English HL Grade 11 P2 November Mock 2026 Question Paper (Eng)

Copyright reserved Please turn over Mock hlayiso mock exams Practice Series: Grade 11 Exam Preparation WWW.HLAYISO.COM NATIONAL SENIOR CERTIFICATE GRADE 11 ENGLISH HOME LANGUAGE P2 NOVEMBER EXAMINATION 2026 (MOCK) MARKS: 80 TIME: 2½ hours This question paper consists of 23 pages.

English Home Language/P2 2 NSC Mock Hlayiso/Mock 2026 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. Copyright reserved Please turn over

English Home Language/P2 3 NSC Mock Hlayiso/Mock 2026 NOTE ON THIS MOCK PAPER (Hlayiso): Grade 11 literature is prescribed per province and school, so this mock uses only works in the public domain that are typical of the Grade 11 Home Language lists: the poems 'Ozymandias' (P.B. Shelley, 1818), 'Dulce et Decorum Est' (Wilfred Owen; text of the 1920 first edition), 'Remember' (Christina Rossetti, 1862), 'Death, be not proud' (John Donne, Holy Sonnet 10, modernised spelling) and, as the unseen poem, 'Sympathy' (Paul Laurence Dunbar, 1899); the novels The Strange Case of Dr Jekyll and Mr Hyde (R.L. Stevenson, 1886) and Pride and Prejudice (Jane Austen, 1813); and the dramas Macbeth and The Merchant of Venice (William Shakespeare). All extracts are reproduced from public-domain editions. Copyright reserved Please turn over

English Home Language/P2 4 NSC Mock Hlayiso/Mock 2026 TABLE OF CONTENTS SECTION A: POETRY Prescribed Poetry: Answer ANY TWO questions. QUESTION NO. QUESTION MARKS PAGE NO. 1. 'Ozymandias' Essay question 10 6 2. 'Dulce et Decorum Est' Contextual question 10 7 3. 'Remember' Contextual question 10 8 4. 'Death, be not proud' Contextual question 10 8 AND Unseen Poetry: COMPULSORY question 5. 'Sympathy' Contextual question 10 10 SECTION B: NOVEL Answer ONE question.* 6. Dr Jekyll and Mr Hyde Essay question 25 11 7. Dr Jekyll and Mr Hyde Contextual question 25 11 8. Pride and Prejudice Essay question 25 14 9. Pride and Prejudice Contextual question 25 14 SECTION C: DRAMA Answer ONE question.* 10. Macbeth Essay question 25 16 11. Macbeth Contextual question 25 16 12. The Merchant of Venice Essay question 25 20 13. The Merchant of Venice Contextual question 25 20 *NOTE: In SECTIONS B and C, answer ONE ESSAY and ONE CONTEXTUAL question. You may NOT answer TWO essay questions or TWO contextual questions. Copyright reserved Please turn over

English Home Language/P2 5 NSC Mock Hlayiso/Mock 2026 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. Copyright reserved Please turn over

English Home Language/P2 6 NSC Mock Hlayiso/Mock 2026 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. OZYMANDIAS – Percy Bysshe Shelley 1 I met a traveller from an antique land 2 Who said: Two vast and trunkless legs of stone 3 Stand in the desert … Near them, on the sand, 4 Half sunk, a shattered visage lies, whose frown, 5 And wrinkled lip, and sneer of cold command, 6 Tell that its sculptor well those passions read 7 Which yet survive, stamped on these lifeless things, 8 The hand that mocked them, and the heart that fed: 9 And on the pedestal these words appear: 10 'My name is Ozymandias, king of kings: 11 Look on my works, ye Mighty, and despair!' 12 Nothing beside remains. Round the decay 13 Of that colossal wreck, boundless and bare 14 The lone and level sands stretch far away. Glossary: antique: ancient; visage: face; Ozymandias: Greek name for the Egyptian pharaoh Ramesses II In 'Ozymandias', the poet shows that human power and pride are short-lived, while time and nature endure. 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] Copyright reserved Please turn over

