# English HL Grade 10 P2 November Mock Exam 2 2026 QP (Eng)

> Grade 10 English HL Paper 2 question paper from the November Mock Exam 2 2026 (English), 25 pages. Read online or get the free PDF download, memo linked when available.

- Page: https://www.hlayiso.com/library/grade-10-english-hl-2026-november-mock-exam-2-question-paper-paper-2-english/4cd31e21-6562-4efd-bc26-02095c17c1c6
- Updated: 2026-10-22
- Subject: English HL
- Grade: Grade 10
- Language: English
- Document type: Question paper
- Year: 2026
- Exam period: November Mock Exam 2
- Paper: 2
- Publisher: Hlayiso
- Curriculum: CAPS
- Pages: 25

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English HL · Grade 10 · November Mock Exam 2 · 2026. Question paper, 25 pages. Read online or download the PDF.

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- [Grade 10 English HL P2 November 2026 Mock 2 Memo](https://www.hlayiso.com/library/grade-10-english-hl-2026-november-mock-exam-2-memorandum-paper-2-english/c6e1ed56-68ab-462f-b90a-841ad70df6b9) — Memo · 2026 · Eng

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Mock
hlayiso mock exams
Practice Series:
Grade 10 Exam Preparation
WWW.HLAYISO.COM
NATIONAL
SENIOR CERTIFICATE
GRADE 10
ENGLISH HOME LANGUAGE P2
NOVEMBER EXAMINATION 2026 (MOCK)
MARKS: 80
TIME: 2½ hours
This question paper consists of 25 pages.

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INSTRUCTIONS AND INFORMATION
1.
Read these instructions carefully before you begin to answer the questions.
2.
Do NOT attempt to read the entire question paper. Consult the table of contents on
page 4 and mark the numbers of the questions set on texts you have studied this year.
Thereafter, read these questions and choose the ones you wish to answer.
3.
This question paper consists of THREE sections:
SECTION A: Poetry (30)
SECTION B: Novel (25)
SECTION C: Drama (25)
4.
Answer FIVE questions in all: THREE in SECTION A, ONE in SECTION B and ONE in
SECTION C as follows:
SECTION A: POETRY
PRESCRIBED POETRY – Answer TWO questions.
UNSEEN POEM – COMPULSORY question
SECTION B: NOVEL
Answer ONE question.
SECTION C: DRAMA
Answer ONE question.
5.
CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):
• Answer questions ONLY on the novel and the drama you have studied.
• Answer ONE ESSAY QUESTION and ONE CONTEXTUAL QUESTION. If you
answer the essay question in SECTION B, you must answer the contextual question
in SECTION C. If you answer the contextual question in SECTION B, you must
answer the essay question in SECTION C. Use the checklist to assist you.
6.
LENGTH OF ANSWERS:
• The essay question on Poetry should be answered in about 200–250 words.
• Essay questions on the Novel and Drama sections should be answered in 300–350
words.
• The length of answers to contextual questions should be determined by the mark
allocation. Candidates should aim for conciseness and relevance.
7.
Follow the instructions at the beginning of each section carefully.
8.
Number your answers correctly according to the numbering system used in this
question paper.
9.
Start EACH section on a NEW page.
10.
Suggested time management:
SECTION A: approximately 40 minutes
SECTION B: approximately 55 minutes
SECTION C: approximately 55 minutes
11.
Write neatly and legibly.
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NOTE ON THIS MOCK PAPER (Hlayiso): Grade 10 literature is prescribed per province and
school, so this mock uses only works in the public domain that are typical of Grade 10 Home
Language lists: the poems 'He Wishes for the Cloths of Heaven' (W.B. Yeats, 1899), 'Sonnet 116'
(William Shakespeare, 1609), 'Remember' (Christina Rossetti, 1862), 'Stopping by Woods on a
Snowy Evening' (Robert Frost, 1923) and, as the unseen poem, '"Hope" is the thing with feathers'
(Emily Dickinson, written c. 1861; text of the first printed edition, 1891); the novels A Christmas
Carol (Charles Dickens, 1843) and The Hound of the Baskervilles (Arthur Conan Doyle, 1902); and
the dramas Romeo and Juliet and Julius Caesar (William Shakespeare). All extracts are reproduced
from public-domain editions.
