cxc passpaper

NATIONAL
SENIOR CERTIFICATE

GRADE 12

ENGLISH HOME LANGUAGE P2
NOVEMBER 2013
MARKS: 80
TIME: 2½ hours

This question paper consists of 23 pages.

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INSTRUCTIONS AND INFORMATION
1.

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

2.

Do not attempt to read the entire question paper. Consult the table of contents on page 4 and mark the numbers of the questions set on texts you have studied this year. Thereafter, read these questions and choose the ones you wish to answer.

3.

This question paper consists of THREE sections:
SECTION A: Poetry
SECTION B: Novel
SECTION C: Drama

(30 marks)
(25 marks)
(25 marks)

4.

Follow the instructions at the beginning of each section carefully.

5.

Answer FIVE QUESTIONS in all: THREE in SECTION A, ONE in SECTION B and ONE in SECTION C as follows:
SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POETRY – Answer ONE question.
SECTION B: NOVEL
Answer ONE question.
SECTION C: DRAMA
Answer ONE question.

6.

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

7.

Start EACH section on a NEW page.

8.

Suggested time management:
SECTION A: approximately 40 minutes
SECTION B: approximately 55 minutes
SECTION C: approximately 55 minutes

9.

LENGTH OF ANSWERS:
•
•
•

Essay questions on Poetry should be answered in about 250–300 words.
Essay questions on the Novel and Drama sections should be answered in 400–450 words.
The length of answers to contextual questions should be determined by the mark allocation. Candidates should aim for conciseness and relevance. Copyright reserved

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

Answer ONLY questions on the novel and the drama you have studied.
Answer ONE ESSAY QUESTION and ONE CONTEXTUAL QUESTION.
If you answer the essay question in SECTION B, you must answer the contextual question in SECTION C. If you answer the contextual question in SECTION B, you must answer the essay question in SECTION C.

Use the checklist on page 5 to assist you.
11.

Write neatly and legibly.

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TABLE OF CONTENTS
SECTION A: POETRY
Prescribed Poetry: Answer ANY TWO questions.
1.
2.

QUESTION NO.
When I have fears that I may cease to be a young man's thoughts before june the 16th

QUESTION
Essay question

MARKS
10

PAGE NO.
6

OR
Contextual question

10

7

10

8

10

9

10

10

10

11

Essay question
OR
Contextual question

25

12

25

12

Essay question
OR
Contextual question

25

14

25

14

Essay question
OR
Contextual question

25

16

25

16

Essay question
OR
Contextual question

25

18

25

18

Essay question
OR
Contextual question

25

21

25

21

OR
3. Lake morning in autumn
Contextual question
OR
4. Futility
Contextual question
AND
Unseen Poetry: Answer ANY ONE question.
5. Raindrum
Essay question
OR
6. Raindrum
Contextual question
SECTION B: NOVEL
Answer ONE question.*
7.

Animal Farm

8.

Animal Farm

9.

Pride and Prejudice

10. Pride and Prejudice
11. The Great Gatsby
12. The Great Gatsby
SECTION C: DRAMA
Answer ONE question.*
13. Othello
14. Othello
15. The Crucible
16. The Crucible

*NOTE: In SECTIONS B and C, answer ONE ESSAY QUESTION and ONE
CONTEXTUAL QUESTION.
If you answer an essay question from SECTION B, you must answer a contextual question from SECTION C. If you answer a contextual question from SECTION B, you must answer an essay question from
SECTION C.
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CHECKLIST
Use this checklist to ensure that you have answered the correct number of questions.
SECTION
A: Poetry
(Prescribed Poetry)
A: Poetry
(Unseen Poem)
B: Novel
(Essay or Contextual)
C: Drama
(Essay or Contextual)
*NOTE:

QUESTION
NUMBERS

NO. OF
QUESTIONS
ANSWERED

1–4

2

5–6

1

7–12

1

13–16

TICK
()

1

In SECTIONS B and C, ensure that you have answered ONE ESSAY question and ONE CONTEXTUAL question.

