English HL Grade 10 Paper 2 November Mock 2026 Memo (English)

Copyright reserved Please turn over 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) MARKING GUIDELINES MARKS: 80 These marking guidelines consist of 17 pages.

English Home Language/P2 2 NSC – Marking Guidelines Hlayiso/Mock 2026 NOTE TO MARKERS • These marking guidelines are intended as a guide for markers. • The marking guidelines will be discussed with the marking panel before marking commences. • Candidates' responses must be considered on their merits. INSTRUCTIONS 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. If a candidate has answered all four questions in SECTION A (prescribed poems), mark only the first two. 3. If a candidate has answered two contextual or two essay questions in SECTIONS B and C, mark the first one and ignore the second. If a candidate has answered all four questions (novel) and/or 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 is wrong and the next one correct, mark the first answer and ignore the next. 5. If answers are incorrectly numbered, mark according to the marking guidelines. 6. If a spelling error affects the meaning, mark incorrect. If it does not affect the meaning, mark correct. 7. Essay questions: 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, assess on merit and discuss with senior markers. 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/justification is what should be considered. 10. No marks should be awarded for TRUE/FALSE or FACT/OPINION. The reason/ substantiation/motivation/justification is what should be marked. 11. Answers to contextual questions must be assessed holistically in the light of the discussion during the standardisation of the marking guidelines. Copyright reserved Please turn over

English Home Language/P2 3 NSC – Marking Guidelines Hlayiso/Mock 2026 SECTION A: POETRY PRESCRIBED POETRY QUESTION 1: POETRY – ESSAY QUESTION 'THE ROAD NOT TAKEN' – Robert Frost • Use the following points, among others, as a guideline to marking this question. Responses might differ, depending on the candidate's sensitivity to and understanding of the text. • Refer to page 16 for the rubric to assess this question. • The extended metaphor of the two roads represents a choice in life. The speaker stands at a fork in a 'yellow wood' (autumn), which suggests a time of maturity/change. He regrets that he 'could not travel both': choosing one path means giving up the other. • The speaker hesitates ('long I stood / And looked down one as far as I could'), which shows how carefully he considers the decision; however, he cannot see where the road leads ('To where it bent in the undergrowth') – the future is uncertain and cannot be predicted. • Diction: the second road is 'as just as fair' and 'perhaps' had 'the better claim' because it was 'grassy and wanted wear', yet the speaker admits that the roads had been worn 'really about the same' and that both 'equally lay / In leaves no step had trodden black'. The choice is almost random/small; the roads are very similar. • 'Oh, I kept the first for another day!' The exclamation shows his wish to keep his options open, but he immediately realises that 'way leads on to way' – one choice leads to another, so he will probably never return. This shows how even a small decision shapes the whole course of a life. • The final stanza looks into the future ('I shall be telling this with a sigh / Somewhere ages and ages hence'). The 'sigh' is ambiguous: it may express regret, nostalgia or satisfaction. The dash and repetition of 'I' ('and I – / I took') suggest hesitation/emphasis as the speaker shapes the story of his life. • The speaker claims that he 'took the one less traveled by', although earlier he said the roads were about the same. This irony suggests that people later give meaning to their choices; 'all the difference' may be positive or negative – we cannot predict the effects of our choices. • Tone: reflective/thoughtful/hesitant/regretful in the first three stanzas; nostalgic/wistful/ ambiguous (perhaps ironic) in the final stanza. • Candidates may agree with the statement fully or partially. [Credit valid alternative responses.] [10] QUESTION 2: POETRY – CONTEXTUAL QUESTION 'SONNET 18' – William Shakespeare 2.1 The speaker asks whether he should compare the person he loves to a summer's day. (1) He answers that the beloved is lovelier and more gentle/ mild/even-tempered (more 'temperate') than a summer's day. (1) (2) 2.2 Any TWO of the following: Copyright reserved Please turn over

