NYGH 2016-S3EOY-ALIT HP

1 ALIT (HP) EOY 2016 VH Class Register Number Name End-of-Year Examination 2016 Secondary Three Advanced Literature (HP) Friday 7th October 2016 2 hours 0845 - 1045 hrs READ THESE INSTRUCTIONS FIRST 1. Write your name on your answer script. 2. Use dark blue or black ink. 3. Do not use correction fluid / tape. INFORMATION FOR CANDIDATES 1. Answer one question from Section A and one question from Section B. 2. Begin your answer to Section B on a fresh sheet of paper. 3. Number your answers clearly. 4. You are reminded of the need for good English and legible handwriting. Setters: V Heng This document consists of 9 printed pages, including this cover page. [Turn over]

2 ALIT (HP) EOY 2016 VH SECTION A: SET TEXT Answer ONE question from this section A Streetcar Named Desire – Tennessee Williams 1. Although Tennessee Williams exposes Blanche for her self-deception and dishonesty, he once wrote that he originally intended for her to be the most sympathetic character in the play. How far do you think Williams has changed or kept to his original intention for Blanche? [30] OR The Turn of the Screw – Henry James 2. Read the extract below and answer the question that follows. ‘I simply make it out. The four, depend upon it, perpetually meet. If on either of these last nights you had been with either child you’d clearly have understood. The more I’ve watched and waited the more I’ve felt that if there were nothing else to make it sure it would be made so by the systematic silence of each. Never, by a slip of the tongue, have they so much as alluded to either of their old friends, any more than Miles has alluded to his expulsion. Oh yes, we may sit here and look at them, and they may show off to us there to their fill; but even while they pretend to be lost in their fairy-tale they’re steeped in their vision of the dead restored to them. He’s not reading to her,’ I declared; ‘they’re talking of them – they’re talking horrors! I go on, I know, as if I were crazy, and it’s a wonder I’m not. What I’ve seen would have made you so; but it has only made me more lucid, made me get hold of still other things.’ My lucidity must have seemed awful, but the charming creatures who were victims of it, passing and repassing in their interlocked sweetness, gave my colleague something to hold on by; and I felt how tight she held as, without 10

3 ALIT (HP) EOY 2016 VH stirring in the breath of my passion, she covered them still with her eyes. ‘Of what other things you got hold?’ ‘Why of the very things that have delighted, fascinated and yet, at bottom, as I now so strangely see, mystified and troubled me. Their more than earthly beauty, their absolutely unnatural goodness. It’s a game, I went on; ‘it’s a policy and a fraud!’ ‘On the part of little darlings—?’ ‘As yet mere lovely babies? Yes, mad as that seems!’ The very act of bringing it out really helped me to trace it – follow it all up and piece it all together. ‘They haven’t been good – they’ve only been absent. It has been easy to live with them because they’re simply leading a life of their own. They’re not mine – they’re not ours. They’re his and they’re hers!’ ‘Quint’s and that woman’s?’ ‘Quint’s and that woman’s. They want to get to them.’ Oh how, at this, poor Mrs Grose appeared to study them! ‘But for what?’ ‘For the love of all the evil that, in those dreadful days, the pair put into them. And to ply them with that evil still, to keep up the work of demons, is what brings the others back.’ ‘They were rascals! But what can they do now?’ she pursued. ‘Do?’ I echoed so loud that Miles and Flora, as they passed at their distance, paused an instant in their walk and looked at us. ‘Don’t they do enough?’ I demanded in a lower tone, while the children, having smiled and nodded and kissed hands to us, resumed their exhibition. We were held by it a minute; then I answered: ‘They can destroy them!’ At this my companion did turn, but the appeal she launched was a silent one, the effect of which was to make me more explicit. ‘They don’t know as yet quite how – but they’re trying hard. They’re seen only across, as it were, and beyond – in strange places and on high places, the top of towers, the roof of houses, the outside of windows, the further edge of pools; but there’s a deep design, on either side, to shorten the distance and overcome the obstacle.’ ‘For the children to come?’ ‘And perish in the attempt!’ Mrs Grose slowly got up, and I scrupulously added: ‘Unless, of course, we can prevent!’ Standing before me while I kept my seat she visibly turned things over. ‘Their uncle must do the preventing. He must take them away.’ ‘And who’s to make him?’ She had been scanning the distance, but she now dropped on me a foolish face. ‘You, Miss.’ ‘By writing to him that his house is poisoned and his little nephew and niece mad?’ ‘And if I am myself, you mean? That’s charming news to be sent him by a person enjoying his confidence and whose prime understanding was to give him no worry.’ Mrs Grose considered, following the children again. ‘Yes, he do hate worry. That was the great reason—’ ‘Why those fiends took him in so long? No doubt, though his indifference 20 30 40 50 60

4 ALIT (HP) EOY 2016 VH must have been awful. As I’m not a fiend, at any rate, I shouldn’t take him in.’ My companion, after an instant and for all answer, sat down again and grasped my arm. ‘Make him at any rate come to you.’ I stared. ‘To me?’ I had a sudden fear of what she might do. ‘“Him”?’ ‘He ought to be here – he ought to help.’ I quickly rose and I think I must have shown her a queerer face than ever yet. ‘You see me asking him for a visit?’ No, with her eyes on my face, she evidently couldn’t. Instead of it even – as a woman reads another – she could see what I myself saw: his derision, his amusement, his contempt for the breakdown of my resignation at being left alone and for the fine machinery I had set in motion to attract his attention to my slighted charms. She didn’t know – no one knew – how proud I had been to serve him and to stick to our terms; yet she none the less took the measure, I think, of the warning I now gave her. ‘If you should so lose your head as to appeal to him for me—’ She was really frightened. ‘Yes, Miss?’ ‘I would leave, on the spot, both him and you. Extract adapted from The Turn of the Screw by Henry James 70 80 a. Examine the extract carefully and describe your impression of the Governess. b. How does the extract give rise to a sense of tension and prepare the reader for the dire consequences in the rest of the novel? [30]

5 ALIT (HP) EOY 2016 VH SECTION B: LITERARY RESPONSE Answer either question 3 or 4 Question 3 Read the texts below and answer the question that follows. (i) ONE ART by Elizabeth Bishop (1979) The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster. Lose something every day. Accept the fluster of lost door keys, the hour badly spent. The art of losing isn’t hard to master. Then