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SECTION A: POETRY
PRESCRIBED POETRY
Answer any TWO of the following questions.
QUESTION 1: POETRY – ESSAY QUESTION
WHEN I HAVE FEARS THAT I MAY CEASE TO BE – John Keats
When I have fears that I may cease to be
Before my pen has gleaned my teeming brain,
Before high-pilèd books, in charactery,
Hold like rich garners the full ripened grain;
When I behold, upon the night's starred face,
Huge cloudy symbols of a high romance,
And think that I may never live to trace
Their shadows, with the magic hand of chance;
And when I feel, fair creature of an hour,
That I shall never look upon thee more,
Never have relish in the faery power
Of unreflecting love; – then on the shore
Of the wide world I stand alone, and think
Till love and fame to nothingness do sink.

5

10

With close reference to the structure, imagery and tone, discuss why the poet fears death, and how he resolves his fears.
[10]

Your essay should be 250–300 words in length (about ONE page).
OR

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QUESTION 2: POETRY – CONTEXTUAL QUESTION a young man's thoughts before june the 16th – Fhazel Johennesse tomorrow i travel on a road that winds to the top of the hill i take with me only the sweet memories of my youth my heart aches for my mother for friday nights with friends around a table with the broad belch of beer i ask only for a sad song sung by a woman with downturned eyes and strummed by an old man with a broken brow o sing my sad song sing for me for my sunset is drenched with red

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10

2.1

Give a reason for the 'young man's' reflections 'before june the 16th'.

2.2

Refer to lines 5–7: 'my heart aches … belch of beer'.

(2)

Account for the speaker's feelings in these lines.

(2)

2.3

Comment on the significance of the poet's use of the lower case 'i' in the context of the poem.

(3)

2.4

Refer to line 13: 'for my sunset is drenched with red'.
Critically discuss how the diction in this line reflects the mood of the poem.
OR

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QUESTION 3: POETRY – CONTEXTUAL QUESTION
LAKE MORNING IN AUTUMN – Douglas Livingstone
Before sunrise the stork was there resting the pillow of his body on stick legs growing from the water.
A flickering gust of pencil-slanted rain swept over the chill autumn morning: and he, too tired to arrange

5

his wind-buffeted plumage, perched swaying a little neck flattened, ruminative, beak on chest, contemplative eye filmy with star vistas and hollow black migratory leagues, strangely,

10

ponderously alone and some weeks early. The dawn struck and everything sky, water, bird, reeds

15

was blood and gold. He sighed.
Stretching his wings he clubbed
The air; slowly, regally, so very tired, aiming his beak he carefully climbed inclining to his invisible tunnel of sky, his feet trailing a long, long time.

20

3.1

How does the speaker evoke sympathy for the stork in stanza one?

(2)

3.2

What impression of the scene is created by 'A flickering gust of pencil-slanted rain' (line 4)?

(2)

3.3

Refer to lines 14–16: 'The dawn struck ... blood and gold.'
Comment on the impact of the word 'struck' in the context of these lines.

3.4

(3)

Refer to lines 17–21: 'Stretching his wings ... long, long time.'
Critically discuss how the images in these lines convey the stork's migratory instinct. OR

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QUESTION 4: POETRY – CONTEXTUAL QUESTION
FUTILITY – Wilfred Owen
Move him into the sun –
Gently its touch awoke him once,
At home, whispering of fields unsown,
Always it woke him, even in France,
Until this morning and this snow.
If anything might rouse him now
The kind old sun will know.

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

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4.1

What is the speaker hoping to achieve if he moves his fellow soldier into the sun? 4.2

Refer to line 5: 'Until this morning and this snow.'

(2)

Explain the importance of this line in the context of the poem.

(2)

4.3

Explain how the speaker's attitude to the sun changes toward the end of the poem. (3)

4.4

Refer to stanza 2.
Discuss how the poet succeeds in conveying a strong anti-war message.
AND

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UNSEEN POETRY: POETRY FROM AFRICA
Read the following poem and answer EITHER QUESTION 5 (essay question) OR
QUESTION 6 (contextual question).
RAINDRUM – Niyi Osundare
The roofs sizzle at the waking touch, talkative like kettledrums tightened by the iron fingers of drought
Streets break into liquid dance gathering legs in the orchestra of the road
Streets break into liquid dance gliding eloquently down the apron of the sky
A stray drop saunters down the thatch of my remembrance waking memories long dormant under the dry leaves of time:

5

10

of caked riverbeds and browned pastures of baking noons and grilling nights of earless cornfields and tired tubers

15

Then
Lightning strikes its match of rain
Barefoot, we tread the throbbing earth.

