English Hl Grade 12 Paper 2 NSC June 2012 Memo (English)

Downloaded from hlayiso.com }, Department: Education ©) REPUBLIC OF SOUTH AFRICA SENIOR CERTIFICATE EXAMINATION GRADE 12 ENGLISH FIRST LANGUAGE HG (104-1/2) P2 MAY/JUNE 2012 MEMORANDUM cop moan NAA

Downloaded from hlayiso.com 10412/12 GAUTENG DEPARTMENT OF EDUCATION SENIOR CERTIFICATE EXAMINATION ENGLISH FIRST LANGUAGE HG (Second Paper: Literature) MEMORANDUM SECTION A POETRY Answer Question 1 OR Question 2. AND Any TWO questions from Questions 3, 4, 5 and 6 QUESTION 1 UNSEEN POEM — SOUTH AFRICAN POETRY CONTEXTUAL 1.1 Metaphor V. Just as an apple provides a delicious taste experience, so too is the day a delightful, enjoyable one. (or something similar) 1.2 Placing single words on a line in a sloping, descending shape makes the reader visualise the children sliding down the playground apparatus. 1.3 Emphasises that the speaker feels young/the speaker’s youth. 1.4 The butterflies look like small coloured pieces of paper, both moving and stationary. 1.5 Thrilled/joyful/excited, as a ripple is a wavy action. OR (3) (2) (1) (2) (2) [10]

Downloaded from hlayiso.com 10412/12 QUESTION 2 SOUTH AFRICAN POETRY (MINI-ESSAY) As the poet/speaker recalls kite-flying, in a joyous way, the reader should do so too. “dragon” (children’s imagination) is combined with “kite” (normally kite-flying), but it has become a “flying sort of day” (metaphor and transferred epithet) meaning it is a fun day/fantasy world. Words of gay colours — associated with youth. However, youthful fun is fragile — “cellophane-thin” “bluewards wing” — metaphor for take off into the sky ‘]’ — speaker recalls youth, chasing a kite Lines 9 — 14 — stumbling/trying to catch the tail of the kite (Credit alliteration of “r’ on separate lines as if the child has broken/crushed/ripped the kite.) (For full marks, candidates must mention the concern/worry/fear of parent fetching her from the park and she has broken the toy — see last line. If they do not understand what a kite is, still give credit if they understand it is a toy) AND [10]

Downloaded from hlayiso.com 10412/12 QUESTIONS 3, 4, 56 PRESCRIBED POETRY Answer any TWO questions from this section. QUESTION 3 Do not go gentle into that good night by Dylan Thomas 3.1 Should not submit meekly to death. He urges them to meet death in a spirit of challenge. (2) 3.2 This is to enforce the idea that all people face the same shock of being unprepared at the time of death when they realize they have regrets and unfinished business. (2) 3.3 Although he realizes death is inevitable and the end of suffering he does not want to accept it. Possibly he is not sure of an after life or the kind of after life one could expect. (2) 3.4 Euphemism (1) 3.5 Grave can mean ‘serious’ and ‘dead’ (2) 3.6 ‘And you’ seems to change the focus and now he concentrates on his father and he asks his father to do something for him. The poem becomes personal. His use of ‘pray’ suggests quietness and a slowing down, a sense of intense pleading. (3) 3.7 3.7.1 One of defiance (1) 3.7.2 He uses words mostly of one syllables which give these lines their defiant ringing tone /By the use of the direct command ‘Do not’ and the use of Rage, Rage against — diction. (2) [15] OR

Downloaded from hlayiso.com 10412/12 QUESTION 4 Mending Wall by Robert Frost The wall is a symbol for a barrier preventing communication. It goes against all that is neighbourly. The poet implies that the forces of nature such as the icy weather conditions destroy the wall continuously. People who are sportsmen also destroy walls since they are a hindrance to their activity. Frost sees no point in mending this particular wall because the neighbours do not keep animals that could stray and cause damage. The neighbour wants it so. Hence every spring they follow the same routine. The poet sees it as a game, one on a side where they keep the wall between them as they work. He describes his neighbour as a stone savage moving in darkness who will not go behind his father’s saying. The tone is conversational. He is not hostile yet he quietly condemns his neighbour's stubbornness at keeping things as they are. His use of metaphor to describe the shapes of the stones enforces the problems involved in building the wall. The simile to describe the neighbour shows just how unyielding he is to new ideas and the metaphor ‘he moves in darkness’ emphasizes this. Mending the wall in the springtime is ironic. They meet but stay apart which is ironic. His use of synecdoche also seems to emphasise his attitude towards wasting time on unnecessary tasks. Repetition emphasizes the neighbour's stubbornness in rebuilding the wall every year. His diction is simple and colloquial and suits the subject of farming and a basic task that needs to be done. His message is therefore clearly understood. [15] OR QUESTION 5 Death be not proud by John Donne 5.1 Italian — octave and sestet; rhyme scheme abba abba cdd cee (3) 5.2 Death cannot kill him because he will move on to eternal life by dying. His body functions may stop but his soul will live on forever. (3) 5.3 The pleasure one would get from dying is reflected in sleep and rest. Death is not in control because it is the slave to ‘Fate, chance, kings and desperate men’ (2) 5.4 5.4.1 Metaphor (1) 5.4.2 One receives much pleasure from them on numerous occasions. (2) 5.5 Contemptuous/mocking/jeering/triumphant. (1)

