ZSS Lit P1

1 Zhenghua Secondary School Preliminary Examination 2020 Secondary 4 Express Literature in English/Humanities (Prose and Unseen Poetry) 2065/01, 2274/02 31 August 2020 1 hour 40 minutes Additional Materials: Writing Paper Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School Zhenghua Secondary School READ THESE INSTRUCTIONS FIRST Write your name, class and index number in the spaces provided on the work you hand in. Write in dark blue or black ink on both sides of the paper. Do not use staples, paper clips, glue or correction tape/fluid. Write your answers on the writing paper provided and indicate the question numbers clearly. At the end of the examination, fasten all your work securely together. The number of marks is given in brackets [ ] at the head of each section. The total marks for this paper is fifty [50]. Name of Setter: Ms Darlene John This document consists of 6 printed pages. For Examiner’s Use Section A Section B Total [Turn over Candidate Name: _________________________ Index No: ____ Class: _______

2 Section A [25 marks] Answer one question from this section. RAY BRADBURY: Fahrenheit 451 Remember to support your ideas with relevant details from the text. 1 Either (a) Explore how Bradbury presents the idea of bravery through the different characters in the novel. Or (b) How is the relationship between man and machine portrayed in Fahrenheit 451? (Do not use the passage below in answering this question.) Or (c) Read this passage carefully, and then answer the questions that follow it: Granger snapped the portable viewer on. The picture was a nightmare, condensed, easily passed from hand to hand, in the forest, all whirring colour and flight. A voice cried: "The chase continues north in the city! Police helicopters are converging on Avenue 87 and Elm Grove Park!" Granger nodded. "They're faking. You threw them off at the river. They can't admit it. They know they can hold their audience only so long. The show's got to have a snap ending, quick! If they started searching the whole damn river it might take all night. So they're sniffing for a scape-goat to end things with a bang. Watch. They'll catch Montag in the next five minutes! " "But how--" "Watch." The camera, hovering in the belly of a helicopter, now swung down at an empty street. "See that?" whispered Granger. "It'll be you; right up at the end of that street is our victim. See how our camera is coming in? Building the scene. Suspense. Long shot. Right now, some poor fellow is out for a walk. A rarity. An odd one. Don't think the police don't know the habits of queer ducks like that, men who walk mornings for the hell of it, or for reasons of insomnia . Anyway, the police have had him charted fo r months, years. Never know when that sort of information might be handy. And today, it turns out, it's very usable indeed. It saves face. Oh, God, look there!" The men at the fire bent forward. On the screen, a man turned a corner. The Mechanical Hound rushed forward into the viewer, suddenly. The helicopter light shot down a dozen brilliant pillars that built a cage all about the man. A voice cried, "There's Montag! The search is done!" The innocent man stood bewildered, a cigarette burning in his hand. He stared at the Hound, not knowing what it was. He probably never knew. He glanced up at the sky and the wailing sirens. The camera rushed down. The Hound leapt up into the air with a rhythm and a sense of timing that was incredibly beautiful. Its needle shot out. It was suspended for a moment in their gaze, as if to give the 5 10 15 20 25 30 35

3 vast audience time to appreciate everything, the raw look of the victim's face, the empty street, the steel animal a bullet nosing the target. "Montag, don't move!" said a voice from the sky. The camera fell upon the victim, even as did the Hound. Both reached him simultaneously. The victim was seized by Hound and camera in a great spidering, clenching grip. He screamed. He screamed. He screamed! Blackout. Silence. Darkness. Montag cried out in the silence and turned away. Silence. And then, after a time of the men sitting around the fire, their faces expressionless, an announcer on the dark screen said, "T he search is over, Montag is dead; a crime against society has been avenged." Darkness. 40 45 50 (i) How does Bradbury make this passage such a dramatic moment in the novel? (ii) Explore the ways Bradbury portrays the treatment of individuals who are different from the society in the novel . Support your answer by close reference to the rest of the novel.

4 Section B [25 marks] Answer either Question 2 or Question 3. Remember to support your ideas with relevant details from the poem. 2 Read the poem carefully then answer the questions that follow it. Discrimination I don’t mind the human race. I’ve got pretty used to them In these past twenty-five years. I don’t mind if they sit next To me on streetcars, or eat In the same restaurants, if It’s not at the same table. However, I don’t approve Of a woman I respect Dancing with one of them. I’ve Tried asking them to my home Without success. I shouldn’t Care to see my own sister Marry one. Even if she Loved him, think of the children. Their art is interesting, But certainly barbarous. I’m sure, if given a chance, They’d kill us all in our beds. And you must admit, they smell. 5 10 15 20 (by Kenneth Rexroth) (i) What is so striking about the thoughts and feelings of the persona? (ii) How does the poet deliver the message of the poem so powerfully?

5 3 Read this poem carefully, and then answer the questions stated on page 6. Four Seasons we will never know Winter in Singapore; of waking to find our shallow hopes iced over in public pools and ashen cars at the foot of our block lying defiant like frost-bitten toes while the Padang pales with each whip of wind or Autumn, when the flames in our forests flicker and fall lining our lorongs 1 with orange embers, hinting at pilgrimages or Summer, when all the island is a kiln and we return to vessels, our mouths open like parched pots, the pavements simmering each time our buried dragons sigh we will never know the seasons –not even Spring, the joy as our bougainvilleas bud and burgeon on quiet verandahs and ixoras flow again with secret nectar, as silent geckos, roused from rest, appear once more to clutch at our familiar corners; we will never understand the seasons though we glimpse at them with our first -class tickets and listen to them unfolding, like leaves, in Vivaldi's concertos until then we will br eathe our sea-laden air and every little cough of clouds and slight heave of heat will gnaw at our heads like a fever in our temples 5 10 15 20 25 30 (by Daren Shiau) 1