2020 Literature Written examination · 6. Juan Gabriel Vásquez The Sound of Things Falling 4 18–19 7. Jeanette Winterson The Passion 4 20–21 8. Alexis Wright Carpentaria 4 22–23

LITERATUREWritten examination

Wednesday 18 November 2020 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)

TASK BOOK

Structure of bookSection Number of

questionsNumber of questions

to be answeredNumber of

marks

A 30 1 20B 30 1 20

Total 40

• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.

• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.

• Nocalculatorisallowedinthisexamination.

Materials supplied• Taskbookof68pages,includingassessment criteriaonpage68• Oneormoreanswerbooks

The task• Youarerequiredtocompletetwopiecesofwriting:oneforSectionAandoneforSectionB.• Eachpieceofwritingmustbebasedonatextselectedfromthelistonpages2and3ofthistaskbook.• Eachselectedtextmustbefromadifferentcategory(novels,plays,shortstories,otherliterature,

poetry).Youmustnotwriteontwotextsfromthesamecategory.Studentswhowriteontwotextsfromthesamecategorywillreceiveascoreofzeroforoneoftheirresponses.

Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Intheanswerbook(s),indicatewhichsectionyouarerespondingtoandthetextnumberofyour

selectedtext.• AllwrittenresponsesmustbeinEnglish.

At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.

Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.

©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2020

Victorian Certificate of Education 2020

2020LITERATUREEXAM 2

Table of contents

Novels Page

Text number Section A Section B

1. JaneAusten Northanger Abbey 4 8–9

2. RobynCadwallader The Anchoress 4 10–11

3. ItaloCalvino Baron in the Trees 4 12–13

4. ElizabethGaskell North and South 4 14–15

5. JoanLindsay Picnic at Hanging Rock 4 16–17

6. JuanGabrielVásquez The Sound of Things Falling 4 18–19

7. JeanetteWinterson The Passion 4 20–21

8. AlexisWright Carpentaria 4 22–23

9. ÉmileZola The Ladies’ Paradise 4 24–25

Plays

Text number

10. AndrewBovell Speaking in Tongues 5 26–27

11. ShelaghDelaney A Taste of Honey 5 28–29

12. Euripides Hippolytus 5 30–31

13. ToniMorrisonandRokiaTraoré

Desdemona 5 32–33

14. YasminaReza Art 5 34–35

15. WilliamShakespeare Othello 5 36–37

16. WilliamShakespeare Twelfth Night 5 38–39

17. SamShepard Buried Child 5 40–41

18. TennesseeWilliams Cat on a Hot Tin Roof 5 42–43

Short stories

Text number

19. MaxineBenebaClarke Foreign Soil 5 44–45

20. CeridwenDovey Only the Animals 5 46–47

21. AliceMunro Dance of the Happy Shades 5 48–49

Other literature

Text number

22. Voltaire Candide, or Optimism 6 50–51

23. TimWinton The Boy Behind the Curtain 6 52–53

24. VirginiaWoolf A Room of One’s Own 6 54–55

3 2020LITERATUREEXAM

TURN OVER

Poetry Page

Text number Section A Section B

25. TinaChang, NathalieHandaland RaviShankar(eds)

Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond

6 56–57

26. EmilyDickinson The Complete Poems 6 58–59

27. SylviaPlath Ariel 6 60–61

28. KennethSlessor Selected Poems 6 62–63

29. SamuelWaganWatson Smoke Encrypted Whispers 6 64–65

30. PetraWhite A Hunger 6 66–67

Assessment criteria 68


SECTION A – continued

SECTION A – Literary perspectives

Instructions for Section AYouarerequiredtocompleteonepieceofwritinginresponsetothetopicsetforonetext.Yourselectedtextmustbeusedasthebasisforyourresponsetothetopic.Youarerequiredtoproduceaninterpretationofthetextusingoneliteraryperspectivetoinformyourview.YourselectedtextforSectionAmustbefromadifferentcategorythanyourselectedtextforSectionB.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionAisworth20marks.

Novels

1. Jane Austen, Northanger Abbey InAusten’sNorthanger Abbey,decencyandintegrityarerewarded.Discuss.

2. Robyn Cadwallader, The Anchoress Cadwallader’sThe Anchoresssuggeststhatcompleteisolationfromtheworldisnotpossible.Discuss.

3. Italo Calvino, Baron in the Trees InCalvino’sBaron in the Trees,Cosimoisabletoengagewiththeworldbyrisingaboveit.Discuss.

4. Elizabeth Gaskell, North and South InNorth and South,Gaskelldemonstratestheimportanceofrespectandunderstanding.Towhatextent

doyouagree?

5. Joan Lindsay, Picnic at Hanging Rock ReflectontheideathatLindsay’sPicnic at Hanging Rockisaboutlossofcontrol.

6. Juan Gabriel Vásquez, The Sound of Things Falling InThe Sound of Things Falling,Vásquezassertstheimportanceofuncoveringthetruth.Discuss.

7. Jeanette Winterson, The Passion LoveisatthecentreofWinterson’sThe Passion.Towhatextentdoyouagree?

8. Alexis Wright, Carpentaria Wright’sCarpentariaexploresunpleasanttruthsaboutinteractionsbetweenopposinggroups.Discuss.

9. Émile Zola, The Ladies’ Paradise InZola’sThe Ladies’ Paradise,theemergingconsumerculturerewardsonlythestrongcharacters.

Towhatextentdoyouagree?


SECTION A – continuedTURN OVER

Plays

10. Andrew Bovell, Speaking in Tongues ReflectontheideathatBovell’sSpeaking in Tonguesrevealsaworldinwhichpeoplenevertruly

connect.

11. Shelagh Delaney, A Taste of Honey InDelaney’sA Taste of Honey,thecharacters’livesbecomemoredifficultbecauseofthechoicesthey

make.Towhatextentdoyouagree?

12. Euripides, Hippolytus InEuripides’sHippolytus,thetragedyiscausedbyanimbalanceofpower.Towhatextentdoyou

agree?

13. Toni Morrison and Rokia Traoré, Desdemona InDesdemona,MorrisonandTraorégivevoicetotheoppressed.Discuss.

14. Yasmina Reza, Art InReza’sArt,theaudienceisencouragedtoconsiderthemeaningandvalueoffriendship.Discuss.

15. William Shakespeare, Othello ReflectontheideathatShakespeare’sOthellorevealshowinsecurityandresentmentcanleadto

tragedy.

16. William Shakespeare, Twelfth Night Shakespeare’sTwelfth Nighthaselementsofbothcomedyandtragedy.Discuss.

17. Sam Shepard, Buried Child ReflectontheideathatShepard’sBuried Childisaboutthelossofpower.

18. Tennessee Williams, Cat on a Hot Tin Roof Williams’sCat on a Hot Tin Roofisnotjustaportrayalofonefamilybutalsoaquestioningof

Americansocietyinthe1950s.Discuss.

Short stories

19. Maxine Beneba Clarke, Foreign Soil ReflectontheideathatClarke’sForeign Soilisaboutthechallengesofadaptingtounfamiliarterritory.

20. Ceridwen Dovey, Only the Animals InDovey’sOnly the Animals,thevoicesoftheanimalsurgethereadertoevaluatetheconsequencesof

humancruelty.Discuss.

21. Alice Munro, Dance of the Happy Shades InMunro’sDance of the Happy Shades,individualsoftenfindthemselvesoverwhelmedbyfeelingsof

entrapment.Discuss.


END OF SECTION A

Other literature

22. Voltaire, Candide, or Optimism InCandide, or Optimism,Voltairesuggeststhat,intheabsenceofcertaintyinlife,individualsmustfind

theirownmeaning.Discuss.

23. Tim Winton, The Boy Behind the Curtain Reflectontheideathat,inWinton’sThe Boy Behind the Curtain,individuals’livesareshapedbythe

challengestheyface.

24. Virginia Woolf, A Room of One’s Own InA Room of One’s Own,Woolfisnotarguingforsignificantsocialchange.Towhatextentdoyou

agree?

Poetry

25. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond

InLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond, thepoemssuggestthataconnectiontoplacedetermineshowpeopleseetheworld.Discuss.

26. Emily Dickinson, The Complete Poems InThe Complete Poems,Dickinsonusesthenaturalworldtoexplorecomplexideasaboutlifeand

death.Discuss.

