# English HL Grade 12 P2 NSC November Mock 2026 Question Paper

> Grade 12 English HL Paper 2 question paper from the NSC November Mock Exam 2026, 25 pages. Read online or get the free PDF download, memo linked when available.

- Page: https://www.hlayiso.com/library/grade-12-english-hl-2026-nsc-november-mock-exam-question-paper-paper-2-english/04a9a890-3b46-428b-915c-12b171e9687f
- Updated: 2026-10-29
- Subject: English HL
- Grade: Grade 12
- Language: English
- Document type: Question paper
- Year: 2026
- Exam period: NSC November Mock Exam
- Paper: 2
- Publisher: Hlayiso
- Curriculum: CAPS
- Pages: 25

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English Hl · Grade 12 · NSC November Mock Exam · 2026 · English. Question paper, 25 pages. Read online or download the PDF.

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### Page 1

Mock

                           hlayiso mock exams
                           Practice Series:
                           Grade 12 NSC Preparation
                           WWW.HLAYISO.COM

                                NATIONAL
                           SENIOR CERTIFICATE

                                   GRADE 12

                        ENGLISH HOME LANGUAGE P2
                           MOCK EXAMINATION 2026

  MARKS: 80

  TIME: 2½ hours

                     This question paper consists of 25 pages.

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### Page 2

English Home Language/P2                   2                              Hlayiso/Mock 2026
                                        NSC Mock

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 250–300 words.
       • Essay questions on the Novel and Drama sections should be answered in 400–450
         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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English Home Language/P2                        3                                  Hlayiso/Mock 2026
                                             NSC Mock

 NOTE ON THIS MOCK PAPER (Hlayiso): This paper is set on the DBE prescribed literature for
 the October/November 2025 to May/June 2027 Grade 12 examinations (English Home Language).
 Questions are set on the following prescribed works: poems 'The Morning Sun is Shining' (Olive
 Schreiner), 'Sonnet 130' (William Shakespeare), 'The Shipwreck' (Emily Dickinson) and 'Solitude'
 (Ella Wheeler Wilcox); the novels The Picture of Dorian Gray (Oscar Wilde) and Life of Pi (Yann
 Martel); the dramas Hamlet, Othello (William Shakespeare) and The Crucible (Arthur Miller). Poems
 and extracts are printed only from works in the public domain. Because Life of Pi and The Crucible
 are protected by copyright, the 'extracts' for these texts are the examiner's own descriptions of the
 scenes; no text from these works is reproduced. The other prescribed poems (by Jonker, Brutus,
 Rocha, Sepamla, Senghor, Press, Wordsworth and Thomas) are not examined in this mock.

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English Home Language/P2                  4                      Hlayiso/Mock 2026
                                       NSC Mock

                                  TABLE OF CONTENTS
SECTION A: POETRY
Prescribed Poetry: Answer ANY TWO questions.
QUESTION NO.                          QUESTION              MARKS    PAGE
                                                                     NO.
1. 'The Morning Sun is Shining'       Essay question        10       6
2. 'Sonnet 130'                       Contextual question   10       7
3. 'The Shipwreck'                    Contextual question   10       7
4. 'Solitude'                  Contextual question          10       9
                                   AND
Unseen Poetry: COMPULSORY question
5. 'Adlestrop'                 Contextual question          10       10
SECTION B: NOVEL
Answer ONE question.*
6. The Picture of Dorian Gray         Essay question        25       11
7. The Picture of Dorian Gray         Contextual question   25       11
8. Life of Pi                         Essay question        25       15
9. Life of Pi                         Contextual question   25       15
SECTION C: DRAMA
Answer ONE question.*
10. Hamlet                            Essay question        25       17
11. Hamlet                            Contextual question   25       17
12. Othello                           Essay question        25       21
13. Othello                           Contextual question   25       21
14. The Crucible                      Essay question        25       24
15. The Crucible                      Contextual question   25       24

*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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English Home Language/P2                   5                             Hlayiso/Mock 2026
                                        NSC Mock

CHECKLIST
Use this checklist to ensure that you have answered the correct number of questions.

