ENGLISH HOME LANGUAGE

PAPER 2
NATIONAL SENIOR CERTIFICATE
GRADE 12
MEMORANDUM
NOVEMBER 2017

TOTAL: 80

This memorandum consists of 19 pages.

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NOTE TO MARKERS

 This marking memorandum is intended as a guide for markers.

 The memorandum will be discussed with the marking panel before marking
commences at the marking centre.
 Candidates’ responses must be considered on their merits.

MARKING GUIDELINES

1. Wherever a candidate has answered more than the required number of

questions, mark only the first answer/response. (The candidate may not
answer the essay and the contextual question on the same genre.)
2. In SECTION A, if a candidate has answered all four questions on
prescribed poems, mark only the first two.
3. In SECTIONS B and C, if a candidate has answered two contextual or two
essay questions, mark the first one and ignore the second. If a candidate
has answered both questions (novel) and all four questions (drama), mark
only the first answer in each section, provided that one contextual and one
essay have been answered.
4. If a candidate gives two answers, where the first one is wrong and the next
one is correct, mark the first answer and ignore the second.
5. If answers are incorrectly numbered, mark according to the memo.
6. If a spelling error affects the meaning, mark incorrect. If it does not affect
the meaning, mark correct.
7. Essay question: If the essay is shorter than the required word count, do not
penalise, because the candidate has already penalised himself/herself. If
the essay is too long, consider and assess a maximum of 50 words beyond
the required word count and ignore the rest of the essay. However, the
conclusion must be considered.
8. Contextual questions: If the candidate does not use inverted commas when
asked to quote, do not penalise.
9. For open-ended questions, no marks should be awarded for YES/NO or I
AGREE/DISAGREE. The reason/substantiation/motivation must be
considered.
10. No marks should be awarded for TRUE/FALSE or FACT/OPINION. The
reason/substantiation/motivation must be considered.
11. Answers to contextual questions must be assessed holistically in the light of
the discussion during the standardisation of the marking memorandum.
Part marks should be awarded in proportion to the fullness of the response
to each question.

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SECTION A: POETRY

QUESTION 1: PRESCRIBED POETRY ̶ ESSAY

THE GOOD-MORROW – BY JOHN DONNE

Use the following ideas, among others, as a guide to marking this question.
Responses might differ, depending on the candidate’s sensitivity to and understanding of the
poem, and the poet’s intention.
Refer to the rubric on page 18 for marking the poetry essay.

 The poet uses diction to create the role of exaggeration of love in poem form. For
example, the greeting of the title has a double meaning: literally one between two
lovers who have perhaps just woken up in the same ‘little room’ and figuratively a
greeting to their waking souls.
 The poet uses the metaphors of breast-feeding and sleeping to suggest what life was
like before they fell in love, ‘Did, till we…weaned till then?’
 The poet uses metaphors of waking, of world discovery and the globe to describe the
discovery of their love, ‘But sucked on country pleasures, childishly?’
 Donne uses clever arguments to dismiss the usual fears that lovers have. For
example, he dismisses any former loves he had had as ‘but a dream of thee’
 The lovers’ sincerity and honesty to one another is quite clear from their appearance
as ‘plain hearts do in the faces rest’.
 In ’The Good-morrow’ the ‘I' voice challenges the reader with a question to which he
demands an answer, even though the question posed is a semi-rhetorical question –
the other person is never allowed a minute to reply.
 This is in great contrast to the much softer second stanza. It starts off with a note of
restrained triumph and finishes with a persuasive plea to enjoy their world. There are
no longer any questions.
 Tone: The poem seems to end on a note of some doubt: ‘If … or ... '. Perhaps Donne
cannot keep up the conceit that nothing will come to change their love or intrude upon
it.
 The tone is light, informal and intimate, with imagery drawn from religion, science, and,
most interestingly, cartography.
 Imagery: The idea of one lover being reflected in the other's eyes is an important one
as it emphasises true love. Donne combines this with the preceding image of globes.
 Donne extends this to the fact that ‘plain hearts', by which he means honest hearts,
show also in the faces of the lovers. There is no pretence, which is why there is no
fear. ‘Perfect love casts out fear' says the Bible (1 John 4:18), and this is echoed here.