27. Sylvia Plath, Ariel InAriel,Plathexplorestheconflictbetweentheselfandtheworld.Discuss.

28. Kenneth Slessor, Selected Poems Reflectontheideathat,inSelected Poems,Slessorisconcernedwiththepassingoftimeandthebrevity

oflife.

29. Samuel Wagan Watson, Smoke Encrypted Whispers InSmoke Encrypted Whispers,Watson’spoemscreateasenseoflossanddespair.Towhatextentdo

youagree?

30. Petra White, A Hunger InA Hunger,White’spoemsreflectthedeepconnectionspeoplehavewiththeirpast.Discuss.


SECTION B – continuedTURN OVER

SECTION B – Close analysis

Instructions for Section BYouarerequiredtocompleteonepieceofwritingbasedononetextinresponsetothetaskset.Threepassageshavebeensetforeverytext.Thesetpassagesarepresentedintheorderinwhichtheyappearinthenominatedversionofthetext.Thesetpassagesarealsoreproducedastheyappearinthenominatedversionofthetext.Youmustusetwo or moreofthesetpassagesasthebasisforadiscussionabouttheselectedtext.Inyourresponse,referindetailtothesetpassagesandtheselectedtext.Youmayincludeminorreferencestoothertexts.YourselectedtextforSectionBmustbefromadifferentcategorythanyourselectedtextforSectionA.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionBisworth20marks.


SECTION B – continued

Novels

1. Jane Austen, Northanger Abbey

Use two or more of the set passages as the basis for a discussion of Northanger Abbey.

1.

Assoonasdivineservicewasover,theThorpesandAllenseagerly joinedeachother; andafter staying longenough inthePump-roomtodiscoverthatthecrowdwasinsupportable,and that therewas not a genteel face to be seen,whicheverybodydiscovers everySunday throughout the season,they hastened away to theCrescent, to breathe the freshair of better company.HereCatherine and Isabella, arm inarm, again tasted the sweetsof friendship in anunreservedconversation;—theytalkedmuch,andwithmuchenjoyment;butagainwasCatherinedisappointedinherhopeofreseeingherpartner.Hewasnowheretobemetwith;everysearchforhimwasequallyunsuccessful,inmorningloungesoreveningassemblies;neitherattheuppernorlowerrooms,atdressedorundressedballs,washeperceivable;noramongthewalkers,thehorsemen,orthecurricle-driversofthemorning.Hisnamewasnot in thePump-roombook,andcuriositycoulddonomore.HemustbegonefromBath.Yethehadnotmentionedthathisstaywouldbesoshort!Thissortofmysteriousness,whichisalwayssobecominginahero,threwafreshgraceinCatherine’simaginationaroundhispersonandmanners,andincreasedheranxietytoknowmoreofhim.FromtheThorpesshecouldlearnnothing,fortheyhadbeenonlytwodaysinBathbeforetheymetwithMrs.Allen.Itwasasubject,however,inwhichsheoftenindulgedwithherfairfriend;fromwhomshe received every possible encouragement to continue tothinkofhim;andhisimpressiononherfancywasnotsufferedthereforetoweaken.Isabellawasverysurethathemustbeacharmingyoungman;andwasequallysurethathemusthavebeendelightedwithherdearCatherine,andwouldthereforeshortlyreturn.Shelikedhimthebetterforbeingaclergyman,“forshemustconfessherselfverypartialtotheprofession;”andsomethinglikeasighescapedherasshesaidit.PerhapsCatherinewaswronginnotdemandingthecauseofthatgentleemotion—butshewasnotexperiencedenoughinthefinesseoflove,orthedutiesoffriendship,toknowwhendelicateraillerywasproperlycalledfor,orwhenaconfidenceshouldbeforced.

* * *

2.

Havingheard the daybefore inMilsom-street, that theirelderbrother,CaptainTilney,wasexpectedalmosteveryhour,shewasatnolossforthenameofaveryfashionable-looking,handsomeyoungman,whomshehadneverseenbefore,andwhonowevidentlybelongedtotheirparty.Shelookedathimwithgreatadmiration,andevensupposeditpossible,thatsomepeoplemightthinkhimhandsomerthanhisbrother,though,inhereyes,hisairwasmoreassuming,andhiscountenanceless prepossessing.His taste andmannerswere beyond adoubtdecidedlyinferior;for,withinherhearing,henotonlyprotestedagainsteverythoughtofdancinghimself,butevenlaughed openly atHenry for finding it possible. From thelattercircumstanceitmaybepresumed,that,whatevermightbeourheroine’sopinionofhim,hisadmirationofherwasnotofaverydangerouskind;not likely toproduceanimositiesbetweenthebrothers,norpersecutionstothelady.Hecannotbetheinstigatorofthethreevillainsinhorsemen’sgreatcoats,bywhomshewillhereafterbeforcedintoatravelling-chaiseandfour,whichwilldriveoffwithincrediblespeed.Catherine,meanwhile,undisturbedbypresentimentsofsuchanevil,orofanyevilatall,exceptthatofhavingbutashortsettodancedown,enjoyedherusualhappinesswithHenryTilney,listeningwithsparklingeyestoeverythinghesaid;and,infindinghimirresistible,becomingsoherself. Attheendofthefirstdance,CaptainTilneycametowardsthemagain,and,muchtoCatherine’sdissatisfaction,pulledhisbrotheraway.Theyretiredwhisperingtogether;and,thoughherdelicatesensibilitydidnottakeimmediatealarm,andlayit down as fact, thatCaptainTilneymust have heard somemalevolentmisrepresentationofher,whichhenowhastenedtocommunicatetohisbrother,inthehopeofseparatingthemforever, shecouldnothaveherpartnerconveyedfromhersightwithout very uneasy sensations.Her suspensewas offullfiveminutes’duration;andshewasbeginningtothinkitaverylongquarterofanhour,whentheybothreturned,andanexplanationwasgiven,byHenry’srequestingtoknow,ifshethoughtherfriend,MissThorpe,wouldhaveanyobjectiontodancing,ashisbrotherwouldbemosthappytobeintroducedtoher.Catherine,withouthesitation,replied,thatshewasverysureMissThorpedidnotmeantodanceatall.Thecruelreplywaspassedontotheother,andheimmediatelywalkedaway.

* * *



Novels

1. Jane Austen, Northanger Abbey

3.

Thevisionsofromancewereover.Catherinewascompletelyawakened.Henry’s address, short as it hadbeen, hadmorethoroughlyopenedher eyes to the extravaganceof her latefanciesthanalltheirseveraldisappointmentshaddone.Mostgrievouslywasshehumbled.Mostbitterlydidshecry.Itwasnotonlywithherselfthatshewassunk─butwithHenry.Herfolly,whichnowseemedevencriminal,wasallexposed tohim,andhemustdespiseherforever.Thelibertywhichherimaginationhaddaredtotakewiththecharacterofhisfather,couldheeverforgiveit?Theabsurdityofhercuriosityandherfears,could theyeverbe forgotten?Shehatedherselfmorethanshecouldexpress.Hehad─shethoughthehad,onceortwicebeforethisfatalmorning,shewnsomethinglikeaffectionforher.─Butnow─inshort,shemadeherselfasmiserableaspossible forabouthalfanhour,wentdownwhen theclockstruckfive,withabrokenheart,andcouldscarcelygiveanintelligibleanswertoEleanor’sinquiry,ifshewaswell.TheformidableHenrysoonfollowedher into theroom,andtheonlydifferenceinhisbehaviourtoher,wasthathepaidherrathermoreattentionthanusual.Catherinehadneverwantedcomfortmore,andhelookedasifhewasawareofit. Theeveningworeawaywithnoabatementofthissoothingpoliteness;andherspiritsweregraduallyraisedtoamodesttranquillity.Shedidnotlearneithertoforgetordefendthepast;butshelearnedtohopethatitwouldnevertranspirefarther,andthatitmightnotcostherHenry’sentireregard.Herthoughtsbeingstillchieflyfixedonwhatshehadwithsuchcauselessterrorfeltanddone,nothingcouldshortlybeclearer,thanthatithadbeenallavoluntary,self-createddelusion,eachtriflingcircumstance receiving importance from an imaginationresolved on alarm, and every thing forced to bend to onepurposebyamindwhich,beforesheenteredtheAbbey,hadbeen craving to be frightened. She rememberedwithwhatfeelingsshehadpreparedforaknowledgeofNorthanger.Shesawthattheinfatuationhadbeencreated,themischiefsettledlongbeforeherquittingBath,anditseemedasifthewholemightbetracedtotheinfluenceofthatsortofreadingwhichshehadthereindulged. CharmingaswereallMrs.Radcliffe’sworks,andcharmingevenasweretheworksofallherimitators,itwasnotinthemperhapsthathumannature,atleastinthemidlandcountiesofEngland,wastobelookedfor.