Downloaded from hlayiso.com 10412/12 5.6 Colloquial language suggests familiarity and this reduces Death’s stature to that of everyone. We no longer need to fear Death because he is our equal. Paradoxically, death may even be a redeemer. OR QUESTION 6 On His Blindness by John Milton 6.1 6.2 6.3 6.4 6.5 6.6 Spent = used up Lodged= will not move/budge Does God expect a full day’s work from someone who cannot see?/Does he expect the same kind of work from someone who is handicapped/blind? Line 8 with But which indicates a reversal of thought. This is reinforced by the introduction of the personified quality of Patience. ‘Sit’ suggests unmoving, not interested whereas ‘stand’ suggests there is an effort at being ready. It would then suggest that those who sit were not serving God because they are making no effort to be involved or to try. It is important to be able to accept one’s fate in the knowledge that there are many ways of serving God. One does not always have to be working. First 8 lines he questions what is expected of him Last six lines he answers his question The rhyme scheme: abbaabba cdecde TOTAL SECTION A: (3) [15] (4) (2) (2) (2) (2) (3) [15]

Downloaded from hlayiso.com 10412/12 SECTION B SHAKESPEARE MACBETH — WILLIAM SHAKESPEARE QUESTION 7: ESSAY Macbeth and Lady Macbeth switch roles as the play progresses. In an essay of no more than 500 words, discuss the validity of the above statement. Do NOT count your words. [Candidates must show the change in the characters and roles to receive full marks — before and after.] Despite the witches’ plan to meet Macbeth in the opening scene (connecting Macbeth with evil), he is portrayed as a hero (perfect) by the captain (“brave Macbeth’, ‘Valour’s minion” — Bravery’s favourite, “Bellona’s bridegroom” — the god of war). Duncan refers to him as a “peerless kinsman” and rewards him with the title of Thane of Cawdor. Nearly perfect. Character changes when he meets witches and become “rapt” (gullible) when hearing their prophecies. Is still reasoning when he considers “ill” and “good” as it “doth unfix [his] hair’ and make his “seated heart knock at [his] ribs.” Chooses to let “chance” make him king “without [his] stir’ — the thoughts of a logical man. However, he also mentions the “murder [which] yet is but fantastical” only a thought, but it is in his vivid imagination. Becomes ambitious when, after he hears Malcolm is Prince of Cumberland, says he must “o’erleap” the “step”. Now has “black and deep desires”, and will begin to change from a hero who is “too full of the milk of human kindness’. Confronted by Lady Macbeth, his “dearest partner of greatness” (good husband), he becomes “like a book” (open and honest), and still shows loyalty/conscience when he does not/cannot face his guest (Duncan) on arrival. (Opinion) Despite Macbeth’s realization and acknowledgement of his “deep damnation” and “poisoned chalice”, he chooses to commit regicide because his wife goads him when he does not want to “proceed ... in this business” as he has “no spur to prick the sides of [his] intent.” This shows that he is submissive towards his wife. He then becomes “bent up” as greed for power takes over. He continues to show elements of his former self when he expresses guilt about Duncan’s murder and can no longer pray, nor close his “penthouse lid”. It could be seen that he is insincere or hypocritical when he uses flowery language about life being worthless after Duncan’s death (‘All is but toys”); however, this could also be considered as regret.

Downloaded from hlayiso.com 10412/12 But he is a liar when he explains why he killed the guards. He becomes “The nearer bloody” as he has “play’dst most foully for'’t’. His evilness and hypocrisy also come to the fore when he establishes an alibi for himself by publicly announcing Banquo’s invitation to his coronation, not telling his wife the truth, “till thou applaud the deed.” He has become secretive. He is no longer a solid friend as he must break that “great bond” with Banquo, which has made him bitter as he has given his “eternal jewel” to the “common enemy of man.” He becomes a “butcher” when he decides he has “Stepped in so far” that it would be as easy to “go o'er”, and also decides he is “young in deed” (only the beginning of the slaughtering). Macbeth is hard-hearted/cruel when he orders Macduff’s family — “my chickens” — executed. He is gullible/naive for a second time, and ambitious and fearful, when he believes the apparitions’ predictions. He becomes thoroughly callous/heartless when he says “She should have died hereafter” on hearing of his wife’s death. There is one possible moment of redemption: when he chooses to face Macduff at the end, but this could also be considered egotistical. Lady Macbeth is portrayed as thoroughly evil by herself when she says she knows “How tender ‘tis to love the babe that milks [her]’, yet she would “Have plucked [her] nipple from his boneless gums/And dashed its brains out.” However, she needs to call on evil spirits to “unsex” her (take away her femininity), and make “thick” her blood (make her devoid of feeling, lacking in compassion) in order to “stop up the passage to remorse” (to feel guilt-free) and “take my milk for gall’. So at this point, she has a smattering of a conscience. She is domineering/in control/ambitious because she wants to have the “great business [put] into Jher] dispatch”, so instructs Macbeth how to behave when Duncan visits. This is also evident when Macbeth has a fit at the coronation feast and she instructs the guests to go home. She is self-controlled as she is able to welcome Duncan to Inverness, but also hypocritical as she has plans for his murder. She is blasé/dismissive/unfeeling (even ignorant of consequences) — “A little water clears us of this deed./How easy is it” Lady Macbeth changes in a way when she is “mad.” She therefore has a conscience which is highlighted by her “brief candle” (light = goodness, but in her case small), so she must be described only as “fiend-like” OR