[Candidates should discuss all three aspects and show how these reinforce the statement.]
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QUESTION 2: PRESCRIBED POETRY ̶ CONTEXTUAL

AND DEATH SHALL HAVE NO DOMINION ̶ DYLAN THOMAS

2.1 The use of the negative in a future tense suggests that Death currently rules and
implies that although Death has dominion, this shall not always be so.
[Award 2 marks for a clear understanding of the title.] (2)

2.2 Christians’ faith in God would be likely to break because of their intense suffering
and their belief that God is unable to rescue them. The speaker notes that neither
torture nor a loss of faith shall kill the spirit. The spirit will live on regardless of
belief. It is possible that this is a rejection of Christianity or organized religion in
general.
[Award 2 marks for clear indication of religious suffering and belief.] (2)

2.3 The repetition is to emphasise and draw attention to the words ‘and death shall
have no dominion’; death shall no longer rule or dominate. To state that ‘Death is
the end of everything’; that there is no more after Death, is proven not to be so, as
there is life, after death, in the spiritual sense.
[Award 3 marks only for a critical discussion of the poet’s use of the emphasis of
the repetition] (3)

2.4 Yes.
The sun is a symbol of resilience and of life and illustrates that the life force will
continue. The circle of life and death, and how interconnected our world is, is
illustrated by daisies that grow on graves and are nourished by the dead.
[Award 1 mark for the symbolism and 2 marks for a well-developed discussion of
the imagery.]
OR
No.
(Unlikely but accept cogent response.)
[Credit valid alternative responses.] (3)
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QUESTION 3: PRESCRIBED POETRY ̶ CONTEXTUAL

REMEMBRANCE – BY EMILY BRONTË

3.1 ‘Severed’ has the association of violence, and suggests that her loved one was
suddenly taken away from her by death.
[Award 2 marks for two ideas.] (2)

3.2 The poet has found inner peace. She is able to move on and is no longer obsessed
with his death. Her thoughts don't ‘hover’ over his grave anymore on that ‘northern
shore’. The distance between them (along with the mountains) provides a
metaphorical comparison for the speaker moving away from those memories. Both
time and the landscape act like a buffer between the speaker and the pain she once
associated with her lover's death.
[Award 2 marks for two ideas or 2 marks for one idea well discussed.] (2)

3.3 ‘Divine’ means absolute happiness whereas ‘anguish’ means absolute suffering or
absolute sadness. The speaker's perspective on how anguish can be an
indulgence that one ‘drinks deep’ is illustrated. This suggests that she's really
feeling an aversion to the whole idea of wallowing in misery and self-pity. At the
same time, she recognizes that anguish can be ‘divine’ in the sense that it proves
her faithfulness. It’s time to move forward from that anguish. It would be like
seeking the ‘empty world’ again that reminds her of what she has lost.
[Award no more than 2 marks if only 1 idea is discussed.]
[Award 3 marks for a developed discussion of two ideas.] (3)

3.4 YES
The writer has come to terms with her loss. She uses words such as ‘languish’,
‘indulge’, ‘rapturous pain’ and ‘anguish’ to emphasise the effect that obsessing
about his death had on her. She has avoided maudlin grief because it is an
indulgence which makes it impossible to carry on with real life. The candidate
might argue that this is convincing because the whole poem has emphasised the
sustainability of grief over many long years.
OR
NO
The candidate might argue that it is NOT convincing because the poem has already
come close to admitting that she has been forgetful and his memory has become
‘obscure’.
[Award 1 mark for argument and 2 marks for a critical discussion of diction.] (3)
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QUESTION 4: PRESCRIBED POETRY ̶ CONTEXTUAL

I HAVE MY FATHER’S VOICE – CHRIS VAN WYK

4.1 The writer recognises that he portrays the same mannerisms and personality as
that of his father for example:
He sits with his elbows on the table.
He holds his head in a certain way.
He laughs in a similar fashion – loudly and with his head thrown back.
[Award 2 marks for two ideas.] (2)

4.2 The poet respected his father and the role that he played in his life. This was a
voice of authority. His father taught him the difference between right and wrong and
that is why he can continue with the same norms and values his father instilled in
him. His father’s voice was also a tool for doling out punishment when he
transgressed.
[Award 2 marks for two explicit ideas.] (2)