* * *



Novels

2. Robyn Cadwallader, The Anchoress

Use two or more of the set passages as the basis for a discussion of The Anchoress.

1.

‘’Tiswhere I’m headed […] I had joined theworld inshunninghim.

RobynCadwallader,The Anchoress, FourthEstate,2015

pp.34and35

Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.

2.

Hisfacewasthrobbing[…]Nowshewasquotingthembacktohimandhehadtolisten.


pp.189and190




Novels

2. Robyn Cadwallader, The Anchoress

3.

Itwassuchpleasuretofeelthesun[…]Thatmomentofrisk─nowitwasmine.


pp.307–309




Novels

3. Italo Calvino, Baron in the Trees

Use two or more of the set passages as the basis for a discussion of Baron in the Trees.

1.

Whydidhereturntoourpark?[…]undertheordersoftheCavalierEneaSilvioCarrega.

ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998

pp.118and119


2.

Itwasanopenplace,wheretheymet[…]andhekeptitsheathed.


pp.178and179




Novels

3. Italo Calvino, Baron in the Trees

3.

Ihavenoideawhatthisnineteenthcentury[…]Nouse.


pp.280and281




2.

‘…Iwasthinkingthat,ifwewantedanyhelpinthehousewhileheishere,wecouldperhapsgetMaryHiggins.Sheisveryslackofwork,andisagoodgirl,andwouldtakepainstodoherbest,Iamsure,andwouldsleepathome,andneednevercomeupstairs,soastoknowwhoisinthehouse.’ ‘As you please.AsDixon pleases.But,Margaret, don’tgettousethesehorridMiltonwords.“Slackofwork:”itisaprovincialism.WhatwillyourauntShawsay,ifshehearsyouuseitonherreturn?’ ‘Oh,mamma!don’ttryandmakeabugbearofauntShaw,’saidMargaret,laughing.‘Edithpickedupallsortsofmilitaryslang fromCaptainLennox,andauntShawnever tookanynoticeofit.’ ‘Butyoursisfactoryslang.’ ‘AndifIliveinafactorytown,ImustspeakfactorylanguagewhenIwantit.Why,mamma,Icouldastonishyouwithagreatmanywordsyouneverheardinyourlife.Idon’tbelieveyouknowwhataknobstickis.’ ‘NotI,child.Ionlyknowithasaveryvulgarsound;andIdon’twanttohearyouusingit.’ ‘Verywell,dearestmother,Iwon’t.OnlyIshallhavetouseawholeexplanatorysentenceinstead.’ ‘I don’t like thisMilton,’ saidMrsHale. ‘Edith is rightenoughinsayingit’sthesmokethathasmademesoill.’ Margaretstartedupashermothersaidthis.Herfatherhadjustenteredtheroom,andshewasmostanxiousthatthefaintimpressionshehadseenonhismindthattheMiltonairhadinjuredhermother’shealth,shouldnotbedeepened,–shouldnotreceiveanyconfirmation.ShecouldnottellwhetherhehadheardwhatMrsHalehadsaidornot;butshebeganspeakinghurriedly of other things, unaware thatMrThorntonwasfollowinghim. ‘MammaisaccusingmeofhavingpickedupagreatdealofvulgaritysincewecametoMilton.’ The ‘vulgarity’Margaret spoke of, referred purely totheuseof localwords, and the expression aroseout of theconversationtheyhadjustbeenholding.ButMrThornton’sbrowdarkened;andMargaretsuddenlyfelthowherspeechmight bemisunderstood by him; so, in the natural sweetdesiretoavoidgivingunnecessarypain,sheforcedherselftogoforwardswithalittlegreeting,andcontinuewhatshewassaying,addressingherselftohimexpressly. ‘Now,MrThornton,though“knobstick”hasnotaveryprettysound,isitnotexpressive?CouldIdowithoutit,inspeakingofthethingitrepresents?Ifusinglocalwordsisvulgar,IwasveryvulgarintheForest,–wasInot,mamma?’ ItwasunusualwithMargarettoobtrudeherownsubjectofconversationonothers;but,inthiscase,shewassoanxioustopreventMrThorntonfromfeelingannoyanceatthewordshehadaccidentallyoverheard,thatitwasnotuntilshehaddonespeakingthatshecolouredalloverwithconsciousness,moreespeciallyasMrThorntonseemedhardly tounderstand theexactgistorbearingofwhatshewassaying,butpassedherby,withacoldreserveofceremoniousmovement,tospeaktoMrsHale.

* * *

1.

‘Praydon’tgointosimiles,Margaret;youhaveledusoffoncealready,’saidherfather,smiling,yetuneasyatthethoughtthattheyweredetainingMrThorntonagainsthiswill,whichwasamistake;forheratherlikedit,aslongasMargaretwouldtalk,althoughwhatshesaidonlyirritatedhim. ‘Justtellme,MissHale,areyouyourselfeverinfluenced– no, that is not a fairway of putting it; – but if you areever conscious of being influenced by others, and not bycircumstances, have those others beenworking directly orindirectly?Havetheybeenlabouringtoexhort,toenjoin,toactrightlyforthesakeofexample,orhavetheybeensimple,truemen,takinguptheirduty,anddoingitunflinchingly,withoutathoughtofhowtheiractionsweretomakethismanindustrious,thatmansaving?Why,ifIwereaworkman,Ishouldbetwentytimesmoreimpressedbytheknowledgethatmymasterwashonest,punctual,quick,resoluteinallhisdoings(andhandsare keener spies even than valets), than by any amount ofinterference,howeverkindlymeant,withmywaysofgoingonoutofwork-hours.IdonotchoosetothinktoocloselyonwhatIammyself;but,Ibelieve,Irelyonthestraightforwardhonestyofmyhands,andtheopennatureoftheiropposition,incontra-distinctiontothewayinwhichtheturn-outwillbemanaged in somemills, just because theyknow I scorn totake a single dishonourable advantage, or do anunderhandthingmyself.Itgoesfartherthanawholecourseoflectureson‘HonestyistheBestPolicy’–lifedilutedintowords.No,no!Whatthemasteris,thatwillthemenbe,withoutover-muchtakingthoughtonhispart.’ ‘Thatisagreatadmission,’saidMargaret,laughing.‘WhenIseemenviolentandobstinateinpursuitoftheirrights,Imaysafelyinferthatthemasteristhesame;thatheisalittleignorantofthatspiritwhichsufferethlong,andiskind,andseekethnotherown.’ ‘Youare just likeall strangerswhodon’tunderstand theworking of our system,MissHale,’ said he, hastily. ‘Yousupposethatourmenarepuppetsofdough,readytobemouldedintoanyamiableformweplease.Youforgetwehaveonlytodowiththemforlessthanathirdoftheirlives;andyouseemnottoperceivethatthedutiesofamanufacturerarefarlargerandwiderthanthosemerelyofanemployeroflabour;wehaveawidecommercialcharactertomaintain,whichmakesusintothegreatpioneersofcivilization.’ ‘Itstrikesme,’saidMrHale,smiling,‘thatyoumightpioneeralittleathome.Theyarearough,heathenishsetoffellows,theseMiltonmenofyours.’ ‘Theyarethat,’repliedMrThornton.‘Rose-watersurgerywon’tdoforthem.Cromwellwouldhavemadeacapitalmill-owner,MissHale.Iwishwehadhimtoputdownthisstrikeforus.’ ‘Cromwellisnoheroofmine,’saidshe,coldly.‘ButIamtrying to reconcile your admiration of despotismwith yourrespectforothermen’sindependenceofcharacter.’

* * *

Novels

4. Elizabeth Gaskell, North and South

Use two or more of the set passages as the basis for a discussion of North and South.



