknowwhathappenedintheend,allhehastodoisgotoGadyachandaskStepanIvanovich.

* * *

2.

The Overcoat

Atthistimeofday,whentheforeheadsofevenimportantofficialsachefromthefrostandtearswellupintheireyes,thehumblertitularcounsellorsaresometimesquitedefenceless.Theironlysalvationliesinrunningthelengthoffiveorsixstreetsintheirthin,wretchedlittleovercoatsandthenhavingareallygoodstampinthelobbyuntiltheirfacultiesandcapacityforofficeworkhavethawedout.ForsometimenowAkakyAkakievichhadbeenfeelingthathisbackandshouldershadbecomesubjecttoreallyviciousonslaughtsnomatterhowfasthetriedtosprinttheofficialdistancebetweenhomeandoffice.Atlengthhebegantowonderifhisovercoatmightnotbeatfaulthere. Aftergivingitathoroughexaminationathomehefoundthatintwoorthreeplaces–tobeexact,onthebackandroundtheshoulders–itnowresembledcoarsecheesecloth:thematerialhadwornsothinthatitwasalmosttransparentandthelininghadfallentopieces. AtthispointitshouldbementionedthatAkakyAkakievich’scoatwasastandingjokeintheoffice.Ithadbeendeprivedofthestatusofovercoatandwascalledadressing-gowninstead.Andtherewasreallysomethingverystrangeinthewayitwasmade.Astheyearswentbythecollarhadshrunkmoreandmore,astheclothfromithadbeenusedtopatchupotherparts.Thisrepairworkshowednosignofatailor’shand,andmadethecoatlookbaggyandmostunsightly.Whenherealizedwhatwaswrong,AkakyAkakievichdecidedhewouldhavetotaketheovercoat toPetrovich, a tailor living somewhereon thethirdfloorupsomebackstairsandwho,inspiteofbeingblindinoneeyeandhavingpockmarksalloverhisface,carriedonquiteanicelittlebusinessrepairingcivilservants’andothergentlemen’s trousers and frock-coats,whenever – it goeswithoutsaying–hewassoberandwasnothatchingsomeplotinthatheadofhis. Of course, there is notmuch point inwasting our timedescribingthistailor,butsinceithasbecometheacceptedthingtogivefulldetailsabouteverysinglecharacterinastory,thereisnothingforitbuttotakealookatthismanPetrovich. AtfirsthewassimplycalledGrigoryandhadbeenaserfbelongingtosomegentlemanorother.PeoplestartedcallinghimPetrovichafterhehadgainedhisfreedom,fromwhichtimehebegantodrinkratherheavilyoneverychurchholiday–atfirstonlyonthemostimportantfeast-days,butlateroneverysingleholidaymarkedbyacrossinthecalendar.Inthisrespecthewasfaithfultoancestraltradition,andwhenhehadrowsaboutthiswithhiswifehecalledheraworldlywomanandaGerman.

* * *


NikolaiGogol,Diary of a Madman and Other Stories,translatedandintroducedbyRonaldWilks, PenguinClassics,1972;©RonaldWilks,1972;reproducedbypermissionofPenguinBooksLtd


Section C – Short stories18. Nikolay Gogol: The Diary of a Madman, The Government Inspector and Selected Stories

3.

Diary of a Madman

December5thIspentthewholemorningreadingthepapers.StrangethingsarehappeninginSpain.Ireadthatthethronehasbeenleftvacantandthatthenobilityarehavingagreatdealoftroublechoosinganheir,withtheresultthatthere’salotofcivilcommotion.Thisstrikesmeasverystrange.Howcanathronebevacated?They’resayingsome‘donna’mustsucceedtothethrone.Butshecan’tsucceedtothethrone:that’simpossible.Akingmustinheritthethrone.Andtheysaythere’snokinganyway.Buttheremust be aking.There can’t be agovernmentwithoutone.There’sakingallright,buthe’shidinginsomeobscureplace.Hemustbesomewhere,butfamilyreasons,orfearsonthepartofneighbouringpowers–Franceandothercountries,forexample–forcehimtostay inhiding.Or theremaybeanotherexplanation.

December8thIwas about to go to the office but various reasons andconsiderations heldme back. I couldn’t get that Spanishbusiness out ofmy head.How could awoman inherit thethrone?Theywouldn’tallowit.Firstly,Englandwouldn’tstandforit.Andwhat’smore,itwouldaffectthewholeofEuropeanpolicy:theAustrianEmperor,ourTsar...Imustconfess,theseeventsshookmeupsomuchIcouldn’tputmymindtoanythingallday.MavrapointedoutthatIwasveryabsent-mindedduringsupper.And,infact,inafitofdistractionIthrewtwoplateson to thefloor, and theybroke immediately.After dinner Iwalkedalongastreetthatleddownhill.Discoverednothingveryedifying.AfterwardsIlayonmybedforalongtimeandponderedtheSpanishquestion.

April43rd,2000Todayisadayofgreattriumph.ThereisakingofSpain.Hehasbeenfoundatlast.Thatkingisme.Ionlydiscoveredthistoday.Frankly,itallcametomeinaflash.IcannotunderstandhowIcouldeventhinkorimagineforonemomentIwasonlyatitularcounsellor.Ican’texplainhowsucharidiculousideaever enteredmyhead.Anyway, I’m rather pleased no onethoughtofhavingmeputawayyet.Thepathaheadisclear:everythingisasbrightasdaylight. I don’t really understandwhy, but before this revelationeverythingwasenvelopedinakindofmist.Andthewholereason for this, as I see it, is that people are under themisapprehensionthatthehumanbrainissituatedinthehead:nothingcouldbefurtherfromthetruth.ItiscarriedbythewindfromtheCaspianSea.

* * *

NikolaiGogol,Diary of a Madman and Other Stories,translatedandintroducedbyRonaldWilks, PenguinClassics,1972;©RonaldWilks,1972;reproducedbypermissionofPenguinBooksLtd


Section C – Short stories19. Cate Kennedy: Dark Roots

Use one or more of the passages selected as the basis for a discussion of Dark Roots.

1.

A Pitch Too High for the Human Ear

Why don’t we talk more, after the kids are in bed?iswhatVickiusedtosay.Thenitbecamewhy don’t you talk more,then,oh, Andrew, he never talks.Don’t bother,Vickiwouldsayatthebarbecueswewentto,tootherwomendrinkingwineonthefoldingchairs.I married a non-talker. Whenshestoppedtalking,though,whenshegotsojackofitsheclosedupandjustworkedsilentlyinthekitchenlikeablackcloud,Icouldhardlystandit.Iwouldratherhaveherfilling in theblankspots, evencomplaining,evenshouting,thansilent.Spreadingbutteronbread,ontheeighteenrowsofsandwichesshewasgoingtoputinthefreezersothatyou’dknowforaweekitwasgoingtobedevonandtomatosauce,thencheeseandham,thingsthatfrozewell,socarefulwithplacing the squares against the crust of the bread, saying,Andrew this is just crazy, I’m going to have to do a night course or something to get out of the house.Tuckingthecornersbackonthesandwichbags,wipingthebackofherhandagainsthereyeslikeshethoughtthekidswouldn’tnotice.Watchingher,ahundredthingscameintomymindtosaythatIdiscarded,everythingstayingunsaid—likewhenMattwasbornandwejustsattherelookingateachother.Thedifferencewasthenitdidn’tseemtomatter,mebeingsomethingthatsheusedtocallinarticulateandshenowcalledwithholding. Hamandcheese,hamandcheese,hamandcheese,seedmustardonDad’s,chutneyon thekids’. Icouldn’t takemyeyes fromherhands, remembered themsqueezingmineonourwedding day as I’d stood up tomakemy speech, theculminationof fourdaysofnervousdiarrhoea. I married a non-talker,Vickisayingwithatightsmileatparties,orsilentlyflickingthroughthechannelswiththeremoteasIwrackedmybrainforsomethingtosaythatwouldmakehertalkagain.How can you just stand there?Vickisaidnow,sawingthesandwicheswiththeknife.I don’t know,Ianswered,whichwasthehonesttruth.