4.3 The poet sketches a picture of a man frantically looking for a sock on more than
one occasion early in the mornings being late for work. Dirty washing is being flung
all over which illustrates his father’s frustration in his attempt to look for the missing
sock. This results in him shouting which emphasises his frustration in the mornings.
This also clearly shows his father’s disorganisation.
[Award 1 mark for a description of a visual image and 2 marks for a well-developed
discussion.] (3)

4.4 YES.
The poet says that he is similar to his father in every way except that, while his
father blusters, the poet uses a poetic way of explaining what his father says. Like
his father, he also has a temper. He uses words such as ‘fuming’ and ‘spew’ to
illustrate his point. He is a poet whereas his father is not.
His father calls a spade a spade (he says it like it is) whereas the poet has learned
to speak poetically, using both alliteration and assonance.
OR
NO.
(An unlikely response but credit on merit.)
[Award 3 marks only if candidate has presented a well-developed response.] (3)
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UNSEEN POETRY: POETRY FROM AFRICA

QUESTION 5: UNSEEN POETRY ̶ CONTEXTUAL

THE CALABASH – ABNER NYAMENDE

5.1 The calabash is important in the household as it has a ‘permanent seat’. The word
regal refers to royalty or importance. It illustrates the value that is placed on the
calabash as it functions as judge, arbitrator and provider. It has the authority to
determine decisions made in the household.
[Award 2 marks for two explicit ideas.] (2)

5.2 The poet uses a simile to compare the calabashes to judges. This creates a sense
of separation between the inhabitants and the calabashes and the power that the
calabash exerts on them. They are silently watching/criticizing/observing the actions
and words that are taking place daily.
[Award 2 marks only if the comparison is clearly discussed.] (2)

5.3 The poet uses words such as ‘lonely’, ’slender’, ‘little’ and ‘wretched’ to create an
image of desolation and vulnerability. The readers feel empathy for the
circumstances that are described in this stanza. It illustrates the unfortunate,
sorrowful and distressing situation poor people find themselves in.
[Award 1 mark for a discussion of diction and 2 marks for the meaning.] (3)

5.4 The poet uses the image of a fly trapped in a calabash to illustrate how lost she felt.
The poet tried losing herself in fancies of the past, trying to re-live forgotten
memories and times long gone. She realises that so many of these memories are
‘scarce’ either because she can’t fully remember them or because they weren’t
entirely valuable experiences at the time.
[Award 3 marks for a well-developed answer.] (3)

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SECTION B: NOVEL
QUESTION 6: THE UNLIKELY PILGRIMAGE OF HAROLD FRY ̶ ESSAY
 Below is the basis for answering this essay. Use the following as a guideline only.
However, also allow for answers that are different, original and show evidence of
critical thought and interpretation.
 A range of examples may be used by the candidates to support their arguments.
 Refer to the rubric on page 19 to assess this question.

 At the end of his journey Harold comes to terms with the mistakes he made in the past.
 Harold and the Garage Girl and a Question of Faith: The girl says that he has to have a
positive attitude. When Harold asks if the girl's aunt recovered she says that faith gave her
aunt hope ‘when everything else had gone’.
 The girl at the garage is never named but she is important because her words give Harold
the motivation to begin his walk. Harold notes that she ‘seems to be standing in a pool of
light’ as she talks about faith.
 He thinks of all the times he missed out on life, including invitations for a beer and
neighbours who had moved without Harold ever speaking to them again.
 He urges Queenie to ‘hang on’ and pledges to walk all the way to Berwick-upon-Tweed.
He hangs up, writes a postscript on the letter urging Queenie to live until his arrival, and
drops it in the mailbox.
 During the early moments of his walk, Harold reflects on his relationship with Maureen and
with David.
 This is the first time that it becomes apparent that Harold is actually seeking something
other than the ordinary/mundane. However, he can't yet identify his quest or what he
hopes to accomplish.
 Hotel restaurant: The waitress and two women are interested in his story, but soon
everyone in the dining room is also listening. One woman calls his walk a ‘pilgrimage’.
Harold is self-conscious. They make it clear they believe he can make the journey.
 Publican: the man says everyone has a past and wishes Harold luck. Harold lets himself
think about Queenie.
 The walk becomes a symbol of Harold's life. He remembers his childhood.
 He also thinks about the people and events of his past. It's as if he ‘wasn't so much
walking to Queenie as away from himself’. This is an important look at Harold's character
and his attempt to come to terms with his life.
 The fact that David committed suicide makes the scene between Harold and the mother
on the bicycle more significant than it actually appears. The young woman has slashes on
her wrists, indicating that she had tried to commit suicide. Harold doesn't say anything to
her but later wishes he'd had something wise to say. This is evidence of an important
aspect of Harold's character. He knows that he wasn't able to save David but wants to do
something for this young woman.
 The actor is just one more of many people Harold meets along his way. Many of the
people Harold meet are hopeful, helpful, and optimistic, and the actor represents the exact
opposite of that. Harold is easily swayed by the words and opinions of others, but is
ultimately determined.