English Home Language/P2 7 NSC Mock Hlayiso/Mock 2026 QUESTION 2: CONTEXTUAL QUESTION Read the poem below and then answer the questions that follow. DULCE ET DECORUM EST – Wilfred Owen 1 Bent double, like old beggars under sacks, 2 Knock-kneed, coughing like hags, we cursed through sludge, 3 Till on the haunting flares we turned our backs 4 And towards our distant rest began to trudge. 5 Men marched asleep. Many had lost their boots 6 But limped on, blood-shod. All went lame; all blind; 7 Drunk with fatigue; deaf even to the hoots 8 Of gas-shells dropping softly behind. 9 Gas! GAS! Quick, boys! – An ecstasy of fumbling 10 Fitting the clumsy helmets just in time, 11 But someone still was yelling out and stumbling 12 And flound'ring like a man in fire or lime. – 13 Dim, through the misty panes and thick green light, 14 As under a green sea, I saw him drowning. 15 In all my dreams before my helpless sight 16 He plunges at me, guttering, choking, drowning. 17 If in some smothering dreams you too could pace 18 Behind the wagon that we flung him in, 19 And watch the white eyes writhing in his face, 20 His hanging face, like a devil's sick of sin, 21 If you could hear, at every jolt, the blood 22 Come gargling from the froth-corrupted lungs, 23 Bitter as the cud 24 Of vile, incurable sores on innocent tongues, – 25 My friend, you would not tell with such high zest 26 To children ardent for some desperate glory, 27 The old Lie: Dulce et decorum est 28 Pro patria mori. Glossary: flares: bright lights fired into the night sky over the battlefield; lime: a chemical that burns the skin; ardent: eager, passionate; Dulce et decorum est / Pro patria mori (Latin): 'It is sweet and fitting to die for one's country' 2.1 Refer to lines 1–2: 'Bent double, like … cursed through sludge'. What do these lines suggest about the condition of the soldiers? (2) 2.2 Refer to line 9: 'Gas! GAS! Quick, boys!' Account for the sudden change in the pace of the poem in this line. (2) 2.3 Refer to lines 13–14: 'Dim, through the … saw him drowning.' 2.3.1 Identify the figure of speech in 'As under a green sea'. (1) 2.3.2 Discuss the effectiveness of this image. (2) Copyright reserved Please turn over

English Home Language/P2 8 NSC Mock Hlayiso/Mock 2026 2.4 Refer to lines 25–28: 'My friend, you … Pro patria mori.' Critically discuss how these lines convey the speaker's attitude towards war. (3) [10] 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; corruption: decay; vestige: a small trace 3.1 Refer to line 2: 'Gone far away into the silent land'. Explain what the speaker means by 'the silent land'. (2) 3.2 Refer to line 4: 'Nor I half turn to go yet turning stay.' What does this line suggest about the relationship between the speaker and the person she addresses? (2) 3.3 Refer to lines 1, 5 and 7. 3.3.1 Identify the sound device that is used in these lines. (1) 3.3.2 Discuss the effectiveness of this device in the octave (lines 1–8). (2) 3.4 Refer to lines 9–14: 'Yet if you … and be sad.' Critically discuss how the speaker's attitude changes in the sestet. (3) [10] QUESTION 4: CONTEXTUAL QUESTION Read the poem below and then answer the questions that follow. Copyright reserved Please turn over

