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Cambridge IGCSE

LITERATURE IN ENGLISH 0475/22

Paper 2 Drama May/June 2022
1 hour 30 minutes

You must answer on the enclosed answer booklet.

You will need: Answer booklet (enclosed)

*8930566268*

INSTRUCTIONS
• Answer two questions.
• Your answers must be on two different set texts.
• You must answer one (a) passage-based question and one (b) essay question.
• Follow the instructions on the front cover of the answer booklet. If you need additional answer paper,
ask the invigilator for a continuation booklet.

INFORMATION
• The total mark for this paper is 50.
• All questions are worth equal marks.

This document has 12 pages. Any blank pages are indicated.

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LYNN NOTTAGE: Crumbs from the Table of Joy

Remember to support your ideas with details from the writing.

Either 1(a)

Read this passage carefully, and then answer the question that follows it:

Ermina: Why’d you lose your job?

Lily: Well, babies, a Negro woman with my gumption don’t keep work so easily. It’s
one of the hazards of being an independent thinker. If I’ve ever had me a job
for more than a few weeks then I knew it was beneath me. You see what I’m
saying? 5
Ermina: Ernie wanna be a movie star.
Ernestine: Hush up!
Lily: ‘Darling Angel, the star of stage and screen, the virginal vixen.’ [Laughs.]
Ernestine: But I’d change my name to something special. Like ‘Sylvie Montgomery.’ Or
‘Laura Saint Germaine’; that’s French. 10
Lily: Well, pardon me, Miss Bette Davis, when’d you git to be so big and black?
Ermina: Ooooooo.
[ERNESTINE wraps a towel around her hair, feigning brushing long silky hair.]
Ernestine [Playfully.]: It runs in the family. But don’t you worry yourself. When I’m onscreen
I sure can act very white. That’s why I’m a star. 15
Lily: If only they knew you began as a poor colored child.
Ernestine: Imagine that.
[LILY laughs.]
Lily: Imagine that. Miss Bette, I must say, I like ya a wee bit better, just a wee bit
now, as a colored child. When’s your next picture? I hear it’s a romance. 20
[A moment.]
Ermina: She ain’t never gonna make no romance until she get rid of some of the butt.
[ERNESTINE sucks her teeth.]
Lily: Hush! Romance is overrated. I’ve known too many women who relinquished
their common sense for a dose of ... romance. 25
Ermina: Sister, why ain’t you been married?
[LILY laughs long and hard.]
Lily: You’re just filled with questions. ’Cause I ain’t. [Tugs ERMINA’s head straight,
wielding the hot comb like a weapon.]
Ermina: Nobody ask you? 30

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Lily: Nobody ask me ... Besides, I never plan to marry. How you like that? I’m exerting
my own will, and since the only thing ever willed for me was marriage, I choose
not to do it. And why take just one man, when you can have a lifetime full of so
many. Listen up, that may be the best advice I give you babies. And you needn’t
share that little pearl of wisdom with your daddy. Now, Ermina, sit still! 35

Ernestine [To audience.]: We were Lily’s family now, kinda like buying flowers from a
store without having to plant the seeds.
[ERMINA squirms in the chair.]
Lily: Sit still, don’t fight me on this. Choose your battles carefully, chile, a nappy
head in this world might as well fly the white flag and surrender! 40

[from Act 1, Scene 3]

How does Nottage make this moment in the play both amusing and serious?

Or 1(b)

In what ways does Nottage’s portrayal of Gerte create such a powerful impact in the play?

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ARTHUR MILLER: The Crucible

Remember to support your ideas with details from the writing.

Either 2(a)

Read this passage carefully, and then answer the question that follows it:

Abigail: She makes me drink blood!

Content removed due to copyright restrictions.

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Content removed due to copyright restrictions.

Someone you
know.

[from Act 1]

How does Miller make this such a powerful and significant moment in the play?

Or 2(b)

How does Miller make the relationship between Abigail Williams and John Proctor so disturbing?

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R C SHERRIFF: Journey’s End

Remember to support your ideas with details from the writing.