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 In some ways, Harold's relationship with Wilf is something of a parallel to Harold's

relationship with David. When Wilf wakes from a nightmare, Harold remembers how
Maureen comforted David, and this time Harold takes the initiative and comforts Wilf. All
these comparisons make it obvious that Harold is probably going to be faced with some
crisis with Wilf, just as he was with David.
 Rich begins hunting small game and Harold is always upset to see the animals skewered
and cooking over a campfire. Wilf is never willing to get up on time which makes them
have a late start. Harold believes Wilf is drinking but makes excuses for him to the others.
Then Wilf disappears, taking a trinket Harold had purchased for Queenie.
 The people he meets and the experiences he has on his journey make him more
determined to reach Queenie in time.
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QUESTION 7: THE UNLIKELY PILGRIMAGE OF HAROLD FRY – CONTEXTUAL

7.1 The letter dredges up memories from years earlier and as Harold walks, he and
Maureen reflect on their lives. The letter serves as a catalyst for Harold to embark
on the pilgrimage and provide a new meaning to his life. This in turn, positively
affects the relationship between Harold and Maureen.
[Award 3 marks for three distinctive ideas or two ideas well explained.]
[Credit cogent alternative responses.] (3)
7.2 Harold is recently retired with little to keep himself busy. He spends a great deal of
time focusing on regrets from his past. He feels that his parents gave him a poor
start to adulthood. He did not attend any Christmas year end functions at work and
did not have a farewell party for his retirement. He has no friends to socialize with.
Harold is an introvert who never made friends.
[Award 3 marks for three valid ideas or 3 marks for two ideas well discussed.] (3)

7.3 The mood is tense, angry or hateful. This is the life they have come to expect and
they don't really know how to live differently at this point. There is a tense
atmosphere, no communication on a daily basis. [‘Freshly shaved, in a clean shirt
and tie’. He can smell ‘clean washing and grass cuttings.]’ Harold and Maureen are
living very proper lives with nothing out of place. Harold cuts the grass regularly
and Maureen cleans everything in the house, all the time. When they met they
loved to laugh even though their jokes weren’t that funny. They were open minded,
happy and in love with the spur of the moment decisions. The mood was loving,
caring and supportive.
[Award 3 marks only for an explanation of the mood of their relationship.] (3)

7.4 In the beginning of the novel, it is clear that there is a break-down of a meaningful
relationship between Harold and Maureen. This, we later learn, is a result of each
of their reactions to their son’s suicide. The ensuing blame and guilt further severe
their relationship. It is only when Harold begins his journey to visit Queenie, that a
parallel repair of their relationship begins.
[Award 3 marks for three explicit ideas or 3 marks for two well-developed ideas.]
[Credit cogent alternative responses.] (3)

7.5 Harold cannot continue with his journey as he is mentally and physically
challenged. He reaches out to Maureen for the first time since their son’s death,
indicating his need of her. This is significant for a renewal of their relationship; one

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that is rebuilt on self-reflection, acceptance of their son’s death without blame and
hope.
[Award 3 marks for three ideas or two ideas well discussed.]
[Credit cogent alternative responses.] (3)