English Home Language/P2 4 NSC – Marking Guidelines Hlayiso/Mock 2026 • Strong winds damage/shake the delicate young flowers (buds) of May. • Summer is too short; it does not last long (its 'lease' expires quickly). [Accept from lines 5–6: the sun is sometimes too hot, or it is often hidden by clouds.] (2) 2.3 2.3.1 Metaphor (Accept personification.) (1) 2.3.2 The sun is compared to the eye of heaven that looks down on the earth. (1) The image is effective because it shows that even the sun, which seems so powerful and glorious, is imperfect: it is sometimes too hot and its 'gold complexion' is often dimmed by clouds. Nature's beauty is unreliable, unlike the beloved's. (1) (2) 2.4 The couplet states that as long as people are alive to breathe and read ('So long as men can breathe, or eyes can see'), this poem will survive ('So long lives this'), and as long as the poem is read, it will keep the beloved alive ('this gives life to thee'). The repetition of 'So long' and the balanced, confident rhythm emphasise permanence. The couplet completes the argument of lines 9–12: the beloved's 'eternal summer' will not fade because it is preserved in 'eternal lines' of poetry. The tone is confident/triumphant: art defeats time and death. [Award 3 marks for a critical discussion linked to the lines.] (3) [10] QUESTION 3: POETRY – CONTEXTUAL QUESTION 'I WANDERED LONELY AS A CLOUD' – William Wordsworth 3.1 The speaker is lonely/isolated/aimless/detached (1); like a cloud drifting high above the landscape, he wanders without purpose and is not connected to the world around him. (1) (2) 3.2 The words 'crowd' and 'host' are normally used for people (or angels), so the daffodils are personified. (1) The words emphasise the great number of flowers and suggest that they are lively company; the lonely speaker suddenly finds himself among a joyful 'crowd'. 'Host' may also suggest a heavenly host (angels), which makes the flowers seem glorious. (1) (2) 3.3 3.3.1 Simile (1) 3.3.2 Like the stars of the Milky Way, the daffodils seem endless/countless ('never-ending line') and they shine/twinkle as they move in the breeze. (1) The comparison is effective because it conveys the vastness and brightness of the scene and gives the flowers a heavenly, magical quality; it suggests that the speaker is awed by them. (1) (2) 3.4 At the time, the speaker 'little thought' what the scene would mean to him. In the final stanza he explains that, long afterwards, when he lies on his couch feeling empty ('vacant') or thoughtful/sad ('pensive'), the memory of Copyright reserved Please turn over

English Home Language/P2 5 NSC – Marking Guidelines Hlayiso/Mock 2026 the daffodils 'flash[es] upon that inward eye' – his imagination/memory. This memory brings 'bliss' even when he is alone ('the bliss of solitude'), which contrasts with the loneliness of the opening. His heart 'with pleasure fills, / And dances with the daffodils': he is no longer a lonely observer but joins in the dance. The 'wealth' is therefore not material but spiritual/emotional – a lasting store of joy that nature has given him. [Award 3 marks for a critical discussion linked to the stanza.] (3) [10] QUESTION 4: POETRY – CONTEXTUAL QUESTION 'INVICTUS' – William Ernest Henley 4.1 The 'night' represents a period of great suffering/hardship/despair/illness/pain in the speaker's life. (1) It is 'Black as the Pit' (as dark as hell) and covers the whole world ('from pole to pole'), which shows how overwhelming and complete his suffering is. (1) (2) 4.2 4.2.1 Personification (Accept metaphor.) (1) 4.2.2 Circumstance (the difficult situation/fate) is presented as a fierce creature or cruel person that has seized/gripped the speaker. (1) The image is effective because it shows how trapped and helpless he is and how painful his situation is, which makes his refusal to flinch or cry out ('I have not winced nor cried aloud') even more admirable. (1) (2) 4.3 The speaker is courageous/defiant/resilient/proud/strong-willed. (1) Although he has been badly hurt by misfortune ('bloody'), he refuses to bow his head in defeat/submission (he will not give in). (1) (2) 4.4 The final lines are a powerful conclusion. The speaker declares that he alone controls his life and his inner self, no matter how difficult the 'gate' or how many punishments await him. The metaphors of the 'master' and the 'captain' suggest leadership, control and authority: just as a captain steers a ship through storms, he will direct his own life. The repetition/parallelism of 'I am the … of my …' and the strong, regular rhythm create a confident, triumphant, defiant tone. The ending links to 'my unconquerable soul' in line 4 and to the title ('unconquered'), completing the poem's message of the human spirit's resilience. [Award 3 marks for a critical discussion that refers to the lines.] (3) [10] Copyright reserved Please turn over

