CAPE Literatures in English Syllabus Revised

Caribbean Advanced
Proficiency Examination®
SYLLABUS
LITERATURES IN ENGLISH
CXC A15/U2/22
Effective for examinations from May–June 2024

Correspondence related to the syllabus should be addressed to:
The Pro-Registrar
Caribbean Examinations Council
Caenwood Centre
37 Arnold Road, Kingston 5, Jamaica
Telephone Number: + 1 (876) 630-5200

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Copyright ©2022 by Caribbean Examinations Council

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CXC A15/U2/22 www.cxc.org

Contents
INTRODUCTION ............................................................................................................................. i
RATIONALE................................................................................................................................... 1
AIMS............................................................................................................................................ 2
SKILLS AND ABILITIES TO BE ASSESSED ........................................................................................... 2
PREREQUISITES OF THE SYLLABUS ................................................................................................. 3
AREAS OF STUDY .......................................................................................................................... 4
GENERAL OBJECTIVES ................................................................................................................... 4
STRUCTURE OF THE SYLLABUS....................................................................................................... 5
APPROACHES TO TEACHING THE SYLLABUS .................................................................................... 5
RESOURCES .................................................................................................................................. 6
UNIT 1 AND UNIT 2 ....................................................................................................................... 7
MODULE 1: DRAMA .......................................................................................................... 7
MODULE 2: POETRY ........................................................................................................ 17
MODULE 3: PROSE FICTION ............................................................................................. 28
PRESCRIBED TEXTS – UNIT 1 ........................................................................................................ 36
PRESCRIBED TEXTS – UNIT 2 ........................................................................................................ 37
OUTLINE OF ASSESSMENT ........................................................................................................... 38
REGULATIONS FOR PRIVATE CANDIDATES .................................................................................... 53
REGULATIONS FOR RESIT CANDIDATES ........................................................................................ 53
ASSESSMENT GRID...................................................................................................................... 54
GLOSSARY OF LITERARY CONCEPTS OFTEN USED IN THE CAPE® LITERATURES IN ENGLISH
EXAMINATION............................................................................................................................ 55
GLOSSARY OF BEHAVIOURAL VERBS USED IN THE CAPE® LITERATURES IN ENGLISH
EXAMINATIONS .......................................................................................................................... 59
APPENDIX I ................................................................................................................................. 61
PRESCRIBED POEMS FOR UNIT 1.................................................................................................. 61
APPENDIX II ................................................................................................................................ 62
PRESCRIBED POEMS FOR UNIT 2.................................................................................................. 62

NOTE TO TEACHERS AND LEARNERS
Please note that the syllabus has been revised and amendments are indicated by italics.
First issued in 2001

Revised 2005, 2010, 2017, 2022
Please check the website www.cxc.org for updates on CXC®’s syllabuses.
For access to short courses, training opportunities and teacher orientation webinars and workshops
go to our Learning Institute at https://cxclearninginstitute.org/
PLEASE NOTE
This icon is used throughout the syllabus to represent key features which teachers and
learners may find useful.

 nIntroduction
T he Caribbean Advanced Proficiency Examination® (CAPE®) is designed to provide certification of

the academic, vocational and technical achievement of students in the Caribbean who, having
completed a minimum of five years of secondary education, wish to further their studies. The
examinations address the skills and knowledge acquired by students under a flexible and articulated
system where subjects are organised in 1-Unit or 2-Unit courses with each Unit containing three
Modules. Subjects examined under CAPE® may be studied concurrently or singly.
The Caribbean Examinations Council offers three types of certifications at the CAPE® level. The first is
the award of a certificate showing each CAPE® Unit completed. The second is the CAPE® Diploma,
awarded to candidates who have satisfactorily completed at least six Units, including Caribbean
Studies. The third is the CXC® Associate Degree, awarded for the satisfactory completion of a
prescribed cluster of ten CAPE® Units including Caribbean Studies, Communication Studies and
Integrated Mathematics. Integrated Mathematics is not a requirement for the CXC® Associate Degree
in Mathematics. The complete list of Associate Degrees may be found in the CXC® Associate Degree
Handbook.
For the CAPE® Diploma and the CXC® Associate Degree, candidates must complete the cluster of
required Units within a maximum period of five years. To be eligible for a CXC® Associate Degree, the
educational institution presenting the candidates for the award, must select the Associate Degree of
choice at the time of registration at the sitting (year) the candidates are expected to qualify for the
award. Candidates will not be awarded an Associate Degree for which they were not registered.

Literatures in English Syllabus
 RATIONALE
Literature is arguably the most vital register of the major ideas, concerns, feelings, aspirations, and
hopes of the communities out of which it comes. To know literature is, therefore, to be familiar with
the communities that have produced it. To be familiar with communities is to understand how they
resemble each other and how they differ from each other; that is, to understand the uniqueness of
each. In a rapidly shrinking world this understanding becomes increasingly crucial and urgent as each
community sees itself, on the one hand, as part of a large human family and, on the other, as a unique
cultural context. Mediating between the community and literature is the artist who interprets facets
of the life of the community in imaginative structures. These structures encompass the personal,
social, and the universal; consequently, the study of literature promotes understanding of both the
individual and mankind in general.
Nothing that is human is foreign to literature, because literature participates with other disciplines in
commenting on, clarifying, and enhancing the human condition. To study literature, therefore, is to
understand how the human imagination, the creative faculty, works as it responds to diverse
experiences.
Through its varied treatment of the facets of human experience and the use of a student-centred
approach, literature uniquely prepares individuals for living and working in the world. The study of
Literature facilitates individuals’ development of advanced literacy skills through analytical,
organisational, and communicative enquiry, as defined in all five of the UNESCO Pillars of Learning.
These skills will enable individuals to succeed in their academic careers and the world of work.
Students of Literature become adults who appreciate that there is more than one solution to a
problem and engage their talents in collaboration with others to develop solutions. They will also
become critical thinkers who appreciate that the capacity to transform themselves and their society
is honed from within. Through the study of Literature students are encouraged to embrace change,
thus adaptation to a rapidly changing, technologically driven world is possible. These skills can lead to
their success in career opportunities in a variety of fields, including education, the media, human
resource management, corporate communications, advertising, law and other new and emerging
fields.
Literature is one of the disciplines that nurtures the Ideal Caribbean Person*. Students who pursue
Literature develop an appreciation for all other disciplines, as the study of texts provides insight into
the human condition in every facet of life. Students of Literature engage their creative faculties in their
response to, and examination of, varied experiences. Their interpretation of experiences helps them
to gain a respect for human life since literary study is the foundation on which all other desired values
must rest. As students of Literature gain an informed respect for global cultural heritage, they readily
identify the importance of development in the economic, technological and entrepreneurial spheres
in all other areas of life. Most importantly, students of Literature understand that diversity is the
hallmark of our humanity.
__________________
*The Ideal Caribbean Person is outlined in The Caribbean Education Strategy (2000).
CXC A15/U2/22 1 www.cxc.org

 AIMS
The syllabus aims to:
1. develop an understanding of the nature, function and terminology used in literature;
2. develop a systematic and theoretical approach to literary study;
3. encourage critical reading, interpretation, analysis and evaluation;
4. explore connections across texts;
5. encourage an understanding that there are various acceptable interpretations which can be
justified in a literary work;
6. nurture a lifelong love and appreciation of and an informed personal response to literature;
7. sensitise individuals to the needs and concerns of self, and of collaborating with peers, and
the larger community; and,
8. integrate information, communication and technological (ICT) tools and skills to present
literary analysis.
 SKILLS AND ABILITIES TO BE ASSESSED

The skills and abilities which students are expected to have developed on completion of this syllabus
are grouped under three main headings:
1. Knowledge and Understanding;
2. Use of Knowledge; and,
3. Organisation of Information.
Knowledge and Understanding
The Assessment will test:
1. familiarity with the primary (prescribed) texts;
2. familiarity with secondary sources: critical, historical, social, philosophical, biographical and
contextual;
3. familiarity with the features of genres;
4. familiarity with, and the proper use of the vocabulary specific to genres; and,
5. understanding of the relationship between form and content within genres – regardless of
issue(s) presented in the specific question, candidates must engage with relevant techniques
used to convey meaning.

Use of Knowledge
The Assessment will test:
1. the ability to analyse, evaluate, and synthesise knowledge;
2. the ability to write a clear thesis, select appropriate evidence and use sound logic;
3. the ability to analyse and evaluate the effectiveness of the relationship between form and
content;
4. the appropriateness of the information selected; and,
5. the ability to present a reasonable conclusion based on evidence provided.
Organisation of Information
The Assessment will test the effective use of the mechanics of language and the organization of an
extended essay comprising:
1. the opening paragraph with a clear thesis which introduces main points of argument;
2. body paragraphs which develop the points outlined in the opening paragraph;
3. the final paragraph which brings the argument to a reasonable conclusion;
4. connectives between sentences and paragraphs;
5. formal syntactic structures;
6. correct grammar; and,
7. effective use of language.
 PREREQUISITES OF THE SYLLABUS

Any person with a good grasp of the Caribbean Secondary Education Certificate ( CSEC®) English B
syllabus, or its equivalent, should be able to pursue the course of study defined by this syllabus. In
addition, successful participation in the course of study will depend on the possession of good oral and
written communication skills.

 AREAS OF STUDY
The areas of study for Unit 1 and Unit 2 are indicated in the following table.
Module 1 Module 2 Module 3

Drama Poetry Prose Fiction
Unit 1 1. Shakespeare 1. British 1. Caribbean AND
(a) Comedies 2. American 2. British OR American OR
(b) Histories 3. Postcolonial Postcolonial (other
than Caribbean)
Unit 2 1. Shakespeare Caribbean Poetry 1. British
(a) Tragedies 2. American
(b) Romances/Tragi- 3. Postcolonial
comedies
2. Modern Drama
 GENERAL OBJECTIVES
On completion of each Unit, students should:
1. develop a sensitivity to the ways in which writers manipulate language to convey meaning;
2. develop an appreciation for the relationship between form and content;
3. understand and demonstrate an ability to use the vocabulary of literary criticism at an

appropriate level;
4. understand the differences in style and structure among the literary genres;
5. develop the ability to critique works of different genres written in different periods from
different cultures;
6. develop competence in critical thinking and working collaboratively with others;
7. develop informed, sensitive, and balanced responses to the complexity of the human
condition as portrayed in literary works;
8. develop the ability to discern and grasp attitudes, values, feelings, and ideas illustrated in
different literary works;
9. develop the ability to write coherent, well-reasoned and referenced argumentative essays;
10. develop the ability to present informed and analytical ideas on literature using Information
and Communication Technologies (ICTs); and,
11. develop an appreciation for various critical interpretations of works of literature.

 STRUCTURE OF THE SYLLABUS
The CAPE® Literatures in English syllabus comprises two Units, each containing three Modules
corresponding to the three literary genres: Drama, Poetry, and Prose Fiction. These Modules are
synonymous with the profile dimensions to be assessed. These Modules may be studied in any order.
Each Unit incorporates the subject core which comprises the knowledge and understanding derived
from a range of readings, concepts and skills in literary study, and related assessment objectives. The
core comprises four texts drawn from a range of historical periods between 1370 and the present day.
All prescribed core texts are works originally written in English. The core requires students to study,
at least, the following:
1. one play by Shakespeare;
2. one work of Caribbean literature;
3. one work of poetry; and,
4. one work of prose fiction.
Each Unit requires a study of a minimum of four texts, as shown in the Areas of Study.
Students are expected to spend at least 50 hours on each Module.
 APPROACHES TO TEACHING THE SYLLABUS

The study of Literature requires wide reading; those who read most widely are likely to do best.
Teachers, therefore, should encourage students to read as much as possible. They should encourage
students to read more than the required texts. Knowledge of texts other than those prescribed always
helps.
Teachers should advise students on the selection and use of information available on the Internet.
Since this material is uneven in quality and usefulness, teachers should guide students in choice and
use. Teachers should also refer students often to the Glossary of Literary Concepts Often Used in the
CAPE® Literatures in English Examination found on pages 55-58 to support and extend their learning.
Similarly, teachers, wherever possible, should encourage the use of film and audio material as avenues
to the better understanding of the texts. Teachers should always encourage critical appraisals of media
material. This constitutes a valuable teaching resource. It is imperative, though, that teachers remind
students that film, performance and audio recording ought not be used as a substitute for the text.
The examination tests primarily the knowledge and understanding of the prescribed texts.
Development of facility in writing is incremental; the more often students write the more proficient
they become at writing. Therefore, teachers should afford students ample opportunity to enhance
their proficiency in the writing of coherent argumentative essays.
The list of elements and concepts under Content in each Module is not exhaustive. Each is meant to
be an adequate guide to the study of literature at this level.

 RESOURCES
(for use throughout the Units)
Beach, R., Appleman, D, Teaching Literature to Adolescents. Routledge, 2021.

Fecho, B. and Simon, R.
Blackwell Anthologies Literary Theory: An Anthology, 3rd Edition. Wiley-Blackwell, 2017.
Cambridge The Cambridge Introduction to Narrative (Cambridge Introduction to

Literature), 3rd Edition. Cambridge University Press, 2020.
Culler, J. Literary Theory: A very Short Introduction, 2nd Edition. Oxford: 2011.
Eagleton, T. How to Read Literature. Yale University Press, 2013.
Hynds, S., Wilhelm, J. & Teaching Language and Literacy: Policies and Procedures for Vernacular
Craig, D. R. Situations. Ian Randle Publishers, 2006.
Griffith, K. Writing Essays about Literature: A Guide and Style Sheet, 9th Edition.
Thomson Wadsworth, 2014.
Kusch, C. Literary Analysis: The Basics. Routledge, 2016.
Lazar, G. Literature and Language Teaching: A Guide for Teachers and Trainers.
University Press, 1993.
Mickics, D. A New Handbook of Literary Terms. Yale University Press, 2013.
Mirriam-Webster Merriam Webster’s Readers Handbook. Massachusetts: Merriam-

Webster Inc., 1999.
Roxema, R. & Webb, A. Literature and the Web: Reading and Responding with New Technologies.
Heinemann, 2008.
Warrican, S. J., and Strategies for the Teaching of Reading and Writing: A Practical Guide for
Spencer-Ernandez, J. Teachers of Caribbean Children. Joint Board of Teacher Education
Foundation, University of the West Indies, 2006.

 UNIT 1 AND UNIT 2
MODULE 1: DRAMA
The word ‘theatre’ comes from the Greek word “theatron” meaning “a place of watching”. The
evaluation and analysis of Drama as an art-form require that the student as a critic be considerate of
the way that the written script will be performed. Drama is mimetic by design, intended to
communicate by showing or revealing more than it does by telling viewers what is happening.
Students assess what the scriptwriter is employing to make his or her creation something that will
enthrall and intrigue as it is performed. Students must be mindful of the unique social, visual and
aural nature of drama as it helps to develop teamwork, collaboration, improves verbal and
nonverbal communication skills, promotes self-understanding, and introspection. Plays are meant
to be performed, and as such, students would benefit from an approach which pays close attention
to the playwright’s stagecraft and the use of elements and features which are specific to this genre.
GENERAL OBJECTIVES
On completion of this Module, students should:

appropriate level;
different cultures;

UNIT 1 AND UNIT 2
MODULE 1: DRAMA (cont’d)
SPECIFIC OBJECTIVES CONTENT
Students should be able to:

For both Unit 1 and Unit 2, the focus of
study should include the following:
1. explain how meaning is conveyed Features and elements of the sub-genres

through the features and elements that can be identified in: Shakespearean
of the chosen sub-genre; and Modern Drama.
(a) Comedy.
(b) History.
(c) Tragedy.
(d) Romance.
(e) Tragi-comedy.
(f) Theatre of the Absurd.
(g) Satire.
(h) Farce.
(i) Melodrama.
2. assess how meaning is expressed (a) Choice of language supports the

through a playwright’s or sub-genres, as well as the stylistic
playwrights’ choice of language, and linguistic choices of a
literary devices and the use of
playwright, for dramatic effect.
structural elements and features of
drama; Carefully consider, for example,
how the effective use of the
following may create or impact
meaning:
(i) diction (word choice);
(ii) theme;
(iii) characterisation;
(iv) mood;

UNIT 1 AND UNIT 2
(v) attitude (playwrights’ or

characters’);
(vi) tone; and,
(vii) humour.
(b) Literary devices:
(i) Imagery (please see

glossary);
(ii) Intertextuality;
(iii) motif;
(iv) symbolism;
(v) dramatic and tragic irony;
(vi) juxtaposition;
(vii) simile;
(viii) metaphor;
(ix) alliteration;
(x) hyperbole;
(xi) litotes;
(xii) euphemism;
(xiii) pun;
(xiv) metonymy;
(xv) paradox;
(xvi) oxymoron;
(xvii) onomatopoeia;

UNIT 1 AND UNIT 2
(xviii) repetition (different

types); and,
(xix) other literary devices.
(c) Structural elements of drama:
(i) act;
(ii) scene;
(iii) exposition;
(iv) conflict;
(v) complication;
(vi) climax;
(vii) denouement
(unravelling/resolution
of the plot);
(viii) peripeteia (reversal of

fortune);
(ix) characterisation:
- protagonist and
antagonist;
(x) main plot, subplot; and,
(xi) suspense.
(d) Features of drama:
(i) monologue;
(ii) dialogue;
(iii) soliloquy;
(iv) aside;

UNIT 1 AND UNIT 2
(v) set;
(vi) stage direction;
(vii) stage conventions:
- costume;
- lighting;
- sound effects;
- movement
(stage motion,
entrance, exit);
- stage position
(centre stage,
upstage,
downstage);
- backdrops; and,
- props.
(viii) stage action;
(ix) chorus;
(x) dramatic unities (time,

place and action); and,
(xi) disguise.
3. analyse the contexts in which the Literary context can be varied and wide-
chosen plays are written; ranging, to include:
(a) social;
4. examine how meaning is affected
by context;
(b) historical;

UNIT 1 AND UNIT 2
(a) political;
(b) religious;
(c) ethnic;
(d) moral;
(e) ideological;
(f) cultural;
(g) physical;
(h) psychological; and,
(i) biographical.
5. evaluate their own views and the Views of different critics, including those
views of critics; with opposing views.
Critics can be evaluated on the basis of

their authority, currency, accuracy,
relevance, objectivity, coverage.
Integrate views of critics to generate an

informed, personal response to the text.
6. write informed and original Issues explored through drama.

independent opinions and
judgements about the issues
explored in the chosen plays; and,
7. use available information and ICTs could include, but are not limited to,
communication technologies (ICTs) PowerPoints, vlogs, blogs, WebQuests,
to present views about issues videos.
explored in chosen plays.

UNIT 1 AND UNIT 2
Suggested Teaching and Learning Activities
To facilitate students’ attainment of the objectives of this Module, teachers are advised to engage
students in the teaching and learning activities listed below.
1. Encourage students to read the plays on their own and formulate personal responses to the
plays.
2. Take students on a virtual or face-to-face tour of a local theatre where they can acquaint
themselves with various features of the theatre environment.
3. Allow students to view and discuss documentaries and movies about the time in which the
texts were written in order to develop greater awareness of their context.
4. Engage students in KWL activity to find out what they know about the genre and sub-genres,
what they want to know, and what they have learnt.
5. Invite persons involved in theatre, such as local actors and directors to make presentations on
different aspects of drama, for example, the importance of costumes, lighting, and the use of
stage props.
6. Show film versions or video recordings of the plays under study and critically evaluate how
these can alter, modify, or enhance students’ understanding and appreciation of the plays.
7. View and critically appraise a live performance.
8. Put on a live performance of one of the plays, allowing students to work in groups to perform
specific functions (for example, creating props; managing lighting and sound effects; directing
the drama; acting; creating costumes) that would be required for putting on a play in the real-
world context.
9. Engage students in different types of role playing such as court cases, talk show sessions, hot
seating to reinforce the features and elements of drama.
10. Play audio recordings of the plays (where these are accessible) and critically evaluate how
these dramatic readings can alter, modify, or enhance students’ understanding of the plays.
11. Work in groups to create and record voiceovers of scenes in a play. Share these recordings
with the entire class for discussions around the effectiveness and appreciativeness of orality
and drama.
12. Provide introductory lectures on the cultural, social, and literary contexts in which the plays
were written.
13. Have students dramatise specific scenes in order to critically evaluate dramatic techniques
and elements in relation to themes and character development.

UNIT 1 AND UNIT 2
14. Arrange for dramatic readings of significant scenes to facilitate student participation and to
develop sensitivity to the performance aspect of drama (seeing the play as more than a text).
15. Encourage students to analyse dramatic works from different cultural and historical contexts.
16. Challenge students to use ICTs in innovative ways that stimulate discussion, for example,
through the creation of a multi-media portfolio, memes, vlogs, blogs and interviews about the
plays.
17. Encourage debates, discussions, oral presentations, and critical appraisals of key issues and
aspects of the plays.
18. Urge students to direct dramatic scenes. For example, students can watch the same scene of
a play in two or three different productions and based on their own reading of the play, debate
the merits of each director’s interpretation.
19. Encourage students to write dramatic pieces, dramatise and record them to gain deeper
appreciation of the genre. For example, students can write a dramatic monologue containing
the thoughts and feelings of a character in one scene from the play. As part of the process for
this, students can write a diary entry/entries based on the events of a particular scene.
20. Have students practise writing essays which show evidence of an understanding of the
vocabulary specific to drama, and which present and defend clear positions in response to
given stimuli.
21. Have students engage in debates about differing interpretations of a play, for example,
students can watch the same scene from two or three different productions (film versions)
and based on their own reading of the play debate the merits of each director’s interpretation.
22. Have students write evaluations of differing interpretations, providing evidence to support
their views. This could be done through different media, for example, blogging and
webcasting.
23. Have students form small groups and ask each group to identify textual evidence from their
own reading of the play to refute and/or defend in writing a selected statement from a critical
interpretation of a play.
24. Create a class website, blog, or vlog on which students’ personal responses to the plays are
posted for further online engagement and critical analyses (by peers or a wider audience).
25. Have students maintain a reading journal in which they record their ongoing reflections on
specific elements and/or features of the drama being studied. Reflections can centre on, for
example, the dramatic significance of a particular character, or the effects of shifts in the
plot/sub-plot, or the effects of particular props or stage directions.

UNIT 1 AND UNIT 2
26. Use graphic organisers to map out thematic concerns and structural techniques evident in two
plays. Afterwards, extend the graphical maps to create an essay that compares and contrasts
the two plays, paying attention to the themes and techniques/structure.
27. Have students interrogate texts or extratextual materials to identify any situation where
characters or writers may or may not have demonstrated the ability to perceive or manage
their emotions. In the event of the latter, have students suggest ways in which the character
or writer could have improved their response.
28. Select a scene from the text. Have students form groups of three. Each student will take on a
significant character from the scene. Tell each student s/he is a director for a production of the
play and must direct the character s/he has chosen from the scene. Let each student read
through the scene on their own and write down any directions s/he wants to give the actor
when they speak particular lines. Consider these in terms of how the actor might act, speak,
or use non-verbal communication.
The student must provide at least two examples of direction for each. In their groups, perform
a dramatic reading of the scene in which each student takes the part of the character to whom
they have given directions. Share with group members the reasons they made for each choice.
29. Give students an extract from or a brief example of a monologue. Have them read the extract
and identify any features of monologue.
30. Have students identify any motifs used in a scene and explain for each one what important
ideas might be communicated.
31. Have students create a social media page as one of the characters from the text being studied.
They will produce a specified number of posts on the social media page using a variety of media
such as text, images, video, memes, quotes and links to websites or articles. Students must
also provide a written document to justify their choice of posts and how it is closely inspired by
the characterisation provided in the primary text. For example, if a student creates a profile
for Othello, the titular character of Shakespeare's Tragedy, they can post comments about
heartbreak, cheating, interracial relationships, marriage, and how social barriers affect love.
RESOURCES
Abrams, M. H. and Harpham, A Glossary of Literary Terms. Cengage Learning, 2014.

G.G.
Gordon, R. How to Study a Play. London: Macmillan, 1991.
Noel, K. Carlong Caribbean Drama. Longman, 2001.

UNIT 1 AND UNIT 2
RESOURCES
Pavis, P. Dictionary of the Theatre. University of Toronto Press, 1999.
Peck, J. and Coyle, M. How to Study a Shakespeare Play. London: Palgrave, 1995.
Literary Terms and Criticism, 3rd Edition. London: Macmillan, 2002.
Penguin, D.K. The Shakespeare Book: Big Ideas Simply Explained. Random House,
2015.
Pickering, K. How to Study Modern Drama. London: Macmillan, 1990.
Stevens, C. A Guide to Dramatic Elements and Style: Drama grades 7–9. Weston
Watch, 2000.
Stone, J. Theatre, (Studies in West Indian Literature). London: Macmillan,

1994.
Tillyard, E.M.W. Shakespeare’s History Plays. Chatto & Windus (1944).

UNIT 1 AND UNIT 2
MODULE 2: POETRY
The poet is always cognisant that the poem will be heard. Poetic elements (of design) and devices
(linguistic and auditory techniques) are employed by the poet primarily to shape the way listeners,
even more than readers, will be moved by the work. The study of a poem’s aesthetics entails a critique
of the ways in which elements and techniques contribute to the “voice” of the work and its impact on
an audience. Poetic language is, by nature, condensed, compact and sensuous. Perhaps the poet,
more than any other writer, is conscious of the symbiotic relationship between sound and
sense/meaning. Poetry enhances the students’ awareness of cultural ideas and beliefs, as they
develop a greater sense of empathy. Poetry can make complex things simple and thereby build
emotional resilience. It develops creative and critical analysis skills, and boosts confidence in
reading through the power of the spoken word.
GENERAL OBJECTIVES

appropriate level;
different cultures;

UNIT 1 AND UNIT 2
MODULE 2: POETRY (cont’d)

1. identify a range of different forms Forms of poetry including, but not limited
of poetry and their characteristics; to:
(a) Narrative (including Ballad, Epic);
(b) Sonnet;
(c) Lyric;
(d) Ode;
(e) Dramatic Monologue;
(f) Dub;
(g) Spoken Word;
(h) Blank Verse; and,
(i) Free Verse.
2. analyse the relationship between Elements of sound in poetry:

elements of sound and sense
(meaning); (a) alliteration;
(b) consonance;
(c) sibilance;
(d) rhyme;
(e) rhythm;
(f) metre;
(g) lineation;
(h) diction;
(i) tone; and,
(j) mood.

UNIT 1 AND UNIT 2
3. explain how meaning is expressed (a) Choice of language pays attention

through the poet’s choice of to the issue of form, as well as the
language, literary devices, and stylistic and linguistic choices of
structural elements; poets in conveying meaning.
Carefully consider, for example,
how the effective use of the
following may create or impact
meaning:
(ii) theme;
(iii) mood;
(iv) attitude (poets’ or

speakers’);
(v) tone; and,
(vi) humour.
(b) Literary devices include:
(i) simile;
(ii) metaphor;
(iii) alliteration;
(iv) onomatopoeia;
(v) imagery;
(vi) intertextuality;
(vii) symbolism;
(viii) hyperbole;
(ix) litotes;

UNIT 1 AND UNIT 2
(x) euphemism;
(xi) pun;
(xii) metonymy;
(xiii) juxtaposition;
(xiv) irony;
(xv) paradox;
(xvi) oxymoron;
(xvii) motif;
(xviii) apostrophe;
(xix) repetition (different

types); and,
(xx) other literary devices.
4. examine how meaning is affected (c) Literary context can be varied

by context; and wide-ranging, to include:
(i) social;
(ii) historical;
(iii) political;
(iv) religious;
(v) ethnic;
(vi) moral;
(vii) ideological;
(viii) cultural;
(ix) physical;
(x) psychological; and,
(xi) biographical.

UNIT 1 AND UNIT 2
5. differentiate between the Carefully distinguish among these as each

persona/speaker and the poet; contributes to a different interpretation of
a given text.
6. assess the effectiveness of the use
of a particular point of view; (a) Speaker/persona; and,
(b) Poet.
Effectiveness of the use of different points

of view.
7. assess the relationship among Structural techniques that are used to

form, structure and meaning; impact or enhance the meaning of the
poem, for example, stanzaic form,
punctuation, line breaks, and deliberately
creating tension between form and
content.
8. evaluate their own views and the Views of different critics, including those
views of critics; with opposing views.


9. write informed and independent Issues explored through poetry.

opinions and judgements about
the issues explored in the chosen
poems; and,
10. use available information and ICTs could include but are not limited to
communication technologies PowerPoints, vlogs, blogs, WebQuests,
(ICTs) to present views about videos.
issues explored in chosen poems.

UNIT 1 AND UNIT 2
1. It is important to show students how much they already know about poetry. Read poems
aloud to students and have them describe their response. Poems may also be recorded using
a range of voice recording tools widely available on smartphones and other computing
devices. This facilitates repeated playback and the ability to focus on particular sections of the
poem.
2. Scan individual words. (For example, “instill” is an iamb; “chutney” is a trochee; “airfare” is a
spondee; “beautiful” is a dactyl’ and “intervene” is an anapest. Words keep their normal
stresses in poetry). Mark the stresses in simple iambic poems, for instance, Lewis Carroll’s
“The Mad Gardener’s Song” or have students bring in lyrics from music of interest to them,
for example, calypso, rap, dub, rock, chutney, zouck. Analyse the rhythm. Mark the stresses.
3. Discuss types of metre (Duple metre – iambic, trochaic, spondaic, triple metre – dactylic,
anapestic).
4. Have the whole class parody a verse with regular rhythm, for example, “The Mad Gardener’s
Song”. Let each student write one, read it aloud, and have students discuss whether the
rhythm is correct. Discuss the rhymes in these examples. Assist students to parody other
forms or limericks.
5. Discuss sample types of form, for example, ballad, hymn, and sonnet. Most forms should be
taught as they are encountered, as should most elements of poetry.
6. Engage in discussions about the structure of different poems. Use examples to show students
that poets do write sentences and that these sentences are meaningful units which may run
through several lines or even stanzas. Poets also use punctuation marks for poetic effect and
change word order for poetic reasons.
7. Have students form small groups. Each group should read aloud and discuss the same poem.
Each group should then report its own interpretation to the class. Discuss the differences and
reasons for the interpretations. A collaborative web-based word processor such as Google
Docs could be used to record the discussions for further reference.
8. Have students form small groups and ask them to find evidence in a poem to support differing
interpretations of the same poem. For example, for Edward Baugh’s poem, “A Carpenter’s
Complaint,” simple statements such as, “This poem is about death” or, “This poem is about
tradition” or, “This poem is about grief” might be used. After group discussion, ask each
student to develop a paragraph on one part of their argument in support of the interpretation.
Together the group would have produced one interpretation. After all the groups have
presented, have open discussion with challenges and/or further support.

UNIT 1 AND UNIT 2
9. Have students research the social and historical context in which the poems were written and
discuss their findings in a class discussion.
10. Have students find, share, and discuss critical essays on various poems. A social bookmarking
service could be used to record and share links to these poems.
11. Have students practise writing essays which show evidence of an understanding of the
vocabulary specific to poetry, and which present and defend clear positions in response to
given stimuli.
12. Create a class website on which students’ personal responses to, or practical criticisms of, the
poems are posted for further online engagement and critical analyses (by peers or a wider
audience).
13. Facilitate a class “Poetry Slam” or “Poetry Festival”, whereby students learn selected poems
by heart and perform them. In so doing, students should seek to understand the poem, and
demonstrate an appreciation of the nuances in meaning as they recite or perform the poems
for an audience of their peers.
14. Have students work individually or in groups to create and record voiceovers of selected
poems. Share these recordings with the entire class for discussions around the effectiveness
and appreciation of sound and meaning in poetry.
15. Have students maintain a reading journal in which they record their ongoing reflections on
specific aspects or features of the poems being studied. Reflections can centre on, for
example, the significance of diction, the effects of symbolism, and the use of irony and its
impact on the overall meaning of the poem.
16. Where several poems by a selected poet are being studied, students can create an electronic
portfolio, containing a combination of images, words, and audio, to detail or reflect the
thematic concerns of the selected poet.
17. Have students create their own response poem to any of the poems or poets being studied.
The response should be a reaction to or a reflection on any of the concerns or devices utilised
within the selected poem or used by the selected poet. Provide opportunities for these
response poems to be read aloud or performed.
18. Challenge students to use ICTs in innovative ways that stimulate discussion on the selected
works of the different poets being studied, for example, through the creation of a multi-media
portfolio, memes, vlogs, blogs and interviews about the poems.
19. Students can create and evaluate their own poems using the spoken word which must include
at least three (3) other devices aside from metaphor and simile.
20. Read and listen to the poems/lyrics “To his Coy Mistress” (Andrew Marvell), “Look” (Bounty
Killer) and “The Hill We Climb” (Amanda Gorman). In small groups, students can discuss then
make presentation on whether or not an argument is being presented by the speaker/persona
in any of the texts. If there is an argument, students can identify the argument (what is the

UNIT 1 AND UNIT 2
main conclusion/claim/thesis and what is the supporting evidence that leads to the
conclusion/claim). Students are also to determine if the texts can be classified as literary or
non-literary and support their claim with evidence from the texts.
Students should also be encouraged to write individual responses to any of the following:
(a) The literary qualities of the texts.
(b) The extent to which the poetry / song is an appropriate medium for exploring social
issues.
(c) Do you think the Coy Mistress would submit to the speaker? Support with reference
to the text.
21. Teacher selects four poems concerned with a particular theme /issue. Have students role play
being a judge on a panel to find the best protest (or other relevant theme / issue) poems. Have
students follow the following process:
• Read the four poems.
• On your own, order the four poems from the one you think is best to the one you think
is least good.
• In groups of four, share your thoughts on the poems and the order you have put them
in.
• As a group, come up with a final order for the poems from best to least good.
• In your group, discuss the first and last placed poems. What are the reasons these
poems were placed in these positions?
• Individually, write two paragraphs that explain these two decisions.
Engage students in a class discussion in which all groups share their final order and explain the
criteria for the first and last place poems. Have students discuss the following:
• Are these criteria specific to these poems or could they be used when considering other
poems?
• Is one criterion more important than others?
• As a class, agree on a list of the most important criteria for evaluating a poem. Have
students note If there were disagreements and how were these disagreements about
criteria resolved.

UNIT 1 AND UNIT 2
22. To explore the meaning of two poems, have students form small groups and on the board or
a large piece of paper copy this table:
Poem title:
Observation Question – write a Explanation – try to Justifications – note

Write any initial question that answer the question anything that might
observations you emerges from your posed, or propose support your
make. For example: I observation, for possible explanation. Try
notice that ….. example: explanations and answering:
Why is it that way? reasons What makes you
think so?
Why did it happen
that way?
Task 1
• In small groups, look carefully at the poem and write down on sticky notes some initial
observations about it. Each member of the group should contribute one or two observations,
and each point should be written on a separate sticky note. Stick these notes in the first column
of the table.
• For each observation that has been added to the chart, write a question about it on another
sticky note, and add that to the second column.
• Then as a group, consider possible explanations for each question. Use sticky notes to add
these to column three.
• In the fourth column, the group writes reasons or justifications for each explanation entered
in the chart. Use sticky notes.
• Stick the completed tables on the walls of the classroom. The charts should be placed in
different positions around the room, allowing space for groups to gather round and explore
them.
Task 2
• Have students stand in small groups close to the chart they have created.
• On the teacher’s command, ask each group to move in a clockwise direction to the next group’s
chart. Read their observations, questions, explanations, and justifications for their poem.
(a) Note any explanations, questions, or justifications your group did not include, and
which you think are good ideas.
(b) If a group’s chart is missing some of the ideas your group came up with, write these
on sticky notes and stick them to that group’s chart in the relevant columns.

UNIT 1 AND UNIT 2
• After 3 – 5 minutes move on to the next group’s chart. Repeat the process with this chart.
• Continue to rotate and repeat the activity. There will probably be fewer new ideas to post as
the other groups looking before you will have posted new ideas.
• Once back at the home chart, read what other groups added to the home group’s chart; the
group should add any new ideas they say on other charts that had not already been added by
other groups.
By the end of the activity, students should feel they have more ideas about what the poet’s meaning
and purpose could have been.
23. Engage students in a Think – Pair – Share activity where students:
• Choose a poem/s and review it carefully.
• Choose three words that describe how they feel about the poem (for example, sad,
depressed, drained, pity; torn, troubled, ambivalent, delighted, fulfilled; apathetic,
dismayed, concerned, doubtful, surprised, glad, hopeful, content, please).
• Think about why they feel the way they do.
• With a partner, discuss their reactions. For example, why did the poem/s provoke this
reaction? Do you and your partner have the same reaction to the poem /s?
• Write about 300 – 500 words about the poem – pick three words that evoke the
strongest emotions about the poem. Explain the reasons why they feel this, giving
evidence from the poem to show how the poet evoked those feelings.
24. Have students create a social media page as one of the personas from the poems being
studied. They will produce a specified number of posts on the social media page using a variety
of media such as text, images, video, memes, quotes and links to websites or articles. Students
must also provide a written document to justify their choice of posts. Students will examine
significant elements of the genre or the text which may include theme, motif, imagery,
techniques, setting, and historical context. For example, students can recreate the St. Lucian
landscape or Guyanese space using social media.
RESOURCES
Bellar, M. & Carlson Unlocking the Poem: A Guide to Discovering Meaning through
Tanzer, D. Understanding and Analysis. Sherpe Learning, 2019.
Breiner, L. An Introduction to West Indian Poetry. Cambridge: Cambridge

University Press, 1998.

UNIT 1 AND UNIT 2
RESOURCES
Eagleton, T. How to Read a Poem. Willey – Blackwell, 2006.
Johnson, G. & Arp, T. Perrine’s Sound and Sense: An Introduction to Poetry, 15 th Edition.
Cengage Learning, 2017.
Maxwell, R.J., Meiser, Teaching English in middle and secondary schools, 5th Edition. New
M. J. & McKnight, K. Jersey: Merrill Prentice Hall, 2011.
Naylor, A & Wood, A. Teaching Poetry: Reading and Responding to Poetry in the Secondary
Classroom, Routledge, 2012.
Peck, J. How to Study a Poet. London: Macmillan, 1992.
Perrine L. Sound and Sense: An Introduction to Poetry, 15th Edition. Thomas Arp
and Greg Johnson Cengage Learning, 2017.
Raffel, B. How to Read a Poem. New York: New American Library, 1994.
Rozakis, L. E. How to Interpret Poetry. Macmillan, (ARCO’S Concise Writing Guide),

New Jersey: Petersons, 1998.

UNIT 1 AND UNIT 2
MODULE 3: PROSE FICTION
The story is at the heart of prose fiction, and how that story unfolds and is narrated defines the
literary/non-literary quality of prose fiction. An understanding and analysis of narrative techniques
will be crucial to the study of this genre, as the writer explores themes, develops characters, and
constructs the plot. These are some of the tools that narrative writers have at their disposal to
interrogate, challenge, and reflect on issues that resonate with the human condition.
GENERAL OBJECTIVES

appropriate level;
different cultures;

UNIT 1 AND UNIT 2
MODULE 3: PROSE FICTION (cont’d)

1. explain the differences among the Differences among the forms of prose
novel, novella, and the short story; fiction:
(a) novels;
(b) novellas; and,
(c) short stories.
2. describe the different sub-genres Sub-genres of fiction include:

and their characteristics;
(a) fable;
(b) science fiction;
(c) fantasy;
(d) bildungsroman;
(e) romance;
(f) allegory;
(g) picaresque;
(h) gothic;
(i) historical;
(j) stream of consciousness

narrative;
(k) detective; and,
(l) epistolary.

UNIT 1 AND UNIT 2

3. assess how meaning is conveyed (a) Choice of language pays attention
through the author’s choice of to the issue of form, as well as the
language, literary devices, and the stylistic and linguistic choices of
elements of prose fiction; prose fiction writers in conveying
meaning. Carefully consider, for
example, how the effective use of
the following may create or
impact meaning:
(ii) theme;
(iii) mood;
(iv) attitude (writers’ or

characters’);
(v) tone; and,
(vi) humour.
(b) Literary devices include:
(i) imagery;
(ii) symbol;
(iii) irony;
(iv) intertextuality;
(v) synecdoche;
(vi) metonymy;
(vii) satire;
(viii) repetition (different

types) and,
(ix) allusion.
(c) Elements of prose fiction:
(i) narrative technique;
(ii) point of view;

UNIT 1 AND UNIT 2
(iii) characterisation;
(iv) dialogue;
(v) setting;
(vi) theme;
(vii) plot; and,
(viii) style.
4. assess the relationship between Structural techniques, that is, how an

structure and meaning; author or authors use narrative choices
and techniques to obtain the desired
meaning:
(a) stream of consciousness;
(b) interior monologue;
(c) flashback;
(d) foreshadowing;
(e) chapter organisation;
(f) timeline (time frame, order of

events – chronological and a-
chronological);
(g) motif; and,
(h) juxtaposition.
5. analyse the context in which the Literary context can be varied and wide-
chosen texts are written; ranging, to include:
6. examine how meaning is affected (a) social;

by context;
(b) historical;
(c) political;
(d) religious;

UNIT 1 AND UNIT 2
(e) ethnic;
(f) moral;
(g) ideological;
(h) cultural;
(i) physical;
(j) psychological; and,
(k) biographical.
7. discuss their own views and the The views of different critics, including
views of critics; those with opposing views.


8. write informed and independent Issues explored through prose fiction.

opinions and judgements about
the issues explored in the chosen
texts; and,
9. use available information and ICTs could include but are not limited to
communication technologies (ICTs) PowerPoints, vlogs, blogs, WebQuests,
to present views about issues videos.
explored in chosen prose fiction
works.

UNIT 1 AND UNIT 2
1. Engage students in completing worksheet questions on significant aspects of prose fiction, for
example, prose rhythm, diction, and point of view. Direct students’ attention to specific pages
of the text, requiring them to examine closely the author’s use of language and narrative
technique.
2. Allow students to listen to recordings, view videos and movies of texts so that they may
enhance their understanding and appreciation of the auditory and visual dimensions.
3. Invite resource persons such as authors, literary experts, and historians to share ideas on the
text.
4. Encourage students to write diary/journal entries, letters, blogs, e-mails, and short
imaginative pieces on various aspects of the prescribed texts, for example, “A Day in the Life
of ….” in order to deepen their understanding of the texts.
5. Encourage students to participate in role playing and dramatised readings to build their
understanding of the texts.
6. Have students work in groups to explore the unique elements of an author’s narrative
techniques, the choice of narrator and point of view, utilisation of devices in thematic
development and methods of characterisation employed by the author or authors.
7. Organise debates and the assessment of different critical responses to texts to help students
recognise that there are various acceptable interpretations of any given text.
8. Have students practise writing critical essays which show evidence of an understanding of the
vocabulary specific to prose fiction, and which present and defend clear positions in response
to given stimuli.
9. Encourage students to use graphic organisers to map out thematic concerns and structural
techniques evident in two works of prose fiction. Afterwards, extend the graphical maps to
create an essay that compares and contrasts the two works of prose fiction, paying attention
to the themes and techniques/structure.
10. Organise reading quizzes in which students are given specific questions on aspects of plot,
characterisation and setting to which they must respond in writing in a set time frame.
11. Using the Socratic method (of asking and answering questions), direct students to aspects of
the texts so as to stimulate critical thinking, to draw out ideas, and to examine assumptions
about the relationship between themes and techniques.
12. Have students engage in active learning by generating questions on the text either individually,
in pairs or in groups based on whole or sections of prescribed texts.

