Cambridge O Level: Literature in English 2010/12

Cambridge O Level
LITERATURE IN ENGLISH 2010/12

Paper 1 Poetry and Prose October/November 2023
1 hour 30 minutes
You must answer on the enclosed answer booklet.

* 0 7 7 6 7 1 6 5 4 2 *
You will need: Answer booklet (enclosed)
INSTRUCTIONS
● Answer two questions in total:
Section A: answer one question.
Section B: answer one question.
● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper,
ask the invigilator for a continuation booklet.
INFORMATION
● The total mark for this paper is 50.
● All questions are worth equal marks.
This document has 28 pages. Any blank pages are indicated.
DC (SK) 329977
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BLANK PAGE
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CONTENTS
Section A: Poetry
text question
numbers page[s]
Songs of Ourselves Volume 1: from Part 4 1, 2 pages 4–5

Songs of Ourselves Volume 2 : from Part 4 3, 4 pages 6–7
Ted Hughes: from New Selected Poems 5, 6 pages 8–11
Section B: Prose
text question
numbers page[s]
Chimamanda Ngozi Adichie: Purple Hibiscus 7, 8 pages 12–13

Charles Dickens: Great Expectations 9, 10 pages 14–15
Daphne du Maurier: Rebecca 11, 12 pages 16–17
Henry James: Washington Square 13, 14 pages 18–19
Jhumpa Lahiri: The Namesake 15, 16 pages 20–21
Joan Lindsay: Picnic at Hanging Rock 17, 18 pages 22–23
Yann Martel: Life of Pi 19, 20 page 24
from Stories of Ourselves Volume 2 21, 22 pages 26–27
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SECTION A: POETRY
Answer one question from this section.
SONGS OF OURSELVES VOLUME 1: from Part 4
Remember to support your ideas with details from the writing.
Either 1 Read this poem, and then answer the question that follows it:
On Finding a Small Fly Crushed in a Book
Some hand, that never meant to do thee hurt,

Has crushed thee here between these pages pent;
But thou has left thine own fair monument,
Thy wings gleam out and tell me what thou wert:
Oh! that the memories, which survive us here, 5
Were half as lovely as these wings of thine!
Pure relics of a blameless life, that shine
Now thou art gone. Our doom is ever near:
The peril is beside us day by day;
The book will close upon us, it may be, 10
Just as we lift ourselves to soar away
Upon the summer-airs. But, unlike thee,
The closing book may stop our vital breath,
Yet leave no lustre on our page of death.
(Charles Tennyson Turner)
In what ways does Turner strikingly convey the speaker’s emotions in this poem?
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5
Or 2 Explore the ways in which Stevenson makes The Spirit is too Blunt an Instrument such a
fascinating poem.
The Spirit is too Blunt an Instrument
The spirit is too blunt an instrument
Content removed due to copyright restrictions.
and their pain.
(Anne Stevenson)

6
SONGS OF OURSELVES VOLUME 2: from Part 4
from An Essay on Criticism
A little learning is a dangerous thing;

Drink deep, or taste not the Pierian spring:
There shallow draughts intoxicate the brain,
And drinking largely sobers us again.
Fired at first sight with what the Muse imparts, 5
In fearless youth we tempt the heights of Arts;
While from the bounded level of our mind
Short views we take, nor see the lengths behind,
But, more advanced, behold with strange surprise
New distant scenes of endless science rise! 10
So pleased at first the towering Alps we try,
Mount o’er the vales, and seem to tread the sky;
The eternal snows appear already past,
And the first clouds and mountains seem the last:
But those attained, we tremble to survey 15
The growing labours of the lengthened way;
The increasing prospect tires our wandering eyes,
Hills peep o’er hills, and Alps on Alps arise!
(Alexander Pope)
How does Pope vividly convey his thoughts and feelings in this poem?
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Or 4 In what ways does Browning make Love in a Life such a memorable poem?
Love in a Life
I
Room after room,
I hunt the house through
We inhabit together.
Heart, fear nothing, for, heart, thou shalt find her – 5
Next time, herself! – not the trouble behind her
Left in the curtain, the couch’s perfume!
As she brushed it, the cornice-wreath blossomed anew:
Yon looking-glass gleamed at the wave of her feather.
II 10
Yet the day wears,
And door succeeds door;
I try the fresh fortune –
Range the wide house from the wing to the centre.
Still the same chance! she goes out as I enter. 15
Spend my whole day in the quest, – who cares?
But ’t is twilight, you see, – with such suites to explore,
Such closets to search, such alcoves to importune!
(Robert Browning)