English Home Language/P2 6 NSC – Marking Guidelines Hlayiso/Mock 2026 UNSEEN POETRY (COMPULSORY) QUESTION 5: POETRY – CONTEXTUAL QUESTION 'LEISURE' – W.H. Davies 5.1 The speaker is concerned that people are so busy and full of worries/ responsibilities (1) that they no longer have time to pause and look at/enjoy the world around them; such a life is empty/not worth much. (1) (2) 5.2 Sheep and cows stand still for long periods, calmly gazing at their surroundings without hurrying. (1) The speaker suggests that even animals have more time to rest and enjoy peace than busy human beings; people should learn to be patient and calm, as the animals are. (1) (2) 5.3 5.3.1 Personification (1) 5.3.2 Beauty is presented as a woman who glances at us, dances and smiles. (1) The image suggests that beauty (in nature) tries to attract our attention and offers itself to us, but we are too busy to notice/return her glance or wait for her smile to develop; this makes the reader feel what he/she is missing. (1) (2) 5.4 The repetition of 'No time' at the beginning of lines 3, 5, 7, 9 and 11 (anaphora) emphasises how much people miss because they are always busy; it creates a list of lost pleasures and a regretful/critical, almost pleading tone. The repetition also mirrors the monotonous, rushed routine of modern life. The message is very relevant today: people are busier than ever and are often absorbed in their phones and screens, so they seldom stop to appreciate nature, rest or reflect; stress and burnout are common. [Award 3 marks only if the candidate discusses the effect of the repetition AND comments on relevance. Credit valid alternative responses.] (3) [10] TOTAL SECTION A: 30 Copyright reserved Please turn over

English Home Language/P2 7 NSC – Marking Guidelines Hlayiso/Mock 2026 SECTION B: NOVEL QUESTION 6: A CHRISTMAS CAROL – ESSAY QUESTION • Use the following points, among others, as a guideline to marking this question. Responses might differ, depending on the candidate's sensitivity to and understanding of the text. • Refer to page 17 for the rubric to assess this question. • At the beginning, Scrooge is an old, miserly, cold-hearted businessman ('a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner'). He refuses his nephew Fred's invitation, refuses to give to charity and pays his clerk, Bob Cratchit, poorly. • His attitudes have been fixed for many years; he has lived alone since Marley's death. His change seems very unlikely – yet it happens in one night. • Marley's Ghost warns him that he is forging a chain like Marley's and gives him a chance to escape his fate. • The Ghost of Christmas Past shows him his lonely childhood, Fezziwig's kindness and Belle, who left him because he loved money more than her. Scrooge begins to feel regret and emotion. • The Ghost of Christmas Present shows him the Cratchits' loving but poor Christmas and Tiny Tim's illness, Fred's party, and the children Ignorance and Want. His own words ('decrease the surplus population') are thrown back at him, and he shows concern for Tiny Tim. • The Ghost of Christmas Yet to Come shows him his unmourned death, the theft of his belongings and the death of Tiny Tim. He begs for a chance to change and promises to 'honour Christmas in my heart'. • On Christmas morning, Scrooge is joyful; he sends a prize turkey to the Cratchits, gives generously to the charity collector, goes to Fred's dinner, raises Bob's salary and becomes 'a second father' to Tiny Tim. He keeps his promise ('Scrooge was better than his word'). • Candidates may argue that the change is sudden and caused by fear, but most will argue that it shows that a person of any age can recognise his mistakes and change. [Credit valid alternative/mixed responses.] [25] QUESTION 7: A CHRISTMAS CAROL – CONTEXTUAL QUESTION 7.1 It is Christmas Eve, in Scrooge's counting-house (office). (1) Scrooge's nephew, Fred, has just left after inviting Scrooge to Christmas dinner, and two gentlemen arrive to collect money for the poor. (1) (2) 7.2 On the night of the anniversary of Marley's death (Christmas Eve), Marley's Ghost visits Scrooge. (1) He warns Scrooge to change his ways and tells him that three Spirits will visit him, which begins Scrooge's transformation. (1) (2) 7.3 Scrooge is cold/heartless/uncaring towards the poor. (1) He believes that the poor should be dealt with by prisons and workhouses, which he pays for through taxes, and that he has no further responsibility to help them. (1) (2) Copyright reserved Please turn over