UNIT 1 AND UNIT 2
13. Provide students with model essays and have them assess the strengths and weaknesses of
the models in order to help them develop an evaluative eye for their own work.
14. Demonstrate close reading analysis in excerpts of the prose fiction works and then have
students practice in groups using a different excerpt.
15. Have students recreate important scenes or events from the prescribed texts through chat text
stories, puppets, graphic illustrations or video creations.
16. Have students write book reports in which they select three key events from the beginning,
middle and end in the selected works of prose. Students will describe and justify how they
would change the selected events based on their personal opinions.
17. Encourage students to have “living literature” activities that allow them to connect important
aspects of the texts such as characterisations, themes, foils and plot to authentic examples in
their daily lives from personal and popular culture such as songs, films, comedy sketches and
politics.
18. Encourage students to experiment with the narrative voice by creating short pieces based on
excerpts from examined texts but changing the point of view and choice of narrator.
19. Have students create a reflective journal that must be updated weekly or bi-weekly with entries
that specify at least three major points discussed in class, two questions they still have and at
least one thing they found interesting about the text. Teachers are encouraged to create
opportunities to respond to questions during the teaching and learning experience.
20. Have students create multimedia portfolios based on character profiles mapping the journey
of the major characters throughout the texts.
21. Have students create physical or digital models/representations based on characters or the
setting of texts.
22. Students in collaboration with teachers and other students can create a soundtrack inspired
by important scenes and events which accentuate the mood, tone, ambiance and plot
development evident in the written work.
23. Ask students to imagine themselves as a character or object in the text and then discuss the
answer to these three questions:
• What can the person or thing perceive?
• What might the person or thing know about or perceive?
• What might the person or thing care about?
After the discussion, have students write a poem from the perspective of a soldier’s left on the
battlefield. For example, in getting started, the teacher might invite students to look at an

UNIT 1 AND UNIT 2
image or scene from a film, or extract from a story/ novel and ask them to generate a list of
the various perspectives or points of view embodied in that text.
Students then choose a particular point of view to talk from, saying what they perceive, know
about, and care about. Sometimes students might state their perspective before talking. Other
times, they may not and then the class could guess from which perspective they are speaking.
In their speaking and writing, students may well go beyond these starter questions. Encourage
them to take on the character of the thing they have chosen and talk about what they are
experiencing. Students can improvise a brief spoken or written monologue, taking on this point
of view, or students can work in pairs with each student asking questions that help their
partner stay in character and draw out his or her point of view.
24. Have students create a social media page as one of the characters from the text being studied.
They will produce a specified number of posts on the social media page using a variety of media
such as text, images, video, memes, quotes and links to websites or articles. Students must
also provide a written document to justify their choice of posts and how it is closely inspired by
the characterisation provided in the primary text. For example, if a student creates a profile as
Antoinette from Rhys' Wide Sargosso Sea, they will post comments about loneliness, dejection,
Caribbean culture, and memes about lovesickness.
RESOURCES
Ashcroft, B. Griffiths, G. The Empire Writes Back, 2nd Edition. London: Routledge, 2002.
and Tiffin, H.
Daiches, D. The Novel and the Modern World, Chicago: University of Chicago Press,
1984.
King, B. West Indian Literature, London: Macmillan, 1995.
Lane, R. The Postcolonial Novel: Themes in 20th Century Literature and Culture.
Cambridge: Polity, 2006.
Peck, J. How to Study a Novel, 2nd Edition. London: Red Globe Press, 1995.
Ramchand, K. The West Indian Novel and Its Background, 2 nd Edition. Kingston: Ian
Randle Publishers, 2004.
Roberts, E. V. Writing about literature, 13th Edition. New Jersey: Pearson Education, Inc.,
2012.
Scarry, S. & Scarry, J. The writer’s workplace: Building college writing skills, 11th Edition. Boston:
Cengage Learning, 2018.
Wright, Austin, editor. Victorian Literature: Modern Essays in Criticism. Oxford University Press,
1968.

 PRESCRIBED TEXTS – UNIT 1
The list of prescribed texts for the 2024–2029 examinations.
Module 1: Drama: Shakespeare – Comedies and Histories.
Shakespeare: Comedies and Histories
1. Love’s Labour’s Lost
2. Henry V
Module 2: Poetry: British, American and Postcolonial.
1. British
W. H. Auden Selected Poems, 2007
2. American
Maya Angelou The Complete Collected Poems
3. Postcolonial
Wole Soyinka Selected Poems
Module 3: Prose Fiction: Caribbean, British, American and Postcolonial.
Students must select one text from (1) AND one text from EITHER (2), (3) OR (4).
1. Caribbean
(a) Jean Rhys Wide Sargasso Sea
(b) Samuel Selvon The Lonely Londoners
2. British
George Orwell Nineteen Eighty-Four
3. American
Ta-Nehisi Coates The Water Dancer
4. Postcolonial
Chinua Achebe Arrow of God

 PRESCRIBED TEXTS – UNIT 2
The list of prescribed texts for the 2024–2029 examinations.
Module 1: Drama: Shakespeare – Tragedies, Romances/Tragi-comedies and Modern Drama
Students MUST select one text from (1) and one text from (2).
1. Shakespeare: Tragedies and Romances/Tragi-comedies
(a) Othello
(b) The Merchant of Venice
2. Modern Drama
(a) James Baldwin Blues for Mr. Charlie
(b) Athol Fugard The Township Plays – Sizwe Bansi is Dead
Module 2: Poetry: Caribbean
Caribbean
(a) Mahadai Das A Leaf in His Ear: Selected Poems
(b) Derek Walcott Selected Poems: Edited by Edward Baugh, 2007
Module 3: Prose Fiction: British, American and Postcolonial
1. British
Kazuo Ishiguro The Remains of the Day
2. American
Zora Neale Hurston Their Eyes Were Watching God
3. Postcolonial
Jan Lowe Shinebourne The Last Ship

 OUTLINE OF ASSESSMENT
Each Unit of the syllabus will be assessed separately. The assessment comprises two components, one
external and one internal. Candidates must complete the School-Based Assessment for the first Unit
for which they register. Candidates may carry forward their School-Based Assessment score to the
second Unit. Such candidates are not required to complete the School-Based Assessment component
for the second Unit.
The scheme of assessment for each Unit is the same. Candidates’ performance on each Unit is
reported as an overall grade and a grade on each Module of the Unit.
EXTERNAL ASSESSMENT (80%)
Written Papers 5 hours
Paper 01
(2 hours) A Multiple-choice paper with questions 20%
on all three Modules. Candidates are
required to answer all 45 questions on
Paper 01.
Paper 02 An extended-essay paper in three 60%

(3 hours) sections, with questions on all three
Modules. Candidates must answer
three questions, one from each section.
SCHOOL-BASED ASSESSMENT (20%)
Paper 031
The School-Based Assessment for each Unit is as follows:
1. Candidates’ interpretation of some aspects of a prescribed play or poem, or an extract from

prose fiction.
OR
2. A critical response to a review of a prescribed play or poem or prose extract.
OR
3. A review of a live performance or a film adaptation of a prescribed text.
OR
4. A review of a prescribed text.

Paper 032
Private candidates are required to write Paper 032, an alternative to the School-Based Assessment
paper.
Candidates must write a critical appreciation of an excerpt from a play, a poem, and a prose extract.
MODERATION OF SCHOOL-BASED ASSESSMENT
All School-Based Assessment Record Sheets and sample of assignments must be submitted
electronically via the SBA data capture module on the Online Registration System (ORS) on the
Council’s Website by 31 May of the year of the examination. A sample of assignments will be
requested by CXC® for moderation purposes. These samples will be re-assessed by CXC® Examiners
who moderate the School-Based Assessment. Teachers’ marks may be adjusted as a result of
moderation. The Examiners’ comments will be sent to schools.
Copies of the students’ assignments that are not submitted must be retained by the school until three
months after publication by CXC® of the examination results.
ASSESSMENT DETAILS
External Assessment by Written Papers (80% of Total Assessment)
Paper 01 (2 hours, 20% of Total Assessment)
1. Composition of the Paper
This paper consists of 45 compulsory multiple-choice questions based on SIX unseen extracts,
TWO from each literary genre. There will be 15 questions on each genre/module.
2. Award of Marks
Marks will be awarded for knowledge, understanding, and application of knowledge.
3. Mark Allocation
Each question is worth 1 mark.
This paper is worth 45 marks and contributes 20 per cent to the total assessment.
Paper 02 (3 hours, 60% of Total Assessment)
1. Composition of the Paper
This is an extended essay paper in three sections, each section representing one of the three
Modules of the Unit. Candidates must answer three questions, one from each section.

Unit 1
Section A (Drama) will comprise two questions, ONE on each of the prescribed texts.
Candidates must answer ONE question.
Section B (Poetry) will comprise two questions on the three prescribed poets. Candidates must
answer ONE question with reference to one of the prescribed poets.
Section C (Prose Fiction) will comprise two questions of which candidates must answer ONE.
Candidates must answer one question with reference to two of the prescribed texts.
Candidates must use ONE Caribbean text AND EITHER ONE British, OR ONE American, OR ONE
Postcolonial text.
Unit 2
Section A (Drama) will comprise two questions of which candidates must answer ONE.
Candidates must use ONE of the prescribed works of Shakespeare AND ONE of the prescribed
works of Modern Drama.
Section B (Poetry) will comprise two questions, one on each of the prescribed poets.
Candidates must answer ONE question.
Section C (Prose Fiction) will comprise two questions. Candidates must answer ONE question
with reference to ONE of the three prescribed texts.
2. Award of Marks
Marks will be awarded for knowledge and understanding, application of knowledge, and
organisation of information.
3. Mark Allocation
Each section is worth 45 marks. This paper contributes 60 per cent to the total assessment.
SCHOOL-BASED ASSESSMENT (20% of Total Assessment)
School-Based Assessment is an integral part of the students’ assessment of the course of study
covered by this syllabus. It is intended to assist the students in acquiring certain knowledge, skills and
attitudes that are associated with the subject. The activities for the School-Based Assessment are
linked to the syllabus and should form part of the learning activities to enable the students to achieve
the objectives of the syllabus. Students are encouraged to work in groups.
During the course of study for the subject, students obtain marks for the competence they develop
and demonstrate in undertaking their School-Based Assessment assignments. These marks contribute
to the final marks and grades that are awarded to the students for their performance in the
examination.
The guidelines provided in this syllabus for selecting appropriate tasks are intended to assist teachers
and students in selecting assignments that are valid for the purpose of School-Based Assessment. The
guidelines provided for the assessment of these assignments are also intended to assist teachers in
awarding marks that are reliable estimates of the achievements of students in the School-Based

Assessment component of the course. In order to ensure that the scores awarded are in line with the
CXC® standards, the Council undertakes the moderation of a sample of the School-Based Assessments
marked by each teacher.
School-Based Assessment provides an opportunity to individualise a part of the curriculum to meet

the needs of the student. Given that teachers and students collaborate to select the SBA project
(based on the guidelines listed on pages 34-36), it facilitates feedback to the students at various stages
of the process. This helps to build the self-confidence of the students as they proceed with their
studies. School-Based Assessment also facilitates the development of the critical skills and abilities
emphasised by this CAPE® subject and enhances the validity of the examination on which the students’
performance is reported. School-Based Assessment, therefore, makes a significant and unique
contribution to both the development of the relevant skills and the testing and rewarding of the
students.
The School-Based Assessments must be undertaken EITHER as an individual OR as a small group

assignment. Groups should be a minimum of two (2) and a maximum of three (3) persons. Teachers
are strongly encouraged to ensure that there is evidence of workload distribution and completion
within groups. All assignments must be submitted electronically. Teachers will mark this assignment
according to the guidelines and School-Based Assessment criteria set out in the syllabus.
The School-Based Assessment comprises one of the following:
EITHER
1. Students’ interpretation of some aspect of a prescribed play, poem, or an extract from prose
fiction. This may be in the form of one of the following:
(a) *a reinterpretation;
(b) **a response in dramatic, poetic, or prose form;
(c) a model, a cartoon strip, or a painting; and,
(d) a video recording or an audio recording.
Students must provide a commentary of how his/her interpretation of the prescribed text is
reinforced by his/her artistic choices. This commentary must include close reference to the
prescribed text as well as:
(a) an explanation of and justification for his/her choices; and,
(b) an evaluation of the effects of his/her choice.
Length of commentary should be 1,500 words. Teachers should note that because it is a
literary enquiry, the detailed commentary between the creation and the reflection that reveals
the students’ thinking and understanding about the value of literature is marked, not the
reinterpretation or other creative piece itself.
*Any kind of a re-contextualisation or any shifting in the lenses from which the original story is viewed,
is a “reinterpretation”. A "reinterpretation" is a new way of reading the original text. For example, it
might involve shifting time and/or context, so that it can be seen how the story might carry new
dimensions. Romeo and Juliet might be reinterpreted as about Mexican gangs or Julius Caesar might
refer to Caribbean political parties. This is typical of many dramatic productions.

**A "response" might be: what has this story inspired in me to create something else, or it could be
something that emerges from that original story. How might I extend the original story? What new
creative work does it inspire in me? It might also include how my personal circumstances (as in reader
response theory) inform the way I receive these texts. For example, if a student is doing a painting
based on a prescribed text, they must justify their use of warm and col d colours, chiaroscuro,
foreground, and background, as well as their choice of subject matter and symbolism in the piece of
art. They must analyse the images used in the painting and how they reflect or engage with the original
text. Alternatively, if a student writes a short story based on a prescribed text, they should engage with
specific themes, characters, significant events, and techniques used in the original work. They must
justify their crafting of the story using methods of characterisation, techniques, diction, setting and
plot by referencing the original text and the writer’s purpose.
OR
2. A review of a prescribed play, collection of poems or work of prose fiction.

This should include:
(a) biographical data and summary of text; and,
(b) an evaluation of the author’s choices and presentation of material.
Length of the review should be 1,500 words.
OR
3. A critical response to a creditable review of a prescribed play, poem or prose extract. Students
must include the original or actual review article together with their response.
(a) a summary of the reviewer’s argument; and,
(b) an evaluation of the effectiveness of the argument.
Length of critical response should be 1,500 words.
OR
4. A review of a live performance or a film adaptation of a prescribed text.

(a) a concise description of the performance; and,
(b) an evaluation of the effectiveness of the performance.
Length of review should be 1,500 words.
Wherever a candidate exceeds the maximum length for the assignment in any Unit by more than 10
per cent, the teacher must impose a penalty of 10 per cent of the score that the candidate achieves
on this assignment.
The School-Based Assessment responses should be appropriately referenced, using one of the
established referencing styles commonly utilized in the subject discipline.

MARK SCHEME FOR SCHOOL-BASED ASSESSMENT
A maximum of 45 marks will be awarded for the School-Based Assessment, according to the criteria
on pages 39-42. This contributes 20% to the total assessment.
Criteria for marking Paper 031: Units 1 and 2
Knowledge and Application of Organisation of

Language
Understanding Knowledge Information
This area will assess This area will assess This area will assess This area will
candidates’ ability to: candidates’ ability to: candidates’ ability to: assess candidates’
ability to:
• recall accurate • analyse, evaluate, • construct an opening
information about and synthesize paragraph/introductory • use formal
the text: content knowledge relevant paragraph with clear Standard
and context; to the selected thesis which introduces English patterns
• use background topic; main points of and
knowledge of text • write a clear thesis, argument; organisation:
and writer (critical that responds • construct body correct, fluent,
historical social effectively to the paragraphs which varied sentence
philosophical, key areas in the clearly articulate the length and
biographical, selected topic; discussion point in the structure; and,
psychological, • select evidence topic sentence and • apply mechanics
ideological, (examples) relevant fully develop the points of language:
contextual); to the thesis and outlined in the correct
• identify elements selected topic; introduction; grammar,
and features of each • present sound • construct a concluding spelling and
of the genres using logical arguments to paragraph which vocabulary,
examples from the support the thesis summarises the points punctuation,
text; and selected topic; presented with formal syntactic
• use genre-specific • assess writers’ appropriate structures.
jargon accurately; style/craft and use conclusion/evaluation;
• use appropriate of language in the and,
literary terms and creation of • use appropriate
expressions; meaning; transitions to create
• use valid critical • analyse and unity, coherence and
material/secondary evaluate the fluency.
sources; and, effectiveness of the
• identify the relationship
relationship between form and
between form and content; and,
content within the • consolidate the
genres. arguments in the
essay in a conclusion
which presents a
critical, personal
evaluation of the
text in light of the
selected topic.

GRADE
GRADE DESCRIPTION THE LITERATURE CANDIDATE
OVERALL MODULE
Demonstrates comprehensive knowledge of textual,

extratextual and critical material; insightful ability to
Represents excellent
GRADE I A explore how meaning is shaped; control and mastery of
performance
the formal essay structure and language.
Demonstrates sound knowledge of the text, extratextual

and critical material; lacks some of the details and
Represents very good standard thoroughness of the excellent candidate but covers the
GRADE II B
of performance essential content; control and mastery of the formal
essay structure and language with minor lapses.
Demonstrates solid knowledge of the text, genre specific

jargon and literary devices and good control and mastery
GRADE Represents good standard of
C of the formal essay structure and language with minor
III performance
lapses.
Demonstrates sound knowledge of text, engagement

with the features of genre is inconsistent; a more
GRADE Represents a satisfactory thematic approach in the engagement of the text and
D
IV standard of performance context and satisfactory control of the formal essay
structure with inconsistent use of language.
Demonstrates superficial knowledge of the text; an

awareness of what is required but lacks details
Represents an acceptable /development and supporting evidence; and adequate
GRADE V E
standard of performance awareness of the formal essay structure with
inconsistent use of language.
Demonstrates minimal knowledge of the text, may

fabricate some information, inconsistent focus on the
GRADE selected topic; may retell with significant inaccuracies
F Represents limited performance
VI and significant lapses in organisation and use of
language.
Very short response, no engagement with subject matter

GRADE or selected topic; unrelated material and little to no
G Represents weak performance
VII command of organisation and language.

Criterion (I) – Knowledge and Understanding (13 marks)
Standard Descriptors
Excellent • Excellent, sustained use of relevant and accurate textual and extratextual
12-13 information, and critical material.
• Accurate and thorough evidence of familiarity with the elements and features
of genre and of the relationship between form and content that is sustained
throughout the essay; (the elements and features are identified and discussed
using appropriate examples from the text).
• Genre-specific jargon and examples of literary devices are used accurately and
effectively.
• Where more than one text is utilised, there is a balanced presentation of the
material.
• Clear identification of the relationship between form and content within the
genres.
Award 12 marks for less sustained effective integration of textual, extratextual and
critical material.
Very Good • Very good relevant and accurate use of textual, extratextual and critical
10-11 material throughout the essay.
• Very good evidence of familiarity with the elements and features of the genre
and the relationship between form and content (the elements and features are
identified and discussed using appropriate examples from the text).
• Genre-specific jargon and examples of literary devices are mostly used
accurately and effectively.
• Where more than one text is utilised, there are minor lapses mostly in terms of
the balanced presentation of the material.
Award 10 marks for consistent use of relevant textual and extratextual details, but
minimal use of critical material.
Good • Good use of relevant textual and extratextual evidence in most of the
8-9 response.
• Discussion points are developed, but there may be minor inconsistencies in the
use of extratextual details.
• Sound treatment of the elements and features of the genre and the relationship
between form and content (identified with examples from the text). Is well-
balanced.
• Where more than one text is utilised, discussion is well-balanced.
• Genre-specific jargon is evident, accurate and relevant.
• Critical material is used but may not always be relevant to the discussion.
• Where more than one text is utilised a mostly balanced discussion of the texts.
Award 8 marks for evidence of sound knowledge, clear understanding, and

competent use of genre-specific jargon.

Satisfactory • Sound understanding of the textual and extratextual material.
6-7 • Sufficient familiarity with the context of the work demonstrated.
• Evident lapses or inaccuracies in knowledge of the elements and features of the
genre and the relationship between form and content.
• Where more than one text is utilised, focuses more on one with minimal
inclusion of the other.
• There may be some inaccuracies in the use of genre-specific jargon. Literary
devices are accurately identified but are not sufficiently exemplified.
• Use of critical material is insufficient.
Award 6 marks where more than one text is utilised and treatment of ONE text
may be dealt with at the level of GOOD and the other at the level of acceptable.
Acceptable • Knowledge of the text and context is superficial, inaccurate information of text.
4-5 • A few elements and features of the relevant genre are used with examples from
the text but there are marked inaccuracies and repetitive use of examples;
relationship between form and content is implied but not effectively
established.
• Inconsistent use of genre-specific jargon; literary devices are listed and may be
defined, few examples.
• Where more than one text is utilised, a greater focus on one text or focus on
one text and omit the other; or knowledge of both text is adequate but lacks
details/development/substance.
Award 4 marks for the ineffective treatment of textual and extratextual material,
and limited or inaccurate use of genre-specific jargon, literary devices and
examples.
Limited • Limited knowledge and use of relevant textual material; minimal to no

2-3 extratextual material, no evidence of critical material.
• Very few elements and features of the genre are identified with examples from
the text.
• Little or no awareness of the writer’s craft, form or meaning in the discussion.
• Little use of genre-specific jargon; may be no mention of literary devices.
Award 2 marks for minimal knowledge of the texts, imbalanced information, little
and at times inaccurate use of genre-specific jargon and devices, little reference
to form and technique reference.
Weak Award 1 mark for little to no reference to the text, or engagement with the selected
0-1 topic.
Award 0 mark for no evidence of textual knowledge and other elements. It can also
be awarded when a candidate discusses a text that is not on the syllabus, or a text
not assigned to that module or unit.

Criterion (II) – Application of Knowledge (20 marks)
Excellent • Thesis is specific to the specified topic, precise and effectively guides the reader
19-20 to what the essay will discuss, position is clearly stated and may provide points
to be used to support thesis.
• The implications of the linkages between genre and selected topic are
interrogated by analysing, evaluating and synthesising relevant issues;
knowledge of the genre and the set text(s) is relevantly, accurately and
comprehensively applied to the selected topic.
• Appropriate, comprehensive and highly effective selection of
examples/illustrations and critical commentaries in support of discussion
points throughout the essay.
• A critical understanding of the writer/s’ ability to manipulate genre-specific
techniques and language devices to explore issues/ideas is demonstrated
throughout the essay.
• Arguments in the essay are effectively and logically consolidated in a conclusion
which presents a personal, critical evaluation of the thesis/topic.
Award 19 marks where there are minor lapses in the areas outlined.
Very Good • Thesis is specific to the specified topic, precise and effectively guides the reader
16-18 to what the essay will discuss, position is clearly stated and may provide points
to be used to support thesis as in the excellent category.
• Knowledge of the genre and the set text(s) is relevant and accurate but not as
comprehensively applied to the selected topic in the analysing, evaluating and
synthesising of relevant issues appropriate to the selected topic.
• The selection of examples/illustrations and critical commentaries in support of
points is appropriate, may be comprehensive but not effectively or consistently
analysed throughout the essay. Few lapses in the development of points.
• A critical understanding of the writer/s’ ability to manipulate genre-specific
techniques and language devices to explore issues or ideas is demonstrated in
most of the essay.
• Arguments in the essay are logically summarised by repetition of thesis and
points used to support the personal, critical evaluation of the thesis/selected
topic.
Award 17 marks where there are minor lapses in the areas outlined in this
category.
Award 16 marks where some critical aspects of the text may not be selected or
consistently explored; does not consistently maintain insights and analysis
throughout the essay. There are evident lapses in the incisiveness of analysis or
synthesis.

Good • Thesis is relevant but not as clearly articulated but sufficiently guides the reader
13-15 to what the essay will discuss, position is clear and may provide points to be
used to support thesis.
• Application of knowledge of the genre and the set text(s) is relevant but there
may be few inaccuracies in the interpretation of information; details are not as
comprehensively or precisely applied in the analysing, evaluating and
synthesising of relevant issues appropriate to the specified topic.
• Selection of examples/illustrations and critical commentaries in support of
points is mostly appropriate but a more general discussion; lacks effectiveness
and consistency throughout.
• An understanding of the link between form and content, genre-specific
techniques and language devices is demonstrated but does not consistently
apply and develop the significance of the link throughout.
• Arguments are logically summarised by repetition of thesis and points used to
support but may lack a personal evaluative statement.
Award 14 marks where there are minor lapses in the areas outlined in this
category.
Award 13 marks where the discussion is logical and clear but evidence is not
consistently nor effectively used in the discussion.
Satisfactory • Thesis is relevant but does not reflect or engage all key concepts relevant to the
10-12 specified topic; does not sufficiently guide the reader to what will be discussed,
position is not always clear.
• Application of knowledge of the genre and the set text(s) is evident but there
may be frequent inaccuracies and lapses in the interpretation of information;
lacks sufficient details, some analysis and evaluation done but there is also
retelling of information.
• Inconsistent development of ideas.
• Selection of examples and illustrations in support of points is sometimes
inappropriate and a more general discussion given; extratextual commentaries
may be given but lack effectiveness and consistency throughout.
• An understanding of the link between form and content, genre-specific
techniques and language devices is sometimes implied rather than explicitly
stated; does not consistently apply and develop the significance of the link
throughout.
• Arguments may be logically summarised, or a restatement of points used to
support thesis statement; but lacks a personal evaluative statement.
Award 11 marks where the focus is mostly on one key concept in the specified
topic but other concepts may be omitted, implied or ineffectively discussed; most
linkages are implied; barely adequate analysis and synthesis.
Award 10 marks where the focus is mostly on one key concept in the selected
topic but other concepts may be omitted, or implied; linkages are implied; barely
adequate analysis and synthesis.

Acceptable • Thesis does not reflect or engage all key concepts; does not sufficiently guide
7-9 the reader to what the essay will discuss, position is ambiguous.
• Basic application of knowledge of the genre and the set text(s) is evident,
substantial and significant inaccuracies in the interpretation of information;
lacks sufficient details, little analysis and evaluation done; mostly retelling of
information. Little development of ideas.
• Selection of examples and illustrations in support of points is sometimes
appropriate but a more general discussion given; extratextual commentaries
are lacking in relevance and effectiveness.
• Basic understanding of the relationship between form and content, few
references to genre-specific techniques and language devices evident; difficulty
in applying the significance of the linkages between elements.
• A restatement of points used to support thesis statement; no personal
evaluative statement provided.
Award 8 marks where there is a partial effort to engage with texts and respond
to the selected topic; more narration than analysis, two attempts to engage with
crafting of text.
Award 7 marks where there is a partial effort to engage with texts and respond
to the selected topic; more narration than analysis, one attempt to engage with
crafting of text.
Limited • Thesis is vaguely stated; may engage with one key concept in the selected topic,
4-6 does not sufficiently guide the reader to what the essay will discuss, a position
is taken but unable to marshal evidence to support.
• Limited application of knowledge of the genre and the set text(s) is evident,
mostly inaccurate interpretation of information; lacks details, little or no
analysis done; mostly retelling of information. Little development of ideas.
• Limited application of examples and illustrations in support of points, very
general discussion; extratextual commentaries may be questionable in
relevance and accuracy.
• Limited understanding of the link between form and content, limited genre-
specific techniques and language devices evident; difficulty in applying the
significance of the linkages.
• A restatement of points used to support thesis statement or no conclusion.
Award 5 marks where there is use of extratextual materials and one or two
instances of genre specific techniques and /or jargon.
Award 4 marks where there is no use of extratextual materials or no more than

one instance of genre-specific technique and/or jargon.

Weak • Very little evidence of engagement with the text/s.
0-3 • Narration of some areas of the text; very little understanding of the selected
topic or key concepts and relationships between literary elements.
Award 2 marks
• Retelling of the text/s with significant fabrication of information.

• No thesis statement or conclusion.
• Focus on key concepts of the selected topic is absent.
Award 0-1 mark
• Essay is too short to show evidence of engagement with the selected topic.
• Retelling of information not relevant to text/s.
• No thesis statement or conclusion; focus on key concepts of the selected topic
is absent.
Criterion III —Organization (6 marks)
Excellent • Introduction clearly shows a movement from general background information

6 to more specific contextualisation of the issue/s posed by the selected topic;
concludes with a thesis statement which is structured to ensure no ambiguity
about the direction of the essay and the sequence of the discussion points.
• Topic sentence is effectively linked to thesis and selected topic; body of each
supporting paragraph is structured logically to develop the point made in the
topic sentence; seamless integration of evidence fluent arrangement of
sentences within paragraphs.
• Appropriate use of transitions to create unity, coherence and fluency
• Conclusion is focused and facilitates the summary of the main points and
restatement of thesis with appropriate evaluation; conclusion does not
introduce new information.
Very Good Minor lapses in any ONE of the areas outlined below:
5
• Introduction clearly shows a movement from general background information
to more specific contextualisation of the issue/s posed by the selected topic;
topic sentence; seamless integration of evidence, fluent arrangement of

Good • Introduction clearly shows a movement from general background information

4 to more specific contextualisation of the issue/s posed by the selected topic;
Satisfactory Lapses in any THREE of the areas outlined below:

3
Acceptable Lapses in any FOUR of the areas outlined below:

2
NOTE: Candidates who have fabricated information about the texts or written
information that does not respond to the selected topic can only achieve a
maximum of 3 marks for organisation and language.

Limited Lapses in any FOUR or more of the areas outlined below:

1
• Appropriate use of transitions to create unity, coherence and fluency.
Weak • Insufficient evidence to assess essay structure.

0 • Insufficient information present to make a judgement, response is largely
irrelevant to the selected topic, unclear.
Criterion (IV) – Language (6 marks)
Excellent • Excellent to superior: Exhibits control and mastery of formal Standard English
6 grammar with minimal errors in vocabulary, spelling and punctuation;
appropriateness of word choice, variation in sentence structure.
Very Good • Use of formal Standard English grammar with minimal errors in vocabulary,
5 spelling and punctuation.
• Exhibits control and mastery of formal Standard English grammar with minimal
errors in vocabulary, spelling and punctuation; minor lapses in the
appropriateness of word choice, variation in sentence structure.
Good • Consistent use of formal Standard English grammar with some errors (error or
4 errors may recur but does not affect clarity of meaning) in vocabulary, spelling
and punctuation.
• Minor lapses in the appropriateness of word choice, variation in sentence
structure.
Satisfactory • Inconsistent use of formal Standard English grammar with intrusive errors in
3 vocabulary, spelling and punctuation which affect clarity of meaning.
• Moderate lapses in the appropriateness of word choice, variation in sentence
structure.
Acceptable • Inconsistent use of formal Standard English grammar with intrusive errors in
2 vocabulary, spelling and punctuation which affect clarity of meaning; use of
informal expressions.
• Frequent lapses in the appropriateness of word choice and variation in
sentence structure.

Limited • Inconsistent use of formal Standard English grammar with intrusive errors in
1 vocabulary, spelling and punctuation which impede clarity of meaning; use of
informal expressions.
• Significant lapses in the appropriateness of word choice, variation in sentence
structure.
Weak • Insufficient response to make a judgement.

0
The total marks awarded to each candidate will be divided by three to arrive at the module mark.
 REGULATIONS FOR PRIVATE CANDIDATES

UNIT 1 and UNIT 2
Private candidates will be required to write Papers 01, 02 and 032. Paper 032 takes the form of a
written examination (2½ hours duration). Paper 032 will test the same skills as the School-Based
Assessment. Paper 032 is an extended essay paper consisting of three questions, one on each of the
Modules. Candidates must write a critical appreciation of an excerpt from a play, a poem and a prose
extract.
 REGULATIONS FOR RESIT CANDIDATES

Resit candidates must complete Papers 01 and 02 of the examination for the year for which they re-
register. CAPE® candidates may reuse any moderated SBA score within a two-year period. In order to
assist candidates in making decisions about whether or not to reuse a moderated SBA score, the
Council will continue to indicate on the preliminary results if a candidate’s moderated SBA score is less
than 50 per cent in a particular Unit. Candidates reusing SBA scores should register as “Resit
candidates” and must provide the previous candidate number when registering.
Resit candidates must be entered through a school, a recognised educational institution, or the Local
Registrar’s Office.

 ASSESSMENT GRID
The Assessment Grid for each Unit contains marks assigned to papers and to Modules, and percentage
contributions of each paper to total scores.
Module 1 Module 2 Module 3 Total (%)

Drama Poetry Prose Fiction
External Assessment
Paper 01 15 15 15 45 (20%)
(Multiple Choice)
(2 hours)
Paper 02
(Essay) 45 45 45 135 (60%)
(3 hours)
School-Based
Assessment,
Paper 031 15 15 15 45 (20%)
OR
the Alternative, Paper 032
(2 hours 30 minutes)
Total 75 75 75 225 (100)

 GLOSSARY OF LITERARY CONCEPTS OFTEN USED IN THE CAPE®
LITERATURES IN ENGLISH EXAMINATION
WORD/TERM DEFINITION/MEANING
Dramatic significance This refers to the elements of drama, acting in unity to effect the
purpose of the play. If something is dramatically significant it may
serve to advance the plot, develop a character, heighten the
conflict, create audience expectancy and create irony.
Elements The components that comprise the text. Please refer to the
Modules’ description.
Extratextual Any reference, separate and apart from the primary text, that is
Material/Support/Evidence used to support or bolster a point/argument. This can include: an
evaluative comment by a critic on the genre, writer, or specific
text; comments made by an author on his/her own work;
comments or judgements of other writers about the author of a
prescribed text; historical, social, philosophical, biographical and
contextual information relating to a writer or prescribed text.
N.B. The effective use of extratextual references will improve a

candidate’s demonstration of knowledge and understanding AND
application of knowledge in the candidate’s essays for Paper 2, as
well as the extended essay for the SBA.
Features and Characteristics These are the features and uses that together create, the entity
of the genre known as drama, poetry or prose fiction. For example, setting is a
feature common to all three, but it can be characterised
differently in each. In drama setting may depend on a stage
direction, in poetry it may be captured in one line, while in prose
fiction, setting may be described at great length.
Figurative devices Any use of language where the intended meaning differs from the
actual literal meaning of the words themselves in order to achieve
some special meaning or effect is described as figurative use of
language. Perhaps the two most common figurative devices are
the simile and the metaphor. There are many techniques which
can rightly be called figurative language, including hyperbole,
personification, onomatopoeia, verbal irony, and oxymoron.
Figures of speech are figurative devices.
Form Although sometimes interchangeable with the word “structure”,

there are slight differences. Form refers to the visible
arrangement of the text in terms of its organisation and/or
genre/sub-genre. More specifically, it relates to the way in which
a writer/poet/dramatist manipulates the elements of the genre
for a particular effect and to convey meaning. As such, form
entails aspects of style, language, symbolism and imagery.

Genre A type or category of literature or film marked by certain shared

features. The three broadest categories of genre include poetry,
drama, and prose fiction. These general genres are often
subdivided into more specific genres and subgenres. For instance,
precise examples of genres might include murder mysteries,
romances, sonnets, lyric poetry, epics, tragedies and comedies.
Imagery Literary device that appeals to the readers’ senses through vivid
descriptions, getting the reader or the listener to experience what
the writer is describing. It reinforces theme, character, mood,
tone, and setting. Types of imagery include visual, auditory,
olfactory, gustatory, tactile, organic, and kinesthetic.
Intertextuality This is where echoes and threads of other texts are heard and
seen within a given text. For example, Jean Rhys’ Wide Sargasso
Sea revisions the figure of the mad Creole woman in the attic in
Charlotte Bronte’s Jane Eyre. Generally, intertextuality is evident
in elements of repetition, annotation, quotation, allusion, parody
and revisioning.
Juxtaposition The arrangement of two or more ideas, characters, actions,

settings, phrases, or words side-by-side or in similar narrative
moments for the purpose of comparison, contrasts, rhetorical
effect, suspense, or character development.
Literary devices Literary devices refer to specific aspects of literature, in the sense
of their universal function as an art form that expresses ideas
through language, which we can recognise, identify, interpret
and/or analyse. Literary devices collectively comprise the art
form’s components; the means by which authors create meaning
through language, and by which readers gain understanding of
and appreciation for their works. Both literary elements and
literary techniques can rightly be called literary devices. Literary
elements refer to particular identifiable characteristics of a whole
text. For example, every story has a theme, a setting, a conflict,
and every story is written from a particular point-of-view. In order
to be discussed legitimately as part of a textual analysis, literary
elements must be specifically identified for that particular
text. Literary techniques refer to any specific, deliberate
constructions or choices of language which an author uses to
convey meaning in a particular way. An author’s use of a literary
technique usually occurs with a single word or phrase, or a
particular group of words or phrases, at one single point in a text.
Unlike literary elements, literary techniques are not necessarily
present in every text; they represent deliberate, conscious
choices by individual authors.

Narrative strategies/techniques A narrative is a collection of events that tell a story, which may be
true or not, placed in a particular order and recounted through
either telling or writing. Narrative strategies/techniques are the
means by which the story is told. A narrative has a sequence in
which the events are told. Most novels and short stories are
placed into the categories of first-person and third-person
narratives, which are based on who is telling the story and from
what perspective. Point of view is an example of a narrative
strategy/ technique.
Point of View The perspective from which the text is presented: ideological and
psychological. Types of narrators: first person (limited and
omniscient), second person, third person (limited and omniscient).
Spectacle Spectacle refers to the conventions used, visual and auditory, that
create the world of the play on stage or film. This includes the set,
costume, lighting, and music. It can be simple as the set or stage
in An Echo in the Bone or a display that is large, lavish, unusual,
and striking, usually employed as much for its own effect as for
its role in a work. For example, the appearance of the witches in
Macbeth and the arrival of Banquo’s ghost at the feast are
examples of spectacle. Spectacle often occurs in drama or film,
but can also be found in the novel.
Stagecraft The skill or experience in writing or staging plays; The technical

aspects of theatrical production including: scenic design, stage
machinery, lighting, sound, costume design, makeup.
Structure Although used interchangeably with the word “form”, there are
slight differences. Structure refers to more than what is
immediately visible in terms of the arrangement of a text. It is
the frame of a work. It focuses on the internal development and
relationships between the different parts/elements of a text. It
relates to areas such as stanzas, chapters, paragraphs, lines,
syllables, and rhyme. Structure refers to the organisational
coherence and unity of a work. In fiction, for example, plot, point
of view, setting and characterisation are regarded as aspects of
structure.
Style This refers to the author's words and the characteristic way that
a writer uses language to achieve certain effects. An important
part of interpreting and understanding fiction is being attentive
to the way the author uses words. What effects, for instance, do
word choice and sentence structure have on a story and its
meaning? How does the author use imagery, figurative devices,
repetition, or allusion? In what ways does the style seem
appropriate to or discordant with the work's subject and theme?
Some common styles might be labelled ornate, plain, emotive,
and contemplative. Most writers have their own particular styles.

Technique This refers to how something is done rather than what is done.
Technique, form and style overlap somewhat, with technique
connoting the literal, mechanical, or procedural parts of the
execution. Assonance and alliteration are techniques of sound,
and stream of consciousness is represented through varying
techniques of grammar, punctuation and use of imagery.
Use of language Written words should be chosen with great deliberation and
thought, and a written argument can be extraordinarily
compelling if the writer’s choice of language is appropriate,
precise, controlled and demonstrates a level of sophistication.
Students should be encouraged to develop and refine their
writing.

 GLOSSARY OF BEHAVIOURAL VERBS USED IN THE CAPE®
LITERATURES IN ENGLISH EXAMINATIONS
WORD TASK
Analyse This means to break down a complex topic to understand its

components and then show how they relate to each other.
Analysis would involve close reading of the text and
examining (note definition below) how the characters'
actions and beliefs reflect larger themes and ideas.
For example: one can analyse the way Henry Bolingbroke
challenges the idea of kingship as a purely inherited right. In
this analysis, you might explore how Bolingbroke asserts his
own claim to the throne based on his abilities as a leader and
his support from the people, rather than simply relying on his
royal bloodline.
Comment
Examine how the writer uses different elements (for example,
literary device, stage props) to create effect and meaning. The
overall effect on the piece of work must also be provided. The
effect must take into account the writer’s purpose, and other
elements of the piece of work, for example, theme, structure,
diction and tone. A judgment must be made about the level of
effectiveness of the element used. A link must be made
between the writer’s intent and the outcome.
For Example: Comment on the significance of the title in
relation to the entire poem.
Contrast Contrast expresses differences and distinction. In the act of

contrasting, similarities are noted so that differences and
distinction can be highlighted.
For Example:
(1) What TWO contrasting impressions of Louie are conveyed
by the writer in this passage?
(2) Identify TWO pairs of contrasting images and comment on
the appropriateness of EACH pair.
(3) Identify TWO images of opposition and comment on the
appropriateness of each.
Describe Provide detailed account, including significant characteristics

or traits of the issue in question.
For Example: Describe Cliteroe’s state of mind as revealed in
line 1 and give ONE reason why he is in this state.
Discuss Provide an extended answer exploring related concepts and

issues using detailed examples but not necessarily drawing a
conclusion.
For example: “Rita Dove’s experimental use of the sonnet
form in Mother Love distinguishes her as a modern poet.”

WORD TASK
With reference to at least THREE poems, discuss the extent to
which you agree with this statement.
Examine Identify relevant and intertwining elements, features and

details in order to provide a logical argument based on a
prompt or stimulus. For example:
“Poetry is more than a pleasurable play with words, rather it

has a more didactic purpose.”
With reference to at least THREE poems by ONE British OR
American OR Postcolonial poet that you have studied ,
examine the extent to which this statement represents your
encounter with poetry.
In this question, candidates would be expected to identify the

elements of poetic form, techniques, language and thematic
concerns in a well-organised argument to prove their chosen
position relevant to their experiences with the reading of
prescribed poems.
Explain Focus on what, how and why something occurred. State the
reasons or justifications, interpretation of results and causes.
For example: Explain the effectiveness of the last line of the
poem.
In a question like this a decision is required, that is whether
the ending is effective or not, or the extent to which it is
effective with appropriate reasons for the position taken.
Give /State These two verbs can be used interchangeably.

Provide short concise answers.
For example: Give /State TWO reasons for your answers.
Identify Extract the relevant information from the stimulus without

explanation.
For example: Identify the setting in this extract.
Some questions that ask for identification may also ask for an
explanation.
For example: Identify TWO pairs of contrasting images and
comment on the appropriateness of EACH pair.