8
TED HUGHES: from New Selected Poems
Roe-Deer
In the dawn-dirty light, in the biggest snow of the year
Back to the ordinary.
How does Hughes memorably convey his experience of seeing the roe-deer?
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9
TURN OVER FOR QUESTION 6

10
Or 6 In what ways does Hughes movingly convey strong emotions in Anniversary?
Anniversary
My mother in her feathers of flame
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11
Able for all that distance to think me him.

12
SECTION B: PROSE
Answer one question from this section.
CHIMAMANDA NGOZI ADICHIE: Purple Hibiscus
Either 7 Read this passage, and then answer the question that follows it:
Father Amadi’s car smelled like him, a clean scent that made me think
of a clear azure sky.
‘You run too fast,’ I said, panting.

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In what ways does Adichie make this such a memorable moment in the novel?
Or 8 Explore the ways in which Adichie makes you feel sorry for Jaja.

14
CHARLES DICKENS: Great Expectations
But, it was only the pleasanter to turn to Biddy and to Joe, whose great
forbearance shone more brightly than before, if that could be, contrasted
with this brazen pretender. I went towards them slowly, for my limbs were
weak, but with a sense of increasing relief as I drew nearer to them, and a
sense of leaving arrogance and untruthfulness further and further behind. 5
The June weather was delicious. The sky was blue, the larks were
soaring high over the green corn, I thought all that country-side more
beautiful and peaceful by far than I had ever known it to be yet. Many
pleasant pictures of the life I would lead there, and of the change for the
better that would come over my character when I had a guiding spirit at my 10
side whose simple faith and clear home-wisdom I had proved, beguiled my
way. They awakened a tender emotion in me; for, my heart was softened
by my return, and such a change had come to pass, that I felt like one who
was toiling home barefoot from distant travel, and whose wanderings had
lasted many years. 15
The schoolhouse where Biddy was mistress, I had never seen; but,
the little roundabout lane by which I entered the village for quietness’ sake,
took me past it. I was disappointed to find that the day was a holiday; no
children were there, and Biddy’s house was closed. Some hopeful notion
of seeing her busily engaged in her daily duties, before she saw me, had 20
been in my mind and was defeated.
But, the forge was a very short distance off, and I went towards it
under the sweet green limes, listening for the clink of Joe’s hammer. Long
after I ought to have heard it, and long after I had fancied I heard it and
found it but a fancy, all was still. The limes were there, and the white thorns 25
were there, and the chestnut-trees were there, and their leaves rustled
harmoniously when I stopped to listen; but, the clink of Joe’s hammer was
not in the midsummer wind.
Almost fearing, without knowing why, to come in view of the forge,
I saw it at last, and saw that it was closed. No gleam of fire, no glittering 30
shower of sparks, no roar of bellows; all shut up, and still.
But, the house was not deserted, and the best parlour seemed to be in
use, for there were white curtains fluttering in its window, and the window
was open and gay with flowers. I went softly towards it, meaning to peep
over the flowers, when Joe and Biddy stood before me, arm in arm. 35
At first Biddy gave a cry, as if she thought it was my apparition, but in
another moment she was in my embrace. I wept to see her, and she wept
to see me; I, because she looked so fresh and pleasant; she, because I
looked so worn and white.
‘But dear Biddy, how smart you are!’ 40
‘Yes, dear Pip.’
‘And Joe, how smart you are!’
‘Yes, dear old Pip, old chap.’
I looked at both of them, from one to the other, and then —
‘It’s my wedding day,’ cried Biddy, in a burst of happiness, ‘and I am 45
married to Joe!’
(from Chapter 58)
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15
How does Dickens vividly convey Pip’s thoughts and feelings at this moment in the
novel?
Or 10 In what ways does Dickens memorably portray Herbert Pocket’s friendship with Pip?