           SECTION                QUESTION             NO. OF           TICK (✓)
                                  NUMBERS            QUESTIONS
                                                     ANSWERED
 A: Poetry                            1–4                  2
   (Prescribed Poetry)
 A: Poetry                             5                   1
   (Unseen Poetry)
 B: Novel                             6–9                  1
   (Essay or Contextual)
 C: Drama                            10–15                 1
   (Essay or Contextual)

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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English Home Language/P2                    6                               Hlayiso/Mock 2026
                                         NSC Mock

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.
 THE MORNING SUN IS SHINING – Olive Schreiner
 1    The morning sun is shining on
 2         The green, green willow tree,
 3    And sends a golden sunbeam
 4         To dance upon my knee.
 5    The fountain bubbles merrily,
 6         The yellow locusts spring,
 7    Of life and light and sunshine
 8         The happy brown birds sing.
 9      The earth is clothed with beauty,
 10         The air is filled with song,
 11     The yellow thorn trees load the wind
 12         With odours sweet and strong.
 13     There is a hand I never touch
 14         And a face I never see;
 15     Now what is sunshine, what is song,
 16         Now what is light to me?
In this poem, the speaker's personal loss renders the beauty and vitality of the natural world
meaningless.
With close reference to imagery, structure and tone, critically discuss the validity of the
above statement.
Your response should take the form of a well-constructed essay of 250–300 words (about
ONE page).                                                                        [10]

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English Home Language/P2                         7                             Hlayiso/Mock 2026
                                              NSC Mock

QUESTION 2: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
 SONNET 130 – William Shakespeare
 1   My mistress' eyes are nothing like the sun;
 2   Coral is far more red than her lips' red;
 3   If snow be white, why then her breasts are dun;
 4   If hairs be wires, black wires grow on her head.
 5   I have seen roses damasked, red and white,
 6   But no such roses see I in her cheeks;
 7   And in some perfumes is there more delight
 8   Than in the breath that from my mistress reeks.
 9   I love to hear her speak, yet well I know
 10  That music hath a far more pleasing sound;
 11  I grant I never saw a goddess go;
 12  My mistress when she walks treads on the ground.
 13       And yet, by heaven, I think my love as rare
 14       As any she belied with false compare.

2.1      Refer to line 1: 'My mistress' eyes are nothing like the sun'.
         What does this opening line suggest about the speaker's intention in the
         poem?                                                                                (2)
2.2      Refer to line 8: 'Than in the breath that from my mistress reeks.'
         Explain how the word 'reeks' contributes to the speaker's portrayal of his
         mistress.                                                                            (2)
2.3      Refer to line 4: 'If hairs be wires, black wires grow on her head.'
         2.3.1       Identify the figure of speech in this line.                              (1)
         2.3.2       Discuss the effectiveness of this image in the context of the poem.      (2)
2.4      Refer to lines 13–14: 'And yet, by … with false compare.'
         Critically discuss how the rhyming couplet conveys the speaker's true attitude
         towards his mistress.                                                               (3)
                                                                                            [10]
QUESTION 3: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.

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English Home Language/P2                         8                             Hlayiso/Mock 2026
                                              NSC Mock

 THE SHIPWRECK – Emily Dickinson
 1    Glee! the great storm is over!
 2    Four have recovered the land;
 3    Forty gone down together
 4    Into the boiling sand.
 5      Ring, for the scant salvation!
 6      Toll, for the bonnie souls, –
 7      Neighbour and friend and bridegroom,
 8      Spinning upon the shoals!
 9      How they will tell the shipwreck
 10     When winter shakes the door,
 11     Till the children ask, 'But the forty?
 12     Did they come back no more?'
 13     Then a silence suffuses the story,
 14     And a softness the teller's eye;
 15     And the children no further question,
 16     And only the waves reply.

3.1      Refer to line 1: 'Glee! the great storm is over!'
         Explain why the exclamation, 'Glee!' is ironic in the context of the first stanza.    (2)
3.2      Refer to lines 5–6: 'Ring, for the … the bonnie souls'.
         Account for the contrast between 'Ring' and 'Toll' in these lines.                    (2)
3.3      Refer to line 10: 'When winter shakes the door'.
         3.3.1       Identify the figure of speech in this line.                               (1)
         3.3.2       Discuss the effectiveness of this image.                                  (2)
3.4      Refer to lines 13–16: 'Then a silence … the waves reply.'
         Critically discuss how the poet uses silence in the final stanza to convey the
         central message of the poem.                                                          (3)
                                                                                              [10]

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English Home Language/P2                         9                                    Hlayiso/Mock 2026
                                              NSC Mock

QUESTION 4: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
 SOLITUDE – Ella Wheeler Wilcox
 1    Laugh, and the world laughs with you;
 2      Weep, and you weep alone;
 3    For the sad old earth must borrow its mirth,
 4      But has trouble enough of its own.
 5    Sing, and the hills will answer;
 6      Sigh, it is lost on the air;
 7    The echoes bound to a joyful sound,
 8      But shrink from voicing care.
 9      Rejoice, and men will seek you;
 10       Grieve, and they turn and go;
 11     They want full measure of all your pleasure,
 12       But they do not need your woe.
 13     Be glad, and your friends are many;
 14       Be sad, and you lose them all, –
 15     There are none to decline your nectared wine,
 16       But alone you must drink life's gall.
 17     Feast, and your halls are crowded;
 18       Fast, and the world goes by.
 19     Succeed and give, and it helps you live,
 20       But no man can help you die.
 21     For there is room in the halls of pleasure
 22       For a large and lordly train,
 23     But one by one we must all file on
 24       Through the narrow aisles of pain.