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TABLE OF CONTENTS
SECTION A: POETRY
Prescribed Poetry: Answer ANY TWO questions.
QUESTION NO.
QUESTION
MARKS
PAGE
NO.
1.
'He Wishes for the Cloths of
Heaven'
Essay question
10
6
2. 'Sonnet 116'
Contextual question
10
7
3. 'Remember'
Contextual question
10
8
4. 'Stopping by Woods on a Snowy
Evening'
Contextual question
10
9
AND
Unseen Poetry: COMPULSORY question
5. '"Hope" is the thing with feathers'
Contextual question
10
10
SECTION B: NOVEL
Answer ONE question.*
6. A Christmas Carol
Essay question
25
11
7. A Christmas Carol
Contextual question
25
11
8. The Hound of the Baskervilles
Essay question
25
15
9. The Hound of the Baskervilles
Contextual question
25
15
SECTION C: DRAMA
Answer ONE question.*
10. Romeo and Juliet
Essay question
25
18
11. Romeo and Juliet
Contextual question
25
18
12. Julius Caesar
Essay question
25
22
13. Julius Caesar
Contextual question
25
22
*NOTE:
In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.
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CHECKLIST
Use this checklist to ensure that you have answered the correct number of questions.
SECTION
QUESTION
NUMBERS
NO. OF
QUESTIONS TO
ANSWER
TICK (✓)
A: Poetry
(Prescribed Poetry)
1–4
2
A: Poetry
(Unseen Poem)
5
1
B: Novel
(Essay or Contextual)
6–9
1
C: Drama
(Essay or Contextual)
10–13
1
NOTE:
In SECTIONS B and C, ensure that you have answered ONE ESSAY and ONE
CONTEXTUAL question.
You may NOT answer TWO essay questions or TWO contextual questions.
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SECTION A: POETRY
PRESCRIBED POETRY
Answer any TWO of the following questions.
QUESTION 1: ESSAY QUESTION
Read the poem below and then answer the question that follows.
HE WISHES FOR THE CLOTHS OF HEAVEN – W.B. Yeats
1
Had I the heavens' embroidered cloths,
2
Enwrought with golden and silver light,
3
The blue and the dim and the dark cloths
4
Of night and light and the half-light,
5
I would spread the cloths under your feet:
6
But I, being poor, have only my dreams;
7
I have spread my dreams under your feet;
8
Tread softly because you tread on my dreams.
Glossary:
embroidered: decorated with patterns sewn in thread; enwrought: richly worked or woven
(with a pattern); tread: step, walk
In 'He Wishes for the Cloths of Heaven', the speaker offers the person he loves all that he
has, and in doing so he makes himself vulnerable.
With close reference to imagery, diction and tone, critically discuss the validity of the above
statement.
Your response should take the form of a well-constructed essay of 200–250 words (about
ONE page).
[10]
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QUESTION 2: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
SONNET 116 – William Shakespeare
1
Let me not to the marriage of true minds
2
Admit impediments. Love is not love
3
Which alters when it alteration finds,
4
Or bends with the remover to remove:
5
O no! it is an ever-fixed mark
6
That looks on tempests and is never shaken;
7
It is the star to every wandering bark,
8
Whose worth's unknown, although his height be taken.
9
Love's not Time's fool, though rosy lips and cheeks
10
Within his bending sickle's compass come;
11
Love alters not with his brief hours and weeks,
12
But bears it out even to the edge of doom.
13
If this be error and upon me proved,
14
I never writ, nor no man ever loved.
Glossary:
impediments: obstacles, reasons why something should not happen; remover: one who
leaves or changes; mark: a landmark or beacon (e.g. a lighthouse) that guides sailors; bark: ship; his
height be taken: its position is measured (by sailors navigating by the star); sickle: curved blade for
cutting crops; compass: range, reach; bears it out: endures, lasts; doom: Judgement Day, the end of
the world
2.1
Refer to lines 1–2: 'Let me not … Admit impediments.'
Explain what the speaker is saying about a relationship between 'true minds'.
(2)
2.2
Refer to lines 2–4: 'Love is not … remover to remove'.
Explain how the repetition of words ('alters'/'alteration' and 'remover'/'remove')
supports the speaker's view of true love.