7.6 For most part of his life Harold lived a mundane, a-social existence. It is only on
receiving the letter and embarking on his journey that he sees things clearly and
differently; he is able to come to terms with his losses. It is ironic that he does not
realize this change in him, saying that he has stopped seeing things, when, in fact,
he sees things clearly now.
[Award 1 mark for the identification of irony and 2 marks for a meaningful
discussion.] (3)

7.7 Maureen initially blames Harold for not being a proper father as well as for David’s
death. She does not understand or support his journey and actually attempts at
recalling him on medical grounds. However, at this point of the journey she
displays a compassionate, supportive attitude toward Harold.
[Award 3 marks only if a change in attitude is discussed.]
[Credit cogent alternative responses.] (3)

7.8 In Extract A Harold departs on his pilgrimage and Maureen blames him for leaving.
However, as Harold’s pilgrimage continues, Maureen realizes that she's forgotten
how to be nice to him. She admits her faults and unfair attitude toward Harold. As
she becomes critically self-reflective, her love for Harold triumphs and she herself
embarks on a spiritual journey and shares the pain of Queenie’s death with him,
which frees him of the blame for David’s death, that she achieves ‘actualization’.
[Award 4 marks for a well-developed response.]
[Credit cogent, alternative responses.] (4)
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SECTION C: DRAMA

QUESTION 8: THE TEMPEST ̶ ESSAY

 Below is the basis for answering this essay. Use the following as a guideline only.
However, also allow for answers that are different, original and show evidence of
critical thought and interpretation.
 A range of examples may be used by the candidates to support their arguments.
 Refer to the rubric on page 19 to assess this question.

 Prospero is reluctant to let go of his magical power. His preoccupation with his art was
what led to his position being usurped by his brother. On the island, Prospero has simply
continued to be caught up in his own exploration of his power. The result is the conflict
between him and characters like Caliban, Ariel and even Miranda.
 Prospero comes into conflict with Miranda as she tries to separate herself from her
father, but he uses his magical power to keep her close and to manipulate her emotions.
 Prospero comes into conflict with Ariel and Caliban because of their forced servitude to
him. His inability to see how his control over them affects them leads to disenchantment
in Caliban as to his master’s goodness and impatience in Ariel to be set free from his
obligations.
 Caliban, though he seemed to have become ‘civilised’, has not truly transformed his
character. He is vile, brutish, unappreciative and deceptive. He tries to regain his island
by hatching a plan with Antonio. His actions cause him punishment when they are
discovered by Prospero.
 Another aspect of Caliban’s inability to transform lies in the irony of his wanting to be
free, but constantly subjugating himself to others in order to gain his ends. In his attempt
to free himself from the slavery imposed by Prospero, he immediately becomes the
second-class servant of Antonio in service of someone else’s plan.
 Antonio and Sebastian’s underhanded plan to kill Alonso and Gonzalo show that Antonio
has not changed his scheming ways. Their plan leads to conflict with Alonso when Ariel
thwarts their intentions. Antonio’s deception also causes him to be imprisoned.

[Consider alternative responses on merit.]

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QUESTION 9: THE TEMPEST ̶ CONTEXTUAL

9.1 Caliban accuses Prospero of stealing the island from him. Caliban believes the
island is his as his mother, the witch Sycorax, ruled the island before Prospero
arrived.
[Award 3 marks for three valid ideas OR 3 marks for two valid ideas well-
expressed.] (3)

9.2 Magic can be used for good or evil as is seen through Ariel’s imprisonment by
Sycorax and Prospero’s liberation of Ariel through his magic. Prospero’s magic
allows him the opportunity to avenge his family and his loss by creating the
tempest, the event that leads to Alonso and company being stranded on the island.
Magic serves as a form of control in the case of Caliban, Ariel and those who are
ship-wrecked.
[Award 3 marks for a well-develop response.]
[Accept alternative, valid responses.] (3)

9.3 Words such as ‘abhorred’ and ‘savage suggest that Prospero [is disgusted] by
Caliban, both in appearance and nature.
Prospero sees Caliban as [fundamentally subhuman and unteachable] not worth
his effort as is exhibited by his use of the words ‘brutish’ and ‘gabbled’.
Prospero feels betrayed by Caliban after he tried to help him – he says he ‘pitied’
Caliban.
[Award 3 marks for two ideas well-expressed.] (3)