Twelveyearsofnightrunning,workingtheboltopensilentlyonthebackgate,watchingKellyletrip. Whenwestartedtheovalhadopenedouttoemptyland,nowtherewasamazeofclotheslines,fences,pavedpatios.Whenthedogdisappeareduptheinclineontheotherside,he’dpauseandturn,waitingforme.Icouldwhistlesosoftlyitwasbarelyaudibleandhe’dinstantlyracebacklikearocket.Incrediblehearing,turningtowardsthesoundlikeadishpickingupradar.

* * *

2.

Soundtrack

RacheliscookingcauliflowercheesewhenherdaughtertellshershehasjoinedabandandtheywillbepractisingintherumpusroomstartingnextSaturday.Rachelleavesoffstirringthewhitesauceandturnstolookatherdaughterincredulously. Emmaisslumpinginthedoorwaywearingthelookoftireddefiancesheworethedayshegotthetattoo.Rachelburstintotearsthatday,notbecausethetattoowasbleedingordefacingorevenoffensive—aCelticcrosssurroundingayin-yangsymboljustaboveherbreast—butbecauseshewastransportedinamomenttoadayseventeenyearsbeforewhenshehadtickledthatplump,powderedbody,kisseditnoisilyjustwheretheyinyangnowtwisted.Yinandyang,thefluxofbeing:theironyofthisisnotlostonRachel,whowasachildinthe1960sandbythe1970shungabatiksarongfeaturingthisverysymbolasacurtaininherdoorwayintheoldhouseinCardiganStreetshesharedwithsevenothers.Butnowsheisthirty-eightandgratingcheesefordinner, thinkingshecan livewithherdaughter’stattooandeven thenavel ringandboots,butshehasheardthemusicEmmalistenstoanddoesnotwantitpunctuatingherSaturdays.Emmaisnotasking,though;sheisinforming.Wheredoesaseventeen-year-oldgetsomuchcertainty? Rachelfeelswinded—tossedinfrontofacameraandtoldtoact,theonlypersonwithoutascriptandinsomeoneelse’scostume.Shehasbeenfeelinglately,infact,thatherlifehasa kind of soundtrack. Sometimes she can almost hear it: amelancholy instrumental as she stirs sauce, a frenetic salsaas she runs round in themorning like a cartoon, clashingforeboding cymbals as her daughter drops a bombshell.Soundtrackwhen shefinds thebattery in theDatsun isflatandhits her head dully, theatrically, on the steeringwheel.Soundtrackasshestaresatherreflectioninthebathroom.Thefilmandthescoreofthefilmthatseemtocomposethekeyscenesofherlifearedrivinghercrazy.

* * *



Section C – Short stories19. Cate Kennedy: Dark Roots

3.

Kill or Cure

Jesus, I’m pathetic, she tells herself, slinging the shoppingintothecarandslidingin.Nexttowhereshe’sparked,oneofthetakeawaycaféshasasignadvertisingcuppachinos.She’dsmirkedatthiswhenshe’dfirstcometotown,butsixmonthsofmeetingnoonetohaveonewithhaswipedthegrinoffherface.Thejokehadbeenonherafterall, thinkingshecouldaffordtobecondescending.

Thenextmorning, Johnand thedogsare longgoneby thetimeshetakesthecompostscrapsdowntothechickenyard.It’ssilent.Inside,shefindsallsixofthemstrewnacrosstheenclosure,dead.Theirbodiesseemdeflatedsomehow;limpasrags,feathersscatteredthroughtheweeds.Trembling,shefindsthespotwhereadoghasscrapedawayoneofthebricksshe’swedgedin,anddugaholewideenoughtowriggleunder. WhenJohncomesbackmidmorningshetellshimwhat’shappenedandfindsshehastokeephervoicefromshaking. ‘They’re just all torn up,’ she says finally, ‘just thrownaround.’SheturnstolookaccusinglyatJake,whogazesbackatherwithtotal,obliviousincomprehension.Histonguelollswithgoodwill. ‘There’sanoldantidoteforit,’Johnsaysafterlunchashegetstheshoveltoburythechickens.‘It’slikeakillorcurething.Likeaversiontherapy.’HetakesoneofthedeadbirdsandtiesittoJake’scollar.Thedog’scautiousinterestinproceedingsturns to nervous incredulity, his paws skiddingdesperatelyasJohnyankshimintothechickenshedandtieshimuponashortrope.There,hestrainsandchokes,hiseyesrollinginpanic,fightingtherope.Thechicken’snecklollsandflopslikeabrokentoy. ‘Nowweleavehim,’Johnsays. ‘You’rejoking.’ ‘Theoryisthatthedogassociatesthesmellofthedeadchookwithbeingexiled,orsomething—heneverwantstogonearthemagain.’ Jake’sfrenziedbarkingdoesn’tbeginuntilhehearstheutestartupwhenJohnleavesfortheyardsagain.ThenHelenthinkshemightstranglehimself,orhaveafit.Shecanhearhiminthere,likesomeonehavinganightmare,pullingandgaggingattherope,howlingforrelease,hourafterhour.Finally,justtogetawayfromit,shegetsinthecarandgoesintotowntocollectthemailanddosomeshopping,andhidesintheair-conditionedlibraryforaslongasshecan,thumbingthroughgardeningmagazines.

* * *


1.

People in Hell Just Want a Drink of Water

Bythetimehewastwelve…gonemorethanfiveyearsandnotaword.

AnnieProulx,Close Range: Brokeback Mountain and Other Stories,HarperPerennial,2006

pp.114and115



2.

The Bunchgrass Edge of the World

Aladdinliftedawadofturnipgreens…“Whatyouaretryinafixain’tfixable.”


pp.152and153


Section C – Short stories20. Annie Proulx: Close Range: Brokeback Mountain and Other Stories

Use one or more of the passages selected as the basis for a discussion of Close Range: Brokeback Mountain and Other Stories.


3.

Brokeback Mountain

Ennis dEl Mar wakEs bEforE fivE, … pitchinghimdirectlyintoranchwork.


pp.283and284


Section C – Short stories20. Annie Proulx: Close Range: Brokeback Mountain and Other Stories


Section D – Other literature21. Julian Barnes: A History of the World in 10½ Chapters

Use one or more of the passages selected as the basis for a discussion of A History of the World in 10½ Chapters.


2.

The Wars of Religion

Inthematterraisedbytheprocurator…insuchcasesberequiredofthehabitans.

JulianBarnes,A History of the World in 10½ Chapters, Vintage,2009

pp.78and79


1.

The Visitors

Beforehegothisownwritingcredit…wantingtohavetheworldexplainedtothem.


pp.54and55



Section D – Other literature21. Julian Barnes: A History of the World in 10½ Chapters

3.

Project Ararat

Inthesummerof1974…thevoicewenton.‘Findit,Spike.’


pp.255and256



2.