(2)
2.3
Refer to lines 5–8: 'O no! it … height be taken.'
Discuss the effectiveness of the images of the 'ever-fixed mark' and the 'star'
in conveying the nature of true love.
(3)
2.4
Refer to lines 9–14: 'Love's not Time's … man ever loved.'
Critically discuss how the personification of Time in lines 9–12 and the tone
of the final couplet strengthen the speaker's argument.
(3)
[10]
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QUESTION 3: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
REMEMBER – Christina Rossetti
1
Remember me when I am gone away,
2
Gone far away into the silent land;
3
When you can no more hold me by the hand,
4
Nor I half turn to go yet turning stay.
5
Remember me when no more day by day
6
You tell me of our future that you planned:
7
Only remember me; you understand
8
It will be late to counsel then or pray.
9
Yet if you should forget me for a while
10
And afterwards remember, do not grieve:
11
For if the darkness and corruption leave
12
A vestige of the thoughts that once I had,
13
Better by far you should forget and smile
14
Than that you should remember and be sad.
Glossary:
counsel: give advice; grieve: feel deep sorrow; corruption: (here) decay of the body after
death; vestige: a small trace or remaining part
3.1
Refer to lines 1–2: 'Remember me when … the silent land'.
Explain what 'the silent land' refers to and why the speaker describes it in this
way.
(2)
3.2
Refer to line 4: 'Nor I half turn to go yet turning stay.'
What does this line reveal about the relationship between the speaker and
the person she addresses?
(2)
3.3
Refer to lines 9–10: 'Yet if you … do not grieve'.
Discuss the significance of the word 'Yet' in line 9 in relation to the structure
of the sonnet and the change in the speaker's request.
(3)
3.4
Refer to lines 13–14: 'Better by far … and be sad.'
Critically comment on the tone of these lines and on what they reveal about
the nature of the speaker's love.
(3)
[10]
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QUESTION 4: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
STOPPING BY WOODS ON A SNOWY EVENING – Robert Frost
1
Whose woods these are I think I know.
2
His house is in the village though;
3
He will not see me stopping here
4
To watch his woods fill up with snow.
5
My little horse must think it queer
6
To stop without a farmhouse near
7
Between the woods and frozen lake
8
The darkest evening of the year.
9
He gives his harness bells a shake
10
To ask if there is some mistake.
11
The only other sound's the sweep
12
Of easy wind and downy flake.
13
The woods are lovely, dark and deep,
14
But I have promises to keep,
15
And miles to go before I sleep,
16
And miles to go before I sleep.
Glossary:
queer: (here) strange, odd; harness: the straps fitted to a horse that pulls a cart or sleigh;
downy: soft and light, like fine feathers
4.1
Refer to stanza 1 (lines 1–4).
Explain why the speaker seems relieved that the owner of the woods 'will not
see me stopping here'.
(2)
4.2
Refer to lines 5–10: 'My little horse … is some mistake.'
Explain how the horse's reaction contrasts with the speaker's own feelings
about stopping.
(2)
4.3
Refer to lines 11–12: 'The only other … and downy flake.'
Discuss how the sound devices in these lines help to create the mood of the
scene.
(3)
4.4
Refer to stanza 4 (lines 13–16).
Critically discuss the significance of the repetition in the last two lines, in the
light of the choice that the speaker faces in this stanza.
(3)
[10]
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UNSEEN POETRY (COMPULSORY)
QUESTION 5: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
"HOPE" IS THE THING WITH FEATHERS – Emily Dickinson
1
"Hope" is the thing with feathers
2
That perches in the soul,
3
And sings the tune without the words,
4
And never stops at all,
5
And sweetest in the gale is heard;
6
And sore must be the storm
7
That could abash the little bird
8
That kept so many warm.
9
I've heard it in the chillest land,
10
And on the strangest sea;
11
Yet, never, in extremity,
12
It asked a crumb of me.
Glossary:
perches: sits or rests (like a bird on a branch); gale: a very strong wind; sore: (here) severe,
fierce; abash: embarrass, silence, defeat; extremity: the greatest danger or hardship
5.1
Refer to lines 1–2: '"Hope" is the … in the soul'.
Identify the figure of speech in these lines and explain why the comparison is
appropriate.
(2)
5.2
Refer to line 3: 'And sings the tune without the words'.