16
DAPHNE DU MAURIER: Rebecca
‘Why didn’t you tell me about this before?’
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‘No, I’m asking you to marry me, you little fool.’
(from Chapter 6)
How does du Maurier make this such a memorable moment in the novel?
Or 12 In what ways does du Maurier make Manderley such a fascinating setting?

18
HENRY JAMES: Washington Square
‘We must do our duty,’ she said; ‘we must speak to my father. I will do
it to-night; you must do it to-morrow.’
‘It is very good of you to do it first,’ Morris answered. ‘The young man
– the happy lover – generally does that. But just as you please!’
It pleased Catherine to think that she should be brave for his sake, 5
and in her satisfaction she even gave a little smile. ‘Women have more
tact,’ she said; ‘they ought to do it first. They are more conciliating; they
can persuade better.’
‘You will need all your powers of persuasion. But after all,’ Morris
added, ‘you are irresistible.’ 10
‘Please don’t speak that way – and promise me this. Tomorrow, when
you talk with father, you will be very gentle and respectful.’
‘As much so as possible,’ Morris promised. ‘It won’t be much use, but
I shall try. I certainly would rather have you easily than have to fight for
you.’ 15
‘Don’t talk about fighting; we shall not fight.’
‘Ah, we must be prepared,’ Morris rejoined; ‘you especially, because
for you it must come hardest. Do you know the first thing your father will
say to you?’
‘No, Morris; please tell me.’ 20
‘He will tell you I am mercenary.’
‘Mercenary?’
‘It’s a big word; but it means a low thing. It means that I am after your
money.’
‘Oh!’ murmured Catherine, softly. 25
The exclamation was so deprecating and touching that Morris
indulged in another little demonstration of affection. ‘But he will be sure to
say it,’ he added.
‘It will be easy to be prepared for that,’ Catherine said. ‘I shall simply
say that he is mistaken – that other men may be that way, but that you are 30
not.’
‘You must make a great point of that, for it will be his own great point.’
Catherine looked at her lover a minute, and then she said, ‘I shall
persuade him. But I am glad we shall be rich,’ she added.
Morris turned away, looking into the crown of his hat. ‘No, it’s a 35
misfortune,’ he said at last. ‘It is from that our difficulty will come.’
‘Well, if it is the worst misfortune, we are not so unhappy. Many people
would not think it so bad. I will persuade him, and after that we shall be
very glad we have money.’
Morris Townsend listened to this robust logic in silence. ‘I will leave 40
my defence to you; it’s a charge that a man has to stoop to defend himself
from.’
Catherine on her side was silent for a while; she was looking at him
while he looked, with a good deal of fixedness, out of the window. ‘Morris,’
she said, abruptly, ‘are you very sure you love me?’ 45
He turned round, and in a moment he was bending over her. ‘My own
dearest, can you doubt it?’
‘I have only known it five days,’ she said; ‘but now it seems to me as if
I could never do without it.’
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‘You will never be called upon to try!’ And he gave a little tender, 50
reassuring laugh. Then, in a moment, he added, ‘There is something you
must tell me, too.’ She had closed her eyes after the last word she uttered,
and kept them closed; and at this she nodded her head, without opening
them. ‘You must tell me’, he went on, ‘that if your father is dead against
me, if he absolutely forbids our marriage, you will still be faithful.’ 55
Catherine opened her eyes, gazing at him, and she could give no
better promise than what he read there.
‘You will cleave to me?’ said Morris. ‘You know you are your own
mistress – you are of age.’
‘Ah, Morris!’ she murmured, for all answer. Or rather not for all; for 60
she put her hand into his own. He kept it awhile, and presently he kissed
her again. This is all that need be recorded of their conversation; but Mrs
Penniman, if she had been present, would probably have admitted that
it was as well it had not taken place beside the fountain in Washington
Square. 65
(from Chapter 10)
In what ways does James vividly portray Morris at this moment in the novel?
Or 14 Explore how James strikingly portrays Mrs Penniman’s relationship with Catherine.

