Prelim Exam Grade 12 Paper 2 MEMO

TSHWANE SOUTH DISTRICT
ENGLISH HOME LANGUAGE GRADE 12
PRELIMINARY EXAMINATION 2023
PAPER 2: Literature
MEMORANDUM
TOTAL: 80 DURATION: 2.5 hours
This marking guideline consists of 24 pages.

English HL Grade 12 – Paper 2 Memorandum Preliminary 2023 Examination
NOTE TO MARKERS:
● These marking guidelines are intended as a guide for markers.
● The marking guidelines will be discussed with the marking panels before marking
commences at the marking centres.
● Candidates' responses must be considered on their merits.
MARKING GUIDELINES
1. Wherever a candidate has answered more than the required number of questions, mark only
the first answer/response. (The candidate may not answer the essay and the contextual
question on the same genre.)
2. If a candidate has answered all four questions in SECTION A (prescribed poems), mark only
the first two.
3. If a candidate has answered two contextual or two essay questions in SECTIONS B and C,
mark the first one and ignore the second.
If a candidate has answered all four questions (novel) and/or all six questions (drama), mark
only the first answer in each SECTION, provided that one contextual and one essay have
been answered.
4. If a candidate gives two answers, the first of which is wrong and the next one correct, mark the
first answer and ignore the next.
5. If answers are incorrectly numbered, mark according to the marking guidelines.
6. If a spelling error affects the meaning, mark incorrect. If it does not affect the meaning, mark
correct.
7. Essay questions If the essay is shorter than the required word count, do not penalise, because
the candidate has already penalised himself/herself. If the essay is too long, assess on merit
and discuss with senior markers.
8. Contextual questions If the candidate does not use inverted commas when asked to quote, do
not penalise.
9. For open-ended questions, no marks should be awarded for YES/NO or I
AGREE/DISAGREE. The reason/substantiation/motivation/justification is what should be
considered.
10. No marks should be awarded for TRUE/FALSE or FACT/OPINION. The
reason/substantiation/motivation/justification is what should be considered.
11. Answers to contextual questions must be assessed holistically in the light of the discussion
during the standardisation of the marking guidelines.
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SECTION A: POETRY
PRESCRIBED POETRY
QUESTION 1: POETRY – ESSAY QUESTION
IT’S A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth
● Use the following points, among others, as a guideline to marking this question. Responses
might differ, depending on the candidate's sensitivity to and understanding of the poem.
● Refer to page 23 for the rubric to assess this question.
● The Italian/Petrarchan sonnet form allows the poet to focus on the beauty of nature on the
one hand in the octave and, in the sestet, to compare the glory of nature to the beauty of
his daughter.
● The first quatrain focuses on how the beauty of nature silences the onlooker and leaves
them speechless; the second quatrain implores the reader to listen to the magnificent
sounds of the ocean/sea.
● The simile comparing the time of day to a nun shows the almost divine beauty of nature. It
highlights how the speaker stands in awe/reverence of the glorious beauty of nature.
● Nature is compared to a mighty being giving it living qualities which further enhances the
respect and awe the speaker has for nature.
● The sound of the ocean is compared to brooding thunder – a sound that inspires devotion
and a mesmerising respect.
● Words like ‘eternal’ and ‘everlasting’ show the immortality of nature’s beauty; nature is not
ephemeral like human lives, but lives forever like God.
[Credit alternative cogent responses on merit.]
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QUESTION 2: POETRY – CONTEXTUAL QUESTION
THE MORNING SUN IS SHINING – Olive Schreiner
2.1 It suggests that the tree is young/supple/lithe. The trees is still growing.
[Award 2 marks for one idea.] (2)
2.2 There is sun shining on the speaker’s knee. It can also be a reference to a child
being bounced on the speaker’s knee, in this case the child she has lost.
[Award 2 marks for two ideas.] (2)
2.3 The mood is of awe/admiration/wonder/joy at the beauty of nature. The smells being
strong underline this mood of wonder. The idea that the air is filled with music shows
the admiration the speaker feels for the beauty of nature.
[Award 1 mark for identification of mood and 2 marks for a well-developed

discussion.] (3)
2.4 The speaker experiences profound despondency because of the loss of her child.
The speaker feels there is nothing left to live for. The rhetorical question highlights
how futile her existence feels. The exaggeration/hyperbole of the questions further
highlight her despondency. The repetition of the question form (anaphora) evokes the
idea of being unable to cope with the situation.
[Award 1 mark for understanding of statement and 2 marks for a well-substantiated

discussion.] (3)
[10]
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SHIPWRECK – Emily Dickenson
3.1 It means that they made it back to land/they got out of the ocean.
3.2 The ‘boiling sand’ shows that the ocean was tumultuous and dangerous. It shows
that the sea was moving quickly. The image shows how the ocean can swallow the
ship/people. They are described as being taken ‘together’ showing the power of the
ocean to rip away so many at once.’
[Award 3 marks for two ideas well-discussed.] (3)
3.3 The word ‘ring’ shows that they want to celebrate those who have survived; the word
’toll’ shows that they feel sad and must mourn the loss of the forty. They might even
feel guilty for celebrating the survival of the four compared to the death of the forty.
[Award 2 marks for two ideas.]
[Contrasting feelings must be discussed for full credit.] (2)
3.4 The speaker and children feel the loss and grief every time they hear the story of the
forty deaths again. The sibilance/s-alliteration creates a mood of
melancholy/sadness. The personification of the ocean responding (cliche) shows
how profound the sense of grief and sadness is. The speaker’s eye is described as
soft, implying that they start crying at the thought of retelling the tale.