Downloaded from hlayiso.com 10412/12 QUESTION 8: CONTEXTUAL TEXT A 8.1 Duncan’s ( % ) guards ( % ) (1) 8.2 Previously she claimed she would dash her baby’s brains out, ¥ but she is not as cruel/evil/strong a character as she appears V because now she has had to have a drink to work up the courage to be involved in the murder of Duncan. ¥ (3) 8.3 Metaphor V. Duncan’s death (“goodnight”) is severest finality (“stern’st’). (Candidates must explain both words for full marks) (3) 8.4 Macbeth is murdering Duncan. (2) 8.5 The king has been murdered ¥, which is unnatural/against the laws of nature ¥ and will cause chaos/upset the Great Chain of Being. ¥ (3) 8.6 Macbeth mentions hearing a noise — he fears someone has witnessed his deed. He mentions the owl (a bird associated with death) and crickets (evil insects). (3) AND TEXT B 8.7 Macbeth has seen Banquo’s ghost and had a fit. The guests are greatly disturbed and have upset Macbeth by asking questions. Lady Macbeth wants them to stop doing so in case their crime is discovered. (3) 8.8 He has murdered both Duncan and Banquo, so revenge will be exacted/he will pay the price with his own death. (2) 8.9 These black birds (symbols of evil) have brought out the hidden/underlying evil in Macbeth. (something similar) (2) 8.10 As Macduff did not attend Macbeth’s coronation or this supper, Macbeth realizes he is a threat/distrusts him even more. (2) 8.11. By intentionally choosing to use evil methods (“the worst means’) to find out the “worst” about his future, Macbeth immerses himself in evil. (3) 8.12. Metaphor. ¥ He has shed so much blood that to stop the killing spree would be as meaningless as to continue with it. (3) [30] OR 8

Downloaded from hlayiso.com 10412/12 JULIUS CAESAR — WILLIAM SHAKESPEARE QUESTION 9: ESSAY The conspirators come to Brutus’ house in the middle of the night and they are heavily disguised — their faces buried in their cloaks. Cassius introduces each by name and Brutus welcomes each and shakes each one’s hand in turn. They accept him as their leader because he has the respect of everyone in Rome and is known to be honourable and patriotic. Even Cassius bows to his decrees. When it is suggested they swear an oath of secrecy, Brutus refuses because he believes their cause is honourable and just and only real patriots will be party to Caesar's assassination. Cassius suggests Cicero be approached to join the conspirators; Metullus thinks that ‘his silver hairs Will purchase us a good opinion’. Brutus refuses saying that Cicero will not submit to doing something he does not originate. The suggestion is discarded immediately. Brutus refuses to have Antony killed with Caesar. He believes, unlike Cassius who mistrusts Antony entirely, that Antony is a harmless playboy who loves sports and entertainments of all kinds. Trebonius agrees with Brutus and so Antony is left to live. It is also decided that Decius will make sure that Caesar, who has grown superstitious of late, will come to the Capitol. They all agree to meet at Caesar’s house at 8 o'clock. Brutus agrees to persuade Ligarius to join them. This episode reveals much of the strength of Brutus’ character. The conspirators want Brutus as their leader. They fall in quickly with his suggestions. He believes very strongly in the justice of their cause and is genuinely sorry that Caesar has to die. He insists in the face of opposition that Antony’s life be spared because he believes Antony is a harmless playboy. He is a little ashamed that the conspirators have come at night hiding who they are when they do not have to be ashamed of their cause which is just. His weakness is shown in his poor judgement of character. He allows Antony to outlive Caesar with the result that Antony outwits them all and the conspirators have to flee. His refusal to include clever old Cicero is also a great mistake, for Cicero’s voice and logic added to that of Cassius might have saved them from destruction. He keeps making the wrong decisions because he is too idealistic. He cannot see that his fellow conspirators are motivated by envy and that they are using him. He does not understand that the Romans want a Caesar and not a republic. [30] OR

Downloaded from hlayiso.com 10412/12 QUESTION 10 : CONTEXTUAL Read the following passage and then answer the questions that follow: TEXT A 10.1 He despises them/considers them beneath him because they are fickle, ungrateful, ignorant. He calls them ‘blocks’ meaning they are fools. (2) 10.2 Very emotional and very loyal to the late Pompey; also very brave to do what he does at the time since he would be seen as an enemy of Caesar. (3) 10.3 He wants to influence the thoughts of the listening crowd and make them think about what they are doing/persuade them not to cheer for Caesar. (2) 10.4 Rome is divided into deadly factions by the exploits of Julius Caesar. (2) 10.5 Establishes the tension that exists between Julius Caesar and the republicans and it gives background to the anger being felt by so many. (2) AND TEXT B 10.6 He wants them to think that he is not their superior but one of them (2) 10.7. 10.7.1 That there is a sense of the divine about Caesar (2) 10.7.2 Because of Caesar’s arrogance and high opinion of himself, Brutus (a true republican) decided to join in the conspiracy to kill him since he feared he wanted to be king and perhaps become a tyrant. (2) 10.8 The note of sadness/ disappointment suggests that not even the lowliest of the Romans was prepared to mourn for Caesar. (2) 10.9 Through his words and the use of visible objects like the will, he wins the crowds. He is aware of their mood and he pays deference to them by calling them ‘Masters’. By his use of the repetition of key words like mutiny and rage, Caesar’s will, honourable, to wrong/to do wrong he subtly suggests what they should do about the wrong done to Caesar. He appeals to their self interest i.e. “wrong myself and you” when he mentions Caesar’s will and says he will not read it and, as he had planned, the crowd reacts predictably saying they want to hear the will (mark globally) (5) 10.10 Marullus’ speech cowed them into silence. They went away quietly. Antony stirs them to anger and a thirst for revenge and they become uncontrollable (Must discuss both incidents for full marks) (4) 10.11 He asked Brutus if he might and Brutus allowed him to do so since he sees no harm in Antony and trusts him to be as honourable as he himself is. Antony had, after all, shaken hands with each of them. (2) [30] TOTAL SECTION B: 30 10

