1et0 01 Pef 20220825

Examiners’ Report
June 2022
GCSE English Literature 1ET0 01
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June 2022
Publications Code 1ET0_01_2206_ER
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© Pearson Education Ltd 2022
GCSE English Literature 1ET0 01 2

Introduction
The GCSE (9-1) English Literature examination 1ET01 consists of two sections and lasts for
one hour and forty-five minutes, with the recommended split of fifty-five minutes for Section
A and fifty minutes for Section B. The questions require the candidates to show that they
have completed a detailed study of two texts.
The total number of marks available is 80.
The paper is assessed across AO1, 2, 3 and 4:
Section A
One text from a choice of six Shakespeare plays from which the candidate must complete
two parts of the question. The maximum marks for the question are: part a) 20 marks for
AO2 and part b) 20 marks for AO1 (15 marks) and AO3 (5 marks). Total for Section A is 40
marks.
Section B
One text from Post 1914 British literature. Candidates have a choice from six play texts or six
prose texts and have to answer one question from a choice of two for each text. The
maximum marks for the question are 40 for AO1 (16 marks) and AO3 (16 marks) making a
total mark out of 32. There is also a mark out for 8 for AO4.
Comment:
Despite the challenges of the last two years, it was extremely pleasing to see how well-
prepared candidates were and both centres and candidates should be proud of the work
they have done to prepare for and sit this exam. There were no errors on the examination
paper and no erratum notices were issued. Overall , candidates responded to the tasks
exceptionally well with many candidates demonstrating their understanding and
appreciation of the two texts they had studied. Marks were awarded across all 5 levels of the
mark scheme and according to whether a candidate demonstrated a simple and little (Level
1), limited and some (Level 2), relevant and sound (Level 3), sustained and detailed (Level 4)
or precise and perceptive (Level 5) understanding.
In Section A, the most popular text with 31,384 responses was Macbeth. A full range of marks
was awarded and it was answered by all ranges of ability. The second most popular text was
Romeo and Juliet with 13,583 responses.
In Section B An Inspector Calls was the most popular text with 23,404 responses for question
7 and 9,746 for question 8.
3 GCSE English Literature 1ET0 01

In most cases, candidates were able to demonstrate their knowledge and understanding of
the texts they had studied. There were some very good examples of candidates using
accurate textual quotations and effectively integrating them within their responses, rather
than paraphrasing. For Section A part a), knowledge of subject terminology was good, with
many able to correctly identify and use appropriate linguistic terms to support comments
they were making. There were still several candidates who integrated context within part a)
and language analysis in part b). Responses in the top Levels were able to use sophisticated,
A Level quality terminology, which was very pleasing to see.
Section A
One text from a choice of six Shakespeare plays from which the candidate must complete
two parts of the question.
The maximum marks for the question are:
Part a) 20 marks for AO2 and Part b) 20 marks for AO1 (15 marks) and AO3 (5 marks). Total
for Section A is 40 marks.
Text choices:
Macbeth
The Tempest
Romeo and Juliet
Much Ado About Nothing
Twelfth Night
The Merchant of Venice
General comments:
Part a)
Despite the concerns of some centres about sitting exams this year, it was excellent to see
how well candidates handled the questions and one AP commented on how ‘the candidates
seemed motivated and engaged well with the Shakespeare texts’. From sampling a range of
responses from all 6 questions and at all levels, it appeared that the standard and application
of marks was consistent across all texts and reflected the comparability of tasks set.
Candidates that were awarded higher marks did so because their knowledge of relevant
subject terminology was accurate, and they were able to analyse the features identified
perceptively and often with alternative interpretations.