discussion.] (3)
[10]
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SOLITUDE – Ella Wheeler Cox
4.1 The word suggests everyone in the world, not the planet itself. It suggests a large
group of people.
4.2 The echoes (or answers) come back to you when it revolves around something
joyful/happy/exciting, but there is reticence when the topic is sad/dejected. People
will only respond and be friendly when it is a positive or happy situation.
[Award 2 marks for one idea well-discussed.] (2)
4.3 When one is in a dark place/very sad, one specifically needs friends/family to support
one. Yet the poem implies that when this happens, one will be abandoned.
[Award 3 marks for a clear understanding of the irony.] (3)
4.4 The speaker is certain of the fact that people face hardships all on their own without
the support of others. The speaker is certain that life is lived by oneself without the
support of others. The phrase ‘one by one’ shows how single/lonely life is. The image
of ‘filing on’ reinforces the inevitability of this loneliness. Life is described as
composed of ‘aisles of pain’ - the solitude of life. The idea that one goes through life
is emphasised by the idea that the aisles are only broad enough for one person to go
through at a time.

discussion.] (3)
[10]
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UNSEEN POEM
QUESTION 5: CONTEXTUAL QUESTION
NIGHTSONG – Dennis Brutus
5.1 The poem is addressed to the speaker’s city/country/home.
5.2 The word ‘cockroach’ suggests the quick movement of the police cars as the dart
about the area, but also how many police cars there are, like cockroaches infesting a
home.
[Award 2 marks for two distinct ideas.]
[Candidates may also refer to the figurative/connotative meanings of cockroaches’

being disgusting and hated.] (2)
5.3 The speaker’s living environment is filled with harshness/cruelty/brutality and

distress/anxiety/worry/unease. The violence is described as being ‘bug-infested’
which implies that it is everywhere and difficult to remove. The violence is ‘tossed’
around - the image evokes how easily the violence moves through this
community/place. The fear that the people experience is also unavoidable - it is
described as ‘ingrained’ or lodged into their lives. Just like bells cannot help ring in
the wind, so too can the fear not be removed from thor existence.
[Award 1 mark for understanding and 2 marks for two images discussed.] (3)
5.4 The phrase ‘at least’ shows a lull in activity for the moment. The focus on ‘breathing’
shows the continuation of life as normal for the time being. However, defiance
against these terrible conditions is inevitable/unavoidable/definite/on the cards. The
word ‘pants’ suggest a dog or other animal struggling to breathe in the heat. The idea
that the land is anger/upset creates the impression that people will not stand for
these conditions much longer. It is also suggested that the suffering has been
ongoing and must come to an end by describing their suffering as a ‘long day’
[Award 1 mark for understanding and 2 marks for two ideas well-discussed.] (3)
[10]
TOTAL SECTION A: 30
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SECTION B: NOVEL
THE PICTURE OF DORIAN GRAY – Oscar Wilde
QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION
● Below is the basis for answering this essay. Use the following as a guideline only. However,
also allow for answers that are different, original and show evidence of critical thought and
interpretation.
● A range of examples should be used by the candidates to support their arguments.
● Dorian Gray makes the fateful wish to have his soul switched with that of the painting. This
wish causes his disconnect from a moral core and as such represents his culpability in his
actions.
● Dorian Gray is convinced by Lord Henry to view Sybil’s death as an artistic love-letter to him;
however, Basil Hallward shows him how he is also responsible for her death. Dorian chooses
to see Sybil’s death from Harry’s perspective, rather than Basil which shows his decision that
leads to his ultimate destruction.
● Dorian’s treatment of others is his own decision. His abandonment of people once they have
served his purpose makes Dorian more and more numb and apathetic to the world. His apathy
and subsequent ennui leads directly to his tragic end when the painting is destroyed.
● Dorian murders Basil cold-heartedly in order to keep Basil from scolding him about his
misdeeds. Through this act, Dorian commits to a life that is doomed to destruction.
● Dorian refuses to acknowledge his part in his debauched and evil deeds. He blames Basil for
painting the portrait and for creating the life that he suffers from. His refusal to acknowledge
his part in his destructive life causes him to want to eliminate the evidence of his degradation,
and in turn, his ultimate death.
● At the end of the novel, Dorian Gray commits to a life devoid of moral accountability. He
decides to destroy the painting so as to insulate him from the consequences of his actions. He
has thus decided to be evil and bad. The destruction of the painting is a deliberate attempt to
free himself from taking responsibility, but that leads to his death.
[A cogent 'Disagree' response is unlikely. However, treat all responses on their merits.]
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QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION
7.1 Dorian Gray has just arrived home early in the morning after he had broken off his
engagement to Sibyl Vane following her disastrous performance. He has seen the
change on the painting’s surface for the first time.
[Ward 3 marks for three ideas.] (3)
7.2 Dorian wonders about the goodness/virtue of his soul given his callous and harsh
treatment of Sybil Vane, yet he is the one who made the wish in Basil’s studio to give
up his soul in exchange for everlasting beauty and youth. It is ironic that he should be
concerned with the state of his soul, when he clearly does not value the possession
of one. It is dramatic irony also because the reader realises that he has given up his
soul inadvertently.
[Award 3 marks for two ideas well-discussed.]
[Both sides of the irony must be explored for full marks.] (3)
7.3 Dorian Gray is portrayed through this statement as someone who only cares for the
material and the beautiful. Dorian disregards his and others’ humanity and praises
and attaches importance only to what is materially precious such as beauty or youth.
This statement further emphasises his callousness and apathy toward other people,
even himself.
7.4 One of the tenets of Lord Henry’s philosophy is that the only way to get rid of
temptation is to give in/yield to it. Dorian here resolves to abandon this idea and
instead resist yielding to temptation. It is significant because it shows that Dorian has
the capacity to do good things and be good toward others, but he chooses later in
the novel not to do good to others. Dorian is capable of seeing that his treatment of
Sibyl Vane has been appalling and that he should change his behaviour. He is
self-aware of the dangers of a hedonistic lifestyle and is in no way a mere
puppet/pawn of Lord Henry.
7.5 This statement reveals that Lord Henry espouses the philosophy of hedonism, i.e.
the pursuit of pleasure and new experiences at all costs. Lord Henry believes that the
highest ideal in life is to have new/novel sensations. His belief implies that one
should always search for new ways to experience life and that one should never
repeat an experience that does not bring one pleasure or enjoyment.
[Award 1 mark for identification of idea and two marks for a well-developed
discussion.] (3)
7.6 Dorian is upset/dismayed/troubled/distressed/unsettled at Harry’s refusal to take him