English Home Language/P2 9 NSC Mock Hlayiso/Mock 2026 DEATH, BE NOT PROUD (HOLY SONNET 10) – John Donne 1 Death, be not proud, though some have called thee 2 Mighty and dreadful, for thou art not so; 3 For those whom thou think'st thou dost overthrow 4 Die not, poor Death, nor yet canst thou kill me. 5 From rest and sleep, which but thy pictures be, 6 Much pleasure; then from thee much more must flow, 7 And soonest our best men with thee do go, 8 Rest of their bones, and soul's delivery. 9 Thou art slave to fate, chance, kings, and desperate men, 10 And dost with poison, war, and sickness dwell, 11 And poppy or charms can make us sleep as well 12 And better than thy stroke; why swell'st thou then? 13 One short sleep past, we wake eternally 14 And death shall be no more; Death, thou shalt die. Glossary: thy pictures: images or copies of you; delivery: release, freedom; poppy: opium, a drug that causes sleep; swell'st: swell with pride 4.1 Refer to lines 1–2: 'Death, be not … art not so'. Explain why the speaker addresses Death directly. (2) 4.2 Refer to lines 5–6: 'From rest and … must flow'. Explain the speaker's argument in these lines. (2) 4.3 Refer to line 9: 'Thou art slave to fate, chance, kings, and desperate men'. 4.3.1 Identify the figure of speech in this line. (1) 4.3.2 Discuss the effectiveness of this image in the context of the poem. (2) 4.4 Refer to lines 13–14: 'One short sleep … thou shalt die.' Critically discuss the effectiveness of these lines as a conclusion to the poem. (3) [10] Copyright reserved Please turn over

English Home Language/P2 10 NSC Mock Hlayiso/Mock 2026 UNSEEN POETRY (COMPULSORY) QUESTION 5: CONTEXTUAL QUESTION Read the poem below and then answer the questions that follow. SYMPATHY – Paul Laurence Dunbar 1 I know what the caged bird feels, alas! 2 When the sun is bright on the upland slopes; 3 When the wind stirs soft through the springing grass, 4 And the river flows like a stream of glass; 5 When the first bird sings and the first bud opes, 6 And the faint perfume from its chalice steals – 7 I know what the caged bird feels! 8 I know why the caged bird beats his wing 9 Till its blood is red on the cruel bars; 10 For he must fly back to his perch and cling 11 When he fain would be on the bough a-swing; 12 And a pain still throbs in the old, old scars 13 And they pulse again with a keener sting – 14 I know why he beats his wing! 15 I know why the caged bird sings, ah me, 16 When his wing is bruised and his bosom sore, – 17 When he beats his bars and he would be free; 18 It is not a carol of joy or glee, 19 But a prayer that he sends from his heart's deep core, 20 But a plea, that upward to Heaven he flings – 21 I know why the caged bird sings! Glossary: upland: high ground; opes: opens; chalice: cup (here, the cup-shaped flower); fain: gladly; bosom: chest; carol: joyful song 5.1 Refer to lines 2–6: 'When the sun … its chalice steals'. Explain why the speaker describes the beauty of nature in the first stanza. (2) 5.2 Refer to lines 8–9: 'I know why … the cruel bars'. 5.2.1 Identify the figure of speech in 'the cruel bars'. (1) 5.2.2 Discuss the effectiveness of this image. (2) 5.3 Refer to lines 12–13: 'And a pain … a keener sting'. What does the repetition of 'old' suggest about the bird's suffering? (2) 5.4 Refer to stanza 3 (lines 15–21). Critically discuss how the final stanza reveals the true meaning of the bird's song and the speaker's identification with the caged bird. (3) [10] TOTAL SECTION A: 30 Copyright reserved Please turn over