English Home Language/P2 8 NSC – Marking Guidelines Hlayiso/Mock 2026 7.4 Scrooge suggests that the poor who would rather die than go to the workhouse should do so, to reduce the 'surplus' (extra) population. (1) The Ghost of Christmas Present later repeats these words to Scrooge when Scrooge asks whether Tiny Tim will live: if Tim is going to die, 'he had better do it, and decrease the surplus population'. (1) Scrooge is ashamed/overcome with grief and guilt when he realises that the 'surplus population' includes real people like Tiny Tim, whom he has come to care about. (1) (3) 7.5 At this stage, Scrooge is proud/self-satisfied/smug: he is pleased with himself for getting rid of the gentlemen and sees nothing wrong in his meanness. (1) He is amused by their failure ('facetious temper'), which shows how hard-hearted he is. (1) At the end of the novel, Scrooge meets one of the gentlemen in the street, apologises and whispers a large donation to him that includes 'a great many back-payments'; he is humble and generous. (1) (3) 7.6 The Ghost of Christmas Present. (1) It has shown Scrooge the Cratchit family's Christmas dinner (and Tiny Tim) and Fred's Christmas party. (1) [Accept other valid scenes, e.g. miners, lighthouse keepers, sailors celebrating Christmas, the busy streets on Christmas morning. Award 1 mark for naming the Spirit and 1 mark for TWO valid scenes.] (2) 7.7 The long list of harsh adjectives emphasises how badly the children have suffered (1) and creates a shocking/disturbing image of poverty and neglect; 'wolfish' suggests that poverty has made them almost like wild animals. (1) (2) 7.8 The children symbolise the ignorance (lack of education) and want (poverty/ need) that society has created and neglected; they belong to all of mankind ('They are Man's'). (1) The boy, Ignorance, is the more dangerous of the two (1) because an uneducated society cannot see or solve its problems; ignorance will lead to 'Doom' (ruin/crime/the destruction of society) unless it is corrected through education. (1) (3) 7.9 In EXTRACT A, Scrooge was indifferent to the poor; now he is 'appalled' and cannot bring himself to lie that the children are 'fine' – he feels shock and pity. (1) He shows concern by asking, 'Have they no refuge or resource?', which shows that he now cares what happens to them. (1) The Spirit's use of Scrooge's own cruel words ('Are there no prisons? … Are there no workhouses?') makes Scrooge realise how heartless he was, and it shames him; the contrast shows how far he has begun to change. (1) (3) 7.10 CONVINCING: Scrooge's change is developed step by step: he weeps over his own childhood, feels regret about Belle, shows concern for Tiny Tim and is horrified by his own lonely death. By the end he is 'better than his word' and keeps his promises – he raises Bob's salary and becomes a second father to Tiny Tim. Readers are shown that his coldness came from loneliness and fear of poverty, so his change is believable. OR NOT CONVINCING: The change happens in one night and is largely caused by fear of his own death; a man who has been mean for decades would not become so generous so quickly. Copyright reserved Please turn over

English Home Language/P2 9 NSC – Marking Guidelines Hlayiso/Mock 2026 [Credit valid alternative/mixed responses. Award 3 marks for a well-substantiated discussion.] (3) [25] Copyright reserved Please turn over

English Home Language/P2 10 NSC – Marking Guidelines Hlayiso/Mock 2026 QUESTION 8: THE HOUND OF THE BASKERVILLES – ESSAY QUESTION • Use the following points, among others, as a guideline to marking this question. Responses might differ, depending on the candidate's sensitivity to and understanding of the text. • Refer to page 17 for the rubric to assess this question. • The moor (Dartmoor) is described as wild, desolate, gloomy and ancient: 'melancholy', with 'jagged and sinister hills', granite tors and the ruins of prehistoric huts. It creates an atmosphere of isolation and danger far from the safety of London. • The Great Grimpen Mire, a deadly bog in which a moor pony is sucked down, symbolises hidden danger and death; Stapleton uses his knowledge of a path through the Mire to hide the hound. Stapleton is finally believed to have died in the Mire. • The howling of the hound across the moor at night frightens Watson and Sir Henry and seems to confirm the supernatural legend. The escaped convict (Selden) hides on the moor; the mysterious man on the tor (Holmes in hiding) adds suspense. • The moor isolates characters (Sir Henry is told never to cross it alone at night) and makes them vulnerable: Selden dies on the moor wearing Sir Henry's clothes. • In the climax, the thick fog rolling over the moor ('the wall of fog') hides the hound until the last moment and threatens Holmes's plan, creating great suspense. • Baskerville Hall, the yew alley and the moor-gate also add to the gloomy atmosphere. • Candidates may argue that the moor is like a character (it is personified, it 'watches', it is threatening) or that characters such as Holmes and Stapleton are more important, while the setting supports them. [Credit valid alternative/mixed responses.] [25] QUESTION 9: THE HOUND OF THE BASKERVILLES – CONTEXTUAL QUESTION 9.1 Dr Mortimer, Sir Charles Baskerville's friend and doctor, has come to consult Sherlock Holmes (and Watson) at Baker Street. (1) He has read them the old manuscript containing the legend of the hound of the Baskervilles and a newspaper report of Sir Charles's death, and now tells them the facts that were not made public. (1) (2) 9.2 Sir Charles believed in the family legend/curse of a supernatural hound that hunted the Baskervilles. (1) He feared that the hound would come for him; he had a weak heart, and he was afraid to go out on the moor at night. (1) (2) 9.3 There was no physical injury, so he was not attacked or murdered in the usual way. (1) His twisted features and his fingers dug into the ground suggest that he died of extreme fear/terror, which caused his weak heart to fail (heart attack). (1) (2) 9.4 The line is effective as a chapter ending because it is dramatic/shocking and creates suspense: it seems to confirm the supernatural legend of the hound. (1) Dr Mortimer's whispering voice and strange look build tension, and the short questions and answers ('Footprints?' 'Footprints.') lead up to a climax. (1) The reader is eager to read on to find out whether the hound is real and how Holmes will explain it (cliffhanger). (1) (3) Copyright reserved Please turn over