seriously. [NOT angry OR shocked] He says that Harry ‘mocks’ everything implying
that Harry does not take anything seriously. He calls Harry’s comments ‘horrible’ and
‘dreadful’ showing that he is horrified at Harry’s apparent jocularity and lack of
concern for Dorian’s feelings.
[Award 1 mark for state of mind and 2 marks for substantiation.] (3)
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7.7 Dorian comments that the people in Victorian London’s upper class should by that
time have stopped gossiping about the disappearance of Basil. The comment reveals
that Victorian society had an obsession with people’s public actions. The comment
also reveals how the people of high society would gossip and spread rumours, while
hypocritically espousing a Christian and moral lifestyle. The comment suggests
Victorian society’s obsession with the appearance of goodness or vice in people’s
lives, but not care for the person themself. Basil safety or actual whereabouts are of
no concern to them, only the juicy gossip and the interesting anecdote.
[Award 3 marks for three ideas or two ideas well-discussed.] (3)
7.8 At the beginning of the novel the audience could still believe that Dorian was naive
and under the influence of Lord Henry. Even though his actions were terrible, his
intentions could be seen as that of a young man trying to find himself. In a way, his
callous treatment of people at the beginning could almost be excused. His treatment
of Sibyl, for example, shows some regret and some semblance of wanting to make
amends. However, by this point in the novel, we distrust the sincerity of any moral
action on Dorian’s part. We have come to learn that he is self-aware about his vices,
but refuses to change. His treatment of Alan Campbell shows that he knows his
actions are morally reprehensible, but that he will continue to do them in spite of this
knowledge. His murder of Basil shows that he is unwilling to accept criticism of his
terrible actions and would rather kill someone who loves him, than give up his
material prosperity and physical advantages. His desire here to reform and spare
Hetty is transparently selfish and self-centred. The reader realises that this is not a
sincere wish and we distrust the motivations behind his reformation.
[Award 4 marks for a well-developed response.]
[Candidates must make direct reference to the incident in the extract.]
[Candidates must make direct references to other parts of the novel.] (4)
[25]
TOTAL SECTION B: 25
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THE LIFE OF PI – Yann Martel
QUESTION 8: THE LIFE OF PI – ESSAY QUESTION
interpretation.
● Pi experiences bullying when his school mates tease him about his name. His response is
resourceful and reflects his resilient nature. These qualities assist him in overcoming the
trauma of losing his family and being stranded with a tiger.
● The ingenuity he displays in recreating his name also allows him to build a makeshiftraft and
find alternative solutions to the hardships he faces at sea.
● The horror of watching the tiger kill and devour a goat teaches Pi a healthy respect for wild
animals; this awareness assists him when he is forced to live in such close quarters with
Richard Parker.
● The criticism that Pi faces for wanting to explore three religions simultaneously develops his
independence. It strengthens his resolve of having something to believe in. This is essential to
his survival on the lifeboat, and throughout his life. Furthermore, the routine and religious
rituals provide comfort and guidance during trying times.
● Despite his grief at losing his family in the shipwreck, Pi is able to adjust to his new reality,
both on the lifeboat and in Canada. He rallies quickly and takes measures to ensure his safety
and survival. Regardless of the obstacles he faces, he rebounds, perseveres and finds the
strength to overcome these challenges.
● Although Pi is traumatised by the hyena's/French cook's barbarism, it also strengthens his
resolve to survive. He realises that he will have to commit acts that would normally be
abhorrent to him to ensure his survival. His adoption of Richard Parker as his alter ego allows
him to separate himself from this savage side of himself. This is essential to his long-term
survival.
● There are times when he becomes despondent and loses hope and even wishes for death.
However, his belief that he will be rescued keeps him hopeful.
● The algae island appears to offer all the basic resources to live a comfortable life. However,
when Pi discovers the human teeth in a tree on the island, he becomes aware that deeper
spiritual enlightenment is the only recipe to a meaningful life.
● Despite the horrors Pi experiences at sea, he realises how reliant all creatures are on one
another. Neither Pi nor Richard Parker would have survived if they did not have each other.
● Although Pi is forced to compromise his strong morals in his struggle to survive, his creation of
Richard Parker as his alter ego allows him to revert to those morals once he returns to
civilisation. This ability to adapt his morals to his circumstances saves his life.
● Pi's horrible experiences demonstrate that having faith in something, whether in oneself or in
one's abilities or in a higher power, is essential for a happy and fulfilled life. He is able to
reconcile his belief in science with his religious faith, proving that both can co-exist.
[A cogent 'Disagree' response is unlikely. However, treat all responses on their merits.]
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QUESTION 9: THE LIFE OF PI – CONTEXTUAL QUESTION
9.1 Pi and Richard Parker are stranded in the Pacific Ocean when a tanker appears on
the horizon and Pi is ecstatic – he is sure they will be saved. Instead, the tanker,
oblivious to the small lifeboat, nearly runs them over.
[Award 3 marks for two ideas well discussed OR three distinct ideas.] (3)
9.2 A ship appears on the horizon and Pi shouts with joy, sure that he will be rescued.
The tanker rapidly approaches the lifeboat. Pi yells and tries to shoot off a flare, but
the ship passes silently by, almost running over Pi on its way. Its loud engines drown
out his voice, and soon it is gone, disappearing over the horizon. Despite his
excitement and attempts at gaining the captain’s attention, he fails – Pi will not be
saved.
9.3 The mood in line 12 is hopeless/ nightmarish/ depressed. Despite being so close to
rescue, Pi cannot make himself seen or heard by the people on the tanker – his
hopes of being saved are destroyed. Pi responds to this disappointment with
renewed love and gratitude for Richard Parker and his companionship instead of a
fresh bout of despair. He will continue to fight for their survival – his responsibility and
determination to keep Richard Parker alive and his will to survive take over.
[Award 3 marks only if contrasting moods are discussed.] (3)
9.4 In the animal story, Pi has to find a way to live alongside Richard Parker and the only
way he can do this is to take on the responsibility of feeding and caring for him. This
gives Pi a purpose in life and helps him keep his mind off the situation: ‘He kept me
from thinking too much about my family and my tragic circumstances. He pushed me
to go on living.’ In the second story, Richard Parker is synonymous with Pi’s survival
instincts, he is Pi’s alter ego. If he had not killed the French cook, then he might have
ended up like the Chinese sailor and his mother.
[Award 3 marks for any two ideas well discussed OR three distinct ideas.]
[Award 2 marks if only the first story with the animals is discussed.] (3)
9.5 After Pi recounts his story with the tiger, the Japanese officials don’t believe him as
they consider his story to be ‘far-fetched’. He then gives them a 2nd, more
believable, version of the story. His tone is factual and detached, as if he makes up
the story just to satisfy them – hence his questions.
9.6 At first both Mr Chiba and Mr Okamotho reject Pi’s first story, the story with animals
as they consider it to be ‘far-fetched’. However, after hearing the 2nd story, they
prefer the first story. The irony is that after demanding to hear another version – a
more believable story - they choose to officially accept (in their report) the first story
as it is a story with passion and hope - the better story.
[Award 3 marks only if irony is fully discussed.] (3)
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9.7 The transcript lends authenticity to the context of the novel and the different font used
indicates the conversation between the two Japanese officials. The bickering
between the two men makes the conversation seem realistic. The informal, colloquial
language spoken by the Japanese officials contrast with the polite, official tone used
when addressing Pi – they appear amusing, almost like comic caricatures.
[Award 3 marks for any two ideas well discussed OR three distinct ideas.] (3)
9.8 Agree. Pi’s brief, factual and emotionless account of the 2nd story clearly indicates
his reluctance to recount it owing to the horror of his experience. The passionate and
imaginative story with the tiger is his creation to cope with the ugly truth of the 2nd
story. He joins the cook in finishing the emergency rations behind his mother’s back;
he ate a strip of the dead sailor’s flesh; he stands by and does nothing when his
mother is attacked, killed and decapitated by the cook. His creation of the first story
is integral to his survival.
Disagree. Pi claims that the proof of the first story is the presence of meerkat bones
in the lifeboat. The rich, elaborate and vivid details of the first story makes it the
better story – one of faith, hope and salvation. For Pi, believing the ‘better story’ is
believing in God.
[Accept valid alternative/mixed responses.]
[Award 4 marks for two ideas well-developed.] (4)
[25]
TOTAL SECTION B: 25
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SECTION C: DRAMA
HAMLET – William Shakespeare
QUESTION 10: HAMLET – ESSAY QUESTION
interpretation.
● Hamlet is unsure whether the ghost can be trusted or not. He is unsure whether the ghost
is a demon attempting to deceive him or the real spirit of his father seeking justifiable
revenge. Hamlet delays so as to ascertain the ghost’s credibility.
● Hamlet also delays in acting on the ghost’s plea because he is torn between loyalty to his
mother (who is now married to Caudius) and loyalty to his father (who, in the form of the
ghost, implored him not to hurt Gertrude in any way).
● Hamlet is also torn between his religious imperative of not usurping God’s authority and his
aristocratic code which requires vengeance. As a Christian he is not supposed to take
vengeance as God is the only one who can judge and punish. However, as an aristocrat,
he is supposed to preserve his (and his family’s) honour and face by redeeming that
honour. His delay comes from trying to figure out which code of ethics to follow.
● However, there comes a point when Hamlet’s delay is no longer justified.
● Once he realises that Claudius is not the lucky recipient of fate’s machinations, but that
Claudius himself is responsible for the terrible circumstances in Denmark, he should have
taken vengeance. Claudius’s admission of his guilt after the play-within-a-play is enough
evidence to damn him completely, but Hamlet chooses to delay for his own selfish reasons:
he does not want just vengeance, but desires payback in the form of Claudius’s suffering.
● Hamlet becomes so involved in his antic disposition that he stops searching for the truth
and rather enjoys his torture of others such as Ophelia, Rosenkrantz and Guildenstern, and
Gertrude.
● Hamlet’s purposeful murder of Rosenkrantz and Guildenstern is an unnecessary action in
his search for justified vengeance.
● Hamlet fails to take proper vengeance for his father, because his contemplative nature
prevents him from taking action when it is appropriate. Other characters’ actions seem
more legitimate in this light. Laertes rushing the court to demand justice from Claudius for
his father’s death and Fortinbras’ immediate actions to reclaim his late father’s lands show
that Hamlet’s deliberate delay is ineffective and motivated by selfish reasons.