Huis Clos

I’mnotsurewhenitwasthatIstartedarguingwithBrianabouthispolitics,butsurelywellbeforeIlefthome.Perhapsarguingisn’ttheword:itwasmoreneedlinghim,andprobingtofindtheexactnatureoftheweaknessIdiscernedinhisposition.Iwas using the criticalweapons he himself had givenme,exercisingthelicensehehadgivenmetoshowthatDaddy,too,couldbewrong.Itwashe,afterall,whohadtaughtmetotearoffthemasks,toseethroughpretensionstotheinterestsbehind.Butnowitwasn’tjustadebatinggame;therewasmaliceinit.IfBrianhadtaughtmecriticalthinking,IhadpickedupsomeofDoff’stechniquestoo—thewaysofcriticisingthatimplyhostility,contempt,apleasureinbelittling. Thebasicshiftwasfromseeinghisradicalstandsand‘aginthegovernment’assumptionsasheroic,DavidagainstGoliath,toseeingthemasself-indulgent.Why,inthefirstplace,shouldone assume thatDavidwas necessarily right andGoliathnecessarilywrong?Why,apriori,shouldthecritics,speakingfromapositionofirresponsibility,invariablyknowbetterthanthe‘powersthatbe’,thatis,thepeoplewhohadbeenwillingtotaketheresponsibilityofrunningthings?Whywasitonlygovernmentthatmadebadjudgementsbecauseofpressurefromvariousinterests?Wasitbecauseofmoralvirtue,arefusaltobecorruptedanddeterminationtoretainhisindependence,thatmyfatherdidn’ttakeanordinaryjobandearnmoneytosupporthisfamily?Orwasitbecausehejustlikedthebohemianlifeandthekudosthatwentwithbeingregardedasthe‘fearlessindependentthinker’,theonlyonewhohadn’tsoldout?Inotherwords,wasdissidenceasawayoflifeaformofself-indulgenceratherthanheroism? Howthishalf-expressedcritiquefelttoamaninhisfortieswhomayhaveatleastpartlyfelthehadtakenthewrongpath(Twenty years largely wasted ),onecanonlyimagine.Idon’trememberhim trying to shutmeup,and there isno recordof him complaining aboutmy criticisms. (On the contrary,healways,asfarasIknow,spokeofmycriticalacumenandtendencytochallengereceivedwisdomproudly:a chip off the old block.)

* * *

1.

Speak, Memory

Rightlyorwrongly,therewasnodoubtinmymindasachildthatIcamefirstwithBrian,aheadofMummyandhisnicefriendBarbara,justashecamefirstinmyaffections,aheadofMummyandIshie.Isawnoprobleminthis;itwasjusthowlifewas. Myfather’sauthoritywasimmenseinmyeyes;surelyatthisearlyagenobodycouldhavepersuadedmetoquestionit—exceptmyfatherhimself,andhesetaboutitwithawill,inspiredbyhisanti-authoritarianprinciples,perhaps,orjustmischiefandaloveofparadox.The‘RightorWrong?’questionwassoonelaboratedintoanexplicitpropositionthat‘Daddyisalwaysright,exceptwhenheiswrong’,anothercauseofgreatmerrimentonmypart.ButIgotthepoint.Authoritieshadtobe questioned, conventional pieties doubted.EvenBrian’sownpieties:my3-year-oldobjection that ‘Civvernimmitiesdoesn’tmeananything’wasoftenandappreciativelyrepeatedinthefamily.Asmyfathertaughtmeaboutdemocracy—andthathappenedquiteearly—hesimultaneouslytaughtmetheparadox:wearedemocrats,andthatmeansacceptingthewillofthepeople,despitethefact(saidwithatriumphantgrin)that‘themajorityisalwayswrong!’ Whatotherfather(Ihadmetsome,nowIwasatschool)wassofunnyandknewsomuch?Whoelsecouldtellsuchgoodstoriesandjokesandhadsuchadelightfuldisrespectfor‘thepowersthatbe’,whileatthesametime(paradoxically,butthatwashischaracteristic)beingsodignifiedandformalinhispublicpersona,apersonotherstreatedwithrespect?Whatotherfatherworkedathome,insteadofgoingtoaboringoffice,andwasthusavailabletogoforwalksandwatchmeclimbtrees?Iwaslucky,Ithought,tohavesuchafather.Notthatitwasreallyluck.Beingsucharemarkablechild,asDaddyandIshieandDaddy’sfriendsandevenMummy(judgingbythetabularasastory)agreed,Ideservedhim.

* * *

Section D – Other literature22. Sheila Fitzpatrick: My Father’s Daughter: Memories of an Australian Childhood

Use one or more of the passages selected as the basis for a discussion of My Father’s Daughter: Memories of an Australian Childhood.



3.

Second Escape, This Time Unhappy

Allthreeofus,thesurvivors,werestunnedbyBrian’sdeath;allofusfeltguilty.Wewereunitedinandbythis;thelettersflyingbackandforthexpressmutualtrustaswellassharedsuffering.‘Ifwehadknownhewasgoingtodiewewouldhavebehaveddifferently,butthereisnopointinthinkingaboutit’,Iwrotetomymotheron7September.‘AllthesameIwishIhadmadepeacewithhim,asIhadstoppedbeingangry.’Andtomybrother,IwroteofafeelingofhavingbetrayedBrian:

because it seemed that all these efforts were for us (‘making a better world for our children’, ‘for fear my little son/might break his hands as I have done’) but I wouldn’t accept them …

‘Haven’tIdonemybestforyou?’heusedtosaywhenhewasdrunk.Andmyunspokenanswer—myrejection—wasno. Mybrotherhadsimilarfeelings:hefeltguilty,ashewrotetomeon13September, for ‘myvarious expressedhatredstowardshim: thecontemptI thoughtIhadforhisactivitiesin theAustralianLaborMovement, in journalism, inCivilLiberties,andsoon’;andnowitseemedthathiscontempthadbeenbasedonlackofunderstanding:

I had no idea of what he was trying to do, or why he was so insistent on trivial courtesies, for that matter why he couldn’t very often make any intimate contact with me, or Mummy, or you. I was irritated and annoyed by the screen he set around himself, and by his attempts to escape from it—by drinking and so on.

Doffwroteofher‘momentsofhorrorthatitshouldhaveendedlikethiswhenIhadbeenconsistentlynastytohimformonths…Iwasveryunhappyaboutmyhomelife,notleastbecauseIcouldhardlyrespectmyownbehaviourandIcouldseenosolutiontothesituation’.Yettherehadbeenmoments,eventowardstheend,whenshecouldalmosthavebrokenoutofthispattern[…]

* * *

Section D – Other literature22. Sheila Fitzpatrick: My Father’s Daughter: Memories of an Australian Childhood


Section D – Other literature23. George Orwell: Down and Out in Paris and London

Use one or more of the passages selected as the basis for a discussion of Down and Out in Paris and London.

1.