APPENDIX I
 PRESCRIBED POEMS FOR UNIT 1
Selection of Poems from W. H. Auden, Selection of Poems from Wole Soyinka,

Selected Poems: 2007 Selected Poems
Funeral Blues (Stop all the clocks) Death in the Dawn

Refugee Blues Dedication
Musée des Beaux Arts Abiku
The Unknown Citizen Fado Singer
Epitaph on a Tyrant Civilian and Soldier
Shield of Achilles Malediction
Lullaby Idanre": "IV, The Beginning
September 1st, 1939 To the Madmen Over the Wall
Autumn Song (Now the Leaves are Falling Joseph
Fast) Hamlet
Orpheus Chimes of Silence
The More Loving One Ever-Ready Bank Accounts
If I Could Tell You Apres La Guerre
The Fall of Rome Your Logic Frightens Me, Mandela
Sonnets from China XV Muhammad Ali at the Ringside, 1985
Law Like Love
Selection of Poems from Maya Angelou, The

Complete Collected Poems
In a Time
The Mothering Blackness
When I Think About Myself
Riot: 60’s
My Guilt
The Calling of Names
Poor Girl
Alone
Chicken-Licken
Phenomenal Woman
Just for a Time
To Beat the Child Was Bad Enough
Woman Work
Still I Rise
These Yet to Be United States

APPENDIX II
 PRESCRIBED POEMS FOR UNIT 2
Selection of Poems from Mahadai Das, A Leaf in His Ear: Selected Poems
They Came in Ships

Cast Aside Reminiscent Foreheads of Desolation
Look in the Vision for Smiles of the Harvest
Does Anyone Hear the Song of the River Wending its Way Through the Jungle?
This is Kimbia
Untitled II
My Finer Steel Will Grow
Untitled III
While the Sun is Trapped
My Final Gift to Life
For Walter Rodney & Other Victims
The Day of Revolution
Sonnet to a Broom
If I came to India
The Leaf in His Ear
Selection of Poems from Derek Walcott, Selected Poems (Edited by Edward Baugh, 2007)
Prelude
Ruins of a Great House
A Letter From Brooklyn
Laventille
Mass Man
Sea Grapes
Adam’s Song
Parades, Parades
Homecoming Anse La Raye
A Far Cry From Africa
The Castaway
Elsewhere
(“We were headed steadily into the open sea”)
Omeros III
Omeros IV
Western Zone Office

20 June 2023

CARIBBEAN EXAMINATIONS COUNCIL
Caribbean Advanced Proficiency Examination®

CAPE®
Specimen Papers and

Mark Schemes/Keys
Specimen Papers, Mark Schemes and Keys:
Unit 1 Paper 01
Unit 1 Paper 02
Unit 1 Paper 032
Unit 2 Paper 01
Unit 2 Paper 02
Unit 2 Paper 032
CANDIDATE – PLEASE NOTE!
PRINT your name on the line below and return
TEST CODE 02132010
SPECIMEN 2023 this booklet with your answer sheet. Failure to
do so may result in disqualification.
CARIBBEAN E XAM I NAT I O N S COUNCIL
CARIBBEAN ADVANCED PROFICIENCY EXAMINATION®
UNIT 1 – Paper 01
2 hours
READ THE FOLLOWING INSTRUCTIONS CAREFULLY.
1. This test consists of 45 items. You will have 2 hours to answer them.
2. In addition to this test booklet, you should have an answer sheet.
3. Each item in this test has four suggested answers lettered (A), (B), (C), (D). Read each item you
are about to answer and decide which choice is best.
4. On your answer sheet, find the number which corresponds to your item and shade the space having
the same letter as the answer you have chosen. Look at the sample item below.
Sample Item
Which of the following are NOT used to enhance meaning in a poem? Sample Answer

(A) Diction and lyric A B C D
(B) Simile and metaphor
(C) Symbol and assonance
(D) Stage direction and props
The correct answer to this item is “Stage direction and props”, so (D) has been shaded.
5. If you want to change your answer, erase it completely before you fill in your new choice.
6. When you are told to begin, turn the page and work as quickly and as carefully as you can. If you
cannot answer an item, go on to the next one. You may return to that item later.
DO NOT TURN THIS PAGE UNTIL YOU ARE TOLD TO DO SO.
Copyright © 2023 Caribbean Examinations Council

All rights reserved.
02132010/MJ/CAPE/SPEC 2023
-2-
Items 1–8
Instructions: Read the following extract carefully and then answer Items 1–8.
My Little Spendthrift
A pleasant room, tastefully but not expensively furnished. On the back wall, one door on the right
leads to the entrance hall, a second door on the left leads to HELMER’S study. Between these two
doors, a piano. In the middle of the left wall, a door; and downstage from it, a window. Near the
window a round table with armchairs and a small sofa. In the right wall, upstage, a door; and
5 on the same wall downstage, a porcelain stove with a couple of armchairs and a rocking chair.
Between the stove and the door a small table. Etchings on the walls. A whatnot with china and
other small objects d’art; a small bookcase with books in handsome bindings. Carpet on the floor;
a fire burns in the stove. A winter’s day.
The front door-bell rings in the hall; a moment later, there is the sound of the front door being
10 opened. NORA comes into the room, happily humming to herself. She is dressed in her outdoor
things, and is carrying lots of parcels which she then puts down on the table, right. She leaves the
door into the hall standing open; a PORTER can be seen outside holding a Christmas tree and a
basket; he hands them to the MAID who has opened the door for them.
NORA: Hide the Christmas tree away carefully, Helene. The children mustn’t see it till
15 this evening, when it’s decorated. [To the PORTER taking out her purse.] How
much?
PORTER: Fifty öre.
NORA: There’s a crown. Keep the change.
[The PORTER thanks her and goes. NORA shuts the door. She continues to laugh quietly and
20 happily to herself as she takes off her things. She takes a bag of macaroons out of her pocket and
eats one or two; then she walks stealthily across and listens at her husband’s door.]
NORA: Yes, he’s in. [She begins humming again as she walks over to the table, right.]
HELMER: [in his study] Is that my little sky-lark chirruping out there?
NORA: [busy opening some of the parcels] Yes, it is.
25 HELMER: Is that my little squirrel frisking about?
NORA: Yes!
HELMER: When did my little squirrel get home?
NORA: Just this minute. [She stuffs the bag of macaroons in her pocket and wipes her
mouth.] Come on out, Torvald, and see what I’ve bought.
GO ON TO THE NEXT PAGE

02132010/CAPE/SPEC 2023
-3-
30 HELMER: I don’t want to be disturbed! [A moment later, he opens the door and looks out,
his pen in his hand.] “Bought,” did you say? All that? Has my little spendthrift
been out squandering money again?
NORA: But, Torvald, surely this year we can spread ourselves just a little. This is the first
Christmas we haven’t had to go carefully.
35 HELMER: Ah, but that doesn’t mean we can afford to be extravagant, you know.
NORA: Oh yes, Torvald, surely we can afford to be just a little bit extravagant now, can’t
we? Just a teeny-weeny bit. You are getting quite a good salary now, and you are
going to earn lots and lots of money.
HELMER: Yes, after the New Year. But it’s going to be three whole months before the first
40 pay check comes in.
NORA: Pooh! We can always borrow in the meantime.
HELMER: Nora! [Crosses to her and takes her playfully by the ear.] Here we go again, you
and your frivolous ideas! Suppose I went and borrowed a thousand crowns today,
and you went and spent it all over Christmas, and then on New Year’s Eve a slate
45 fell and hit me on the head and there I was …
NORA: [putting her hand over his mouth] Sh! Don’t say such horrid things.
HELMER: Yes, but supposing something like that did happen … what then?
NORA: If anything as awful as that did happen, I wouldn’t care if I owed anybody anything
or not.
50 HELMER: Yes, but what about the people I’d borrowed from?
NORA: Them? Who cares about them! They are only strangers!
HELMER: Nora, Nora! Just like a woman! Seriously though, Nora, you know what I think
about these things. No debts! Never borrow! There’s always something inhibited,
something unpleasant, about a home built on credit and borrowed money. We two
55 have managed to stick it out so far, and that’s the way we’ll go on for the little time
that remains.
NORA: [Walks over to the stove.] Very well, just as you say, Torvald.
HELMER: [Following her.] There, there! My little singing bird mustn’t go drooping her
wings, eh? Has it got the sulks, that little squirrel of mine? [takes out his wallet]
60 Nora, what do you think I’ve got here?
NORA: [quickly turning around] Money!

02132010/CAPE/SPEC 2023
-4-
HELMER: There! [He hands her some notes.] Good heavens, I know only too well how
Christmas runs away with the housekeeping.
NORA: [counts] Ten, twenty, thirty, forty. Oh, thank you, thank you, Torvald! This will
65 see me quite a long way.
HELMER: Yes, it’ll have to.
NORA: Yes, yes, I’ll see that it does. But come over here, I want to show you all the
things I’ve bought. And so cheap! Look, some new clothes for Ivar … and a
little sword. There’s a horse and a trumpet for Bob. And a doll and a doll’s cot
70 for Emmy. They are not very grand but she’ll have them all broken before long
anyway. And I’ve got some dress material and some handerchiefs for the maids.
Though, really, dear old Anne Marie should have had something better.
HELMER: And what’s in this parcel here?
NORA: [shrieking] No, Torvald! You mustn’t see that till tonight!
75 HELMER: All right. But tell me now, what did my little spendthrift fancy for herself?
NORA: For me? Pooh, I don’t really want anything.
HELMER: Of course you do. Anything reasonable that you think you might like, just tell me.
NORA: Well, I don’t really know. As a matter of fact, though, Torvald …
HELMER: Well?
80 NORA: [toying with his coat-button, without looking at him] If you did want to give me
something, you could … you could always …
HELMER: Well, well, out with it!
NORA: [quickly] You could always give me money, Torvald. Only what you think you
could spare. And then I could buy myself something with it later on.
85 HELMER: But, Nora …
NORA: Oh, please, Torvald dear! Please! I beg you. Then I’d wrap the money up in some
pretty gilt paper and hang it on the Christmas tree. Wouldn’t that be fun?
Adapted from Henrik Ibsen, A Doll’s House.

In Anthology of Drama, pp. 931–933.

02132010/CAPE/SPEC 2023
-5-
1. The furnishings described in the opening 4. The word which BEST describes the aspect
stage directions (lines 1–8) indicate that the of Helmer’s character revealed in lines
family is 35−40 is
(A) excessively wealthy (A) miserly

(B) poor yet comfortable (B) agreeable
(C) financially comfortable (C) responsible
(D) bankrupt yet pretentious (D) authoritarian
2. The effect the playwright achieves by 5. What dramatic function is achieved by the
Helmer’s reference to Nora as “my little stage direction “Crosses to her and takes
sky-lark chirruping” (line 23) is that of her playfully by the ear” (line 42)?
(A) reinforcing Nora’s happiness and (A) Movements and actions facilitate
cheerful mood character revelation and stage
(B) allowing the audience to focus on action.
the characteristics of Nora (B) Characters’ traits are revealed
(C) establishing the contrasting person- for audience engagement and
alities of Nora and Helmer appreciation of the drama.
(D) revealing the candid nature of Nora (C) Thematic concerns are raised for the
and Helmer’s relationship audience to compare the actions
of the main characters.
(D) Characters’ actions make them en-
3. Which of the following BEST explains the dearing, even while establishing
dramatic effect of the exchange between them as either the antagonist or
Helmer and Nora in lines 25−35 of the protagonist.
extract?
(A) Suspense is created as the audience 6. Helmer’s wallet (line 59) is a significant
anticipates the outcome of the prop in the extract as it
exchange.
(B) Helmer’s mean trait is revealed, I. emphasizes the issue of money, a
suggesting that he does not allow central theme within the extract
Nora the freedom to shop. II. underscores Helmer’s love for Nora
(C) Sympathy is evoked for Nora who and Nora’s gratitude to Helmer
is being criticized for spending III. resolves the tension between
as she wishes for Christmas. Helmer and Nora over the
(D) Nora’s fear of her husband is spending of money
revealed, yet she does not hesitate
to challenge his expectations. (A) I and II only
(B) I and III only
(C) II and III only
(D) I, II and III

02132010/CAPE/SPEC 2023
-6-
7. The playwright makes extensive use of 8. The title of the extract “My Little
contrast in the extract to Spendthrift” can be considered suitable
because it
(A) create humour
(B) establish setting (A) is symbolic of the spending habits
(C) develop characters of women
(D) facilitate characters’ action (B) demonstrates that young wives must
spend wisely
(C) captures a key trait of the antagonist,
Nora, her love for money
(D) conveys Helmer ’s enduring
affection for Nora, despite her
heavy spending

02132010/CAPE/SPEC 2023
-7-
Items 9–15
Nothing More than a Fowl Coop
At the Land Services Club, a club patronized by Civil Servants. Selwyn and Basil are at a table.
Both are coloured.
BASIL: (suddenly) Tell me, have you ever hated anybody? (Selwyn laughs) You may
laugh, Selwyn, but laughter cannot evade the truth. Some things make men lose
5 faith in themselves and in humanity — some things make men hate.
SELWYN: What is this about? Not our dear friend Hilary Greene, again?
BASIL: Maybe your dear friend, not mine. Every time I see his white face in the office,
I see red. (strikes the table). Worst of all, he tries to be one of us, (with scorn)
to wear our native feathers, but the more he tries the less it works. That’s what it
10 means to be born with everything in your favour.
SELWYN: Settle down, man. It’s no use worrying. That won’t change it. Why don’t you do
like me? Treat Hilary like any other human being. Offer him a cigarette. Pass
him a file. If necessary add up his figures for him … and forget … forget all about
it: that’s my recipe. You know, Basil, memory is like a guest with a big appetite;
15 the more you feed him, the longer he stays. What would you do with such a
fellow? You wouldn’t encourage him to the table. You would keep him at arms’
length.
BASIL: Forgetting is not so easy, Selwyn. You can’t forget a needle sticking into your skin.
(In a quieter tone) Yesterday we were in the lunch room. He returned from his
20 lunch and came for water. He said hello and took a glass from the cupboard. He
washed it carefully. Then drank out of it. Watching him clean the glass, watching
his fingers search for every contamination …
SELWYN: (interrupting) Steady on! After all, Basil, don’t we wash a glass before we use it?
Nonsense!
25 BASIL: It was the way it was done! The implied scorn of the action!
SELWYN: Implied scorn! You’re imagining things. You construct a ghost and it appears!
If you go on like this, every time the dear boy raises his foot to walk, you’ll think
he is aiming a kick at you! Frankly I think he’s a regular chap. Inexperienced
perhaps, but after all who is experienced? You? Me?

02132010/CAPE/SPEC 2023
-8-
30 BASIL: (quietly) Tell me. Why should he get the job of Chief Accountant? Bonnie Telford
is more experienced than he. Bonnie is older. Bonnie acted as Chief Accountant
for months before the appointment — and then a pale-faced foreigner ups and
gets the job before him? Why? Because he had more experience? Because he
knew the job better? No. I’ll tell you why. Because Bonnie Telford’s skin is dark,
35 because he is black and a West Indian? Sounds sweet, doesn’t it?
SELWYN: (cynically) God moves in mysterious ways ...
BASIL: Mysterious! It is as plain as black and white … Look at Bonnie’s short leg, look
at his limp. He was good enough to fight for them, to fly their planes, to risk his
black skin in the sky, but he isn’t good enough for a job he can do with his eyes
40 shut.
(A voice interrupts from the street door. It is Hilary. His hair is tousled. He is untidy with a certain
abandon in his movements, an unrehearsed ease.)
HILARY: (heartily) Hello boys. What are you fellows doing? Anything special?
SELWYN: Well as you see, firing a couple. What’s biting you? You look as if a wind was
45 trying to arrest you on the way.
HILARY: You never said a truer word. I came down Jefferson Avenue just now doing a cool
sixty-five, A wind was trying to stop me. But as you see I eluded arrest.
SELWYN: You drive too fast for this small island. Take care the cops pick you up.
HILARY: They have to see me first. Listen, what about going for a spin with me? That is
50 if you aren’t doing anything in particular.
SELWYN: Ok by me.
BASIL: No thanks, I have an engagement.
(Hilary and Selwyn go out. A car revs up and goes off. Stuart, the waiter, enters. Basil sits in
silence with his chin in his hand.)
55 STUART: Why you didn’t go for the drive Mr Basil? That is a sweet car, yes sir. A Jaguar,
they call it! And Mr Greene can drive like he mad. He crazy at a wheel. You
should see him pass through St. James on Sunday mornings. He does pass like a
jet plane. (No answer. Stuart fusses around another table obviously anxious to
chat.)
60 BASIL: (gripping his glass firmly. He speaks almost in a monotone, staring ahead.) Why
should it matter Stuart? Why stick it in my craw like a piece of hard meat?

02132010/CAPE/SPEC 2023
-9-
STUART: What sir? Something stick in your throat, sir? You not feeling well, sir?
BASIL: No. How do you always seem satisfied Stuart? And with what! Serving out drinks
day after day to a few scatter-brained Civil Servants!
65 STUART: Sir, I think you worries too much. Life to me is like the fowls in a fowl house.
Some of the fowls fly up high on a perch. Others stay down below. But all o’
them have to sleep and all o’ them have to eat. No matter some may get more
sleep than the others; no matter some may get more corn than the others … And
even if some get more corn? They all still have to live. So, no use worrying and
70 worrying …
BASIL: Yes, Stuart, you’re right. Life is nothing more than a damned fowl coop! (his voice
rises with passion) Every morning you have to creep up to it with your nostrils
closed, and clean it out. (His voice drops) And the hens can live in it for another
day. And eat their corn and lay their eggs with satisfaction. (Urgently) Stuart, I
75 can’t be a satisfied hen! Never!
STUART: (out of his depth) No sir, you can’t be a satisfied hen sir. (Changing the
conversation) Will you have another drink, Mr Basil?
Adapted from A.N. Forde, “The passing cloud”. In Caribbean plays: One-Act Plays,
University of the West Indies, Extra-Mural Dept, 1966.
9. The exchange between Basil and Selwyn 10. The BEST explanation of the simile in
in lines 6–17 “What is this about? …You lines 14–15 (“memory is like a guest with
would keep him at arms’ length”) is used a big appetite; the more you feed him, the
by the playwright to longer he stays”) is
(A) reveal the source of Basil’s resent- (A) that greed can have a negative
ment impact on sustaining a friendship
(B) imply that Selwyn is sensitive to (B) treating others as you treat yourself
the issue makes your guests’ visit
(C) disclose Hilary’s lack of considera- memorable
tion for Basil (C) dwelling on unpleasant ideas will
(D) suggest that Selwyn is overly keep them at the forefront of your
concerned about Hilary mind
(D) that if you do not want your guest to
stay too long, do not feed him too
much

02132010/CAPE/SPEC 2023
- 10 -
11. The function of the stage directions in 14. How is the car as a prop BEST used in the
lines 41–42 (A voice interrupts from the extract to enhance meaning?
street door. It is Hilary. . . . an unrehearsed
ease) and line 53 (Hilary and Selwyn go (A) Aesthetically, to capture the essence
out. A car revs up and goes off) is that they of the island
(B) Logically, to reflect on the history of
(A) provide a complication in the plot imperialism
(B) depict an incident that reduces the (C) Ideologically, to reflect the privilege
conflict of a certain class
(C) support the impression created earlier (D) Thematically, to develop the idea of
of Hilary social integration
(D) reinforce the characterization of
Hilary as a man of privilege
15. The dramatic function of the colours red,
white and black in the extract is that it
12. Hilary’s attitude to the island in lines 46–47
(You never said a truer word … I eluded (A) creates irony and suspense
arrest) and line 49 (They have to see me (B) reinforces mood and contrast
first) is (C) foregrounds symbols and themes
(D) balances characterization and
(A) comical and patronizing setting
(B) dismissive and detached
(C) taunting and insufferable
(D) encouraging and hopeful
13. The significance of the extended metaphor

of the “fowl coop” in lines 65–75 (“Life
to me is like the fowls in a fowl house …
I can’t be a satisfied hen”) is to
(A) underscore the tragedy of life

(B) present Stuart as an uneducated
man
(C) emphasize the similarities between
Stuart and Basil
(D) highlight Stuart’s and Basil’s
differing attitudes to life

02132010/CAPE/SPEC 2023
- 11 -
NOTHING HAS BEEN OMITTED.

02132010/CAPE/SPEC 2023
- 12 -
Items 16–22
Instructions: Read the following poem carefully and then answer Items 16–22.
Rite of Passage
As the guests arrive at my son’s party

they gather in the living room—
short men, men in first grade
with smooth jaws and chins.
5 Hands in pockets, they stand around
jostling, jockeying for place, small fights
breaking out and calming. One says to another
How old are you? Six. I’m seven. So?
They eye each other, seeing themselves
10 tiny in the other’s pupils. They clear their
throats a lot, a room of small bankers,
they fold their arms and frown. I could beat you
up, a seven says to a six,
the dark cake, round and heavy as a
15 turret1 behind them on the table. My son,
freckles like specks of nutmeg on his cheeks,
chest narrow as the balsa keel of a
model boat, long hands
cool and thin as the day they guided him
20 out of me, speaks up as a host
for the sake of the group.
We could easily kill a two-year-old,
he says in his clear voice. The other
men agree, they clear their throats
25 like Generals, they relax and get down to
playing war, celebrating my son’s life.
Sharon Olds, “Rite of Passage”. In Sound and Sense:

An Introduction to Poetry, Thomson Wadsworth, 2005, p.190.
1
turret — an armourned tower, typically one that revolves, for a gun and
gunners in a ship, aircraft, fort or tank.

02132010/CAPE/SPEC 2023
- 13 -
16. The event in this poem appears to be a 19. The image of the “dark cake, round and
heavy as a / turret behind them on the table”
(A) party for a young male child in lines 14–15
(B) networking party put on for bankers
(C) politically-motivated party with I. symbolizes the “men’s” desire to
mostly male attendees fight and conquer
(D) party put on by a proud mother for II. is consistent with the war metaphor
her child and his soldier friends evident within the poem
III. contrasts with the happy mood
presented in the poem
17. The impression of the characters created in
lines 9 and 10 is that they (A) I and II only
(B) I and III only
(A) are somewhat insecure (C) II and III only
(B) are jealous of each other (D) I, II and III
(C) see themselves as superior to the
others
(D) enjoy making eye contact with their 20. The MOST suitable interpretation of the
peers poet’s mention of behaviours such as
“Hands in pockets” (line 5), “jockeying for
place” (line 6) and “small fights / breaking
18. The BEST explanation of the significance out” (lines 6–7), is that these allow the
of the persona’s repetition of the words “My reader to connect
son” is that it
(A) the theme of power with the action
(A) establishes a contrast between the of the “men” in the poem
son and the other males (B) the images of masculinity and
(B) indicates that the persona is manhood to the characters’ desire
mocking the behaviour of her son to be seen as superior in years
and his peers (C) the crude actions of the persona’s son
(C) suggests that the persona is referring and his friends with their need for
to all males who are moving into constant recognition
this new stage of life (D) the “men’s” activities and movement
(D) maintains focus on the central to transitional stages in their lives
character who is moving into this
fundamental stage in his life

02132010/CAPE/SPEC 2023
- 14 -
21. Two possible themes in the poem which 22. The BEST explanation of why the posture
are brought out through the poet’s use of of the son’s peers at the start of the poem is
comparisons in lines 10–12, lines 17–19 and different than at the end of the poem is that
line 25 are
(A) they are arriving at the start but
(A) appreciation and nostalgia they are departing by the time the
(B) disillusionment and fantasy poem ends
(C) war and the consequences of war (B) they experience the war for
(D) rivalry and the desire to be greater leadership at the beginning and
than we are have a leader at the end
(C) at the start of the poem, all the
“men” are standing, focused on
their own images, but by the end,
they “get down” and are focused
on honouring the son
(D) there is evidence that they no longer
need to feel powerful at the end of
the poem, in the way they did at
the start when they were craving
each other’s attention

02132010/CAPE/SPEC 2023
- 15 -
Items 23–30
This Zinc Roof
This rectangle of sea; this portion

Of ripple; this conductor of midday heat;
This that the cat steps delicately on;
This that the poor of the world look up to

5 On humid nights, as if it were a crumpled
Heaven they could be lifted into.
God’s mansion is made of many-coloured zinc,

Like a balmyard I once went to, Peace
And Love written across its breadth.
10 This clanging of feet and boots,

Men running from Babylon whose guns
Are drawn against the small measure
Of their lives; this galvanised sheet; this

Corrugated iron. The road to hell is fenced
15 On each side with zinc —
Just see Dawn Scott’s installation,

A Cultural Object, its circles of zinc
Like the flight path of johncrows.
The American penny is made from zinc,

20 Coated with copper, but still enough zinc
That a man who swallowed 425 coins died.
This that poisons us; this that holds

Its nails like a crucified Christ, but only
For a little while. It rises with the hurricane,
25 Sails in the wind, a flying guillotine.

This, a plate for our severed heads;
This that sprinkles rust
over our sleep like obeah;

This that covers us; this that chokes us;
30 This, the only roof we could afford.
Kei Miller, “This Zinc Roof ”.

In A Light Song of Light, Carcanet, 2010, p. 17.

02132010/CAPE/SPEC 2023
- 16 -
23. The literary form of the poem is remi- 27. Which of the following types of imagery
niscent of is NOT used in the first five stanzas of the
poem?
(A) Ode
(B) Ballad (A) Tactile
(C) Apostrophe (B) Auditory
(D) Blank Verse (C) Gustatory
(D) Kinesthetic
24. “This Zinc Roof” is composed of stanzas

that are called 28. The simile “its circles of zinc/Like the flight
path of johncrows” (lines 17–18)
(A) tercets
(B) couplets I. is symbolic of inner-city environs
(C) quatrains and the impending carnage of
(D) ottava rima death
II. conjures up images of the un-
dulating, graceful, circling
25. Which of the following combinations of movements of the birds of
figurative devices does the poet use in prey
stanza 2? III. reiterates the theme of man’s
cyclical movements captured in
(A) Metaphor, simile, allusion the travel patterns of scavenger
(B) Symbolism, imagery, paradox birds
(C) Irony, juxtaposition, assonance
(D) Personification, hyperbole, conso- (A) I and II only
nance (B) I and III only
(C) II and III only
(D) I, II and III
26. The shift in mood at the start of line 10 is
created by the
29. The entire poem could be described as the
I. juxtaposition of “Peace /And Love” poet utilizing
with “guns/Are drawn”
II. heightened rhythm created by (A) imagery drawn from multiple areas
“This clanging of feet and boots” and discourses to champion the
III. the description of “Men running plight of the poor
from Babylon” to escape the (B) a series of metaphors to provide a
drawn guns thematic frame for the message
conveyed about social reality
(A) I and II only (C) anaphoric references to “this”, as a
(B) I and III only way of highlighting to the reader
(C) II and III only the injustices underpinning
(D) I, II and III classism and greed
(D) verbal art to comment on the themes
of poverty, warring factions, and
death by individualism

02132010/CAPE/SPEC 2023
- 17 -
30. Which of the following BEST accounts for the appropriateness of the title of the poem?
(A) The repeated reference to the zinc roof facilitates symmetrical and rhythmical cohesion.
(B) The figurative device most used within the poem is also evident within the title of the
poem.
(C) “This Zinc Roof” frames the poem, creating tension, changing mood, and driving poetic
choices.
(D) Zinc is associated with the plight of the poor, a motif which the title captures quite
effectively.

02132010/CAPE/SPEC 2023
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Items 31–38
Instructions: Read the following passage carefully and then answer Items 31–38.
Strange Conversations
When one thinks of the West Indies, one usually conjures up images of sandy beaches, blue skies,
stately coconut trees waving in the breeze, cricket, beautiful women of every shape and colour, and
of course we cannot forget the inevitable rum punch. But there is one thing the tourist brochures
never tell you, and that is that the Caribbean is the land of strange conversations! Someone is
5 always wondering about something, usually out loud, and looking for the slightest sign of interest
from whomsoever may be in the vicinity, stranger or friend, to start an ‘ole talk’. So beware,
you could be drawn into some of the strangest discussions, about the strangest things, and in the
strangest places.
Not too long ago I was in Barbados, lying on the beach, minding my own business, trying not to
10 look like a Tourist, because you know, no West Indian ever considers himself a Tourist. A traveller,
visiting family, an immigrant, on business ... but never a Tourist. But that’s another story. Anyway,
there was I, lying on this beach, shading my face from the sun with a towel, when these two legs
walked into my range and stopped a few feet off. Peeping through the folds of my towel, I could
see that it was one of the women who have now become an integral part of the Caribbean Tourist
15 Industry, what I would call a “Braider”. They spend their time braiding the female tourists’ hair
into tiny plaits, which seem to be a craze amongst tourists. They can be seen any time of day, in
the hot sun, sitting on the beach, with a patient tourist in front of them, having her head done up
into these little, little plaits. I never really took it on before, just someone having her head done
up to look like a pomme-cythère1 seed.
20 That was until these two legs began a conversation with no one in particular, who turned out to
be me. “I don’t know what’s the matter with them. They think it easy to do Tourist head? Eh?
Imagine they tellin’ me I have to charge by the head, when I accustom chargin’ by the plait? You
think that make sense? Eh? Suppose a lady have forty plait, and a next one have twenty plait, is
how I must charge the same thing? And you know how hard it is to plait Tourist hair? The hair
25 soft, soft, soft. If you twist it so, and you just ease up a little bit, the whole thing unravel. Black
people hair different, you could twist it and bend it, and leave it and go to town, and when you
come back, it ain’t move an inch.
And first thing them tourist does do, is go and jump in the water with the braids, and when it
come out, they saying how it eh plait good. I don’t care what the government say, I not charging
30 by the head, is by the plait. You ain’t find I right?” The two shoetips were facing me, I was in
the conversation, me who just learn to tie my shoelace the other day, have to talk ‘bout braids. I
thought of pretending that I had not heard, that I was asleep, but these beach people could tell if
you’re asleep by just looking at your big toe. I did the honourable thing, I said, “Lady, you well
right. Is a shame!” I had begun one of those “Strange Conversations”!
Adapted from Paul Keens-Douglas, “Strange Conversations”.

In Poetry & Short Stories by Paul Keens-Douglas,
Keensdee Productions, 1997.
1
A fruit which is also called golden apple or June plum.

02132010/CAPE/SPEC 2023
- 19 -
31. The narration of the short story is conveyed 35. The initial letters of the words “Braider”
MAINLY in and “Tourist” are capitalized because
(A) first-person, limited perspective (A) the words serve as nicknames for
(B) first-person, omniscient perspective the characters in the story
(C) third-person, limited perspective (B) the narrator is attempting to convey
(D) third-person, omniscient perspective an ironic and sarcastic tone
(C) they emphasize the importance of
these characterizations to the
32. Which of the following adjectives BEST story’s plot
describes the narrator’s characterization of (D) they depict the loud volume of
Caribbean people? the narrator’s voice in the
conversation
(A) Beautiful
(B) Talkative
(C) Sociable 36. The BEST explanation for the use of Creole
(D) Strange language in the Braider’s conversation with
the narrator is that it
33. Which of the following correctly lists the (A) authenticates the Caribbean setting
types of imagery evoked in lines 1–3? of the story for the reader
(B) demonstrates her annoyance at the
(A) Tactile, kinetic, auditory, organic, government’s new policy
olfactory (C) is the only indication by the narrator
(B) Visual, tactile, kinetic, auditory, that she is a local character
gustatory (D) implies that she knew the narrator
(C) Olfactory, visual, gustatory, and had spoken to him before
auditory, organic
(D) Organic, kinetic, olfactory,
gustatory, visual 37. The narrator’s statement that “I was in the
conversation, ... have to talk ‘bout braids”
(lines 30–31) BEST suggests that he or she
34. The literary trope in the sentence “That was is
until ... particular, who turned out to be me”
(lines 20–21) is (A) being forced by the lady to converse
with her
(A) irony (B) of a very young age at the time of
(B) metaphor the incident
(C) synecdoche (C) about to discuss a subject he or
(D) personification she is passionate about
(D) overstating how little he or she
knows about the subject of
discussion

02132010/CAPE/SPEC 2023
- 20 -
38. Which of the following does the writer employ to address the theme of tourism in the Caribbean?
(A) Subtlety
(B) Humour
(C) Argument
(D) Indifference

02132010/CAPE/SPEC 2023
- 21 -
Items 39–45
Instructions: Read the following passage carefully and then answer Items 39–45.
The Open Window
“My aunt will be down presently, Mr Nuttel,” said a very self-possessed young lady of fifteen, “in the
meantime you must try and put up with me.”
Framton Nuttel endeavoured to say the correct something which should duly flatter the niece of the
moment without unduly discounting the aunt that was to come. Privately he doubted more than ever
5 whether these formal visits on a succession of total strangers would do much towards helping the nerve
cure which he was supposed to be undergoing.
“I know how it will be,” his sister had said when he was preparing to migrate to this rural retreat; “I
shall just give you letters of introduction to all the people I know there. Some of them were quite nice.”
Framton wondered whether Mrs Sappleton, the lady to whom he was presenting one of the letters of
10 introduction, came into the nice division.
“Do you know many of the people round here?” asked the niece.
“Hardly a soul,” said Framton. “My sister was staying here, some four years ago, and she gave me
letters of introduction to some of the people here.”
“Then you know practically nothing about my aunt?”
15 “Only her name and address,” admitted the caller. He was wondering whether Mrs Sappleton was in
the married or widowed state. An undefinable something about the room seemed to suggest masculine
habitation.
“Her great tragedy happened just three years ago,” said the child, “You may wonder why we keep that
window wide open on an October afternoon,” indicating a large French window that opened on to a
20 lawn.
“Has that window got anything to do with the tragedy?” asked Framton.
“Out through that window, three years ago to a day, her husband with his white waterproof coat over
his arm and her two young brothers went off for their day’s shooting. They never came back. In
crossing the moor, they were all three engulfed in a treacherous piece of bog. Their bodies were never
25 recovered.”
Here the child’s voice lost its self-possessed note. “Poor aunt always thinks that they will come back
some day, they and the little brown spaniel that was lost with them and walk in at that window just as
they used to do. That is why the window is kept open every evening till it is quite dusk. Sometimes
on still, quiet evenings like this, I almost get a creepy feeling that they will all walk in through that
30 window —” She broke off with a little shudder.

02132010/CAPE/SPEC 2023
- 22 -
It was a relief to Framton when the aunt bustled into the room with apologies for being late in making
her appearance. “I hope you don’t mind the open window,” said Mrs Sappleton briskly; “my husband
and brothers will be home directly from shooting, and they always come in this way. They’ve been
out for snipe in the marshes today.” She rattled on cheerfully about the shooting and the scarcity of
35 birds, and the prospects for duck in the winter.
To Framton it was all purely horrible. He made a desperate effort to turn the talk to a less ghastly topic.
He was conscious that his hostess was giving him only a fragment of her attention, and her eyes were
constantly straying past him to the open window and the lawn beyond. It was certainly an unfortunate
coincidence that he should have paid his visit on this tragic anniversary.
40 Then she suddenly brightened into alert attention — but not to what Framton was saying. “Here they
are at last!” she cried. “Just in time for tea, and don’t they look as if they were muddy up to the eyes!”
Framton shivered slightly and turned towards the niece with a look intended to convey sympathetic
comprehension. The child was staring out through the open window with dazed horror in her eyes.
In a chill shock of nameless fear Framton swung round in his seat and looked in the same direction.
45 In the deepening twilight three figures were walking across the lawn towards the window; they all
carried guns under their arms, and one of them was additionally burdened with a white coat hung over
his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house.
Framton grabbed wildly at his stick and hat; the hall-door, the gravel-drive, and the front gate were
dimly-noted stages in his headlong retreat.
Adapted from H.H. Munro, or Saki,“The Open Window”.

In Great Short Stories, Dover Publications, Inc.
Mineola, 2005, pp. 140–142.
39. The description of the niece as “a very self- 41. The BEST explanation of why “Framton
possessed young lady of fifteen” (line 1) Nuttel endeavoured to say the correct
indicates that she is something which should duly flatter the
niece of the moment without unduly
(A) poised and confident discounting the aunt that was to come”
(B) anxious and self-assured (lines 3–4) is that he
(C) creative and mischievous
(D) precocious and self-conscious (A) attempted to compliment the
niece while analyzing the family
dynamics
40. What is the narrative point of view used in (B) tried to think of an appropriate
the passage? greeting to coax the niece into
conversation
(A) First person limited (C) strove to properly engage the
(B) Third person limited niece in conversation without
(C) Third person objective offending the aunt
(D) Third person omniscient (D) struggled to suitably praise the
niece while reserving some
compliments for the aunt

02132010/CAPE/SPEC 2023
- 23 -
42. The MAIN function of the dialogue 44. Which of the following statements BEST
between Vera and Mr Framton in lines describes the theme of the passage?
11–30 “Do you know many of the people
round here … with a little shudder” is that (A) Childhood denotes innocence while
it adulthood confers wisdom.
(B) Truth frees us to live fulfilling
(A) highlights that the gullible man is lives while teaching us to value
dominated by a subdued female honesty.
(B) demonstrates that the imaginative (C) The unpredictability of childhood
teenager controls the perception is controlled by the whims and
of reality fancies of adults.
(C) suggests that the paranoid teenager (D) The interplay of truth and
is simultaneously delusional and imagination asserts that fiction
cunning can alter perspective.
(D) reinforces that youth, femininity,
delicateness and decorum are
celebrated 45. The writer’s tone can BEST be described
as
43. Which of the following statements (A) lofty and pompous

highlights irony in the passage? (B) bleak and pessimistic
(C) witty and light-hearted
(A) Framton bolts from the house but (D) serious and contemplative
Vera and her aunt are engrossed
with the return of the hunters.
(B) Framton retreats to the countryside
to recover from nerves but is
made to feel more anxious there.
(C) The hunting party approaches the
window and Mrs Sappleton
exclaims gleefully upon their
return.
(D) Vera recounts a story about how
her aunt lost her husband and
two brothers in a tragic hunting
accident.
END OF TEST
IF YOU FINISH BEFORE TIME IS CALLED, CHECK YOUR WORK ON THIS TEST.
The Council has made every effort to trace copyright holders. However, if any have been inadvertently
overlooked, or any material has been incorrectly acknowledged, CXC will be pleased to correct this at
the earliest opportunity.
02132010/CAPE/SPEC 2023
Master Data Sheet for CAPE Literatures in English Unit 1 Paper 01
Item Key Syllabus Profile

Number Objective
1 C 2(d)iv 1
2 A 2(a)i 1
3 C 2(a)i 1
4 C 2(a)iii 1
5 A 2(c)xi 1
6 D 2(d)vii 1
7 C 2(b)vii 1
8 D 2(c) 1
9 A 2(d) ii 1
10 C 2(b)vii 1
11 D 2(d)vii 1
12 B 2(a)v 1
13 D 2(b)i 1
14 C 2(d)vii 1
15 C 2(b)iv 1
16 A 4ix 2
17 A 3(a)i 2
18 D 3(a)i 2
19 A 3(a)i 2
20 B 3(a)i 2
21 D 3(b) 2
22 C 3(a) 2
23 D 1(a) 2
24 A 1 2
25 A 3(b) I,ii 2
26 D 3(a)iii 2
27 C 3(b)v 2
28 A 3(b)i 2
29 A 3(a)v 2
Number Objective
30 D 3(a) 2
31 A 3(c)ii 3
32 A 3(a)i 3
33 C 3(b)i 3
34 C 3(b)v 3
35 B 3(c)iii 3
36 B 3(a)i 3
37 D 3(a)v 3
38 B 3(a)vi 3
39 A 3(c)iii 3
40 D 3(c)ii 3
41 D 4(b) 3
42 B 3(c)iii 3
43 B 3(b)iii 3
44 C 3(a)ii 3
45 C 3(a)v 3
TEST CODE 02132020
SPECIMEN 2023
UNIT 1 – Paper 02
3 hours
1. This paper consists of THREE sections: A, B and C.
2. There are TWO questions in Section A, TWO questions in Section B and TWO questions
in Section C.
3. Answer THREE questions, ONE from EACH section.
4. Write your answers in the spaces provided in this booklet.
5. Do not write in the margins.
6. You are advised to take some time to read through the paper and plan your answers.

02132020/CAPE/SPEC 2023
- 2 -
SECTION A
MODULE 1 — DRAMA
SHAKESPEARE — COMEDIES AND HISTORIES
Answer ONE question from this section.
EITHER
1. “Shakespeare’s play Love’s Labour’s Lost is more memorable for its use of language than for its
stage action and spectacle.”
Examine the validity of this statement.

Total 45 marks
OR
2. “It is Shakespeare’s use of paradox throughout the play Henry V which allows the audience to
examine the human condition.”
Discuss the extent to which this is a fair assessment of the play.

Total 45 marks

02132020/CAPE/SPEC 2023
- 3 -
SECTION A
You may make notes here. This will NOT be marked.

02132020/CAPE/SPEC 2023
- 4 -
Your answer to the question you have chosen in Section A – Drama should be written here.
CIRCLE the question number you have chosen to answer.
Question No. 1 2
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02132020/CAPE/SPEC 2023
- 5 -
Question No. 1 2
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02132020/CAPE/SPEC 2023
- 6 -
Question No. 1 2
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02132020/CAPE/SPEC 2023
- 7 -
Question No. 1 2
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02132020/CAPE/SPEC 2023
- 8 -
Question No. 1 2
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02132020/CAPE/SPEC 2023
- 9 -
Question No. 1 2
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02132020/CAPE/SPEC 2023
- 10 -
SECTION B
MODULE 2 — POETRY
BRITISH, AMERICAN, AND POSTCOLONIAL
EITHER
3. “Poets mainly use symbolism to challenge acts of exploitation.”
With reference to at least THREE poems by any one of the poets studied (British — W.H Auden,
American — Maya Angelou, Post-colonial — Wole Soyinka), discuss the extent to which you
agree with this statement.
Total 45 marks
OR
4. “It is the ‘best words in the best order’ and not the subject matter that makes poetry impactful.”
With reference to at least THREE poems by any one of the poets studied (British — W.H Auden,
American — Maya Angelou, Post-colonial — Wole Soyinka), examine the validity of this statement.
Total 45 marks

02132020/CAPE/SPEC 2023
- 11 -
SECTION B

02132020/CAPE/SPEC 2023
- 12 -
Your answer to the question you have chosen in Section B – Poetry should be written here.
Question No. 3 4
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02132020/CAPE/SPEC 2023
- 13 -
Question No. 3 4
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02132020/CAPE/SPEC 2023
- 14 -
Question No. 3 4
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02132020/CAPE/SPEC 2023
- 15 -
Question No. 3 4
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02132020/CAPE/SPEC 2023
- 16 -
Question No. 3 4
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02132020/CAPE/SPEC 2023
- 17 -
Question No. 3 4
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02132020/CAPE/SPEC 2023
- 18 -
SECTION C
MODULE 3 — PROSE FICTION
CARIBBEAN AND BRITISH, AMERICAN, AND POSTCOLONIAL
EITHER
5. “It is primarily through the manipulation of space and place that writers are able to explore the
issue of alienation.”
With reference to ONE Caribbean AND either ONE British or American or Postcolonial work
of fiction that you have studied, discuss the extent to which you agree with this statement.
Total 45 marks
OR
6. “Without the use of imagery, social injustice cannot be effectively explored in the novel.”
With reference to ONE Caribbean and either ONE British or American or Postcolonial work of
fiction that you have studied, examine the validity of this statement.
Total 45 marks

02132020/CAPE/SPEC 2023
- 19 -
SECTION C

02132020/CAPE/SPEC 2023
- 20 -
Your answer to the question you have chosen in Section C – Prose Fiction should be written here.
Question No. 5 6
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02132020/CAPE/SPEC 2023
- 21 -
Question No. 5 6
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02132020/CAPE/SPEC 2023
- 22 -
Question No. 5 6
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02132020/CAPE/SPEC 2023
- 23 -
Question No. 5 6
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02132020/CAPE/SPEC 2023
- 24 -
Question No. 5 6
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02132020/CAPE/SPEC 2023
- 25 -
Question No. 5 6
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END OF TEST
02132020/CAPE/SPEC 2023
SPEC 2023/02132020/CAPE/ K
C A R I B B E A N E X A M I N A T I O N S C O U N C I L
UNIT 1 - Paper 02
KEY
SPECIMEN
- 2 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1
“Shakespeare’s Love’s Labour’s Lost is more memorable for its use of

language than for its stage action and spectacle.”
Examine the validity of this statement.
This question points to audience appeal and informed personal response.