Many candidates were able to analyse language features, with more specific focus on word
classes – nouns/verbs/adjectives etc, the connotations of the words selected and various
techniques such as similes, metaphors, alliteration etc. Most candidates analysed the types
of sentence structures, their functions and the various punctuation marks used to achieve
specific effects. The more successful candidates linked their exploration of the language,
form and structure to the effect on the reader. Weaker responses tended to feature spot
without exploring the significance of the chosen feature and the impact it has on the
audience/reader. There were still a significant number of candidates who put context (AO3)
comments into Part a).
Part b)
Most candidates were able to identify at least one or more areas in their chosen play where
the given theme was presented, although there were some that still used the extract for part
a) and just added in a couple of contextual points. Examiners were instructed to award marks
for the contextual comments but obviously no marks could be awarded for discussing the
extract. Most candidates were able to imbed social, cultural and historical contextual
comments throughout their response even if some acted as a bolt-on section at the end of a
paragraph.
There were several candidates who included elements of the given extract in part a) within
their response to part b), however some only did this as an introduction to their response
and this would not have affected the mark awarded. Some candidates identified language
and structural features, which is not marked, and examiners were advised instead to focus
on the analysis of the exemplification in relation to the theme being discussed. Candidates
who were awarded higher marks generally used discerning references from throughout the
whole of the play. Some candidates who paraphrased their references fell into the trap of
retelling the story. Generally, candidates who had planned their responses achieved higher
marks.
Section B
This year marked the second year for the 4 new texts (2 play and 2 prose) within the Post
1914 British literature section of the paper but the first year of a full cohort entry. Candidates
now have a choice from six play texts or six prose texts and must answer one question from
a choice of two for each text. The maximum marks for the question are 40 for AO1 (16
marks) and AO3 (16 marks) making a total mark out of 32. There is also a mark out for 8 for
AO4.
British Play
An Inspector Calls: J B Priestley
Hobson's Choice: Harold Brighouse

Blood Brothers: Willy Russell
Journey's End: R C Sherriff
Empress: Tanika Gupta
Refugee Boy: Benjamin Zephaniah (adapted for the stage by Lemn Sissay)
British Novel
Animal Farm: George Orwell
Lord of the Flies: William Golding
Anita and Me: Meera Syal
The Woman in Black: Susan Hill
Coram Boy: Jamila Gavin
Boys Don’t Cry: Malorie Blackman
General comments:
It was extremely pleasing to see all the new texts being studied this year and although
numbers were relatively low for these texts, marks were awarded across all Levels of the
mark scheme and some very perceptive responses were seen.
It appears from examiner feedback that the Section B questions were readily understood and
easily accessible for candidates of all abilities. In some cases, there were candidates who fell
into a more narrative re-telling style, which is expected at a Level 2 but many more were able
to construct a considered response, showing a critical understanding of the text they had
studied. Very few responses ignored the importance of context, although there was a
tendency for some to allow the context to dominate the response at the expense of the
textual analysis. Centres need to realise that as a Literature exam, the responses must be
driven by the text, with the context used to develop and expand ideas. Across all questions
examiners saw some interesting and complex theories about 20th century history and I was
particularly pleased to see how some centres had brought context up to date on many of the
texts and candidates had not only referenced the context in which the text was set but also
within a more contemporary situation, with comments linking to the war in Ukraine and
modern political leaders. As we have seen in previous years there was still the tendency by
some candidates to include context as a bolt-on section, however, many of the examiners did
note that many comments were interwoven at appropriate opportunities during the main
narrative even at mid-Level 2. The examining team were again impressed by candidates’
control of language and very few got low marks for AO4.