[A mixed response is the most appropriate for this question. However, treat all responses on their
merits.]
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QUESTION 11: HAMLET – CONTEXTUAL QUESTION
11.1 Laertes has made a request to return to France. He has been in Denmark for two
months because of the death of King Hamlet and the marriage of Claudius and
Gertrude.
[Award 3 marks for three ideas.] (3)
11.2 Getrude describes Hamlet as looking down to the Earth in search of his now dead
father. She also asks him to forget his father. This statement is ironic because later
in this act, the ghost of Hamlet’s father appears to him from the underworld/purgatory
to ask his son to take vengeance for his death (‘Remember me!’).
[Award 3 marks for a complete description of the irony.] (3)
11.3 Hamlet is angry/furious at his mother for implying that he is pretending to be sad.
Hamlet is feeling a profound sense of loss and is acting accordingly, but his mother
does not seem to understand the depths of his grief. He becomes enraged at his
mother’s suggestion that he fakes his emotions. He is particularly angry at Gertrude
because he now believes that she is pretentious and that she is the one who feigned
love for his father.
[Award 1 mark for reaction and 2 marks for two distinct ideas.] (3)
11.4 The audience has seen Claudius snub Hamlet in favour of Laertes. The audience
realises that his compliment of Hamlet’s having a ‘sweet and commendable nature’ is
probably not sincere. Claudius’s statements up to this point have seemed very
well-chosen for political effect, but not sincerity. For example, his comments about his
brother’s death seem cold and distant. The audience believes that Claudius does not
truly care for Hamlet and that he is only being nice to him to placate.
11.5 After the play-within-a-play, Gertrude summons Hamlet to her chambers to discuss
his actions. On his way to his mother’s room, Hamlet encounters Claudius praying
and realises that this is the perfect opportunity to dispatch Claudius given that he has
just proven his guilt through his reaction to The Mousetrap.
11.6 In this line Hamlet realises that his plan to kill Claudius at prayer may be ill-devised.
Hamlet could slowly turn his head toward the audience to show this moment of
realisation. He could slowly lower his sword and slump his shoulders to indicate a
moment of defeat. His tone should betray a mind that is shocked at his realisation.
His tone should be shocked/surprised.
[Award 2 marks for body language and tone, and 1 mark for discussion.] (3)
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11.7 Claudius is feeling guilty. His attempts at prayer are clearly unsuccessful as his
desire to repent does not accompany a willingness to suffer punishment for his
actions. The image of his prayer’s/thought’s being wingless emphasises that his
prayers cannot fly up to heaven like a bird/like an angel that has had its wings
clipped. The image makes it clear that his prayers/desire to repent are not holy, i.e.
insincere.
[Award 1 mark for state of mind and 2 marks for a well-developed discussion.] (3)
11.8 Hamlet’s confusion at the beginning of the drama about the need to take revenge is
understandable. His need to avenge his father conflicts with his morality and his
education. For instance he struggles to trust the ghost which is why he tests Claudius
during The Mousetrap and why he puts on the antic disposition. However, at this
point in the drama, his desire for vengeance becomes something else: he does not
seem content with following the instructions of the ghost, but wants to hurt and
humiliate Claudius. This desire is not justifiable. Even the ghost warns him not to
‘taint his soul’ in executing his vengeance. Hamlet’s refusal to kill Claudius in this
scene has nothing to do with some moral epiphany; he is simply biding his time so he
can hurt Claudius more severely and humiliate him. The audience feels
disgust/anger at Hamlet for not completing the legitimate task the ghost has set him.
[Award 4 marks for a well-developed response.]
[Candidates must make direct reference to the incident in the extract.]
[Candidates must make direct references to other parts of the drama.]
[Full marks can be given only if the audience’s reaction is addressed.] (4)
[25]
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OTHELLO – William Shakespeare
QUESTION 12: OTHELLO – ESSAY QUESTION
interpretation.
● Initially, Othello regards Desdemona as 'his soul's joy'. His happiness is dependent on his
love for her. Their relationship is based on mutual respect and admiration.
● Othello regards Desdemona as his equal, admiring her assertiveness and outspokenness.
She is a strong-willed and courageous woman who is prepared to defy her father and
Venetian society to be with the man she loves. However, when she doggedly appeals for
Cassio's reinstatement, Othello, fuelled by Iago's insinuations, misinterprets her
assertiveness as pleading on her lover's behalf. He begins to distrust her, believing her to
be unfaithful.
● As a result of his insecurities and jealousy, Othello develops ambivalent feelings toward
Desdemona. Although he is filled with abhorrence for her supposedly promiscuous
behaviour and vows that he will no longer be influenced by her charms, he is still entranced
by her beauty.
● Othello's outrage at Desdemona's supposed betrayal is in conflict with his enduring love for
her. He speaks of her as 'a fine woman, a fair woman, a sweet woman', yet at other times
he refers to her as 'whore' and 'strumpet'.
● After being provided with 'ocular proof', Othello is determined to kill her. He justifies his
actions as being those of 'an honourable murderer'.
● Desdemona is modest and unselfish in her constant love for her husband. She remains
loyal and loving in spite of having to endure his humiliation and scorn.
● Later, Desdemona fails to defend herself when Othello verbally and physically abuses her.
By defending his actions, she becomes a submissive and obedient wife. Ultimately, she is a
victim of Othello's overpowering strength and oppressive jealousy and is killed despite
protesting her innocence.
● Othello's realisation that he has wronged her leads to his remorse and his inability to
continue living. He takes his own life in atonement for murdering Desdemona.
● Iago is generally disrespectful and dismissive of Emilia. He does not take her into his
confidence or allow her to question his actions. He is rude and bullying and deliberately
uses her as a tool to further his selfish plans.
● Emilia develops a cynical view toward marriage because of the verbal abuse she suffers at
the hands of Iago. Despite this, she obeys him without question.
● Emilia's desire to be loved exposes her to Iago's manipulation. She is prepared to steal the
handkerchief for him, thus compromising her integrity. However, when she realises what
Iago has done, Emilia's sense of justice and honour prevails. Although Emilia realises that
declaring the truth will place her life at risk, she is willing to do this to clear her conscience.
● At the end of the play, she displays great courage and defies her victimhood and her duties
as a wife when she refuses to obey Iago. She is prepared to denounce him even though
she realises she might die in doing so; her actions do indeed lead to her death.
[A cogent 'Invalid' response is unlikely. However, treat all responses on their merits.]
17 of 24
QUESTION 13: OTHELLO – CONTEXTUAL QUESTION
13.1 This scene occurs after Iago has planted a seed of doubt in Othello’s mind, causing
Othello to suspect that Desdemona is conducting an affair. Othello claims to have a
headache, but rejects Desdemona’s attempts to comfort him, causing her to drop her
handkerchief. This handkerchief is taken by Emilia, to be used by her husband, Iago,
in his plan to destroy Othello.
[Award 3 marks for any 2 ideas well discussed OR 3 ideas.] (3)
13.2 Iago jokes about his wife’s ‘common thing’ due to his belief that she has had an affair
with Othello. In these lines he shows contempt for her by calling out her supposed
infidelity and furthermore claims that Emilia’s foolishness is a common trait amongst
wives, suggesting a lack of respect for women in general when he says ‘a foolish
wife’.
[Award 3 marks for any two ideas well discussed, with correct reference to diction.] (3)
13.3 Iago intends to use the handkerchief to prove that Cassio and Desdemona are
conducting an illicit affair. To do so, Iago plans to plant the handkerchief in Cassio’s
room as proof that Desdemona has been in Cassio’s bed. Furthermore, with the
knowledge that Desdemona no longer possesses the handkerchief, Iago is able to
push Othello to inquire about the missing article which will further damn Desdemona.
Additionally, Iago is aware of the significance of this handkerchief and so uses the
significance of the Moor’s first gift as a twisting of the knife of betrayal.
[Award 3 marks for any two ideas well discussed OR 3 ideas.] (3)
13.4 Emilia’s acceptance of the dismissal has dire consequences for several characters.
The reason for this is that Emilia does not further question Iago’s plans, in effect
allowing Iago’s nefarious scheme to proceed. Emilia’s acceptance of this dismissal
directly leads to Desdemona’s death. Iago is able to use the handkerchief to frame
Cassio and Desdemona, as the handkerchief is seen as proof of their affair and gives
Othello the final push to murder her, and have Cassio assassinated. Furthermore,
accepting this dismissal leads to Emilia’s own demise, as Iago kills her once she
reveals the nature of his plan. Upon discovering that the handkerchief was vital proof
in Iago’s plan to destroy Othello, Emilia realises her husband’s evil nature and stands
against him. Finally, Emilia’s acceptance of the dismissal leads to Othello’s suicide as
her actions here directly correlate to Othello’s ultimate despair and choice to end his
life.
[Award 3 marks for any two ideas well developed.] (3)
13.5 Emilia knows what Othello should have known: that Desdemona was completely
innocent, and that anyone like Iago who said anything contrary to that was a
slanderer. She can’t believe Othello is so gullible, so she asks four times whether it
was Iago who told these lies about Desdemona and Cassio. Her words suggest her
guilt at keeping quiet about her suspicions – that someone was whispering lies into
Othello’s ear.
[Award 3 marks for 2 ideas well discussed or 3 distinct ideas.] (3)
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13.6 Emilia tries to be a loyal wife and servant but her loyalty is repeatedly tested by the
incidents surrounding the handkerchief. Emilia makes the wrong moral choice when
she gives the handkerchief to Iago because he ‘hath a hundred times/Wooed me to
steal it’. Emilia does this in spite of knowing Desdemona ‘so loves the token’. Emilia’s
loyalty is tested again when Desdemona wonders how she lost the handkerchief.
Emilia’s lie – ‘I know not, madam’. Emilia’s loyalty is tested for a final time in Act V.
Now Emilia puts Desdemona first. She tells the truth about the handkerchief and
betrays Iago. She has chosen good over evil.
[Award 3 marks for 2 ideas well-discussed or 3 distinct ideas.] (3)
13.7 Emilia’s tone would be angry/ harsh/ distraught/ anguished. She may plant her feet
firmly on the ground and place her hand on her chest as she asks, ‘I, peace?’ While
saying, ‘No, I will speak as liberal as the north’ she may raise her hands to stave off
being silenced before throwing them down at her side and saying, ‘yet I’ll speak’ in
an act of defiance.
[Accept valid alternative responses.]
[The candidate’s response should be convincing in context.]
[Award 3 marks only if candidate refers to body language and tone, and includes a
justification.] (3)
13.8 AGREE
Desdemona is loyal to Othello even in his criticism of her. Even when called a
‘whore’, she remains loyal to him despite his misunderstanding of her. As Othello
mistreats her, Desdemona’s feelings are unwavering: ‘My love doth so approve him/
That even his stubbornness, his checks, his frowns’. It is because of this loyalty that
she does not see the danger in Othello’s responses. She cannot imagine him killing
her.
OR
DISAGREE
It is Desdemona’s loyalty to Cassio and her insistence on his reinstatement which