AtthetablesatanunshavenRussianinshirtsleeves,addressingnewspaperwrappersfromapileinfrontofhim.AsIcameinhespoketomeinFrench,withabadaccent. ‘Thisisverycareless!’heexclaimedfussily.‘Whyhaveyoucomeherewithoutaparcelofwashing?’ ‘Washing?’ ‘Everybodywhocomesherebringswashing. It looks asthough theywere going to the laundrydownstairs.Bring agoodlargebundlenexttime.Wedon’twantthepoliceonourtracks.’ ThiswasevenmoreconspiratorialthanIhadexpected.Borissatdownintheonlyvacantchair,andtherewasagreatdealoftalkinginRussian.Onlytheunshavenmantalked;thesurlyoneleanedagainstthewallwithhiseyesonme,asthoughhestillsuspectedme.Itwasqueer,standinginthelittlesecretroomwithitsrevolutionaryposters, listeningtoaconversationofwhichIdidnotunderstandaword.TheRussianstalkedquicklyandeagerly,withsmilesandshrugsoftheshoulders.Iwonderedwhatitwasallabout.Theywouldbecallingeachother‘littlefather’,Ithought,and‘littledove’,and‘IvanAlexandrovitch’,likethecharactersinRussiannovels.Andthetalkwouldbeofrevolutions.Theunshavenmanwouldbesayingfirmly,‘Weneverargue.Controversyisabourgeoispastime.Deedsareourarguments.’ThenIgatheredthatitwasnotthisexactly.Twentyfrancswasbeingdemanded,foranentrancefeeapparently,andBoriswaspromisingtopayit(wehadjustseventeenfrancsintheworld).FinallyBorisproducedourpreciousstoreofmoneyandpaidfivefrancsonaccount. Atthisthesurlymanlookedlesssuspicious,andsatdownontheedgeofthetable.Theunshavenonebegantoquestionme in French,making notes on a slip of paper.Was I aCommunist?heasked.Bysympathy,Ianswered;Ihadneverjoinedanyorganization.DidIunderstandthepoliticalsituationinEngland?Oh,ofcourse,ofcourse.ImentionedthenamesofvariousMinisters,andmadesomecontemptuousremarksabouttheLabourParty.AndwhataboutLe Sport?CouldIdoarticlesonLe Sport?(FootballandSocialismhavesomemysteriousconnectionontheContinent.)Oh,ofcourse,again.Bothmennoddedgravely.Theunshavenonesaid: ‘Évidemment,youhaveathoroughknowledgeofconditionsinEngland.CouldyouundertaketowriteaseriesofarticlesforaMoscowweeklypaper?Wewillgiveyoutheparticulars.’ ‘Certainly.’ ‘Then, comrade, youwill hear fromus by thefirst posttomorrow.Orpossiblythesecondpost.Ourrateofpayisahundredandfiftyfrancsanarticle.Remembertobringaparcelofwashingnexttimeyoucome.Au revoir,comrade.’

* * *

2.

Besideswashingup,Ihadtofetchthewaiters’foodandservethemattable;mostofthemwereintolerablyinsolent,andIhad tousemyfistsmore thanonce togetcommoncivility.Thepersonwhonormallywashedupwasawoman,andtheymadeherlifeamisery. Itwasamusingtolookroundthefilthylittlesculleryandthinkthatonlyadoubledoorwasbetweenusandthedining-room.Theresatthecustomersinalltheirsplendour–spotlesstable-cloths,bowlsofflowers,mirrorsandgiltcornicesandpaintedcherubim;andhere,justafewfeetaway,weinourdisgustingfilth.Foritreallywasdisgustingfilth.Therewasnotimetosweepthefloortillevening,andweslitheredaboutinacompoundofsoapywater,lettuce-leaves,tornpaperandtrampledfood.Adozenwaiterswiththeircoatsoff,showingtheirsweatyarmpits,satatthetablemixingsaladsandstickingtheirthumbsintothecreampots.Theroomhadadirtymixedsmelloffoodandsweat.Everywhereinthecupboards,behindthepilesofcrockery,weresqualidstoresoffoodthatthewaitershadstolen.Therewereonlytwosinks,andnowashingbasin,anditwasnothingunusualforawaitertowashhisfaceinthewaterinwhichcleancrockerywasrinsing.Butthecustomerssawnothingofthis.Therewereacoco-nutmatandamirroroutsidethedining-roomdoor,andthewaitersusedtopreenthemselvesupandgoinlookingthepictureofcleanliness. Itisaninstructivesighttoseeawaitergoingintoahoteldining-room.Ashepassesthedoorasuddenchangecomesoverhim.Thesetofhisshouldersalters;allthedirtandhurryandirritationhavedroppedoffinaninstant.Heglidesoverthecarpet,withasolemnpriest-likeair.Irememberourassistantmaître d’hôtel,afieryItalian,pausingatthedining-roomdoortoaddressanapprenticewhohadbrokenabottleofwine.Shakinghisfistabovehisheadheyelled(luckilythedoorwasmoreorlesssoundproof): ‘Tu me fais chier.Doyoucallyourselfawaiter,youyoungbastard?You awaiter!You’re notfit to scrubfloors in thebrothelyourmothercamefrom.Maquereau!’ Wordsfailinghim,heturnedtothedoor;andasheopenedithefartedloudly,afavouriteItalianinsult. Thenheenteredthedining-roomandsailedacrossitdishinhand,gracefulasaswan.Tensecondslaterhewasbowingreverently to a customer.Andyou couldnot help thinking,asyousawhimbowandsmile,withthatbenignsmileofthetrainedwaiter,thatthecustomerwasputtoshamebyhavingsuchanaristocrattoservehim.

* * *



Section D – Other literature23. George Orwell: Down and Out in Paris and London

3.

Theothergreatevilofatramp’slifeisenforcedidleness.Byourvagrancylawsthingsaresoarrangedthatwhenheisnotwalkingtheroadheissittinginacell;or,intheintervals,lyingonthegroundwaitingforthecasualwardtoopen.Itisobviousthatthisisadismal,demoralizingwayoflife,especiallyforanuneducatedman. Besidestheseonecouldenumeratescoresofminorevils–tonameonlyone,discomfort,whichisinseparablefromlifeontheroad;itisworthrememberingthattheaveragetramphasnoclothesbutwhathestandsupin,wearsbootsthatareill-fitting,anddoesnotsitinachairformonthstogether.Buttheimportantpointisthatatramp’ssufferingsareentirelyuseless.He lives a fantastically disagreeable life, and lives it to nopurposewhatever.Onecouldnot,infact,inventamorefutileroutinethanwalkingfromprisontoprison,spendingperhapseighteenhoursadayinthecellandontheroad.TheremustbeattheleastseveraltensofthousandsoftrampsinEngland.Eachdaytheyexpendinnumerablefoot-poundsofenergy–enoughtoploughthousandsofacres,buildmilesofroad,putupdozensofhouses–inmere,uselesswalking.Eachdaytheywastebetweenthempossiblytenyearsoftimeinstaringatcellwalls.Theycostthecountryatleastapoundaweekaman,andgivenothinginreturnforit.Theygoroundandround,onanendlessboringgameofgeneralpost,whichisofnouse,andisnotevenmeanttobeofanyusetoanypersonwhatever.Thelawkeepsthisprocessgoing,andwehavegotsoaccustomedtoitthatwearenotsurprised.Butitisverysilly. Grantingthefutilityofatramp’slife,thequestioniswhetheranythingcouldbedonetoimproveit.Obviouslyitwouldbepossible,forinstance,tomakethecasualwardsalittlemorehabitable,andthisisactuallybeingdoneinsomecases.Duringthelastyearsomeofthecasualwardshavebeenimproved–beyondrecognition,iftheaccountsaretrue–andthereistalkofdoingthesametoallofthem.Butthisdoesnotgototheheartoftheproblem.Theproblemishowtoturnthetrampfromabored,half-alivevagrantintoaself-respectinghumanbeing.

* * *


Section D – Other literature24. WEH Stanner: The Dreaming & Other Essays

Use one or more of the passages selected as the basis for a discussion of The Dreaming & Other Essays.

1.