9.4 Caliban is a victim. His home and his freedom is illegitimately taken away from him
by a foreigner who invades his land and declares it his own because of ideas such
as being civilised. Caliban’s grotesque behaviour is consequence of Prospero’s
hubris in believing that he has the right to usurp another’s life and home and that
he is justified in spreading his variety of civilisation. /
Caliban’s inexcusable deed of trying to violate Miranda justifies Prospero’s severe
treatment of him. Caliban’s obstinacy in learning to behave and his cheek in
rebelling against Prospero who is trying to help him, shows his savagery and
makes it absolutely necessary for Prospero to keep him on a short leash.
[Award 3 marks for a well-developed opinion.]
[Credit mixed responses.] (3)

9.5 The word ‘lost’ could refer to the death of his daughter in the literal sense or the
loss of his daughter to marriage/another man/her new husband Ferdinand in the
figurative sense. He is purposefully evasive as he does not yet want to reveal to
Alonso that his son is alive. He also wants to underline/emphasise Alonso’s loss to
him as a last attempt at punishment for Alonso’s support of Antonio.
[Award 3 marks for three ideas or two ideas well-developed.] (3)

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9.6 The audience knows that Miranda and Ferdinand have fallen in love and plan to
marry. Because of Ferdinand’s position he will be king one day and Miranda will be
his queen. Antonio is unaware of this, as he believes Ferdinand to have drowned in
the storm and subsequent wreck.
[Award 3 marks only if the dramatic irony is clear and well-discussed.] (3)

9.7 His tone should be one of distress/heart-ache/sorrow/sadness.

During the parenthetic line the actor could cover his face with both hands to
emphasise his despondency.
During his speech, he could turn away from Prospero to hide his tear-filled eyes.
The pace of the speech should be slow and deliberate.
[Award 3 marks for three ideas/directions OR 3 marks for two ideas/directions well
discussed.]
[Credit any cogent, valid response.] (3)

9.8 YES
Prospero has taken control of the fate of the other characters in the play thus
exacting his revenge for losing power. He has saved Alonso from the machinations
of Antonio and Sebastian thus exposing their treachery and proving himself a true
subject of the king. He has ensured that his family becomes very important in the
realm as his daughter will marry Ferdinand, becoming queen at some stage.
OR
NO
(Unlikely response, but credit responses on merit.)
[Award 4 marks for a well-developed answer.]
[Credit a mixed response on merit of the argument.]
[Credit cogent alternative responses.] (4)

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QUESTION 10: A LONG DAY’S JOURNEY INTO NIGHT – ESSAY QUESTION

 Below is the basis for answering this essay. Use the following as a guideline only.
However, also allow for answers that are different, original and show evidence of
critical thought and interpretation.
 A range of examples may be used by the candidates to support their arguments.
 Refer to the rubric on page 19 to assess this question.

 Mary is unable to let go of her past suffering and her desire to be accepted in society.
She does not change and this causes much conflict in herself as well as with her family.
 Her pain at losing a child continues to manifest itself in her coddling of Edmund and her
relapse into morphine abuse. She tries to spare Edmund pain by pretending that he is
not ill and that all will be well – this only hurts Edmund as he cannot come to terms with
his mortality. Her inability to get over the pain of the loss of her child and the very real
possibility of losing Edmund too make her relapse into her morphine addiction which
hurts her physically and causes her family pain.
 Mary is also unable to accept her less than stellar position in society. She craves the
recognition of her betters and blames her husband for her unfortunate circumstances in
life.
 Tyrone is a miser. He does not change his perspective that one must save money at all
costs. His miserly ideas cause immense conflict with his family: his wife resents him for
not being willing to put her up in more handsome accommodation or to elevate their
status by spending money; Edmund resents his father’s tight fist because it might cause
his death – his father does not want pay money to send him to better hospitals/doctors or
to buy him proper medicine.
 The reluctance of Tyrone, Jamie and Mary to discuss Edmund’s consumption is also a
way of stemming the suffering that his illness and possible to could cause them all.
 By pretending that they are not addicts (of alcohol and morphine) they do not have to
acknowledge the past or remember it – in the same way that the effects of the
substances make them forgetful.