English Home Language/P2 11 NSC Mock Hlayiso/Mock 2026 SECTION B: NOVEL Answer ONLY on the novel you have studied. THE STRANGE CASE OF DR JEKYLL AND MR HYDE – Robert Louis Stevenson Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual question). QUESTION 6: DR JEKYLL AND MR HYDE – ESSAY QUESTION Dr Jekyll is destroyed not by his scientific experiment, but by his own hypocrisy and his desire to escape the consequences of his actions. With close reference to the novel, critically discuss the validity of the above statement. Your response should take the form of a well-constructed essay of 300–350 words (1½–2 pages). [25] QUESTION 7: DR JEKYLL AND MR HYDE – CONTEXTUAL QUESTION Read the extracts below and then answer the questions that follow. EXTRACT A 'Well, it was this way,' returned Mr Enfield: 'I was coming home from some place at the end of the world, about three o'clock of a black winter morning, and my way lay through a part of town where there was literally nothing to be seen but lamps. … All at once, I saw two figures: one a little man who was stumping along eastward at a good walk, and the other a girl of maybe eight or ten who was running as 5 hard as she was able down a cross street. Well, sir, the two ran into one another naturally enough at the corner; and then came the horrible part of the thing; for the man trampled calmly over the child's body and left her screaming on the ground. It sounds nothing to hear, but it was hellish to see. It wasn't like a man; it was like some damned Juggernaut. I gave a few halloa, took to my heels, collared my 10 gentleman, and brought him back to where there was already quite a group about the screaming child. He was perfectly cool and made no resistance, but gave me one look, so ugly that it brought out the sweat on me like running. … I had taken a loathing to my gentleman at first sight. So had the child's family, which was only natural. But the doctor's case was what struck me. He was the usual cut and dry 15 apothecary, of no particular age and colour, with a strong Edinburgh accent and about as emotional as a bagpipe. Well, sir, he was like the rest of us; every time he looked at my prisoner, I saw that Sawbones turn sick and white with the desire to kill him. … Well, we screwed him up to a hundred pounds for the child's family; he would have clearly liked to stick out; but there was something about the lot of 20 us that meant mischief, and at last he struck. The next thing was to get the money; and where do you think he carried us but to that place with the door? – whipped out a key, went in, and presently came back with the matter of ten pounds in gold and a cheque for the balance on Coutts's, drawn payable to bearer and signed with a name that I can't mention, though it's one of the points of my story, but it 25 was a name at least very well known and often printed.' [Chapter 1: Story of the Door] Glossary: Juggernaut: a huge, unstoppable force that crushes everything in its path; apothecary: a pharmacist or doctor; Sawbones: slang for a doctor; Coutts's: a well-known London bank Copyright reserved Please turn over

English Home Language/P2 12 NSC Mock Hlayiso/Mock 2026 7.1 Place this extract in context. (2) 7.2 Refer to line 7: 'for the man … the child's body'. What does the word 'calmly' reveal about the man (Mr Hyde)? (2) 7.3 Refer to line 9: 'It wasn't like … some damned Juggernaut.' Explain why Enfield compares the man to a Juggernaut. (2) 7.4 Refer to lines 17–19: 'Well, sir, he … to kill him.' Discuss the reaction that Hyde provokes in other people here and elsewhere in the novel, and what this suggests about him. (3) 7.5 Refer to lines 21–26: 'The next thing … and often printed.' Discuss the significance of the cheque and the signature for the development of the plot. (3) AND Copyright reserved Please turn over

English Home Language/P2 13 NSC Mock Hlayiso/Mock 2026 EXTRACT B Though so profound a double-dealer, I was in no sense a hypocrite; both sides of me were in dead earnest; I was no more myself when I laid aside restraint and plunged in shame, than when I laboured, in the eye of day, at the furtherance of knowledge or the relief of sorrow and suffering. And it chanced that the direction of my scientific studies, which led wholly towards the mystic and the transcendental, 5 reacted and shed a strong light on this consciousness of the perennial war among my members. With every day, and from both sides of my intelligence, the moral and the intellectual, I thus drew steadily nearer to that truth, by whose partial discovery I have been doomed to such a dreadful shipwreck: that man is not truly one, but truly two. … It was on the moral side, and in my own person, that I 10 learned to recognise the thorough and primitive duality of man; I saw that, of the two natures that contended in the field of my consciousness, even if I could rightly be said to be either, it was only because I was radically both; and from an early date, even before the course of my scientific discoveries had begun to suggest the most naked possibility of such a miracle, I had learned to dwell with pleasure, as a 15 beloved daydream, on the thought of the separation of these elements. If each, I told myself, could be housed in separate identities, life would be relieved of all that was unbearable; the unjust might go his way, delivered from the aspirations and remorse of his more upright twin; and the just could walk steadfastly and securely on his upward path, doing the good things in which he found his pleasure, and 20 no longer exposed to disgrace and penitence by the hands of this extraneous evil. It was the curse of mankind that these incongruous faggots were thus bound together – that in the agonised womb of consciousness, these polar twins should be continuously struggling. How, then were they dissociated? [Chapter 10: Henry Jekyll's Full Statement of the Case] Glossary: perennial: lasting for ever; extraneous: coming from outside; incongruous faggots: unmatched bundles of sticks; dissociated: separated 7.6 Explain how Mr Utterson comes to read Jekyll's 'Full Statement of the Case'. (2) 7.7 Refer to line 9: 'that man is not truly one, but truly two.' Explain how this idea is central to the novel. (2) 7.8 Refer to lines 23–24: 'that in the … be continuously struggling.' Comment on the effectiveness of the image of 'polar twins' in these lines. (3) 7.9 Refer to lines 16–22: 'If each, I … this extraneous evil.' Discuss the irony of Jekyll's hopes in the light of what actually happens in the novel. (3) 7.10 Refer to lines 1–4: 'Though so profound … sorrow and suffering.' Jekyll claims that he was 'in no sense a hypocrite'. Based on your knowledge of the novel as a whole, critically discuss whether you agree with Jekyll's view of himself. (3) [25] Copyright reserved Please turn over