However, while the major focus of the question seems to be on the use of
three dramatic techniques - language, spectacle and stage actions -
implicit in the operative words ‘use of’ is the need for the candidates
to explore and evaluate what the techniques serve to achieve – do they
reveal characters, illuminate or portray themes, create humour for the
audience’s entertainment or all of the above?
The question thus requires that the students reflect on and examine what
makes the drama appealing and or impactful - how language or stage action
and spectacle are used in the drama for audience appeal - and to
critically analyze and evaluate what really makes the drama hard to
forget. In other words: what feature of the genre is more prominent,
skillfully used and has the greatest audience appeal in the play.
Therefore, in addition to the language, the spectacle, the stage action,
the students may want to include how other elements in the drama, such
as themes, characterization and plot contribute to the appeal of the
drama.
Candidates can:
Agree:
And argue unequivocally and exclusively that the statement is valid:

Shakespeare’s Love’s Labour’s Lost is indeed more memorable for its use
of language than for its stage action and spectacle.”
OR
Agree to some extent and posit that the statement does bear some validity
regarding the language and the spectacle but that there’s very little
stage action to contribute to the play’s impact.
OR
Disagree:
And argue that the statement has no validity: the stage action and the
spectacle are more appealing and impactful than the language. Acknowledge
that in addition to the three techniques there are other elements in the
drama that contribute to its appeal.
OR
Digress from the statement and in so doing questions its validity: No one
element but a combination of elements that give the drama its appeal.
- 3 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1 cont’d
Irrespective of which approach is adopted, there are some elements which

are non-negotiable in an exceptionally good and excellent answer:
 The candidate must acknowledge the presence and evidence of the three
dramatic techniques at work in the play
 Explore how language, spectacle and stage action are used in the play
to arrive at any conclusion regarding the validity or lack thereof of
the statement.
 Relate the use of those three techniques to other elements of the
genre: plot, meaning / theme, characters: i.e., show how the
techniques serve to underscore, highlight, or develop any or all the
other elements.
 Speak to the play’s appeal to and impact on the audience to include

the students own informed personal appreciation or lack of
appreciation of the play.
Ideally, the excellent student will examine what gives a play its appeal
and arrive at a combination of elements; but the use of language in this
play is indubitably and inescapably one of its most impactful features.
The following structure would be typically included in such a response:
A. Introductory paragraph that (a) summarizes the plot; the socio-

historical context and any other unmistakeable features critical to
a sound analysis of the play; (b) states clearly the position or
approach s/he intends to pursue in the body of the response; to examine
the use of language as a distinctive feature as well as a combination
of other elements including spectacle, characterisation, themes, plot
and to a lesser extent stage action as effective in the impact of
the play; (c) draws conclusions after the exploration and evaluation
about the play’s impact.
B. The body and substance of the response: include at least but not
limited to (a) examining the merits of the use of language and its
potential impact; (b) the use of spectacle and its potential impact;
(c) the use of stage action and their potential impact; (d) draw on
supporting / illustrative details from the play including textual
references; and paraphrase or quote extra-textual critical references
to bolster the arguments.
C. Other features: Paragraphs that acknowledge a combination of other

unmistakeable features, elements and or techniques in the play and
their potential impact.
D. Concluding paragraph that synthesises the discussion and reiterates

the position taken by the student.
- 4 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1 cont’d
Context of the play
William Shakespeare 's Love's Labour's Lost is one of the early comedies,
believed to have been written in the mid-1590s for a performance at the
Inns of Court before Queen Elizabeth I. It satirizes the King of Navarre
and his three Lords, Berowne (Biron) Dumaine and Longaville, who vowed
to remain celibate for three years; fast at least once per week; and
sleep for three hours only in their pursuit of scholarship, self-
development, and self-fulfilment. However, the unexpected arrival of the
nameless princess of France and her ladies Rosaline, Catherine and Maria
shatters the resolve and exposes the follies of Ferdinand, the King of
Nevarre and his three Lords, leaving the audience to draw inferences
about the consequences of tampering with the laws of love, gender
relations in the play and language as a social phenomenon.
The play, considered to be one of Shakespeare’s least appealing, does

have its redeeming features, the most obvious and the most impactful is
the language in all its energy, artifice, sophistry, pomposity, and
creativity. The language is both a tool and a theme. The play also has
some excellent spectacles and few potent and relevant stage actions which
to a lesser extent also lend to its audience appeal and impact. This
response will explore the use of language, spectacle and other features
of the genre including its characters, plot, theme and to a lesser extent
its stage actions to arrive at a conclusion that the elements combined
contribute in some ways to the impact of the play or to making the play
memorable.
Content
a) The playwright’s extraordinary use of language both in the main and

sub-plots is one of the play’s most distinctive features. Much of
the humour in the play is derived from its language in the way of
puns, sophisticated put-downs, and characters’ unchecked verbosity.
Language is both a technique and a theme. One critic insists that
much of the delight in Love's Labour's Lost for a reader or theatre-
goer is in the pleasant artifice of the language, as sprightly as
the characters who utter it.
i. As a technique, the language adheres to an Elizabethan

convention in which characters are defined, separated, and
compared by their speech. The young nobles speak verse, the
entry of the "low' characters, Dull and Costard, is accompanied
by a shift to prose. Costard's concluding lament, complete with
a clanging malapropism, is a typical example:
I suffer for the truth, sir, for true it is I was

taken with Jaquenetta, and Jaquenetta is a true girl.
And therefore, welcome the sour cup of prosperity!
Affliction may one day smile again, and till then sit
thee down, sorrow! (313–17)
- 5 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1 cont’d
ii. A further contrast of language and characters is evident in

the letter from the caricature Spanish military man, Don
Armado, who is as overly florid in speech as Dull is dull.
Shakespeare is drawing lines in Love's Labour's Lost between
moderation and extremes, with the norm being defined in terms
of the Elizabethan notion of a well-bred gentleman. The
academic absurdities of Navarre, it turns out, are just as
silly as the self-indulgent rhetoric of Armado: too much
learning, too much (false) passion is to give way in the comedy
to sensible middle courses of behaviour.
iii. In the subplot, the crudity, pretentiousness, absurdities, and

social awkwardness of the commoners such as Holofernes and
Armado are revealed through their language or poor use of
language. Moth, another commoner refers to them as attending a
great feast of language where they received only the leftovers:
“…at a great feast of languages and stolen the scraps” (5.1.38–
39).
iv. The language of the major characters - the courtly crew - in

the main plot is at best witty, lyrical, self-revealing and
eloquent, and in some cases narcissistic, obtuse, and
convoluted. This rich linguistic texture is the product of the
play’s historical moment: a time that looked back at the
humanist tradition of eloquence and copiousness (Carroll,
1993). In Act 3:sc 1, the interchange between Don Armado, the
pompous soldier and Costard, one of the commoners [3.1.138–39]
illustrates a visual pun on the “coining” of new words:
Armado’s elevated diction is termed a “remuneration” [3.1.138–
39], and a much more generous shilling by Berowne (which in
Berowne’s affected French diction is termed a “guerdon,”
misheard by Costard however as a “gardon” [3.1.178–80]. As
happy as he is to receive the money, Costard is as delighted
with the remarkable sounds of these words, and he leaves the
stage uttering the magical names “Gardon!
Remuneration!” (3.1.183).
v. There is sophisticated wordplay, pedantic humour, and literary

allusions. The play on the eyes [4.3.252, 321–27, 344] is a
classic example of excellent punning to reveal the
superficiality of the lovers’ perceptions and vision. My eyes
are then no eyes, nor I Berowne;” “love, first learnèd in a
lady’s eyes,. . . adds a precious seeing to the eye;” “From
women’s eyes this doctrine I derive” (4.3.252, 321–27, 344).
It is also a reminiscent contrast to A Midsummer Night’s Dream
in which “love looks not with the eyes but with the mind …”
- 6 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1 cont’d
vi. When the lords finally understand how the ladies, with their
masks and exchanged favours, have deceived them, they begin to
understand how their own language has betrayed them, as Berowne
observes in a stirring speech: “O, never will I trust to
speeches penned … My love to thee is sound, sans crack or
flaw.” The princess has already seen through the pretensions
of the Lords and the king and describes the letter from the
latter as “much love in a rhyme/As would be crammed up in a
sheet of paper"; clearly spewing contempt on the King’s
intellectual verbosity and verbiage. The use of language here
serves to underscore the motif of learning and effective
communication, by introducing the tension between simplicity
and efficiency of language use versus complex superfluous
verbiage. It also serves to distinguish the striking contrast
between the sexes.
vii. The literary allusions: the playwright acknowledges in Act 4;

Sc 2, Shakespeare’s contemporary precursors, especially Sir
Philip Sidney and the playwright John Lyly, by allusion to and
parody of their typical linguistic characteristics, but it also
obviously seeks to go beyond them to the classical tradition
absorbed by all Elizabethan schoolboys—Ovid, Horace,
Quintillian and Cicero. “Ovidius Naso was the man” (4.2.148),
Holofernes declares, but for the schoolmaster, he is only an
instrument, a useful aid—a “Naso,” or nose—for help in
“smelling out the odoriferous flowers of fancy.”
b) Spectacle: The Masque of Muscovites scene: can be regarded as a

spectacle as well as an embedded play-within-the-play. The playwright
uses this to satirize the follies of men in love, as they are each,
in turn, seen to have made fools of themselves, even to the point of
taking the wrong women aside as objects of their love.
i. A typical courtly “entertainment,” the Masque may even be based

on a real masque. It reflects some of the transformations and
semiotic confusions associated with wearing masks and
performing roles with resonances of a comedy of errors.
Shakespeare frequently ponders the frailty of the senses, the
tricks which the passions can play. The desire "to be in love"
led the Lords and their king, in part, to their silliest
moments.
- 7 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1 cont’d
ii. The Pageant of the Nine Worthies, which also isthe formal play
within a play is also a spectacle that generates much humour
and exposes the follies and foibles of the Lords and their
attendants. The actors of the Pageant are ludicrously incapable
of performing their heroic parts, just as the lords have been
confounded and self-betrayed in their various attempts at
securing fame or love. Their speeches are comically inflated
and archaic in style, and even their names are subject to the
ravages of the pun: thus “Pompion [i.e., pumpkin] the
Great” (5.2.553), “Ajax” (i.e., “jakes,” or privy [5.2.645]),
and “Jud-as[s]” (5.2.698).
iii. As comic reflections of Navarre’s court, the Worthies expose

the flawed and comic pretensions of the lords who overrate
their own “worth” and engage in shallow “praise” of the ladies
throughout the play. In this regard irony and self-
consciousness work as elements within the play as well as
serving as a commentary on its own principles.
iv. The song of Winter and Spring with its quasi-melancholic mood
is a fitting swan song for the play which ends in an
unconventional un- Shakespeare like manner with no promise of
happily ever after. Contemporary readers would not find the
ending unrealistic or unusual. There’s suspense: we do not know
whether the ladies will eventually marry their lords.
c. The plot is a complex and intricate structure with a subplot that

parallels the main plot and a play within a play; all of which
contribute to the impact of the drama.
i. Main plot is advanced when the King’s declaration is challenged

almost immediately by news of the impending visit of the
Princess of France and her ladies in waiting. It heightens by
the mis-delivered letters from the lettered ones. There is a
certain irony in the men’s attempt to stealthily court the
ladies: each of them literally and figurately missed the object
of his love and ended up in one of the spectacles, disguised
as Russians and delivering words of love to the wrong woman.
The sub-plot is resolved somewhat as Armado has committed to
Jaquanetta for three years.
- 8 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 1 cont’d
ii. The sub-plot which parallels the main plot, sees the Spanish
soldier Amardo [note the play on his name, reminiscent of the
Spanish Armada] rivalling Costard for the love of a maid,
Jaquenetta whom he got pregnant despite the vow of celibacy.
Both the sub and the main plot converge at a critical juncture
to heighten the conflict, where the letters are mixed up by
Costard and the men are exposed one by one; and at the climax
where Armado, the schoolmaster Holofernes, curate Nathaniel,
Costard, Boyet, Moth and the page came together to stage the
play within the play – the Nine Worthies – for the amusement
of the nobles but also for the delightful amusement of the
audience.
iii. The play comes quickly to its climax when news of the death of
the princess’ father is brought. The denouement is a sad note
expressed in some of the most unforgettable words of Amardo
and in the song of winter and spring that brings the curtain
down on the play: The future of the King and his three lords
are in abeyance with the soon sudden departure of the princess.
They now must wait one year before they could marry their
loves. In a sense there is a tinge of irony here. Now they can
resolve to keep the vow of celibacy for one year. Who knows,
it may be three years before the ladies return to marry them,
if at all they return.
d. Themes: of pretentiousness in language, gender relations and the

consequences of misguided and misdirected love are highlighted in
both the main and sub-plots.
e. Stage Actions: While not a dominant feature of this play and sparsely
used, primarily because the play hinged so heavily on its rhymed
dialogue rather than on its actions, the little that is used is
potently effective in providing insights into some characters’
attitude to others and creating situational irony in the play.
i. In Act 5. Sc.2 when Moth the page comes to make his grandiose
announcement of the King’s arrival, he is mortified at the
rejection he receives; as illustrated by the stage action [The
Ladies turn their backs to him.]. He responds to the ladies’
calculated rudeness by making impromptu changes in his
delivery, much to the chagrin and consternation of Berowne
and to the amusement of the audience.
Moth: "A holy parcel of the fairest dames, [The Ladies turn
their backs to him.] That ever turned their — backs —
to mortal views!"
Biron: "Their eyes," villain, "their eyes!" (160–62)

- 9 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 2.
It is Shakespeare’s use of paradox throughout the play Henry V which

allows the audience to examine the human condition.
Discuss the extent to which this is a fair assessment of the play.
Candidates can:
Fully agree with the prompt and argue that the play itself has a generally
equivocal and ambivalent nature and is filled with contradiction and
complexity.
They will argue that the use of paradox in the play is what enables an
interrogation into the aspects of human condition – how human beings are
and, in some instances, possible explanations for why they are the way
they are. They will then connect this presentation of contradictions with
Shakespeare’s efforts to lead his audience into questioning how these
contradictions shed light on the ways that human beings operate or
function.
Fully disagree with the prompt and argue that it is another device or
technique which enables an examination of the human condition and not in
fact, the use of paradox.
Partially agree with the prompt and argue that though the use of paradox
exists, it is characterization that should be considered the vehicle
through which the human condition is examined. They may concede that
paradox plays an important role but that it often occurs through the
presentation of characters and their engagement with each other in the
play: particularly through dialogue and dramatic action. This will lead
to a detailed presentation of Henry V demonstrating the sudden shift in
his character from a ‘wild’ youth who was considered wayward and
associated with debauchery. Additionally, they may argue that paradox is
heavily represented through the situations in the play and each of these
are defined through the presence of characters and what they enable for
the plot of the play.
Alternatively argue that it is predominantly through dialogue that

Shakespeare provides an examination of the human condition. Candidates
may point out the main situations of dialogue between characters which
help to shed light on the question of the traits and behaviour of human
beings or any other instance of dialogue where discussion is on war, the
traits and behaviour of human beings, human actions, human tendencies,
etc. even if the statements are made in connection with a particular
character.
Candidates may also argue that it is the narrative detail provided through
the Chorus and the characters themselves which offers background
information that allows for a revelation on the aspects of human condition
that are being interrogated in the play.
- 10 -
SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 2 cont’d
Irrespective of the position taken, all candidates must provide a

definition of both the term ‘paradox’ and their informed understanding
of ‘the human condition’. Candidates should focus on the play as
performance in their responses. The more sophisticated responses will
seek to contextualize Shakespeare’s use of paradox in the introduction,
with specific reference to its general use in Henry V, in addition to its
literary meaning.
The Play
Henry V is the last of a set of eight plays written on Medieval English

history. As a genre, the Shakespearean history play becomes important
because it enables a presentation of the life of a country and its
governing class and demonstrates how political thought and action become
imposed on others through the hands of power. The imposition of kingship
and the characteristics with which it becomes associated, on one’s own
actual personal identity or personality, reveal the struggle of the
individual to see himself outside of the ‘person’ he must become as King
of a nation. His entire purpose is wrapped up in the importance of
succession as he inherits both a political and historical set of realities
which predetermine and influence his thought processes, behaviour, action
and interaction with others. He is part of a family line of kings and
must therefore be prepared to both fall in line with the generational
succession that he has inherited and at the same time pass it on to his
own descendants.
Paradox
1. The use of paradox is especially present in the characterization of

Henry.
The characterization of young Henry through the dialogue between Ely

and Canterbury at the beginning of the play. Some candidates may
focus on the characterization of Henry in general, demonstrating the
way he struggles with his personal nature and feelings versus those
he must ‘take on’ and portray based on his identity as king. Is Henry
a strategist for example, or is he just a manipulator who is at the
core, very deceptive?
2. Some candidates may speak of the use of paradox through the

presentation of themes. Themes that could easily be associated with
this literary technique could be: friendship, loyalty, betrayal,
identity, appearance vs reality, etc. For example, paradox is
established heavily through the disloyalty Henry shows to those who
used to once be considered his friends. Those who used to be Henry’s
friends before his accession to the throne are now rejected by him
based on who he must become as king.
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Question 2 cont’d
3. Some candidates may speak of the use of paradox through dramatic

structure: a) the presence of conflict (the war, the issue of
kingship, the complexity of a monarchy and the situation of
inheritance, the struggle between those governing and those being
governed; national conflict); b) the explication or rising action
(during these points of the play, contradiction is heavily
represented as Henry ‘becomes’ other than he was previously
4. Candidates may also speak of Shakespeare’s use of paradox through

dramatic devices such as tension, revelation, speech, dramatic
action, dramatic irony, dialogue, characterization, setting,
language, etc.
5. Paradox is present through the character’s interaction with each

other. The most poignant example of this is present through the
situation of the death of Falstaff who was once a close friend of
Henry prior to his placement as king, and was seen as a mentor for
him. He is so shaken by Henry’s rejection of him that it is said in
Act II that Henry has ‘killed his heart’. The execution of Lord
Scrope (of Masham), one of the three traitors, who was also
previously one of Henry’s friends, is also another act which sheds
light on the way in which the accession to the throne changes Henry
and creates a series of contradictory realities and actions which
become tied to his ‘newfound identity’ as king. Additionally, the
presentation of the theme appearance vs reality is likely to be
identified and used as part of candidates’ responses to this
question. This can be used in reference to characters, situations,
or structural aspects of the play. The response of the boy to the
other adults around him in Act III is another example of an ironic
contradiction. The boy is supposed to be learning from the men.
Instead, the men are ‘acting’ like children and the child is the one
who has to indicate that to continue in alignment with their
behaviour and actions would be an insult to him and ruin his
opportunity to be a ‘real’ man.
6. The presentation of contradictory situations or realities through

the use of characters’ language or speech: for example, when Henry
enters the stage in Act 1 Sc. 2 he asks for ‘the gracious lord of
Canterbury’ who was the same character the audience heard earlier,
in Scene 1, plotting with Ely on how to distract Henry’s attention
from passing the bill attempting to confiscate property being held
by the church. Another example would be the clumsy use of language
by the hostess in Act II, which conveys contradiction but ends up
promoting depth in meaning because of what is said.
7. Candidates may also suggest that contradiction can also be seen when
looking at the hyperbolic way in which the chorus establishes both
the characters and the situations in the play and the actual
personalities and actions of the characters themselves when the
audience sees and hears them on the stage. (Act II in particular.)
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Question 2 cont’d
Any other reasonable description of Shakespeare’s use of paradox

should be accepted once the candidate has both identified and
explained it, with close attention to how it is defined and applied,
and with evidence from the play.
Shakespeare’s use of paradox in Henry V can speak to the

contradictory ideas, situations, characterizations, or statements
which occur in the play in ways which allow the audience to evaluate
human tendencies or habits. The human condition speaks of all that
is combined to represent the elements involved in the human
experience. Candidates can feel free to relate to any aspect of the
human experience but must provide a discussion which includes
different elements of the human condition, and not just one element
or one example of an element.
Henry’s characterization as a ‘king [who is] full of grace and fair

regard’ (Act 1 Sc 1), who become ‘a sudden scholar’, able to ‘reason
in divinity’ and ‘debate of commonwealth affairs’, by Ely and
Canterbury automatically places him on a pedestal and creates a
‘larger than life’ image of this character. The two characters
discuss the way in which Henry’s wildness seems to have become tamed
by the fact that he is expected, at the start of the play, to assume
the position of King, following his father’s death. The presence
of contradiction becomes immediately present through the dialogue
between Ely and Canterbury. The important function of Act 1 Sc 1
could also be used then as a part of the response such candidates
may offer when identifying aspects of the play demonstrating
Shakespeare’s use of paradox.
The intermingling of comedic and tragic elements in Henry V

highlights the way paradox shapes the human experience. The
individual’s life seems to be interwoven with both the good and the
bad, the comic and the tragic, the real and the superficial.
Another paradox occurs where usually one inherits the position of

king rather than ‘steals’ the throne. What would be expected to be
a legitimate acquisition therefore becomes a questionable
acquisition. This suggests the instabilities which can surface
through the situation of inheritance and allows the audience to
question the complexities involved in the relationship between
personal value or goodness and political necessity and tradition.
Can both exist together? Is one often compromised at the expense
of another? Is inheritance a natural or cultural situation?
Henry V’s success disenfranchises and disrupts generational

acquisitions and access to the French throne. The paradox of his
success prompts us to question human action and to determine whether
or not those who govern make decisions that merely serve their own
interests even while these decisions lead to the desecration of
life and morals. We see this with King Edward III, where he happily
observes his son, Edward, the Black Prince, ‘butchering’ the French.
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Question 2 cont’d
To secure one individual’s family tree then (Henry’s), the lives

of both children and parents are destroyed. It is the paradox of a
war which is positioned as being for the benefit of one group of
people while simultaneously leading to negative circumstances and
experiences for both the victim and the supposed victor. Richard
has to acknowledge Henry V as the French King instead of his own
son who is heir to the French throne because of Henry V’s victory
at Agincourt. What does this kind of paradoxical reality demonstrate
about war and the way humans are either expected to function or
eventually have their futures destroyed by the outcome of war?
While war is being seen on the surface as that which is sometimes

necessary and can lead to good outcomes, a ‘background’ message
which becomes important throughout the entire play, is the question
of what ends up being sacrificed or destroyed as a result of war
and will it all be worth it in the end?
Role of the Chorus
By encouraging the audience to use their imagination at the start of the

play, and by continuing to provide narrative detail throughout the play,
the Chorus provides information but also offers the suggestion that much
of what will be seen must be viewed for more than is actually shown. King
Harry and the French King also imagine the kind of inheritance they will
attain and so Shakespeare plays heavily on the idea of ‘imagining’ as a
part of the cause and process of war. This likely will encourage an
audience to think more deeply about what is being represented, in the
process of activating their imagination beyond what exists on the stage.
The chorus appears more times in Henry V than any other Shakespearean
play.
Archbishop of Canterbury and Bishop of Ely – We learn in Act 1 Sc 1 about

Henry’s new reality and the way he has suddenly matured. We also learn
of the cunning attempt of the two characters as they hope to distract
Henry so that he will not be able to pay attention to the new bill which
would end up taking land and money away from them and cause their wealth
to diminish.
The following are some other important considerations that candidates

ought to present and discuss as they engage the prompt.
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Question 2 cont’d
DRAMATIC ELEMENTS:
Candidates will be expected to engage with different elements and features

listed below as they engage with the question. The dramatic features of
specific relevance to this question would be:
• Dialogue
• Characterization
• Tension
• Conflict
• Action
• Mood
• Atmosphere
• Plot
• Reaction of other characters
• Revelation
• Speech
• Language
• Setting
• Dramatic Irony
• Stage directions
Exposition/Opening Scene and Epilogue:
Prologue: Role and significance of the chorus
Act 1 Sc 1: Dialogue between Canterbury and Ely
Candidates can discuss both or one of these as setting the tone for the
way Shakespeare uses various dramatic elements (regardless of their
stance in relation to the question) to evaluate and interrogate notions
surrounding the way humans tend to behave, act,
Epilogue: Speaks of the human condition particularly as related to certain

kinds of men – ‘mighty men’ and conquests and celebrates the victory of
King Henry.
Plot:
The plot focuses on a sequence of events before and after the Battle of
Agincourt.
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Question 2 cont’d
Candidates will be expected to comment on the initial presence of

conflict: the death of King Henry’s father, which leads to his immediate
accession to the throne. The church supports the idea that Henry V has a
right to access the throne of France. The next important event would be
the warning and the tennis balls King Henry receives from the Dauphin as
this is pivotal to the way Henry responds and eventually leads to his
decisions to advance war on France. Each of the battles form an important
part of the sequencing of events. King Henry’s action before the final
battle where he walks the battlefield pretending to be an ordinary soldier
should be analysed for its significance prior to the climax of the play.
Candidates will be expected to speak of the rising action, the conflict,
the climax, and the resolution and will be expected to offer details on
these in ways that demonstrate why they have selected particular scenes
and characters for each of these aspects of the plot.
Candidates will be expected to demonstrate the role of the Chorus in

helping to unravel the plot and to provide explication in areas where
they might be gaps for an audience.
Candidates will be expected to focus on the ways in which the presentation

of plot in the play (they may speak of the various parts of plot and not
mention the word plot itself in some responses) help to support the stance
they have taken. Whether they agree or disagree in their response to the
question, this element would need to be a part of their response, though
some may not offer discussion on plot in a direct and heavily detailed
manner.
Language:
Language is extremely important in the play because it focuses on two

different countries and utilizes different languages as part of its
dialogue and representation of characters and their realities. Rhetoric
is an important tactic which King Harry uses to gain support, evoke a
sense of patriotism, and attain success. The use of pun is also heavily
present through the use of language and language is the main feature of
dialogue and one of the main ways we learn about the characters in the
play.
Mood/Tone/Setting:
The setting of the play: Medieval England - Early 15th century; tense
social and political environment based on the death of King Henry’s
father, Henry IV; different city and country locations.
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Question 2 cont’d
There are different kinds of atmosphere based on the points of dramatic

action of focus. The mood becomes sombre at various points when there is
discussion about the love of one’s country, the death of a character,
etc. and shifts to one of tension or conflict, depending on a shift in
dramatic action, as can be seen when King Henry approves the execution
request for Falstaff or tricks those he realises are traitors, and then
by the end, there is an air of tension based on the chorus’ presentation
of a future including Henry’s imminent death.
The chorus heavily sets the tone for the play, from start to finish, and
this usually aligns with the mood and the dramatic action taking place.
Themes
• Greed
• Loyalty
• Betrayal
• War
• Ambition
• Appearance vs reality
• Power
• Kingship
• Love of self vs love of country
Pace:
The movement of the characters is important because it either creates or

reinforce an understanding of the heightened tension in the various
sections of the play. When associated with different characters (when the
move quickly, for example) it helps to have the audience sense whether a
conflict is arising or about to be the focus of the dialogue.
Stage Directions:
At various points throughout the play, stage direction provides: details

on the characters, an understanding of the character’s action/dramatic
action taking place, the pace of a particular scene, movement of the
characters (e.g. Mistress Quickly enters ‘quickly’ in various scenes,
characters exiting separately as opposed to together [Act 2 Sc 3 – the
end]), the use of props (Act 3. Sc. 1, Act #. Sc. 3 – the gates), etc.
Speech: Harry’s speech is central to the victory which occurs for him and
so candidates would be expected to offer details on aspects of the speech
in relation to how it evokes emotion and relies on the humanity of all
men to ensure its success at creating the possibility of victory for
Britain in the war against France.
Total 45 marks
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Question 3.
“Poets mainly use symbolism to challenge acts of exploitation.”
With reference to at least THREE poems by any one of the poets studied
(British-W.H Auden, American-Maya Angelou, Post-colonial-Wole Soyinka),
discuss the extent to which you agree with this statement.
Candidates can:
Fully agree with the prompt by demonstrating that acts of exploitation

are more heavily portrayed and challenged through the use of symbolism
than any other device in the presentation of poems by a specific poet.
Candidates should offer focus on the word ‘mainly’ demonstrating that
though the poet may use other devices in his/her attempt to speak or
stand against, discredit, or actively interrogate various acts of
exploitation, it is symbolism which is most commonly and/or strategically
used.
Candidates can completely disagree with the prompt by taking the stance
that symbolism is not the main device used to challenge acts of
exploitation, though it is one of the devices poets commonly use in their
poetry. Such candidates would then need to suggest which other device or
devices are ‘mainly’ used to challenge acts of exploitation, or some
candidates may argue that there is balance in a poet’s use of various
devices to achieve the effect of challenging acts of exploitation and one
device cannot be viewed as accomplishing this task, in isolation.
Candidates can partially agree with the prompt by stating that while
symbolism is a popular device which is often used by poets to challenge
acts of exploitation, another device or other devices are more dominantly
or commonly used to challenge acts of exploitation in the poetry of focus.
Other candidates might also take the stance that the main reason for the
use of symbolism in a particular work of poetry is to challenge acts of
exploitation as opposed to using it to achieve other goals (to celebrate
cultural realities and figures, to better enable the reader to connect
with the associated meanings in the poetic work, etc.). This angle would
need to be accommodated as long as candidates offer clear alternatives
for the function of symbolism in their responses.
Irrespective of the position taken, candidates are expected to define

symbolism and use concrete examples of the use of symbolism based on the
poems they will choose as references for presenting their discussion.
Symbolism is heavily used in many works of poetry to highlight or give
significance to particular ideas, figures, situations, or events. It is
often chosen as a poetic technique or device used to represent, celebrate,
offer commentary on, interrogate or enable an association of something
or someone, to convey meaning. Candidates must offer examples of specific
acts of exploitation from each poem they will analyse when providing
their response. Specific references must be offered for the acts of
exploitation being discussed. Candidates must define and offer specific
evidence of any other device and its use discussed as part of their
response to this question.
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Question 3 cont’d
For other candidates who focus on the function of symbolism as being

connected to other purposes outside of challenging acts of exploitation,
the stance may be taken that the main use of symbolism is not
predominantly to challenge acts of exploitation but in addition to doing
that, to more significantly focus the reader’s attention on other areas
(to celebrate cultural realities and figures, to better enable connection
with the overall thematic focus of the poem, etc.). other devices.
Candidates may choose other devices such as imagery, tone, metaphors,
etc. and demonstrate how these are more strategically or commonly used
to challenge acts of exploitation in the poems being considered. Other
devices of focus could be: the use of tone, mood, metaphors, imagery,
choice of persona, etc.
For the candidate who has taken the stance that poets mainly use symbolism
to accomplish goals other than challenging acts of exploitation, they
would need to demonstrate that though challenging acts of exploitation
occurs in the poetic works of any of the poets in this section, symbolism
is used more strategically to accomplish other purposes, such as to allow
the reader to better understand and connect with meanings being conveyed
or to evoke emotion in the reader, etc.
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Question 4
“It is the ‘best words in the best order’ and not the subject matter that
makes poetry impactful.”
With reference to at least THREE poems by any one of the poets studied
(British-W.H Auden, American-Maya Angelou, Post-colonial-Wole Soyinka),
examine the validity of this statement.
Candidates can:
Fully agree with the prompt and illustrate using references and quotations
from the prescribed poems how poetic language—all the elements of poetry
such as assonance, consonance, rhyme, alliteration, etcetera; tropes
regarding pun, metaphor, simile, metonymy, symbolism, imagery,
personification, irony, etcetera; voice and perspective as it relates to
the persona, speaker, for example; poetic genres and subgenres; stanzaic
forms, etcetera—make Coleridge’s statement the only way to describe
poetic form.
Candidates can totally disagree with the prompt. They can critique how
there are poems which equate to a conversational speaking voice akin to
ordinary or prosaic language—for instance, too, that not all poems are
superior to prose or are lyrical or comprise esoteric language. Hence,
for example, they can suggest that there are poems (e.g., some of
Angelou’s) which correspond to natural speech but can have an effect on
the reader that other more stylized poetry provide.
Candidates can partially agree with the prompt by stating that while
Coleridge’s dictum is one way to describe the poetic form, it is not the
only way to do so. They can draw on other definitions of and statements
on poetry, of their own and also of theorists and critics, to illustrate
that there are other ways to describe the poetic form and should use
examples—references and quotations—from the prescribed poems as
illustrations of poetic content and form. They should be able to explain
how the prescribed poets manipulate and wield poetic conventions and how
they also experiment with them.
Irrespective of the position taken candidates must demonstrate an

understanding of the distinction between prose and poetry as ‘words in
the best order’ and the ‘best words in the best order’, respectively.
This dictum entails the notion of diction, usage, figurative language,
form and structure all working together cohesively within poems; and,
that the poetic genre therefore is an exceptional, superior, and singular
form of expression.
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Question 4 cont’d
General points on texts -Questions 3 and 4
Poetry Texts Poems by Maya Poems by W. H. Poems by Wole

Angelou Auden Soyinka
Context/ African-American A society plagued African society;
Subject/ society and by war; the Yoruban culture;
Situation experience; the experience of Nigerian culture;
experience of political contradictions in
being black, the injustice; the belief systems,
experience of hardships specifically
being a black citizens endure those in Nigerian
woman, the at the hands of culture;
situation of corrupt or poor
mothering leadership; the
decay and
decadence
associated with
modern life; the
superficiality of
modern society
and the emptiness
and loneliness it
perpetuates
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Question 4 cont’d
Poetry Texts Poems by Maya Angelou Poems by W. H. Poems by Wole

Auden Soyinka
Themes Sense of belonging, Loss; Death, Grief; pain;
Identity, Social/Gender political sorrow; love;
inequality, Prejudice, oppression; oppression;
Racism, Love, Slavery, injustice; exploitation;
Alienation, Change, deceit/dishonesty; identity;
Attitudes to the prejudice, war; rebirth;
past/shifting of time, effects of war; colonization;
Resilience, Sexism, citizenship; modernization;
Loss, Suffering, tyranny; war; social
Isolation, Loneliness, infidelity; love; unrest;
Innocence, Oppression, time; rebellion; racism;
Self-empowerment, refusal to prejudice;
resistance conform; loss;
classicism; power resilience;
vs powerlessness; injustice;
innocence vs freedom;
guilt; the plight religion;
of loneliness; the celebration of
quest for meaning African
(of life); culture;
futility; despair; death;
grief; navigating survival;
uncertainty; clash of
exploitation; beliefs/worlds
decay; desolation;
disorder (mental
and physical); the
disparity in
social class
conditions
Setting African-American Emergent modern African

society, Single-parent society during and society;
realities; lower social after a world war; Nigerian and
class realities and European setting Yoruban
experiences; 60’s riot and seasons; experiences
1930s- late 1960s;
urban vs rural;
village vs city
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Question 4 cont’d

Auden Soyinka
Speaker/ (African-American) Philosophical Observer,
Persona/ female persona; persona, observer, voice
Characterization undisclosed/unspecified voice representing representing
observer; a lover; an the people of a different
experienced, mature nation, persona kinds of
speaker; first-persona speaking on behalf people from
voice; third person of the citizens of the nation to
voice a nation shed light on
diverse
experiences;
‘insider’
Nigerian
voice
offering
poetic
commentary
Structure/Form Free Verse; use of Use of verse; Lyric poetry;

punctuation (frequent variation in use free verse,
use of punctuation of punctuation, use of
absent in many of particularly in stanzas;
Angelou’s poems in this connection with rhyming
collection); use of the caesura; patterns in
stanzas; lineation; epigrammatic specific
rhyming patterns in style; epitaph; poems – end
specific poems – end closed form rhymes;
rhymes; internal poetry; use of internal
rhymes; couplets-; stanzas; specific rhymes;
narrative poetry rhyme schemes; use sonnet;
of metre, use of dominant use
tercets, of question
quatrains; sonnet; marks
etc.
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Question 4 cont’d

Auden Soyinka
Symbolism Home; Northern winds, Nature elements Dawn; animal
the desert, slavery’s (moon, sun, leaves, imagery (white
chains; the night; stars, mountains, cock, lion,
dust; oil wells; etc.); specific black
dawn; Spring; time; periods of time tarantula,
the weather (day, night); etc.) darkness;
(sunshine, rain, darkness and light; light; the
etc.); air; landscape seasons (autumn, womb; use of
elements (mountains, winter, etc.); human figures
oceans, moon, etc.); Human and as iconic
‘huts of history’; Mythological representatives
‘whitened castles’ figures (Shield of who represent
Achilles, Icarus); greatness,
Love; the clock; resilience,
war; the journey or etc.
quest of life; the
city; marble
monument; Musee de
Beaux Arts
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Question 4 cont’d
Poetry Poems by Maya Angelou Poems by W. H. Poems by Wole

Texts Auden Soyinka
Imagery Visual imagery Visual imagery Visual imagery
(establishment of (animal imagery, (images of nature,
setting, portrayal of nature imagery, landscape, darkness
living landscape imagery, vs light;
realities/conditions, time imagery [clock
images etc.]) Gustatory: ‘taste
Gustatory (types of this soil’; roll
food/meals connected Gustatory (though your tongue in
with African-American there are honey; taste of
lifestyle) references to ‘salt’;
‘eating’, they
Kinesthetic/Kinetic appear connected to Kinesthetic/Kinetic:
(acts of rebellion; a visual image of physical motion
use of movement as the action of (‘umpire tests the
form of resistance eating or not floor’; ‘a brief
and celebration of eating more than an salute’;
identity (focus on actual sense of
how one walks, etc.) taste.) Tactile: ‘dog-nose
wetness’ invokes
Tactile (references Kinesthetic/Kinetic more of a ‘touch’
to images conveying (physical movement type of image than a
touch (both positive of animals; humans; visual image;
and negative) violent acts; ‘cottoned feet’;
images of being ‘when the heated
Auditory (musicality lost in the ‘woods’ fragment brand me’,
of lines, rhyming suggesting the idea ‘social hugs’; the
sounds, use of of ‘roaming’ or sting of bees;
onomatopoeic words, ‘wandering’; etc.)
cries of a child, Auditory: references
etc.) Tactile (‘lay your to sounds, musical
sleeping head my sounds from voice or
Olfactory (invoked love’ and other instrument, moans,
through the use of physical gestures sounds of nature
food imagery involving or from ‘crickets’, or
associated with taste inferring touch) ‘elephants on
and through the use rampage’
of specific Auditory (all
vocabulary items images conveying
associated with sound [of nature,
‘cooking’) of humans; of
objects]
nightingale’s song;
‘out of the air a
voice without a
face’; ‘vibrations
of a bell’;
references to
‘cries’;
‘whispering
neighbours’; etc.)
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Question 4 cont’d
Poetry Poems by Maya Angelou Poems by W. H. Poems by Wole

Texts Auden Soyinka
Language Standard English; Standard English; Standard English;
Ebonics/African- Old English African names;
American slang African folklore;
dominant use of
words based on items
of great
significance in the
African culture
Poetic/ Tone, Metaphors, Musicality, Metaphors, similes,

figurative Similes, caesura, metaphors, alliteration,
devices Alliteration, rhythm, enjambment, repetition; litotes;
rhyme, alliteration, onomatopoeia;
personification, sarcasm, irony, hyperbole;
onomatopoeia, simile, synecdoche; mood,
paradox, irony, personification, tone, rhythm, rhyme,
Juxtaposition, onomatopoeia, consonance,
Foiling, Allusion hyperbole, rhythm, assonance,
(Biblical,literary) rhyme, diction, musicality, satire;
diction, repetition, repetition, tone, personification
oxymoron, musicality, mood, satire;
mood, synecdoche litotes;
synecdoche;
consonance,
assonance
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Question 5
“It is primarily through the manipulation of space and place that writers
are able to explore the issue of alienation.”
With reference to ONE Caribbean AND either ONE British or American or

Postcolonial work of fiction that you have studied, discuss the extent
to which you agree with this statement.
Candidates can:
Fully agree with the prompt by analysing how the places (countries,
villages, cities, towns) that characters would have traversed at
different points in the novels reflect the issues of internal and external
alienation. Candidates must exhibit knowledge of how the manipulation
of physical spaces such as rooms, houses and buildings are used to examine
alienation. The intertwining narrative techniques, choice of narrative
mode and characterization, etc. must be shown as being reinforcing
elements in the thematic development of alienation. The term space can
also be interrogated as the psychic spaces of the characters along their
journey.
Completely disagree with the prompt by identifying another element or

other elements of prose used in a major way to craft the literary
investigation of alienation in the selected texts. Any mention of the use
of setting, place or space must be framed as secondary or auxiliary in
relation to other elements such as characterization, narrative techniques
or narrative mode, etc.
Partially agree with the prompt by discussing how the witters’

manipulation of characters when in specific places and spaces such as
houses and buildings to explore a preoccupation with alienation in their
societies. The candidates can then examine how other aspects such as
characterization, narrative techniques, or point of view also play a
major role in the thematic examination of alienation in the selected
texts.
Alternatively, candidates can also digress from the preoccupation of

alienation to show how space and place develop other issues such as
oppression.
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SPECIMEN
Question 6
“Without the use of imagery, social injustice cannot be effectively

explored in the novel.”
With reference to ONE Caribbean and either ONE British, or American, or

Postcolonial work of fiction that you have studied, examine the validity
of this statement.
Candidates can:
Agree fully with the prompt and discuss the dominant images used by the
writer to expose, reveal, criticise, condemn social injustices in their
society: racial isolation and discrimination, exploitation of women,
inheritance, arranged marriages, patriarchal domination.
Fully disagree with the prompt and assert emphatically that the
observation is not valid and proceed to show that the imagery is not the
dominant technique used to address social injustices in the novels they
have studied and identify the nature of the social injustice/s
Agree partially with the prompt and acknowledge that there is some
validity in the observation - imagery is predominantly used by the writers
but there are other techniques equally pre-dominant and which serve to
highlight and expose social injustices in the novels chosen.
Irrespective of the position taken candidates must explore the dominant

narrative techniques used to expose, reveal, denounce, condemn social
injustices in the novels they studied. Consider carefully whether imagery
is the major tool used to expose these social phenomena. Arrive at a
conclusion on whether imagery is indeed predominantly used by writers to
address social concerns in their novels. Examine carefully whether there
are other major techniques used by the writers to address the social
concerns and illustrate how those are used. Taking care to identify what
types of imagery are used in the novels they choose and discuss the
effectiveness of their use in highlighting, exposing, criticizing and or
condemning social injustice the nature and instances of social injustice
in the novels they choose and illustrate how they are treated. In other
words, what do the writers say about social injustice.
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SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 6 cont’d
General points on texts-Questions 5 and 6
Caribbean Texts Lonely Londoners by Wide Sargasso Sea by

Sam Selvon Jean Rhys
Context Hybridity, West Indian The White Creole

migration, Windrush situation, Victorian
generation, England, Charlotte
Assimilation, Bronte’s Jane Eyre, Creole
Decolonization societies in the
Caribbean, African folk
religions (obeah)
Themes Sense of belonging, Racism, Rebellion, Gender

Identity, Migration, roles, Oppression,
Social inequality, Prejudice, Social
Prejudice, Racism, inequality, Power,
Alienation Alienation, Identity
crisis
Setting England Caribbean and England
Characterization Mimicry, gender Mimicry, gender

stereotypes, race stereotypes, methods of
profiling, methods of characterization,
characterization, traditional folk beliefs
foils, names of and practices, character
characters foils, juxtaposition
Plot Episodic novel form, an The journey of the

amalgamation of the protagonist from one
tales of a group of country to another, the
West Indian migrants instances of rebellion and
who are striving for a revolt, bildungsroman,
better life while being linear and chronological
faced with the sequence of events
disenchantment of the
harsh reality of
British society
Conflict Character versus Character versus

character, Internal character, character
conflict, character versus society, character
versus society versus himself or herself
Symbolism Waterloo Station, Hyde Title of the text, the

Park colour red, the garden,
trees, the attic
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SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 6 cont’d
Caribbean Texts Lonely Londoners by Wide Sargasso Sea by

Sam Selvon Jean Rhys
Language Standard English, There is a mixture of

Creolized English, Standard English and
Trinidadian English, Caribbean dialects such as
Figurative Language patois,
Figurative language
Literary Irony, Motif, Irony, Contrast,

Devices Juxtaposition, Foiling, Juxtaposition, Character
Allusion, diction foiling, Motif,
Foreshadowing, Allusion
Point of View Third-person narration First-person narration
Narrative Stream of Gothic Elements,

Structure consciousness, interior Intertextuality, Magical
monologue, episodic Realism, Polyphonic
novel narrative mode
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SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 6 cont’d
British,
Nineteen-Eighty The Water Arrow of God
American and
Four by George Dancer by Ta- by Chinua
Postcolonial
Orwell Nehisi Coates Achebe
Texts
Context Nineteen Eighty- 19th century Colonialism
Four was published America, the of Nigeria,
in 1949, not long Civil War, Nigerian
after Joseph Civil rights culture,
Stalin's Great movement, African
Purge of the Slavery, traditional
1930s, the Spanish Underground beliefs
Civil War (1936– Railroad, the
39), and World War abolitionist
II (1939–45). The movement,
text has many magical
parallels with the realism
Communist Party of
the Soviet Union
and other
totalitarian
regimes. This is
similar to
societal
underpinnings in
Orwell’s Animal
Farm
Themes Alienation, Alienation, Power,

manipulation, identity colonialism,
power, change, crisis, family,
deception, oppression, religion,
betrayal, racism, gender,
oppression, gender, cultural
totalitarianism, family, the erosion,
identity, past, memory education
patriotism,
loyalty,
rebellion, control
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SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 6 cont’d
British,
Nineteen-Eighty The Water Dancer
American and Arrow of God by
Four by George by Ta-Nehisi
Postcolonial Chinua Achebe
Orwell Coates
Texts
Setting The novel is set Lockless, a Colonial Nigeria
in a dystopic, plantation in during 1920’s
fictionalised fictional Elm
version of London County, Virginia,
in an unspecified and Philadelphia,
futuristic time Pennsylvania, in
period the mid-19th
century
Characterization Methods of Methods of Names of

characterization, characterization, characters, use
interior interior of language,
monologue, monologue, methods of
foiling, names foiling, names characterization,
contrast
Plot Dystopian, Bildungsroman, The novel

Linear, the non-linear, the focuses on the
novel follows work follows the struggle of a
Winston Smith, a growth and priest, Ezelulu,
low-ranking development of to maintain his
member of the Hiram Walker and influence in
ruling party of his quest to society in the
London in improve his face of
Oceania, it quality of life modernization
illustrates the and that of and
protagonist’s others Christianity,
journey to Linear,
resistance and chronological
its consequences
Conflict Character versus Character versus Character versus

character, character, character,
character versus character versus character versus
society, society,
society,
Internal conflict
character versus character versus
technology, technology,
internal internal
conflict conflict
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SPEC 2023/02132020/CAPE/ KMS
UNIT 1 - Paper 02
SPECIMEN
Question 6 cont’d
British,
Nineteen-Eighty The Water Dancer
American and Arrow of God by
Four by George by Ta-Nehisi
Postcolonial Chinua Achebe
Orwell Coates
Texts
Symbolism The Red-Armed Water dancing, Government Hill,
Prole Woman, Big the River Goose, title of the
Brother, Lockless, the text, snakes,
telescreens, The coffin
the cross
Glass
Paperweight, St.
Clement’s Church
Language Standard English Standard English Standard English

and dialectal and local
variation dialects of Igbo
Literary Irony, Irony, Irony, contrast,

Devices juxtaposition, juxtaposition, foiling,
allusion, allusion, imagery,
imagery, imagery, diction, allusion, motif
diction, simile, motif
metaphor, motif
Point of View Third-person First-person Third-person

limited retrospective omniscient
narration narration narration
Narrative Linear, Stream of Linear,

structure chronological, consciousness, chronological,
flashback, magical realism, stream of
stream of manipulation of consciousness
consciousness time
TEST CODE 02132032
SPECIMEN 2023
UNIT 1 – Paper 032
2 hours 30 minutes
1. This paper consists of THREE sections with ONE question in EACH section.
2. Answer ALL questions.