Downloaded from hlayiso.com 10412/12 SECTION C NOVEL A TALE OF TWO CITIES - Charles Dickens QUESTION 11: ESSAY Revenge demands retaliation, a payback time for injuries inflicted in the past. Reconciliation sets out to restore friendship, to forget old scores and forge new ties. The novel revolves around the Manettes, the Defarges and the mobs of Paris who require either revenge or reconciliation. As a result, their lives become intertwined because of hate and love. The Defarges hate the Evremondes: Ernest because of what they had done to the master he loved and respected i.e. Dr Manette and the subsequent suffering inflicted on the wife when Dr Manette is secreted away for eighteen years in the Bastille. Therese, his wife, hates them for a deeper and more personal reason — they had wiped out her family because of their lust and their cruelty. The wine shop of the Defarges serves as a meeting place for their group of revolutionaries who plan and wait. Madame Defarge keeps the register of the names of all who must be punished when the time is right. She bides her time, watches and knits and waits impassively. Gaspard, one of the residents of St Antoine, also seeks revenge. The Marquis of Evremonde’s coach was travelling too quickly and Gaspard’s child was knocked down and killed. The Marquis cannot understand what the fuss is about and pays compensation for the child’s life with a coin which he tosses out of the carriage window. Gaspard, mad with grief, follows him and stabs him in his bed that night. For this crime he is hanged and his body is left to rot hanging high up over the well. The peasants are so downtrodden and starving that when they have their turn they takes great pleasure in punishing those who had made them suffer. E.g. Fullon is made to eat the grass he said they should eat. They hang their victims on the lamp posts as well. Lucie who has as great a reason for wanting revenge on the Evremondes as Madame Defarge does because of what was done to her family, forgives the outrages done to her father. She takes him home and nurses him back to health with her love and her care. Her love for Darnay is not unsettled even when she receives the letter (telling her of his family’s history ) the night he leaves for Paris to help Gabelle. She loves him enough to go to him and to be with him. 11

Downloaded from hlayiso.com 10412/12 Doctor Manette has spent 18 years in prison brooding over the wrongdoings of the Evremondes. Yet when young Darnay asks permission to woo Lucie, he ignores Darnay’s family name and history for Lucie’s sake. His love for her and concern for her happiness impel him to go to France to try to save Darnay from the tribunal. He speaks for reason and reconciliation. Thanks to Carton’s intervention by changing places with Darnay and dying instead, and thanks to time and Lucie’s love and care for him, Dr Manette is able to enjoy a pleasant old age knowing he had saved his daughter's happiness. The main contenders for revenge die violently. Those who seek reconciliation live to a ripe old age in happy contentment. QUESTION 12: CONTEXTUAL Read the following extracts and answer the questions which follow. TEXTA 12.1 Everyone in the wine shop will know that the newcomer is one of them — on their side and not on that of the nobles (2) 12.2 12.2.1 He is able to inform the Defarges of the fate of Gaspard and later becomes a spy for the Defarges. (2) 12.2.2 He is typical of the unintelligent revolutionary who is blinded by the ideas of the revolution and who lacks compassion. He is indifferent to the unhappiness he causes others or to their suffering. He is the ordinary French citizen who believes he needs to wipe out the nobility to improve his lot but it does not work out that way. He is not much better off. Through this type of character, Dickens illustrates that violence, though sometimes inevitable, is not the best way to solve problems. (3) 12.3. Her knitting is her register in which she records the names of those who must be punished one day for the crimes they have committed against the peasants and particularly her family. This will mean when the peasants revolt and take charge. (3) 12.4 12.4.1 They wanted to know what had happened to Gaspard whose child had been killed by the Marquis’s carriage which had been racing through the narrow streets. In his grief, Gaspard had killed the Marquis. Gaspard had in turn been hanged. (Something similar) (2) 12.4.2 It fills them with such hatred for the nobles that they will kill indiscriminately once they succeed in their revolt. (2) 12

Downloaded from hlayiso.com 10412/12 TEXT B 12.5 He is Charles Darnay’s double. No one will question his documents when Lucie and her family leave Paris because Madam Defarge will not alert the guards since she does not suspect any double dealing knowing that Darnay is in prison and will die on the morrow. (3) 12.6 | Emphasises that Carton is pretending that he is not fluent in French. This lulls them into talking openly of their plans believing he does not understand what they are saying and yet they are giving him a very good idea of what they plan. (2) 12.7. Careful/meticulous in planning a campaign. He makes no mistakes. No one finds out that he had fooled them. He keeps his promise without flinching i.e. to die in the place of the man Lucy loves so that she can be happy. Extremely brave and loyal. (4) 12.8 To discuss what they intend doing about the doctor and his daughter and granddaughter. Madam Defarge wants them all to die but Defarge feels the doctor has suffered enough and they should be left to live. Charles should be the only one of the family to die in Defarge’s opinion. (4) 12.9 She is killed and Darnay escapes with his family because Carton took his place at the guillotine. She is destroyed by her hatred and desire for revenge. The Evremondes survive as a race but her family does not. (3) [30] OR 13