Either 3(a)

Read this passage carefully, and then answer the question that follows it:

Raleigh: Hullo – Dennis –

Stanhope: Well, Jimmy – [He smiles.] – you got one quickly. [There is silence for a while.
STANHOPE is sitting on a box beside RALEIGH. Presently RALEIGH speaks
again – in a wondering voice.]
Raleigh: Why – how did I get down here? 5
Stanhope: Sergeant-major brought you down. [RALEIGH speaks again, vaguely, trying to
recollect.]
Raleigh: Something – hit me in the back – knocked me clean over – sort of – winded
me – I’m all right now. [He tries to rise.]
Stanhope: Steady, old boy. Just lie there quietly for a bit. 10
Raleigh: I’ll be better if I get up and walk about. It happened once before – I got kicked
in just the same place at rugger; it – it soon wore off. It – it just numbs you for
a bit. [There is a pause.] What’s that rumbling noise?
Stanhope: The guns are making a bit of a row.
Raleigh: Our guns? 15
Stanhope: No. Mostly theirs. [Again there is silence in the dugout. A very faint rose light
is beginning to glow in the dawn sky. RALEIGH speaks again – uneasily.]
Raleigh: I say – Dennis –
Stanhope: Yes, old boy?
Raleigh: It – it hasn’t gone through, has it? It only just hit me? – and knocked me down? 20
Stanhope: It’s just gone through a bit, Jimmy.
Raleigh: I won’t have to – go on lying here?
Stanhope: I’m going to have you taken away.
Raleigh: Away? Where?
Stanhope: Down to the dressing-station – then hospital – then home. [He smiles.] You’ve 25
got a Blighty one, Jimmy.
Raleigh: But I – I can’t go home just for – for a knock in the back. [He stirs restlessly.]
I’m certain I’ll be better if – if I get up. [He tries to raise himself, and gives a
sudden cry.] Oh – God! It does hurt!
Stanhope: It’s bound to hurt, Jimmy. 30
Raleigh: What’s – on my legs? Something holding them down –

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Stanhope: It’s all right, old chap; it’s just the shock – numbed them. [Again there is a pause.
When RALEIGH speaks, there is a different note in his voice.]
Raleigh: It’s awfully decent of you to bother, Dennis. I feel rotten lying here – everybody
else – up there. 35
Stanhope: It’s not your fault, Jimmy.
Raleigh: So – damn – silly – getting hit. [Pause.] Is there – just a drop of water?
Stanhope [Rising quickly]: Sure. I’ve got some here. [He pours some water into the mug
and brings it to RALEIGH. Cheerfully.] Got some tea-leaves in it. D’you mind?
Raleigh: No. That’s all right – thanks – [STANHOPE holds the mug to RALEIGH’s lips, 40
and the boy drinks.] I say, Dennis, don’t you wait – if – if you want to be getting
on.
Stanhope: It’s quite all right, Jimmy.
Raleigh: Can you stay for a bit?
Stanhope: Of course I can. 45
Raleigh [Faintly.]: Thanks awfully. [There is quiet in the dugout for a long time.
STANHOPE sits with one hand on RALEIGH’s arm, and RALEIGH lies very
still. Presently he speaks again – hardly above a whisper.] Dennis –
Stanhope: Yes, old boy?
Raleigh: Could we have a light? It’s – It’s so frightfully dark and cold. 50

[from Act 3, Scene 3]

How does Sherriff make this such a moving moment in the play?

Or 3(b)

Explore how Sherriff powerfully portrays the friendship between Stanhope and Osborne.

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WILLIAM SHAKESPEARE: Twelfth Night

Remember to support your ideas with details from the writing.

Either 4(a)

Read this passage carefully, and then answer the question that follows it:

[OLIVIA’s garden.]
[Enter OLIVIA and MARIA.]
Olivia: I have sent after him; he says he’ll come.
How shall I feast him? What bestow of him?
For youth is bought more oft than begg’d or borrow’d. 5
I speak too loud.
Where’s Malvolio? He is sad and civil,
And suits well for a servant with my fortunes.
Where is Malvolio?

Maria: He’s coming, madam; but in very strange manner. He is sure possess’d, madam. 10
Olivia: Why, what’s the matter? Does he rave?
Maria: No, madam, he does nothing but smile. Your ladyship were best to have some
guard about you if he come; for sure the man is tainted in’s wits.
Olivia: Go call him hither. [Exit MARIA.]
I am as mad as he, 15
If sad and merry madness equal be
[Re-enter MARIA with MALVOLIO.]
How now, Malvolio!

Malvolio: Sweet lady, ho, ho.