3.

Foraninstantshelookedup;andthensoughttoveilherluminouseyesbydroppingherforeheadonherhands.Again,steppingnearer,hebesoughtherwithanothertremulouseagercalluponhername. ‘Margaret!’ Stilllowerwentthehead;morecloselyhiddenwastheface,almostrestingonthetablebeforeher.Hecameclosetoher.Hekneltbyherside,tobringhisfacetoalevelwithherear;andwhispered–pantedoutthewords:– ‘Takecare.–Ifyoudonotspeak–Ishallclaimyouasmyowninsomestrangepresumptuousway.–Sendmeawayatonce,ifImustgo;–Margaret!–’ Atthatthirdcallsheturnedherface,stillcoveredwithhersmallwhitehands,towardshim,andlaiditonhisshoulder,hidingiteventhere;anditwastoodelicioustofeelhersoftcheekagainsthis,forhimtowishtoseeeitherdeepblushesorlovingeyes.Heclaspedherclose.Buttheybothkeptsilence.Atlengthshemurmuredinabrokenvoice: ‘Oh,MrThornton,Iamnotgoodenough!’ ‘Notgoodenough!Don’tmockmyowndeep feelingofunworthiness.’ Afteraminuteortwo,hegentlydisengagedherhandsfromherface,andlaidherarmsastheyhadoncebeforebeenplacedtoprotecthimfromtherioters. ‘Do you remember, love?’ hemurmured. ‘And how Irequitedyouwithmyinsolencethenextday?’ ‘IrememberhowwronglyIspoketoyou,–thatisall.’ ‘Lookhere!Liftupyourhead.Ihavesomethingtoshowyou!’Sheslowlyfacedhim,glowingwithbeautifulshame. ‘Doyouknowtheseroses?’hesaid,drawingouthispocket-book,inwhichweretreasuredupsomedeadflowers. ‘No!’shereplied,withinnocentcuriosity.‘DidIgivethemtoyou?’ ‘No!Vanity;youdidnot.Youmayhavewornsisterrosesveryprobably.’ Shelookedatthem,wonderingforaminute,thenshesmiledalittleasshesaid– ‘Theyare fromHelstone, are theynot? I know thedeepindentationsroundtheleaves.Oh!haveyoubeenthere?Whenwereyouthere?’ ‘IwantedtoseetheplacewhereMargaretgrewtowhatsheis,evenattheworsttimeofall,whenIhadnohopeofevercallinghermine.IwentthereonmyreturnfromHavre.’ ‘Youmustgivethemtome,’shesaid,tryingtotakethemoutofhishandwithgentleviolence. ‘Verywell.Onlyyoumustpaymeforthem!’ ‘HowshallIevertellAuntShaw?’shewhispered,aftersometimeofdelicioussilence. ‘Letmespeaktoher.’ ‘Oh,no!Ioweittoher,–butwhatwillshesay?’ ‘Icanguess.Herfirstexclamationwillbe,“Thatman!”’ ‘Hush!’saidMargaret, ‘orIshall tryandshowyouyourmother’sindignanttonesasshesays,“Thatwoman!”’

* * *

Novels

4. Elizabeth Gaskell, North and South



Novels

5. Joan Lindsay, Picnic at Hanging Rock

Use two or more of the set passages as the basis for a discussion of Picnic at Hanging Rock.

1.

Theimmediateimpactofitssoaringpeaks[…]theyarelongsinceobliterated.

JoanLindsay,Picnic at Hanging Rock, TextPublishing,2019

pp.35and36


2.

Atfirsthethoughtitwasthesoundofbirds[…]Mike,somefivecenturieslater,wentonclimbing.


pp.103and104




Novels

5. Joan Lindsay, Picnic at Hanging Rock

3.

AlthoughshehadseentheHangingRock[…]fromamaskofrottingflesh.


pp.242–244




Novels

6. Juan Gabriel Vásquez, The Sound of Things Falling

Use two or more of the set passages as the basis for a discussion of The Sound of Things Falling.

1.

Eventhoughtimehaspassed[…]asfarasthisgodforsakenplace.’

JuanGabrielVásquez,The Sound of Things Falling,AnneMcLean(trans.),BloomsburyPublishing,2012

pp.24and25


2.

‘NowI’msure,’saidLaverde[…]we’llhavetoinvitethemoverinreturn.[…]’


pp.172and173




Novels

6. Juan Gabriel Vásquez, The Sound of Things Falling

3.

Ihadlistenedtothemessages[…]Maybe,withalittleluck,she’dphoneback.


pp.296and297




2.

Tonight she did not read […]Therewas nomistaking hismeaning.

JeanetteWinterson,The Passion, Vintage,1996(firstpublished1987)

pp.68and69


1.

Ihadbeenawaysixmonths[…]intoamanshecouldlovesurely?


pp.30–32


Novels

7. Jeanette Winterson, The Passion

Use two or more of the set passages as the basis for a discussion of The Passion.



Novels

7. Jeanette Winterson, The Passion

3.

Intheevening,Villanellecame[…]‘Iloveyou,’Isaid,thenandnow.


pp.139and140




Novels

8. Alexis Wright, Carpentaria

Use two or more of the set passages as the basis for a discussion of Carpentaria.

1.

a nation chants, but we know your story already […] whosesidesseparateitfromtheopensea.

AlexisWright,Carpentaria, Giramondo,2006

pp.1and2


2.

Athomeonthesea[…]isgoingtowritetothePopeabouthimoneday.’


pp.182and183




Novels

8. Alexis Wright, Carpentaria

3.

Adayattheminehadturnedinto[…]throughthestainsofredmud.


pp.407and408




2.

Itwasthetakingsfortheday,thelargesttheParadisehadeverhad.Faraway,inthedepthsoftheshopthroughwhichLhommehad just slowlywalkedwith the heavygait of anoverloadedox,couldbeheardtheuproar,thestirofsurpriseandjoywhichthesegianttakingsleftintheirwake. ‘It’s magnificent!’ saidMouret, delighted. ‘My dearLhomme,putitdownthere,andhavearest,foryoulookquitedonein.I’llhavethemoneytakentothecounting-house...Yes,yes,putitallonmydesk.Iwanttoseeitpiledup.’ Hewaslikeachildinhishappiness.Thecashierandhissonunloadedthemselves.Thewalletgaveouttheclearringofgold,streamsofsilverandcoppercamefromtwooftheburstingsacks,whilecornersofbanknoteswerestickingoutfromtheportfolio.Oneendofthelargedeskwasentirelycovered;itwaslikethecrumblingofafortunewhichhadtakentenhourstocollect. WhenLhommeandAlberthadretired,moppingtheirbrows,Mouret remainedmotionless foramoment, lost in thought,hiseyesonthemoney.ThenhelookedupandcaughtsightofDenise,whohadsteppedback.Hebegantosmileagain;hemadehercomeforward,andendedbysayingthathewouldgiveherasmuchasshecouldtakeinonehandful;andbehindhisjoketherewasakindoflove-bargain. ‘Takesomefromthewallet!Ibetyoucan’ttakemorethanathousandfrancs,yourhandissosmall!’ But she drew back again. So hewas in lovewith her?Suddenlysheunderstood;shefeltthegrowingflameofdesirewithwhichhehadbeensurroundinghereversinceherreturntotheladiesweardepartment.Whatoverwhelmedherevenmorewasfeelingherownheartbeatingasifitwouldburst.Whydidheoffendherwithallthatmoney,whenshewasbrimmingoverwithgratitudeandhecouldhaverenderedherhelplesswithonefriendlyword?Hewascomingclosertoher,stilljoking,when,tohisgreatannoyance,Bourdoncleappearedunderthepretextofgivinghimtheentryfigure,theenormousfigureofseventythousandcustomerswhohadvisitedtheParadisethatday.Shequicklytookherleave,afterthankinghimonceagain.

* * *

1.