4.1      Refer to lines 1–2: 'Laugh, and the … you weep alone'.
         What point is the speaker making in these lines?                                            (2)
4.2      Refer to line 3: 'For the sad old earth must borrow its mirth'.
         Explain why the earth is described as having to 'borrow its mirth'.                         (2)
4.3      Refer to lines 15–16: 'There are none … drink life's gall.'
         4.3.1       Identify the figure of speech in 'you must drink life's gall'.                  (1)
         4.3.2       Discuss the effectiveness of the contrast between 'nectared wine'
                     and 'life's gall'.                                                              (2)
4.4      Refer to lines 21–24: 'For there is … aisles of pain.'
         Critically discuss how these lines convey the speaker's view of the human
         condition.                                                                                 (3)
                                                                                                   [10]

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English Home Language/P2                        10                               Hlayiso/Mock 2026
                                             NSC Mock

UNSEEN POETRY (COMPULSORY)
QUESTION 5: CONTEXTUAL QUESTION
Read the poem below and then answer the questions that follow.
 ADLESTROP – Edward Thomas
 1   Yes. I remember Adlestrop –
 2   The name, because one afternoon
 3   Of heat the express-train drew up there
 4   Unwontedly. It was late June.
 5      The steam hissed. Someone cleared his throat.
 6      No one left and no one came
 7      On the bare platform. What I saw
 8      Was Adlestrop – only the name
 9      And willows, willow-herb, and grass,
 10     And meadowsweet, and haycocks dry,
 11     No whit less still and lonely fair
 12     Than the high cloudlets in the sky.
 13     And for that minute a blackbird sang
 14     Close by, and round him, mistier,
 15     Farther and farther, all the birds
 16     Of Oxfordshire and Gloucestershire.
Glossary: Adlestrop: a village with a small railway station in rural England; unwontedly: unusually,
not as it normally happens; willow-herb, meadowsweet: wild flowering plants; haycocks: small heaps
of drying hay; no whit: not at all

5.1      Refer to line 1: 'Yes. I remember Adlestrop –'.
         What does the word, 'Yes' suggest about the way in which the poem begins?               (2)
5.2      Refer to lines 3–4: 'Of heat the … was late June.'
         Explain the significance of the word, 'Unwontedly' in the context of the poem.          (2)
5.3      Refer to line 5: 'The steam hissed. Someone cleared his throat.'
         5.3.1       Identify the figure of speech in 'The steam hissed'.                        (1)
         5.3.2       Discuss how the sounds described in this line emphasise the
                     stillness of the scene.                                                     (2)
5.4      Refer to lines 13–16: 'And for that … Oxfordshire and Gloucestershire.'
         5.4.1       Identify the tone of these lines.                                           (1)
         5.4.2       Critically discuss how the final stanza broadens the speaker's
                     experience at Adlestrop.                                                   (2)
                                                                                               [10]
                                                                     TOTAL SECTION A:            30

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English Home Language/P2                      11                              Hlayiso/Mock 2026
                                           NSC Mock

SECTION B: NOVEL
Answer ONLY on the novel you have studied.
THE PICTURE OF DORIAN GRAY – Oscar Wilde
Answer EITHER QUESTION 6 (essay question) OR QUESTION 7 (contextual question).
QUESTION 6: THE PICTURE OF DORIAN GRAY – ESSAY QUESTION
Dorian Gray's pursuit of beauty and pleasure, without regard for morality, inevitably leads to
his self-destruction.
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 400–450 words (2–2½
pages).                                                                           [25]
QUESTION 7: THE PICTURE OF DORIAN GRAY – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT A

      'How sad it is!' murmured Dorian Gray with his eyes still fixed upon his own portrait.
      'How sad it is! I shall grow old, and horrible, and dreadful. But this picture will
      remain always young. It will never be older than this particular day of June. … If it
      were only the other way! If it were I who was to be always young, and the picture
      that was to grow old! For that – for that – I would give everything! Yes, there is 5
      nothing in the whole world I would not give! I would give my soul for that!'
      'You would hardly care for such an arrangement, Basil,' cried Lord Henry, laughing.
      'It would be rather hard lines on your work.'
      'I should object very strongly, Harry,' said Hallward.
      Dorian Gray turned and looked at him. 'I believe you would, Basil. You like your art 10
      better than your friends. I am no more to you than a green bronze figure. Hardly
      as much, I dare say.'