English Home Language/P2 14 NSC Mock Hlayiso/Mock 2026 PRIDE AND PREJUDICE – Jane Austen Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual question). QUESTION 8: PRIDE AND PREJUDICE – ESSAY QUESTION In Pride and Prejudice, Elizabeth Bennet's prejudice is a greater obstacle to her happiness than Mr Darcy's pride. With close reference to the novel, critically discuss the validity of the above statement. Your response should take the form of a well-constructed essay of 300–350 words (1½–2 pages). [25] QUESTION 9: PRIDE AND PREJUDICE – CONTEXTUAL QUESTION Read the extracts below and then answer the questions that follow. EXTRACT C After a silence of several minutes, he came towards her in an agitated manner, and thus began: – 'In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.' Elizabeth's astonishment was beyond expression. She stared, coloured, doubted, 5 and was silent. This he considered sufficient encouragement, and the avowal of all that he felt and had long felt for her immediately followed. He spoke well; but there were feelings besides those of the heart to be detailed, and he was not more eloquent on the subject of tenderness than of pride. His sense of her inferiority, of its being a degradation, of the family obstacles which judgment had always 10 opposed to inclination, were dwelt on with a warmth which seemed due to the consequence he was wounding, but was very unlikely to recommend his suit. … 'In such cases as this, it is, I believe, the established mode to express a sense of obligation for the sentiments avowed, however unequally they may be returned. 15 It is natural that obligation should be felt, and if I could feel gratitude, I would now thank you. But I cannot – I have never desired your good opinion, and you have certainly bestowed it most unwillingly.' … '… Had not my own feelings decided against you, had they been indifferent, or 20 had they even been favourable, do you think that any consideration would tempt me to accept the man who has been the means of ruining, perhaps for ever, the happiness of a most beloved sister?' [Chapter 34] Glossary: avowal: open declaration; suit: proposal of marriage; mode: custom, way of doing things 9.1 Place this extract in context. (2) 9.2 Refer to lines 3–4: 'In vain have … and love you.' What do these words reveal about Darcy's feelings for Elizabeth? (2) Copyright reserved Please turn over