English Home Language/P2 11 NSC – Marking Guidelines Hlayiso/Mock 2026 9.5 Dr Mortimer believes that Stapleton is a concerned friend of Sir Charles. (1) In fact, Stapleton is a Baskerville (Rodger Baskerville's son) who wants to inherit the estate; he is the villain who used the hound to frighten Sir Charles to death. (1) His 'concern' about Sir Charles's health is ironic: he knew about his weak heart and used this knowledge to kill him. The reader later realises this, but Mortimer does not. (1) (3) 9.6 Holmes has discovered that Stapleton is the murderer and wants to catch him in the act. (1) Sir Henry has been sent to dinner at Merripit House (Stapleton's home) and is told to walk home across the moor, so that Stapleton will release the hound and Holmes can catch it/him. (1) (2) 9.7 The hound is described as 'enormous' and 'coal-black', 'not such a hound as mortal eyes have ever seen', which makes it seem supernatural. (1) Fire imagery ('Fire burst from its open mouth', 'smouldering glare', 'flickering flame') makes it seem hellish/demonic. (1) The superlatives/comparatives 'more savage, more appalling, more hellish' and the reference to a 'delirious dream of a disordered brain' emphasise the terror and convey Watson's panic. (1) (3) 9.8 Sir Henry is in terrible danger/helpless/terrified. (1) He sees the hound approaching but cannot escape or defend himself; his raised hands and white face show his horror. (1) (2) 9.9 The hound's howl of pain shows that it can be wounded and is therefore a real animal, not a supernatural creature. (1) This marks the triumph of reason over superstition, which is a central idea in the novel: the legend that frightened Sir Charles to death is shown to be false. (1) Holmes's logical methods expose the 'curse' as a cunning trick by Stapleton (the hound is a real dog painted with phosphorus). (1) (3) 9.10 JUSTIFIED: There is no legal evidence against Stapleton, and catching him in the act is the only way to prove his guilt and stop him; Holmes is close by with Watson and Lestrade, armed, to protect Sir Henry. Sir Henry agrees to cooperate. OR NOT JUSTIFIED: Holmes places Sir Henry's life in great danger without telling him the full plan; the fog nearly ruins the plan and the hound reaches Sir Henry before it is shot. Sir Henry suffers a nervous shock and needs a long voyage to recover. [Credit valid alternative/mixed responses. Award 3 marks for a well-substantiated discussion based on the novel as a whole.] (3) [25] TOTAL SECTION B: 25 Copyright reserved Please turn over