20

Renewed
QUESTION 5: UNSEEN POETRY – ESSAY QUESTION
With close reference to the diction, imagery and atmosphere/mood, critically discuss how the renewal of the land is conveyed in this poem.
The length of your essay should be approximately 250–300 words (about ONE page).
OR

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QUESTION 6: UNSEEN POETRY – CONTEXTUAL QUESTION
6.1

'The roofs sizzle … fingers of drought' (lines 1–3).
Account for the rain being referred to as 'the waking touch' (line 1).

6.2

(2)

Refer to line 4: 'Streets break into liquid dance'.
What does this line convey about the mood of the second stanza?

6.3

(2)

Refer to lines 12–17: 'of caked riverbeds ... and tired tubers'.
Discuss the impact of the diction employed in these lines.

6.4

(3)

'Then/Lightning strikes … the throbbing earth' (lines 18–20).
Critically discuss how the images in these lines reinforce the idea conveyed in the title of the poem.
TOTAL SECTION A:

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SECTION B: NOVEL
Answer ONLY on the novel you have studied.
ANIMAL FARM – George Orwell
Answer EITHER QUESTION 7 (essay question) OR QUESTION 8 (contextual question). QUESTION 7: ANIMAL FARM – ESSAY QUESTION
In Animal Farm, the failure of the revolution is a consequence of ignorance and the abuse of power.
In a well-constructed essay of 400–450 words (2–2½ pages), critically discuss the extent to which you agree with this statement.

[25]

OR
QUESTION 8: ANIMAL FARM – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
As they approached the farm Squealer, who had unaccountably been absent during the fighting, came skipping towards them, whisking his tail and beaming with satisfaction. And the animals heard, from the direction of the farm buildings, the solemn booming of a gun.
5

'What is that gun firing for?' said Boxer.
'To celebrate our victory!' cried Squealer.
'What victory?' said Boxer. His knees were bleeding, he had lost a shoe and split his hoof, and a dozen pellets had lodged themselves in his hind leg.
'What victory, comrade? Have we not driven the enemy off our soil – the sacred soil of
Animal Farm?'

10

'But they have destroyed the windmill. And we had worked on it for two years!'
'What matter? We will build another windmill. We will build six windmills if we feel like it.
You do not appreciate, comrade, the mighty thing that we have done. The enemy was in occupation of this very ground that we stand upon. And now – thanks to the leadership of Comrade Napoleon we have won every inch of it back again!'

15

'Then we have won back what we had before,' said Boxer.
'That is our victory,' said Squealer.
They limped into the yard. The pellets under the skin of Boxer's leg smarted painfully.
He saw ahead of him the heavy labour of rebuilding the windmill from the foundations, and already in imagination he braced himself for the task.
[Chapter 8]

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8.1

Describe the events that have led to the destruction of the windmill by
Frederick and his men.

(3)

8.2

By referring to the novel as a whole, explain how the pigs' own celebration after the Battle of the Windmill is in conflict with the spirit of Animalism.

(3)

8.3

Refer to line 7: '“What victory?” said Boxer.'
(3)

Comment on Boxer's uncharacteristic tone in this line.
8.4

Refer to lines 9–10: '“What victory, comrade? ... of Animal Farm?”'
Discuss how the propaganda techniques that Squealer uses in these lines are consistent with his character.