Question 1
Macbeth
The extract was taken from Act 3 Scene 4, lines 75 to 107
For part a) candidates were asked to explore how Shakespeare presented the character of
Macbeth in the extract, whilst Part b) required candidates to explain the importance of fear
elsewhere in the play
Part a) – Macbeth
Examiners felt that this was a successful question and clearly a familiar extract for many
candidates. It was noted that even the weaker candidates were able to comment on
Macbeth’s reaction to the ghost. There was plenty in the extract to draw upon with a range of
language and structural features and many commented on the ‘bones are marrowless’ line to
illustrate how Macbeth was shocked by the ghost’s appearance. Most students identified
Macbeth as being ‘fearful of the ghost’ and experiencing ‘panic in his presence’ to discuss his
unstable mental state, whilst the higher marked responses explored the contrasting
language between his address of the Lords and of the ghost. Most students were able to
identify some language techniques and integrate quotations to support the points being
made, whilst many candidates showed a great ability to integrate quotations and analyse for
language, structure, and form, to achieve Level 4 and 5 marks.
Technical devices were not always a key feature in some responses although close
explanation of specific quotations and/or key words showed inference and a good
understanding, which was awarded accordingly. Some responses also considered Lady
Macbeth’s reactions and how her calmness emphasised Macbeth’s lack of control and how
she is trying to hide Macbeth’s reactions. Unfortunately, there was some misunderstanding
about the Russian bear section of the extract in a few responses.
Part b – Fear

Candidates were able to engage with this question and explored several key areas where fear
is presented. Some responses considered the way Macbeth initially expresses a ‘ lack of fear
in the battle scene ’ and how his fear gradually increases following his meeting with the
witches. A popular scene chosen was when Lady Macbeth is worried that her husband is
afraid to go through with the murder of Duncan and calls him a coward. Many responses also
explored Macbeth’s fear when he witnesses the dagger and how after the murder, he is ‘more
afraid of damnation than of death ’. A lot of responses looked at Lady Macbeth’s fear in the
sleepwalking scene and sometimes a differentiator was those who went beyond just
commenting on the fear of getting caught, to giving deeper consideration to ‘moral decay and
damnation ’. Some stronger responses also included the fear of Lady Macduff and her family
before they are murdered. Contextual discussion often included the ‘Divine Right of Kings’,
Demonologie and King James’ fear of witchcraft, the stereotype of masculinity and the way
men were supposed to be fearless. There were still some responses where contextual
comments were added at the end of the paragraph rather than being integrated throughout.
For this exemplar, we have included a response that gains a mark in Level 2 for Part a) and a
mark in Level 2 for part b).

Part a)
the response shows some level of understanding and there are

some areas of a critical style, ‘I think that…’, although this is not
consistently applied throughout, therefore placing it towards the
bottom of a Level 2
points made include the way Macbeth is presented as: a ‘coward
and that he is scared’ and how he is ‘friking out’
the response includes two examples from the text to support points
made and there is some comment on what they convey to the
audience
close focus on language, form and structure and the use of
terminology was lacking to enable this to be placed higher up the
level
This is a Level 2 response gaining 6 marks
Part b)
a stronger response than part a), placing this at the top of a Level 2
the response considers how fear is presented in other areas of the
play, particularly the way Macbeth is scared of the ‘floting daggers’
and after killing Duncan his fear at seeing his hands covered in
blood
mention is also made of Lady Macbeth and the way her fear leads to
her sleepwalking because ‘she is going insane’
there is some evidence of a critical style but it is not always applied
securely
there is a lack of contextual comments within the response, with
only a brief mention made to ‘regist’ – regicide?
This is a Level 2 response gaining 7 marks.

Candidates should select specific words and phrases from the extract
and formulate point, evidence, explain answers for each example
provided.

For this exemplar, we have included a response that gained a mark in Level 3 for Part a) and
a mark in Level 2 for Part b).

Part a):
a sound response, which explores how Macbeth is ‘terrified’, ‘crazy’