Which ONE of the following best explains the meaning of this line?
A
Hope is silent and cannot really be heard.
B
Hope comforts us even when we cannot put it into words.
C
Hope can only be found in music and songs.
D
Hope speaks only to those who listen carefully.
Write down only the letter (A–D) of the correct answer.
(2)
5.3
Refer to stanza 2 (lines 5–8).
Discuss how the contrast between the 'gale'/'storm' and the 'little bird' conveys
the strength of hope.
(3)
5.4
Refer to lines 11–12: 'Yet, never, in … crumb of me.'
Critically discuss what these lines reveal about the nature of hope, and
comment on the tone in which the poem ends.
(3)
[10]
TOTAL SECTION A:
30
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SECTION B: NOVEL
Answer ONLY on the novel you have studied.
A CHRISTMAS CAROL – Charles Dickens
Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual question).
QUESTION 6: A CHRISTMAS CAROL – ESSAY QUESTION
In A Christmas Carol, Dickens shows that wealth without kindness leaves a person poorer
than those who have very little money.
With close reference to the novel, critically discuss the extent to which you agree with the
above statement.
Your response should take the form of a well-constructed essay of 300–350 words (1½–2
pages).
[25]
QUESTION 7: A CHRISTMAS CAROL – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A
For again Scrooge saw himself. He was older now; a man in the prime of life.
His face had not the harsh and rigid lines of later years; but it had begun to wear
the signs of care and avarice. There was an eager, greedy, restless motion in the
eye, which showed the passion that had taken root, and where the shadow of the
growing tree would fall.
5
He was not alone, but sat by the side of a fair young girl in a mourning-dress:
in whose eyes there were tears, which sparkled in the light that shone out of the
Ghost of Christmas Past.
'It matters little,' she said, softly. 'To you, very little. Another idol has displaced me;
and if it can cheer and comfort you in time to come, as I would have tried to do, I 10
have no just cause to grieve.'
'What Idol has displaced you?' he rejoined.
'A golden one.'
'This is the even-handed dealing of the world!' he said. 'There is nothing on which
it is so hard as poverty; and there is nothing it professes to condemn with such 15
severity as the pursuit of wealth!'
'You fear the world too much,' she answered, gently. 'All your other hopes have
merged into the hope of being beyond the chance of its sordid reproach. I have
seen your nobler aspirations fall off one by one, until the master-passion, Gain,
engrosses you. Have I not?'
20
…
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'You may – the memory of what is past half makes me hope you will – have pain
in this. A very, very brief time, and you will dismiss the recollection of it, gladly, as
an unprofitable dream, from which it happened well that you awoke. May you be
happy in the life you have chosen!'
25
She left him, and they parted.
[Stave 2]
Glossary:
avarice: extreme greed for money; rejoined: replied; even-handed: fair; sordid reproach:
shameful criticism; engrosses: completely occupies
7.1
Place this extract in context.
(3)
7.2
Refer to lines 9–13: 'It matters little … A golden one.'
Explain what Belle means by 'Another idol' and comment on why the word
'golden' is appropriate.
(3)
7.3
Refer to lines 14–16: 'This is the … pursuit of wealth!'
What do these words reveal about Scrooge's state of mind and his attitude
towards money at this stage of his life?
(3)
7.4
Refer to lines 24–25: 'May you be happy in the life you have chosen!'
Discuss the irony of Belle's words in the light of what the reader knows about
Scrooge's life at the beginning of the novel.
(3)
AND
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EXTRACT B
A churchyard. Here, then; the wretched man whose name he had now to learn,
lay underneath the ground. It was a worthy place. Walled in by houses; overrun
by grass and weeds, the growth of vegetation's death, not life; choked up with too
much burying; fat with repleted appetite. A worthy place!
The Spirit stood among the graves, and pointed down to One. He advanced
5
towards it trembling. The Phantom was exactly as it had been, but he dreaded
that he saw new meaning in its solemn shape.
'Before I draw nearer to that stone to which you point,' said Scrooge, 'answer
me one question. Are these the shadows of the things that Will be, or are they
shadows of things that May be, only?'
10
Still the Ghost pointed downward to the grave by which it stood.
'Men's courses will foreshadow certain ends, to which, if persevered in, they must
lead,' said Scrooge. 'But if the courses be departed from, the ends will change.