Downloaded from hlayiso.com 10412/12 JULY’S PEOPLE — Nadine Gordimer QUESTION 13: ESSAY When the Smales family escape from the suburb to July’s village, they can only take essentials with them. o Maureen loots the pharmacy for malaria tablets and religiously gives them to her children to prevent them from falling ill. Eventually the tablets are finished. o Maureen has one bar of soap which she jealously guards and she has brought toilet paper which eventually also runs out. o Victor has smuggled in his electric racing car set which he does not want the black children to touch. However, as he becomes friends with the black children and becomes used to their way of life, he separates the cars and exchanges them for the wire cars that the black children played with. o The radio is treasured — it’s their only link to the outside world. They are informed of what is happening in the city and can assess their safety. o Money is stashed in a shoe box. The money is used to pay July for the goods he buys for them from the shop. However, only July is able to use the money to purchase groceries for the Smales. Note also that July, although he is the host, expects to be paid for his services in the village. o However, none of the above-mentioned cause the characters to become selfish and greedy although they do act largely in their own interest. The most prized possessions of the Smales family are the bakkie and the gun. As the story progresses, the desire to possess these symbols of power and authority causes some of the characters — July, Maureen, Bam, Daniel and the Chief — to lapse into greed and selfishness for their own purposes and interests. During a conversation with his mother and wife over the Smales family and their presence in the village, July realises that the white family is powerless, that they are reliant on him for their safety and that he has power over them. This desire to be in charge after 15 years as their servant, sees July undergo a change in his character. July asks for the keys of the bakkie on the pretext that he needs to lock away the tools so they will be safe. In this manner he appropriates the bakkie, getting his friend Daniel to drive him to the shop without asking Bam for permission to use the bakkie. He also gets Daniel to teach him to drive, shamelessly flaunting his increasing driving skills to both Maureen and Bam and further emphasising their powerlessness. In order to emphasise his status, July also tells the villagers that the bakkie belongs to him. When July appropriates the bakkie for the first time, this impacts on the relationship between Maureen and Bam. They blame each other, lose respect for each other, there is no communication between them. Maureen confronts July over the bakkie, fully recognising that it has now become a weapon and symbol of his power. The accusations that July levels against Maureen are proof that July has become greedy and desirous of power; that he is acting in his best interests. 14

Downloaded from hlayiso.com 10412/12 e The Chief, on hearing of the presence of the white family, and especially of the fact that Bam had a gun, calls them to his village and ensures that Bam promises that he will teach the Chief how to use the gun. The Chief was under the misguided belief that he would be able to protect his chiefdom from the revolutionaries — he was not concerned about the freedom of his people but rather the vulnerability of his position as chief and how easily he could be dethroned, hence he wanted to learn how to use the gun. e Daniel also reinforces July's greed for the Smales’s possession i.e. the car, by ensuring that he teaches July how to drive. Under the guise of being July's friend, he plots to steal the gun which he does when the villagers and the Smales were occupied by the musical entertainer. He goes off to join the revolution. e When the gun disappears, Maureen realises how useless Bam has become and confronts July for the second time. She does not confide in Bam the nature or the outcome of these confrontations. July shows no remorse over appropriating the bakkie and is clearly not concerned that the gun has disappeared either. At this point, he is only concerned about his selfish needs. e Without the bakkie and the gun, the Smales are powerless. There is no means of escaping and no weapon to protect them. e As the novel progresses, it is clear that only the children have integrated fully into the village life and have been divested of their greed and selfish needs. e Even in the end, when Maureen hears the sound of a helicopter, she runs towards it with the intention of escaping, not in the least concerned about her husband and the children. She is selfishly fighting for her own survival. [30] OR QUESTION 14: CONTEXTUAL TEXTA 14.1 14.1.1 Bam and Maureen. (2) 14.1.2 ‘his kind’ refers to the blacks who were servants; ‘their kind’ refers to the whites who were the masters. (2) 14.2 The author is emphasising that the servant always knocks on the master’s door before entering/also asks for permission to enter. This is what July had done for 15 years when he worked for the Smales in the suburb. However, here in July’s home, there is no door and as a host he does not need to knock at a non-existent door. He merely verbally asks if he can come inside. The change in the Smales’s situation and the reversal of roles is emphasized in these lines. (4) 14.3. There is a revolution in the city. The Smales had not known where to go and July offers to take them to his village. For 3 days and nights they travelled with Bam driving and July as their guide, hence Bam’s exhaustion. (3) 15