English Home Language/P2 15 NSC Mock Hlayiso/Mock 2026 9.3 Refer to lines 9–12: 'His sense of … recommend his suit.' Discuss why Darcy's manner of proposing is unlikely to succeed. (3) 9.4 Refer to lines 20–23. Explain what Elizabeth accuses Darcy of doing to her 'most beloved sister'. (2) 9.5 Refer to lines 14–18: 'In such cases … most unwillingly.' If you were the director of a stage adaptation of the novel, how would you instruct the actress playing Elizabeth to deliver these lines? Pay attention to tone and body language. Motivate your instructions. (3) AND EXTRACT D She grew absolutely ashamed of herself. Of neither Darcy nor Wickham could she think, without feeling that she had been blind, partial, prejudiced, absurd. 'How despicably have I acted!' she cried. 'I, who have prided myself on my discernment! I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity in useless or blameless 5 distrust. How humiliating is this discovery! Yet, how just a humiliation! Had I been in love, I could not have been more wretchedly blind. But vanity, not love, has been my folly. Pleased with the preference of one, and offended by the neglect of the other, on the very beginning of our acquaintance, I have courted prepossession and ignorance, and driven reason away where either were concerned. Till this 10 moment, I never knew myself.' [Chapter 36] 9.6 What has Elizabeth learnt about Mr Wickham shortly before this extract? (2) 9.7 Refer to lines 1–2: 'She grew absolutely … prejudiced, absurd.' Explain why Elizabeth feels 'ashamed of herself'. (2) 9.8 Refer to line 7: 'But vanity, not … been my folly.' Discuss how Elizabeth's vanity has influenced her judgement of Darcy and Wickham. (3) 9.9 Refer to line 10: 'Till this moment, I never knew myself.' Comment on the significance of this realisation for Elizabeth's development in the novel. (3) 9.10 Elizabeth is not the only character who learns to see himself or herself more clearly in the novel. Critically discuss the extent to which Darcy also changes after the events of EXTRACT C. (3) [25] TOTAL SECTION B: 25 Copyright reserved Please turn over

English Home Language/P2 16 NSC Mock Hlayiso/Mock 2026 SECTION C: DRAMA Answer ONLY on the drama you have studied. MACBETH – William Shakespeare Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual question). QUESTION 10: MACBETH – ESSAY QUESTION Lady Macbeth is more responsible than Macbeth for the murder of Duncan and the tragedy that follows. Critically discuss the validity of the above statement in relation to the play. Your response should take the form of a well-constructed essay of 300–350 words (1½–2 pages). [25] QUESTION 11: MACBETH – CONTEXTUAL QUESTION Read the extracts below and then answer the questions that follow. EXTRACT E MACBETH We will proceed no further in this business: He hath honour'd me of late; and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon. 5 LADY MACBETH Was the hope drunk Wherein you dress'd yourself? Hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard 10 To be the same in thine own act and valour As thou art in desire? Wouldst thou have that Which thou esteem'st the ornament of life, And live a coward in thine own esteem, Letting 'I dare not' wait upon 'I would,' 15 Like the poor cat i' th' adage? MACBETH Pr'ythee, peace! I dare do all that may become a man; Who dares do more is none. LADY MACBETH What beast was't, then, 20 That made you break this enterprise to me? When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both: 25 Copyright reserved Please turn over

English Home Language/P2 17 NSC Mock Hlayiso/Mock 2026 They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender 'tis to love the babe that milks me: I would, while it was smiling in my face, Have pluck'd my nipple from his boneless gums 30 And dash'd the brains out, had I so sworn as you Have done to this. MACBETH If we should fail? LADY MACBETH We fail? But screw your courage to the sticking-place, 35 And we'll not fail. [Act 1, Scene 7] 11.1 Describe what Macbeth has been considering in the soliloquy that comes immediately before this extract. (2) 11.2 Refer to lines 1–5: 'We will proceed … aside so soon.' Explain the reason that Macbeth gives for deciding not to murder Duncan. (2) 11.3 Refer to lines 6–9: 'Was the hope … so freely?' Discuss how Lady Macbeth uses imagery to mock Macbeth's change of heart. (3) 11.4 Refer to lines 20–24: 'What beast was't … more the man.' Comment on how Lady Macbeth manipulates Macbeth in these lines. (3) 11.5 Refer to lines 27–32: 'I have given … done to this.' If you were the director of a production of Macbeth, how would you instruct the actress playing Lady Macbeth to deliver these lines? Pay specific attention to tone and body language. Motivate your instructions. (3) AND Copyright reserved Please turn over