ItwasavisionofoldParis,soakedthrough,anditmadehershiver,surprisedanddismayedtofindthegreatcitysocoldandugly. ButontheothersideoftheroadthedeeprowsofgasburnersattheLadies’Paradisewerebeinglit.Shedrewnearer,oncemoreattractedand,asitwere,warmedbythissourceofblazinglight.Themachinewasstillhumming,stillactive,lettingoffsteaminafinalroar,whilethesalesmenwerefoldingupthematerials and the cashiers counting their takings.Throughwindowsdimmedwith condensation she couldmakeout avagueprofusionoflights,theconfusedinteriorofafactory.Behind the curtain of rain this vision, distant and blurred,seemedlikesomegiantstokehold,inwhichtheblackshadowsofthestokerscouldbeseenmovingagainsttheredfireofthefurnaces.Thewindowdisplayshadbecomeindistinctalso,andnothingcouldnowbeseenoppositebutthesnowylace,thewhiteofwhichwasheightenedbythefrostedglassglobesofarowofgasjets.Againstthischapel-likebackground,thecoatswereburstingwithenergy;thegreatvelvetovercoattrimmedwith silver fox suggested the curved outline of a headlesswoman, running through thedownpour to some festivity inthemysteriousParisiannight. Denise,yieldingtotemptation,hadcomeasfarasthedoorwithoutnoticingtheraindropsfallingonher.Atthistimeofnight,theLadies’Paradise,withitsfurnace-likeglare,seducedhercompletely.Inthegreatmetropolis,darkandsilentundertherain,inthisParisofwhichsheknewnothing,itwasburninglikeabeacon,italoneseemedtobethelightandlifeofthecity.Shedreamedofherfuturethere,workinghardtobringupthechildren,andofotherthingstoo,sheknewnotwhat,far-off thingswhichmadeher tremblewithdesireand fear.Thethoughtofthedeadwomanunderthefoundationscamebacktoherandshefeltafraid;shethoughtshesawthelightsbleeding;thenthewhitenessofthelacesoothedher,afeelingofhopesprangupinherheart,arealcertaintyofjoy,whilethesoftrain,blowingonher,cooledherhands,andcalmedheraftertheexcitementofherjourney.

* * *

Novels

9. Émile Zola, The Ladies’ Paradise

Use two or more of the set passages as the basis for a discussion of The Ladies’ Paradise.



3.

InthemidstofthisblazingsceneMouretwasstilllookingdownathisnationofwomen.Blackshadowsstoodoutstronglyagainstapalebackground.Longeddieswerebreakingupthecrowd;thefeverofthegreatsalewaspassingawayoverthedisorderedswirlofheads.Peoplewerebeginningtoleave,amessofmaterialswaslitteringthecounters,goldwasclinkinginthecash-desks;whilethecustomers,despoiledandviolated,weregoingawayindisarray,theirdesiressatisfied,andwiththesecretshameofhavingyieldedtotemptationinthedepthsofsomesleazyhotel.Anditwashewhopossessedthemalllikethat,whoheldthemathismercybyhiscontinualaccumulationofgoods,byhispricereductionsandhis‘returns’,hischarmandhispublicity.Hehadevenconqueredthemothersthemselves;hereignedoverthemallwiththebrutalityofadespot,whosewhimswerewreckingfamilies.Hiscreationwasproducinganewreligion;churches,whichwerebeinggraduallydesertedbythoseofwaveringfaith,werebeingreplacedbyhisbazaar.Womencametospendtheirhoursofleisureinhisshop,thethrilling,disturbinghourswhichinthepastthey’dspentinthedepthsofachapel;forthisexpenditureofnervouspassionwasnecessary,itwaspartoftherecurringstrugglebetweenagodandahusband,theceaselesslyrenewedcultofthebody,withthedivinefuturelifeofbeauty.Ifhehadclosedhisdoors,therewouldhavebeenarisinginthestreet,adesperateoutcryfromtheworshipperswhoseconfessionalandaltarhewouldhaveabolished.Inspiteofthelatenessofthehourhecouldstillseethemintheirluxury,whichinthelasttenyearshadincreasedsomuch,clingingstubbornlytotheenormousmetalframework,alongthestaircasesandsuspensionbridges.MadameMartyandherdaughter,sweptuptotheverytop,werewanderingaboutamongthefurniture.MadameBourdelais,heldbackbyherchildren,couldnotgetawayfromthefancygoods.Thencameanothergroup:MadamedeBoves,stillonVallagnosc’sarm,was followedbyBlanche, andwas stopping in everydepartment, still examining thematerials in her arrogantmanner.Inthemassofcustomers,theseaofbosomsburstingwithlife,beatingwithdesire,alldeckedwithbunchesofvioletsasiftheywerecelebratingsomeroyalwedding,hecouldnolongerdistinguishanythingbut thebarebosomofMadameDesforges,who had stopped in the glove departmentwithMadameGuibal.Inspiteofherjealousyandresentment,shetoowasbuying,andhefelthimselfthemasteronelasttime;underthedazzleoftheelectriclightstheywereallathisfeet,likecattlefromwhichhehadextractedhisfortune.

* * *

Novels

9. Émile Zola, The Ladies’ Paradise



Plays

10. Andrew Bovell, Speaking in Tongues

Use two or more of the set passages as the basis for a discussion of Speaking in Tongues.

1.

pete:Whatwe’redoingisalright./Isn’tit?

[…]

sonja:Doyou?It’sfunnyhowawomanstartstodoubtit.

AndrewBovell,Speaking in Tongues, CurrencyPress,2012

pp.4and5


2.

all:Igetthisdream.

[…]

nick:Ican’tfindawayout.


pp.48and49




Plays

10. Andrew Bovell, Speaking in Tongues

3.

leon:Wherewereyoutonight,John?

[…]

leon:Bullshit.


pp.70and71




2.

helen:Thewholedistrict’srotten,it’snotfittolivein.

[…]

[Music. They dance together. Fade out.]

ShelaghDelaney,A Taste of Honey, MethuenDrama/Bloomsbury,2016

(firstproduced1958)pp.68and69


1.

helen:Didyoudothis?

[…]

helen:Don’tworry,you’llsoonbeanindependentworkingwomanandfreetogowhereyouplease.


(firstproduced1958)pp.14and15


Plays

11. Shelagh Delaney, A Taste of Honey

Use two or more of the set passages as the basis for a discussion of A Taste of Honey.



3.

helen:Look,love,Ijustwantfiveminutesalonewithher.Doyoumind?Isittoomuchtoask?

[…]

jo:Sowe’rebackwherewestarted.


(firstproduced1958)pp.79–81


Plays

11. Shelagh Delaney, A Taste of Honey



1.

phaedra (To the servants.)Lift me up! Lift my head up! All the muscles

[…]

phaedra [chanting][…]that I should die and know no more of anything.

‘Hippolytus’(DavidGreene,trans.)inEuripides 1,MarkGriffith,GlennWMost,DavidGreeneand

RichmondLattimore(edsandtrans), UniversityofChicagoPress,2013

pp.200and201


Plays

12. Euripides, Hippolytus

Use two or more of the set passages as the basis for a discussion of Hippolytus.



2.

hippolytus […] Itismyruletohonorthegodsfirst

[…]

toknowthetruefromthefalse.



pp.233and234


Plays

12. Euripides, Hippolytus

3.

artemisEnough!Thoughdead,you’llnotbeunavenged,

[…]

hippolytus (Exit Artemis.)[…]Father,layholdonmeandliftmeup.



pp.249and250




1.

desdemona […]

Withmyfather’sinvitations,andaccording

[…]

thaninmyheart.

ToniMorrisonandRokiaTraoré,Desdemona, OberonModernPlays,2012

pp.21and22


2.

DONGORI“Beautiful”

[…]

willyouforgiveme?


pp.28and29


Plays

13. Toni Morrison and Rokia Traoré, Desdemona

Use two or more of the set passages as the basis for a discussion of Desdemona.



3.

desdemona Theworldisaliveandevenifwekillit,it

[…]

oranother.


pp.56and57


Plays

13. Toni Morrison and Rokia Traoré, Desdemona



1.

Yvan […]Serge exits and returns with the Antrios, which he turns

[…]

Serge Nothingtosee. It’slikeyours,it’s...whatImeanis,youcouldn’tcareless.

YasminaReza,Art,ChristopherHampton(trans.), FaberandFaber,1996

pp.12–14


2.

Serge […] Listen, Ihaveasuggestion, let’sgiveYvanexactly threemoreminutesandthenbuggeroff[…]

Marc […] Serge,ifyoudon’tthinkyourfriendsarespecial?


pp.26and27


Plays

14. Yasmina Reza, Art

Use two or more of the set passages as the basis for a discussion of Art.