14.4 14.5 Downloaded from hlayiso.com 10412/12 Yes. He brings the Smales tea in the same way he always had in the suburb./He provides the Smales with the best pink cups he has./He especially opens a tin of condensed milk for the Smales./He displaces his mother by giving the Smales his mother’s hut./He is concerned about the welfare of the children and sees especially to their needs. (Any 3) No. Later in the novel, he realizes the power that he has over the Smales and takes charge by giving them instructions e.g. to remove goods that he had bought from the shop from the bakkie; he takes possession of their car keys and does not find it necessary to ask permission to use the car, he instructs Maureen not to join the village women to pick herbs; he directs proceedings when they have to visit the Chief. TEXT B 14.6 14.7 14.8 14.9 14.10 He does not see the need to knock at the door any longer; he takes the decision to make the fire; he does not pay any attention to Maureen and Bam and ignores Bam’s questions; Maureen’s behaviour is almost obsequious. (Any 2) Maureen sees Bam falling back on his old suburban ways as master. He has forgotten that they are now in July’s village; they are indebted to him for providing them with a hideout/guiding them to safety. 14.8.1 Arrogant/haughty/domineering/insulting. 14.8.2 Bam is incensed with July as he has taken possession of the bakkie’s keys. He allows his friend, Daniel to teach him how to drive the bakkie without Bam’s permission. Yes and No: Bam and Maureen were worried about July taking the bakkie without permission. Furthermore, they had seen another person in the bakkie and did not know who it was. However their fear was more for the fact that the bakkie was bright yellow in colour; none of the villagers could drive or had a vehicle and so if someone amongst the revolutionaries spotted the bakkie, it would compromise their safety. This was their overriding concern. In the suburbs, Maureen thought that she and July had had a good relationship. However, in the village, the relationship between Maureen and July changes drastically - Maureen confronts July on two occasions over the bakkie and the gun. Both confrontations resulted in their exchanging bitter accusations against each other, with July accusing Maureen of referring to him as a ‘boy’ in a derogatory manner. OR 16 (3) (3) (2) (2) (1) (2) (3) (3) [30]

Downloaded from hlayiso.com 10412/12 MARU - Bessie Head QUESTION 15: ESSAY In the novel Maru, Bessie Head shows through the experiences of Margaret, her hatred for and dislike of any form of racism. In addition, through Margaret’s character and experiences, she makes it clear that racism can be defeated. Masarwa is a derogatory term to define the San people. In actual fact, Masarwa means a low, filthy nation. They are considered as ‘untouchables’ by the Batswana. In Dilepe village, the Totems had many Masarwa slaves who had no rights to education and no freedom. They slept in the open and the fire served as their blankets. = In the opening pages of the novel, the author discusses the difference in treatment of the San(Masarwa) and Batswana people. She reflects on how the Masarwa were the lowest of the low. In Botswana, she states how the scientists inspect/examine the Masarwa to see their teeth. They are also considered ‘an oddity of the human race, who are half the head of a man and half the body of a donkey.’ = The first time we see the ugly face of prejudice/racism is through the treatment that Masarwas receive at the hands of Batswanas. When Margaret's mother dies in giving birth to her, Margaret Cadmore as the wife of a missionary, is called by the supervisor to come to the hospital and see to the burial of an untouchable. When she arrives at the hospital, the body is still lying on the floor, unwashed and in the dirty clothes she had been wearing while giving birth. Nurses were standing around the body with nobody venturing to clean the body and preparing it for burial. The only time they move to wash the body is when Margaret Cadmore flings orders at them. Margaret Cadmore then takes note of the disgust in their eyes at washing the body of a Masarwa. She immediately resolves to adopt the orphaned baby. = At school Margaret is mocked and taunted by the children — this was obviously what they were taught to do by their parents. Sometimes, they would surround her in the playground, dance a jiggle around her, spit at her and pinch her. They even called her insulting names such as ‘Bushy’, ‘Bushman’, ‘low breed.’ All Margaret would do in response was to tear from one eye — she did not understand their cruelty. It also made Margaret a very lonely child and therefore she spent all her time with her studies. It is only when the older Margaret notices the children’s behaviour one day that she sits up with Margaret and explains that she would have to accept that she is different. = At college, she is protected because her relationship with the older Margaret is noticeable. = However, when she accepts a teaching post in Dilepe village, she is reminded of the prejudice against her people — the village was a stronghold of powerful, wealthy men and chiefs, all of whom had Masarwas as their slaves. 17

Downloaded from hlayiso.com 10412/12 = When she reveals to Dikeledi that she is a Masarwa, Dikeledi draws in a ‘breath, with a sharp, hissing sound.’ This implies that she is shocked at Margaret's heritage. However, she has taken an instant liking to Margaret and therefore warns her not to reveal her identity to anyone. She realises that people would taunt and mock at her. She wants to protect Margaret from such harassment. Margaret, however, is not afraid of admitting her heritage and this is a way of defeating the ugly racism which pervades the novel. = When Pete, the principal of Leseding school finds out that his new teacher is a Masarwa, he is shocked at her appointment. He hatches a plot together with Seth and Morafi to discredit Margaret by instigating the learners to taunt her about being a ‘Bushman’. In this way he could dismiss her. = When Maru speaks to Dikeledi of marrying a Masarwa, she is shocked and hastily retracts a racist statement that she makes. « Although Moleka loves Margaret, he is not prepared to fight for her. As Maru states, ‘Moleka is such a tribalist’ - he would not have been able to live with a Masarwa. " Maru himself owns many Masarwas as slaves and explains how they use the ground as their bed and the fire to warm them. He is not prepared to give them preferential treatment. = When Maru elopes with Margaret, the people in his village consider him dead. Even a ‘diseased prostitute’ is surprised at Maru marrying a Masarwa, stating that they ‘had no standards’. It is only after Maru’s marriage to Margaret, that the Masarwas feel that a door has been unlocked for them and that there is hope for their future. It is as if the marriage of Maru to Margaret has liberated the Masarwas. Initially the author shows, through the character of the older Margaret, that racism is evil and can be defeated through enlightened individuals. It is, however, through the marriage of Maru (a Totem and chief-to-be) and Margaret (a Masarwa and an untouchable)that racism can finally be defeated. Despite the villagers’ bad opinion of Margaret, Maru marries her. He was not concerned about peoples’ opinions of his marriage to a Masarwa. Through this union, the author shows us that there is hope for the Masarwas. [30] OR 18