lead to her tragic death. She is so consumed with helping Cassio that she cannot see
the jealousy that Othello is experiencing. When Emilia questions whether Othello
may be jealous she insists that he is not a jealous man.
[Candidates can express their own opinions – award marks based on their
substantiation.] (4)
[25]
19 of 24
THE CRUCIBLE – Arthur Miller
QUESTION 15: THE CRUCIBLE – ESSAY QUESTION
interpretation.
Claudius
● Salem’s theocratic society is controlled by men. This makes it a stifling environment for the
young women.
● As a result, when they suddenly gain a measure of power thorough the crying out, they set
out on a path of revenge and destruction.
● The dancing in the woods is perhaps a sign that they need to escape the oppressive and
restricted society in which they live.
● They rebel against conformity and the suppression of individuality.
● Their status as orphans (Abigail) and young, unmarried women, means their social status
is very low and explains why they wish to hold on to the power they suddenly discover.
● The fact that they can be whipped or even hanged for witchcraft is a strong motivating
factor for the crying out. They blame others in order to escape the cruel punishments
themselves.
● The first person to be accused is Tituba who has a lower social status than even the young
girls. No one will question Tituba’s being accused, and no one will defend her. Therefore,
as a woman and a slave, she is a victim.
● Proctor treats Abigail and Mary like children, even threatening them with whipping.
● The girls enjoy the power that they get over Danforth and Hathorne, as they have never
experienced power before.
● The girls use the fact that women are seen as weak, to pretend that they have been victims
of terrible witchcraft.
● Mary, who is already weak, is easily manipulated by Abigail, who uses the girls’
powerlessness to control them.
20 of 24
QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION
15.1 She desperately wants to control Betty. She has to make very sure that Betty does
not say anything about the previous evening and that she does not reveal that Abigail
cast a spell to kill Elizabeth.
15.2 His affair with Abigail is still very much a secret in the community. So, despite the fact
that he is well-respected, a great deal of that respect is based on a false perception.
The people of Salem expect people to be holy and perfect ; John is neither of these
things.
[Award 3 marks for two ideas well-discussed or three ideas.] (3)
15.3 Proctor is concerned for the child and her well-being. He feels nervous about the
situation and does not enjoy it. By contrast, Mrs Putman seems to enjoy the
melodrama. It is as if she is glad that Betty seems afflicted, because it will support
her suspicion about unnatural causes in the deaths of her own babies.
15.4 Proctor hopes that the court will now see that Abigail is a fraud. He no longer cares if
his reputation is ruined; he expects his wife’s name to be cleared.
15.5 As the minister of Salem, Parris should be concerned about his flock’s spiritual
well-being. Instead, he is happy to allow the witch trials to condemn innocent people,
so that his niece’s name and his name will be spared. He cares more about himself
than others.
15.6 The actress should reflect that Abigail is a proud and conceited character. She
should stand up straight, with a haughty manner and look Danforth straight in the
eye. Her vocal tone should be threatening / incredulous.
[Accept valid alternative responses.]
[The candidate’s response should be convincing in context.]
[Award 3 marks only if candidate refers to body language and tone, and includes a
justification.] (3)
15.7 A swamp is a dangerous, unpredictable place. It is a place that can trap you in such
a way that it is impossible to escape. In this way, Danforth implies that the arguments
now being presented can lead to dangerous consequences. He shows that he
realises the complexity of the situation as it stands.
21 of 24
15.8 Yes: He could easily have taken the easy way out and confessed to witchcraft.
However, he chooses to defend his name and die. He is prepared to sacrifice his life
for his honour and integrity. Elizabeth says she will not judge his decision, but she
says ‘I want you living John.’ However, he realises that his life will mean little if he is
not able to leave a legacy of integrity for his sons.
No: Proctor is trapped by the injustice of the situation he finds himself in. He bases
his decision on Rebecca and Giles’s upright examples. The witch trial is a symptom
of the hysteria of the time and the failure of theocracy; he is a victim of circumstance.
He has no choice but to die, as the power the girls now have over the church will
never allow him to prove his innocence.
[Award 4 marks for a well-substantiated discussion of at least two ideas.] (4)
[25]
TOTAL SECTION C: 25
GRAND TOTAL: 80
22 of 24
English Home Language: Poetry Essay (10)
Criteria Exceptional Skilful Moderate Elementary Inadequate
8-10 6-7 4-5 2-3 0-1
CONTENT -In-depth - Shows - Fair interpretation of - Unsatisfactory -No understanding of