Say it is thus with what you show me!'
The Spirit was immovable as ever.
15
Scrooge crept towards it, trembling as he went; and following the finger, read upon
the stone of the neglected grave his own name, EBENEZER SCROOGE.
'Am I that man who lay upon the bed?' he cried, upon his knees.
The finger pointed from the grave to him, and back again.
'No, Spirit! Oh no, no!'
20
The finger still was there.
'Spirit!' he cried, tight clutching at its robe, 'hear me! I am not the man I was. I will
not be the man I must have been but for this intercourse. Why show me this, if I
am past all hope!'
[Stave 4]
Glossary:
repleted: over-full; courses: ways of life, paths of behaviour; persevered in: continued with;
intercourse: (here) meeting, contact (with the Spirits)
7.5
Refer to lines 1–4: 'A churchyard. Here … A worthy place!'
Discuss how the description of the churchyard reflects the kind of life that the
dead man has lived.
(3)
7.6
Refer to lines 8–10: 'Before I draw … May be, only?'
Explain why this question is so important to Scrooge, and how it relates to the
message of the novel.
(3)
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7.7
Refer to lines 16–18: 'Scrooge crept towards … upon his knees.'
Earlier in this stave, Scrooge has been shown how other people react to the
death of 'that man who lay upon the bed'. Describe THREE of these reactions.
(3)
7.8
Refer to both EXTRACT A and EXTRACT B.
Compare Scrooge's attitude in EXTRACT A with his attitude in EXTRACT B,
and discuss to what extent this change is the result of what the Spirits have
shown him.
(4)
[25]
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THE HOUND OF THE BASKERVILLES – Arthur Conan Doyle
Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual question).
QUESTION 8: THE HOUND OF THE BASKERVILLES – ESSAY QUESTION
In The Hound of the Baskervilles, reason and careful observation finally triumph over
superstition and fear.
With close reference to the novel, critically discuss the extent to which you agree with the
above statement.
Your response should take the form of a well-constructed essay of 300–350 words (1½–2
pages).
[25]
QUESTION 9: THE HOUND OF THE BASKERVILLES – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT C
'It would be a rare place for a gallop.'
'You would naturally think so and the thought has cost several their lives before
now. You notice those bright green spots scattered thickly over it?'
'Yes, they seem more fertile than the rest.'
Stapleton laughed. 'That is the great Grimpen Mire,' said he. 'A false step yonder
5
means death to man or beast. Only yesterday I saw one of the moor ponies wander
into it. He never came out. I saw his head for quite a long time craning out of the
bog-hole, but it sucked him down at last. Even in dry seasons it is a danger to
cross it, but after these autumn rains it is an awful place. And yet I can find my
way to the very heart of it and return alive. By George, there is another of those 10
miserable ponies!'
Something brown was rolling and tossing among the green sedges. Then a long,
agonised, writhing neck shot upward and a dreadful cry echoed over the moor.
It turned me cold with horror, but my companion's nerves seemed to be stronger
than mine.
15
'It's gone!' said he. 'The mire has him. Two in two days, and many more, perhaps,
for they get in the way of going there in the dry weather and never know the
difference until the mire has them in its clutches. It's a bad place, the great Grimpen
Mire.'
'And you say you can penetrate it?'
20
'Yes, there are one or two paths which a very active man can take. I have found
them out.'
'But why should you wish to go into so horrible a place?'
'Well, you see the hills beyond? They are really islands cut off on all sides by the
impassable mire, which has crawled round them in the course of years. That is 25
where the rare plants and the butterflies are, if you have the wit to reach them.'
'I shall try my luck some day.'
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He looked at me with a surprised face. 'For God's sake put such an idea out of
your mind,' said he. 'Your blood would be upon my head. I assure you that there
would not be the least chance of your coming back alive. It is only by remembering 30
certain complex landmarks that I am able to do it.'
[Chapter 7: The Stapletons of Merripit House]
Glossary:
mire: a bog, deep soft mud; yonder: over there; sedges: grass-like plants that grow in wet
ground; penetrate: get into, go through
9.1
Account for Watson's presence on the moor with Stapleton at this point in the
novel.
(3)
9.2
Refer to lines 3–4: 'You notice those … than the rest.'