English Home Language/P2 18 NSC Mock Hlayiso/Mock 2026 EXTRACT F MACBETH I have almost forgot the taste of fears. The time has been, my senses would have cool'd To hear a night-shriek; and my fell of hair Would at a dismal treatise rouse and stir As life were in't. I have supp'd full with horrors; 5 Direness, familiar to my slaughterous thoughts, Cannot once start me. Enter Seyton. Wherefore was that cry? SEYTON The Queen, my lord, is dead. MACBETH She should have died hereafter. 10 There would have been a time for such a word. Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools 15 The way to dusty death. Out, out, brief candle! Life's but a walking shadow; a poor player, That struts and frets his hour upon the stage, And then is heard no more: it is a tale Told by an idiot, full of sound and fury, 20 Signifying nothing. Copyright reserved Please turn over

English Home Language/P2 19 NSC Mock Hlayiso/Mock 2026 Enter a Messenger. Thou com'st to use thy tongue; thy story quickly. MESSENGER Gracious my lord, I should report that which I say I saw, But know not how to do't. 25 MACBETH Well, say, sir. MESSENGER As I did stand my watch upon the hill, I look'd toward Birnam, and anon, methought, The wood began to move. … MACBETH I pull in resolution; and begin 30 To doubt th' equivocation of the fiend, That lies like truth. 'Fear not, till Birnam wood Do come to Dunsinane;' and now a wood Comes toward Dunsinane. [Act 5, Scene 5] Glossary: fell of hair: the hair on my skin; treatise: story; start: startle; equivocation: deliberately misleading words with a double meaning 11.6 Explain what had happened to Lady Macbeth before her death. (2) 11.7 Refer to lines 1–7: 'I have almost … once start me.' What do these lines reveal about the change that has taken place in Macbeth since the beginning of the play? (2) 11.8 Refer to lines 17–21: 'Life's but a … Signifying nothing.' Discuss how the imagery in these lines conveys Macbeth's view of life at this point in the play. (3) 11.9 Refer to lines 30–34: 'I pull in … toward Dunsinane.' Explain how the witches' prophecy about Birnam wood is fulfilled. (2) 11.10 Refer to EXTRACT E and EXTRACT F. Critically discuss whether the audience is likely to feel any sympathy for Macbeth at the end of the play. (3) [25] Copyright reserved Please turn over

English Home Language/P2 20 NSC Mock Hlayiso/Mock 2026 THE MERCHANT OF VENICE – William Shakespeare Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual question). QUESTION 12: THE MERCHANT OF VENICE – ESSAY QUESTION Shylock is a man more sinned against than sinning. Critically discuss the validity of the above statement in relation to the play. Your response should take the form of a well-constructed essay of 300–350 words (1½–2 pages). [25] QUESTION 13: THE MERCHANT OF VENICE – CONTEXTUAL QUESTION Read the extracts below and then answer the questions that follow. EXTRACT G SHYLOCK Signior Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances. Still have I borne it with a patient shrug, (For suff'rance is the badge of all our tribe.) 5 You call me misbeliever, cut-throat dog, And spet upon my Jewish gaberdine, And all for use of that which is mine own. Well then, it now appears you need my help. Go to, then, you come to me, and you say 10 'Shylock, we would have moneys.' You say so: You that did void your rheum upon my beard, And foot me as you spurn a stranger cur Over your threshold, moneys is your suit. What should I say to you? Should I not say 15 'Hath a dog money? Is it possible A cur can lend three thousand ducats?' … ANTONIO I am as like to call thee so again, To spet on thee again, to spurn thee too. If thou wilt lend this money, lend it not 20 As to thy friends, for when did friendship take A breed for barren metal of his friend? But lend it rather to thine enemy, Who if he break, thou mayst with better face Exact the penalty. 25 Copyright reserved Please turn over