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- 2 -
SECTION A
MODULE 1 – DRAMA
Read the extract below and answer Question 1 on the lined pages provided, pages 7–10. There is a
blank space on page 6. You may use this space to make notes and plan your essay.
Honeymoon
The scene is on the terrace of a hotel in France. There are two French windows at the back,
opening on to two separate suites. The terrace space is divided by a line of small trees in tubs,
and, down-stage, running parallel with the footlights, there is a low stone balustrade. Upon each
side of the line of tree tubs is a set of suitable terrace furniture, a swinging seat, two or three
5 chairs, and a table. There are orange and white awnings shading the windows, as it is summer.
When the curtain rises it is about eight o’clock in the evening. There is an orchestra playing not
very far off. SIBYL CHASE opens the windows on the right, and steps out on to the terrace. She is
very pretty and blonde, and smartly dressed in travelling clothes. She comes downstage, stretches
her arms wide with a little sigh of satisfaction, and regards the view with an ecstatic expression.
10 SIBYL [calling]: Elli, Elli dear, do come out. It’s so lovely.
ELYOT [inside]: Just a minute.
After a pause ELYOT comes out. He is about thirty, quite slim and
pleasant looking, and also in travelling clothes. He walks right down to
the balustrade and looks thoughtfully at the view. SIBYL stands beside
15 him, and slips her arm through his.
ELYOT: Not so bad.
SIBYL: It’s heavenly. Look at the lights of that yacht reflected in the water. Oh
dear, I’m so happy.
ELYOT [smiling]: Are you?
20 SIBYL: Aren’t you?
ELYOT: Of course I am. Tremendously happy.
SIBYL: Just to think, here we are, you and I, married!
ELYOT: Yes, things, have come to a pretty pass.
SIBYL: Don’t laugh at me, you mustn’t be blasé about honeymoons just because
25 this is your second.
ELYOT [frowning]: That’s silly.

02132032/CAPE/SPEC 2023
-3-
SIBYL: Have I annoyed you by saying that?
ELYOT: Just a little.
SIBYL: Oh, darling, I’m so sorry. [She holds her face up to his.] Kiss me.
30 ELYOT [doing so]: There.
SIBYL: Ummm, not so very enthusiastic.
ELYOT [kissing her again]: That better?
SIBYL: Three times, please, I’m superstitious.
ELYOT [kissing her]: You really are very sweet.
35 SIBYL: Are you glad you married me?
ELYOT: Of course I am.
SIBYL: How glad?
ELYOT: Incredibly, magnificently glad.
SIBYL: How lovely.
40 ELYOT: We ought to go in and dress.
SIBYL: Gladder than before?
ELYOT: Why do you keep harping on that?
SIBYL: It’s in my mind, and yours too, I expect.
ELYOT: It isn’t anything of the sort.
45 SIBYL: She was pretty, wasn’t she? Amanda?
ELYOT: Very pretty.
SIBYL: Prettier than I am?
ELYOT: Much.
SIBYL: Elyot!
50 ELYOT: She was pretty and sleek, and her hands were long and slim, and her legs
were long and slim, and she danced like an angel. You dance very poorly,
by the way.
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SIBYL: Could she play the piano as well as I can?
ELYOT: She couldn’t play the piano at all.
55 SIBYL [triumphantly]: Aha! Had she my talent for organisation?
ELYOT: No, but she hadn’t your mother either.
SIBYL: I don’t believe you like my mother.
ELYOT: Like her! I can’t bear her.
SIBYL: Elyot! She’s a darling underneath.
60 ELYOT: I never got underneath.
SIBYL: It makes me unhappy to think you don’t like mother.
ELYOT: Nonsense. I believe the only reason you married me was to get away from
her.
SIBYL: I married you because I loved you.
65 ELYOT: Oh dear, oh dear, oh dear, oh dear!
SIBYL: I love you far more than Amanda loved you. I’d never make you miserable
like she did.
ELYOT: We made each other miserable.
SIBYL: It was all her fault, you know it was.
70 ELYOT [with vehemence]: Yes, it was. Entirely her fault.
SIBYL: She was a fool to lose you.
ELYOT: We lost each other.
SIBYL: She lost you, with her violent tempers and carryings on.
ELYOT: Will you stop talking about Amanda?
75 SIBYL: But I’m very glad, because if she hadn’t been uncontrolled, and wicked,
and unfaithful, we shouldn’t be here now.
ELYOT: She wasn’t unfaithful.
SIBYL: How do you know? I bet she was. I bet she was unfaithful every five
minutes.
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80 ELYOT: It would take a far more concentrated woman than Amanda to be unfaithful
every five minutes.
SIBYL [anxiously]: You do hate her, don’t you?
ELYOT: No, I don’t hate her. I think I despise her.
SIBYL [with satisfaction]: That’s much worse.
Adapted from Noel Coward, “Private Lives”.

In 14 Great Plays (1977), 1930, pp. 293–294.
1. Write a critical appreciation of the extract, paying particular attention to characterization, stage
directions, tension and themes.

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SECTION A

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02132032/CAPE/SPEC 2023
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SECTION B
MODULE 2 – POETRY
Read the poem below and answer Question 2 on the lined pages provided, pages 13–16. There is a
blank space on page 12. You may use this space to make notes and plan your essay.
Blackout
Blackout is endemic to the land.

People have grown sixthsense
and sonic ways, like bats,
emerging out of the shadows
5 into the light of their own flesh.
But the car headlamps coming towards us

make it seem we’re in some thirdworld movie,
throwing up potholes and houses exaggeratedly,
the fresh white painted and grey ramshackle
10 blending into snug relief.
And inside, the children are still hovering,

hopeful moths around the flickerless Box
immune to the cloying stench of toilets
that can’t be flushed. The children,
15 all waiting on electric-spell to come
and trigger a movie, the one featuring America,
played out endlessly in their heads.
While back outside, coconut vendors decapitate

the night, husky heads cutlassed off
20 in the medieval glow of bottle lamps.
And everywhere there are flittings

and things coming into being,
in a night where footfall is an act of faith —
A group of young girls huddled in a questionable
25 doorway;
The sudden dim horizontal of an alleyway;
And the occasional generator-lit big house,

obscenely bright —
hurting the soft iris of darkness
30 in this worn-out movie, slow reeling
Under the endless cinema of the skies.
Grace Nichols
https://www.poetrybyheart.org.uk/poems/blackout

02132032/CAPE/SPEC 2023
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2. Write a critical appreciation of the poem, paying attention to its form, language, tone and themes.
SECTION B

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02132032/CAPE/SPEC 2023
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SECTION C
MODULE 3 – PROSE FICTION
Read the extract below and answer Question 3 on the lined pages provided, pages 20–23. There is
a blank space on page 19. You may use this space to make notes and plan your essay.
Sweetness
It’s not my fault. So you can’t blame me. I didn’t do it and have no idea how it happened. It didn’t
take more than an hour after they pulled her out from between my legs for me to realize something
was wrong. Really wrong. She was so black she scared me. Midnight black, Sudanese black. I’m
light-skinned, with good hair, what we call high yellow, and so is Lula Ann’s father. Ain’t nobody
5 in my family anywhere near that color. Tar is the closest I can think of, yet her hair don’t go with
the skin. It’s different — straight but curly, like the hair on those naked tribes in Australia. You
might think she’s a throwback, but a throwback to what? You should’ve seen my grandmother; she
passed for white, married a white man, and never said another word to any one of her children.
Any letter she got from my mother or my aunts she sent right back, unopened. Finally they got
10 the message of no message and let her be. Almost all mulatto types and quadroons did that back
in the day — if they had the right kind of hair, that is. Can you imagine how many white folks
have Negro blood hiding in their veins? Guess. Twenty per cent, I heard. My own mother, Lula
Mae, could have passed easy, but she chose not to. She told me the price she paid for that decision.
When she and my father went to the courthouse to get married, there were two Bibles, and they
15 had to put their hands on the one reserved for Negroes. The other one was for white people’s
hands. The Bible! Can you beat it? My mother was a housekeeper for a rich white couple. They
ate every meal she cooked and insisted she scrub their backs while they sat in the tub, and God
knows what other intimate things they made her do, but no touching of the same Bible.
Some of you probably think it’s a bad thing to group ourselves according to skin color — the
20 lighter the better — in social clubs, neighbourhood, churches, sororities, even colored schools. But
how else can we hold on to a little dignity? How else can we avoid being spit on in a drugstore,
elbowed at the bus stop, having to walk in the gutter to let whites have the whole sidewalk, being
charged a nickel at the grocer’s for a paper bag that’s free to white shoppers? Let alone all the
name-calling. I heard about all of that and much, much more. But because of my mother’s skin
25 color she wasn’t stopped from trying on hats or using the ladies’ room in the department stores.
And my father could try on shoes in the front part of the shoe store, not in a back room. Neither
one of them would let themselves drink from a “Colored Only” fountain, even if they were dying
of thirst.
I hate to say it, but from the very beginning in the maternity ward the baby, Lula Ann, embarrassed
30 me. Her birth skin was pale like all babies’, even African ones, but it changed fast. I thought I was
going crazy when she turned blue-black right before my eyes. I know I went crazy for a minute,
because — just for a few seconds — I held a blanket over her face and pressed. But I couldn’t do
that, no matter how much I wished she hadn’t been born with that terrible color. I even thought
of giving her away to an orphanage some place. But I was scared to be one of those mothers who
35 leave their babies on church steps. Recently, I heard about a couple in Germany, white as snow,
who had a dark-skinned baby nobody could explain. Twins, I believe — one white, one colored.
But I don’t know if it’s true. All I know is that, for me, nursing her was like having a pickaninny
sucking my teat. I went to bottle-feeding soon as I got home.
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My husband, Louis, is a porter, and when he got back off the rails he looked at me like I really was
40 crazy and looked at the baby like she was from the planet Jupiter. He wasn’t a cussing man, so
when he said, “God damn! What the hell is this?” I knew we were in trouble. That was what did
it — what caused the fights between me and him. It broke our marriage to pieces. We had three
good years together, but when she was born he blamed me and treated Lula Ann like she was a
stranger — more than that, an enemy. He never touched her.
Adapted from Toni Morrison, “Sweetness”,

The New Yorker, 2015.
3. Write a critical appreciation of the extract, paying attention to characterization, language, point
of view and themes.

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SECTION C

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END OF TEST
02132032/CAPE/SPEC 2023
SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
KEY MARK SCHEME
SPECIMEN
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SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN
MODULE 1 - DRAMA
Question 1
Honeymoon
Write a critical appreciation of the extract, paying attention to

characterization, stage directions, tension, and themes.
Characterization
Award 4 marks for full discussion of one trait for any TWO
characters.
Candidates who fully develop ONE character can be awarded 4 marks.
(Award TWO marks EACH for a full discussion of any TWO characters.
Candidates who mention other points relevant to characterization other
than the ones noted below should be awarded the marks if their
responses are reasonable.)
Any TWO of the following:
Sibyl:
• Romantic / Expressive – she is more appreciative of the honeymoon

environment than Elyot is; she more openly articulates her feelings
about the honeymoon environment, her marriage to Elyot, and
regarding his ex-wife
• Superstitious – she insists that Elyot kisses her three times due
to her superstitious nature
• Insecure/immature – she needs reassurance Elyot is contented that

he has married her; although Elyot has married her she is worried
that he still loves his first wife Amanda; she is afraid that Amanda
has more appealing qualities and skills than she does; her
insecurity leads her to have feelings of triumph and satisfaction
when Elyot points out the inappropriateness of her conversation at
the start of her honeymoon.
• Persistent – she refuses to drop the topic of Elyot’s first wife

and the reasons for the collapse of their marriage
• Competitive – she sees Amanda as an adversary whom she compares

herself against and must be better than
• Judgemental / Accusatory – she assumes the worst of Amanda,

ascribing blame to her for the marital breakdown (for example that
Amanda made Elyot miserable and she was the one who lost him) and
that she was unfaithful to Elyot, even when he discounts those
particular assumptions / accusations of his ex-wife, for instance
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SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN
Question 1 cont’d
Elyot:
• Matter-of-Fact / Honest – he tells Sibyl the truth about her mother

and also when she asks him questions about herself and Amanda even
if her feelings are hurt
• Practical – he wishes to go inside and change out of their

travelling clothes and is not as interested in viewing and being
engrossed in the honeymoon environment as Sibyl is; he does not
see the benefit of Sibyl pursuing the topic of Amanda and their
marriage
• Attentive / Considerate – he makes an effort to assure Sibyl

regarding how he feels about having married her; he obliges each
time Sibyl requests a kiss
• Insensitive/impatient/superior – while she seeks validation

(because it is his second marriage) he points out her shortcomings
and criticizes her mother.
Amanda:
She is a character in the abstract, albeit as an absent character who

is indirectly characterised through the descriptions and opinions of
her provided by Elyot and Sibyl. The reader sees her through the eyes
of Elyot and Sybil so it raises the question of whether we can trust
what is said.
Reader may also see Elyot as a credible source of authority.
• Headstrong / Strong-willed and Malicious / Mean-spirited – The

reader can assume she is “uncontrolled” and “wicked” because Elyot
does not refute these characteristics (like he does with the
accusation of “unfaithful”) uttered by Sibyl
• Petulant / Bad-tempered / Aggressive – Elyot does not dispute that

Amanda displayed “violent tempers and carryings on”
(2 + 2) [4 marks]
Accept any other reasonable response
- 4 -
SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN
Question 1 cont’d
Stage directions
Award 4 marks for any full explanation of the following

Award 3 marks for a good response with most of the details included
Award 1-2 marks for a response which lacks details
The stage directions depict elements of setting, characterization and

costuming
Setting – the stage directions set the location, time, and mood of
the honeymoon venue:
• a romantic atmosphere is created by the orchestral music,

reflection of the light from the yacht on the water at night
(lighting and sound effects);
• France is also associated with notions of love and as a honeymoon

site;
• the awnings as prop establish that it’s the summer season, as

directly stated;
• the hotel suites, French windows and furniture, tree tubs, French
windows, footlights, stone balustrade on the terrace
• time of day and year
Characterization – the stage directions reveal:
• tension between the two characters

• tone of voice and emotions (e.g. “vehemence”)
• facial expressions / facial gestures (e.g. “smiling”, “frowning”,
etc)
• inner feelings (e.g. ecstatic, anxiety, triumph, “satisfaction”)
• stage / character actions (e.g. holding of face, “kissing”)
Costuming – the stage directions indicate:
• the couple have just arrived at the hotel in France for their
honeymoon because they are still dressed in their travelling
clothes
• the couple’s travelling clothes suggest either that they do not

live in France or do not live in that part of France where the
hotel is situated [4 marks]

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SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN
Question 1 cont’d
Tension
Award 2 marks for a full explanation of any ONE of the following

Award 1 mark for a response which lacks some details
• highlights past conflict in the first marriage between Elyot and

Amanda
• highlights brewing conflict in the new marriage between Elyot and

Sibyl
• is created by Sibyl’s persistence in comparing herself to Amanda

and rehashing Elyot’s past with Amanda
• is conveyed through the dialogue between the two characters, as

well as their facial gestures and tone of voice
• tension is created through the use of diction, tone, contrast,

contextual situations, etc. [2 marks]
Themes
Award 3 marks for full discussion of any ONE of the following

Award 1-2 marks for a response which lacks some details.
• Love – the newly-wed couple, Sibyl and Elyot, are very much in
love based on their proclamations to each other. However, there
there some underlying issues that threaten their relationship.
• Competition among women – Sibyl competes with the ex-wife for the
affection and admiration of Elyot although Amanda is not present
• Marital Problems – the extract shows the marital problems

encountered by Elyot during his first marriage and the ones
beginning with Sibyl in his second because of her insecurities,
his dislike of her mother, and his suspicion that she married him
to get away from her mother
• Relationships how to navigate marriage relationships, in light of

past relationships, insecurities, hurts, impact of other family
members
[3 marks]
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UNIT 1 - Paper 032
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Question 1 cont’d
Organization of information
Good/Excellent 2 [2 marks]
Satisfactory 1
Poor 0

Total 15 marks
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UNIT 1 - Paper 032
SPECIMEN
MODULE 2 - POETRY
Question 2
Blackout
Write a critical appreciation of the poem, paying attention to its

form, language, tone and themes.
Form
Award THREE marks for a full discussion of any point. Candidates who
mention other points relevant to the form other than the ones noted
below should be awarded the marks if their responses are reasonable.)
Any ONE of the following:
• The second to the sixth stanzas begin with conjunctions – This

helps to connect the idea of the kinds of rampant poverty in that
community or society which affect households and children, the
working class and prostitutes.
• In the penultimate stanza (sixth stanza) of the poem there is a

shift in focus – which contrasts the poverty of the other
inhabitants with those richer ones who dwell among them.
• Last stanza –employs a foregrounding technique to reinforce meaning

and consolidate the movie / cinema motif in the poem.
[3 marks]
Language
(Award TWO marks EACH for a full discussion of any TWO aspects of
language. Candidates who mention other elements of language, other than
the ones noted below, should be awarded the marks if their responses are
reasonable.)
• Metaphor, Irony, Alliteration, Personification / Anthropomorphism –

the film metaphor encapsulated in the words “Blackout”, “movie”,
“Box”, “cinema”, children compared to “hopeful moths” drawn to the
non-functioning television (in common usage that is colloquially and
metonymically referred to as a “Box”) and the vendors decapitating
the night and cutlassing off the “husky heads” of coconuts, all
foreground the illusory, hopeless, persistent, difficult and brutal
existence of the hardworking poor of society.
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UNIT 1 - Paper 032
SPECIMEN
Question 2 cont’d
• Repetition – for example of the word “movie” reinforces and

emphasises in visually stark terms the illusory hope of society’s
poor.
• Simile, Quasi-Simile and Compound words – in “People have grown

sixthsense / and sonic ways, like bats” (simile) and “make it seem
we’re in some thirdworld movie” (quasi-simile), and “sixthsense”
and “thirdworld” (compound words) which deviate from the usual
spellings both to foreground the extent to which the poor have
become accustomed and have adapted to their plight, and to portray
how such conditions are associated with developing countries and
how these countries are typically depicted in film and media,
respectively.
Because similes are more direct comparisons which focus on the
similarities between / among fields of reference (in
contradistinction to metaphor which focuses on both similarities
and differences), the comparing of the poor folk to bats (animal
imagery) serves to show how their living conditions, and how they
are neglected, dehumanise them.
• Contrast – conveyed by the motifs of light / dark, dim / bright

flicker / glow, and blackness / shadows highlight the
socioeconomic inequalities between the rich and poor, the haves
and have-nots.
• Visual, olfactory, and kinaesthetic imagery – these convey the

extent of the poverty, the inequality among rich and poor, and the
longstanding and unchanging circumstances surrounding
socioeconomic deprivation in expressions such as “thirdworld
movie”, “flickerless Box”, “fresh white painted and grey ramshackle
/ blending into snug relief”, “cloying stench of toilets”, “played
out endlessly”, “medieval glow of bottle lamps” (2 + 2) [4 marks]
Tone
(Award as many as THREE marks for a comprehensive treatment of tone.)

• The tone of the poem is deceptively objective/ critical

/angry/judgemental/ – descriptors and diction like “endemic”,
“obscenely bright”, “hurting”, “questionable”, “decapitate” and “act
of faith”, and “endless”, for instance, betray the persona’s critical
attitude and judgement towards the socioeconomic gap between rich and
poor, the living conditions of the poor and the means by which they
are relegated to survive and make a living.
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SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN
Question 2 cont’d
• The film metaphor portrays the persona’s observation and judgement

about the illusory nature of the American Dream for the society’s
poor children, as well as how the literal and real circumstances
related to endemic poverty can be underplayed and allowed to
continue. [3 marks]
Themes
(Award THREE marks for a full discussion of any ONE thematic concerns.
Candidates who mention other themes than the ones noted below should be
awarded the marks if their responses are reasonable.)
• Poverty which occasions undesirable activities such as prostitution

• Infrastructural Deficiencies – for example, no electricity and
roads and houses in disrepair
• Economic Inequality
• America as a land of hope, opportunity, and wealth
• Elusive hopes and preams [3 marks]
Organization of Information
Good/Excellent – 2 [2 marks]
Satisfactory – 1
Poor – 0
Total 15 marks
- 10 -
SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN

Question 3
Sweetness
Write a critical appreciation of the extract, paying attention to

characterization, language, point of view and themes.
Characterization:
Award 2 marks EACH for any TWO points fully explained.

Award 1 mark for a response which lacks some details
• Narrator as victim and victimizer: she represents herself as a

victim of circumstances beyond her control (“Don’t blame me”), a
victim of historical and social circumstances that underpin
American racism and colorism, but she also reveals how she in turn
victimizes her child. Although shamed and embarrassed by Lula-
Ann’s blackness, she could not bring herself to abandon her.
• Narrator characterized as complicated, conflicted, and traumatized

as a result of racism. She has internalized white supremacist
notions of beauty and clearly values her light skin and “good
hair.”
• The narrator is emotionally honest: she reveals her initial impulse

to kill her child, her revulsion at the baby’s blackness, and her
tensions surrounding maternal love. Despite her character flaws,
she comes across as truthful and reliable.
• The narrator is emotionally distant from and resentful towards her

child, but she does not neglect her parental responsibilities (“I
even thought of giving her away to an orphanage someplace. But I
was scared to be one of those mothers who leave their babies on
church steps.”)
• The narrator explains her tensions and emotions surrounding the

baby by contextualizing the issues related to skin colour privilege
by light-skinned Black people as a way to grasp some dignity in a
racist society.
• Louis, the narrator’s husband: unsympathetic character who is

represented as extremely emotionally cold and distant towards his
child. He basically denies his paternity, literally rejecting his
own flesh and blood, and ultimately abandoning his wife and child.
(2 + 2) [4 marks]
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SPEC 2023/02132032/CAPE/ KMS
UNIT 1 - Paper 032
SPECIMEN
Question 3 cont’d
Language:
Award 2 marks EACH for any TWO points fully explained.

Award 1 mark for response which lacks some detail
• The passage lacks spoken dialogue, and it consists entirely of

reflective musings on past events by the narrator. The language
resembles the monologue of someone in front of an
audience/confessional.
• The diction and syntax identify the narrator as a speaker of

African-American vernacular. Colloquialisms and culturally
specific references indicate that she is a black (albeit “high
yellow”) working class woman. Diction is concrete, drawn from
popular idiom, and it is socially realistic, simple, and
conversational.
• The colloquial nature of the text is also suggested by informal

words and interjections (“Can you beat it?”; “Let alone all the
name-calling”). The use of the words “Negro” (l. 13)
and “pickaninny” (l. 42), which are considered respectively
outdated and offensive today, suggests that the narrator grew up
in a period before the Civil Rights movement of the 1960s.
• Extensive use of black / white and light / dark colour imagery

reinforces themes of racism and colourism. The use of figures of
speech such as imagery, simile, understatement and hyperbole,
symbolism, etc. reveal the writer’s skill in engaging readers.
(2 + 2) [4 marks]
Point of view:
Award 2 marks for a full explanation of this point.

Award 1 mark to responses which lack some details.
• The story is told from a first-person narrative point of view. It

lacks direct dialogue and it is marked by a certain painful self-
awareness as the narrator reveals the details of how racism and
colorism have impacted her relationship with her husband and
daughter.
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UNIT 1 - Paper 032
SPECIMEN
Question 3 cont’d
• The first-person narrative mode reinforces the confessional mood

of the story, the sense of revelation of personal matters, and the
brutal honesty of a mother admitting how internalized racism
destroyed her marriage and alienated her from her own child. By
telling her own story, she creates some sympathy for herself
because she also comes across as a victim of racism as well as a
victimizer who rejects her own child: “All I know is that, for me,
nursing her was like having a pickaninny sucking my teat.”
• The first-person autobiographical mode effectively conveys the

narrator’s inner conflicts and contradictory feelings. She is
embarrassed by her baby’s blackness yet she is also hurt by
people’s reactions to the child’s colour. She absolves herself of
any blame, yet her story is ironically self-incriminating in its
honest depiction of her shame and embarrassment.
• First person narrative mode allows the personal details to be

framed as part of a larger social, historical, and cultural context
of American racism and antiblackness. The public histories are
poignantly revealed in the traumatic impact on individual lives.
[2 marks]
Accept any other reasonable answer for any of the categories above.
Themes
Award 3 marks EACH for full discussion of any ONE of the following.
Award 1 mark to responses which lack some details.
• Racism
• Colourism
• Family
• Parenting
• Blame
• Shame
[3 marks]
Organization of Material
Satisfactory 1
Poor 0

Total 15 marks
CANDIDATE – PLEASE NOTE!
PRINT your name on the line below and return
TEST CODE 02232010
SPECIMEN 2023 this booklet with your answer sheet. Failure to
do so may result in disqualification.
UNIT 2 – Paper 01
2 hours
1. This test consists of 45 items. You will have 2 hours to answer them.
2. In addition to this test booklet, you should have an answer sheet.
3. Each item in this test has four suggested answers lettered (A), (B), (C), (D). Read each item you
are about to answer and decide which choice is best.
4. On your answer sheet, find the number which corresponds to your item and shade the space having
the same letter as the answer you have chosen. Look at the sample item below.
Sample Item
Which of the following are NOT used to enhance meaning in a poem? Sample Answer

(A) Diction and lyric A B C D
(B) Simile and metaphor
(C) Symbol and assonance
(D) Stage direction and props
The correct answer to this item is “Stage direction and props”, so (D) has been shaded.
5. If you want to change your answer, erase it completely before you fill in your new choice.
6. When you are told to begin, turn the page and work as quickly and as carefully as you can. If you
cannot answer an item, go on to the next one. You may return to that item later.

02232010/MJ/CAPE/SPEC 2023
-2-
Items 1–8
Eddie
[Light rising on CATHERINE in the apartment. RODOLPHO is watching as she arranges a

paper pattern on cloth spread on the table.]
CATHERINE: You hungry?
RODOLPHO: Not for anything to eat. [Pause.] I have nearly three hundred dollars. Catherine?
5 CATHERINE: I heard you.
RODOLPHO: You don’t like to talk about it anymore?
CATHERINE: Sure, I don’t mind talkin’ about it.
RODOLPHO: What worries you, Catherine?
CATHERINE: I been wantin’ to ask you about something. Could I?
10 RODOLPHO: All the answers are in my eyes, Catherine. But you don’t look in my eyes lately.
You’re full of secrets. [She looks at him. She seems withdrawn.] What is the
question?
CATHERINE: Suppose I wanted to live in Italy.
RODOLPHO: [smiling at the incongruity] You going to marry somebody rich?
15 CATHERINE: No, I mean live there — you and me.
RODOLPHO: [his smile vanishing] When?
CATHERINE: Well … when we get married.
RODOLPHO: [astonished] You want to be an Italian?
CATHERINE: No, but I could live there without being Italian. Americans live there.
20 RODOLPHO: Forever?
CATHERINE: Yeah.
RODOLPHO: [crosses to the rocker] You’re fooling.
CATHERINE: No, I mean it.

02232010/MJ/CAPE/SPEC 2023
-3-
RODOLPHO: Where do you get such an idea?
25 CATHERINE: Well, you’re always saying it’s so beautiful there, with the mountains and the
oceans and all the —
RODOLPHO: You’re fooling me.
CATHERINE: I mean it.
RODOLPHO: [goes to her slowly] Catherine, if I ever brought you home with no money, no
30 business, nothing, they would call the priest and the doctor and they would
say Rodolpho is crazy.
CATHERINE: I know, but I think we would be happier there.
RODOLPHO: Happier! What would you eat? You can’t cook the view!
CATHERINE: Maybe you could be a singer, like in Rome or —
35 RODOLPHO: Rome! Rome is full of singers.
CATHERINE: Well, I could work then.
RODOLPHO: Where?
CATHERINE: God, there must be jobs somewhere!
RODOLPHO: There’s nothing! Nothing, nothing, nothing. Now tell me what you’re talking
40 about. How can I bring you from a rich country to suffer in a poor country?
CATHERINE: What are you talking about? [She searches for words.]
RODOLPHO: I would be a criminal stealing your face. In two years you would have an old,
hungry face. When my brothers’ babies cry they give them water, water that
boiled a bone. Don’t you believe that?
45 CATHERINE: [quietly] I’m afraid of Eddie here.
[Slight pause.]
RODOLPHO: [steps closer to her] We wouldn’t live here. Once I am a citizen, I could work
anywhere and I would find better jobs and we would have a house, Catherine.
If I were not afraid to be arrested I would start to be something wonderful here!
50 CATHERINE: [steeling herself] Tell me something. I mean just tell me, Rodolpho — would
you still want to do it if it turned out we had to go live in Italy? I mean just if
it turned out that way.

02232010/MJ/CAPE/SPEC 2023
-4-
RODOLPHO: That is your question or his question?
CATHERINE: I would like to know, Rodolpho. I mean it.
55 RODOLPHO: To go there with nothing.
CATHERINE: Yeah.
RODOLPHO: No. [She looks at him wide-eyed.] No.
CATHERINE: You wouldn’t?
RODOLPHO: No; I will not marry you to live in Italy. I want you to be my wife, and I want
60 to be a citizen. Tell him that, or I will. Yes. [He moves about angrily.] And
tell him also, and tell yourself, please, that I am not a beggar, and you are not
a horse, a gift, a favour for a poor immigrant.
CATHERINE: Well, don’t get mad!
RODOLPHO: I am furious! [Goes to her.] Do you think I am so desperate? My brother

65 is desperate, not me. You think I would carry you on my back the rest of my
life a woman I didn’t love just to be an American? It’s so wonderful? You
think we have no tall buildings in Italy? Electric lights? No wide streets? No
flags? No automobiles? Only work we don’t have. I want to be an American
so I can work, that is the only wonder here — work! How can you insult me,
70 Catherine?
CATHERINE: I didn’t mean that —
RODOLPHO: My heart dies to look at you. Why are you so afraid of him?
Adapted from Arthur Miller, A View from the Bridge,

Penguin Books, 1961, pp. 57–61.

02232010/MJ/CAPE/SPEC 2023
-5-
1. The MAIN function of the stage directions 4. The dialogue between lines 13 and 24
in lines 1–2 is to (“Suppose I wanted . . . Where do you get
such an idea?”) is dramatically significant
(A) establish context, setting and because it
characters of the extract
(B) alert the audience to Catherine’s (A) provides an opportunity for
creativity and ingenuity characters to argue, to heighten
(C) make prominent Rodolpho’s the drama, thereby making it
gaze, for the audience to better more engaging for the audience
understand him (B) gives the audience insights into the
(D) introduce the antagonist, Rodolpho, conversations of characters and
and the protagonist, Catherine, the types of questions they ask so
the central characters as to establish them as credible
characters
(C) facilitates the revelation of
2. Catherine’s state of mind in lines 3–9 could characters’ desires and feelings,
BEST be described as and how these emotions are
navigated, through questions, to
(A) calm and agreeable arrive at better understandings
(B) decisive and focused (D) highlights the varied emotions of
(C) nonchalant and carefree characters so that the audience
(D) contemplative and preoccupied can decide on the credibility of
the characters and the extent to
which they ought to be trusted
3. What do lines 10–12 BEST reveal about
Rodolpho and his relationship with
Catherine? 5. The rocker (line 22) is a significant prop in
the extract as it
(A) Rodolpho craves attention and
honesty, which he is also (A) facilitates stage movement and
requesting of Catherine. contributes to a change in the
(B) Rodolpho is talkative and intense, tone of the drama
qualities he would want (B) marks a particular area on the stage
Catherine to reciprocate in their where the characters are able to
relationship. talk fervently
(C) Rodolpho tends to be probing and (C) distinguishes a furniture item, the
insecure, qualities he would wish only prop in the extract, to pique
to do away with, if only Catherine audience’s interest
would give him the attention he (D) indicates the age of the couple and
needs. dates the extract as occurring in
(D) Rodolpho seems to value honesty an earlier time period
and forthrightness, qualities
which are missing from his
relationship with Catherine.

02232010/MJ/CAPE/SPEC 2023
-6-
6. The dramatic effect achieved by Catherine’s 8. Which of the following BEST account for
disclosure, “I’m afraid of Eddie here” (line the appropriateness of the title of the extract?
45), is the creation of
I. Although Eddie did not assume a
(A) a tone of anger and defeat speaking role within the extract,
(B) an atmosphere of tension and sus- he assumed a prominent position
pense in the disclosure and conversa-
(C) an impression of concern and tions of the main characters.
curiosity II. Catherine appears to have chosen
(D) a mood of sadness and inconsider- a relationship with Eddie, but
ateness is afraid to tell his brother
Rodolpho.
III. The mention of Eddie creates
7. Which of the following examples BEST dramatic tension, significant
captures the main thematic concern of the enough to change the atmosphere
extract? of the extract, drive stage action,
and influence the mood of the
(A) Rodolpho versus Eddie: brothers main characters.
competing for the same woman’s
love (A) I and II only
(B) Rodolpho versus Eddie: Italian (B) I and III only
brothers whose motives for (C) II and III only
marrying Americans differ (D) I, II and III
(C) America versus Italy: countries with
different job opportunities which
adversely impact family life
(D) America versus Italy: countries
competing for cheap labour and
economic domination

02232010/MJ/CAPE/SPEC 2023
-7-
Items 9–15
The Triangle
The scene is a stately drawing-room at Aston-Adey, with fine pictures on the walls and Georgian
furniture. Aston-Adey has been described, with many illustrations, in the magazine Country Life.
It is not a house, but a palace. Its owner, Arnold Cheney, MP, takes great pride in it. Through the
French windows at the back can be seen the beautiful gardens which are one of the outstanding
5 features.
It is a fine summer afternoon.
ELIZABETH: I want you to let me divorce you.
ARNOLD: [Surprised.] What do you mean by that? Are you in love with someone?
ELIZABETH: Yes ...
10 ARNOLD: [With sudden suspicion.] Who?
ELIZABETH: Teddie Luton.
[He is astonished for a moment, then bursts into a laugh.]
ARNOLD: My poor child, how can you be so ridiculous? Why, he’s a perfectly commonplace
young man. It’s so absurd I can’t even be angry with you.
15 ELIZABETH: I’ve fallen desperately in love with him, Arnold.
ARNOLD: Well, you’d better fall desperately out.
ELIZABETH: He wants to marry me.
ARNOLD: I daresay he does. He can go to hell.
ELIZABETH: It’s no good talking like that. I’ve been in love with Teddie ever since I knew
20 him.
ARNOLD: And you never thought of me at all, I suppose.
ELIZABETH: Oh, yes, I did. I was miserable. But I can’t help myself. I wish I loved you,
but I don’t.
ARNOLD: I recommend you to think very carefully before you do anything foolish.

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25 ELIZABETH: I have thought very carefully.
ARNOLD: By God! I don’t know why I don’t give you a sound beating. I’m not sure if
that wouldn’t be the best thing to bring you to your senses.
ELIZABETH: Teddie is leaving here by the first train tomorrow. I warn you that I mean to
join him as soon as he can make the necessary arrangements.
30 ARNOLD: Where is he?
ELIZABETH: I don’t know. I suppose he’s in his room.
[Arnold goes to the door and calls for GEORGE, the FOOTMAN.]
ARNOLD: George!
[For a moment he walks up and down the room impatiently. Elizabeth watches
35 him. The FOOTMAN comes in.]
FOOTMAN: Yes, sir.
ARNOLD: Tell Mr Luton to come here at once.
ELIZABETH: Ask Mr Luton if he wouldn’t mind coming here for a moment.
FOOTMAN: Very good, madam.
40 [Exit FOOTMAN.]
ELIZABETH: What are you going to say to him?
ARNOLD: That’s my business.
ELIZABETH: I wouldn’t make a scene if I were you.
ARNOLD: I’m not going to make a scene.
45 [They wait in silence.]
Why did you insist on my mother coming here?
ELIZABETH: It seemed to me rather absurd to take up the attitude that I should be contaminated
by her when . . .
ARNOLD: [Interrupting] When you were proposing to do exactly the same thing. Well,
50 now you’ve seen her what do you think of her? Do you think it’s been a success?
Is that the sort of woman a man would like his mother to be?

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ELIZABETH: I’ve been ashamed. I’ve been so sorry. It all seemed dreadful and horrible.
This morning I happened to notice a rose in the garden. It was all overblown
and bedraggled. It looked like a painted old woman. And I remembered that
55 I’d looked at it a day or two ago. It was lovely then, fresh and blooming and
fragrant. It may be hideous now, but that doesn’t take away from the beauty
it had once. That was real.
ARNOLD: Poetry, by God! As if this were the moment for poetry!
[TEDDIE comes in. He has changed into a dinner jacket.]
60 TEDDIE: [To ELIZABETH.] Did you want me?
ARNOLD: I sent for you.
[TEDDIE looks from ARNOLD to ELIZABETH. He sees that something has

happened.]
When would it be convenient for you to leave this house?
65 TEDDIE: I was proposing to go tomorrow morning. But I can very well go at once if
you like.
ARNOLD: I do like.
TEDDIE: Very well. Is there anything else you wish to say to me?
ARNOLD: Is it true that you want to marry Elizabeth?
70 TEDDIE: Yes. I should like to marry her as soon as ever I can.
ARNOLD: Have you thought of me at all? Has it struck you that you’re destroying my
home and breaking up my happiness?
TEDDIE: I don’t see how there could be much happiness for you if Elizabeth doesn’t
care for you.
75 ARNOLD: Let me tell you that I refuse to allow myself to be divorced. I can’t prevent
my wife from going off with you if she’s determined to make a damned fool
of herself, but this I tell you: nothing will induce me to divorce her.
ELIZABETH: Arnold, that would be monstrous.
TEDDIE: We could force you.
80 ARNOLD: How?
TEDDIE: If we went away together openly you’d have to bring an action.

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ARNOLD: Get out, get out, get out!
[TEDDIE looks uncertainly at ELIZABETH.]
ELIZABETH: [With a little smile.] Don’t bother about me. I shall be all right.
85 ARNOLD: [Screams.] Get out! Get out!
Retrieved from https://www.scribd.com/book/262723972/The-Circle-
9. The BEST explanation of the dramatic 11. Which of the following BEST captures the
effect created by the opening line of the dramatic significance of the entry of the
extract, “I want you to let me divorce you,” footman (line 35)?
is that it
(A) Provides evidence of a subplot
(A) serves to downplay Elizabeth’s (B) Illustrates that Elizabeth is
raw emotions respected in the household
(B) establishes contrast between (C) Contributes to rising tension
Arnold and Elizabeth between Elizabeth and Arnold
(C) thrusts the audience immediately (D) Provides information about
into a scene of conflict the characters of Arnold and
(D) foregrounds an issue that is Elizabeth
o u t s i d e of Elizabeth and
Arnold’s control
12. The BEST explanation of the playwright’s
use of Elizabeth’s observation in lines 53–57
10. The BEST explanation of the dramatic is that it
effect achieved by the stage directions “He
is astonished for a moment, then bursts into (A) shows Arnold’s dismissive response
a laugh” (line 12) is the presentation of to poetry
(B) explains why Arnold does not want
(A) a brief moment of comic relief to divorce Elizabeth
(B) Arnold’s unflappable character (C) provides context for Elizabeth’s
(C) an impression that Arnold is sympathy towards Arnold’s
mentally unbalanced and prone mother
to mood swings (D) showcases the importance of a
(D) an atmosphere of tension that prop to enhance the beauty of
is temporarily dispelled by the settng
Arnold’s hilarity

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13. Which of the following BEST explains the 15. The title of the extract, “The Triangle”, can
dramatic effect of the exchange between be considered suitable because it
Teddie and Arnold in lines 61–85 of the
extract (“I sent for you ... Get out”)? (A) reinforces that open relationships
are difficult
(A) Teddie’s love for Elizabeth is (B) encapsulates the plight of women
questionable. torn between two lovers
(B) It further develops the theme of (C) maps the connections between a
love as weakness. man, his wife and her lover
(C) Suspense is created by shifting (D) highlights three persons holding on
attention to Elizabeth. to a social relationship of conflict
(D) Highlights Arnold’s determination
and Teddie’s indiscretion.
14. Arnold’s repeated screaming of “Get out, get

out, get out ...” could be described as
(A) a desperate effort to regain self-

control
(B) the indignant outburst of a man who
has lost control of his life
(C) the refrain of a husband talking to
himself rather than to Teddie
(D) the type of interaction that
characterizes the husband–wife
relationship

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Items 16–23
ITAL1
for Nkrumah, brother, & Mokocho
From time to time I eat at an ital shop

in a cramped corner of town. It has been
here for years — rickety, ramshackle pieces
of wood bunched together like the thick
5 crunch of locks on the rastaman’s head
under the smothered ambition of his tam.2
In this storm of concrete that has
come to this town, that has stolen the identity
of ground — snidewalks that slide under our lives,
10 the nice-nice escalator that steals our
footsteps and walks calmly ahead of us,
the seriousness of cement, the sweet hum
of car and truck and van —
I come to this bold breakable icon,
15 standing zemi-faced, the i-and-i of the storm,
this shack where I come to the warm
welcome of food that does not taste
of haste or hustle, that does not taste
of dungle. And so I & I path through this jungle
20 of greens, through this white ixora of rice
through secret societies of spice
that does not leave the smell of flesh
or blood on my breath and, as Priestman say,
does not taste of death.
Vladimir Lucien, “Ital”. In Sounding Ground,

Peepal Tree Press, 2014, p. 21.
1
Ital — a way of life that privileges food without salt
2
tam — a soft hat made from wool

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16. The poem seems to be about the 18. The BEST interpretation of the
consequences of the situation described
I. comfort the person receives from by the persona, where the “concrete that
his visits to an ital shop has/come to this town ... has stolen the
II. persona’s preference for things ‘ital’ identity/of ground” (lines 7−9), is that
over things of ‘the flesh’
III. journey of a Rastaman from the city I. the physical and spiritual suffocation
into a rural community of a set of people, caused by
the presence of cement-based
(A) I and II only infrastructure, will eventually lead
(B) I and III only to their demise
(C) II and III only II. the sophisticated and superficial
(D) I, II and III facets of life that are imposed on
a people displace their innocent
and authentic ways of living
17. The phrase “under the smothered ambition III. unnatural and unsustainable
of his tam” (line 6) suggests that the realities are enforced on a people
Rastaman which prevent them from living
simple, uncomplicated lives
(A) has been defeated by the hardships
of life (A) I and II only
(B) has had to repress his hopes and (B) I and III only
aspirations (C) II and III only
(C) will overcome his trials gradually, (D) I, II and III
as time passes
(D) has little ambition because of the
restrictions of his religion

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19. The word “snidewalks” (line 9) is coined 22. The speaker’s attitude in the poem is
by the poet to convey the notion that predominantly conveyed through which
the physical structure of the sidewalk of the following sensory images?
figuratively represents the
(A) Tactile
(A) bitterness the people experience as (B) Visual
they move through life’s journey (C) Auditory
(B) unkind or hurtful actions imposed (D) Gustatory
by those who have placed it there
(C) idea of a kind of ‘emotional bomb’
waiting to explode on those who 23. Which of the following statements BEST
have to take this journey conveys the overall message of the poem?
(D) deplorable conditions of the
physical and emotional states (A) There is hope even in the midst of
of those living in this part of the suffocating realities.
city (B) Freedom occurs through the
Rastafarian culture.
(C) There is a conflict between
20. Which of the following devices does the the individual and the natural
poet utilize in the expression “the ‘i−and−i environment.
of the storm” (line 15)? (D) Connection with living and non-
living things is vital for self-
(A) Pun empowerment.
(B) Irony
(C) Apostrophe
(D) Onomatopoeia
21. The metaphorical interpretation which

BEST suits the description of the shack
offering “that [which] does not taste/of haste
or hustle, that does not taste/of dungle”
(lines 17−19) is that it
(A) contrasts with the negativity and

complexities associated with town
life
(B) provides a healthy alternative to
other foods being sold in the rest
of the city
(C) promotes the idea of the need for
rebellion and revolt against the
oppression of town life
(D) offers a space which provides
the opportunity for worship and
meditation for the persona

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NOTHING HAS BEEN OMITTED.