20
JHUMPA LAHIRI: The Namesake
At dinner Gogol meets her father, a tall, good-looking man with

luxuriant white hair, Maxine’s pale green-gray eyes, thin rectangular
glasses perched halfway down his nose.
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21
They have never known a

person who has been to Calcutta.
(from Chapter 6)
In what ways does Lahiri vividly portray Gogol/Nikhil at this moment in the novel?
Or 16 Explore the ways in which Lahiri makes Moushumi such a striking character.

22
JOAN LINDSAY: Picnic at Hanging Rock
Miranda tossed back her straight corn-coloured hair, smiling and

waving at a pale little pointed face looking dejectedly down at the animated
scene below.
With his kindly shrewd blue eyes and cheeks perpetually

blooming like the Mount Macedon rose gardens, he was a prime favourite
with everyone in the district; even Mrs Appleyard called him her ‘good
man’ and enjoyed graciously inviting him into her study for a glass
of sherry …
(from Chapter 1)
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In what ways does Lindsay make this a revealing and significant moment in the novel?
Or 18 How does Lindsay strikingly portray Irma’s relationship with Mike?

24
YANN MARTEL: Life of Pi
Richard Parker’s head was barely above water.
I turned around, stepped over the zebra and threw myself overboard.
(from Chapter 37)
In what ways does Martel make this such an entertaining moment in the novel?
Or 20 Explore how Martel strikingly depicts Pi’s experiences on the meerkat island.
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TURN OVER FOR QUESTION 21.

26
from STORIES OF OURSELVES Volume 2
Either 21 Read this passage from Thank You M’am (by Langston Hughes), and then answer the
question that follows it:
She was a large woman with a large purse that had everything in it but a
hammer and nails. It had a long strap, and she carried it slung across her
shoulder. It was about eleven o’clock at night, dark, and she was walking
alone, when a boy ran up behind her and tried to snatch her purse. The
strap broke with the sudden single tug the boy gave it from behind. But the 5
boy’s weight and the weight of the purse combined caused him to lose his
balance. Instead of taking off full blast as he had hoped, the boy fell on
his back on the sidewalk and his legs flew up. The large woman simply
turned around and kicked him right square in his blue-jeaned sitter. Then
she reached down, picked the boy up by his shirt front, and shook him until 10
his teeth rattled.
After that the woman said, ‘Pick up my pocketbook, boy, and give it
here.’
She still held him tightly. But she bent down enough to permit him to
stoop and pick up her purse. Then she said, ‘Now ain’t you ashamed of 15
yourself?’
Firmly gripped by his shirt front, the boy said, ‘Yes’m.’
The woman said, ‘What did you want to do it for?’
The boy said, ‘I didn’t aim to.’
She said, ‘You a lie!’ 20
By that time two or three people passed, stopped, turned to look, and
some stood watching.
‘If I turn you loose, will you run?’ asked the woman.
‘Yes’m,’ said the boy.
‘Then I won’t turn you loose,’ said the woman. She did not release 25
him.
‘Lady, I’m sorry,’ whispered the boy.
‘Um-hum! Your face is dirty. I got a great mind to wash your face for
you. Ain’t you got nobody home to tell you to wash your face?’
‘No’m,’ said the boy. 30
‘Then it will get washed this evening,’ said the large woman, starting
up the street, dragging the frightened boy behind her.
He looked as if he were fourteen or fifteen, frail and willow-wild, in
tennis shoes and blue jeans.
The woman said, ‘You ought to be my son. I would teach you right 35
from wrong. Least I can do right now is to wash your face. Are you hungry?’
‘No’m,’ said the being-dragged boy. ‘I just want you to turn me loose.’
‘Was I bothering you when I turned that corner?’ asked the woman.
‘No’m.’
‘But you put yourself in contact with me,’ said the woman. ‘If you 40
think that that contact is not going to last awhile, you got another thought
coming. When I get through with you, sir, you are going to remember Mrs
Luella Bates Washington Jones.’
Sweat popped out on the boy’s face and he began to struggle. Mrs
Jones stopped, jerked him around in front of her, put a half nelson about 45
his neck, and continued to drag him up the street. When she got to her
door, she dragged the boy inside, down a hall, and into a large kitchenette-
furnished room at the rear of the house. She switched on the light and left
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27
the door open. The boy could hear other roomers laughing and talking in
the large house. Some of their doors were open, too, so he knew he and 50
the woman were not alone. The woman still had him by the neck in the
middle of her room.
She said, ‘What is your name?’
‘Roger,’ answered the boy.
‘Then, Roger, you go to that sink and wash your face,’ said the woman, 55
whereupon she turned him loose–at last. Roger looked at the door–looked
at the woman–looked at the door–and went to the sink.
How does Hughes make this such an entertaining opening to the story?
Or 22 Explore the ways in which Afolabi portrays the marriage of Mr and Mrs Mahmood in Mrs
Mahmood.
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28
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Cambridge O Level