Durmugam: A Nangiomeri (1959)

ThepolicyofassimilationismeanttooffertheAboriginesa‘positive’futureabsorptionandeventualintegrationwithintheEuropean community.Does it involve a loss of naturaljusticeforthelivingAborigines?Nooneanswers.CaseslikeDurmugam’sareirritatingdistractionsfromloftierthings.ThepolicyassumesthattheAborigineswant,orwillwant,tobeassimilated; thatwhiteAustralianswill accept themon fairterms;thatdiscriminationwilldieorcanbecontrolled;that,inspiteoftherevealednatureoftheAboriginesandtheirculture,theycanbeshapedtohaveanewand‘Australian’nature.Thechauvinismisquiteunconscious.TheideathattheAboriginesmightrejectabanausiclifeoccurstonoone.Theunconscious,unfocused,butintenseracialismofAustraliansisunnoticed.Theriskofproducingadepressedclassofcolouredmisfitsisthoughtminimal,althoughthatistheactualbasisfromwhich‘assimilation’begins. Itwouldbetoofartoonesideofmypurposeheretoexaminethenewpolicyindetail.Theaspirationsarehigh;thesincerityisobvious;everyoneisextremelybusy;agreatdealofmoneyisbeingspent;andthetasksmultiplymuchfasterthanthestaffswhomustdothework.Insuchasettingacertaincourageisneededtoaskifpeoplereallyknowwhattheyaredoing.Ihavespaceonlyforasimplequestion,whichiscloselyconnectedtoDurmugam’slifeandproblems. ThereissuchathingasAboriginalcustomarylaw.Itisinradical conflictwithEuropean law in almost every respect.Ournotionsoftortandcrime,ofproceduresofarrestandtrial,ofadmissibleevidence,andsoondonotfitwiththeirs.Onlybyextremelyhighabstractioncanthetwosystemsbebroughttogetheratall,andthenonlyinawaywhichisalmostuselessadministratively.TheAboriginal systemhas in partwidelybroken down and cannot be restored. It broke down for anumberof reasons.Amongthem,certainly,wasacontemptamongEuropeansofallclassesforallthingsAboriginal.TotheoldergenerationsofAustraliansitseemedanimpossibleideathattherecouldbeanythingintheAboriginesorintheirtradition toadmire.Thecontempthasperhapsalmostgone.In itsplaceonefinds,surprisinglywidely,both interestandsolicitude.Butoldcontemptandnewsolicitudehaveacommonelement:akindofsightlessnesstowardsthecentralproblemsofwhatitistobeablackfellowinthehere-and-nowofAustralianlife.Forthisreasonhundredsofnativeshavegonethrough,andwill go through, the torment of powerlessnesswhichDurmugamsuffered.

* * *


2.

Continuity and Change among the Aborigines (1958)

InacertainregionofnorthAustraliaamythwhichisstilltoldtellsofeventsataremotetimeinhumanhistory,TheDreamTime.Agreatman,Angamunggi,was treacherously killedbyhis son,whohad committed incestwithhis two sisters,Angamunggi’sdaughters.Thegirlsweretrustingand,wemaypresume,innocent.Theson,Tjinimin,wasfilledwithguile,maliceandlust.Havingseducedhissisters,henextspearedhisfather,whileAngamunggisatunsuspectingly,surroundedbyhismanychildren,atsongandmusicduringafestivegatheringofalltheclans.Thefather,inagonyandabouttodie,lingeredon toperformaseriesofmarvels.Hemovedfromplace toplace,andindoingsoformedatrackorpathwhichisnowsacred.Ateachrestingplacehetriedunavailinglytostaunchtheflowofbloodfromthespearwoundinhisside.Insomemysteriouswayhisbloodproducedperennialpoolsandspringsofwater,which remain as hismarksor signs.After a longwanderinghetookallthefirethenintheworld,tieditonhisheadwithhisownhair,andwadedintothesea.AnothermandaringlysnatchedabrandjustasAngamunggiwasabouttodisappearunderthewaves.Inthiswayfirewassavedformen,whowouldotherwisehavehadtoeatrawfood,likeanimals.And,inhisdeathagonies,Angamunggigavemenperennialwaters.Theywerelife-givingwaters,foritwasinthemthat,somehow,healsoplacedthespiritsofallchildrenwhohavebeenbornsincethen. Abookcouldbewrittenindeed,Icannotpromisenottowriteitaboutthesymbolismsofthemyth.AllIwishtodonowistoresolvewhatissecondaryandincidentalintowhatisprimary,andthenrearrangetheprimaryelementsanotherway.Whatemergesisastorywhichsuddenlybecomesstrangelyfamiliartous.Abenignfatheriskilledbyhisevilson.Thesongoesoffamongmen.Thefather,byhisdeath,givesmenthefireandwaterwhicharethemeansofperenniallife.Letusputthisalongsideanotherstory:thatofabenignfatherwhosendshiswell-belovedsontoredeemmenbydyingforthem.Byhisdeaththesongivesmenaprospectofeternallifewiththefather.Herearetworemarkablyparallelintuitionsaboutmanandhiswholesituation.Thereisofcoursenohistoricalconnexionwhatever. Now,Angamunggiwasnotanykindofgod.Hemadenocovenantwithmen;hegavenomoralinstructions;hedidnotdemand righteousness or supplication.Norwas he saint orsage.He isconceivedofasman,an immensemanofgreatpowers, including the power toworkmarvels.His name isrevered,afterafashion,butnotinanywayworshipped,thoughhe ‘looked after’ people.Onepatrilinealmoiety calledhim‘father’sfather’,theothermoietycalledhim‘mother’sfather’.SometimeshewascalledbybothmoietiesYila Neki,theFatherofUsAll.Hewasabenignimage,personifyingthegood.HislotsomehowtypifiesfortheAboriginesthelotofmen,whichisbothgoodandbad.

* * *


Section D – Other literature24. WEH Stanner: The Dreaming & Other Essays

3.

Aboriginal Humour (1956)

AtamissionstationwhichIknow,acertainconflictwasraging.TheissuewasbetweenwhattheoldAborigineswantedtodo,andwhatGodwantedthemtodo.ThematterwasnotatallcleartotheAborigines.Theyknewwhattheywanted.Therewerebeing toldwhatGodwanted.They thought therewassomethingsecond-handabouttheinstructions.ThequestionsturnedonhowtheirinstructorknewwhatGodwanted.Somesaidtheclergymanjustknew;othersthatheonlysaidheknew;boththeseunreasonabletheoriesfailedtoconvincethem.Onemanfinallyvolunteered:‘might-behimgottelephonelongaGod’.Iwasappealedto.Didheordidn’the?IsaidIdidnotknow,but thatIhadalwaysfoundtheclergymantruthful. Ialso said that he had a lot of tea, sugar,flour and tobacco.ThisargumentappealedtotheAborigines.Oneofthemsaid:‘Thatman,himgoodman,y’know.Himgotplentyeverything.Plentytucker.Plentywian[i.e.tobaccothewordalsomeanshumanexcrement].Plentymouth[i.e.words].Mightbehimgot plenty savvy-belong-himself [i.e. private knowledgeorwisdom].’Isaidthatthismightbeso.IwasthenaskedifIhadatelephone.IsaidthatIhad;butitwasonlyasmallone.‘YousavvybelongGod?’Iwasasked.IsaidthatIsometimesthoughtIheardavoice,alongwayaway.Iwasaskedwhatthevoicesaid. I replied that Icouldnotquitemakeout thewords.Myinquisitorsaid:‘That’swhatblackfellerreckon.’Ithensaid:‘Well,whatareyougoingtodo?’Myfriendsaid:‘Today,tobacco.Sunday,God.’Webothlaughed. Idonot feel calledupon,or indeedcompetent, toproveanythingtoyouaboutAboriginalhumour.Icansimplynarratesomeofthethingstheysay,describesomeofthethingstheylaughat,andaddasortofminimumglossary.ThemainpointtokeepinmindisthattheAboriginalsceneisinmostrespectstheuniversalscene.Humourwearsfamiliargarments,butwithatwistallitsown.Thereiscoarsebuffoonery,salacity,punning,practical joking,andall the rest. Iwouldnotmention themwere itnot thataperfectly intelligentEuropeanonceaskedme,quiteseriously,iftheAborigineslaughedandcried‘justlikeotherpeople’.ItmademewonderwhatimageofsavagelifemanyEuropeanscanpossiblyhaveinmindtosuggestsuchidiocies.Thehammeronthethumb,thesliponthebananapeel,thesuddenlossofdignityallthese‘reversals’,thebasisofauniversalclassofhumour,evokemuchthesameresponsesamong theAborigines as amongEuropeans. Perhaps theprincipleiscarriedalittlefar:IhaveseenAboriginesroaringwithlaughteratanotherchasedbyacrocodile,oratanoldmantryingtoclimbaslipperytreetoescapearoguebuffalo.