3.

Serge Sohereweareattheendofafifteen-yearfriendship...

[…]

Yvan Well,whoareyoutalkingabout?Everybodytalksaboutthemselves!


pp.54–56


Plays

14. Yasmina Reza, Art



Plays

15. William Shakespeare, Othello

Use two or more of the set passages as the basis for a discussion of Othello.

1.

iago […]Doyoufind some occasion to angerCassio, either byspeakingtooloudortaintinghisdiscipline,orfromwhatothercourseyouplease,whichthetimeshallmorefavourablyminister.

roderigo Well.iago Sir,he’srashandverysuddenincholer,andhaply

withhistruncheonmaystrikeatyou:provokehimthathemay;forevenoutofthatwillIcausetheseofCyprus tomutiny,whose qualification shallcomeintonotruetasteagainbutbythedisplantingofCassio.SoshallyouhaveashorterjourneytoyourdesiresbythemeansIshallthenhavetopreferthem,andtheimpedimentmostprofitablyremovedwithoutthewhichtherewerenoexpectationofourprosperity.

roderigo Iwilldothis,ifyoucanbringittoanyopportunity.iago Iwarrantthee.Meetmebyandbyatthecitadel.I

mustfetchhisnecessariesashore.Farewell.roderigo Adieu. Exitiago ThatCassiolovesher,Idowellbelieve’t;

Thatsheloveshim,’tisaptandofgreatcredit.TheMoor,howbeitthatIendurehimnot,Isofaconstant,loving,noblenature;AndIdarethinkhe’llprovetoDesdemonaAmostdearhusband.Now,Idolovehertoo,Notoutofabsolutelust–thoughperadventureIstandaccountantforasgreatasin–Butpartlyledtodietmyrevenge,ForthatIdosuspectthelustyMoorHathleapedintomyseat,thethoughtwhereofDothlikeapoisonousmineralgnawmyinwards;AndnothingcanorshallcontentmysoulTillIamevenedwithhim,wifeforwife;Orfailingso,yetthatIputtheMoorAtleastintoajealousysostrongThatjudgementcannotcure.Whichthingtodo,IfthispoortrashofVenice,whomItraceForhisquickhunting,standtheputtingon,I’llhaveourMichaelCassioonthehip,AbusehimtotheMoorintherankgarb–ForIfearCassiowithmynight-captoo–MaketheMoorthankme,loveme,andrewardme,Formakinghimegregiouslyanass,AndpractisinguponhispeaceandquietEventomadness.’Tishere,butyetconfused;Knavery’splainfaceisneverseentillused.

* * *

2.

othello […]Leaveme,Iago.iago [Going.]Mylord,Itakemyleave.othello WhydidImarry?Thishonestcreaturedoubtless

Seesandknowsmore,muchmore,thanheunfolds.iago [Returning.]Mylord,IwouldImightentreatyour

honourToscanthisthingnofarther.Leaveittotime.Although’tisfitthatCassiohavehisplace–Forsurehefillsitupwithgreatability–Yetifyoupleasetoholdhimoffawhile,Youshallbythatperceivehimandhismeans.NoteifyourladystrainhisentertainmentWithanystrongorvehementimportunity–Muchwillbeseeninthat.Inthemeantime,Letmebethoughttoobusyinmyfears–AsworthycauseIhavetofearIam–Andholdherfree,Idobeseechyourhonour.

othello Fearnotmygovernment.iago Ioncemoretakemyleave. Exitothello Thisfellow’sofexceedinghonesty

Andknowsallqualities,withalearnèdspirit,Ofhumandealings.IfIdoproveherhaggard,Thoughthatherjessesweremydearheart-strings,I’dwhistleheroffandletherdownthewindTopreyatfortune.HaplyforIamblack,AndhavenotthosesoftpartsofconversationThatchamberershave,orforIamdeclined,Intothevaleofyears–yetthat’snotmuch–She’sgone,Iamabused,andmyreliefMustbetoloatheher.Ocurseofmarriage,ThatwecancallthesedelicatecreaturesoursAndnottheirappetites!IhadratherbeatoadAndliveuponthevapourofadungeonThankeepacornerinthethingIloveForothers’uses.Yet’tistheplagueofgreatones,Prerogativedaretheylessthanthebase;’Tisdestinyunshunnable,likedeath:EventhenthisforkèdplagueisfatedtousWhenwedoquicken.Lookwhereshecomes.

Enter Desdemona and Emilia.

Ifshebefalse,Othenheavenmocksitself;I’llnotbelieveit.

* * *



Plays

15. William Shakespeare, Othello

3.

emilia Whatdidthysongbode,lady?Hark,canstthouhearme?IwillplaytheswanAnddieinmusic:[Sings]‘Willow,willow,willow.’Moor,shewaschaste;shelovedthee,cruelMoor;Socomemysoultobliss,asIspeaktrue;SospeakingasIthink,Idie,Idie. She dies

othello Ihaveanotherweaponinthischamber;ItwasaswordofSpain,theice-brook’stemper.O,hereitis.–Uncle,Imustcomeforth.

gratiano (Within)Ifthouattemptit,itwillcosttheedear;Thouhastnoweapon,andperforcemustsuffer.

othello Lookinuponmethen,andspeakwithme,OrnakedasIam,Iwillassaultthee.

[Enter Gratiano.]

gratiano Whatisthematter?othello Behold,Ihaveaweapon:

AbetterneverdiditselfsustainUponasoldier’sthigh.IhaveseenthedayThatwiththislittlearmandthisgoodswordIhavemademywaythroughmoreimpedimentsThantwentytimesyourstop.But,Ovainboast!Whocancontrolhisfate?’Tisnotsonow.Benotafraid,thoughyoudoseemeweaponed:Hereismyjourney’send,hereismybuttAndverysea-markofmyutmostsail.Doyougobackdismayed?’Tisalostfear:ManbutarushagainstOthello’sbreast,Andheretires.WhereshouldOthellogo?

[He goes to the bed.]Now,howdostthoulooknow?Oill-starredwench!Paleasthysmock!WhenweshallmeetatcomptThislookofthinewillhurlmysoulfromheavenAndfiendswillsnatchatit.Cold,cold,mygirl,Evenlikethychastity.Ocursèd,cursèdslave!Whipme,yedevils,Fromthepossessionofthisheavenlysight!Blowmeaboutinwinds!Roastmeinsulphur!Washmeinsteep-downgulfsofliquidfire!ODesdemon!DeadDesdemon!Dead!O!O!

* * *



Plays

16. William Shakespeare, Twelfth Night

Use two or more of the set passages as the basis for a discussion of Twelfth Night.

1.

viola What’sshe?captain Avirtuousmaid,thedaughterofacount

Thatdiedsometwelvemonthsince,thenleavingherIntheprotectionofhisson,herbrother,Whoshortlyalsodied;forwhosedearlove(Theysay)shehathabjuredthesightAndcompanyofmen.

viola OthatIservedthatlady,AndmightnotbedeliveredtotheworldTillIhadmademineownoccasionmellowWhatmyestateis!

captain Thatwerehardtocompass,Becauseshewilladmitnokindofsuit,No,nottheduke’s.

viola Thereisafairbehaviourinthee,captain,AndthoughthatnaturewithabeauteouswallDothoftcloseinpollution,yetoftheeIwellbelievethouhastamindthatsuitsWiththisthyfairandoutwardcharacter.Iprithee(andI’llpaytheebounteously)ConcealmewhatIam,andbemyaidForsuchdisguiseashaplyshallbecomeTheformofmyintent.I’llservethisduke.Thoushaltpresentmeasaneunuchtohim–Itmaybeworththypains–forIcansing,AndspeaktohiminmanysortsofmusicThatwillallowmeveryworthhisservice.Whatelsemayhap,totimeIwillcommit,Onlyshapethouthysilencetomywit.

captain Beyouhiseunuch,andyourmuteI’llbe;Whenmytongueblabs,thenletmineeyesnotsee.

viola Ithankthee.Leadmeon. Exeunt

* * *

2.