LITERATURE IN ENGLISH 2010/12

You must answer on the enclosed answer booklet.

You will need: Answer booklet (enclosed)

This document has 28 pages. Any blank pages are indicated.

© UCLES 2023 2010/12/O/N/23

Songs of Ourselves Volume 1: from Part 4 1, 2 pages 4–5

Chimamanda Ngozi Adichie: Purple Hibiscus 7, 8 pages 12–13

© UCLES 2023 2010/12/O/N/23 [Turn over

Answer one question from this section.

SONGS OF OURSELVES VOLUME 1: from Part 4

Remember to support your ideas with details from the writing.

On Finding a Small Fly Crushed in a Book

Some hand, that never meant to do thee hurt,

(Charles Tennyson Turner)

© UCLES 2023 2010/12/O/N/23

The Spirit is too Blunt an Instrument

The spirit is too blunt an instrument

Content removed due to copyright restrictions.

and their pain.

© UCLES 2023 2010/12/O/N/23 [Turn over

SONGS OF OURSELVES VOLUME 2: from Part 4

Remember to support your ideas with details from the writing.

from An Essay on Criticism

A little learning is a dangerous thing;

© UCLES 2023 2010/12/O/N/23

© UCLES 2023 2010/12/O/N/23 [Turn over

TED HUGHES: from New Selected Poems

Remember to support your ideas with details from the writing.

In the dawn-dirty light, in the biggest snow of the year

Content removed due to copyright restrictions.

Back to the ordinary.

© UCLES 2023 2010/12/O/N/23

TURN OVER FOR QUESTION 6

© UCLES 2023 2010/12/O/N/23 [Turn over

Or 6 In what ways does Hughes movingly convey strong emotions in Anniversary?

My mother in her feathers of flame

Content removed due to copyright restrictions.

© UCLES 2023 2010/12/O/N/23

Content removed due to copyright restrictions.

Able for all that distance to think me him.

© UCLES 2023 2010/12/O/N/23 [Turn over

Answer one question from this section.

CHIMAMANDA NGOZI ADICHIE: Purple Hibiscus

Remember to support your ideas with details from the writing.

Content removed due to copyright restrictions.

‘You run too fast,’ I said, panting.

© UCLES 2023 2010/12/O/N/23 [Turn over

CHARLES DICKENS: Great Expectations

Remember to support your ideas with details from the writing.

(from Chapter 58)

© UCLES 2023 2010/12/O/N/23

© UCLES 2023 2010/12/O/N/23 [Turn over

DAPHNE DU MAURIER: Rebecca

Remember to support your ideas with details from the writing.

‘Why didn’t you tell me about this before?’

Content removed due to copyright restrictions.

© UCLES 2023 2010/12/O/N/23

‘No, I’m asking you to marry me, you little fool.’