interpretation of understanding and topic - Some good interpretation of the topic
Interpretation of topic. topic has interpreted topic points in support of topic. - Hardly any -No reference to the
Depth of argument, -Range of striking well. topic points in support poem -Learner has
justification and grasp arguments; - Fairly detailed - Some arguments of topic. not come to grips with
of text. extensively response -Sound supported, but - Inadequate genre and poem.
supported from poem arguments given, but evidence is not understanding of
6 MARKS -Excellent not all of them as always convincing. genre and poem.
understanding of well motivated as -Basic
genre and poem they could be. understanding of
-Understanding of genre and poem
genre and poem.
STRUCTURE -Coherent structure -Clear structure -Some - Structure - Poorly structured

AND -Arguments and logical flow of evidence of shows faulty -Serious language
LANGUAGE well-structured and argument structure planning errors and incorrect
clearly developed. -Flow of argument - Essay lacks a - Arguments style
Structure, logical flow -Language, tone and can be followed well-structured flow of not logically
and presentation. style mature, -Language, tone & logic and coherence. arranged -
Language, tone and impressive, correct style largely correct - Language errors Language
style used in the -Virtually error-free minor; tone and errors evident
essay grammar, spelling and style mostly - Inappropriate
punctuation appropriate tone & style
4 MARKS
NOTE: If a candidate has ignored the content completely and written a creative essay instead, award a 0 mark for both Content and Structure and Language.
23 of 24
English Home Language: Literature Essay (25)
Criteria Exceptional Skilful Moderate Elementary Inadequate