8.5

(3)

Discuss how the original symbolism of the windmill differs from what it later represents. (3)

AND
EXTRACT B
They found it comforting to be reminded that, after all, they were truly their own masters and that the work they did was for their own benefit.
...
In April, Animal Farm was proclaimed a Republic, and it became necessary to elect a
President. There was only one candidate, Napoleon, who was elected unanimously.
On the same day it was given out that fresh documents had been discovered which revealed further details about Snowball's complicity with Jones. It now appeared that
Snowball had not, as the animals had previously imagined, merely attempted to lose the Battle of the Cowshed by means of a stratagem, but had been openly fighting on
Jones's side. In fact, it was he who had actually been the leader of the human forces, and had charged into battle with the words 'Long live Humanity!' on his lips. The wounds on Snowball's back, which a few of the animals still remembered to have seen, had been inflicted by Napoleon's teeth.
In the middle of the summer Moses the raven suddenly reappeared on the farm, after an absence of several years. He was quite unchanged, still did not work, and talked in the same strain as ever about Sugarcandy Mountain.
[Chapter 9]

8.6

15

(3)

Refer to lines 5–6: 'On the same ... complicity with Jones.'
Discuss the importance of revealing Snowball's 'complicity with Jones' on that particular day.

8.8

10

Refer to lines 1–2: 'They found it ... their own benefit.'
Explain the irony in these lines.

8.7

5

(3)

Refer to lines 13–15: 'In the middle ... about Sugarcandy Mountain.'
Discuss how Orwell uses the character of Moses to convey his scepticism of religion in the novel as a whole.
OR

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PRIDE AND PREJUDICE – Jane Austen
Answer EITHER QUESTION 9 (essay question) OR QUESTION 10 (contextual question). QUESTION 9: PRIDE AND PREJUDICE – ESSAY QUESTION
Although Jane Austen frequently satirises snobs and class consciousness, she ruthlessly attacks the poor breeding and misbehaviour of those lower on the social scale. In a well-constructed essay of 400–450 words (2–2½ pages), critically discuss the extent to which you agree with this statement.

[25]

OR
QUESTION 10: PRIDE AND PREJUDICE – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
Mary's powers were by no means fitted for such a display; her voice was weak, and her manner affected. – Elizabeth was in agonies. She looked at Jane, to see how she bore it; but Jane was very composedly talking to Bingley. She looked at his two sisters, and saw them making signs of derision at each other, and at Darcy, who continued however impenetrably grave. She looked at her father to entreat his interference, lest
Mary should be singing all night. He took the hint, and when Mary had finished her second song, said aloud,

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'That will do extremely well, child. You have delighted us long enough. Let the other young ladies have time to exhibit.'
...
To Elizabeth it appeared, that had her family made an agreement to expose themselves as much as they could during the evening, it would have been impossible for them to play their parts with more spirit, or finer success; and happy did she think it for Bingley and her sister that some of the exhibition had escaped his notice, and that his feelings were not of a sort to be much distressed by the folly which he must have witnessed. That his two sisters and Mr Darcy, however, should have such an opportunity of ridiculing her relations was bad enough, and she could not determine whether the silent contempt of the gentleman, or the insolent smiles of the ladies, were more intolerable.

10

10.1

Account for Elizabeth's feelings about her family as presented in this extract.

(3)

10.2

'She looked at ... took the hint' (lines 5–6).

15

[Chapter 18]

With reference to the novel as a whole, explain what these lines reveal about the relationship between Mr Bennet and Elizabeth.
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Refer to lines 13–15: 'that his feelings … must have witnessed.'
In the light of your knowledge of later events, explain whether you agree with
Elizabeth's assessment of Bingley.

(3)

10.4

What does Darcy's attitude towards the Bennet family suggest about him?

(3)

10.5

Consider the words 'exhibit' (line 9) and 'exhibition' (line 13).
Comment on what these words convey about the attitudes toward women in
Austen's society.

(3)

AND
EXTRACT B
'Gracechurch-street,
Monday, August 2.

'My dear Brother,

'At last I am able to send you some tidings of my niece, and such as, upon the whole, I hope will give you satisfaction. Soon after you left me on Saturday, I was fortunate enough to find out in what part of London they were. The particulars, I reserve till we meet. It is enough to know they are discovered, I have seen them both –'

5

'Then it is, as I always hoped,' cried Jane; 'they are married!'
Elizabeth read on; ...
We have judged it best, that my niece should be married from this house, of which I hope you will approve. She comes to us today. I shall write again as soon as anything more is determined on. Yours, &c.
'Edw. Gardiner.'
'Is it possible!' cried Elizabeth, when she had finished. 'Can it be possible that he will marry her?'