and ‘scared’ when he sees Banquo’s ghost, when ‘nobody else can’
the candidate has selected appropriate examples from the text to
support all points made
discusses the use of metaphor, repetition, alliteration and
exclamation marks and there is a close focus on the words ‘dare’
and ‘crown’, although some of this discussion lacks development to
place the response at the top of the Level
the phraseology and language used by the candidate is a little weak
at times, but as part a) is not marked for AO4, this should not
detract from the range of examples and understanding shown
there are some links to context but again this does not detract from
the overall response.
The response was awarded 11 marks.
Part b):
part b) is less focused than part a) and the candidate does move
away from fear to discuss the themes of manipulation and guilt
the response does go out of extract to explore how fear is presented
through Macbeth’s reaction on seeing the dagger, although there is
some error in the sequencing of events
consideration is made to Lady Macbeth and how she ‘keeps having
vision of blood on her hands’, and how it leads to her feeling guilty
and killing herself through fear
points are supported by examples from other areas of the play, but
they are not always relevant to the theme of fear
Contextually, the candidate has linked their comments to the way
Macbeth fears his actions have ‘broke the chain of being’.
Candidates are advised to split their time equally when answering

Parts a) and b).

For this exemplar we have included a response that gained a Level 4 for both parts of the
question.

Part a):
the candidate shows a sustained understanding of Macbeth and

how he is presented as ‘regretful’ and ‘feeling bad for killing Banquo’.
Mention is also made of Macbeth being terrified at seeing Banquo’s
ghost but how his language also conveys him as having a ‘sense of
bravery’
examples selected are detailed, support the points being made and
are taken from across the extract
although there is a lack of terminology, mention is made to the use
of exclamatives to illustrate how seeing Banquo’s ghost is ‘terrifying
Macbeth’, the use of repetition of the adjective ‘trembling’ and the
repetition of nouns.
Part b):
despite the occasional discussion of language – which is not marked

for part b) – the response is sustained and shows a detailed
awareness of how fear is presented in other areas of the play. The
candidate considers not only how fear is presented through the
character of Macbeth, but also how, at the start of the play, Macbeth
‘shows how he’s not afraid’, through his courage on the battlefield
the sustained discussion of the connotations of dark and light and
the way Macbeth is afraid of God seeing ‘the bad (black and deep)
things he is doing’, is very well-developed, and illustrates a thorough
engagement with the text and theme
consideration is also given to Lady Macbeth and how she is similarly
‘scared of the consequences’ of killing Duncan. The candidate
continues their discussion of light and dark by exploring how Lady
Macbeth calls upon ‘the spirits for darkness’, at the start of the play,
however after Duncan’s murder, her fear leads to her needing the
candle as she is now ‘scared of darkness’
contextually, appropriate links are made to regicide and the idea
that ‘the king is chosen by god’.

Candidates need to avoid discussing Language, Form and Structure in
part b).

For this exemplar, we have included a response that gained a mark in a Level 5 for both
parts.

Part a):
a coherent response, which explores a wide range of areas within

the extract and how language, form and structure are used to
convey the character of Macbeth and how he appears ‘to be putting
on a face around’ his guests but later transforms into a man ‘fearful
in his loss of control’
all points are well-supported by evidence from the extract and
although a couple of quotations are a little long at times, the
candidate closely evaluates key words or features within them
where applied, terminology is integrated and includes the
discussion of adjectives, imperatives, juxtaposition and italics
Part b):
the response shows a high level of engagement and confidently

explores how fear is presented within the play through the
character of Lady Macbeth. The depth and insightful nature of the
response meets the requirements for the top of Level 5
a critical style is developed, which is mature and perceptive when
discussing the complex nature of Lady Macbeth and how she
controls her fears by being ‘strong in public but fearful in private’
points made are carefully interwoven with contextual links and
explore how Shakespeare uses Lady Macbeth to convey the
misconception of women and how they played ‘a larger part in
society’, and were able to experience feelings of ‘fear, anger and
disgust’.
Keep quotations succinct and integrate them within the response.