Downloaded from hlayiso.com 10412/12 QUESTION 16: CONTEXTUAL Read both extracts, and then answer the questions that follow. TEXT A 16.1 16.2 16.3 16.4 16.5 16.6 A Masarwa woman died while giving birth. No one wanted to bury the Masarwas who were considered untouchables. Margaret Cadmore is the wife of a missionary and is therefore called to attend to the burial. The nurses had left the dead woman’s body in a_ disgraceful condition/unwashed/still in the dirty dress on the cold floor. They showed no respect for the dead woman. They were racist/prejudiced/discriminatory.V They were forced to wash the body by Margaret Cadmore./As they washed the body, their faces showed their disgust and prejudice, clearly illustrating why they had left the body on the floor instead of on the stretcher. Vv Margaret Cadmore has a strong personality, is in control, is not afraid of the nurses and gives them orders to wash the body. She is intelligent in recognising and dealing with the prejudice shown towards the dead woman. 16.5.1 The dead woman had mixed/juxtaposing/paradoxical expressions on her face which Margaret Cadmore found surprising/she looked serene and beautiful in a different way. 16.5.2 Despite the filthy condition of the woman and the pain she goes through in her life and in giving birth, the dead woman is described as a ‘goddess’ as her expression was one of serenity/beyond being earthly as if she was happy to leave the world 16.6.1 She adopted the baby. 16.6.2 To help prove her pet theory vthat ‘Environment is everything; heredity nothing. v’/She saw human suffering close up for the first time/she was an educator and felt responsible. (Any one) 16.6.3 Yes. Margaret Cadmore had given her a comfortable life, good education, exposed her to the arts, ensured that she qualified as a teacher and that she was able to carry herself with dignity. She was also not afraid to identify herself as a Masarwa. Later she was appointed as a teacher at Dilepe village and when she was taunted for being a Masarwa, she was able to bear her treatment stoically. (any 3 points). 19 (2) (2) (2) (3) (2) (3) (2) (3)

Downloaded from hlayiso.com 10412/12 TEXT A 16.7 Margaret 16.8 | Maru forced Moleka to retrieve the bed which he had loaned to Margaret. Vv/ Maru forced Margaret to return the bed. V Maru referred to Margaret as a Masarwa. V 16.9 16.9.1 When the Masarwas realized that Margaret, a Masarwa, sleeps on a bed, they would also want beds to sleep on. 16.9.2 In Dilepe, Masarwas were slaves, they slept on the ground around a fire, they had no right to privileges given to the Batswana, they had no right to education, were treated as animals, and were considered filthy and sub-human. When they see how education has changed the life of Margaret, they would also want to break free of their shackles. 16.10 Maru is determined to get the bed from Margaret saying that he does not want a Masarwa revolution. He also wants to keep Moleka away from Margaret/give Margaret a bad opinion of Moleka. However, as the story progresses, we see that Maru is intent on getting Margaret for himself. He ensures through his spies that Moleka goes nowhere near Margaret, he used Dikeledi to spy on Margaret and keep him informed of her actions and who she speaks about. In the end, he ensures that Moleka marries Dikeledi and secretly he plans to elope with Margaret. [Mark globally] OR NINETEEN EIGHTY-FOUR — GEORGE ORWELL QUESTION 17: ESSAY Candidates must show understanding of the Party’s control of the citizens’ awareness (“consciousness”) of their world, their knowledge/intellect by using several techniques/tactics — all of which revolve around thought processes : INGSOC - creates fear of torture and death if they think differently. Thought Police detect “guilty” body language and actions through the Spies. Parsons’ children betray the woman wrapping sausages in poster of Big Brother, foreigner with strange shoes and Parsons for talking in his sleep. The Party uses telescreens with two-way capabilities (the Physical Jerks) — citizens’ minds are taken off the immediate hardships and focused on exercise and the physical pain of achieving what is instructed. Mass hysteria during Two Minutes Hate — citizens do not think for themselves. Winston is aware of telescreen while he writes in his diary so is afraid, does not write properly. The telescreen picture in Charrington’s apartment — “You are the dead”. [Fear] 20 (1) (2) (2) (2) (3) [30]

Downloaded from hlayiso.com 10412/12 Newspeak: controls the ability to express objection/disapproval/hatred/rebellious thoughts because vocabulary has been whittled away - e.g. good, plusgood, doubleplusgood. The word God is being eliminated thereby not allowing the existence of a more powerful being than Big Brother. [Ignorance] Mutability of the past (altering history) - Through elimination of undesirable past (Rutherford, Arenson and Jones) and promotion of admirable past (helicopters), the Party can influence admiration. Thoughtcrime — knowing that merely thinking of a crime is punishable by death, is a way of preventing rebellious thoughts. Thought control (HG): doublethink — holding two contradictory beliefs in one’s mind simultaneously, and accepting both of them (2 plus 2 equal 5) Once this type of thought is whole-heartedly believable, winning/victory for the Party is complete. [This memo is by no means definitive, and should the candidate mention any other methods of “knowledge” of “consciousness” — or lack thereof — of the Party’s control, credit it. They do not have to cover all concepts mentioned in the memo.] OR QUESTION 18: CONTEXTUAL Read both extracts carefully and answer the questions that follow. TEXTA 18.1 18.1.1 Two Minutes Hate (1) 18.1.2 It uses the mass hysteria to channel excess energy or hatred away from itself towards the “enemy” (Eurasia/Eastasia). It is a form of brainwashing. (3) 18.2 18.2.1 She is characterless/weak/insignificant as a person portrayed by her sandy hair, but has now become animated or “pink” although she seems out of her depth “like a landed fish”. (Candidates need only mention two of the three points if they are correctly explained.) (3) 18.2.2 She represents the average, bland citizen of Oceania. (1) 21