10

15

'Wickham is not so undeserving, then, as we have thought him,' said her sister. 'My dear father, I congratulate you.'
[Chapter 49]

10.6

Refer to line 16: 'Wickham is not so undeserving'
In your view, is Jane's assessment of Wickham, in this line, accurate?
Motivate your response.

10.7

Refer to lines 16–17: 'My dear father, I congratulate you.'
Discuss the irony in this statement.

10.8

(3)

(3)

In this extract, Austen satirises marriage conventions in her society.
Comment on the validity of this statement by drawing on your knowledge of the novel as a whole.
OR

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THE GREAT GATSBY – F Scott Fitzgerald
Answer EITHER QUESTION 11 (essay question) OR QUESTION 12 (contextual question). QUESTION 11: THE GREAT GATSBY – ESSAY QUESTION
The Great Gatsby is a commentary on the conflict between illusion and reality that is at the heart of American life.
In a well-constructed essay of 400–450 words (2–2½ pages), critically discuss the extent to which you agree with the above statement.

[25]

OR
QUESTION 12: THE GREAT GATSBY – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
They were sitting at either end of the couch, looking at each other as if some question had been asked, or was in the air, and every vestige of embarrassment was gone.
Daisy's face was smeared with tears, and when I came in she jumped up and began wiping at it with her handkerchief before a mirror. But there was a change in Gatsby that was simply confounding. He literally glowed; without a word or gesture of exultation a new well-being radiated from him and filled the little room.

5

'Oh, hello, old sport,' he said, as if he hadn't seen me for years. I thought for a moment he was going to shake hands.
'It's stopped raining.'
'Has it?' When he realised what I was talking about, that there were twinkle-bells of sunshine in the room, he smiled like a weather man, like an ecstatic patron of recurrent light, and repeated the news to Daisy. 'What do you think of that? It's stopped raining.'

10

'I'm glad, Jay.' Her throat, full of aching, grieving beauty, told only of her unexpected joy. 'I want you and Daisy to come over to my house,' he said. 'I'd like to show her around.'
'You're sure you want me to come?'

15

[Chapter 5]

12.1

Account for Daisy's and Gatsby's feelings in this extract.

(3)

12.2

Explain why Gatsby desires to show Daisy his house (line 15).

(3)

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Refer to line 7: 'Oh, hello, old sport.'
Discuss the significance of Gatsby's frequent use of the expression, 'old sport'. 12.4

(3)

Critically discuss Nick's role in the development of the relationship between
Gatsby and Daisy.

(3)

AND
EXTRACT B
I glanced at Daisy, who was staring terrified between Gatsby and her husband, and at
Jordan, who had begun to balance an invisible but absorbing object on the tip of her chin. Then I turned back to Gatsby – and was startled at his expression. He looked – and this is said in all contempt for the babbling slander of his garden – as if he had
'killed a man'. For a moment the set of his face could be described in just that fantastic way. It passed, and he began to talk excitedly to Daisy, denying everything, defending his name against accusations that had not been made. But with every word she was drawing further and further into herself, so he gave that up, and only the dead dream fought on as the afternoon slipped away, trying to touch what was no longer tangible, struggling unhappily, undespairingly, toward that lost voice across the room.

5

10

The voice begged again to go.
'Please, Tom! I can't stand this any more.'
Her frightened eyes told that whatever intentions, whatever courage she had had, were definitely gone.

15

'You two start on home, Daisy,' said Tom. 'In Mr Gatsby's car.'
She looked at Tom, alarmed now, but he insisted with magnanimous scorn.
'Go on. He won't annoy you. I think he realises that his presumptuous little flirtation is over.' [Chapter 7]

12.5

Explain why Daisy stares 'terrified between Gatsby and her husband' (line 1).

(3)

12.6

Comment on Tom's attitude towards Gatsby in this extract.

(3)

12.7

Daisy is closely identified with her voice throughout the novel.
Drawing on your knowledge of the novel as a whole, critically discuss Daisy's voice as a symbol of her character.