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English Home Language/P2                        12                               Hlayiso/Mock 2026
                                             NSC Mock

      The painter stared in amazement. It was so unlike Dorian to speak like that. What
      had happened? He seemed quite angry. His face was flushed and his cheeks
      burning.                                                                          15
      'Yes,' he continued, 'I am less to you than your ivory Hermes or your silver Faun.
      You will like them always. How long will you like me? Till I have my first wrinkle, I
      suppose. I know, now, that when one loses one's good looks, whatever they may
      be, one loses everything. Your picture has taught me that. Lord Henry Wotton is
      perfectly right. Youth is the only thing worth having. When I find that I am growing 20
      old, I shall kill myself.'
      …
      'This is your doing, Harry,' said the painter bitterly.
      Lord Henry shrugged his shoulders. 'It is the real Dorian Gray – that is all.'
                                                                                       [Chapter 2]

7.1       Place this extract in context.                                                        (2)
7.2       Refer to line 6: 'I would give my soul for that!'
          Explain the significance of Dorian's wish for the rest of the novel.                  (2)
7.3       Refer to line 16: 'I am less to you than your ivory Hermes or your silver Faun.'
          What does this line reveal about Dorian's state of mind at this point?                (2)
7.4       Refer to lines 23–24: 'This is your … that is all.'
          Discuss what these lines reveal about the conflicting influences of Basil and
          Lord Henry on Dorian.                                                                 (3)
7.5       Refer to lines 20–21: 'Youth is the … shall kill myself.'
          Discuss the irony of these words in the light of the ending of the novel.             (3)
                                               AND

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English Home Language/P2                         13                            Hlayiso/Mock 2026
                                              NSC Mock

EXTRACT B

      'There was nothing evil in it, nothing shameful. You were to me such an ideal as I
      shall never meet again. This is the face of a satyr.'
      'It is the face of my soul.'
      'Christ! what a thing I must have worshipped! It has the eyes of a devil.'
      'Each of us has heaven and hell in him, Basil,' cried Dorian with a wild gesture of 5
      despair.
      …
      'Good God, Dorian, what a lesson! What an awful lesson!' There was no answer,
      but he could hear the young man sobbing at the window. 'Pray, Dorian, pray,' he
      murmured. 'What is it that one was taught to say in one's boyhood? "Lead us 10
      not into temptation. Forgive us our sins. Wash away our iniquities." Let us say
      that together. The prayer of your pride has been answered. The prayer of your
      repentance will be answered also. I worshipped you too much. I am punished for
      it. You worshipped yourself too much. We are both punished.'
      Dorian Gray turned slowly around and looked at him with tear-dimmed eyes. 'It is 15
      too late, Basil,' he faltered.
      'It is never too late, Dorian. Let us kneel down and try if we cannot remember a
      prayer. Isn't there a verse somewhere, "Though your sins be as scarlet, yet I will
      make them as white as snow"?'
      'Those words mean nothing to me now.'                                                  20
      'Hush! Don't say that. You have done enough evil in your life. My God! Don't you
      see that accursed thing leering at us?'
      Dorian Gray glanced at the picture, and suddenly an uncontrollable feeling of
      hatred for Basil Hallward came over him, as though it had been suggested to
      him by the image on the canvas, whispered into his ear by those grinning lips. 25
                                                                              [Chapter 13]

7.6       What has led Basil to visit Dorian on this particular night?                            (2)
7.7       Refer to line 3: 'It is the face of my soul.'
          Explain what Dorian means by this statement.                                            (2)
7.8       Refer to lines 13–14: 'I worshipped you … are both punished.'
          Discuss how these lines reflect the dangers of excessive admiration of beauty,
          as presented in the novel.                                                              (3)
7.9       Refer to lines 23–25: 'Dorian Gray glanced … those grinning lips.'
          Comment on the role that the portrait plays in Dorian's actions at this point
          and later in the novel.                                                                 (3)

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English Home Language/P2                    14                              Hlayiso/Mock 2026
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7.10     Refer to line 20: 'Those words mean nothing to me now.'
         Dorian is beyond redemption from this point onwards.
         Based on your knowledge of the novel as a whole, critically discuss the extent
         to which you agree with this statement.                                           (3)
                                                                                          [25]

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English Home Language/P2                      15                              Hlayiso/Mock 2026
                                           NSC Mock