English Home Language/P2 21 NSC Mock Hlayiso/Mock 2026 SHYLOCK Why, look you how you storm! I would be friends with you, and have your love, Forget the shames that you have stain'd me with, Supply your present wants, and take no doit Of usance for my moneys, and you'll not hear me, 30 This is kind I offer. … SHYLOCK Go with me to a notary, seal me there Your single bond; and in a merry sport, If you repay me not on such a day, In such a place, such sum or sums as are 35 Express'd in the condition, let the forfeit Be nominated for an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me. [Act 1, Scene 3] Glossary: rated: scolded; usances: interest charged on loans; gaberdine: long cloak; void your rheum: spit; breed for barren metal: interest on money; doit: a coin of very small value 13.1 Explain why Antonio needs to borrow three thousand ducats from Shylock. (2) 13.2 Refer to line 5: '(For suff'rance is the badge of all our tribe.)' Explain what Shylock means by this line. (2) 13.3 Refer to lines 6–14: 'You call me … is your suit.' Discuss what these lines reveal about the way in which Shylock has been treated in Venice. (3) 13.4 Refer to lines 18–25: 'I am as … Exact the penalty.' Comment on Antonio's attitude in these lines and on the dramatic irony of his words. (3) 13.5 Refer to lines 32–39: 'Go with me … part of your body pleaseth me.' Explain the irony of Shylock's description of the bond as 'a merry sport'. (2) AND Copyright reserved Please turn over

English Home Language/P2 22 NSC Mock Hlayiso/Mock 2026 EXTRACT H PORTIA Do you confess the bond? ANTONIO I do. PORTIA Then must the Jew be merciful. SHYLOCK On what compulsion must I? Tell me that. PORTIA The quality of mercy is not strain'd, 5 It droppeth as the gentle rain from heaven Upon the place beneath. It is twice blest, It blesseth him that gives and him that takes. 'Tis mightiest in the mightiest; it becomes The throned monarch better than his crown. 10 His sceptre shows the force of temporal power, The attribute to awe and majesty, Wherein doth sit the dread and fear of kings; But mercy is above this sceptred sway, It is enthroned in the hearts of kings, 15 It is an attribute to God himself; And earthly power doth then show likest God's When mercy seasons justice. Therefore, Jew, Though justice be thy plea, consider this, That in the course of justice none of us 20 Should see salvation. We do pray for mercy, And that same prayer doth teach us all to render The deeds of mercy. I have spoke thus much To mitigate the justice of thy plea, Which if thou follow, this strict court of Venice 25 Must needs give sentence 'gainst the merchant there. Copyright reserved Please turn over

English Home Language/P2 23 NSC Mock Hlayiso/Mock 2026 SHYLOCK My deeds upon my head! I crave the law, The penalty and forfeit of my bond. PORTIA Is he not able to discharge the money? BASSANIO Yes, here I tender it for him in the court, 30 Yea, twice the sum, if that will not suffice, I will be bound to pay it ten times o'er On forfeit of my hands, my head, my heart. If this will not suffice, it must appear That malice bears down truth. And I beseech you, 35 Wrest once the law to your authority. To do a great right, do a little wrong, And curb this cruel devil of his will. PORTIA It must not be, there is no power in Venice Can alter a decree established; 40 'Twill be recorded for a precedent, And many an error by the same example Will rush into the state. It cannot be. [Act 4, Scene 1] Glossary: strain'd: forced; temporal: earthly; render: give; wrest: twist, bend 13.6 Explain who Portia is pretending to be in this scene and why she is in disguise. (2) 13.7 Refer to lines 5–7: 'The quality of … the place beneath.' Discuss the effectiveness of the image of 'the gentle rain from heaven' in conveying the nature of mercy. (3) 13.8 Refer to line 27: 'My deeds upon my head! I crave the law'. What does this line reveal about Shylock's state of mind? (2) 13.9 Refer to lines 36–43: 'Wrest once the … It cannot be.' Discuss the irony of Portia's insistence on the strict letter of the law in the light of the outcome of the trial. (3) 13.10 Portia urges Shylock to show mercy. Critically discuss the extent to which Antonio and the Venetian court show Shylock mercy by the end of the trial. (3) [25] TOTAL SECTION C: 25 GRAND TOTAL: 80 Copyright reserved