Enter antonio and sebastian

sebastian […]Itwereabadrecompenseforyourlovetolayanyofthemonyou.

antonio Letmeknowofyouwhitheryouarebound.sebastian No, sooth, sir.My determinate voyage ismere

extravagancy.ButIperceiveinyousoexcellentatouchofmodestythatyouwillnotextortfrommewhatIamwillingtokeepin.Thereforeitchargesmeinmannerstherathertoexpressmyself.Youmustknowofmethen,Antonio,mynameisSebastian(which I called Roderigo);my father was thatSebastianofMessalinewhomIknowyouhaveheardof.Heleftbehindhimmyselfandasister,bothborninanhour:iftheheavenshadbeenpleased,wouldwehadsoended!Butyou,sir,alteredthat,forsomehourbeforeyoutookmefromthebreachoftheseawasmysisterdrowned.

antonio Alastheday!sebastian Alady,sir,thoughitwassaidshemuchresembled

me,wasyetofmanyaccountedbeautiful;butthoughI could notwith such estimablewonder overfarbelievethat,yetthusfarIwillboldlypublishher:sheboreamindthatenvycouldnotbutcallfair.Sheisdrownedalready,sir,withsaltwater,thoughIseemtodrownherremembranceagainwithmore.

antonio Pardonme,sir,yourbadentertainment.sebastian OgoodAntonio,forgivemeyourtrouble.antonio Ifyouwillnotmurdermeformylove, letmebe

yourservant.sebastian Ifyouwillnotundowhatyouhavedone,thatis,

kill himwhomyouhave recovered, desire it not. Fareyewellatonce;mybosomisfullofkindness,andIamyetsonearthemannersofmymotherthat,upon the leastoccasionmore,mineeyeswill telltalesofme.IamboundtotheCountOrsino’scourt.Farewell. Exit

antonio Thegentlenessofallthegodsgowiththee!IhavemanyenemiesinOrsino’scourt,ElsewouldIveryshortlyseetheethere.Butcomewhatmay,IdoadoretheesoThatdangershallseemsport,andIwillgo.Exit

* * *



Plays

16. William Shakespeare, Twelfth Night

3.

malvolioLady,youhave.Prayyou,perusethatletter.Youmustnotnowdenyitisyourhand;Writefromit,ifyoucan,inhand,orphrase,Orsay’tisnotyourseal,notyourinvention.Youcansaynoneofthis.Well,grantitthen,Andtellme,inthemodestyofhonour,Whyyouhavegivenmesuchclearlightsoffavour,Bademecomesmilingandcross-garteredtoyou,Toputonyellowstockings,andtofrownUponSirToby,andthelighterpeople;Andactingthisinanobedienthope,Whyhaveyousufferedmetobeimprisoned,Keptinadarkhouse,visitedbythepriest,Andmadethemostnotoriousgeckandgull,Thate’erinventionplayedon?Tellme,why?

olivia Alas,Malvolio,thisisnotmywriting,ThoughIconfessmuchlikethecharacter.But,outofquestion,’tisMaria’shand.AndnowIdobethinkme,itwassheFirsttoldmethouwastmad;thencam’stinsmiling,AndinsuchformswhichherewerepresupposedUpontheeintheletter.Prithee,becontent;Thispracticehathmostshrewdlypasseduponthee;Butwhenweknowthegrounds,andauthorsofit,ThoushaltbeboththeplaintiffandthejudgeOfthineowncause.

fabian Goodmadam,hearmespeak,Andletnoquarrel,nornobrawltocome,Tainttheconditionofthispresenthour,WhichIhavewonderedat.Inhopeitshallnot,MostfreelyIconfess,myselfandTobySetthisdeviceagainstMalvoliohere,UponsomestubbornanduncourteouspartsWehadconceivedagainsthim.MariawritTheletter,atSirToby’sgreatimportance,Inrecompensewhereofhehathmarriedher.HowwithasportfulmaliceitwasfollowedMayratherpluckonlaughterthanrevenge,Ifthattheinjuriesbejustlyweighed,Thathaveonbothsidespassed.

olivia Alas,poorfool,howhavetheybaffledthee!

* * *



Plays

17. Sam Shepard, Buried Child

Use two or more of the set passages as the basis for a discussion of Buried Child.

1.

halie’s voice: Dodge?(dodge just stares at the TV. Long pause. He stifles two short coughs.) […]Apill seemsasgoodananswerasany.

SamShepard,Buried Child, VintageBooks,2006

pp.8and9


2.

shelly: I’muh—withVince.[…]

vince: […](dodge stares at him, then takes off his baseball cap.)


pp.46–48




Plays

17. Sam Shepard, Buried Child

3.

halie: (To bradley.)Anselwould’vestoppedhim![…]

dodge: It’sme!Yourgrandfather!Don’tplaystupidwithme!Where’smytwobucks!


pp.110and111




Plays

18. Tennessee Williams, Cat on a Hot Tin Roof

Use two or more of the set passages as the basis for a discussion of Cat on a Hot Tin Roof.

1.

margaret [intensely, fearfully]:Thewayy’werelookin’atmejustnow[…]

brick [wryly]:Why,thanks,Maggie.

TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009

pp.8and9


2.

margaret [overlapping a bit]:TurnontheHi-Fi,Brick!Let’shavesomemusict’startoffth’partywith!

[…]

Big Daddy has been regarding her with a steady grimace of chronic annoyance.]


pp.32and33




Plays

18. Tennessee Williams, Cat on a Hot Tin Roof

3.

big mama:Why’reyouallsurroundin’me–likethis?[…]

mae:Mommy,beabravegirl!


pp.76and77




Short stories

19. Maxine Beneba Clarke, Foreign Soil

Use two or more of the set passages as the basis for a discussion of Foreign Soil.

1.

Hope

Tothisend,heplantedanextraplotofsugarbanana […] desperatelytryingtodetermineherdestiny.

MaxineBenebaClarke,Foreign Soil, Hachette,2014

pp.34and35


2.

Shu Yi

Ihurriedoutofclassatlunchtime[…] youreallywanteveryoneintheroomtohear[…]


pp.98and99




Short stories

19. Maxine Beneba Clarke, Foreign Soil

3.

The Stilt Fishermen of Kathaluwa

Asankaeaseshislegsoffthesaggingbottombunk […] Theyshouldneverhavetriedtorunaway.


pp.206–208




2.

Plautus: A Memoir of My Years on Earth and Last Days in Space

Soul of Tortoise

Withoutanybitternessonmybehalf[…]aloudtoLeonardafterdinnerintheevening.

CeridwenDovey,Only the Animals, HamishHamiltonPenguin(Australia),2014

pp.131and132


1.

Pigeons, a Pony, the Tomcat and I

Soul of Cat

NeighboursThetomreturnedwhenthesunwasekingoutacoldlight[…]suddenly,thatsharedbowlofmilk.


pp.20and21


Short stories

20. Ceridwen Dovey, Only the Animals

Use two or more of the set passages as the basis for a discussion of Only the Animals.



3.

A Letter to Sylvia Plath

Soul of Dolphin

Enoughofthisdeathtalk[…]ravenousforhermother’svoice.


pp.229and230


Short stories

20. Ceridwen Dovey, Only the Animals



Short stories

21. Alice Munro, Dance of the Happy Shades

Use two or more of the set passages as the basis for a discussion of Dance of the Happy Shades.

1.

The Shining Houses

Edithbroughtapenandtheyspreadthepetitionforthelane […] atnightintotherawblackmountainside.

AliceMunro,Dance of the Happy Shades, Vintage,2000

pp.28and29


2.

The Office

“Nowyoucametomeandsaid,Mr.Malley[…] Iresolvednottocare.


pp.69and70




Short stories

21. Alice Munro, Dance of the Happy Shades

3.

The Peace of Utrecht

“Don’tbeguilty,Maddy,”Isaidsoftly[…] whereitwaskeptandshesaid,“Butwhycan’tI,Helen?Why can’t I?”


pp.209and210




2.

AtlasttheFrenchcoastcameintoview[…]Andphilosophizingthus,theyarrivedinBordeaux.

Voltaire,Candide, or Optimism, TheoCuffe(ed.andtrans.),PenguinClassics,2005

pp.58and59


1.

Candidehadbeeninjuredbysomefallingmasonry[…]whowaspouringhimsomewinefromPorto,orratherOporto.


pp.14and15


Other literature

22. Voltaire, Candide, or Optimism

Use two or more of the set passages as the basis for a discussion of Candide, or Optimism.