* * *


Section E – Poetry25. Robert Browning: Selected Poems

Use one or more of the passages selected as the basis for a discussion of the poetry of Robert Browning.


1.

Porphyria’s Lover

Therainsetearlyintonight, Thesullenwindwassoonawake,Ittoretheelm-topsdownforspite, Anddiditsworsttovexthelake: Ilistenedwithheartfittobreak.WhenglidedinPorphyria;straight Sheshutthecoldoutandthestorm,Andkneeledandmadethecheerlessgrate Blazeup,andallthecottagewarm; Whichdone,sherose,andfromherformWithdrewthedrippingcloakandshawl, Andlaidhersoiledglovesby,untiedHerhatandletthedamphairfall, And,last,shesatdownbymyside Andcalledme.Whennovoicereplied,Sheputmyarmaboutherwaist, Andmadehersmoothwhiteshoulderbare,Andallheryellowhairdisplaced, And,stooping,mademycheekliethere, Andspread,o’erall,heryellowhair,Murmuringhowshelovedme–she Tooweak,forallherheart’sendeavour,Tosetitsstrugglingpassionfree Frompride,andvainertiesdissever, Andgiveherselftomeforever.Butpassionsometimeswouldprevail, Norcouldtonight’sgayfeastrestrainAsuddenthoughtofonesopale Forloveofher,andallinvain: So,shewascomethroughwindandrain.BesureIlookedupathereyes Happyandproud;atlastIknewPorphyriaworshippedme;surprise Mademyheartswell,andstillitgrew WhileIdebatedwhattodo.

* * *

2.

Andrea del Sarto

Butdonotletusquarrelanymore,No,myLucrezia;bearwithmeforonce:Sitdownandallshallhappenasyouwish.Youturnyourface,butdoesitbringyourheart?I’llworkthenforyourfriend’sfriend,neverfear,Treathisownsubjectafterhisownway,Fixhisowntime,accepttoohisownprice,AndshutthemoneyintothissmallhandWhennextittakesmine.Willit?tenderly?Oh,I’llcontenthim,–buttomorrow,Love!Ioftenammuchwearierthanyouthink,Thiseveningmorethanusual,anditseemsAsif–forgivenow–shouldyouletmesitHerebythewindowwithyourhandinmineAndlookahalf-hourforthonFiesole,Bothofonemind,asmarriedpeopleuse,Quietly,quietlytheeveningthrough,ImightgetuptomorrowtomyworkCheerfulandfreshasever.Letustry.Tomorrow,howyoushallbegladforthis!Yoursofthandisawomanofitself,Andminetheman’sbaredbreastshecurlsinside.Don’tcountthetimelost,neither;youmustserveForeachofthefivepictureswerequire:Itsavesamodel.So!keeplookingso–Myserpentiningbeauty,roundsonrounds!–Howcouldyoueverprickthoseperfectears,Eventoputthepearlthere!oh,sosweet–Myface,mymoon,myeverybody’smoon,Whicheverybodylooksonandcallshis,And,Isuppose,islookedonbyinturn,Whileshelooks–noone’s:verydear,noless.Yousmile?why,there’smypicturereadymade,There’swhatwepainterscallourharmony!Acommongreynesssilverseverything,–Allinatwilight,youandIalike–You,atthepointofyourfirstprideinme(That’sgoneyouknow),–butI,ateverypoint;Myyouth,myhope,myart,beingalltoneddownToyondersoberpleasantFiesole.There’sthebellclinkingfromthechapel-top;Thatlengthofconvent-wallacrossthewayHoldsthetreessafer,huddledmoreinside;Thelastmonkleavesthegarden;daysdecrease,Andautumngrows,autumnineverything.Eh?thewholeseemstofallintoashapeAsifIsawalikemyworkandselfAndallthatIwasborntobeanddo,Atwilight-piece.Love,weareinGod’shand.Howstrangenow,looksthelifehemakesuslead;Sofreeweseem,sofetteredfastweare!

* * *


Section E – Poetry25. Robert Browning: Selected Poems

3.

Never the Time and the Place

Neverthetimeandtheplace Andthelovedonealltogether! Thispath–howsofttopace! ThisMay–whatmagicweather! Whereisthelovedone’sface?Inadreamthatlovedone’sfacemeetsmine, Butthehouseisnarrow,theplaceisbleakWhere,outside,rainandwindcombine Withafurtiveear,ifIstrivetospeak, Withahostileeyeatmyflushingcheek,Withamalicethatmarkseachword,eachsign!Oenemyslyandserpentine, Uncoiltheefromthewakingman! DoIholdthePast Thusfirmandfast YetdoubtiftheFutureholdIcan? Thispathsosofttopaceshalllead ThroughthemagicofMaytoherselfindeed! Ornarrowifneedsthehousemustbe, Outsidearethestormsandstrangers:we– Oh,close,safe,warmsleepIandshe, –Iandshe!

* * *


Section E – Poetry26. Rosemary Dobson: Collected

Use one or more of the passages selected as the basis for a discussion of the poetry of Rosemary Dobson.

1.

Annunciations

Allmypastyearswerewaitingyears

…

Iheartheword,Iletyougo.

RosemaryDobson,Collected, UniversityofQueenslandPress,2012

p.113


2.

The Sanctuary on Overton Hill, Wiltshire

Itdoesnotexist.Isknownonly

…

Summonedatsunrise.


p.237




Section E – Poetry26. Rosemary Dobson: Collected

3.

Reading Aloud

Low,clearandfreeofselfyourvoicewenton

…

AndIpresson.


p.306



Section E – Poetry27. Seamus Heaney: Opened Ground: Poems 1966–1996

Use one or more of the passages selected as the basis for a discussion of the poetry of Seamus Heaney.

1.

Poem

for Marie

Love,Ishallperfectforyouthechild

…

Andsquarethecircle:fourwallsandaring.

SeamusHeaney,Opened Ground: Poems 1966–1996, FaberandFaber,2005

p.14


2.

Funeral Rites

I

Ishoulderedakindofmanhood

…

tolookatthemoon.


pp.96–99




Section E – Poetry27. Seamus Heaney: Opened Ground: Poems 1966–1996

3.