English Home Language/P2 12 NSC – Marking Guidelines Hlayiso/Mock 2026 SECTION C: DRAMA QUESTION 10: ROMEO AND JULIET – ESSAY QUESTION • Use the following points, among others, as a guideline to marking this question. Responses might differ, depending on the candidate's sensitivity to and understanding of the text. • Refer to page 17 for the rubric to assess this question. • FATE: The Prologue calls the lovers 'star-cross'd' and says their deaths are fated; Romeo has a premonition before the Capulet feast that 'some consequence yet hanging in the stars' will lead to his 'untimely death'. Chance events play a part: the servant who cannot read asks Romeo for help and so he learns of the feast; Friar John is delayed by the plague and cannot deliver Friar Lawrence's letter; Romeo arrives at the tomb minutes before Juliet wakes. • HASTE/IMPULSIVENESS: Romeo forgets Rosaline immediately and falls in love with Juliet at first sight; the couple decide to marry within a day of meeting ('It is too rash, too unadvis'd, too sudden', Juliet admits). Friar Lawrence warns, 'Wisely and slow; they stumble that run fast.' • Romeo's rage after Mercutio's death leads him to kill Tybalt ('fire-ey'd fury be my conduct now'), which results in his banishment. • Juliet takes the drastic step of drinking the Friar's potion rather than confessing her marriage. • Romeo rushes to Verona after hearing of Juliet's 'death', buys poison and kills himself without waiting; Juliet stabs herself on waking. • Other characters' haste also contributes: Capulet suddenly brings the wedding to Paris forward; the feud between the families creates the conditions for tragedy. • Candidates may agree, disagree or argue that fate and the characters' choices work together. [Credit valid alternative/mixed responses.] [25] QUESTION 11: ROMEO AND JULIET – CONTEXTUAL QUESTION 11.1 The extract takes place on the night of the Capulets' feast, where Romeo (a Montague) and Juliet (a Capulet) have met and fallen in love. (1) Romeo has climbed over the wall into the Capulets' orchard and overhears Juliet speaking on her balcony; she does not know that he is there. (1) (2) 11.2 Juliet is asking WHY Romeo has to be Romeo – a Montague, a member of her family's enemy. (1) She wishes that he could give up his name/family (or that she could stop being a Capulet) so that they could be together. (1) [Do not accept 'Where are you, Romeo?'] (2) 11.3 Juliet argues that a name is only a label; it is not part of a person's body or character. (1) A rose would smell just as sweet if it had a different name; in the same way, Romeo would remain just as perfect/lovable if he were not called Montague. (1) She suggests that the feud over names is meaningless/foolish and that love should be more important than family loyalties. (1) (3) Copyright reserved Please turn over

English Home Language/P2 13 NSC – Marking Guidelines Hlayiso/Mock 2026 11.4 Romeo is fearless/reckless/impulsive/carried away by love. (1) He believes that love gives him the power to overcome any obstacle, such as high walls, and he does not care about the danger posed by Juliet's kinsmen. (1) (2) 11.5 Romeo should speak in a tender/romantic/gentle/light-hearted/teasing tone. (1) He could step closer to the balcony, look up at Juliet adoringly and place his hand on his heart. (1) This would show that he is more afraid of Juliet's rejection/ an unkind look from her than of her kinsmen's swords; he dismisses the danger because he is in love. (1) [Credit valid alternative responses. Award 1 mark for tone, 1 mark for body language and 1 mark for motivation.] (3) 11.6 Tybalt challenges Romeo to a duel because Romeo attended (gatecrashed) the Capulet feast. (1) Romeo, who has just secretly married Juliet (Tybalt's cousin), refuses to fight; Mercutio is disgusted by Romeo's 'calm, dishonourable, vile submission' and fights Tybalt to defend Romeo's honour. (1) (2) 11.7 Mercutio blames both the Montagues and the Capulets for his death because their senseless feud caused the fight. (1) His curse foreshadows the disasters that follow for both families: Romeo kills Tybalt and is banished, (1) and the curse is fulfilled when Romeo and Juliet both die, as well as Paris and Lady Montague; both houses are struck by tragedy. (1) (3) 11.8 Mercutio is witty/humorous/brave/playful even in the face of death. (1) He makes light of his fatal wound with a pun on 'grave' (serious/dead and buried) and refuses to show fear, although he knows that he is dying. (1) (2) 11.9 Romeo, who had tried to be peaceful and gentle ('respective lenity') towards Tybalt because he is now related to him by marriage, abandons his self-control. (1) He becomes enraged and vengeful, allowing 'fire-ey'd fury' to guide him. (1) He challenges Tybalt to a fight to the death to avenge Mercutio, which shows that he acts impulsively/is ruled by passion. (1) (3) 11.10 Romeo realises that the events of this day (Mercutio's death) will lead to more misfortune on future days (1); this is the beginning of sorrow that will only be ended later (by other events). (1) The lines foreshadow the tragedy: Romeo kills Tybalt, is banished, is separated from Juliet, and a chain of events leads to the deaths of both lovers, which finally end the feud. The scene is the turning point of the play. (1) (3) [25] Copyright reserved Please turn over