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Items 24–30
The Landlady
This is the lair of the landlady
She is
a raw voice
loose in the rooms beneath me.
5 The continuous henyard

squabble going on below
thought in this house like
the bicker of blood through the head.
She is everywhere, intrusive as the smells

10 that bulge in under my doorsill;
she presides over my
meagre eating, generates
the light for eyestrain.
From her I rent my time:

15 she slams
my days like doors.
Nothing is mine.
And when I dream images

of daring escapes through the snow
20 I find myself walking
always over a vast face
which is the land-
lady’s, and wake up shouting.
She is a bulk, a knot

25 swollen in a space. Though I have tried
to find some way around
her, my senses
are cluttered by perception
and can’t see through her.
30 She stands there, a raucous fact

blocking my way:
immutable, a slab
of what is real.
Solid as bacon.
Margaret Atwood https://www.poemhunter.com/poem/the-landlady:

Retrieved 27 January 2023

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24. The impression created by the tenant of the 28. Lines 12 and 13 “generates/ the light for
landlady in the opening line, “This is the eyestrain” imply that the landlady is
lair of the landlady” is that of
(A) overbearing as she presides over
(A) ownership and despair through the their meals
use of tone (B) stingy by not providing adequate
(B) danger and death through the use lighting
of imagery (C) bossy as she regulates everything
(C) respect and privilege through the in the house
use of lineation (D) uncompromising and fuels discord
(D) protectiveness and deceit through among tenants
the use of alliteration
29. The speaker’s attitude to the landlady is

25. The landlady’s voice is described as BEST described as
“raw” (line 3) to suggest that it is
(A) angry and resentful
(A) gruff, raspy and she might have a (B) fearful and revengeful
cold (C) annoying and expectant
(B) loud from her undulating verbal (D) exasperated and irritated
assaults
(C) harsh, unrefined and uneducated to
the ears 30. The poet’s use of caesura in lines 20–23
(D) hoarse from her constant nagging (I find myself….lady’s) is significant
at the tenants because it
(A) highlights the mental breakdown

26. Which of the following BEST captures the of the persona
impact of the enjambment in lines 5 to 8? (B) foregrounds her inescapable eco-
nomic reality
(A) Reinforces the tenant’s anxiety and (C) suggests that the speaker is
pain overcome by her situation
(B) Contributes to the rhyming pattern (D) suggests that the speaker has
in the poem escaped the lair of the landlady
(C) Draws attention to the landlady’s
annoying habits
(D) Underscores the notion that the
landlady demands her rent
27. Which of the following types of imagery

does the poet primarily utilize?
(A) Visual and auditory

(B) Tactile and olfactory
(C) Kinesthetic and tactile
(D) Gustatory and auditory

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Items 31–38
Instruction: Read the following passage carefully and then answer Items 31−38.
Foreigner
All night she vomits, she sweats; rolled tight in a ball, she moans, as if in the morning she will die.
When the pale sun falls in the room, the counsellor looks at the doctor and says, ‘She has passed the
worst. She will recover.’
The doctor smiles. ‘I commend your skills.’
5 The counsellor gives a modest answering smile.
Grandma, I see myself on a minibus driving to come to you. It is day but the moon is shining. Apocalypse
in the sky. The road is long and white and you are a tiny dot at the end of the road. It seems that I will
never get to you, but I know I will and I say to the driver ‘Faster!’ Faster!’ and he speeds up until it is
flying. I can see ahead of me what is going to happen. I will step off the minibus when it reaches the
10 district square, right in front of Mr Whycliffe’s shop (Does Mr Whycliffe still have that shop, Gan, Gan?)
People in the piazza, sitting on the stone wall, will call to me and say, ‘Miss Mimma granddaughter,
pretty girl, you come to look for the old people? But you look nice, how nice, how nice you look,
foreign gree with you!’
I will be glad to hear their voices, even though I know it is not true. Foreign don’t gree with me.
15 They will look at me funny because I came in a minibus and not in a Bimmer, they will say (but not so
I can hear) that I am not supposed to be coming from foreign and riding a minibus instead of driving
a Bimmer, they will say I must travel in a way that will lift up my grandmother. Grandma, I would
not be able to explain to them that I came in the bus because I want to ride with real, with glory, with
judgement, with the smell of kerosene oil in pan in the minibus-back and yam, patty, cocobread,
20 skellion, thyme, life and red peas, sun smell and people cussing, mercy Jesus! That I come that way
because I want to ride with body self.
They will whisper and then they will say, when I call out good evening, some brazen boy will say, ‘Hail
sister. So what you bring for the poor?’
And I will say, ‘Ha! The poor — don’t you know I am the poor? What you have to give me?’ And
25 they will say, ‘Nah, man, you is not the poor, you is the rich, you coming from foreign, you must have
something to give.’
I will pass them, the boys on the corner, complaining, ‘Cha, she too mean.’ They will kiss their teeth in
disgust, and I will be laughing in my sleeve, because I am so glad to be home and hear their foolishness.
Grandma, I get excited thinking how I will walk fast past them to come to you, and I get back in the
30 minibus and say to the driver ‘Faster! Faster, don’t stop!’ and Gan Gan, when I look it is me alone in
the minibus. There is no driver and no market people, only the wind driving through a blackness in the
trees. I see myself and I am not a real person, but only a ghost that the wind driving through. I calling
out for you and I calling out for Anse La Raye, and is not my voice I hear, what I hear is a wind off a
overturn boat in Castries.

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35 Gan Gan, I fraid, I so fraid. I turn right and left for help and instead I see a big duppy man laughing at
me and I realize is the wind I hear passing through his bones. And just as I am about to die a second
time, I hear your voice calling me, Gysette, Gysette! I look up and I see you clear clear at the end of
the road and a whole set of other women holding their bellies like coalpots full of sacrifice standing up
straight behind you. They look like a wall and I don’t know where the words come out of my mouth
40 but I hear myself say, ‘Reto me, Sathanas!’ and I cross my two hands ‘Pow Pow!’ and the man
disappear and I see that he and the wild wind was a lie. When I look again I see a girl walking
naked into a green river and her skin shine and I see an old lady looking at her with deep smile
and I cry out, ‘Gan Gan! It’s me, Gysette!’ And I go in the girl and the girl go in the river to the old
lady, and is me, Gysette.
45 She strike her two hands sudden so, ‘Pow Pow!’ and the man disappear. She cry out ‘Gan Gan! Is me,
Gysette!’ and she wake up. She feel weak weak weak and she don’t know what it mean. She put her
head between her knee. She say, Gan Gan, what does it mean?
Adapted from Curdella Forbes, Permanent Freedom,

Peepal Tree Press, 2008, pp. 126−128.
31. The presence of the counsellor, the doctor 34. What is the literary device used to describe
and the ill woman suggests that the setting the narrator addressing her absent grand-
of the opening paragraph may be a mother?
(A) surgical ward (A) Persona

(B) hospital room (B) Allusion
(C) home for the aged (C) Apostrophe
(D) drug rehabilitation centre (D) Juxtaposition
32. The point of view of the passage shifts 35. The writer’s use of the expression “life and
from red peas [metaphor], sun smell [oxymoron]”
(line 20) serves to
(A) first person to third person
(B) second person to third person (A) convey how hot the weather is on
(C) third person to first person the island where the narrator lives
(D) third person to second person (B) portray the speaking skills of the
narrator to show her level of
education
33. Which of the following elements gives (C) demonstrate how hungry the narrator
the reader a clue that the story is set in a is feeling for her grandmother’s
Caribbean context? food
(D) express how happy the narrator is
(A) Dialogue between the characters to be among familiar people and
(B) Point of view of the narrator things
(C) Theme of being a foreigner
(D) Setting of the extract

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36. What contributes to the narrator referring to 38. What does the close of the passage, “She
one character as a “brazen boy” (line 22)? say, Gan Gan, what does it mean” (line 47),
BEST remind the reader about Caribbean
(A) He is poor, but bold and fearless. storytelling?
(B) She wanted to show how smart he
is. (A) It is part of the imagination of
(C) He did not whisper his opinion like the Caribbean narrator as she
the others. recovers from illness.
(D) She wanted to differentiate him (B) It is about the writer as a storyteller,
from the other boys. drawing on characters and stories
from Caribbean folklore.
(C) It is about young and old characters
37. What MAJOR insight do readers gain from from the Caribbean interacting
the writer’s narrative technique? with each other in the narrator’s
story.
(A) The community’s day-to-day habits (D) It is part of the extract where the
in the narrator’s hometown Caribbean narrator is speaking for
caused her to regret migrating the first time to her grandmother.
to foreign.
(B) The narrator’s flight of fancy caused
by psychological trauma can only
be cured when she revisits her
island.
(C) The narrator lost her identity in
foreign which also threatened
the loss of her physical self.
(D) The counsellor’s and doctor’s skills
in assisting the narrator in her
recovery have reminded her of
times when she was threatened
by brazen boys.

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Items 39–45
Instruction: Read the following passage carefully and then answer Items 39−45.
The Chief’s Daughter
“My daughter will marry no one,” the Chief said.
The Chief’s wife laughed aloud. “Our father, you are merely joking. You do not mean it.”
“My daughter will marry no one, Uloma. I am not joking. When Adaeze returns from the land of the
white people, she is going to stay here, right here with me. I have provided her with everything. She
5 is one of the directors in ten of my twenty companies. Her house is waiting for her. I have furnished
it to her taste.”
“Our father, Adaeze is a beautiful girl, you know. She has been away from us for six years. She must
have changed. Of all your children, she was the only one who would stand up to you and disagree with
you. So whatever arrangements or plans you are making for her, make sure she is in favour, otherwise
10 you would be very disappointed.”
“Uloma, that will do. Adaeze is not your daughter, she is my daughter, the daughter of my favourite
wife. Just as her mother obeyed me in all things so will Adaeze obey me in all things. I spoke to her
when I was in London, I told her my plans for her. She listened and said nothing. And as you know,
silence means consent.”
15 “Our father, that may not be so.” Uloma took leave of her husband and the Chief was alone.
Adaeze was the Chief’s first daughter, whose mother he had loved and admired. She died prematurely
having her second child. The Chief had many wives but few children. His “chi” gave him wealth but
did not give him plenty of children. This lack of children did not bother the Chief too much. What really
bothered him was that none of his four sons showed signs of ever carrying on his businesses after he
20 was gone. It was only his beloved Adaeze who proved, if proof was needed, that she was the offspring
of the Chief. She was every inch her father.
Chief did not understand what Uloma was saying to him. Surely Uloma his dear wife was not a stranger
in their village. Surely she knew that it was the practice in their native land for a favourite daughter to
remain at her father’s home married to no one, but to have children who answered to her father’s name.
25 Soon it was time for Adaeze to return home. Ezenta, Adaeze’s fiancé was already home and they had
agreed that he would go to her father and ask for her hand in marriage. Ezenta was a good man who
was genuinely in love with Adaeze. So when he returned home, he told his parents about Adaeze. His
mother would not hear of it. “No my son, you are not going to marry the daughter of Chief Onyeka.
The Chief wants to marry his own daughter himself. So please let us look for another girl for you.”

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30 And so there was opposition on both sides. Ezenta had to travel back to England to report to Adaeze
that he had not made any headway with his parents and her own father, the Chief, did not even want
to see him. So Adaeze and Ezenta got married quietly in London and Adaeze went home to confront
her father.
The Chief was happy to see her, but he did not like the way she came back unannounced. She had
35 returned with the golden fleece but she had spoiled everything by coming home like a thief. So the
following Sunday, there was a Thanksgiving service in the local church. Chief Onyeka sent out
hundreds of invitations to friends, relatives and well wishers. The pastor who delivered the sermon was
particularly pleased because not only had Adaeze returned with the golden fleece but she had returned
single. Adaeze was not like other girls before her, who forgot where they came from because they were
40 privileged to go to the land of the white people. The pastor referred to those wrong-headed girls, who
unknown to their parents, got married overseas. It was a shame that they forgot the customs of their
people, and behaved as if they had no homes.
Adaeze, the daughter of Chief Onyeka, had proved a shining example for all the boys and girls of the
whole clan to emulate. He prayed that God should give Adaeze a good husband worthy of her, who
45 would respect and love her. The congregation began to clap. Adaeze could not help smiling to herself.
Adapted from Flora Nwapa, “The Chief’s Daughter”.

In Modern Literatures of the Non-Western World, pp. 643–647.
39. What narrative point of view is used in the 41. The BEST explanation of the function
passage? of the Chief’s interior monologue in
lines 16–24 (Adaeze was the Chief’s first
(A) First person daughter….answered to her father’s name)
(B) Second person is it
(C) Third person limited
(D) Third person omniscient (A) advances the plot by explaining
local customs to the reader
(B) heightens suspense when the
40. The opening dialogue BEST reveals that Chief’s thoughts are expressed
the relationship between the Chief and his (C) highlights the changes in traditions
wife, is and its impact on young people
(D) introduces conflict between
(A) characterized by enormous conflict the Chief and his wife, who
and tension misunderstands him
(B) nurtured by understanding despite
their differing perspectives
(C) threatened by the husband’s concern 42. The Chief’s personality can BEST be
and affection for the child of his described as
first wife
(D) defined by respect for her husband’s (A) timid yet proud
position and his strict adherence (B) arrogant yet naïve
to gender roles (C) gentle and generous
(D) haughty and humorous

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43. Which of the following can BEST be 45. Adaeze’s smile at the end of the extract is
described as flat characters? significant since it reveals
(A) Adaeze and the pastor (A) juxtaposition and climax

(B) Ezenta and his mother (B) denouement and humour
(C) Uloma and Adaeze’s mother (C) irony and characterization
(D) Chief Onyeka and Ezenta’s father (D) pathetic fallacy and suspense
44. Ezenta’s and Adaeze’s response to the

opposition to their relationship from both
sides of the family is
(A) resolute and devoted

(B) indifferent and hateful
(C) dishonest and deceitful
(D) clandestine and resigned
END OF TEST
02232010/MJ/CAPE/SPEC 2023
Master Data Sheet for CAPE Literatures in English Unit 2 Paper 01

Number Objective
1 A 2(d)iv 1
2 D 2(a)iii 1
3 D 2(c)ix 1
4 C 2(d)ii 1
5 A 2(d)vii 1
6 B 2(c)xi 1
7 C 2(a)ii 1
8 B 2(c) 1
9 C 2(c) iv 1
10 D 2(d)vi 1
11 C 2(d)vii 1
12 C 4(a) 1
13 D 2(d)ii 1
14 B 2(a)iii 1
15 C 2(c) 1
16 A 3(a) 2
17 B 3(a)i 2
18 C 3(a)i 2
19 A 3(a)i 2
20 A 3(b)xi 2
21 B 3(b)ii 2
22 B 3(a)iv 2
23 A 3(a)ii 2
24 B 3(a)i 2
25 D 3(a)i 2
26 A 3(b)xix 2
27 A 3(b)v 2
28 B 3(a)i 2
29 A 3(a)iv 2
Number Objective
30 B 3(b)xix 2
31 D 3(c)iv 3
32 C 3(c)ii 3
33 A 5(i) 3
34 C 3(b) 3
35 D 3(a)i 3
36 C 3(a)i 3
37 C 3(c)i 3
38 B 5(i) 3
39 C 3(c)i 3
40 D 3(a)i 3
41 A 4(b) 3
42 B 3(c)iii 3
43 B 3(c)iii 3
44 A 3(c)iii 3
45 C 3(b)iii 3
TEST CODE 02232020
SPECIMEN 2023
UNIT 2 – Paper 02
3 hours
1. This paper consists of THREE sections: A, B and C.
2. There are TWO questions in Section A, TWO questions in Section B and TWO questions
in Section C.
3. Answer THREE questions, ONE from EACH section.

02232020/CAPE/SPEC 2023
- 2 -
SECTION A
MODULE 1 — DRAMA
SHAKESPEARE — TRAGEDIES AND ROMANCES, AND MODERN DRAMA
EITHER
1. “It is the playwright’s preoccupation with racial bigotry that undermines the effectiveness of the
staging of the play. ”
With reference to ONE Shakespearean tragedy or romance AND ONE work of Modern Drama,
Total 45 marks
OR
2. “Spectacle rather than dialogue is the dominant technique for revealing character in drama.”
With reference to ONE Shakespearean tragedy or romance AND ONE work of Modern Drama,
examine in validity of this statement.
Total 45 marks

02232020/CAPE/SPEC 2023
- 3 -
SECTION A

02232020/CAPE/SPEC 2023
- 4 -
Question No. 1 2
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02232020/CAPE/SPEC 2023
- 5 -
Question No. 1 2
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02232020/CAPE/SPEC 2023
- 6 -
Question No. 1 2
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02232020/CAPE/SPEC 2023
- 7 -
Question No. 1 2
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02232020/CAPE/SPEC 2023
- 8 -
Question No. 1 2
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02232020/CAPE/SPEC 2023
- 9 -
Question No. 1 2
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02232020/CAPE/SPEC 2023
- 10 -
SECTION B
MODULE 2 — POETRY
CARIBBEAN
EITHER
3. “The reader’s enjoyment of Walcott’s poetry depends primarily on this poet’s masterful use of
word play.”
With reference to at least THREE poems from Derek Walcott’s Selected Poems, discuss the extent
to which you agree with this statement.
Total 45 marks
OR
4. “The use of imagery to explore the relationship between the past and the present is central to Das’
vision of the Caribbean.”
With reference to at least THREE poems from Das’ A Leaf in His Ear: Selected Poems, examine
the validity of this statement.
Total 45 marks

02232020/CAPE/SPEC 2023
- 11 -
SECTION B

02232020/CAPE/SPEC 2023
- 12 -
Question No. 3 4
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02232020/CAPE/SPEC 2023
- 13 -
Question No. 3 4
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02232020/CAPE/SPEC 2023
- 14 -
Question No. 3 4
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02232020/CAPE/SPEC 2023
- 15 -
Question No. 3 4
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02232020/CAPE/SPEC 2023
- 16 -
Question No. 3 4
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02232020/CAPE/SPEC 2023
- 17 -
Question No. 3 4
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02232020/CAPE/SPEC 2023
- 18 -
SECTION C
MODULE 3 — PROSE FICTION
BRITISH, AMERICAN, AND POSTCOLONIAL
EITHER
5. “The novel is appreciated more for the devices employed within the narrative, than for the story
that unfolds.”
With reference to ONE work of fiction (British, American, OR Postcolonial) that you have studied,
examine the validity of this statement.
Total 45 marks
OR
6. “Setting is the primary vehicle for character revelation in the novel.”
With reference to ONE work of fiction (British, American, OR Postcolonial) that you have studied,
Total 45 marks

02232020/CAPE/SPEC 2023
- 19 -
SECTION C

02232020/CAPE/SPEC 2023
- 20 -
Question No. 5 6
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02232020/CAPE/SPEC 2023
- 21 -
Question No. 5 6
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02232020/CAPE/SPEC 2023
- 22 -
Question No. 5 6
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02232020/CAPE/SPEC 2023
- 23 -
Question No. 5 6
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02232020/CAPE/SPEC 2023
- 24 -
Question No. 5 6
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02232020/CAPE/SPEC 2023
- 25 -
Question No. 5 6
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END OF TEST
02232020/CAPE/SPEC 2023
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
KEY
SPECIMEN
- 2 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 1
“It is the playwright’s preoccupation with racial bigotry that undermines

the effectiveness of the staging of the play ” .
With reference to ONE Shakespearean tragedy or romance AND ONE work of

Modern Drama, discuss the extent to which you agree with this statement.
Candidates can:
Agree fully with the statement by clearly articulating what is meant by

the phrase: “effective staging of the play” and then showing how in the
plays selected, the playwright’s singular focus on social issues—racial
bigotry being the dominant one—distract the reader/audience from the
dramatic quality of the play. The candidate may identify other auxiliary
social issues and include these in their discussion as sub-themes. The
candidate can make the point that in these plays, polemics are privileged
at the expense of dramaturgy and if literature is meant to delight and
educate, in the plays selected, education overshadows delight. In making
their case, the candidates must be able to discuss how the preoccupation
with this particular theme foreclose the playwright’s effective use of
the other elements of drama to impact the reader. It is also expected
that the candidate will discuss how the playwright’s preoccupation does
not allow effective use of the features of drama to create impact on the
reader/viewers of the plays under discussion.
OR
Disagree entirely with the statement, claiming that this theme does not
undermine the effective staging of the plays selected. Having clearly
articulated what is meant by the phrase: “effective staging of the play”,
the candidate can go on to show that it is in fact the preoccupation with
racial bigotry which allows the playwright to effectively stage the play
because this theme carries dramatic weight and affect all aspects of the
play. In making their case, the candidate must be able to discuss how the
preoccupation with this particular theme enable the playwright’s
effective use of the other elements of drama to impact the reader. It
is also expected that the candidate will discuss how the playwright’s
preoccupation with racial bigotry allows effective use of the features
of drama to create impact on the reader/viewers of the plays under
discussion.
OR
Agree partially with the statement. Having clearly articulated what is

meant by the phrase: “effective staging of the play”, the candidate can
argue that the playwright is indeed very preoccupied with racial bigotry
and other issues, but that there are other issues that equally concern
the playwright and impact positively or negatively on the effective
staging of the play being discussed. The candidate can then argue either
that the playwright’s preoccupation with these other issues foreclose on
the playwright’s effective use of the other elements of drama to impact
the reader; or that the dominant focus of other issues allow the
playwright
- 3 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 1 cont’d
to effectively stage the play because these themes carry dramatic weight
and affect all aspects of the play.
OR
Digress from the stimulus. Having clearly articulated what is meant by

the phrase: “effective staging of the play”, argue either that the plays
under discussion are not effectively staged because the playwright is
unable to successfully harness the elements and features of drama, or
conversely can make a case that the playwright does not need to depend
on thematic exploration for effective staging and that in the plays
selected, it is the skilful manipulation of dramatic features and elements
that facilitate effective staging.
Irrespective of the position taken, the candidate will also be required

to demonstrate thorough knowledge of the elements and features of drama.
In engaging with the moot, the exceptional answer must demonstrate an
excellent personal response to the plays chosen, and thorough knowledge
of the following:
• forms of drama: tragedy, comedy, farce, modern drama, satire

• use of language and linguistic choices made by the playwrights and
how these impact effective staging of Merchant of Venice OR Othello,
AND Blues for Mr Charlie OR Sizwe Bansi is Dead.
• the elements of drama that Shakespeare, Baldwin OR Fugard choose in
order to make their plays impactful
• the features of drama deployed in any of the following two plays:
Merchant of Venice OR Othello, AND Blues for Mr Charlie OR Sizwe
Bansi is Dead.
• the context (Ethnic, Historical, Moral, Physical, Political,
Psychological, Religious, Social) within the plays chosen were set.
• critical responses to the plays chosen.
Total 45 marks
- 4 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 2.
“Spectacle rather than dialogue is the dominant technique for revealing

character in drama.”
With reference to ONE Shakespearean tragedy or romance AND ONE work of

Modern Drama, examine the validity of this statement.
Candidates can:
Agree fully with the statement, claiming that in the plays selected,
character revelation occurs primarily through spectacle. Here, the
candidate will need to identify the types of spectacles in the plays
under discussion, and how these assist with character revelation. Because
in the question, a dichotomy has been set up between spectacle and
dialogue, the candidate will need to establish how verbal interaction
takes second place to spectacle in the revelation of character. It is
also expected that the candidate will discuss how the other features of
drama are used for character revelation: e.g. Setting, stage action,
costuming etc. In making their case, the candidate must be able to
discuss more than the features of drama. They must also demonstrate sound
knowledge of the playwright’s manipulation of the elements of drama used
to impact the readers/viewers of the plays.
Disagree entirely with the statement, claiming that in the plays selected,
character revelation occurs primarily through dialogue. Here the
candidate will need to discuss different instances of dialogue in the
plays under discussion and how these examples demonstrate character
revelation. Since a dichotomy has been set up between spectacle and
dialogue, the candidate will need to establish how spectacle takes second
place to dialogue in the revelation of character. It is also expected
that the candidate will discuss how the other features of drama are used
for character revelation: e.g. Setting, stage action, costuming etc. In
making their case, the candidate must be able to discuss more than
features of drama but must also demonstrate sound knowledge of the
playwright’s manipulation of the elements of drama to impact the reader/
viewers of the plays under discussion.
Agree partially with the statement, arguing that both dialogue and
spectacle assist in character revelation. Indeed, a case can be made that
the richness of the diction as characters dialogue with each other,
constitute a kind of spectacle. It is also expected that the candidate
will discuss how the other features of drama are used for character
revelation: e.g. Setting, stage action, costuming etc. In making their
case, the candidate must be able to discuss more than the features of
drama but must also demonstrate sound knowledge of the playwright’s
manipulation of the elements of drama to impact the reader/viewers of the
plays under discussion.
- 5 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 2 cont’d
Digress from the stimulus and instead argue that character revelation is
achieved by the playwright’s deployment of other elements and/or features
of drama. These include but are not limited to plot development, use of
suspense, the portrayal of conflict. In answering the question,
regardless of the position taken, the candidate will also be required to
demonstrate thorough knowledge of the elements and features of drama.
Irrespective of which approach is adopted, in engaging the moot the

exceptional answer must demonstrate an excellent personal response to the
plays chosen, and thorough knowledge of the following:
• forms of drama: tragedy, comedy, farce, modern drama, satire

• use of language and linguistic choices made by the playwrights and
how these impact characterization in Merchant of Venice OR Othello,
AND Blues for Mr Charlie OR Sizwe Bansi is Dead.
• the elements of drama that Shakespeare, Baldwin OR Fugard choose in
order to make their plays impactful
• the features of drama deployed in any of the following two plays:
Merchant of Venice OR Othello, AND Blues for Mr Charlie OR Sizwe
Bansi is Dead.
• the context (Ethnic, Historical, Moral, Physical, Political,
Psychological, Religious, Social) within the plays chosen were set
• critical responses to the plays chosen.
Total 45 marks
- 6 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 3.
“The reader’s enjoyment of Walcott’s poetry depends primarily on this

poet’s masterful use of word play.”
With reference to at least THREE poems from Derek Walcott’s Selected

Poems, discuss the extent to which you agree with this statement.
Candidates can:
Agree fully with the prompt, claiming that the reader enjoys Walcott’s
poetry primarily because of his use of word play. In agreeing, the
candidate will need to examine the range of strategies that comprise
Walcott’s word play and argue that while there are other sources of
enjoyment, the poet’s masterful skill with words is the primary source
of enjoyment.
Disagree entirely with the prompt, claiming that Walcott’s use of word
play is not the primary source of enjoyment, but rather enjoyment can be
had from the poet’s exploration of themes, setting, reinterpretation of
traditional forms etc. In this instance, content is more important than
diction. Or candidates may argue that while poetic language provides more
enjoyment than poetic subject, it is not word play but another aspect of
form that engages the reader.
Agree partially with the statement, arguing that while word play does
provide some enjoyment there are other sources of enjoyment. These may
relate to subject matter, choice of speaker, poetic situation, poetic
techniques and other elements of poetry.
Irrespective of the position taken, the candidate must examine “wordplay”

and provide examples of wordplay in Walcott’s Selected Poem.
Wordplay
Word play (also spelt as wordplay, or referred to as play-on-words) is a

literary technique, often used for cloaking a writer’s intention by
providing some wit or amusement. A few common examples of word play
include puns, coining words or redeploying their meanings, phonetic mix-
ups such as spoonerisms, obscure words and meanings, clever rhetorical
excursion, oddly formed sentences, and double entendres. It is in the
Caribbean’s oral cultures that word play is often heard and is quite
appreciated (see for example Robber Talk in Trinidad, Shakespeare Mas in
Carriacou).
Examples
The following examples of wordplay are meant as a guide and is not an

exhaustive list.
In Walcott’s Selected Poems, there are several instances of word play.
This technique is used, among other things, to explore themes.
- 7 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 3 cont’d
“Ruins of a Great House”:
• “the lawn breaks in a rash of trees” - Here the poet is using visual
imagery to describe the environs of the Great house—the way the lawn
ends in untidy rows of trees. “Rash” suggest both volume and
disorder, and the reader is left with the sense that the trees have
not been pruned or maintained. This is in keeping with all the other
images of ruin and decay that populate the poem. The poet’s choice
of diction “rash” in conveying the notion of disease is also
reinforcing the phrase used earlier in the poem “leprosy of empire”.
The overall effect is of a landscape and by extension, nature,
reflecting the dis/ease that is left in the wake of colonial
conquest. The reader is reminded, through the poet’s diction, that
the ‘lawn’ (maintained grass) is man’s attempt to control the
landscape, the same conquistadorial tendencies that brought
Europeans to the New World. But in the end nature is bigger than
man, and lawns can be taken over by the spread of trees.
• “The river flows, obliterating hurt.” Here again, the natural

environment is presented in both traditional and untraditional ways
so as to underscore its symbolical and metaphorical significance.
The flow of the river is a conventional phrasing. The poet’s choice
of words obliterating, is expected because rivers in flood tend to
be destructive that way. However, it is the choice of the word hurt,
with its echo of ‘earth’ as subject of that obliteration which is
both surprising and intriguing. The choice and manipulation of the
word “obliterating” bring home to the reader the violence of
imperialism and slavery. It provokes in the reader the horror of the
violations done to our enslaved Caribbean ancestors. But in the
juxtaposition of the word “hurt”, the poet offers a salve. These
ruins, while they speak to the past atrocities of colonial masters,
are by the very fact of their current condition of decay, reminders
that even the mighty will fall. In the poem, Walcott tempers the
hurt the persona feels when watching this physical memorial to an
unjust past with the recognition that the Europeans also gave us
their poetry, art, the classics, and language. It is that
realisation that “men like Hawkins, Drake and Raleigh could be both
“ancestral murderers and poets” which obliterates the persona’s
(perhaps the reader’s) hurt at the crimes of empire. As is typical
in many of Walcott’s poems, natural forces (rivers, the sea, the
forest) are presented as simultaneously destructive and life-/hope-
sustaining.
- 8 -
SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Question 3 cont’d
• “My sun-puffed carcass, its eye full of sand”. This visual image is
of death. There is suggestion that the passion the persona felt for
the unnamed female in the poem is now dead. It is fitting that the
persona’s dead heart is portrayed as a carcass made swollen in the
heat. “Eyes full of sand” help further extend the image, not only is
the heart destroyed but the eyes—windows to the soul—are non-
functional, blinded by sand, disassociated from the pain that is
being caused. The putrefaction implicit in these images is consistent
with the death of an illicit affair. These phrases, unconventionally
framed, consolidate the reader’s insights into aspects of the
relationship between the persona and the female, insights that the
reader has gleaned from reading the previous lines of the poem. It
is through imagery that the poet draws the reader’s sympathy away
from the persona.
“Homecoming Anse La Raye”:
• “They swarm like flies around your heart’s sore”: “Swarm” here
relates to how the pot-bellied children, thinking that the persona
is a tourist, surround him in the hope of getting money from him,
but the poetic choice of the words, “flies” and “heart’s sore”
extends the “swarm” image, and conveys his visceral recoil from the
condition and behaviour of the children. The poet’s choice of words
creates pathos—we recognize that art is insufficient to change the
material reality of poor Caribbean children.
• “dead/fishermen move their draughts in shade.”: Through the

unexpected use of the adjective, ‘dead’ to describe the fishermen,
the poet seems to be suggesting that their poverty has rendered
futureless the fishermen of Anse La Raye. Time seems to have stopped
for them and where they should be out fishing they are instead
playing draughts and therefore not able to make a livelihood. In a
sense, they are the living dead just going through the motions of
life in a place where they are doomed to remain poor and marginalized.
This notion that society has taken no account of the poor and has
made them invisible, is reinforced by the strategic insertion of the
word “shade”. The word not only refers to ‘a shelter away from bright
sunlight’ but also to the spirit or ghost of a dead person.
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Question 3 cont’d
In the poem “Adam’s Song”, the following phrases are examples of word
play:
• “The breath that films her flesh with slime”: This phrase is densely
symbolic. The creative mixing of tactile and auditory images, the
poet is able to show how destructive gossip can be. The person (the
adulteress) on the receiving end of ‘social condemnation is dirtied
by words. Interestingly, God’s breath gave life to Adam, but working
with this biblical allusion it is the breath of evil that the poet
foregrounds. The fricative ‘f’ sounds (“film”, “flesh”) similar to
a spray of words, not only captures the wide reach of the “whispers”,
but also implicates the reader in this. These wonderful turns of
phrase, the creative mixing of images and symbols, the poet’s
alighting on diction that resonates with the reader, are ways in
which the English language is brought to life in “Adam’s Song”. The
overall effect of these techniques is the promotion of reader
enjoyment.
• “Eve, who horned God for the serpent”: This phrase alludes to the
biblical story of the first fall. Eve, seduced into disobedience by
the Serpent in the garden of Eden, ate the forbidden fruit. In
Walcott’s rendition of this biblical event, God is portrayed as a
cuckhold. The biblical Adam’s’ fall from grace is because Eve
chooses to listen to the serpent and in the process was unfaithful
to both Adam and God. The word “horned”, which in Caribbean parlance
means to be unfaithful, will resonate for a Caribbean reader and on
a level provoke humour that something as sacred (and cataclysmic) as
man’s fall from God’s favour, as presented in the Bible, could be
reduced to something as prosaic (and irreverent) as a domestic drama
of infidelity. “Horned” also evokes the popular representations of
the devil as a horned beast. In choosing to disobey God, Eve becomes
as horned as the devil, Lucifer, who, like Eve, failed to surrender
to the rule of God. There is also irony embedded in this play on the
word “horned” as Walcott recasts the stereotypes, expectations and
patterns of behaviour associated with Christianity. In this poem,
Walcott’s wordplay sexualizes the biblical story of the first fall
in his casting Eve as the first adulteress because she was unfaithful
to God. This unorthodox representation of a biblical event makes the
poem more accessible and truer to life and resonates with the
contemporary reader. Ultimately, this biblical allusion provides
semantic depth and there is that expectation of shared knowledge
between the poet and the reader.
Irrespective of whether or not the candidate agrees with the prompt,

the answer must include a discussion of Walcott’s poetic craft and
the skilful ways in which he demonstrates this craft.
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Question 3 cont’d
Important Techniques in Walcott’s Work
• Walcott manipulates poetic form to explore relationships between:

• Friends
• Human and their pets
• Man and the environment/landscape
• Lovers/partners
• The poet and his craft
• The powerful and the powerlessness
• Life and death
Imagery
The subject and themes explored in the poems selected from Walcott’s
collection create mental pictures appealing to the five senses:
- Sense of smell (olfactory imagery in “fish-gut reeking beach” in
“Homecoming: Anse La Raye” or in “Ruins of a Great House”, “a smell
of dead limes quickens in the nose/the leprosy of Empire”)
- Sense of sight
- Sense of taste (gustatory imagery in “The Castaway”, “the starved
eye devours the seascape for the morsel/Of a sail”
- Sense of touch (tactile imagery in “The Castaway “cracking a sea-
louse I make thunder split”
- Sense of hearing
- There is also imagery associated with bodily movements
- Animal and plant imagery is also present, as well as several other
types.
- Images of sea, rivers and water to convey his message of transitory
formation of an artistic self and of poetic thought.
• In his poem “Ruins of a Great House”, Walcott uses the image of the
river to allude to the ambivalence and complexities surrounding
slavery, and the difficulty of outrightly rejecting colonialism’s
“ancestral murders and poets”.
• In his treating of the themes of identity, and artistic creativity,

Walcott engages images of water, river and sea to convey his message
of the transitory formation of self, of thought, of the creative
imagination, and of life
Metaphor
In “The Castaway”, the poet/persona claims that: “annihilating godhead,

art/and self, I abandon/Dead metaphors”. Similarly in Walcott’s poetry
there is always the ingenious reworking of metaphors.
Diction
Diction helps give a lyrical quality to many of the poems.