LIFE OF PI – Yann Martel
Answer EITHER QUESTION 8 (essay question) OR QUESTION 9 (contextual question).
QUESTION 8: LIFE OF PI – ESSAY QUESTION
In Life of Pi, storytelling is presented as a means of survival.
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 400–450 words (2–2½
pages).                                                                           [25]
QUESTION 9: LIFE OF PI – CONTEXTUAL QUESTION
Read the descriptions of the scenes below and then answer the questions that follow.
NOTE: To respect copyright, the extracts below are the examiner's own descriptions of scenes
from the novel. No text from the novel is reproduced.
EXTRACT C
 Examiner's description of a scene from Part One (Toronto and Pondicherry)
 On a Sunday afternoon, Pi is strolling along the seafront in Pondicherry with his parents
 and Ravi when, by sheer coincidence, they meet the pandit, the priest and the imam – Pi's
 three religious teachers – at the same moment. Each man greets Pi as a devout follower
 of his own faith. When the truth comes out, the three are horrified to learn that the boy has
 secretly been practising Hinduism, Christianity and Islam.
 A heated argument follows on the busy promenade. Each man insults the other two religions
 and insists that Pi cannot belong to all three: he must choose one. Pi's parents, who are
 not religious and knew nothing of their son's devotions, are bewildered and somewhat
 embarrassed. Finally, all eyes turn to Pi. Under pressure, he replies, quoting Mahatma
 Gandhi, that all religions are true, and adds that he simply wants to love God. His answer
 leaves the three wise men red-faced and silent, and his father hurries the family away to
 buy ice cream.

9.1      Explain why Pi's parents are 'bewildered' by the discovery of their son's
         religious devotions.                                                                (2)
9.2      Give TWO reasons why the three religious leaders insist that Pi must choose
         only one religion.                                                                  (2)
9.3      What does Pi's reply reveal about his character at this stage of the novel?         (2)
9.4      Comment on the author's use of humour in presenting this scene, and on the
         serious point that the humour conveys.                                              (3)
9.5      Discuss how Pi's faith helps him to survive during his ordeal on the lifeboat.      (3)

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English Home Language/P2                        16                               Hlayiso/Mock 2026
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                                               AND
EXTRACT D
 Examiner's description of a scene from Part Three (Benito Juárez Infirmary, Tomatlán,
 Mexico)
 Pi is recovering in a Mexican hospital when two officials from the Maritime Department of
 the Japanese Ministry of Transport, Mr Okamoto and his junior colleague, Mr Chiba, come
 to interview him. After listening to his account of 227 days at sea with a Bengal tiger, they
 tell him bluntly that they do not believe it. They want a straightforward story, without animals,
 that they can put in their report.
 Pi then tells them a second, brutal version. In it, the survivors on the lifeboat are Pi, his
 mother, a young Taiwanese sailor with a broken leg and the ship's cook. The cook amputates
 the sailor's leg, and the sailor dies. Later the cook kills Pi's mother, and Pi, in turn, kills the
 cook. The shocked officials realise that each animal in the first story corresponds to a person
 in the second.
 Pi points out that neither story can be proved and that neither explains why the ship sank.
 He then asks the two men which story they prefer. They agree that the story with the animals
 is the better one. Pi thanks them and suggests that the same holds true for belief in God.

9.6      Why are the Japanese officials interviewing Pi?                                          (2)
9.7      Name the animal in Pi's first story that corresponds to (a) Pi's mother and (b)
         the ship's cook.                                                                         (2)
9.8      Discuss the significance of Pi's question about which story the officials prefer.        (3)
9.9      The officials conclude that Pi himself is the tiger.
         Comment on what this parallel suggests about Pi's experience at sea.                     (3)
9.10     Pi's faith and his scientific mind are in conflict throughout the novel.
         Based on your knowledge of the novel as a whole, critically discuss the extent
         to which you agree with this statement.                                                 (3)
                                                                                                [25]
                                                                      TOTAL SECTION B:            25

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English Home Language/P2                       17                                 Hlayiso/Mock 2026
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SECTION C: DRAMA
Answer ONLY on the play you have studied.
HAMLET – William Shakespeare
Answer EITHER QUESTION 10 (essay question) OR QUESTION 11 (contextual question).
QUESTION 10: HAMLET – ESSAY QUESTION
Hamlet's tragedy is caused by his own inability to act decisively rather than by the corruption
that surrounds him.
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 400–450 words (2–2½
pages).                                                                           [25]
QUESTION 11: HAMLET – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT E

      KING
      But now, my cousin Hamlet, and my son –
      HAMLET
      (Aside) A little more than kin, and less than kind.
      KING
      How is it that the clouds still hang on you?
      HAMLET
      Not so, my lord, I am too much i' the sun.
      QUEEN
      Good Hamlet, cast thy nighted colour off,                                                5
      And let thine eye look like a friend on Denmark.
      Do not for ever with thy vailed lids
      Seek for thy noble father in the dust.
      Thou know'st 'tis common, all that lives must die,
      Passing through nature to eternity.                                                     10
      HAMLET
      Ay, madam, it is common.
      QUEEN
      If it be,
      Why seems it so particular with thee?
      HAMLET
      Seems, madam! Nay, it is; I know not seems.
      'Tis not alone my inky cloak, good mother,                                              15
      Nor customary suits of solemn black,
      Nor windy suspiration of forc'd breath,
      No, nor the fruitful river in the eye,
      Nor the dejected haviour of the visage,
      Together with all forms, moods, shows of grief,                                         20