Explain how these lines illustrate the theme of appearance versus reality in
the novel.
(3)
9.3
Refer to lines 12–15: 'Something brown was … stronger than mine.'
Discuss how the description of the pony's death creates a feeling of horror
and foreshadows later events in the novel.
(3)
9.4
Refer to lines 28–31: 'He looked at … to do it.'
Stapleton claims that only he, by remembering 'certain complex landmarks',
can find his way through the mire. Discuss the irony of this claim in the light
of the novel's ending.
(3)
AND
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EXTRACT D
A low moan had fallen upon our ears. There it was again upon our left! … As we
ran towards it the vague outline hardened into a definite shape. It was a prostrate
man face downward upon the ground, the head doubled under him at a horrible
angle. … The gleam of the match which he struck shone upon his clotted fingers
and upon the ghastly pool which widened slowly from the crushed skull of the
5
victim. And it shone upon something else which turned our hearts sick and faint
within us – the body of Sir Henry Baskerville!
There was no chance of either of us forgetting that peculiar ruddy tweed suit – the
very one which he had worn on the first morning that we had seen him in Baker
Street. …
10
'I am more to blame than you, Watson. In order to have my case well rounded and
complete, I have thrown away the life of my client. It is the greatest blow which
has befallen me in my career. But how could I know – how could I know – that he
would risk his life alone upon the moor in the face of all my warnings?'
…
15
He had uttered a cry and bent over the body. Now he was dancing and laughing
and wringing my hand. Could this be my stern, self-contained friend? These were
hidden fires, indeed!
'A beard! A beard! The man has a beard!'
'A beard?'
20
'It is not the baronet – it is – why, it is my neighbour, the convict!'
[Chapter 12: Death on the Moor]
Glossary:
prostrate: lying flat, face down; ruddy: reddish; befallen: happened to; baronet: a man
holding an inherited title (Sir Henry)
9.5
Explain how Holmes and Watson come to be together on the moor on this
night.
(3)
9.6
Refer to lines 11–14: 'I am more … all my warnings?'
What do these words reveal about Holmes's character?
(3)
9.7
Refer to lines 8–10 and lines 19–21.
Explain why the dead man is wearing Sir Henry's suit, and why this detail is
significant to the plot.
(3)
9.8
Refer to both EXTRACT C and EXTRACT D.
Watson is horrified by what he witnesses on the moor in both extracts.
Compare his state of mind in the two extracts, and discuss to what extent
the moor itself is responsible for the fear that he experiences.
(4)
[25]
TOTAL SECTION B:
25
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SECTION C: DRAMA
Answer ONLY on the drama you have studied.
ROMEO AND JULIET – William Shakespeare
Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual question).
QUESTION 10: ROMEO AND JULIET – ESSAY QUESTION
The adults in Romeo and Juliet must take a greater share of the blame for the tragedy than
the young lovers themselves.
Critically discuss the extent to which you agree with the above statement.
Your response should take the form of a well-constructed essay of 300–350 words (1½–2
pages).
[25]
QUESTION 11: ROMEO AND JULIET – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT E
TYBALT
This, by his voice, should be a Montague.
Fetch me my rapier, boy. What, dares the slave
Come hither, cover'd with an antic face,
To fleer and scorn at our solemnity?
Now by the stock and honour of my kin,
5
To strike him dead I hold it not a sin.
CAPULET
Why how now, kinsman!
Wherefore storm you so?
TYBALT
Uncle, this is a Montague, our foe;
A villain that is hither come in spite,
10
To scorn at our solemnity this night.
CAPULET
Young Romeo, is it?
TYBALT
'Tis he, that villain Romeo.
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CAPULET
Content thee, gentle coz, let him alone,
’A bears him like a portly gentleman;
15
And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth.
I would not for the wealth of all the town
Here in my house do him disparagement.
Therefore be patient, take no note of him,
20
It is my will; the which if thou respect,
Show a fair presence and put off these frowns,
An ill-beseeming semblance for a feast.
TYBALT
It fits when such a villain is a guest:
I'll not endure him.
25
CAPULET
He shall be endur'd.
What, goodman boy! I say he shall, go to;
Am I the master here, or you? Go to.
…
TYBALT
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different greeting.
30
I will withdraw: but this intrusion shall,
Now seeming sweet, convert to bitter gall.