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Question 3 cont’d
Allusion: Ancient Greek mythology, ancient history, Christian, or

literary
There is no fixed choice for the source material or muses that inspire
Walcott. Christian and Greek Gods are naturalised in Walcott’s frame of
references. In “Adam’s Song”, he tells the story of Adam’s response to
Eve’s fall from God’s grace. Nor does he have any difficulty transposing
classical myths onto a Caribbean landscape. In “Homecoming: Anse La Raye”
he makes reference to the abducted Helen of Troy, one who was reunited
through war with her husband in order to prepare the reader for the
battlefield image in the lines: “salt-rusted swords seacrabs’ brittle
helmets”. In “The Castaway” there is an oblique biblical reference to the
crucified Christ, “nailed and as white as a man’s hand”. In “Ruins of a
Great House” we see allusions to literary greats such as Horace, Faulkner,
Kipling, Shakespeare and Donne.
Symbolism
• Moon as symbol for the creative imagination, of a hopeful future

• Sea as symbol of voyage, whether outgoing or returning (homecoming).
For example, “Homecoming Anse La Raye, (“infinite, boring, paradisial
sea
• Schooner/freighter (“threading the horizon like a toy” in
“Homecoming: Anse La Raye”) as symbol of travel, of leaving home; of
going away/ of exile.
• Birds: the imagistic flight of the gull becomes a metaphor for the
soaring of the human mind. It also represents the ability (one which
the poet/persona is envious of) to escape.
Recurring motifs:
• Death and rebirth

• Water as restorative
• Life as a road/journey
• The creative imagination
• Transformation of time, place, and self
• Deception
• Darkening
• History as teacher and healer
Enjambment
The completion of a clause or sentence in the following poetic line is a

technique that Walcott uses very often and, when he is in a meditative
mood, very deliberately. For example, in “Homecoming: Anse La Raye” this
overrunning of the verse end captures the perpetual movement of waves on
the shore, and the ebb/flow of the tides that transport the traveller.
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Question 3 cont’d
Rhetorical Questions
These are used mainly to capture the speaker’s sense of loss. For example,
it is used in “A Far Cry From Africa”. On a more complex level, it can
be argued that many of Walcott’s poems are rhetorical questions where he
considers his worth as a poet, his feelings of being a castaway in a
provincial Caribbean, and his consideration of how the distance of time
reveals to him what he no longer is/has/was. Ultimately, there is the
prevalent questioning of one’s own existence. Examples: “Homecoming: Anse
La Raye” and “The Castaway”.
Stanzaic Form
The use of the free verse forms in most of the poems underscores the
efforts of the Caribbean poetic voice to establish itself. That voice is
influenced by the European literary traditions in which Walcott has been
schooled. The poetic form reflects the poet’s own struggle for an
original and authentic form and meaning. That struggle occurs both within
the self and externally in the poems.
Other versification or structural techniques:
• End-stopped lines
• The predominance of feminine rhymes
• Dramatic monologue in the sense that the persona always seems to
assume an audience.
• The unforgettably engaging couplets at the end of some poems
• Walcott’s creolizing of the iambic pentameter
Syntactic/Structural Repetition
• For example in “Homecoming: Anse La Raye”, the poet repeats the word
“nothing” to emphasize the sense of hopelessness and rage one feels
when one witnesses the inadequacies of his natal community. The
repetition here also reinforces the notion of artistic exile—the
artiste, on his return home, finds himself a stranger, and that sense
of unbelonging induces what Patricia Ismond in Abandoning Dead
Metaphors, has referred to as ‘psychic paralysis’.
Creole Language
• Use of Creole in diction and syntax. Eg. “The Schooner Flight,

Chapter 11: After The Storm”
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Question 3 cont’d
Sound:
• Tone
• Mood
• Juxtaposition
• Rhyme
• Rhythm
• Meter
• Lineation
• Onomatopoeia
• Assonance
• Consonance
• Sibilance
• Alliteration
Total 45 marks
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Question 4
“The use of imagery to explore the relationship between the past and the
present is central to Das’s vision of the Caribbean.”
With reference to at least THREE poems from Das’ A Leaf in His Ear:
Selected Poems, examine the validity of this statement.
Candidates can:
Agree fully with the prompt, claiming that Das relies solely on imagery
to engage conversation about gender, and that this conversation is what
the collection is primarily about.
Disagree entirely with the prompt, claiming instead that Das employs
other literary devices (including in or not including imagery) to engage
a conversation about gender, which is what (or not what) the collection
is primarily about. Candidates adopting this position must simultaneously
reference the perspective of the question/prompt, even while arguing
against it.
Assume a mid-way position proposing either a different theme(s) or

technique(s) as the reality of Das’ selection.
Irrespective of the position taken, candidates must simultaneously

reference the perspective of the question/prompt.
Themes Explored: Gender, and other Themes:
• Das’ oeuvre, that is, the spread of her poetic works, charts the
maturation of the female Indo-Guyanese/Caribbean poetic voice.
• Das’ focus on “women” – as an inspiration or as influencers, as
mothers or wives, as warriors or heroines, as resistance fighters or
activists – is charted through the perspective of the female poet,
within the wider context of being Indian, Guyanese, Political, and
Caribbean.
• She uses the medium of her poems to showcase society’s treatment and
expectations of women, and in particular the Indo-Guyanese/Indo-
Caribbean woman.
• Throughout her poems, Das presents a re-envisioned female poetic
sensibility as she reflects on historical accounts, political
(dis)engagement, and personal experiences.
• Consequently, she delves into women’s burdened responsibility
regarding family and society, their exploitation and abuse by those
who were once celebrated, and a resultant dashing of hopes which has
led to disappointment with self/others, and disillusionment with
society/politics/politicians.
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• Das’s thematic trajectory ranges from the personal, to the cultural,

to that of the political. Along this continuum she generally explores
issues of gender, class, nationalism, ethnicity, identities,
disillusionment, cynicism, love, illness, disease, suffering, death,
loss, displacement, powerlessness, voicelessness of women (poets),
re-casting history, politics, economic dilemma, resistance,
strength, national unity, re-calibrating memory, cultural retention,
and commitment to craft.
Other themes and motifs that factor prominently in Das’ poems are:
• The role and experiences of women in Guyana and the Caribbean

• Women’s role in nation building and politics
• Woman as poet of the people and chronicler
• History re-visited and re-told from a womanist perspective
• Relationships of motherhood, fatherhood, parenting
• Representation of the Indo-Caribbean culture in nation building
• The beauty and power of the Guyanese landscape/environment
• Indo-Cultural Retention in Guyana and the Caribbean
• Working-class women’s lives and their struggles to survive
• Indentureship, (re-)Migration and their impact on colonial
history
• Resistance and Rebellion in Postcolonial Societies
• The power of language and poetry and the female voice
• Rituals and vision of hope/redemption through struggles/protest
• Conflicts between or Fights against social and political
oppression
• Reconciliation and wholeness despite personal or nation illness
• Love and loss, pain and suffering, disease, and death
• Unity of the Afro- and Indo-Guyanese working class for
nationalistic redemption
• Personal victory through resilience and hope
• Injustice, Abuse, Victimization at the Private and Public Level
• Assassination of national/political figures
• Youthful nationalistic fervour replaced by cynicism and
Disillusionment with post-independence politics
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Question 4 cont’d
Techniques Employed: Imagery, and other Literary Devices:
Das’ craft reflects her highs and lows, and is sometimes (under)nourished
or (under)valued, yet it grew to become a strident literary voice
championing the various roles, experiences, histories and achievements
of women, particularly the Indo-Guyanese and Indo-Caribbean women.
Significant devices used by Das in her selected poems are:
• Allusion
• Imagery
• Repetition
• Metaphor
• Analogy
• Simile
• Irony
• Satire
• Pun
• Symbolism
• Metonymy
• Paradox
• Foreshadowing
• Personification
• Stream of Consciousness
• Surrealism
• Tone
• Mood
Poetic Craft Showcased:
• FORM
• Diction
• Lineation
• Persona/Speaker
• Parallelism
• Juxtaposition
• Stylistic Repetition
• Recurring motifs
• Free verse
• Wrote in English and experimented with Guyanese Creole
• Punctuation (hyphens, suspension dots, dashes, exclamation
marks)
• Literary devices (See syllabus)
• Elements of Poetry (See syllabus)
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Question 4 cont’d
• SOUND
• Tone
• Rhyme
• Rhythm
• Metre
• Alliteration
• Onomatopoeia
• Assonance
• Consonance
• Sibilance
• INDO-CARIBBEAN CULTURAL TRADITIONS

• Festivals
• Deities
• Castes
• Dance
• Song
• Rituals
• Dress
• Jewellery
• Cuisine
• Politics
Development of the Various Themes and Techniques in Das’ Selected

Poems:
1. They Came in Ships

• The title of the poem is reminiscent of journeys of colonisers taking
peoples to a life of bondage, slavery and indentureship in the New
World.
• It begins with the migration story of how the Indians were colonized
and brought by the British to the New World. They came from the major
Indian townships, Chota Nagpur and Ganges Plain, transported in
various vessels of “imperial design”.
• The Indians, from the outset of the journey, were “victims”.
• Imagistically, the labourers came in “fleets” and in “droves”,
compared to “cattle”.
• The repetition of “came” and “cattle” is deliberate, to endorse the
fact that the Indians were uprooted and displaced, and to centralize
the image of them being shunted meekly and helplessly (“eyes limpid”)
along to destruction (“like cattle”).
• The reference to “brown” signals racial and ethnic issues, of a
people migrating for hope of better conditions than presently at
home in India.
• Instead of finding “milk and honey riches”, as they had hoped for,
they “all alike” were served the same rewards of “disease and death”
on the colonial plantations.
• Those who came suffered death and atrocities: some died “at street-
corners… alone… hungry… starving… longing for healing”,
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Question 4 cont’d
• The first half of the poem, so structured, separates out the history
of the journey from India to the New World, while the second half of
the poem charts the stories of Indians’ lives and experiences of
living within the New World, marked by a life of oppression, slavery,
burden and lost hope, poverty, child and woman labour, failed
attempts at rebellion, bloodshed, the plight of the labouring poor
falling on deaf ears, the struggle for better conditions, the failure
of the fight for nationalism… All of this to no avail since the
Indo-Guyanese and Indo-Caribbean people’s history remains an endless
reality of enslavement (“in chains”).
• The persona utilises a variety of devices, some noted below, to
convey the “coolitude poetics”, highlighting the historical and
national consciousness of the Indian’s journey across the Atlantic,
of their indentureship, their longing for a better life, the loss
and abuse that characterized their labour.
• Metonymy (transporting her “chains” and “wooden” missions),
• Images (of the “mind’s eye” and the “loss of light”),
• metaphors (“posterity’s horizons and “the present is a caterer for
the future”),
• symbols (“crumb of British bread”, “barrack-room”, and “nigga-
yards”),
• allusions at the personal level (referencing the field work of her
“grandmother”), and also at the historical (such as “Enmore,… the
children of Leonora… Cuffy… John Smith… Akkarra… Des Voeux… the
Queen… Beaumont… Crosby”) are employed to recount specific moments
in the Indo-Guyanese and nation’s history.
• The main theme of lamentation serves the purpose of galvanizing both
Indo-Guyanese and Afro-Guyanese through their shared experiences of
crossing the Atlantic, and the parallelism surrounding their
exploitation as slaves/indentured labourers, their fights and
struggles for improved conditions, and the resultant despair and
hardships accompanying their dashed dreams.
• It is the female poet, functioning as historian in this poem (as
opposed to the male historian), who recognizes the pain and suffering
of her people/forefathers/grandmother, and boldly assumes the role
of mediator and scribe, re-telling and re-charting history from the
perspective of “I” because (she)/”I saw… I remember… I stand… I,
alone today, am alive,… I do not forget… I remember… I recall… I
hear… I wrote…”. Therefore, it is no coincidence, that “I” / she,
the female poet, is sufficiently equipped and active (based on the
choice of nouns) to “stand between posterity’s horizon and her
history” so that her ancestors’ work, cries, “black suffering”,
vision, and the “whimpering of the coolies” were not in vain.
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Question 4 cont’d
2. Cast Aside Reminiscent Foreheads of Desolation

• The title of this poem is a directive, given by the poetess to all
women, it seems, who still hold themselves responsible and pinned to
a past of desolateness.
• It begins with an affirmation, an instruction… “I want you to
know…”, and then moves in the second stanza to itemize celebratory
actions from the perspective of a female poetics. They have
contributed to nation building, the revitalization of the economy
through backbreaking labour, and have even “brought forth a new
industry”, represented through images of landscape and the body.
• There is the refrain/repetition to “cast aside”, not just the apology
and the philosophy of an “uprooted destiny”, but also the strong
sense of loss. The analogy of the bride, letting go the arm of her
father to take that of her husband, speaks to the presence of
lingering love despite the formation of new relational bridges
occasioned by marriage as well as with migration.
• In fact, in this new union, using the extended analogy of marriage,
the new bride/new Indian islanders refashion cultural practices and
traditional rituals, suitable for the new environment. In this third
stanza the poet indirectly references images of quilting through
choice diction such as “age-old patterns/woven by all ancient
civilizations… / weaving newer patterns of meaning” to demonstrate
that there is no need to furry the brows with worry because all is
not desolation and loss. Women, historically, across civilizations
have demonstrated their powers of creation, of birthing newness, and
of weaving beauty from remnants of the past.
• The poet simultaneously issues a challenge while reminding the Indo-
Guyanese women, who are symbolic of the Indo-Guyanese nations that
braved the “dark waters” crossing the Atlantic, that their dreams
are not lost nor “unshackled by grief”. In fact, they experience
positive transitions from one state – the “loaded arms of silver” –
today to that of “multicoloured raiments”, tomorrow.
• With the fertile ability (as poet/female) to conceive and (as
historian/female) to deliver, the tears of yesterday are compelled
to recede in light of new gifts/meanings “bequeathed” to the
wife/Indo-Caribbean travellers by the husband/land. Thematically,
via the techniques of comparison and contrast, symbolism, imagery,
allusion, and metaphor, evident within stanza five and onward, it
becomes evident that the gloomy reminiscing etched on “foreheads”,
reflecting “desolation” and disconsolateness is temporal. For,
“tomorrow” the woman/Indo-Caribbean/Indo-Guyanese people will
“rise”, “robe”, and “welcome the dawn”. There will be no place for
the “evening shadows” of painful histories (indentureship/slavery),
sexual bondage (“prostitution”), or colonial atrocities (“blind
magistrates” siding with the “white smiles beyond you”).
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Question 4 cont’d
• Instead, woman/Indo-Caribbean/Indo-Guyanese people will “sing…

lullabies” as they “cradle” and nurture the “gifts” afforded by their
womanhood; in fact, this theme of birthing a new diasporic nation,
evident in the poetic of separation from home/India, is made all the
more real because of the pronouncement that there will be “no more
ships” that “will come across the seas!” It is both an awakening and
a resolution to put aside the desolate reminiscing and replace it
instead with an “offspring of a new vision”.
• From the careful selection of diction, the tone of the poem is
generally upbeat and reflective of hope and promise. Despite the
juxtaposition of disconsolate images and painful references to the
past – “ancient civilization”, “shadows of logies”, and “hybrid-
headed whips” tainting “husband’s dreams” – the female poet is able
to encourage the singing of “lullabies” and to offer the promise of
a “gift of … womanhood serenely! / “tomorrow”.
3. Look in the Vision for Smiles of the Harvest

• The title of this poem is telling on the one hand, and contradictory,
on the other. The title connects with the thematic forecast of
promise and hope via the phrase “look in the vision”, and it also
simultaneously symbolizes happiness, based on the “smiles”
reflective “of the harvest”. However, on another level, it points to
an unattainable hope, extracted only when one looks beyond the
obvious “harvest”, inward, to locate a smile and connect with that
long-nourished dream or “vision” of expectations.
• The opening lines further conjure images of ambivalence and paradox,
of nature’s beauty and the cruelty of slavery. The beauty of the
“five thousand acres of white cottonfields” is imagistically
discordant with the “hundreds of [uniformed, conscripted] reapers”,
standing, back bent in the hot sun, picking and “routing the boll of
whitened” cotton from the plant to the fifty-pound empty rice-bag
around their waists. The sight and movements of the reapers are
reminiscent of the cottonfields elsewhere in the Guianas and the
Americas where the resonances of slavery [of cotton pickers] abound.
• It is the women, again, who are called upon to work. Their consistent
and persistent labour speaks to their tenacious dreams and hopes for
their country/land and their children. They are undaunted by the
back-bending labour, represented in the lines “Two woman’s hands…”
and the repetition of “green backs bent” because they have an
anticipated harvest – even if it takes “two hundred years” to bear
fruit – to smile about. This reality within the poem is part of the
discussion around gender and women roles in the fabric of nation
building.
• The labourers are presented as machines, automatons, designed to
robotically pick and bag, bag and pick cotton, “in artistic
precision”.
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Question 4 cont’d
• Repetition and variation of the phrase “Here I stand” eventually

extend to include “on my own soil”; these devices serve to concretize
the moment in history when a nation’s dream extends to be owned and
to become true.
• The cotton is equated, metaphorically, to the “frustrations and pain
/ And hope” of the Guyanese working classes. It also figures as a
symbol of hard work in the sun/slavery and the achievement of a long-
held dream of the nation.
• The trampling of “yesterday’s cruel baboons” who have “retreated
into the forest” is synonymous of the acts of historical rebellions
and uprisings to chase away and stave off cruel, oppressive slave
masters and colonial forces, as referenced by “when Magdalenenburg
bled”.
• The lines (from “At the end of the day…” to “Cotton around my waist
in a fifty-pound bag”) is appropriately cradled between the two
single worded lines (“Listen…”) to convey that there is serious
contemplation happening during and at the end of a day of harvesting,
which can have equally serious demonstrations for your children, and
for tomorrow’s children.
• The oppressors are subjugated, reduced to “whimpers” as they have
lost their dominance with/over the people. The people have sowed and
reaped, and the cycle continues, if not for them, then for their
children, and their children’s children. These recurring motifs,
dominant in the second half of the poem, continue to be reflected in
the references to sounds and movements (of animals, waking up,
running, move, plough, sow, songs, thought, etc.) and landscape
/jungle images as a positive ending to the poem.
• Interestingly, there are no clearly demarcated stanzas within this
poem. Its form, for such a lengthy poem, is unconventional. It is
that of one long stanza, with the occasional line indentation. This
arrangement, though, is visually impactful, suggesting the
unbreaking stretch of the five thousand acres of cottonfields, subtly
punctuated by the [incomparable] hundreds of reapers: this is an
unbalanced harvesting ratio, which, if not for a “vision” of hope
and a “harvest”, the “smiles” could transition into despair, cynicism
and disillusionment (all of which are thematic concerns of this
poem).
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Question 4 cont’d
4. Does Anyone Hear the Song of the River Wending its Way Through the
Jungle?
• This poem begins with a bold and unapologetic proclamation, for the
female poet to be made “a poetess of [her] people”. She wants to be
dubbed that title, as the people’s poet laureate, precisely because
she believes she is worthy; she is the one willing to live/work among
the ordinary folk, listen to and pay attention to their stories
transmuted to the waters to become the “song of the river” as it
wends its way through the jungle.
• The poet’s declarative statement is a clear response to the question
inherent in the title. She wishes to be that scribe who records the
river’s “song”, a river that metaphorically holds the secrets, life’s
ambitions, hopes, tragedies, etc. of the Guyanese working-class who
labours in river waters “wending its way through the jungle”.
• The Guyanese landscape is massive and is traversed by several huge
rivers. Proverbially, the river is the glue that connects the
Guyanese urban, rural and jungle landscapes; the river is pervasive
and is ever present. It is personified within this poem, as “gentle”,
capable of “diluting the blood”, it can tell “tales of quiet
suffering”, etc. It literally and metaphorically permeates all areas
of people’s lives, recording stories of the “unnamed heroes, [the
poet’s] mother, the childless logies at the edge of fertility, nigga-
yards, the hunter, his wife, sons, daughters, the logger, the
porkknocker, the reaper, and the cane-cutter”
• Again, in this poem, a feminine poetic is employed to describe the
landscape of the forest (“full breast”) and the motions of
civilization (“motors her way”).
5. This is Kimbia.
• It is in this poem that Das is truly the “poetess of my people”,
chronicling all that Kimbia is, and is known for, culturally and
historically. It is the poetess (female), not the poet (male),
who is functioning as the bard, capturing and proclaiming
through rhythmic poetry the history of her land and her people.
• The range of devices within this poem is expansive [like the
Guyanese landscape], which includes, but not restricted to:
o Personification and imagery (“raging march”, “jungle echoing”,
“cry of baboons”, “night courts the moon with her starry eyes”)
o Folklore/Stories (the Dutchman buried with a white dog by his
side and the forested lineage giving their sinews for the heart
of a town)
o Historical accounts/allusion (centuries of cotton farming)
• Rhythm and cadences of the sung nursery rhymes. These lines
specifically are reflective of the nursery rhyme the “Farmer in
the Dell” when the wife takes a child, the child takes a nurse,
etc. (“Cotton, in glee, brought the mills. / Mills, surprised,
fetched the ships./Ships came, revising history’s watery course,
wending its way)
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Question 4 cont’d
• The musicality is heightened, which helps to enrich the rhythmic

elements within poem, signalled by the line, “Hear the drum – is the
sound of…” Following that line, the entire poem begs to be read with
the accompanying sound of the drumbeats and rhythm.
• Thematically, this poem addresses issues of militancy, the potency
of the Guyanese landscape, and ends on the message of appeal for
“young hearts” to listen to the “beat of the drum” and to be a part
of the raging march of the soldier."
• The poem has a lively, euphoric tone to it because of the musical
cadences, yet, the “march of soldiers” speak to another reality that
must not be ignored.
6. Militant
• The conversation about gender is extended within this poem, that the
female poetess can also be militant. In fact, Das declares, “Militant
I am” and “Militantly I strive”. There is no confusing her intention
as a female/poetess and the role she intends on playing for national
development. As such, she records/declares that she will “march in
my revolution”. It is not surprising that Das dubs it as “my” [her]
revolution, because she is disturbing the expectancy/perceptions of
revolutions as being masculine, only. As female and poetess, Das
wants to be actively involved in all aspects of the revolution.
• Interestingly, in this poem she does not denigrate the male versus
the female roles; all are equal participants and contributors to the
revolution needed for “Change! Change! Change!” within her country.”
The repetition, the exclamation marks, and the preponderance of
action verbs throughout the poem all denote passion, engagement, and
meaningful commitment to (and the recording of) Guyana’s pathway to
nationalistic development.
• As female, she wants to be actively involved in all aspects of the
revolution. She does not delineate male versus female roles; all are
equal participants and contributors to the revolution needed for
“Change! Change! Change!” within her country.” The repetition, the
exclamation marks, the action verbs all denote passion, engagement,
and meaningful commitment to Guyana’s nationalistic development.
• The mood and atmosphere of the poem, captured through the diction,
the punctuations, and repetitive phrases, are blissful, ecstatic,
militant, and reflective of heightened exaltations – “Revolution
firing my song of freedom”; “March!”; “We are Guyana marching for
change.” [And also in the final stanza where all but two of its lines
end with an exclamation mark).
• The poetess’ militancy transforms to “singing”, “writing”, and then
to “dancing”, across the stanzas, in celebration of revolutionary
change for her country and growth for her people.
• The poetess moves and acts in unison with the “army” / “people”;
“This revolution’s banner is clasped by our hands… march through our
feet”. She intends to “march with her brothers and sisters” in
solidarity.
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Question 4 cont’d
• The revolution is characterized by feminine terms and female actions,

“spread like her stars … for my child to nurture”… and later on to
giving “bloody birth… / A scream of life! / A fertilized dream! /
Child of the revolution!” Utilizing this strategy situates this poem
within the feminine tradition or poetics.
• Through the deployment of selected poetic/literary devices, the
poetess brings life and vigour to the revolution, showcasing the
magnitude and totality of the Guyanese people’s embrace of, and
dedication to it. Despite the “patterns of pain” and the “country’s
agony”, the dream of the revolution must be ‘fertilized” so that a
“child” can be born, “shoot forth through the soil”, and “grow… grow…
grow!” and eventually “march for [her/his] country”. All these
sentiments and emotions are captured in the recorded words of Das’
poem, Militant.
• Interestingly, in this poem, the poetess embraces male and female:
she wants to be “a son of my land”; and looking back through history,
she contemplates if she had “ever been a son of my land?”. Here she
embraces any of the genders, a signal of the collective power of the
people to “change[ing]” the “history’s sad march” and to birth a new
“Guyana marching for change.”
• The theme of revolutionary change for a better tomorrow for Guyana,
emerging through collective pain, national will, and dedicated hard
work of all classes and gender is poignantly communicated throughout
this poem, though a wide range of literary devices, for example,
• images of colour (“blood”), and landscape (Pakaraima’s peaks”),
and sound (“sing my country’s revolution), and touch/feelings
and sight (“I want to clench the stain of my earth in my palms
… / Seeds … / Will shoot forth through my soil”);
• personification (of the “banner” marching through their feet and
the visuals of the rhythmic “notes” climbing Pakaraima’s
peaks”);
• similes (“peaks,/Spread like her stars…/Grow, like seeds,…);
• metaphors (to “dance through patterns of pain” and of “Cane-
sugar’s ever-running historic stream”); and
• symbolism (of “words scorching pages/burning tongues/son of the
land”)
7. Untitled II
While imagery, metaphor, personification, symbolism, juxtaposition,
and parallelism are prevalent devices within this poem, Das’ concerns
are not necessarily hinged on the purely feminist nor the gendered.
Instead, throughout the first half of the poem her craft showcases
her ability to utilize a range of devices to speak to issues of the
supernatural and the human condition beset by despair and tragedies
of:
• the indistinctive and unfathomable “eyes that watch behind / the
shroud of darkness”;
• advancing illness because “the cancerous prey is frantic”;
• ambush, since “he seeks to desist the springing”;
• the stealing of life energies and the approach of death “crouched in
bitter wait/for all the blood that spills”;
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Question 4 cont’d
• The despair and tragedies of the first part of the poem, though not
entirely abated [see the repeated last two lines of the poem], are
counteracted by a glimmer of hope in the second half of the poem:
• “there will be a resurrection of stars”
• “A coup will take place and stars,/ armed…, will guard”
Through the (above noted) images and personification, the poet returns
some hope and the triumph of the human spirit back into the poem. This
is conveyed though the hope of humanity, for their “right to walk
unfettered/through the streets of heaven”, despite the “eyes that crouch
behind/the shroud of darkness.”
• By extension, the entire poem could also be interpreted not just as
the battle between the natural and the supernatural, or the despair
and tragedies that beset life and living, or the journey through the
cycle of illness, death, and resurrection; it could also be a
representation of the nation of Guyana, of the battles that beset
national development, the politics of despair and destruction that
blights nationalistic hopes/dreams, etc. Das is able to movingly
capture all these thematic concerns about life, the present and the
past, in and through her poetry, thus distinguishing her, indeed, as
the “poetess of my people”.
• The poem can be read/interpreted on different metaphorical levels,
that of the personal/human, as well as at the national/collective.
8. My Finer Steel Will Grow
9. Untitled III
10. While the Sun is Trapped

• The above three poems are self-reflective, and are best understood
within the context of Das’ trajectory with political activism and
engagement with nationalistic ideals. In these poems Das captures
the shift in her national/political consciousness, and as such, the
attendant messages are reflective of Das seeking to reconcile the
individual with the political.
• Initially, because of her strident poetic voice as female Indo-
Guyanese and the support she galvanized from a wide cross-section of
other female Indo- and Afro-Guyanese, the People’s National Congress
(PNC) entreated her to side with and support the Burnham Government,
which she did, even their controversial Guyana National Service (GNS)
initiatives.
• However, due to the “wretchedness and travails of politics”, and the
dishonesty of political figures, Das chronicles her loss of faith in
the Burnham government and their associated brand of oppressive
politics. She became disappointed with the Burnham Government for
the abuse they meted out to the people (at the national level) and
towards women/her (at the personal level). Das had reported being
sexually violated, and other women as well, by powerful man/men in
the PNC, but the Burnham administration had done nothing to address
the situation. This trauma caused Das to become distrustful of men
in politics.
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Question 4 cont’d
• The record of Das’ disillusionment and cynicism with politics and

corrupt political leaders is most obvious in these three poems: her
idealistic revolutionary vision of her earlier poems is not present
nor captured in these later poems.
• In these poems Das speaks out about the discrepancies in fighting
with men (politicians) for racial and gender equality; their
increasingly aggressive behaviour/actions affected her mentally and
artistically.
• Das utilizes an extensive range of poetic techniques within these
poems to convey the realities explained above. Imagery, however, is
the most utilized and most revealing of the devices she employed to
represent her – and by extension her people’s – disillusionment with
politics, and their pain.
• The three poems, however, end on a note of subversion, rebellion,
coup, that the oppressed will not always lay low, but that they will
one day rise up in revenge to reclaim what is rightfully theirs.
11. My Final Gift to Life

• Analytically, this poem can be interpreted as the poetess arguing
with death, telling it/him how she will (not) go. Readers of Das’
biography would likely be aware that she was critically ill, hence,
some would respond to the poem as that parting
discussion/conversation between [or about] herself and Death.
Alternatively, knowledge of Das’ political passion and ideals that
characterized the early years of her life and poetry could also lead
to an interpretation of the poetess using her voice to speak out and
curse at the corruption of politics that has led to the death and
destruction of Guyana’s ideals of nationhood.
• This “double-edgedness” or double meaning to the poem is immediately
reflected within the paradoxical opening line: death as gift to life.
• That opening phrase connotes and has resonances of rebellion, a
turning on its head of what death is expecting, and what is expected
of death; certainly not “life”, and not a “gift”.
• It is as if the political passion and ideals Das once had for the
revolution have now been redirected at/to “death”, now galvanized
into the power of her poetry, through which she can offer the
elemental [Death] her ‘gift” of life, when, in fact, it is he [Death]
who has come to take it/life. Das, through her poetry, is subverting
the power of Death; she [the poetess] is the one able to offer
it/him/Death a “final gift” (and, ironically, not the other way
around).
• The confidence and boldness with which Das – the female poet –
approaches and addresses – the masculine Death – are captured in the
fearless cadences of the poetess’ voice and diction – “Then: if I
must die, I must… / I will not be the fish caught / in his wily net…
I will not touch his rotting sceptre…” She is surefooted, and
decisive, and disdainful, even in the face of Death [the power force]
and death [ the act, the verb]. [There are resonances of Claude
McKay’s poem “If we must die poem present in Das’ lines: “Then: if
I must die, I must… / I will not be…”].
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Question 4 cont’d
• The images deployed by Das within the poem are simultaneously bold
and starting, as they are illuminating and disturbing – “stars light
my path” and “more star to fiercely light” juxtaposed against images
of “crumbling house overrun with rats”, “sound of women weeping”,
“children starving” and “leprous air” – add to the mood of
disruption, and even extend the tone of ambivalence surrounding the
gift of life and Death of a human [the poetess] her people [Indo-
Guyanese] and her country’s [Guyana’s] nationalism.
• This poem, like the previous three, also end on a note of reprisal,
suggesting counterattack for the “cries of woe”. There is a plan
afoot to strike back, because “little knows he of we who / sharpen
our spears in night’s naked hours.”
12. For Walter Rodney & Other Victims

• This poem has historical significance, an allusion referencing the
life and death of Dr. Walter Rodney who was assassinated – bombed in
a car being driven by his brother - by the Burnham government on
June 13, 1980 because of their fear for his political potential
destabilizing their oppressive government. On the day of the bombing
in Georgetown Guyana, Pauline and Percival Rodney, working class
parents, lost one of their sons (the brother, Donald, was injured)
to the cause, the revolution for change in Guyana.
• Hence Das’ cajoling, “Weep not for your child,/Others are dying yet.”
Das puts the untimely and horrible death in perspective, informing
the mother and readers that Rodney is not the only one who has died
at the hands of the revolution. Other have suffered similar fates.
• Das, a woman comforting another woman, claims that the wickedness of
the oppressor has not gone unnoticed by people nor nature; as such,
“Murderers are raised to ugly statues” and the birds themselves
“escape to greener spaces. They too are in sympathy with the
mourners.
• In stanza 2, “Mother” is repeated to reiterate her loss, and is
further amplified by the details of Rodney’s death as a way of
inscribing into the nation’s consciousness the tragedy surrounding
the untimely death of one of their promising sons.
• It’s the females in Rodney’s personal life (his mother and his wife
of fifteen years at that time, Patricia) who are observed as missing
him most. Their actions of grief, conveyed through images, similes,
metaphors and symbols – of spending “pennies of death”, “weeping”,
giving “final rites”, silently sitting “upon the stone/of her grief”,
holding “a pair of bombed-out limbs” – serve to underscore the
cruelty surrounding the circumstances of his tragic and brutal
death. Even Rodney’s three children are in shock (“open faces”),
not understanding the reason for his gruesome death.
• In the third stanza, the poet shifts attention to another female,
herself, the crying scribe etching words of tangible memory onto the
page of her poetry, for national posterity.
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Question 4 cont’d
• In this poem, Das’ imagistic descriptions are vivid, honest, and

uncensored (“a father split, like a butcher’s corpse”).
Simultaneously, her euphemistic diction conveys more than what meets
the eyes. It’s not just the tree “stems” that are “naked”, nor the
tree “limbs” that are “charred” and “strung-out”; so too are the
limbs (body parts) of Rodney.
• Das utilizes the disturbed physical landscape, post-bombing, as
metaphor and symbol of a deeper emotional pain and scarring
experienced by Rodney’s mother, children, herself, and the nation of
Guyana.
• As such, the poetess ends her chronicle on a prophetic note of
warning, that the politician [ie, Burnham, based on historical
knowledge] “who plays chess with our lives,/growing fat on good wine
and Cuban cigars,/… who rides to bed by limousine/chartering quick
rides to his city seat,” needs to be mindful, because “the wind of
death but shakes [his] flame. His impending death is certain.
13. The Day of Revolution

• This poem is metaphorical, it is the recorded vision of the female
seer. It points to the fast-approaching revolutionary “Change!
Change! Change!” that’s been hinted at in Das’ earlier poems.
• This is a fitting poem to end the section of the collection entitled,
My Finer Steel Will Grow. It foretells the day of the revolution
that will free Guyana and its people from oppressive, capitalistic,
and corrupt politics/politicians.
• Das’s dream here is detailed and vivid, reflective of her/nation’s
hopes and dreams – to “storm the city streets/screaming for
justice….”
• The revolution is also inevitable. It’s been held back over the
years, and it is now due time, conveyed through images and similes
– “eager fruit… like an irrevocable flood… like an irrevocable coming
of dawn.”
• Several significant events will occur on the day of the revolution,
including the ousting of the “scampering rats”, a symbol of the
politicians. The “counterfeit general” will also be “left wingless/in
the hostile air”, meaning, that he will be helpless and unprotected
from any type of harm.
• The mood of this poem is vibrant, jubilant, expectant. The themes of
restoration and jubilee are strongly conveyed though the diction,
images, symbols, etc.
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Question 4 cont’d
14. Sonnet to a Broom

• This is a powerfully written fourteen lines poem, a sonnet,
referencing the activities of a broom. Thematically and symbolically,
the broom is linked to and represents tenacity and consistency in
the face of aging, decay, death, dying, dashed hopes, experiences of
corruption, pain, etc.
• The broom is also symbolic of the poetess, herself, who has done her
time and served her purpose to society; and so, occasionally, she
retreats from writing the nation, to reposing among the personal.
She turns the poetess’ searchlight inward, to reflect and write about
her own trials and tribulations (ill health, the approach of death,
contending with those issues, etc.)
15. If I Came to India

• In this poem, the poetess contemplates her journey to the land of
her ancestors, India. She contemplates her actions that will make
her truly “Indian”; to reconcile with herself through return
migration (the opposite journey that her ancestors took in the poem
“They Came in Ships”.
• The poem is replete with information about the Indo-cultural
traditions, their history and the landscape of their homeland, India.
Total 45 marks
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Question 5
“The novel is appreciated most for the devices employed within the
narrative, rather than for the story that unfolds.”
With reference to ONE work of fiction (British, American OR Postcolonial)

that you have studied, examine the validity of this statement.
Candidates can:
Agree fully with the prompt, that the novel is appreciated most for the
devices employed within the narrative,(irony, point of view,
juxtaposition, character foils, understatement, motifs, symbolism
metaphor) rather than for the story that unfolds. (Remains of the Day and
Their Eyes were Watching God and The Last Ship).
Disagree entirely with the prompt, suggesting instead that the novel is
NOT appreciated for the devices employed with the narrative, but instead
for the story that unfolds. The plot draws the reader into the story and
helps to create empathy in the reader for the plight of the characters.
The perspective from which the story is told also helps to create empathy
for the characters.
1. Assume a mid-way position on the prompt, arguing that for the story
to unfold, the narrative devices are essential or vice versa. In
other words, without one, there could not be the other. Irrespective
of the position taken, the candidate MUST engage both the themes and
literary devices/techniques utilized by the writer.
Devices:
• “Use” is linked to the narrative devices (such as themes,
narration/point of view, characters, plot, diction, dialogue, etc.)
as well as the literary devices (such as irony, symbolism, allusion,
flashback, imagery, foreshadowing, metaphor, metonymy, hyperbole,
pathetic fallacy, etc.) utilized within the novel.
• See table below for others, specific to the text selected for
answering this question.
2. Story that Unfolds & Textual Evidence to Support Point of View:

• The narrative devices that are often utilized to tell the story of
a text include, but are not necessarily restricted to the following:
plot, characters, narration, theme, diction, and dialogue. The
complementary literary devices employed to tell the story include
the likes of irony, symbolism, allusion, flashback, imagery,
foreshadowing, mood, tone, etc. See table below for others, specific
to the selected texts.
• The argument can be made that all stories use the vehicle of the
devices in telling/narrating of the story. In essence, the devices
and the story go hand-in-hand. Each aspect of the plot, or the
analysis of a theme is derived from the device utilized by the writer
to bring it across. By discussing and referencing specific examples
from the text, a candidate can make clear this point upon careful
analysis.
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Question 6
“Setting is the primary vehicle for character revelation in the novel.”
With reference to ONE work of fiction (British, American, OR Postcolonial)

that you have studied, discuss the extent to which you agree with this
statement.
Candidates can:
Agree fully with the prompt that setting is the primary vehicle for
character revelation in the novel. Candidates should engage with all the
various aspects of setting such as place, space, time, social setting,
mood and weather to illustrate how it plays a major role in the
establishment of character traits in the selected novel. Additionally,
the candidate should examine various devices which are closely related
to the element of setting such as symbolism, pathetic fallacy,
juxtaposition, irony, simile, metaphor and imagery. It is also important
to note that the prompt stipulates that setting is not the only tool but
a primary tool. Therefore, candidates may demonstrate how other methods
of characterisation such as physical description, character foiling,
situational reactions of characters, dialogue and actions reinforce the
revelations presented through setting.
Disagree entirely with the prompt, suggesting instead that setting is not
the primary tool used by writers to reveal the personality of characters.
A candidate can also contend that it is primarily through dialogue and
actions that character revelation is presented to the reading audience.
Furthermore, candidates can also posit that other methods of
characterization such as foiling, physical description, direct
characterisation, dialectal variation, language and stream of
consciousness are utilized. Setting may be examined as an auxiliary
element that contributes in a secondary manner to the establishment of
characters in relation to another element or feature. Candidates can also
choose to not analyse setting at all in their response. If the candidate
disagrees entirely with the prompt, and proposes other options, then the
candidate MUST show why what is proposed in the prompt is unworkable, and
why the option s/he is instead proposing is a credible option.
Assume a different position on the issue, proposing that character

revelation is not a major function of setting in the text. Candidates can
proffer that setting plays a more significant role in thematic
development, symbolism, motif, conflict, providing touchstones and mood.
These candidates can engage more with the contextual and figurative value
of setting in the text.
Irrespective of the position taken, the candidate MUST engage BOTH the
themes and literary devices/techniques utilised by the writer.
Total 45 marks
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Questions 5 and 6 cont’d
General comments on texts-Questions 5 and 6
Caribbean British – Kazuo Ishiguro – American – Zora Neale Hurston Postcolonial – Jan
Texts The Remains of the Day – Their Eyes Were Watching Lowe Shinebourne –
God The Last Ship
Context • The story of Stevens is • Janie Crawford is an • The novel charts
personally recounted, mostly African-American woman who four interrelated
via flashback, about his time is in her forties. generational stories
working as a butler at • Returning to her of a Chinese family
Darlington Hall in England, hometown, she shares with (1879 – 2000) from
for Lord Darlington. her friend Pheoby her entire their home in China to
• He is now employed to Mr. life story, beginning with her their realities in
Farraday Ford, an American, awareness of sexuality from Guyana (British
and the new owner of watching a bee pollinating a Guiana).
Darlington Hall. pear tree in her • Highlighted by
• Stevens, while planning grandmother’s yard to her the narratives are the
for and even during his 6-day subsequent three triumphs and trials of
motoring trip through the marriages. tradition and family, of
English countryside • Through marriage, Janie what keeps them
sponsored by his employer, hopes to find love and together, and what
cannot help but reminisce equality. This was not separates them.
about his experiences as a realized with her first two • While there are
butler at Darlington Hall, and husbands; it was majorly many narratives
what it meant to truly be a achieved with her third throughout the work,
“great” butler in the 1920- husband, Tea Cake. Their the most compelling
1930s. These are the main journey of and to love is a ones are those of
obsessions of Stevens’ story that occupies the Clarice Chung and
narrative, alongside the narrative/novel. Joan Wong.
exploration of his feelings
towards Miss Kenton (aka,
Mrs Benn).
Themes • A variety of themes • A variety of themes are • A variety of
are explored, with degrees of explored, with degrees of themes are explored,
variations. variations. with degrees of
• The themes are quite • The themes are quite variations.
complex and sometimes co- complex and sometimes co- • The themes are
joined. joined. quite complex and
• Themes span issues • Themes span issues sometimes co-joined.
of: of: • Themes span
o Loyalty o Gender Roles issues of:
o Traditions o Women Independence o family;
o Relationships/Friendsh and Liberation o history,
-ips o Marriage as Prison traditions, rituals, and
o Social Status and o Social Status and ancestry;
Mobility Mobility o freedoms at the
o Appropriateness and o Colourism personal, political,
Propriety o Racism social, etc.;
o Lost opportunities o Domestic Violence o racial and
o Politics o Female political divide;
o Family Relationships/Friendships o social class,
o Ceasing the Day; o Madness snobbery and
o Living in the Moment o Jealousy conflicts;
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o Traditional Lifestyles and o educational

Expectations aspirations and
o Influence and leveraging of it for
Manipulation social mobility;
o Dreams, hopes and o political change
expectations and turmoil;
o Family o politics of
o Abuse and Exploitation respectability;
o Disillusionment o ideologies and
residual effects of
colonialism, nationalism,
capitalism,
indentureship,
independence, feminism,
communism, etc.;
o dreams, hopes
and expectations;
o family,
relationships;
o travel;
o religion;
o abuse;
o exploitation;
etc.
Setting England, with a focus on • Set in central and southern • Several
• the great stately Florida in the early 20th narratives are shared,
homes, in particular Darlington century. and each sometimes
Hall. • Janie moves to different occupies a cultural and
• the countryside is also locations based on the historical and physical
presented as Stevens is on his husband she was with at setting different from the
6-day road trip through the different stages of her life previous one, shifting
West Country, (Killicks – on the farm; Starks – across Guyana, England
• Although the main in Eatonville, Florida; Tea Cake and China.
story occurs in 1956, Stevens – Jacksonville and Belle Glade, • Specifically, locations
frequently reminisces during ”the muck”). include urban and rural
that time about the events of Guyana, inclusive of
the 1920s and 1930s. places such as Berbice
and Georgetown, and
other in-between
places such as
Canefield, Soesdyke,
New Amsterdam, New
Forest, Dover,
Stabroek, etc.
• Outside of
Guyana, the central
story also unfolds in
London, England and
Hong Kong, China.
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SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Characteri- • Some characters are given far more focus and significance than others.
zation • The minor characters offer lenses of diverse perspectives, as well as serve as
key informants to help with the wholesome development of main
characters.
• Minor characters help to enrich the narrative or lend credence to dates facts and
figures that sometimes need corroboration.
• Mr. Stevens • Janie Crawford • Clarice Chung

o Narrator o Main character and Susan Leo, for
o English butler who o Described as beautiful, example, or were seen
serves at Darlington Hall but immensely naïve as it as either strong
o Devoted man with high pertains to love, men and survivors or badges of
standards; concerned with relationships disgrace for their
dignity o Always the subject of families, it just
• Miss Kenton gossip and manipulation by depended on which
o Once the housekeeper men, especially character’s perspective
at Darlington Hall o Voiceless in two of her was being shared, and
o Had unexplored marriages; gained confidence at what point(s) of their
romantic feelings for Stevens, and wisdom to navigate the lives were being re-
but they were unrequited third told.
o Later moves away and • Logan Killicks • Joan Wong is
marries, becoming Mrs Benn o Janie's first husband. significant even though
o Stevens motivation for o Enters a bargain with she appears in the
taking the motoring trip to the Nanny to marry Janie, even latter part of the
West Country in England though he is much older than novel.
• Lord Darlington Janie. • Other significant
o First owner of o Landowner, farmer, minor characters
Darlington Hall, but is now financially secure include:
deceased • Joe "Jody" Starks o Lorna Wong,
o Has sentiments o Janie's second o Mary Wong,
towards the Germans, which husband. o Norma Wong,
negatively impacted his o Experienced, charming, o Frederick
social and political calculating, ambitious, but Wong,
standings also controlling and abusive o Harold Wong,
• Other minor characters • Tea Cake o Anna Wong,
include: o Janie's third husband o Elizabeth
o William Stevens (72- o Represents true love for Chung,
year-old father of butler Janie o Annie Chung,
Stevens) o While he strives to make o Jean and Sally
Janie happy by allowing her Leo,
to learn new things and to o The Chung
step outside of the Brothers, etc.
constricting societal norms,
he is still not ideal because of
the negative abusive ways he
metes out to Janie, similar to
the abuse of her two former
husbands
o He physically and
mentally abuses her;
manipulates her, and is jealous
about her interactions with
other men.
Plot • Non-Linear;
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SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
• several flashbacks to connect and explain the previously unspoken stories of/by
subsidiary characters;
• jumps across timelines, countries/geographical regions, histories, cultures,
characters and their stories;
• connects with the themes, allowing for movement, growth, and development
within the various stories associated with each character, their contexts and their
cultural histories.
Conflict • Conflict is central to the novel, driving plot development and character growth.
• Without internal or external, personal or collective conflict, there is no movement
or transformation of characters.
• Mostly internal, for • Conflict permeates the • Take Clarice,

Stevens, who at the narrative, ranging from Susan, Mary, Lorna, or
“evening of his life” battles Janie’s internal monologues Joan, for example, they
with the constraining about what she most desires each had to battle with
senses of propriety and in life, to her being silenced and address conflicting
loyalty for how they have and controlled by her issues in order to
shaped his life decisions. husbands, to the become stronger
• There is the conflict expectations of the female women, or to be a
with his feelings for Miss community, to a whole survivor of the
Kenton, the missed range of other issues. challenging situations
opportunity then, and the • Conflict is also present within which they were
regret of decisions now. in the minor characters, for placed, or even to find
• Stevens quibbles over example Grandmother (the path to) their
the type of person he Nanny, as she reflects on personal freedoms.
should be (whether her past and the pain • Conflict also
lighthearted and easygoing accompanying occurs at the level of
with bantering and the it. Consequently, her the collective, for
timing of discussion issues) actions are driven by the example, party politics,
so that he can be most pain of her past so as to familial, generational,
useful in his service to the chart a better future for her racial, rural versus
American, Mr. Farraday. granddaughter, Janie. urban, just to name a
• Janie’s three husbands few.
also battled with jealousy • Conflict existed
and insecurities, which they between the
transmuted to their negative expectations and
abusive behaviours towards realities of characters,
Janie. for example, the type of
partner Clarice Chung
would have wanted for
her daughter, Norma,
before she got
pregnant for an Indian
man; the dream of
Mary that her daughter,
Lorna, after getting an
English education
would come back from
England and transform
their lives to a secure
middle-class status;
etc.
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SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
Symbolism • Darlington Hall – • Bee in the pear tree – Strong examples of

symbolic of gentry, represents maturation symbolism – i.e., the
stateliness, and grandeur. • Mule – represents the representation and/or
• Stevens’ Life – subjugation of women, and in perceptions of persons,
symbolic of paralysis of particular Janie. She is to work others, places and
undisclosed feelings and as hard as a mule (for her first things. based on
failure to live life honestly husband) and not protest. She associations and linked
because of slavery to service should remain submissive. to connotations – are
and being a great butler. • White/Black Men – most evident in:
• Motoring Trip – symbols of female oppression a. the last ship, The
symbolic of a journey of self- • Money and Colour – Admiral, that took the
discovery and the possibility symbol of status and power. last set of Chinese to
of change. • Janie’s long, black hair – British Guiana;
symbolic of her femininity and b. the Chinese, and
freedom, when let out. what they represented
to different sets of
Guyanese when they
first arrived; when they
lived and worked on
the plantations then vs
now; how they
operated their
businesses to generate
funds to establish
flourishing financial
communities; what they
signified to other
Chinese because of
lineage (Hakkas vs
Aristocrats), rituals and
traditions, etc.
c. the Indians and
the Blacks, in light of
history and politics,
occupied different
places in society
because of colour,
class, caste and
heritage.
d. Guyana versus
London and Hong
Kong – what it
achievable in each of
these spaces in terms
of education, various
types of freedoms
including relief from
political exploitation,
etc.
e. Families and
institutions also
became symbols of
wealth, or stability, or
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SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
social respectability,
etc.
Language • Proper British language • Reflective of the African • The dialogue of

use, gradated according to American lingua in terms of characters who are in
class and social status. dialogue, diction, places, Guyana reflect a
• Contrast between the etc. mixture of Creole and
relaxed language of the • When the narrator shares, English;
American, Mr. Farraday, and the language is closer to • Educated versus
his butler, Stevens. While it standard American English; the uneducated is
might be connected to their however, the voices of reflected in the
different social status, there characters are authentically language/dialogue of
is also the strong possibility those of Blacks from the the characters, as well
that the difference is stark South. as in the descriptions
because of their cultural • There is the possibility shared by the narrator.
backgrounds and their that the dialogue of characters,
politics of respectability. because it is so steeped in
Black American speech ways
and patterns, can serve to
alienate readers if they are not
already familiar with much of its
linguistic expressions.
Literary • Flashback; • Flashback; • Flashback;