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       That can denote me truly. These indeed seem,
       For they are actions that a man might play;
       But I have that within which passeth show;
       These but the trappings and the suits of woe.
       KING
       'Tis sweet and commendable in your nature, Hamlet,                                      25
       To give these mourning duties to your father;
       But you must know, your father lost a father,
       That father lost, lost his, and the survivor bound
       In filial obligation, for some term
       To do obsequious sorrow. But to persevere                                               30
       In obstinate condolement is a course
       Of impious stubbornness. 'Tis unmanly grief,
       It shows a will most incorrect to heaven,
       A heart unfortified, a mind impatient,
       An understanding simple and unschool'd.                                                 35
       …
       We pray you throw to earth
       This unprevailing woe, and think of us
       As of a father; for let the world take note
       You are the most immediate to our throne.
                                                                                   [Act 1, Scene 2]

11.1      Describe the events that have taken place in the royal family of Denmark
          shortly before this extract.                                                              (2)
11.2      Refer to line 2: '(Aside) A little more than kin, and less than kind.'
          Explain what Hamlet means by this aside.                                                  (2)
11.3      Refer to line 14: 'Seems, madam! Nay, it is; I know not seems.'
          Account for Hamlet's objection to the word, 'seems'.                                      (2)
11.4      Refer to lines 25–35: ''Tis sweet and … simple and unschool'd.'
          Discuss what Claudius's speech reveals about his character.                               (3)
11.5      Refer to lines 14–24: 'Seems, madam! Nay … suits of woe.'
          If you were the director of a production of Hamlet, how would you instruct the
          actor to deliver these lines? Pay specific attention to body language and tone.
          Motivate your instructions.                                                               (3)
                                               AND

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EXTRACT F

      HORATIO
      You will lose this wager, my lord.
      HAMLET
      I do not think so. Since he went into France, I have been in continual practice. I
      shall win at the odds. But thou wouldst not think how ill all's here about my heart:
      but it is no matter.
      HORATIO
      Nay, good my lord.                                                                           5
      HAMLET
      It is but foolery; but it is such a kind of gain-giving as would perhaps trouble a
      woman.
      HORATIO
      If your mind dislike anything, obey it. I will forestall their repair hither, and say you
      are not fit.
      HAMLET
      Not a whit, we defy augury. There's a special providence in the fall of a sparrow. If 10
      it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it
      will come. The readiness is all. Since no man has aught of what he leaves, what
      is't to leave betimes?
      Enter King, Queen, Laertes, Lords, Osric and Attendants with foils, etc.
      KING
      Come, Hamlet, come, and take this hand from me.
      The King puts Laertes's hand into Hamlet's.
      HAMLET
      Give me your pardon, sir. I have done you wrong;                                            15
      But pardon't as you are a gentleman.
      This presence knows, and you must needs have heard,
      How I am punish'd with sore distraction.
      What I have done
      That might your nature, honour, and exception                                               20
      Roughly awake, I here proclaim was madness.
      Was't Hamlet wrong'd Laertes? Never Hamlet.
      If Hamlet from himself be ta'en away,
      And when he's not himself does wrong Laertes,
      Then Hamlet does it not, Hamlet denies it.                                                  25

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        …
        LAERTES
        I am satisfied in nature,
        Whose motive in this case should stir me most
        To my revenge. But in my terms of honour
        I stand aloof, and will no reconcilement
        Till by some elder masters of known honour                                            30
        I have a voice and precedent of peace
        To keep my name ungor'd. But till that time
        I do receive your offer'd love like love,
        And will not wrong it.
                                                                                [Act 5, Scene 2]

11.6        Explain the circumstances that have led to the 'wager' mentioned in line 1.            (2)
11.7        Refer to lines 10–13: 'Not a whit … to leave betimes?'
            Explain how Hamlet's attitude has changed since the beginning of the play.             (2)
11.8        Refer to lines 15–25: 'Give me your … Hamlet denies it.'
            Comment on the sincerity of Hamlet's claim that his 'madness', and not Hamlet
            himself, has wronged Laertes.                                                          (3)
11.9        Refer to lines 26–34: 'I am satisfied … not wrong it.'
            Discuss the dramatic irony of Laertes's words.                                         (3)
11.10       Refer to line 8: 'If your mind dislike anything, obey it.'
            Critically discuss Horatio's role as Hamlet's loyal friend and confidant in the
            play as a whole.                                                                    (3)
                                                                                               [25]