CONTENT 12-15 9-11 6-8 4-5 0-3
Outstanding response: Shows understanding and Mediocre interpretation of Scant interpretation of Very little understanding of
Interpretation of 14-15 has interpreted topic well. topic; not all aspects topic; hardly any aspects the topic
topic. Depth of Excellent response: 12-13 explored in detail explored in detail
argument, In-depth interpretation of Fairly detailed Some good points in Few points in support of Weak attempt to answer
justification and topic support of topic topic the question
Range of striking Some sound arguments, Some arguments Very little relevant Arguments not convincing
grasp of text.
arguments extensively but not all well motivated supported, but evidence is argument
supported from text. not always convincing.
15 MARKS Excellent understanding of Understanding of genre Partial understanding of Little understanding of Learner has not come to
genre and text and text evident. genre and text. genre and text grips with genre or text.
STRUCTURE 8-10 6-7 4-5 2-3 0-1
AND Coherent structure Clear structure & logical Some evidence of structure Structure shows faulty Lack of planned structure
LANGUAGE flow planning impedes flow
Excellent introduction Introduction & conclusion Logic and coherence Arguments not logically Language errors and
and conclusion & other paragraphs apparent, but flawed arranged. incorrect style make this an
Structure, logical
coherent unsuccessful piece of
flow and writing
presentation. Arguments well-structured Logical flow of argument Some language errors; Language errors Inappropriate tone &
Language, tone and clearly developed tone & style mostly evident. style
and style used in appropriate Inappropriate tone &
the essay style
Language, tone and Language, tone & style Paragraphing mostly Paragraphing faulty Paragraphing faulty
style mature, largely correct correct
10 MARKS
impressive, correct
NOTE: If a candidate has ignored the Content completely and written a creative essay instead, award a 0 mark for both Content and Structure and Language.
24 of 24