English Home Language/P2 14 NSC – Marking Guidelines Hlayiso/Mock 2026 QUESTION 12: JULIUS CAESAR – ESSAY QUESTION • Use the following points, among others, as a guideline to marking this question. Responses might differ, depending on the candidate's sensitivity to and understanding of the text. • Refer to page 17 for the rubric to assess this question. • Brutus is respected in Rome as an honourable man; he loves Caesar but loves Rome more ('Not that I loved Caesar less, but that I loved Rome more'). He joins the conspiracy for the good of the republic, not for personal gain. • His idealism makes him easy to manipulate: Cassius flatters him and sends forged letters that appear to be from the citizens of Rome. • He makes idealistic but disastrous decisions: he refuses to let the conspirators swear an oath, rejects the idea of including Cicero, and refuses to kill Antony ('Let us be sacrificers, but not butchers'). • He allows Antony to speak at Caesar's funeral and leaves before Antony speaks, trusting that his own reasoned speech will satisfy the crowd; Antony turns the mob against the conspirators. • He argues with Cassius about accepting bribes, holding himself to high moral standards; he insists on marching to Philippi, against Cassius's advice, and loses the battle. • He takes his own life rather than be captured; Antony calls him 'the noblest Roman of them all', who acted 'in a general honest thought'. • Candidates may also argue that Brutus is naive, proud or self-righteous, or that Cassius and Antony are responsible for his downfall. [Credit valid alternative/mixed responses.] [25] QUESTION 13: JULIUS CAESAR – CONTEXTUAL QUESTION 13.1 It is the feast of the Lupercal; Caesar has passed through the streets in triumph and a soothsayer has warned him to 'Beware the ides of March'. (1) Brutus and Cassius stay behind while Caesar goes to the games, and Cassius begins to persuade Brutus that Caesar has become too powerful. They hear the crowd shouting (as Caesar is offered the crown). (1) (2) 13.2 Caesar is compared to the Colossus, a gigantic statue that straddles/towers over the world, (1) which shows that Cassius feels Caesar has become far too powerful – almost like a god or a dictator. (1) In contrast, Cassius and Brutus ('petty men') are small and insignificant, creeping under his legs; they will die without honour/as slaves, which reveals Cassius's envy/resentment and his fear of Caesar's power. (1) (3) 13.3 Cassius means that people are responsible for their own fate; (1) it is not destiny/the stars that make them inferior to Caesar but their own failure to act/ take control. (1) (2) 13.4 Cassius flatters Brutus by comparing their names and arguing that 'Brutus' is as fair, as weighty and as powerful as 'Caesar'. (1) He suggests that there is nothing special about Caesar to make him more important than Brutus. (1) He Copyright reserved Please turn over

English Home Language/P2 15 NSC – Marking Guidelines Hlayiso/Mock 2026 appeals to Brutus's pride/sense of honour to stir up resentment and persuade him to join the conspiracy against Caesar. (1) (3) 13.5 Brutus's ancestor (Lucius Junius Brutus) drove the last king (Tarquin) out of Rome and helped to establish the republic. (1) Cassius reminds Brutus of his family's tradition of opposing tyranny to persuade him that it is his duty to stop Caesar from becoming king. (1) (2) 13.6 Brutus grants Antony permission because he believes that it will show the conspirators' respect for Caesar and that Antony is harmless; he wants to appear fair/honourable. (1) Condition (any ONE): Antony must not blame the conspirators; he may say all the good he can of Caesar; he must say that he speaks with the conspirators' permission; he must speak after Brutus (from the same pulpit). (1) (2) 13.7 Antony claims that he has come only to bury Caesar, not to praise him; (1) ironically, his whole speech praises Caesar and turns the crowd against the conspirators. (1) (2) 13.8 At first the word seems sincere, as Antony obeys Brutus's condition not to blame the conspirators. (1) Through constant repetition, set against evidence that Caesar was not ambitious, the word becomes sarcastic/ironic, and the crowd begins to doubt Brutus's honour. (1) The repetition is a powerful rhetorical device that undermines Brutus without openly attacking him and eventually stirs the crowd to mutiny/turns the mob against the conspirators. (1) (3) 13.9 Antony gives concrete examples: Caesar brought captives home whose ransoms filled the public treasury, not his own pockets; (1) he wept when the poor cried, which shows compassion rather than ambition; (1) and he refused the crown three times at the Lupercal. After each example, Antony asks a rhetorical question ('Did this in Caesar seem ambitious?'/'Was this ambition?'), which leads the crowd to conclude that Brutus was wrong. (1) (3) 13.10 Antony should speak in a sorrowful/emotional/grief-stricken, broken voice. (1) He could turn towards Caesar's coffin, place his hand on it or on his heart, and pause/bow his head as if overcome by tears. (1) This would show his grief and win the sympathy of the crowd; the pause also allows the citizens time to discuss his words, which is part of his strategy to manipulate them. (1) [Credit valid alternative responses. Award 1 mark for tone, 1 mark for body language and 1 mark for motivation.] (3) [25] TOTAL SECTION C: 25 GRAND TOTAL: 80 Copyright reserved Please turn over