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OTHELLO – William Shakespeare
Answer EITHER QUESTION 12 (essay question) OR QUESTION 13 (contextual question).
QUESTION 12: OTHELLO – ESSAY QUESTION
Othello's downfall is caused more by his own insecurity than by Iago's cunning.
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 400–450 words (2–2½
pages).                                                                           [25]
QUESTION 13: OTHELLO – CONTEXTUAL QUESTION
Read the extracts below and then answer the questions that follow.
EXTRACT G

      IAGO
      Good name in man and woman, dear my lord,
      Is the immediate jewel of their souls.
      Who steals my purse steals trash. 'Tis something, nothing;
      'Twas mine, 'tis his, and has been slave to thousands.
      But he that filches from me my good name                                                 5
      Robs me of that which not enriches him
      And makes me poor indeed.
      OTHELLO
      By heaven, I'll know thy thoughts.
      IAGO
      You cannot, if my heart were in your hand,
      Nor shall not, whilst 'tis in my custody.                                               10
      OTHELLO
      Ha?
      IAGO
      O, beware, my lord, of jealousy;
      It is the green-ey'd monster which doth mock
      The meat it feeds on. That cuckold lives in bliss
      Who, certain of his fate, loves not his wronger;                                        15
      But O, what damned minutes tells he o'er
      Who dotes, yet doubts, suspects, yet strongly loves!
      OTHELLO
      O misery!
      …
      OTHELLO
      Why, why is this?
      Think'st thou I'd make a life of jealousy,                                              20
      To follow still the changes of the moon
      With fresh suspicions? No. To be once in doubt
      Is once to be resolv'd.

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       …
       'Tis not to make me jealous,
       To say my wife is fair, feeds well, loves company,                                  25
       Is free of speech, sings, plays, and dances well;
       Where virtue is, these are more virtuous:
       Nor from mine own weak merits will I draw
       The smallest fear or doubt of her revolt,
       For she had eyes, and chose me. No, Iago,                                           30
       I'll see before I doubt; when I doubt, prove;
       And on the proof, there is no more but this:
       Away at once with love or jealousy!
                                                                             [Act 3, Scene 3]

13.1      Place this extract in context.                                                        (2)
13.2      Refer to lines 3–7: 'Who steals my … me poor indeed.'
          Explain why it is ironic that Iago speaks these words.                                (2)
13.3      Refer to lines 12–17: 'O, beware, my … yet strongly loves!'
          Explain the image of jealousy as 'the green-ey'd monster which doth mock /
          The meat it feeds on'.                                                                (2)
13.4      Refer to lines 28–30: 'Nor from mine … and chose me.'
          Discuss what these lines reveal about Othello's state of mind at this point in
          the play.                                                                             (3)
13.5      Refer to lines 12–17: 'O, beware, my … yet strongly loves!'
          If you were the director of a production of Othello, how would you instruct
          the actor playing Iago to deliver these lines? Pay specific attention to body
          language and tone. Motivate your instructions.                                        (3)
                                             AND
EXTRACT H

       A bedchamber in the castle. Desdemona in bed asleep; a light burning. Enter
       Othello.
       OTHELLO
       It is the cause, it is the cause, my soul,
       Let me not name it to you, you chaste stars!
       It is the cause. Yet I'll not shed her blood,
       Nor scar that whiter skin of hers than snow,
       And smooth as monumental alabaster.                                                  5
       Yet she must die, else she'll betray more men.
       Put out the light, and then put out the light:
       If I quench thee, thou flaming minister,
       I can again thy former light restore,
       Should I repent me. But once put out thy light,                                     10

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        Thou cunning'st pattern of excelling nature,
        I know not where is that Promethean heat
        That can thy light relume. When I have pluck'd thy rose,
        I cannot give it vital growth again,
        It must needs wither. I'll smell it on the tree.                                    15
        Kissing her.
        O, balmy breath, that dost almost persuade
        Justice to break her sword! One more, one more.
        Be thus when thou art dead, and I will kill thee,
        And love thee after. One more, and this the last.
        So sweet was ne'er so fatal. I must weep,                                           20
        But they are cruel tears. This sorrow's heavenly,
        It strikes where it doth love. She wakes.
        DESDEMONA
        Who's there? Othello?
        OTHELLO
        Ay, Desdemona.
                                                                               [Act 5, Scene 2]