The Otter

Whenyouplunged

…

Printingthestones.


pp.174and175



Section E – Poetry28. Christina Rossetti: Selected Poems

Use one or more of the passages selected as the basis for a discussion of the poetry of Christina Rossetti.

1.

Three Stages.

I.

Ilookedforthatwhichisnot,norcanbe, Andhopedeferredmademyheartsickintruth; Butyearsmustpassbeforeahopeofyouth Isresignedutterly.

Iwatchedandwaitedwithasteadfastwill: Andthoughtheobjectseemedtofleeaway ThatIsolongedfor;ever,daybyday, Iwatchedandwaitedstill.

SometimesIsaid:Thisthingshallbenomore: Myexpectationweariesandshallcease; Iwillresignitnowandbeatpeace:— Yetnevergaveito’er.

SometimesIsaid:Itisanemptyname Ilongfor;toanamewhyshouldIgive ThepeaceofallthedaysIhavetolive?— Yetgaveitallthesame.

Alas,thoufoolishone!alikeunfit Forhealthyjoyandsalutarypain; Thouknowestthechaseuseless,andagain Turnesttofollowit.

2.

Myhappydreamisfinishedwith, MydreaminwhichaloneIlivedsolong.Myheartslept—woeisme,itwakeneth; Wasweak—Ithoughtitstrong.

Ohwearywakeningfromalife-truedream: OhpleasantdreamfromwhichIwakeinpain:Irestedallmytrustonthingsthatseem, Andallmytrustisvain.

ImustpulldownmypalacethatIbuilt, Digupthepleasure-gardensofmysoul;Mustchangemylaughtertosadtearsforguilt, Myfreedomtocontrol.

Nowallthecherishedsecretsofmyheart, Nowallmyhiddenhopesareturnedtosin:Partofmylifeisdead,partsick,andpart Isallonfirewithin.

ThefruitlessthoughtofwhatImighthavebeen Hauntingmeeverwillnotletmerest:Acoldnorthwindhaswitheredallmygreen, Mysunisinthewest.

Butwheremypalacestood,withthesamestone, Iwilluprearashadyhermitage;Andtheremyspiritshallkeephousealone, Accomplishingitsage:

Thereothergardenbedsshallliearound Fullofsweet-briarandincense-bearingthyme;ThereIwillsit,andlistenforthesound Ofthelastlingeringchime.

* * *



Section E – Poetry28. Christina Rossetti: Selected Poems

2.

WINTER: MY SECRET.

Itellmysecret?Noindeed,notI:Perhapssomeday,whoknows?Butnottoday;itfroze,andblows,andsnows,Andyou’retoocurious:fie!Youwanttohearit?well:Only,mysecret’smine,andIwon’ttell.

Or,afterall,perhapsthere’snone:Supposethereisnosecretafterall,Butonlyjustmyfun.Today’sanippingday,abitingday;Inwhichonewantsashawl,Aveil,acloak,andotherwraps:Icannotopetoeveryonewhotaps,Andletthedraughtscomewhistlingthro’myhall;Comeboundingandsurroundingme,Comebuffeting,astoundingme,Nippingandclippingthro’mywrapsandall.Iwearmymaskforwarmth:whoevershowsHisnosetoRussiansnowsTobepeckedatbyeverywindthatblows?Youwouldnotpeck?Ithankyouforgoodwill,Believe,butleavethattruthuntestedstill.Spring’sanexpansivetime:yetIdon’ttrustMarchwithitspeckofdust,NorAprilwithitsrainbow-crownedbriefshowers,NorevenMay,whoseflowersOnefrostmaywitherthro’thesunlesshours.

Perhapssomelanguidsummerday,Whendrowsybirdssinglessandless,Andgoldenfruitisripeningtoexcess,Ifthere’snottoomuchsunnortoomuchcloud,Andthewarmwindisneitherstillnorloud,PerhapsmysecretImaysay,Oryoumayguess.

* * *

3.

AMOR MUNDI.

“Ohwhereareyougoingwithyourlove-locksflowing Onthewestwindblowingalongthisvalleytrack?”“Thedownhillpathiseasy,comewithmeanitpleaseye, Weshallescapetheuphillbyneverturningback.”

SotheytwowenttogetheringlowingAugustweather, Thehoney-breathingheatherlaytotheirleftand right;Anddearshewastodoaton,herswiftfeetseemedto floaton Theairlikesofttwinpigeonstoosportivetoalight.

“Ohwhatisthatinheavenwheregreycloud-flakesare seven, Whereblackestcloudshangrivenjustattherainy skirt?”“Ohthat’sameteorsentus,amessagedumb, portentous, Anundecipheredsolemnsignalofhelporhurt.”

“Ohwhatisthatglidesquicklywherevelvetflowers growthickly, Theirscentcomesrichandsickly?”—“Ascaledand hoodedworm.”“Ohwhat’sthatinthehollow,sopaleIquaketo follow?” “Ohthat’sathindeadbodywhichwaitstheeternal term.”

“Turnagain,Omysweetest,turnagain,falseand fleetest: ThisbeatenwaythoubeatestIfearishell’sown track.”“Nay,toosteepforhill-mounting;nay,toolatefor cost-counting: Thisdownhillpathiseasy,butthere’snoturning back.”

* * *


Section E – Poetry29. Wisława Szymborska: Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska

Use one or more of the passages selected as the basis for a discussion of the poetry of Wisława Szymborska.

1.

Water

Adropofrainfellonmyhand,condensedfromtheGangesandtheNile,

fromtheheavenwardascendinghoarfrostonthewhiskersofaseal,fromthewaterofbrokenjugsinthecitiesofYsandTyre.

OnmyindexfingertheCaspianSeaistheopensea,

andthePacificmeeklyflowsintotheRudawa,thatverysameriverthatfloatedasacloudoverParis

intheyearseventeenhundredandsixtyfourontheseventhofMayatthreeinthemorning.

Therearenotlipsenoughtoutteryourfugitivenames,Owater.

Iwouldhavetonameyouinallthelanguagesutteringallthevowelsallatonce

andatthesametimekeepsilentforthelakewhichvainlyhasawaitedanyname

anddoesnotexistonearthjustasforthestarthatintheskyfindsreflectioninit.

Someonewasdrowning,someonedyingcalledforyou.Thatwaslongagoandthatwasyesterday.

Housesyouextinguished,housesyoucarriedoffliketrees,forestsliketowns.

Youwereinbaptismalfontsandinthebathsofcourtesans.Inshrouds,inlove-enshroudedkisses.

* * *

2.

Advertisement

Iamatranquilizer.Iameffectiveathome,Iworkwellattheoffice,Itakeexams,Iappearincourt,Icarefullymendbrokencrockeryallyouneeddoistakeme,dissolvemeunderthetongue,allyouneeddoisswallowme,justwashmedownwithwater.

Iknowhowtocopewithmisfortune,howtoendurebadnews,taketheedgeoffinjustice,makeupfortheabsenceofGod,helppickoutyourwidow’sweeds.Whatareyouwaitingforhavefaithinchemistry’scompassion.

You’restillayoungman/woman,youreallyshouldsettledownsomehow.Whosaidlifemustbelivedcourageously?

HandyourabyssovertomeIwilllineitwithsoftsleep,you’llbegratefulforthefour-footedlanding.

Sellmeyoursoul.There’snootherbuyerlikelytoturnup.

There’snootherdevilleft.