3.

Theservantshavingvanished[…]toConstantinopleandfindinghisdearCunégonde.


pp.80–82


Other literature

22. Voltaire, Candide, or Optimism



Other literature

23. Tim Winton, The Boy Behind the Curtain

Use two or more of the set passages as the basis for a discussion of The Boy Behind the Curtain.

1.

The Boy Behind the Curtain

LookingbackIrecognizethisperiodasatime […] todefendmyselfwithjokesandstories.

TimWinton,The Boy Behind the Curtain, PenguinBooks,2016

pp.7and8


2.

Twice on Sundays

Fromthechurchyoucouldn’tquiteseetheocean[…]likeamusicalrub-down.


pp.95and96




Other literature

23. Tim Winton, The Boy Behind the Curtain

3.

The Demon Shark

IIPredator or Prey?

In short, the removal of sharks fromhumane consideration […] They’reusuallyblokes,I’msorrytosay.


pp.209and210




Other literature

24. Virginia Woolf, A Room of One’s Own

Use two or more of the set passages as the basis for a discussion of A Room of One’s Own.

1.

Myaunt,MaryBeton,Imusttellyou[…]Theyaredrivenbyinstinctswhicharenotwithintheircontrol.

VirginiaWoolf,A Room of One’s Own(1929), Vintage,2001

pp.30and31


2.

MrsBehnwasamiddle-classwoman[…]inthefourpennyboxesintheCharingCrossRoad.


pp.54and55




Other literature

24. Virginia Woolf, A Room of One’s Own

3.

ButwhenIlookbackthroughthesenotes[…]whetheronecanimpartitornot.


pp.94and95




Poetry


Use two or more of the set passages as the basis for a discussion of the poetry set from this text.

1.

In the Grasp of Childhood Fields

Joseph O Legaspi

Ode to My Mother’s Hair

Iremember

[…]

herhairwhichisalwaystheotherhalfoftheworld.

TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry

from the Middle East, Asia, and Beyond, WWNorton&Company,2008

pp.10and11




Poetry


2.

Slips and Atmospherics

Arvind Krishna Mehrotra

The World’s a Printing House

There’samountaininmymind,

[…]

Imustbe Trueto It.



pp.157and158


3.

Slips and Atmospherics

Arundhathi Subramaniam

Strategist

Thetricktodeal

[…]

Inhabittheverb.



pp.164and165




2.

754

MyLifehadstood–aLoadedGun–InCorners–tillaDayTheOwnerpassed–identified–AndcarriedMeaway–

AndnowWeroaminSovereignWoods–AndnowWehunttheDoe–AndeverytimeIspeakforHim–TheMountainsstraightreply–

AnddoIsmile,suchcordiallightUpontheValleyglow–ItisasaVesuvianfaceHadletitspleasurethrough–

AndwhenatNight–OurgoodDaydone–IguardMyMaster’sHead–’TisbetterthantheEider-Duck’sDeepPillow–tohaveshared–

TofoeofHis–I’mdeadlyfoe–Nonestirthesecondtime–OnwhomIlayaYellowEye–OranemphaticThumb–

ThoughIthanHe–maylongerliveHelongermust–thanI–ForIhavebutthepowertokill,Without–thepowertodie–

* * *

Poetry

26. Emily Dickinson, The Complete Poems

Use two or more of the set passages as the basis for a discussion of the poetry of Emily Dickinson.

1.

441

ThisismylettertotheWorldThatneverwrotetoMe–ThesimpleNewsthatNaturetold–WithtenderMajesty

HerMessageiscommittedToHandsIcannotsee–ForloveofHer–Sweet–countrymen–Judgetenderly–ofMe

* * *



Poetry

26. Emily Dickinson, The Complete Poems

3.

986

AnarrowFellowintheGrassOccasionallyrides–YoumayhavemetHim–didyounotHisnoticesuddenis–

TheGrassdividesaswithaComb–Aspottedshaftisseen–AndthenitclosesatyourfeetAndopensfurtheron–

HelikesaBoggyAcreAFloortoocoolforCorn–YetwhenaBoy,andBarefoot–ImorethanonceatNoonHavepassed,Ithought,aWhiplashUnbraidingintheSunWhenstoopingtosecureitItwrinkled,andwasgone–

SeveralofNature’sPeopleIknow,andtheyknowme–IfeelforthematransportOfcordiality–

ButnevermetthisFellowAttended,oraloneWithoutatighterbreathingAndZeroattheBone–

* * *



2.

Nick and the Candlestick

Iamaminer.Thelightburnsblue.

[…]

Youarethebabyinthebarn.

SylviaPlath,Ariel, FaberModernClassics,2015

pp.32and33


1.

The Night Dances

Asmilefellinthegrass.

[…]

Touchingandmelting.Nowhere.


pp.19and20


Poetry

27. Sylvia Plath, Ariel

Use two or more of the set passages as the basis for a discussion of the poetry of Sylvia Plath.



3.

Daddy

Ihavealwaysbeenscaredofyou,

[…]

Daddy,youcanliebacknow.


pp.49and50


Poetry

27. Sylvia Plath, Ariel



2.

The Night-Ride

Gasflaringon the yellowplatform; voices runningup anddown;

[…]

Gaslightandmilk-cans.OfRapptownIrecallnothingelse.

KennethSlessor,Selected Poems,A&RClassics, HarperCollinsPublishersAustralia,2014

p.39


Poetry

28. Kenneth Slessor, Selected Poems

Use two or more of the set passages as the basis for a discussion of the poetry of Kenneth Slessor.

1.

Winter Dawn

AtfiveIwake,rise,rubonthesmokingpane

[…]

Wakenmewitholdearth,keepmeawake!


pp.16and17




Poetry

28. Kenneth Slessor, Selected Poems

3.

Five Bells

Time that is moved by little fidget wheels

[…]

AnddifferantcurioesthatIobtained…”


pp.123–125




Poetry

29. Samuel Wagan Watson, Smoke Encrypted Whispers

Use two or more of the set passages as the basis for a discussion of the poetry of Samuel Wagan Watson.

1.

2000 of muse, meandering and midnight

a verse for the cheated

growinguponthesouthernfringeoftheSunshineCoast

[…]

andtopickafewoffonourway

SamuelWaganWatson,Smoke Encrypted Whispers, UniversityofQueenslandPress,2004

pp.27and28


2.

2000 boondall wetlands

poem 9

howdoyouknow?

[…]

ourearswerecontentwith?


pp.67and68




Poetry

29. Samuel Wagan Watson, Smoke Encrypted Whispers

3.

2002 itinerant blues

jaded olympic moments

for Jennifer Cullen

theymadetheirwaythroughthesliding-door

[…]

asCathyFreeman’sgold


pp.126and127




Poetry

30. Petra White, A Hunger

Use two or more of the set passages as the basis for a discussion of the poetry of Petra White.

1.

A Hunger (New poems 2014)

Feral Cow

Great Western Highway

Shetap-dancesontheedgeoftheroad,

[…]

tongue-spikingspinifex.

PetraWhite,A Hunger, JohnLeonardPress,2018(revisededition)

p.26


2.

The Incoming Tide (2007)

Southbank

i

Whenthesystemcrashes,andthescreens,

[…]

fulfilledand/orconsumedus.


pp.108and109



END OF SECTION BTURN OVER

Poetry

30. Petra White, A Hunger

3.

The Incoming Tide (2007)

Karri Forest

near Manjimup, Western Australia

Itswirlsyouinitspoem,slowstheprotester

[…]

convinces,asone’sguiltalwaysfeelsright.


p.143



Assessment criteriaSectionAwillbeassessedagainstthefollowingcriteria:• developmentofaninformed,relevantandplausibleinterpretationofthetext• understandingandanalysisofthetext,demonstratedthroughtheuseoftextualevidence• analysisandevaluationoftheviewsandvaluesforegroundedinthetopicandunderlyingoneliterary

perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas

SectionBwillbeassessedagainstthefollowingcriteria:• understandingofthetext,demonstratedinarelevantandplausibleinterpretation• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation• understandingofhowviewsandvaluesmaybesuggestedinthetext• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation• analysisofthefeaturesofthetextandhowtheycontributetoaninterpretation• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext

END OF TASK BOOK

Documents

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