Downloaded from hlayiso.com 10412/12 18.3 18.3.1 She is the unknown character/has a dark side to her character. (1) 18.3.2 She appears to be supportive of the Party by throwing the Newspeak Dictionary at Goldstein on the screen, yet her rebellion is actually against the Party and what the Dictionary represents — reducing/changing/controlling vocabulary or free speech. (3) 18.4. Simile. A blowlamp is a deadly flame that can be directed at any object just as hatred can be switched to any enemy the Party chooses. (3) AND TEXT B 18.5 He is facing torture in Room 101, but believes he is innocent. (2) 186 18.6.1 Simply thinking of committing a crime against the Party, not even carrying it out. (2) 18.6.2 Talking in his sleep. It is ridiculous because it is subconscious. (2) 18.7 He is unintelligent as he believes it is right that he has been arrested for rebelling by talking in his sleep. He is emotionally dysfunctional because he admires his 7-year-old daughter for betraying him. (Accept any reasonable justified answer) (4) 18.8 He is referred to as (by) a number and surname (as if he is an item on a list). (2) 18.9 A totalitarian system of government will lead to the collapse of normal family relationships. (3) [30] TOTAL FOR SECTIONC: 30 TOTAL: 100 22

Downloaded from hlayiso.com ASSESSMENT TABLE LITERATURE ESSAY: Maximum 30 marks: 20 + 10 10412/12 Mark CONTENT: 20 Mark STYLE 10 Symbol | 20 10 Classification Criteria observed Criteria At 20 Outstanding Exemplary answer under 10 }Planned, fluent and articulate; 95% 19 examination conditions; shows 9 |written in present tense; 90% 18 exceptional maturity, insight and appropriate, concise grasp of the material; lucid introduction, logical statements supported by relevant paragraphing; mature and quotations / references; virtually flawless style addresses all aspects of the question A Excellent Mature understanding; thorough 8 {Lucid and correct with a 85% 17 Distinctive knowledge of material; lucid and relevant introduction and 80% 16 pertinent with relevant logical paragraphing; quotations / references negligible errors; fluent B Very good Good grasp of meaning and 7 {Clear and generally correct 75% 15 material; most aspects of the with logical paragraphing, 70% 14 topic addressed; some sound language use quotations / references Cc Reasonable understanding of 6 Reads easily despite some 65% 13 [Good question and material: the errors of spelling, punctuation 60% 12 |Average/ learner understands the main and paragraphing; third Satisfactory argument and has provided a fair person / present tense amount of substantiation; may conventions not always lapse into narration observed; generally clear and fluent D Acceptable understanding with 5 May be read and understood 55% 11 |Satisfactory some attempt to address the without effort despite errors of 50% 10 Less than topic. Few or inappropriate spelling, punctuation, satisfactory quotations / references; contains paragraphing and style; a fair amount of narration; some pedestrian content errors E Passable Limited understanding of question} 4 {Distracting errors; poor 45% 9 and material; pure (accurate) spelling and punctuation; few 40% 8 narration or no paragraphs; slang FGH Inadequate Unsatisfactory knowledge of 3 | Disjointed, muddled; requires 35% 7 material; inaccurate narration; a marked effort to understand; 30% 6 errors of understanding of serious errors 25% 5 question 20% 4 2 3 Erroneous No real understanding of question 1 Barely intelligible 2 or material 4 0 No answer to question 0 jilliterate 23

Downloaded from hlayiso.com 10412/12 UNSEEN POETRY ESSAY ASSESSMENT TABLE 10 MARKS 8-10 [Shows a mature and insightful understanding of the poem and the question; addresses all aspects of the question and contains apt references to the poem; near flawless language use and fluent style 7 Shows a good understanding of the poem and the question; covers most aspects of the topic and makes some reference to the poem; clear style with negligible errors. 5-6 J|An average answer: has attempted to address the question but does not show a complete understanding of the question or the poem 6 — style is pedestrian but lacks major errors 5 — some distracting errors 4 Limited understanding of the poem and the question; shows understanding of some imagery but not of the poem as a whole; paraphrases; poor structure; distracting errors; only just passable 3 Answer poorly structured and flawed in style; shows no real understanding of the poem but touches on the question; many errors of spelling and language 1-2 |Makes a poor attempt or no attempt to address the question; content irrelevant; answer barely intelligible 0 Very brief and completely irrelevant answer; illiterate SEEN POETRY ESSAY ASSESSMENT TABLE 15 MARKS CONTENT STYLE 10-9 [Shows a mature and insightful understanding Near flawless language use and fluent style of the poem and the question; addresses all aspects of the question and contains apt references to the poem 8 Shows a good understanding of the poem and Clear and fluent style with negligible errors; 7 the question; covers all aspects of the topic good use of vocabulary and makes apt reference to the poem 6 An average answer: has attempted to Style is pedestrian and contains some errors 5 address the question but does not show a but requires no effort to read complete understanding of the question or the poem 4 Limited understanding of the poem and the poor structure; distracting errors question; shows understanding of some imagery but not of the poem as a whole; paraphrases 3 shows no real understanding of the poem but Very weak style, poor structure, barely 2 touches on the question intelligible 1 0 Very brief and completely irrelevant Illiterate 24