Exit.
[Act 1, Scene 5]
Glossary:
antic face: a comic mask; fleer: mock, sneer; solemnity: celebration, feast; stock: family
line; coz: cousin, relative; ’A: he; portly: dignified; disparagement: insult, dishonour; ill-beseeming
semblance: unsuitable appearance; perforce: forced; choler: anger; gall: bitterness
11.1
Place this extract in context.
(3)
11.2
Refer to lines 5–6: 'Now by the … not a sin.'
What do these lines reveal about Tybalt's character? Substantiate your
answer.
(3)
11.3
Refer to lines 14–19: 'Content thee, gentle … do him disparagement.'
Explain why Capulet refuses to allow Tybalt to attack Romeo.
(3)
11.4
Refer to lines 29–32: 'Patience perforce with … to bitter gall.'
Discuss how these lines foreshadow later events in the play.
(3)
AND
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EXTRACT F
CAPULET
How now? A conduit, girl? What, still in tears?
Evermore showering? …
How now, wife?
Have you deliver'd to her our decree?
LADY CAPULET
Ay, sir; but she will none, she gives you thanks.
5
I would the fool were married to her grave.
CAPULET
Soft. Take me with you, take me with you, wife.
How, will she none? Doth she not give us thanks?
Is she not proud? Doth she not count her blest,
Unworthy as she is, that we have wrought
10
So worthy a gentleman to be her bridegroom?
JULIET
Not proud you have, but thankful that you have.
Proud can I never be of what I hate;
But thankful even for hate that is meant love.
CAPULET
How now, how now, chopp'd logic? What is this?
15
Proud, and, I thank you, and I thank you not;
And yet not proud. Mistress minion you,
Thank me no thankings, nor proud me no prouds,
But fettle your fine joints 'gainst Thursday next
To go with Paris to Saint Peter's Church,
20
Or I will drag thee on a hurdle thither.
Out, you green-sickness carrion! Out, you baggage!
You tallow-face!
LADY CAPULET
Fie, fie! What, are you mad?
JULIET
Good father, I beseech you on my knees,
25
Hear me with patience but to speak a word.
CAPULET
Hang thee young baggage, disobedient wretch!
I tell thee what, – get thee to church a Thursday,
Or never after look me in the face.
Speak not, reply not, do not answer me.
30
My fingers itch.
[Act 3, Scene 5]
Glossary:
conduit: a pipe or fountain for water; decree: order, decision; wrought: arranged; chopp'd
logic: clever but empty argument; minion: spoilt girl; fettle: get ready; hurdle: frame for dragging
prisoners; green-sickness carrion: pale, sickly flesh; baggage: worthless girl; tallow-face: pale face
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11.5
Refer to line 1: 'How now? A … still in tears?'
Explain why Juliet is really weeping, and discuss the dramatic irony of her
parents' understanding of her tears.
(3)
11.6
Refer to lines 12–14: 'Not proud you … is meant love.'
Comment on Juliet's use of language in these lines and on what it reveals
about her state of mind.
(3)
11.7
Refer to lines 27–31: 'Hang thee young … My fingers itch.'
If you were the director of a production of Romeo and Juliet, how would you
instruct the actor playing Capulet to deliver these lines? Pay specific attention
to tone and body language. Motivate your instructions.
(3)
11.8
Refer to both EXTRACT E and EXTRACT F.
Compare Capulet's behaviour in EXTRACT E with his behaviour in EXTRACT
F, and discuss to what extent his treatment of Juliet in EXTRACT F can be
justified.
(4)
[25]
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JULIUS CAESAR – William Shakespeare
Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual question).
QUESTION 12: JULIUS CAESAR – ESSAY QUESTION
In Julius Caesar, the spoken word is shown to be a more powerful and more dangerous
weapon than the sword.
Critically discuss the extent to which you agree with the above statement.
Your response should take the form of a well-constructed essay of 300–350 words (1½–2
pages).
[25]
QUESTION 13: JULIUS CAESAR – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT G
BRUTUS
It must be by his death: and for my part,
I know no personal cause to spurn at him,
But for the general. He would be crown'd:
How that might change his nature, there's the question.
It is the bright day that brings forth the adder,
5
And that craves wary walking. Crown him? – that;
And then, I grant, we put a sting in him,
That at his will he may do danger with.