* * *


WisławaSzymborska,Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska, PrincetonUniversityPress,1981;©PrincetonUniversityPress


Section E – Poetry29. Wisława Szymborska: Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska

3.

Utopia

Anislandonwhichallbecomesclear.

Hereyoucanstandonthesolidgroundofproof.

Herearenopointsofinterestexceptthepointofarrival.

Thebushesfairlygroanundertheweightofanswers.

HeregrowsthetreeofRightConjecturewithbranchesdisentangledsincealltimepast.

ThedazzlinglysimpletreeofComprehensionhardbythespringthat’snamedIt’sJustThatEasy.

Thedeeperintothewoods,thewideropensouttheValleyoftheObvious.

Ifdoubtexists,itisdispelledbythewind.

Echounevokedclamorstobeheardandeagerlyexplainsthesecretsoftheworlds.

OfftotherightacavewhereinliesReason.

OfftotheleftthelakeofDeepConviction.Truthbreaksofffromthebottomandlightlyfloatstothe

surface.

ToweringoverthevalleystandsUnshakableCertainty.FromitspeakemergestheCruxoftheMatter.

Forallitscharm,theislandisuninhabited,andthefaintfootprintsseenalongtheshorepointwithoutexceptioninthedirectionofthesea.

Asifthiswereaplacejustfortheleavingandforimmersioninadepthwithnoreturn.

Inalifethat’snotforcomprehending.

* * *

WisławaSzymborska,Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska, PrincetonUniversityPress,1981;©PrincetonUniversityPress


Section E – Poetry30. Chris Wallace-Crabbe: New and Selected Poems

Use one or more of the passages selected as the basis for a discussion of the poetry of Chris Wallace-Crabbe.

1.

Shadows

Wefollowthemaround,ortrotaheadbesotted,rather,bysomedreamoffreedombuttheystayanchoredtoourheelsandtoes.

Evenafactorymaylayclaimtoonewhich,inflatparody,willservetoaddacloakofshoddydignity.

Forasundial,saythosemyfathermade,theswivellingtriangleofshadebecomesaclock,distinguishedbypuresilence.

Whenyoureachtheequator(ifyoudo)youcanprettymuchfindyourselfstandingcalmlyontopofmostofone,

yourownpersonaldouble,thatis;buttheylearnself-denial,abnegation,onanydaywithsolidbanksofcloud.

Thecinemaisbuiltonthem,ofcourse:wesitandgawkatdameswithcigarettescavortingonthescreenofPlato’scave.

Butlongago,inaverticalforeigncity,Ispoketothelivingshadowofmyself,bothofusinherringboneovercoats,

andthenagain,afewweekslater,oneblockeast…No,thatwasquiteenough:IwanttobetheoneIreallyam.

Shadowsaremarvellousforphotographs,thosegoodoldartfulonesinblackandwhite.IhaddinnerwithWalkerEvansonce,

onlytheshadowofwhatheoncehadbeen,asametaphormightsayofhimbuthe’sgoneofflongsincetojointheshades

ashavetoomanyofmyfriends:whentheypeerbackthesedaysattheirformerliveswhatsortofinsubstantialechowouldtheysee

whereIthinkmyselfstanding?Feather-light,translucent,grey,umbrageous,orhardlyaskerrickofwhattheyoncehadthought?

Evening,thesuntipsusallbackintoshadow,remindingmethatwearesomethinglessthanourchunky,colourful,diurnalselves,

andstillwereachoutfortheghostoftruth.

* * *

2.

Genesis

WhywasAdambitterlyweak,reproachingGodandwomanlikeaspoiltchildwithbrokentoyssnivellingandwhingeing?Whywerehisgutsweakwhenhewascalledontomakeastandinthisbrashnewmedium,fast-flowingtime?

Itonlytookcourage.Beaman,saidEve;Beaman,saidambiguousGod;yetAdamsnuckawayandmopedlikeapoorput-uponcreepintheshrubbery,intheevening,scaredofthetoomuchlight.Knowyourself,Adam.

WhywasAdambitterlyweakwithherlove,theirsweepofknowledge,worktobedonealloverthefaceoftheearth?Everythingwaspossiblethatyoucouldhurlindeath’steeth:theagriculturalrevolutionsleptinungatheredgrain.

Theserpentwasfinished,merereptile;youbreakthebackofthetigersnakeassoonaslookathim,farmershangthemonfences.ButtherewasaquestionforAdamtoask;whyonearthhadEden’sGodchosentomaketheserpentsubtle,crammeditsjawswithlanguageofmen,atricktocapallcreation?whowaskiddingwhom?

Ihatethestoryandloveit,detestingdeath,avaststupidity,butgloryingthatEdencouldbesmearedwith,flashingwith,energisedbythefirstcoloursoflove.Everythingcamealive.Thedullstuffyparadisepark,thatsillysupermarketfrozenawayunderClaudeLorrain’sstiffglazesbecamepartoftheworld;hereafreshwindtossedthebranches,rottenfruitfell,greenfruitwaited,ripenesswasall,alltransientasman’squickbreath.Thingsmatteredandlove,anxiousloveroseandputforthitsflags.

* * *


ChrisWallace-Crabbe,New and Selected Poems,Carcanet,2013;reproducedbypermissionofCarcanetPressLimited


Section E – Poetry30. Chris Wallace-Crabbe: New and Selected Poems

3.

Cho Ben Thanh: Richmond

GenerousplanetreeshaveemboweredtheslimwaystolittleSaigonintigerlandwhile

theLunaFestivalsauntersalongburblingincrowdsfromduriantopork,andbusy-backagain.

Sundayesque,double-parked,lightlyeroticinsandalsIflowertothecarradio’spianoconcerto,completedaftersomebody’sdeath,

whilethegirlsinchocked-highblackheelsaregoinghigh-pitchedlybyandimpishtotsadheringtoballoons;

nowsummercottonstoodleroundthecorner,moonilysmilingamidtheMekong-slowdriverswhocan’tdrive

toparking-spotsunderthefriendlytrees.

SurelythisisthelivelyAustralianbrandofcitysomeofourdearfellow-citizensappeartohate.

* * *

ChrisWallace-Crabbe,New and Selected Poems,Carcanet,2013;reproducedbypermissionofCarcanetPressLimited


Assessment criteria

Theexaminationwilladdressallofthecriteria.Allstudentswillbeexaminedagainstthefollowingcriteria:

• understandingofthetextdemonstratedinarelevantandplausibleinterpretation

• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation

• understandingofhowviewsandvaluesmaybesuggestedinthetext

• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation

• analysisofthefeaturesofatextandhowtheycontributetoaninterpretation

• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext

A checklist for planning and revising

HaveIclearlyindicatedthetextnumbersofmychosentextsaboveeachanswerinmyanswerbook(s)?

HaveIwrittenontextsfromtwodifferentsections?

HaveIdemonstratedmyknowledgeandunderstandingofthechosentexts?

HaveIreferredtothechosentextsindetailtoillustrateorjustifymyresponses?

HaveIdiscussedatleastonesetpassageforeachtextindetail?

HaveIexpressedmyselfeffectivelyandappropriately?

HaveIeditedmyfinalversionforspelling,punctuationandsentencestructure?

Arethereplaceswheremyhandwritingwouldbedifficulttoreadandshouldbetidied?

AreanyalterationsIhavemadecleartothereader?

END OF TASK BOOK

2016 Literature Written · PDF fileLITERATURE Written examination Friday 4 November 2016...

Documents

Transcript of 2016 Literature Written · PDF fileLITERATURE Written examination Friday 4 November 2016...