12.8

(3)

Gatsby's pursuit of Daisy is based on illusion rather than reality.
Comment on the validity of this statement, by referring to the novel as a whole. TOTAL SECTION B:
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SECTION C: DRAMA
Answer ONLY on the play you have studied.
OTHELLO – William Shakespeare
Answer EITHER QUESTION 13 (essay question) OR QUESTION 14 (contextual question). QUESTION 13: OTHELLO – ESSAY QUESTION
In the play, Othello, love and friendship are vulnerable to both internal and external forces. Critically assess the validity of this statement in a well-constructed essay of
400–450 words (2–2½ pages).
OR
QUESTION 14: OTHELLO – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
CASSIO
You advise me well.
IAGO
I protest, in the sincerity of love and honest kindness.
CASSIO
I think it freely, and betimes in the morning I will beseech the virtuous
Desdemona to undertake for me. I am desperate of my fortunes if they check me here.
IAGO
You are in the right. Good night, lieutenant; I must to the watch.
CASSIO
Good night, honest Iago.
Cassio off
IAGO
And what's he then that says I play the villain,
When this advice is free I give, and honest,
Probal to thinking, and indeed the course
To win the Moor again? For 'tis most easy
The inclining Desdemona to subdue
In any honest suit. She's framed as fruitful
As the free elements; and then for her
To win the Moor, were't to renounce his baptism,
All seals and symbols of redeemed sin,
His soul is so enfettered to her love,
That she may make, unmake, do what she list,
Even as her appetite shall play the god
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With his weak function. How am I then a villain
To counsel Cassio to this parallel course
Directly to his good? Divinity of hell!
When devils will their blackest sins put on,
They do suggest at first with heavenly shows
As I do now. For while this honest fool
Plies Desdemona to repair his fortunes,
And she for him pleads strongly to the Moor,
I'll pour this pestilence into his ear,
That she repeals him for her body's lust;
And by how much she strives to do him good,
She shall undo her credit with the Moor.

DBE/November 2013

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[Act 2, Scene 3]

14.1

Place the extract in context.

(3)

14.2

Refer to line 1: 'You advise me well' and line 10: 'this advice is free I give, and honest'. Discuss the irony of Iago's advice.

14.3

(3)

Refer to lines 18–21: 'His soul is ... his weak function.'
In your view, is Iago's assessment of the relationship between Othello and
Desdemona accurate? Motivate your response.

14.4

(3)

Refer to lines 23–26: 'Divinity of hell! ... I do now.'
Critically discuss how the paradox in these lines reveals Iago's true nature.
AND

EXTRACT B
DESDEMONA

How, sweet Othello?
OTHELLO
Devil!
He strikes her
DESDEMONA
I have not deserved this.
LODOVICO
My lord, this would not be believed in Venice,
Though I should swear I saw't. 'Tis very much.
Make her amends – she weeps.
OTHELLO
O devil, devil!
If that the earth could teem with women's tears,
Each drop she falls would prove a crocodile.
Out of my sight!
DESDEMONA
I will not stay to offend you.
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Desdemona starts to go
LODOVICO
Truly an obedient lady.
I do beseech your lordship, call her back.
OTHELLO
Mistress!
DESDEMONA
My Lord?
OTHELLO
What would you with her, sir?
LODOVICO
Who, I, my Lord?
OTHELLO
Ay, you did wish that I would make her turn.
Sir, she can turn, and turn, and yet go on.
And turn again.
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[Act 4, Scene 1]

How does Othello's exclamation, 'Devil!' (line 2) and the stage direction, 'He strikes her' (line 3) contribute to your understanding of Othello's state of mind at this stage of the play?
Refer to Desdemona's replies to Othello, 'I have not deserved this' (line 4) and 'I will not stay to offend you' (line 12).
Are these responses typical of Desdemona's character? Motivate your response. 14.7

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Refer to lines 9–10: 'If that the … prove a crocodile.'
Comment on the dramatic irony of Othello's statement.