Devices • Symbolism; • Symbolism; • Symbolism;
• Irony; • Irony; • Irony;
• Contrast; • Contrast; • Contrast;
• Foreshadowing; • Foreshadowing; • Foreshadowing;
• Stream of • Stream of • Stream of
Consciousness; Consciousness; Consciousness;
• Pathetic Fallacy; • Pathetic Fallacy; • Pathetic
• Metaphor; • Metaphor; Fallacy;
• Imagery; • Imagery; • Metaphor;
• Dialogue; etc. • Dialogue; etc. • Imagery;
• Dialogue; etc.
Point of • First person narrative • Third Person Omniscient • Third Person
View • Told exclusively from narrative. Omniscient narrative.
the perspective of Stevens, • Bias towards the • Different
the protagonist. protagonist, and it’s often characters’ narratives
• There is a sense of best exemplified through the are told by the narrator
restraint in the language, dialogue of her best friend, at specific points in the
diction, subject matter, Pheoby. novel.
which is typical of British • The narrative is • Few moments of
politeness and descriptive, sometimes dialogue, by selected
sensibilities. historical, and non-linear in characters, are
• The narrative is events. inserted within the
introspective, reflectively narratives; otherwise,
historical for the most part, everything (story) is
and non-linear in events. recounted by the
narrator.
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SPEC 2023/02232020/CAPE/ KMS
UNIT 2 - Paper 02
SPECIMEN
• The narrative is
descriptive, historical,
and non-linear in
events.
• There is an
exceptionally long
dialogue (of Clarice
telling the history of
her lineage, the
Chung family coming
to Guyana, and the
hardships she has
had to endure)
shared on pages 69-
70. This is unusual of
Clarice, and an
unrepeated strategy
within the novel.
Narrative • The chapters are • The chapters are short, • The chapters are
Structure thematically divided chronicling a different aspect short, and are
according to the six days – of Janie’s life. Each physical thematically named.
morning and evening – of the location reveals another • Some chapters
motoring trip. element of her as wife, are dedicated to
• With each subsequent woman, and female. fleshing out the profile
chapter, readers are given • The story begins in the of a character, and in
deeper insight into Stevens’ present, revisits the past, then so doing, the narrator
character, to learn of his circles back to the present. gives focus to that
foibles and interests. As he • The novel keeps Janie’s character by allowing
learns about him, so do the story as central, but other subsidiary characters
readers, because of his characters’ stories intersect to to act as foils.
honest introspections. reveal deeper personal and • Locations are
• The stories about psychological aspects of delineated by the
characters and places are Janie. chapters – Guyana,
non-linear. • There is the chorus of London, China.
the ladies of the community • The stories of the
whose voices merge as a four generations of
collective to query Janie’s the Chinese family –
moral standards. The men’s the Chung’s – are
voices merge to recounted, but not in
simultaneously appreciate a linear fashion as
Janie’s beauty and femininity, their stories intertwine
but to also silence her voice and playout across
as woman. the generations.
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and 2 — PAPER 02
MARK SCHEME
FOR QUESTIONS 1-6
SPECIMAN PAPER
-2-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Criteria for making Paper 020 Essays: Unit 1 and 2
Organization of
Knowledge Understanding Application of Knowledge Language
Information
This area will assess This area will assess This area will assess This area will assess
candidates’ ability to candidates’ ability to candidates’ ability to candidates’ ability
to
• recall accurate • analyse, evaluate, and • construct an opening
information about the synthesize knowledge paragraph/introductory • use formal Standard
text: content and relevant to the question paragraph with clear English patterns
context • write a clear thesis, thesis which introduces and organization:
• use background knowledge that responds effectively the main points of correct, fluent,
of text and to the key areas in the argument varied sentence
writer(critical question • construct body length and
historical social • select evidence(examples) paragraphs which clearly structure
philosophical, relevant to the thesis articulate the • apply mechanics of
biographical, and essay question discussion points in the language: correct
psychological, • present sound logical topic sentence and grammar, spelling
ideological, contextual) arguments to support the fully develop the points and vocabulary,
• identify elements and thesis and question outlined in the punctuation, formal
features of each of the • assess writers’ style/ introduction syntactic
genres using examples craft and use of language • construct a concluding structures
from the text in the creation of paragraph which
• use genre-specific jargon meaning summarizes the points
accurately • analyze and evaluate the presented with
• use appropriate literary effectiveness of the appropriate
terms and expressions relationship between form conclusion/evaluation
• use valid critical and content • use appropriate
material/secondary • consolidate the arguments transitions to create
sources in the essay in a unity, coherence and
• identify the conclusion which presents fluency
relationship between form a critical, personal
and content within the evaluation of the
genres text in light of the
question
-3-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
GRADE
CAPE GRADE DESCRIPTION THE LITERATURE CANDIDATE
OVERALL MODULE
Demonstrates comprehensive knowledge of textual, extra
Represents an excellent textual and critical material;insightful ability to explore
GRADE I A how meaning is shaped; control and mastery of the formal
performance
essay structure and language
Demonstrates sound knowledge of the text, extra textual and

critical material; lacks some of the details and
Represents a very good standard of
GRADE II B thoroughness of the excellent candidate but covers the
performance
essential content; control and mastery of the formal essay
structure and language with minor lapses
Demonstrates solid knowledge of the text, genre specific
Represents a good standard of
GRADE III C jargon and literary devices and good control and mastery of
performance
the formal essay structure and language with minor lapses
Demonstrates sound knowledge of the text, engagement with
the features of genre is inconsistent; a more thematic
Represents a satisfactory standard
GRADE IV D approach in the engagement of the text and context and
of performance
satisfactory control of the formal essay structure with
inconsistent use of language
Demonstrates superficial knowledge of the text; an awareness
Represents an acceptable standard of what is required but lacks details /development and
GRADE V E
of performance supporting evidence; and adequate awareness of the formal
essay structure with inconsistent use of language
Demonstrates minimal knowledge of the text, may fabricate
some information, inconsistent focus on the question; may
GRADE VI F Represents a limited performance
retell with significant inaccuracies and significant lapses
in organization and use of language
Very short response, no engagement with subject matter or
GRADE VII G Represents a weak performance question; unrelated material and little to no command of
organization and language
-4-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Criterion (I) – Knowledge and Understanding (15 marks)
Excellent • excellent, sustained use of relevant and accurate textual and extra-textual information, and
14-15 critical material
• accurate and thorough evidence of familiarity with the elements and features of genre and of
the relationship between form and content that is sustained throughout the essay; (The
elements and features are identified and discussed using appropriate examples from the
text.)
• genre-specific jargon and examples of literary devices are used accurately and effectively
• where more than one text is utilized, there is a balanced presentation of the material
• clear identification of the relationship between form and content within the genres
Award 14 marks for less sustained effective integration of textual, extra textual and critical
material
Very Good • very good relevant and accurate use of textual, extratextual and critical material
12-13 throughout the essay
• very good evidence of familiarity with the elements and features of the genre and the
relationship between form and content. (The elements and features are identified and
discussed using appropriate examples from the text.)
• Genre-specific jargon and examples of literary devices are mostly used accurately and
effectively
• where more than one text is utilized, there are minor lapses mostly in terms of the balanced
presentation of the material
Award 13 marks for consistent use of relevant textual and extratextual details, but minimal
use of critical material
Award 12 marks for essay where there are minor lapses in one or two of the areas identified
above
-5-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Good • good use of relevant textual and extra textual evidence in most of the response
10-11 • discussion points are developed, but there may be minor inconsistencies in the use of
extratextual details
• sound treatment of the elements and features of the genre and the relationship between
form and content (identified with examples from the text) is well-balanced
• where more than one text is utilized, discussion is well-balanced
• Genre-specific jargon is evident, accurate and relevant
• critical material is used but may not always be relevant to the discussion
• where more than one text is utilized there is a mostly balanced discussion of the texts
Award 11 marks for evidence of sound knowledge, clear understanding, and competent use of
genre-specific jargon.
Award 10 marks for extra textual material or treatment of the genre that is inconsistent in
one or two areas of the essay.
Satisfactory • sound understanding of the textual and extra textual material

8-9 • sufficient familiarity with the context of the work demonstrated
• evident lapses or inaccuracies in knowledge of the elements and features of the genre and
the relationship between form and content;
• where more than one text is utilized, focuses more on one with minimal inclusion of the
other
• There may be some inaccuracies in the use of genre-specific jargon. Literary devices are
accurately identified but are not sufficiently exemplified.
• Use of critical material is insufficient
Award 8 marks where more than one text is utilized and treatment of ONE text may be dealt
with at the level of GOOD and the other at the level of ACCEPTABLE
-6-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Acceptable • knowledge of the text and context is superficial, inaccurate textual information,
6-7 • A few elements and features of the relevant genre are used with examples from the text but
there are marked inaccuracies and repetitive use of examples; relationship between form
and content is implied but not effectively established
• Inconsistent use of genre-specific jargon; literary devices are listed and may be defined,
few examples
• Where more than one text is utilized, a greater focus on one text or focus on one text and
omit the other; or knowledge of both text is adequate but lacks
details/development/substance
Award 6 marks for the ineffective treatment of textual and extra textual material, and
limited or inaccurate use of genre-specific jargon, literary devices and examples
Limited • limited knowledge and use of relevant textual material; minimal to no extra textual
3-5 material, no evidence of critical material
• very few elements and features of the genre are identified with examples from the text
• little or no awareness of the writer’s craft, form or meaning in the discussion
• little use of genre-specific jargon; may be no mention of literary devices
Award 4 marks for minimal knowledge of the texts, imbalanced information, little and at
times inaccurate use of genre-specific jargon and devices, little reference to form and
technique reference
Award 3 marks Minimal knowledge with little and at times inaccurate use of genre-specific
jargon and devices, little or no reference to form and technique knowledge of the text and
context is superficial, inaccurate information of text,
Weak Award 1-2 marks for little to no reference to the text, or engagement with the question.
0-2
Award 0 mark for no evidence of textual knowledge and other elements. It can also be awarded
when a candidate discusses a text that is not on the syllabus, or a text not assigned to
that module or unit.
-7-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Criterion (II) – Application of Knowledge (18 marks)

Excellent • thesis is specific to the question, precise and effectively guides the reader to what
17–18 the essay will discuss, position is clearly stated and may provide points to be used to
support thesis
• the implications of the linkages between genre and question are interrogated by
analyzing, evaluating and synthesizing relevant issues; knowledge of the genre and the set
text(s) is relevantly, accurately and comprehensively applied to the question
• appropriate, comprehensive and highly effective selection of examples/illustrations and
critical commentaries in support of discussion points throughout the essay
• a critical understanding of the writer/s’ ability to manipulate genre-specific techniques
and language devices to explore issues/ideas is demonstrated throughout the essay
• arguments in the essay are effectively and logically consolidated in a conclusion which
presents a personal, critical evaluation of the thesis/ question
Award 17 marks where there are minor lapses in the areas outlined
Very Good • thesis is specific to the question, precise and effectively guides the reader to what the
14–16 essay will discuss, position is clearly stated and may provide points to be used to
support thesis as in the excellent category
• knowledge of the genre and the set text(s) is relevant and accurate but not as
comprehensively applied to the question in the analyzing, evaluating and synthesizing of
relevant issues appropriate to the question
• the selection of examples/illustrations and critical commentaries in support of points is
appropriate, may be comprehensive but not effectively or consistently analyzed throughout
the essay. Few lapses in the development of points
• a critical understanding of the writer/s’ ability to manipulate genre-specific techniques
and language devices to explore issues or ideas is demonstrated in most of the essay
• arguments in the essay are logically summarized by repetition of thesis and points used to
support the personal, critical evaluation of the thesis/ question
Award 15 marks where there are minor lapses in the areas outlined in this category
Award 14 marks where some critical aspects of the texts may not be selected or
consistently explored, does not consistently maintain insights and analysis throughout the
essay. There are evident lapses in the incisiveness of analysis or synthesis
-8-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Good • thesis is relevant but not as clearly articulated.However, it sufficiently guides the
11–13 reader to what the essay will discuss, position is clear and may provide points to be used
to support thesis
• application of knowledge of the genre and the set text(s) is relevant but there may be few
inaccuracies in the interpretation of information; details are not as comprehensively or
precisely applied in the analyzing, evaluating and synthesizing of relevant issues
appropriate to the question.
• selection of examples/illustrations and critical commentaries in support of points is
mostly appropriate but a more general discussion; lacks effectiveness and consistency
throughout
• an understanding of the link between form and content, genre-specific techniques and
language devices is demonstrated but does not consistently apply and develop the
significance of the link throughout
• arguments are logically summarized by repetition of thesis and points used to support but
may lack a personal evaluative statement
Award 12 marks where there are minor lapses in the areas outlined in this category
Award 11 marks where the discussion is logical and clear but evidence is not
consistently nor effectively used in the discussion
Satisfactory • thesis is relevant but does not reflect or engage all key concepts of the question ; does
9 –10 not sufficiently guide the reader to what the essay will discuss, position is not always
clear
• application of knowledge of the genre and the set text(s) is evident but there may be
frequent inaccuracies and lapses in the interpretation of information; lacks sufficient
details, some analysis and evaluation done but there is also retelling of information
• Inconsistent development of ideas
• selection of examples and illustrations in support of points is sometimes inappropriate
and a more general discussion given; extra textual commentaries may be given but lack
effectiveness and consistency throughout
• an understanding of the link between form and content, genre-specific techniques and
language devices is sometimes implied rather than explicitly stated ; does not
consistently apply and develop the significance of the link throughout.
• arguments may be logically summarized or a restatement of points used to support thesis
statement; but lacks a personal evaluative statement
Award 9 marks where the focus is mostly on one key concept in the question but other
concepts may be omitted, implied or ineffectively discussed; most linkages are implied;
barely adequate analysis and synthesis
-9-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Acceptable • thesis does not reflect or engage all key concepts ; does not sufficiently guide the
7–8 reader to what the essay will discuss, position is ambiguous
• basic application of knowledge of the genre and the set text(s) is evident, substantial
and significant inaccuracies in the interpretation of information; lacks sufficient
details, little analysis and evaluation done; mostly retelling of information. Little
development of ideas
• selection of examples and illustrations in support of points is sometimes appropriate
but a more general discussion given; extra textual commentaries are lacking in relevance
and effectiveness
• basic understanding of the relationship between form and content, few references to genre-
specific techniques and language devices evident; difficulty in applying the significance
of the linkages between elements
• a restatement of points used to support thesis statement; no personal evaluative
statement provided.
Award 7 marks where there is a partial effort to engage with texts and respond to the
question; more narration than analysis
Limited • thesis is vaguely stated; may engage with one key concept in the question does not
4–6 sufficiently guide the reader to what the essay will discuss, a position is taken but
unable to marshal evidence to support
• limited application of knowledge of the genre and the set text(s) is evident, mostly
inaccurate interpretation of information; lacks details, little or no analysis done;
mostly retelling of information. Little development of ideas
• Limited application of examples and illustrations in support of points , very general
discussion ; extra textual commentaries maybe questionable in relevance and accuracy
• limited understanding of the link between form and content, limited genre-specific
techniques and language devices evident; difficulty in applying the significance of the
linkages
• a restatement of points used to support thesis statement or no conclusion
Award 5 marks where there is use of extra textual materials and one or two instances of genre
specific techniques and /or jargon
Award 4 marks where there is no use of extra textual materials or no more than one instance
of genre-specific technique and/or jargon
-10-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Weak • very little evidence of engagement with the text/s;
0–3 • narration of some areas of the text; very little understanding of the question or key
concepts and relationships between literary elements
Award 2 marks
• retelling of the text/s with significant fabrication of information;
• no thesis statement or conclusion
• focus on key concepts of question absent
Award 0-1 mark
• essay is too short to show evidence of engagement with the question
• retelling of information not relevant to text/s
• no thesis statement or conclusion; focus on key concepts of question absent
-11-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Criterion III —Organization (6 marks)
Excellent • Introduction clearly shows a movement from general background information to more
6 specific contextualization of the issue/s posed by the question; concludes with a thesis
statement which is structured to ensure no ambiguity about the direction of the essay
and the sequence of the discussion points
• topic sentence is effectively linked to thesis and question; body of each supporting
paragraph is structured logically to develop the point made in the topic sentence;
seamless integration of evidence fluent arrangement of sentences within paragraphs;
• appropriate use of transitions to create unity, coherence and fluency throughout the
essay
• conclusion is focused and facilitates the summary of the main points and restatement of
thesis with appropriate evaluation ; conclusion does not introduce new information
Very Good Minor lapses in any ONE of the areas outlined below:
5
• Introduction clearly shows a movement from general background information to more
specific contextualization of the issue/s posed by the question; concludes with a thesis
statement which is structured to ensure no ambiguity about the direction of the essay
and the sequence of the discussion points
• appropriate use of transitions to create unity, coherence and fluency throughout the
essay
• conclusion is focused and facilitates the summary of the main points and restatement of
thesis with appropriate evaluation ; conclusion does not introduce new information
Good Lapses in any TWO of the areas outlined below:
4 • Introduction clearly shows a movement from general background information to more

specific contextualization of the issue/s posed by the question; concludes with a
thesis statement which is structured to ensure no ambiguity about the direction of
the essay and the sequence of the discussion points
-12-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
• appropriate use of transitions to create unity, coherence and fluency throughout
the essay
• conclusion is focused and facilitates the summary of the main points and restatement
of thesis with appropriate evaluation ; conclusion does not introduce new
information
Satisfactory Lapses in any THREE of the areas outlined below:
3
the essay
information
Acceptable Lapses in any FOUR of the areas outlined below:

2
the essay
information
NOTE: Candidates who have fabricated information about the texts or written
information that does not respond to the question asked can only
achieve a maximum of 3 marks for organization and language.
-13-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Limited Lapses in any FOUR or more of the areas outlined below:
1
• appropriate use of transitions to create unity, coherence and fluency
of thesis with appropriate evaluation ; conclusion does not introduce new information
Weak • Insufficient evidence to assess essay structure
0 • Insufficient information present to make a judgement, response is largely irrelevant
to the question, unclear
-14-
02132020/02232020/K/MS/SPEC 2023
UNIT 1 and UNIT 2
PAPER 02
MAY/JUNE 2023
Criterion (IV) – Language (6 marks)
Excellent Excellent to superior: Exhibits control and mastery of formal Standard English grammar with
6 minimal errors in vocabulary, spelling and punctuation; appropriateness of word choice,
variation in sentence structure
Very Good • Use of formal Standard English grammar with minimal errors in vocab, spelling and
5 punctuation
• Exhibits control and mastery of formal Standard English grammar with minimal errors in
vocabulary, spelling and punctuation; minor lapses in the appropriateness of word choice,
variation in sentence structure
Good • Consistent use of formal Standard English grammar with some errors(error or errors may
4 recur but does not affect clarity of meaning) in vocabulary, spelling and punctuation
• minor lapses in the appropriateness of word choice, variation in sentence
structure
Satisfactory • Inconsistent use of formal Standard English grammar with intrusive errors in vocabulary,
3 spelling and punctuation which affect clarity of meaning
• moderate lapses in the appropriateness of word choice, variation in sentence
structure
Acceptable • Inconsistent use of formal Standard English grammar with intrusive errors in vocabulary,
2 spelling and punctuation which affect clarity of meaning; use of informal expressions
• frequent lapses in the appropriateness of word choice and variation in sentence
structure
Limited • Inconsistent use of formal Standard English grammar with intrusive errors in vocabulary,
1 spelling and punctuation which impedes clarity of meaning; use of informal expressions
• significant lapses in the appropriateness of word choice, variation in sentence structure
Weak Insufficient response to make a judgement
0
TEST CODE 02232032
SPECIMEN 2023
UNIT 2 – Paper 032
2 hours 30 minutes
1. This paper consists of THREE sections with ONE question in EACH section.
2. Answer ALL questions.

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- 2 -
SECTION A
MODULE 1 – DRAMA
Read the following extract and answer Question 1 on the lined pages provided, pages 5–8. There is
a blank space on page 4. You may use this space to make notes and plan your essay.
A Woman of No Importance
SCENE
Lawn in front of the terrace at Hunstanton.
[SIR JOHN and LADY CAROLINE PONTEFRACT, MISS WORSLEY, on chairs under large yew
tree.]
5 LADY CAROLINE: I believe this is the first English country house you have stayed at, Miss
Worsley?
HESTER: Yes, Lady Caroline.
LADY CAROLINE: You have no country houses, I am told, in America?
HESTER: We have not many.
10 LADY CAROLINE: Have you any country? What we should call country?
HESTER: [Smiling.] We have the largest country in the world, Lady Caroline. They
used to tell us at school that some of our states are as big as France and
England put together.
LADY CAROLINE: Ah! you must find it very draughty, I should fancy.
15 [To SIR JOHN.] John, you should have your muffler. What is the use of
my always knitting mufflers for you if you won’t wear them?
SIR JOHN: I am quite warm, Caroline, I assure you.
LADY CAROLINE: I think not, John. Well, you couldn’t come to a more charming place
than this, Miss Worsley, though the house is excessively damp, quite
20 unpardonably damp, and dear Lady Hunstanton is sometimes a little lax
about the people she asks down here.
[To SIR JOHN.] Jane mixes too much. Lord Illingworth, of course, is a
man of high distinction. It is a privilege to meet him. And that member
of Parliament, Mr Kettle —
25 SIR JOHN: Kelvil, my love, Kelvil.

02232032/CAPE/SPEC 2023
-3-
LADY CAROLINE: He must be quite respectable. One has never heard his name before in the
whole course of one’s life, which speaks volumes for a man, nowadays.
But Mrs Allonby is hardly a very suitable person.
HESTER: I dislike Mrs Allonby. I dislike her more than I can say.
30 LADY CAROLINE: I am not sure, Miss Worsley, that foreigners like yourself should cultivate
likes or dislikes about the people they are invited to meet. Mrs Allonby
is very well born. She is a niece of Lord Brancaster. It is said, of course,
that she ran away twice before she was married. But you know how unfair
people often are. I myself don’t believe she ran away more than once.
35 HESTER: Mr Arbuthnot is very charming.
LADY CAROLINE: Ah, yes! the young man who has a post in a bank. Lady Hunstanton is
most kind in asking him here, and Lord Illingworth seems to have taken
quite a fancy to him. I am not sure, however, that Jane is right in taking
him out of his position. In my young days, Miss Worsley, one never met
40 any one in society who worked for their living. It was not considered the
thing.
HESTER: In America those are the people we respect most.
LADY CAROLINE: I have no doubt of it.
HESTER: Mr Arbuthnot has a beautiful nature! He is so simple, so sincere. He has

45 one of the most beautiful natures I have ever come across. It is a privilege
to meet him.
LADY CAROLINE: It is not customary in England, Miss Worsley, for a young lady to speak
with such enthusiasm of any person of the opposite sex. English women
conceal their feelings till after they are married. They show them then.
50 HESTER: Do you, in England, allow no friendship to exist between a young man

and a young girl?
[Enter LADY HUNSTANTON, followed by Footman with shawls and a cushion.]
LADY CAROLINE: We think it very inadvisable. Jane, I was just saying what a pleasant party
you have asked us to meet. You have a wonderful power of selection. It
55 is quite a gift.
Adapted from Oscar Wilde, A Woman of No Importance (1898).

Retrieved from https://www.gutenberg.org/files/854/854-0.txt

02232032/CAPE/SPEC 2023
- 4 -
1. Write a critical appreciation of the extract, paying attention to characterization, stage directions,
dialogue and themes.
SECTION A

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[Total 15 marks]

02232032/CAPE/SPEC 2023
-9-
SECTION B
MODULE 2 – POETRY
Read the following poem and answer Question 2 on the lined pages provided, pages 11–14. There
is a blank space on page 10. You may use this space to make notes and plan your essay.
Fifteen,
I am writing from 29 to tell you

we live. I remember our dreams,
the long white halls with no end,
and how when we tried to imagine
5 life after high school, it was blank
and solid as a grave. We thought
that meant there was no future
for us, and practised accepting
our absence from our own lives
—
10 no more best friendships, school
dances, no more yearning for boys
to whom we were already invisible.
Now, we are almost twice your age.
The face we couldn’t envisage is yours

15 but leaner, with shadows of Mom
in its profile. In two years, we will
step on our first plane, and fall
in love with flight. We will move
like wind across the world: we

20 conjugate French class verbs in Paris
and Nice; we follow Jesus to Bethlehem,
and Galilee; we have lived in places
you do not yet know exist. I see now
that it will all begin with you —

25 the path away from home marked
with nothing; who could walk it
but the girl who has already made peace
with her own end? 15, looking back,
I understand our quiet death-wait,

30 the surprise of our persistent, daily waking:
We never could have imagined this.
Lauren K. Alleyne, Peepal Tree, “Fifteen,”.

In Difficult Fruit, 2014, p. 7.

02232032/CAPE/SPEC 2023
- 10 -
2. Write a critical appreciation of the poem, paying attention to form, language, tone and themes.
SECTION B

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- 11 -
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02232032/CAPE/SPEC 2023
- 15 -
SECTION C
Read the following extract and answer Question 3 on the lined pages provided, pages 17–20. There
is a blank space on page 16. You may use this space to make notes and plan your essay.
Sales and Exchanges
The Sales were important to us because that was how we got hold of things from outside. Tommy’s
polo-shirt, for instance came from a Sale. That’s where we got our clothes, our toys, the special
things that hadn’t been made by another student. Once every month, a big white van would
come down that long road and you’d feel the excitement all through the house and grounds.
5 Looking back now, it’s funny to think we got so worked up, because usually the Sales were a big
disappointment. There’d be nothing remotely special and we’d spend our tokens just renewing
stuff that was wearing out or broken with more of the same. But the point was, I suppose, we’d all
of us in the past found something at a Sale, something that had become special: a jacket, a watch,
a pair of craft scissors never used but kept proudly next to a bed. We’d all found something like
10 that at one time, and so however much we tried to pretend otherwise, we couldn’t ever shake off
the old feelings of hope and excitement. By the time of the actual Sale, all sorts of rumours would
be going around, maybe about a particular track-suit or a music cassette, and if there was trouble,
it was almost always because a few students had set their hearts on the same item.
The Sales were a complete contrast to the hushed atmosphere of the Exchanges. They were held
15 in the Dining Hall, and were crowded and noisy. In fact the pushing and shouting was all part
of the fun, and they stayed for the most part pretty good-humoured. Except, as I say, every now
and then, things would get out of hand, with students grabbing and tugging, sometimes fighting.
Then the monitors would threaten to close the whole thing down, and we’d all of us have to face
a talking to from Miss Emily at assembly the next morning. There was a real sense of feeling
20 bad that we had, in some collective way, let down Miss Emily, but try as we might, we couldn’t
really follow these lectures. It was partly her language. ‘Unworthy of privilege’ and ‘misuse of
opportunity’: these were two regular phrases Ruth and I came up with when we were reminiscing.
Her general drift was clear enough: we were all very special, being Hailsham students, and so it
was all the more disappointing when we behaved badly.
Adapted from Faber and Faber, Kazuo Ishiguro,

Never Let Me Go, 2005, pp. 41–43.
3. Write a critical appreciation of the extract, paying attention to setting, characterization, conflict
and themes.

02232032/CAPE/SPEC 2023
- 16 -
SECTION C

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02232032/CAPE/SPEC 2023
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END OF TEST
02232032/CAPE/SPEC 2023
02232032/CAPE/KMS/SPEC 2023
UNIT 2 — PAPER 032
KEY MARK SCHEME
SPECIMEN
-2-
KEY AND MARK SCHEME
MODULE 1 – DRAMA
Question 1
“A Woman of No Importance”
Write a critical appreciation of the extract, paying particular

attention to characterization, stage directions, dialogue, and themes.
Characterization
Award 4 marks for full discussion of one trait for any TWO characters.
Award 1-2 marks for a response which lacks some of the details.
(Award TWO marks EACH for a full discussion of any TWO characters.
Candidates who choose to provide an extensive discussion of
ONE/TWO/THREE of the characters should also be able to access the four
marks. Candidates who mention other points relevant to
characterization other than the ones noted below should be awarded
the marks if their responses are reasonable.)
Lady Caroline:
• Haughty
• Supercilious
• Imperious
• Domineering
• Condescending
• Superior
• Uppity
• Patronizing
• Conservative
• Xenophobic
• Deceitful – she praises Lady Hunstanton to her face about her
“gift” for selecting guests, but had earlier criticized her for
sometimes being “lax” in her selection.
All of the characteristics above can be attributed to Lady Caroline

who perceives Britain / Britons/ Britishness as better than America /
Americans / American way of life that Hester represents and it is
inferred as well of others who are foreign / foreigners. She is a
stickler for tradition and the status quo as relates to classism as
well as gender norms and relations. She seeks to control her husband,
Sir John.
-3-
KEY AND MARK SCHEME
Question 1 cont’d
Hester (Miss Worsley):
• Frank – she is open and frank/honest in her opinions of people and

of her homeland
• Respectful – in spite of Lady Caroline being rude towards her,

Hester shows respect and civility towards her insofar as she does
not reciprocate Lady Caroline’s tone and attitude.
• Possible social climber, in England to seek a title through

marriage.
• Unflappable – holds her own despite Lady Caroline’s put down
Sir John:
• Quiet – he speaks only twice in the extract; he does not engage in

his wife’s conversation with Hester, except for once when he
corrects her after she gives a wrong name for Mr. Kelvil – he
otherwise does not support or contradict what she says to her, so
the reader is unsure whether he shares her views; he also only
speaks in response when his wife addresses him directly.
• Defiant – he is not afraid to challenge/oppose/disagree with Lady

Caroline’s insistence that he wears the mufflers she has knitted
for him, although he does so in a dismissive rather than in a
forceful tone. (2 + 2) [4 marks]
Stage directions
Award 2 marks for any full explanation of any ONE of the following:
The stage directions depict elements of setting and characterization
• Setting – the stage directions set the scene’s location and weather.
The characters in the extract are situated outdoors; they are

outside on the lawn in front of the terrace, seated below a yew
tree – hence the need for the footman to bring shawls (because they
are outdoors they will feel chilly. Lady Caroline’s mention of
mufflers also helps the reader infer that the season may be autumn
or winter) and cushions (they need these extra items of comfort
because they are outside and the inference is that they are to put
on the chairs on which the characters are seated.
• Characterization – the stage directions reveal that besides the

titles of Sir and Lady, the mention of the footman in the stage
directions also indicates the affluence of the characters.
Hester’s smile is an indication of the pride she feels about her

country (the United States of America)
Any other reasonable response [2 marks]
-4-
KEY AND MARK SCHEME
Question 1 cont’d
Dialogue
Award 2 marks for any full explanation of any two of the following.
Award 1 mark for a response which lacks some details.
• Contributes to direct characterization by revealing the opinions

and personalities of Lady Caroline, Hester, and Sir John.
• Contributes to indirect characterization by providing information

on other characters` who are not there in this particular scene –
such as Mr. Kelvil, Mrs. Allonby, Lord Illingworth and Mr. Arbuthnot
– and on Lady Hunstanton who enters at the end of the extract and
does not yet speak.
• Provides context for why the characters are gathered at Lady

Hunstanton’s residence in that the reader infers they have been
invited for a social gathering.
• Hints at the dynamics in the husband-and-wife relationship between

Sir John and Lady Caroline.
• Reveals the differences in British and American/Old World and New

World ways of thinking/sensibilities – the British/Old World is
particularly depicted by the British aristocracy/high society in
the form of Lady Caroline; the inference is that Hester belongs to
the American upper or upper-middle class.
• Contributes to the meaning and significance of the title “A Woman

of No Importance” since in the extract this undoubtedly alludes to
Hester based on the way she is treated/spoken to by Lady Caroline
and she as well has no aristocratic title.
• Reveals the differences/changes in age-related attitudes between

married and unmarried women from British and American societies
towards work and gender relations, for instance – the reader infers
that Miss Hester Worsley is a younger woman than Lady Caroline.
(2 + 2) [4 marks]
-5-
KEY AND MARK SCHEME
Question 1 cont’d
Themes
Award 3 marks for full discussion of any ONE of the following

Award 1-2 marks for a response which lacks some details.
• Old World versus New World – the extract portrays a British

colonial and high society viewpoint and ethos as opposed to an
American one, with Lady Caroline and Hester being metonyms for
each, respectively
• Classism – Lady Caroline, because of her upbringing, portrays a

classist point-of-view
• Gender relations – traditional British and modern American notions

of how men and women should interact is conveyed in the extract’s
dialogue [3 marks]
Organizing of information
Satisfactory 1
Poor 0
Total 15 marks
-6-
KEY AND MARK SCHEME
MODULE 2 – POETRY
Question 2
Fifteen
Write a critical appreciation of the poem, paying attention to form,

language, tone and themes.
Form
Award THREE marks for a full discussion of any point. Candidates who
mention other points relevant to the form other than the ones noted
below should be awarded the marks if their responses are reasonable.)
Award 1-2 marks for a response which lacks some details
• The use of free verse contributes to the conversational style of

the poem.
• The run-on lines (enjambment) also lend to this idea of natural,

everyday speech and conversation.
• The poem’s title with its comma though in conventional form is

separated by a space from the rest of the poem is nevertheless
also an integral part of the first line of the poem because it is
in the vocative (draws attention to what is being said) case.
[3 marks]
Language:
(Award TWO marks EACH for a full discussion of any TWO aspects of
language. Candidates who mention other elements of language, other
than the ones noted below, should be awarded the marks if their
• The poem is of a conversational style whereby the older self at

twenty-nine years of age is addressing her younger self at fifteen.
There is therefore an element of self-talk/reflection in the poem.
• The first-person voice (use of “I”, “you”, “we”, “us”) and

perspective of the persona lends to the elements of orality and
conversation/self-talk.
-7-
KEY AND MARK SCHEME
Question 2 cont’d
• The comma in the title reinforces the use of the literary device
of an apostrophe; that there is the suggestion of an addressee in
the form of a number (age) and the speaking voice is the older
persona addressing the younger self (addressee).
• The use of a number rather than a name emphasises the passing of

time with its importance to the maturation process of the persona.
• “FIFTEEN,” serves as both the title of the poem and as a person

(both persona and addressee). The latter as addressee therefore
indicates that the title functions in the vocative case.
• The title not only indicates age, but along with the first line of
the poem also suggests the passing of time from the past to the
present in the persona’s life. In terms of grammar, the various
adverbs of time (“now”, “when”, “already”, for example), as well
as other words and phrases related to time (“future”, “In two
years”, “begin”, “looking back”, “daily”, “wait”, for instance)
along with the tense and aspectual features in the poem reinforce
this idea.
• Words like “remember”, “imagine”, “thought”, “envisage”, “looking

back”, “understand”, for example, lend to the retrospective and
reflective quality of the poem.
• Use of similes (“…when we tried to imagine life after high school,

it was blank/and solid as a grave”; “We will move/like wind across
the world…”) further reinforce the limited imagination and
expectation of the persona as a teenager and the expansive travels
she will experience later as an adult.
• Kinaesthetic imagery in the poem highlights the many travels around

the world the persona undertakes as an adult. (2 + 2) [4 marks]
Tone
Award THREE marks for a comprehensive treatment of tone.

• Reflective and introspective tone – captures the gist of the poem.
• A tone of wonderment and surprise – at how much the persona has

experienced and achieved at twenty-nine years of age, which she
could not possibly imagine when she was fifteen.
-8-
KEY AND MARK SCHEME
Question 2 cont’d
• A tone of reassurance and hope – conveyed by the persona as she

reflects on what her life has become as she ponders on the doubts
and uncertainties of her fifteen-year-old self. [3 marks]
Themes
Award THREE marks for a full discussion of any ONE thematic concern.
Candidates who mention themes other than the ones noted below should
be awarded the marks if their responses are reasonable.
• Coming of age
• Memory – because the persona comprises both the addresser and

addressee, the themes of memory, introspection and retrospection
are foregrounded
• Change – death and rebirth
• The process of maturing (from adolescence to

adulthood)/metamorphosis (cocoon to butterfly)
• Realisation the persona realises at fifteen she had begun to be

self-aware but also was incapable at that age of determining what
her life would be like at twenty-nine
• Migration – the persona migrates from her homeland two years later
at seventeen
• Travel and adventure [3 marks]
Good/Excellent – 2 [2 marks]
Satisfactory – 1
Poor – 0
Total 15 marks
-9-
KEY AND MARK SCHEME

Question 3
Sales and Exchanges
Write a critical appreciation of the above extract, paying particular

attention to setting, characterization, conflict, and themes.
Setting
(Award THREE marks for a full discussion of any ONE aspect of setting.
Candidates who mention other elements of setting, other than the ones
noted below, should be awarded the marks if their responses are
reasonable.)
• The story/extract is set in a boarding school called Hailsham—

references to house, bed and dining hall make the reader of the
extract arrive at that inference.
• The boarding school is a co-educational institution, inferred by

references to the names Tommy and Ruth.
• While the location for the morning assembly is not mentioned, it

likely takes place in an indoor hall or other large area of the
school—this can be speculated upon based on the reader’s pre-
knowledge. [3 marks]
Characterization
Award TWO marks EACH for a full discussion of any TWO characters.
Candidates who choose to provide an extensive discussion of ONE of
the characters should also be able to access the four marks.
Candidates who mention other points relevant to characterization
other than the ones noted below should be awarded the marks if their
• The Hailsham students are characterized as dependent on particular

everyday as well as special items that come from outside of the
institution on a monthly basis. They do not take these for granted
because if not for the sales and exchanges it is apparent they
would not have them otherwise.
• It is inferred that students are skilled in making other needed

and wanted items that did not come from outside of Hailsham.
-10-
KEY AND MARK SCHEME
Question 3 cont’d
• Students’ responses to the sales and exchanges indicate that they

are, as a whole, competitive, “good-humoured”, and behave in
typical ways associated with the age group of children at a
boarding school.
• The Hailsham students also demonstrate the quality of contriteness

/contrition when they behave in ways counter to the boarding
schools’ expectations of them.
• That they do not comprehend Miss Emily’s “lectures” is another

indication of their age range.
• It is determined by Miss Emily’s indirect characterization of them

that the Hailsham students are a privileged group who are afforded
particular opportunities—that they are a “very special group” of
students.
• The story extract does not identify what this specialness is

about; but, since the students need to have Sales and Exchanges
of ordinary— and, it is inferred, used—items the reader can deduce
that this quality of being special does not relate to financial
wealth and the privileges it affords but instead perhaps to their
intellectual abilities.
• Miss Emily—whom the reader can infer is the principal, if not a

senior teacher or another one of consequence at the boarding
school—is portrayed as having the respect of the students who feel
contrite in disappointing her.
• Miss Emily is also characterized as being discreet, prudent and

cryptic in not telling the students outright/exactly how they are
privileged and what the opportunities are that they are misusing.
(2 + 2) [4 marks]
Conflict
Award THREE for a full discussion of any ONE type of conflict.

Candidates who mention other types of conflict, other than the ones
noted below, should be awarded the marks if their responses are
reasonable.
-11-
KEY AND MARK SCHEME
Question 3 cont’d
• It is implied that there is intrapersonal conflict—for instance,

based on these words of the narrator: “it’s funny to think we got
so worked up”. The Hailsham students were conflicted over their
Sales choices and decisions.
• There was interpersonal conflict when students wanted the same

Sales items; and, grabbed, tugged and fought each other during the
Exchanges.
• This latter led to further interpersonal conflict, of sorts, in

the form of the monitors’ and Miss Emily’s threats and
admonishment, respectively. [3 marks]
Themes
Award THREE marks for a full discussion of any ONE thematic concern.
Candidates who mention themes other than the ones noted below should
be awarded the marks if their responses are reasonable.
• Boarding-School Existence
• Special Students
• Student-to-Student Interaction
• Student-to-Teacher Interaction
• Importance of Quotidian Items
• Emotional Impact of Ordinary Things
• Memory [3 marks]
Good/excellent 2 [2 marks]
Satisfactory 1
Poor 0
Total 15 marks
Caribbean Examinations Council
Prince Road, Pine Plantation Road,
St Michael BB11091
Tel: (246) 227 1700
Email: [email protected]

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Caribbean Advanced

Effective for examinations from May–June 2024

Telephone Number: + 1 (876) 630-5200

Copyright ©2022 by Caribbean Examinations Council

CXC A15/U2/22 www.cxc.org

CXC A15/U2/22 www.cxc.org

First issued in 2001

Please check the website www.cxc.org for updates on CXC®’s syllabuses.

CXC A15/U2/22 www.cxc.org

T he Caribbean Advanced Proficiency Examination® (CAPE®) is designed to provide certification of

CXC A15/U2/22 www.cxc.org

CXC A15/U2/22 1 www.cxc.org

1. develop an understanding of the nature, function and terminology used in literature;

2. develop a systematic and theoretical approach to literary study;

3. encourage critical reading, interpretation, analysis and evaluation;

4. explore connections across texts;

 SKILLS AND ABILITIES TO BE ASSESSED

1. Knowledge and Understanding;

2. Use of Knowledge; and,

Knowledge and Understanding

The Assessment will test:

1. familiarity with the primary (prescribed) texts;

3. familiarity with the features of genres;

CXC A15/U2/22 2 www.cxc.org

The Assessment will test:

1. the ability to analyse, evaluate, and synthesise knowledge;

4. the appropriateness of the information selected; and,

5. the ability to present a reasonable conclusion based on evidence provided.

3. the final paragraph which brings the argument to a reasonable conclusion;

4. connectives between sentences and paragraphs;

5. formal syntactic structures;

6. correct grammar; and,

7. effective use of language.

 PREREQUISITES OF THE SYLLABUS

CXC A15/U2/22 3 www.cxc.org

Module 1 Module 2 Module 3

2. develop an appreciation for the relationship between form and content;

3. understand and demonstrate an ability to use the vocabulary of literary criticism at an

6. develop competence in critical thinking and working collaboratively with others;

11. develop an appreciation for various critical interpretations of works of literature.

CXC A15/U2/22 4 www.cxc.org

1. one play by Shakespeare;

2. one work of Caribbean literature;

3. one work of poetry; and,

4. one work of prose fiction.

Students are expected to spend at least 50 hours on each Module.

 APPROACHES TO TEACHING THE SYLLABUS

CXC A15/U2/22 5 www.cxc.org

(for use throughout the Units)

Beach, R., Appleman, D, Teaching Literature to Adolescents. Routledge, 2021.

Blackwell Anthologies Literary Theory: An Anthology, 3rd Edition. Wiley-Blackwell, 2017.

Cambridge The Cambridge Introduction to Narrative (Cambridge Introduction to

Eagleton, T. How to Read Literature. Yale University Press, 2013.

Kusch, C. Literary Analysis: The Basics. Routledge, 2016.

Mickics, D. A New Handbook of Literary Terms. Yale University Press, 2013.

Mirriam-Webster Merriam Webster’s Readers Handbook. Massachusetts: Merriam-

CXC A15/U2/22 6 www.cxc.org

On completion of this Module, students should:

2. develop an appreciation for the relationship between form and content;

3. understand and demonstrate an ability to use the vocabulary of literary criticism at an