English Home Language/P2 16 NSC – Marking Guidelines Hlayiso/Mock 2026 SECTION A: Assessment rubric for literary essay: Poetry (10 Marks) Criteria Exceptional Skilful Moderate Elementary Inadequate CONTENT 6 MARKS Interpretation of topic. Depth of argument, justification and grasp of text. 5–6 – In-depth interpretation of topic – Range of striking arguments; extensively supported from poem – Excellent understanding of genre and poem 4 – Shows understanding and has interpreted topic well – Fairly detailed response – Sound arguments given, but not all of them as well motivated as they could be – Understanding of genre and poem 3 – Fair interpretation of topic – Some good points in support of topic – Some arguments supported, but evidence is not always convincing – Basic understanding of genre and poem 2 – Unsatisfactory interpretation of topic – Hardly any points in support of topic – Inadequate understanding of genre and poem 0–1 – No understanding of the topic – No reference to the poem – Learner has not come to grips with genre and poem STRUCTURE AND LANGUAGE 4 MARKS Structure, logical flow and presentation. Language, tone and style used in the essay. 4 – Coherent structure – Arguments well-structured and clearly developed – Language, tone and style mature, impressive, correct – Virtually error-free grammar, spelling and punctuation 3 – Clear structure and logical flow of argument – Flow of argument can be followed – Language, tone and style largely correct 2 – Some evidence of structure – Essay lacks a well-structured flow of logic and coherence – Language errors minor; tone and style mostly appropriate 1 – Structure shows faulty planning – Arguments not logically arranged – Language errors evident – Inappropriate tone and style 0–1 – Poorly structured – Serious language errors and incorrect style NOTE: If a candidate has ignored the content completely and written a creative response instead, award a 0 mark for both Content and Structure and Language. Copyright reserved Please turn over

English Home Language/P2 17 NSC – Marking Guidelines Hlayiso/Mock 2026 SECTIONS B AND C: Assessment rubric for literary essay: Novel and Drama (25 Marks) Criteria Exceptional Skilful Moderate Elementary Inadequate CONTENT 15 MARKS Interpretation of topic. Depth of argument, justification and grasp of text. 12–15 – Outstanding response: 14–15 – Excellent response: 12–13 – In-depth interpretation of topic – Range of striking arguments extensively supported from text – Excellent understanding of genre and text 9–11 – Shows understanding and has interpreted topic well – Fairly detailed response – Some sound arguments given, but not all of them as well motivated as they could be – Understanding of genre and text evident 6–8 – Mediocre interpretation of topic; not all aspects explored in detail – Some good points in support of topic – Some arguments supported, but evidence is not always convincing – Partial understanding of genre and text 4–5 – Scant interpretation of topic; hardly any aspects explored in detail – Few points in support of topic – Very little relevant argument – Little understanding of genre and text 0–3 – Very little understanding of the topic – Weak attempt to answer the question – Arguments not convincing – Learner has not come to grips with genre or text STRUCTURE AND LANGUAGE 10 MARKS Structure, logical flow and presentation. Language, tone and style used in the essay. 8–10 – Coherent structure – Excellent introduction and conclusion – Arguments well-structured and clearly developed – Language, tone and style mature, impressive, correct 6–7 – Clear structure and logical flow of argument – Introduction and conclusion and other paragraphs coherently organised – Logical flow of argument – Language, tone and style largely correct 4–5 – Some evidence of structure – Logic and coherence apparent, but flawed – Some language errors; tone and style mostly appropriate – Paragraphing mostly correct 2–3 – Structure shows faulty planning – Arguments not logically arranged – Language errors evident – Inappropriate tone and style – Paragraphing faulty 0–1 – Lack of planned structure impedes flow of argument – Language errors and incorrect style make this an unsuccessful piece of writing – Inappropriate tone and style – Paragraphing faulty MARK RANGE 20–25 15–19 10–14 5–9 0–4 NOTE: If a candidate has ignored the content completely and written a creative response instead, award a 0 mark for both Content and Structure and Language. There must not be more than two categories' variation between the Structure and Language mark and the Content mark. Copyright reserved Please turn over