Th' abuse of greatness is, when it disjoins
Remorse from power; and, to speak truth of Caesar,
10
I have not known when his affections sway'd
More than his reason. But 'tis a common proof,
That lowliness is young ambition's ladder,
Whereto the climber-upward turns his face;
But when he once attains the upmost round,
15
He then unto the ladder turns his back,
Looks in the clouds, scorning the base degrees
By which he did ascend. So Caesar may;
Then lest he may, prevent. And since the quarrel
Will bear no colour for the thing he is,
20
Fashion it thus: that what he is, augmented,
Would run to these and these extremities:
And therefore think him as a serpent's egg
Which hatch'd, would, as his kind grow mischievous;
And kill him in the shell.
25
[Act 2, Scene 1]
Glossary:
spurn at: strike at, reject; the general: the general good, the people; adder: a poisonous
snake; craves: calls for, demands; disjoins remorse from power: separates mercy/conscience from
power; affections: emotions, passions; round: rung (step) of a ladder; base degrees: lower steps; will
bear no colour: cannot be justified; augmented: increased
13.1
Place this extract in context.
(3)
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13.2
Refer to lines 2–3: 'I know no … for the general.'
What do these lines reveal about Brutus's reasons for joining the conspiracy?
Comment on what this suggests about his character.
(3)
13.3
Refer to lines 5–8 ('It is the … danger with') and lines 18–25 ('So Caesar may
… in the shell').
Discuss the effectiveness of the serpent imagery in Brutus's argument.
(3)
13.4
Refer to the extract as a whole.
Brutus admits that he has 'not known when [Caesar's] affections sway'd / More
than his reason'. Discuss the weakness in the reasoning that Brutus uses to
justify killing Caesar.
(3)
AND
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EXTRACT H
CASSIUS
That you have wrong'd me doth appear in this:
You have condemn'd and noted Lucius Pella
For taking bribes here of the Sardians;
Wherein my letters, praying on his side
Because I knew the man, were slighted off.
5
BRUTUS
You wrong'd yourself to write in such a case.
…
BRUTUS
Remember March, the Ides of March remember:
Did not great Julius bleed for justice' sake?
What villain touch'd his body, that did stab,
And not for justice? What! Shall one of us,
10
That struck the foremost man of all this world
But for supporting robbers, shall we now
Contaminate our fingers with base bribes,
And sell the mighty space of our large honours
For so much trash as may be grasped thus?
15
I had rather be a dog, and bay the moon,
Than such a Roman.
…
CASSIUS
Do not presume too much upon my love.
I may do that I shall be sorry for.
BRUTUS
You have done that you should be sorry for.
20
There is no terror, Cassius, in your threats,
For I am arm'd so strong in honesty,
That they pass by me as the idle wind,
Which I respect not. I did send to you
For certain sums of gold, which you denied me;
25
For I can raise no money by vile means:
By Heaven, I had rather coin my heart,
And drop my blood for drachmas, than to wring
From the hard hands of peasants their vile trash
By any indirection. I did send
30
To you for gold to pay my legions,
Which you denied me: was that done like Cassius?
[Act 4, Scene 3]
Glossary:
noted: publicly disgraced; Sardians: people of Sardis; slighted off: ignored; bay: howl at;
presume: take for granted; coin my heart: turn my heart into money; drachmas: Greek coins; indirection:
dishonest means; legions: soldiers, army units
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13.5
Explain how Brutus and Cassius come to be in a military camp near Sardis at
this point in the play.
(3)
13.6
Refer to lines 7–17: 'Remember March, the … such a Roman.'
Discuss how Brutus uses the memory of Caesar's murder to condemn bribery.
(3)
13.7
Refer to lines 21–32: 'There is no … done like Cassius?'
If you were the director of a production of Julius Caesar, how would you
instruct the actor playing Brutus to deliver these lines? Pay specific attention
to tone and body language. Motivate your instructions.
(3)
13.8
Refer to both EXTRACT G and EXTRACT H.
Brutus claims to be 'arm'd so strong in honesty'. With reference to both
extracts and the play as a whole, discuss to what extent this claim is justified.
(4)
[25]
TOTAL SECTION C:
25
GRAND TOTAL:
80
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