14.8

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The play, Othello, depicts how easily characters can destroy themselves.
By a close reading of Extract A and Extract B, comment critically on how this is true of Iago and Othello.
OR

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THE CRUCIBLE – Arthur Miller
Answer EITHER QUESTION 15 (essay question) OR QUESTION 16 (contextual question). QUESTION 15: THE CRUCIBLE – ESSAY QUESTION
The irony of the Salem witchcraft trials is that they are meant to preserve order, promote morality and serve justice; instead, they have the opposite effect.
In a well-constructed essay of 400–450 words (2–2½ pages), critically assess the validity of this statement.

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QUESTION 16: THE CRUCIBLE – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
HALE
ELIZABETH
HALE
ELIZABETH

Abigail were stabbed tonight; a needle were found stuck into her belly –
And she charges me?
Aye.
(her breath knocked out): Why – ! The girl is murder! She must be ripped out of the world!
(pointing at Elizabeth): You've heard that, sir! Ripped out of the world!
CHEEVER
Herrick, you heard it!
PROCTOR (suddenly snatching the warrant out of Cheever's hands): Out with you.
CHEEVER
Proctor, you dare not touch the warrant.
PROCTOR (ripping the warrant): Out with you!
CHEEVER
You've ripped the Deputy Governor's warrant, man!
PROCTOR Damn the Deputy Governor! Out of my house!
HALE
Now, Proctor, Proctor!
PROCTOR Get y'gone with them. You are a broken minister.
Proctor, if she is innocent, the court –
HALE
PROCTOR If she is innocent! Why do you never wonder if Parris be innocent, or
Abigail? Is the accuser always holy now? Were they born this morning as clean as God's fingers? I'll tell you what's walking Salem – vengeance is walking Salem. We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law! This warrant's vengeance! I'll not give my wife to vengeance!
ELIZABETH I'll go, John –
PROCTOR You will not go!
HERRICK
I have nine men outside. You cannot keep her. The law binds me,
John, I cannot budge.
PROCTOR (to Hale, ready to break him): Will you see her taken?
HALE
Proctor, the court is just –
PROCTOR Pontius Pilate! God will not let you wash your hands of this!
[Act 2]

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16.1

Place the extract in context.

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16.2

Refer to Elizabeth's responses in lines 4–5: 'Why – ! The girl is murder! She must be ripped out of the world!' and line 23: 'I'll go John –'.
Suggest what Elizabeth's responses reveal about her character at this stage of the play.

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16.3

Explain how the image, 'the little crazy children are jangling the keys of the kingdom' (line 20) contributes to your understanding of events in the play.

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16.4

Examine lines 25–26: 'The law binds me, John, I cannot budge.'
Explain how Herrick's attitude to the rule of law is representative of that of many people in Salem.

16.5

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'Proctor, the court is just – ' (line 28).
Discuss the irony that it is Hale who states that 'the court is just – '.

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AND
EXTRACT B
REBECCA
DANFORTH
REBECCA
PROCTOR
DANFORTH
REBECCA
DANFORTH
REBECCA
DANFORTH
PROCTOR

(brightening as she sees Proctor): Ah, John! You are well, then, eh?
PROCTOR turns his face to the wall.
Courage, man, courage – let her witness your good example that she may come to God herself. Now hear it, Goody Nurse! Say on,
Mr Proctor. Did you bind yourself to the Devil's service?
(astonished): Why, John!
(through his teeth, his face turned from Rebecca): I did.
Now, woman, you surely see it profit nothin' to keep this conspiracy any further. Will you confess yourself with him?
Oh, John – God send his mercy on you!
I say, will you confess yourself, Goody Nurse?
Why, it is a lie, it is a lie: how may I damn myself? I cannot, I cannot.
Mr Proctor. When the Devil came to you did you see Rebecca Nurse in his company? (PROCTOR is silent.) Come, man, take courage – did you ever see her with the Devil?
(almost inaudibly): No.
DANFORTH, now sensing trouble, glances at John and goes to the table, and picks up a sheet – the list of condemned.

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16.6

Comment on Rebecca's role in influencing Proctor's decision later in the play.

16.7

Critically discuss how the stage directions and Proctor's actions contribute to your understanding of the change he has undergone in the course of the play.

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The play, The Crucible, depicts how easily a community can destroy itself.
By a close reading of Extract A and Extract B, comment critically on how this is true of Salem.
TOTAL SECTION C:
GRAND TOTAL:

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