[Credit cogent alternative responses.]

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QUESTION 11: A LONG DAY’S JOURNEY INTO NIGHT – CONTEXTUAL QUESTION

11.1 Edmund, Mary’s son, is terribly and unseasonably ill. The entire family is fearful
that he might have consumption/tuberculosis. Mary is a fidgety and fretful woman
who dotes on her younger child and still sees him as her baby.
[Award 3 marks for three valid ideas OR 3 marks for two valid ideas well
discussed.] (3)

11.2 Mary is in no way taking care of herself as the audience has already suspected.
She has relapsed into her morphine addiction which she uses to dull her
emotional pain at the prospect of losing another son.
[Award 3 marks for a well-developed response.] (3)

11.3 Mary considers the Chatfields to be socially superior to her own family. Mary
wants to be considered like the Chatfields; she has a desire to be accepted in
society and appear well-off/rich/classy. She considers herself unworthy of the
small town in which she lives and wants to be considered the equal of people like
the Chatfields.
[Award 3 marks for two ideas well-expressed.] (3)

11.4 Mary does not want to look her son in the eyes because she feels guilty about her
relapse into morphine addiction. She ‘forces a laugh’ in order to pretend that she
is fine and does not need to be coddled/looked after. She forces herself to act in a
trivial/inconsequential manner so as to keep her secret addiction hidden.
[Award 3 marks for two ideas well-expressed.] (3)

11.5 Fog shrouds things so that they cannot be seen – the fog represents hiding away
from and not being confronted by reality. The fog also carries implications of
forgetfulness and relief. The foghorn, on the other hand, breaks the spell of self-
deception and wilfully ignoring reality; it reminds Mary of the pain in her life and
the accusations of her husband and sons.
[Award 3 marks for three valid ideas OR two valid ideas well discussed.] (3)

11.6 The family mealtimes seem to become less and less successful as the day
progresses: at breakfast the Tyrones are sober and are all present; by dinner the
table is empty as all of the characters have indulged or are indulging in self-
medication of some kind. The characters face their plight each day by
succumbing to anaesthetising effects of alcohol/morphine. Each day is a
struggle/a journey into the darkness of their past and their souls.
[Award 3 marks for a well-developed response.] (3)

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11.7 The ‘drunken loafer’ is Jamie, Tyrone’s older son. The two men, in spite of both
being actors, do not get along. Jamie believes his father to be a miser and resents
him for having forced him into the acting profession. Tyrone believes his oldest to
be a drunkard who does not appreciate anything (least of all the money he
grudgingly gives him). This relationship shows both men’s disappointment in the
perceived shortcomings of their family. Their resentful feelings make them lose
track of the reality of what is happening to the family.
[Award 3 marks for a well-developed comment.]
[The identity of the ‘loafer’ must be identified for full credit.] (3)

11.8 YES
All four members of the Tyrone family find escape in the analgesic effects of
alcohol/morphine. As each day progresses and they reflect on their failed
lives/lost ambitions/early demise, they shut themselves off from each other, the
pain and memories by consuming alcohol (or using morphine in Mary’s case).
Mary wished to be a nun or a concert pianist – she also wanted a good home.
These dreams were denied her firstly by Tyrone’s miserliness and secondly by his
life on the road as an actor. She is also trying to deal with the pain of losing her
child, Eugene, whom Edmund has replaced and who is also now ironically dying.
Tyrone resents his family’s luxurious living and their demands on his pocket
which he jealously guards. His career as an actor was not as illustrious as he had
wanted it to be when he was, in his youth, type cast and could not escape the
character. He believes his children to be ungrateful.
Edmund struggles with the pain of having to live up to the memory of a dead child
and failing at it. He is in constant pain from his medical condition and soothes this
hurt by sneaking glasses of whiskey.
Jamie struggles with not being accepted by his father. He is also ashamed of his
father’s miserly nature and that they are not living a more sophisticated/wealthy
life as their neighbours do.
OR
NO
(An unlikely response but credit on merit.)
[Award 2 marks for a critical discussion of one character; award 4 marks for any
two characters critically discussed.]
[Credit any cogent, but relevant response.] (4)