Olivia: Smil’st thou? 20
I sent for thee upon a sad occasion.
Malvolio: Sad, lady? I could be sad. This does make some obstruction in the blood, this
cross-gartering; but what of that? If it please the eye of one, it is with me as the
very true sonnet is: ‘Please one and please all’.
Olivia: Why, how dost thou, man? What is the matter with thee? 25
Malvolio: Not black in my mind, though yellow in my legs. It did come to his hands, and
commands shall be executed. I think we do know the sweet Roman hand.
Olivia: Wilt thou go to bed, Malvolio?
Malvolio: To bed? Ay, sweetheart, and I’ll come to thee.
Olivia: God comfort thee! Why dost thou smile so, and kiss thy hand so oft? 30
Maria: How do you, Malvolio?
Malvolio: At your request? Yes, nightingales answer daws!
Μaria: Why appear you with this ridiculous boldness before my lady?

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Malvolio: ‘Be not afraid of greatness.’ ’Twas well writ.

Olivia: What mean’st thou by that, Malvolio? 35
Malvolio: ‘Some are born great,’ –
Olivia: Ha?
Malvolio: ‘Some achieve greatness,’ –
Olivia: What say’st thou?
Malvolio: ‘And some have greatness thrust upon them.’ 40
Olivia: Heaven restore thee!
Malvolio: ‘Remember who commended thy yellow stockings,’ –
Olivia: Thy yellow stockings?
Malvolio: ‘And wish’d to see thee cross-garter’d.’
Olivia: Cross-garter’d? 45
Malvolio: ‘Go to, thou art made, if thou desir’st to be so;’ –
Olivia: Am I made?
Malvolio: ‘If not, let me see thee a servant still.’
Olivia: Why, this is very midsummer madness.

[from Act 3, Scene 4]

How does Shakespeare make this such a dramatic moment in the play?

Or 4(b)

In what ways does Shakespeare make Feste such a fascinating character?

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WILLIAM SHAKESPEARE: Othello

Remember to support your ideas with details from the writing.

Either 5(a)

Read this passage carefully, and then answer the question that follows it:

Othello: Will you walk, sir? O, Desdemona!

Desdemona: My lord?
Othello: Get you to bed on th’ instant; I will be return’d forthwith. Dispatch your attendant
there. Look’t be done.
Desdemona: I will, my lord. 5
[Exeunt OTHELLO, LODOVICO, and Attendants.]
Emilia: How goes it now? He looks gentler than he did.
Desdemona: He says he will return incontinent.
He hath commanded me to go to bed,
And bade me to dismiss you. 10
Emilia: Dismiss me!
Desdemona: It was his bidding; therefore, good Emilia,
Give me my nightly wearing, and adieu.
We must not now displease him.
Emilia: I would you had never seen him. 15
Desdemona: So would not I: my love doth so approve him
That even his stubbornness, his checks, his frowns –
Prithee unpin me – have grace and favour in them.
Emilia: I have laid those sheets you bade me on the bed.
Desdemona: All’s one. Good faith, how foolish are our minds! 20
If I do die before thee, prithee shroud me
In one of these same sheets.
Emilia: Come, come, you talk.
Desdemona: My mother had a maid call’d Barbary:
She was in love; and he she lov’d prov’d mad, 25
And did forsake her. She had a song of ‘willow’;
An old thing ’twas, but it express’d her fortune,
And she died singing it. That song to-night
Will not go from my mind; – I have much to do
But to go hang my head all at one side 30
And sing it like poor Barbary. Prithee dispatch.
Emilia: Shall I go fetch your night-gown?
Desdemona: No, unpin me here.
This Lodovico is a proper man.

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Emilia: A very handsome man. 35

Desdemona: He speaks well.
Emilia: I know a lady in Venice would have walk’d barefoot to Palestine for a touch of
his nether lip.
Desdemona [Sings.]: The poor soul sat sighing by a sycamore tree.
Sing all a green willow; 40
Her hand on her bosom, her head on her knee.
Sing willow, willow, willow.
The fresh streams ran by her, and murmur’d her moans;
Sing willow, willow, willow;
Her salt tears fell from her and soft’ned the stones; 45
Sing willow –
Lay by these –
willow, willow. –
Prithee, hie thee; he’ll come anon. –
Sing all a green willow must be my garland. 50
Let nobody blame him; his scorn I approve –
Nay, that’s not next. Hark! who is’t that knocks?
Emilia: It is the wind.

[from Act 4, Scene 3]

In what ways does Shakespeare make this such a sad moment in the play?

Or 5(b)

How does Shakespeare’s portrayal of Cassio contribute to the dramatic impact of the play?

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