NYGH 2020-S3EOY-ALIT HP

Class Register Number Name 南洋女子中学校 NANYANG GIRLS' HIGH SCHOOL End-of-Year Examination 2020 Secondary 3 ADVANCED LITERATURE HP 2 hours Friday 9 October 2020 0845 – 1045hrs READ THESE INSTRUCTIONS FIRST 1. Write your name, r egister number and class on all the work you hand in. 2. Answer one question from Section A and one question from Section B. 3. Write in dark blue or bla ck ink on both sides of the paper. 4. Do not use staples, paper clips, glue or correction fluid/ tape. You may use highlighters on the questions or text(s), but not on your answers. 5. Begin your answer to Section B on a fresh sheet of paper. It will be collected SEPARATELY. 6. At the end of the examinat ion, fasten your work securely together according to instructions. 7. The number of marks is given in br ackets [ ] at the end of each question. 8. The total number of ma rks for this paper is 60. Setter: Rosalind Yeo This document consists of 8 printed pages, including this cover page. NANYANG GIRLS' HIGH SCHOOL [ Turn over ]

2 SECTION A: SET TEXT [30 marks] Answer one question from this section Question 1 Remember to support your ideas with relevant details from the writing. CHARLES DICKENS: Great Expectations Either (a) How far do you agree with the view that Pip is more sinned against than sinning? ARTHUR MILLER: Death of a Salesman Or (b) Read the passage carefully, and then answer the questions that follow it: Linda: Why didn’t anybody come? Charley: It was a very nice funeral. Linda: But where are all the people he knew? Maybe they blame him. Charley: Naa. It’s a rough world, Linda. They wouldn’t blame him. Linda: I can’t understand it. At this time especially. First time in thirty- five years we were just about free and clear. He only needed a little salary. He was even finished with the dentist. 5 Charley: No man only needs a little salary. Linda: I can’t understand it. Biff: There were a lot of nice days. When he’d come home from a trip; or on Sundays, making the stoop; finishing the cellar; putting on the new porch; when he built the extra bathroom; and put up the garage. You know someth ing, Charley, there’s more of him in that front stoop than in all the sales he ever made. 10 Charley: Yeah. He was a happy man with a batch of cement. 15 Linda: He was so wonderful with his hands. Biff: He had the wrong dreams. All, all, wrong. Happy: [almost ready to fight BIFF] Don’t say that! Biff: He never knew who he was. Charley: [stopping HAPPY’S movement and reply. To BIFF] Nobody dast blame this man. You don’t under stand: Willy was a salesman. And for a salesman, there is no rock bottom to the life. He don’t put a bolt to a nut, he don’t tell you the law or give you medicine. He’s a man way out there in the blue, riding on a smile and a shoeshine. And when they star t not smiling back – that’s an earthquake. And then you get yourself a couple of spots on your 20 25

3 hat, and you’re finished. Nobody dast blame this man. A salesman is got to dream, boy. It comes with the territory. Biff: Charley, the man didn’t know who he was. Happy: [infuriated] Don’t say that! 30 Biff: Why don’t you come with me, Happy? Happy: I’m not licked that easily. I’m stay ing right in this city, and I’m gonna beat this racket! [ He looks at BIFF, his chin set. ] The Loman Brothers! Biff: I know who I am, kid. 35 Happy: All right, boy. I’m gonna show you and everybody else that Willy Loman did not die in vain. He had a good dream. It’s the only dream you can have – to come out number-one man. He fought it out here, and this is where I’m gonna win it for him. Biff: [with a hopeless glance at HAPPY, bends toward his mother ] Let’s go, Mom. 40 Linda: I’ll be with you in a minute. Go on, Charley [He hesitates.] I want to, just for a minute. I never had a chance to say good-bye. [CHARLEY moves away, followed by HAPPY. BIFF remains a slight distance up and left of LINDA. She sits there, summoning herself. The flute begins, not far away, playing behind her speech.] 45 Linda: Forgive me, dear. I can’t cry. I don’t know what it is, but I can’t cry. I don’t understand it. Why did you ever do that? Help me, Willy, I can’t cry. It seems to me that you’re just on another trip. I keep expecting you. Willy, dear, I ca n’t cry. Why did you do it? I search and search and I search, and I can’t understand it, Willy. I made the last payment on t he house today. Today, dear. And there’ll be nobody home. [A sob rises in her throat. ] We’re free and clear. [ Sobbing more fully, released. ] We’re free. [BIFF comes slowly toward her.] We’re free . . . We’re free . . . [BIFF lifts her to her feet and move s out up right with her in his arms. LINDA sobs quietly. BERNARD and CHARLEY come together and follow them, followed by HAPPY. Only the music of the flute is left on the darkening stage as over the house the hard towers of the apartment buildings rise into sharp focus.] 50 55 60 (i) How does Miller make this passage such an effective and sad ending to the play? (ii) Explore one other moment in the play that Miller makes particularly moving for you.

4 SECTION B: COMPARATIVE LITERARY RESPONSE [30 marks] Answer either Question 2(a) or Question 2(b). Question 2 Remember to support your ideas with relevant details from the writing. Either (a) Write a critical comparison of the following poems, considering in detail ways in which language, style and form cont ribute to each poet’s portrayal of abortion. A the lost baby poem the time i dropped your almost body down down to meet the waters under the city and run one with the sewage to the sea what did i know about waters rushing back what did i know about drowning or being drowned you would have been born in winter in the year of the disconnected gas and no car we would have made the thin walk over the genesee* hill into the canada wind to watch you slip like ice into strangers’ hands you would have fallen naked as snow into winter if you were here i could tell you these and some other things if i am ever less than a mountain for your definite brothers and sisters let the rivers pour over my head let the sea take me for a spiller of seas let black men call me stranger always for your never named sake 5 10 15 20 Lucille Clifton (1936-2010) * genesee: located in central Alberta, Canada

5 B The Mother Abortions will not let you forget. You remember the children you got that you did not get, The damp small pulps with a little or with no hair, The singers and workers that never handled the air. You will never neglect or beat Them, or silence or buy with a sweet. You will never wind up the sucking-thumb Or scuttle off ghosts that come. You will never leave them, controlling your luscious sigh, Return for a snack of them, with gobbling mother-eye. I have heard in the voices of the wind the voices of my dim killed children. I have contracted. I have eased My dim dears at the breasts they could never suck. I have said, Sweets, if I sinned, if I seized Your luck And your lives from your unfinished reach, If I stole your births and your names, Your straight baby tears and your games, Your stilted or lovely loves, your tumults, your marriages, aches, and your deaths, If I poisoned the beginnings of your breaths, Believe that even in my deliberateness I was not deliberate. Though why should I whine, Whine that the crime was other than mine?-- Since anyhow you are dead. Or rather, or instead, You were never made. But that too, I am afraid, Is faulty: oh, what shall I say, how is the truth to be said? You were born, you had body, you died. It is just that you never giggled or planned or cried. Believe me, I loved you all. Believe me, I