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ENGLISH HL: Assessment rubric for literary essay – Poetry (10 marks)

CRITERIA Exceptional Skilful Moderate Elementary Inadequate

CONTENT 6-7 5 4 2-3 0-1
Interpretation of topic; Outstanding response; Shows understanding Mediocre interpretation Unsatisfactory No understanding of the
Depth of argument; In-depth interpretation and has interpreted of topic; interpretation of topic; topic;
Justification and grasp of topic; topic well; Not all aspects explored Hardly any aspects Weak attempt to
of text Range of striking Fairly detailed in detail; explored in detail; answer the question;
arguments extensively response; Some good points in Few points in support of No reference to the
7 MARKS supported from poem; Some sound support of topic; topic; poem;
Excellent understanding arguments, but not all Some arguments Inadequate Learner has not come
of genre and poem. as well motivated as supported but evidence understanding of genre to grips with genre or
they could be; not always convincing; and poem. poem.
Understanding of genre Partial understanding of
and poem. genre and poem.
STRUCTURE AND 3 2 1 1 0
LANGUAGE Coherent structure; Clear structure and Some evidence of Structure shows faulty Poorly structured;
Structure, logical flow Arguments well- logical flow of structure; planning; Language errors and
and presentation, tone structured and clearly argument; Essay lacks a well- Arguments not logically incorrect style makes
and style in essay developed; Language, tone and structured flow of logic arranged; this an unsuccessful
Language, tone and style largely correct; and coherence; Language errors piece of writing;
3 MARKS style mature, Very few language Minor language errors; evident; Seriously flawed tone
impressive and correct; errors. Tone and style mostly Inappropriate tone and and style.
Virtually error-free. appropriate. style.

MARK RANGE 9-10 7-8 5-6 2-4 0-1

Note: If a candidate has ignored the content completely and has written a creative essay instead, no marks are awarded.

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 NSC NOVEMBER: ENGLISH HL P2 MEMORANDUM 2017

ENGLISH HL: Assessment rubric for literary essay – Novel and Drama (25 marks)

CRITERIA Exceptional Skilful Moderate Elementary Inadequate

CONTENT 12-15 9-11 6-8 4-5 0-3
Interpretation of topic; 14-15: Outstanding Shows understanding Mediocre interpretation Scant interpretation of Very little to no
Depth of argument; response; and has interpreted of topic; topic; understanding of the
Justification and grasp 12-13:Excellent topic well; Not all aspects explored Hardly any aspects topic;
of text response; Fairly detailed in detail; explored in detail; Weak attempt to
In-depth interpretation response; Some good points in Few points in support of answer the question;
15 MARKS of topic; Some sound support of topic; topic; Arguments not
Range of striking arguments, but not all Some arguments Very little relevant convincing;
arguments extensively as well motivated as supported but evidence arguments; Learner has not come
supported from text; they could be; not always convincing; Little understanding of to grips with genre or
Excellent understanding Understanding of genre Partial understanding of genre and text. text.
of genre and text. and text. genre and text.
STRUCTURE AND 8-10 6-7 4-5 2-3 0-1
LANGUAGE Coherent structure; Clear structure and Some evidence of Structure shows faulty Lack of planned
Structure, logical flow Excellent introduction logical flow of structure; planning; structure impedes flow
and presentation, tone and conclusion; argument; Logic and coherence Arguments not logically of argument;
and style in essay Arguments well- Introduction and apparent, but flawed; arranged; Language errors and
structured and clearly conclusion and other Some language errors; Language errors incorrect style makes
10 MARKS developed; paragraphs coherently Tone and style mostly evident; this an unsuccessful
Language, tone and organised; appropriate; Inappropriate tone and piece of writing;
style mature, Logical flow of Paragraphing mostly style; Inappropriate tone and
impressive and correct argument; correct. Paragraphing faulty. style;
Language, tone and Paragraphing faulty
style largely correct.
MARK RANGE 20-25 15-18 10-13 5-9 0-4

Note: If a candidate has ignored the content completely and has written a creative essay instead, no marks
are awarded.

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