13.6       Explain what has convinced Othello that Desdemona has been unfaithful to
           him.                                                                                  (2)
13.7       Refer to line 7: 'Put out the light, and then put out the light'.
           Explain the double meaning of this line.                                              (2)
13.8       Refer to line 6: 'Yet she must die, else she'll betray more men.'
           Comment on the way in which Othello justifies his intention to kill Desdemona.        (3)
13.9       Refer to lines 3–5: 'It is the … as monumental alabaster.'
           Discuss how the imagery in these lines reveals Othello's conflicting emotions.        (3)
13.10      Othello is more a victim than a villain.
           Based on your knowledge of the play as a whole, critically discuss the extent
           to which you agree with this statement.                                            (3)
                                                                                             [25]

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English Home Language/P2                       24                                 Hlayiso/Mock 2026
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THE CRUCIBLE – Arthur Miller
Answer EITHER QUESTION 14 (essay question) OR QUESTION 15 (contextual question).
QUESTION 14: THE CRUCIBLE – ESSAY QUESTION
In The Crucible, fear and self-interest, rather than a genuine belief in witchcraft, drive the
hysteria in Salem.
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 400–450 words (2–2½
pages).                                                                           [25]
QUESTION 15: THE CRUCIBLE – CONTEXTUAL QUESTION
Read the descriptions of the scenes below and then answer the questions that follow.
NOTE: To respect copyright, the extracts below are the examiner's own descriptions of scenes
from the play. No text from the play is reproduced.
EXTRACT I
 Examiner's description of a scene from Act Three
 In the vestry room of the Salem meeting house, where the court is sitting, Mary Warren has
 testified that she and the other girls were only pretending when they claimed to see spirits.
 Abigail denies this and accuses Mary of lying. In desperation, John Proctor confesses to
 the court that he has committed lechery with Abigail, and that she wants Elizabeth dead so
 that she can take her place.
 Deputy Governor Danforth decides to test Proctor's claim. Proctor has insisted that his wife
 has never told a lie, so Danforth sends for Elizabeth. Proctor and Abigail are ordered to turn
 their backs, and Elizabeth is forbidden to look at her husband. She does not know that he
 has already confessed. Danforth asks her directly whether her husband has been unfaithful
 to her. Elizabeth hesitates, glances desperately towards John, and then denies it. She is
 led out just as Proctor cries out that he has confessed. Reverend Hale pleads with Danforth
 that Elizabeth's lie was a natural one, told out of love, but Danforth will not listen.
 Abigail immediately seizes the moment. She screams and stares up at the rafters, claiming
 that Mary Warren's spirit has taken the shape of a yellow bird that is about to attack her. The
 other girls copy every word Mary says, until Mary, terrified, turns on Proctor and accuses
 him of being the Devil's man.

15.1     Explain why John Proctor has brought Mary Warren to the court.                          (2)
15.2     Why does Danforth believe that Elizabeth's answer will settle the matter?               (2)
15.3     Explain the irony of Elizabeth's denial.                                                (2)
15.4     Discuss what Elizabeth's lie reveals about her character and her feelings for
         John at this point in the play.                                                         (3)
15.5     Comment on how Abigail manipulates the court in this scene.                             (3)

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                                             AND
EXTRACT J
 Examiner's description of a scene from Act Four
 It is dawn in the Salem jail on the day on which John Proctor, Rebecca Nurse and others
 are to be hanged. Reverend Hale and Reverend Parris have urged the prisoners to confess
 so that their lives may be spared. Elizabeth is allowed to speak to John alone. She tells him
 that she will not judge him, admits that she, too, has sinned by being cold to him, and leaves
 the decision in his hands.
 Proctor agrees to confess to having seen the Devil. Danforth, however, insists that the
 confession be written down and signed so that it can be displayed on the church door.
 He also presses Proctor to name others whom he saw with the Devil, but Proctor refuses.
 Proctor signs the paper, and then refuses to hand it over. When Danforth demands an
 explanation, Proctor cries out that it is his name, and that he cannot have it ruined. He tears
 up the confession and is taken to be hanged.
 Hale begs Elizabeth to persuade her husband to change his mind, but she refuses, saying
 that John has now found his goodness and that she will not take it from him.

15.6     Give TWO reasons why Hale and Parris are so eager for the prisoners to
         confess.                                                                             (2)
15.7     Explain why Proctor refuses to name others.                                          (2)
15.8     Discuss the significance of Proctor's insistence on protecting his 'name', in
         relation to the play as a whole.                                                     (3)
15.9     Comment on Elizabeth's refusal to plead with John at the end of the play.            (3)
15.10    John Proctor's death is a victory rather than a defeat.
         Based on your knowledge of the play as a whole, critically discuss the extent
         to which you agree with this statement.                                             (3)
                                                                                            [25]
                                                                   TOTAL SECTION C:           25
                                                                     GRAND TOTAL:            80

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