Prelim Exam Grade 12 Paper 2 MEMO

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TSHWANE SOUTH DISTRICT

ENGLISH HOME LANGUAGE GRADE 12

PRELIMINARY EXAMINATION 2023

This marking guideline consists of 24 pages.

QUESTION 1: POETRY – ESSAY QUESTION

IT’S A BEAUTEOUS EVENING, CALM AND FREE – William Wordsworth

[Credit alternative cogent responses on merit.]

QUESTION 2: POETRY – CONTEXTUAL QUESTION

THE MORNING SUN IS SHINING – Olive Schreiner

[Award 2 marks for one idea.] (2)

[Award 2 marks for two ideas.] (2)

[Award 1 mark for identification of mood and 2 marks for a well-developed

[Award 1 mark for understanding of statement and 2 marks for a well-substantiated

QUESTION 3: POETRY – CONTEXTUAL QUESTION

SHIPWRECK – Emily Dickenson

[Award 2 marks for one idea.] (2)

[Award 3 marks for two ideas well-discussed.] (3)

[Award 2 marks for two ideas.]

[Contrasting feelings must be discussed for full credit.] (2)

[Award 1 mark for understanding of statement and 2 marks for a well-substantiated

QUESTION 4: POETRY – CONTEXTUAL QUESTION

SOLITUDE – Ella Wheeler Cox

[Award 2 marks for one idea.] (2)

[Award 2 marks for one idea well-discussed.] (2)

[Award 3 marks for a clear understanding of the irony.] (3)

[Award 1 mark for understanding of statement and 2 marks for a well-substantiated

QUESTION 5: CONTEXTUAL QUESTION

NIGHTSONG – Dennis Brutus

5.1 The poem is addressed to the speaker’s city/country/home.

[Award 2 marks for one idea.] (2)

[Award 2 marks for two distinct ideas.]

[Candidates may also refer to the figurative/connotative meanings of cockroaches’

5.3 The speaker’s living environment is filled with harshness/cruelty/brutality and

QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION

QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION

[Ward 3 marks for three ideas.] (3)

[Award 3 marks for two ideas well-discussed.]

[Award 3 marks for two ideas well-discussed.] (3)

[Award 3 marks for two ideas well-discussed.] (3)

7.6 Dorian is upset/dismayed/troubled/distressed/unsettled at Harry’s refusal to take him

[Award 3 marks for three ideas or two ideas well-discussed.] (3)

[Award 4 marks for a well-developed response.]

[Candidates must make direct reference to the incident in the extract.]

THE LIFE OF PI – Yann Martel

QUESTION 8: THE LIFE OF PI – ESSAY QUESTION

QUESTION 9: THE LIFE OF PI – CONTEXTUAL QUESTION

[Award 3 marks only if contrasting moods are discussed.] (3)

[Award 3 marks only if irony is fully discussed.] (3)

[Accept valid alternative/mixed responses.]

[Award 4 marks for two ideas well-developed.] (4)

QUESTION 10: HAMLET – ESSAY QUESTION

QUESTION 11: HAMLET – CONTEXTUAL QUESTION

[Award 3 marks for three ideas.] (3)

[Award 3 marks for a complete description of the irony.] (3)

[Award 3 marks for two ideas well-discussed.] (3)

[Award 3 marks for three ideas.] (3)

[Award 4 marks for a well-developed response.]

[Candidates must make direct reference to the incident in the extract.]

[Candidates must make direct references to other parts of the drama.]

OTHELLO – William Shakespeare