Question 2
The Tempest
The extract for The Tempest was taken from Act 1 Scene 2, lines 322 to 352.
Caliban in the extract, whilst Part b) required candidates to explain the importance of
suffering elsewhere in the play.
Part a) – Caliban
Many good responses were reported, which explored the way Caliban is presented as both
angry through his use of ‘abusive exclamatives‘, and also unhappy with the way he has been
treated by Prospero. A lot of candidates considered the physical pain Caliban describes and
how he is inflicted with abuse at the hand of Prospero and feels abandoned by him. There
were also some very mixed responses, with some candidates feeling sorry for Caliban and
the way he is treated, whilst others expressed hatred of his character, often due to his
attempted rape of Miranda. Discussion of how he is presented as an animal, with basic
animal instincts, was another popular area of the extract and many points were referenced
through the line ’I must eat my dinner’. Exploration of language, structure and form varied
according to how much the middle speech was looked at, as that enabled candidates to look
at the various facets of his character and the language he used.
Part b) – suffering
Quite a number of the responses continued to explore the suffering of Caliban and constant
references were made to his physical and mental suffering, ‘ cramps ’, ‘ side stitches’, and how
Prospero resorts to calling him a poisonous slave. Other areas of suffering included Prospero
suffering the loss of his Dukedom as a result of his ‘ treacherous brother’ , the way Ariel suffers
like Caliban by being kept as a servant to Prospero and Prospero’s constant reminder of
Ariel’s ‘ imprisonment in a tree’. Miranda and Ferdinand were also discussed and there was a
general sense that suffering was a vehicle for improvement and understanding.
For this exemplar, we have included a response that gained a Level 5 for both parts.

Part a):
a cohesive response, which explores the way Caliban is presented as

a ‘bitter and vengeful’ character who uses his wit to ‘undermine
Prospero’s power’ and to emphasise how much he loathes Prospero
all points are well supported with subtly integrated quotations,
which are perceptively analysed and used to explore the
interrelationship between the language, form and structure and the
effect on the reader
terminology is detailed and wide ranging and is integrated and
precise throughout.
Part b):
part b) is also an assured response, which shows a high-level

engagement with the rest of the play and how the theme of
suffering is conveyed
areas discussed are wide-ranging and include the way Prospero
suffers as a result of ‘Antonio’s betrayal’, Alonso suffers the apparent
death of his son and the way Caliban suffers by being ‘enslaved by
Prospero’
discerning references form an integral part of the response and the
analytical style is mature and perceptive
contextual links are convincing and explore how Shakespeare may
have based his character of Prospero on John Dee.
This is an excellent example of a full mark script.

Question 3
Romeo and Juliet
The extract for Romeo and Juliet was taken from Act 1 Scene 3, lines 56 to 87.
Lady Capulet in the extract, whilst Part b) required candidates to explain the importance of
marriage elsewhere in the play.
Part a) – Lady Capulet
The Lady Capulet question was approached well by many candidates. They were able to
identify her purpose of the conversation and many language and structural devices were
identified at all levels. Sometimes explanations were repetitive as her character is struggling
to express herself to Juliet. Many candidates picked up on line 2 and how Lady Capulet
addresses Juliet as ‘daughter’, but unfortunately in some cases used it as a springboard to
discuss parent, child relationships and the use of a wet nurse, thus straying into context.
Many candidates wrote about Lady Capulet’s direct, formal address to Juliet and her use of
imperatives. Many drew on her distanced relationship and love of money and status for
structural comments. There were some insightful comments about the pattern of Lady
Capulet’s speech in comparison to the nurse to emphasise her status in the scene,
exploration of the amount Lady Capulet spoke in comparison to the other characters.
Part b) – marriage
Candidates approached this question well, often citing the moment when Lord Capulet gives
Juliet an ultimatum in Act 3 Scene 5. Many explored how the marriage of Juliet and Romeo
was the ‘catalyst of the events that followed’ and resulted in the deaths of other characters. The
impact marriage had on Romeo’s reactions to Tybalt was also a common focus and how he
‘attempts to use his secret marriage to Juliet to reconcile the differences they have had in the past’.
The responses which looked at Lord Capulet’s reaction when Juliet refuses to marry Paris and
linked to Patriarchal society tended to be the strongest. Contextually, many candidates wrote
confidently about Elizabethan and Catholic attitudes toward marriage and societal pressure
to marry for financial gain, status and/or power. Some candidates made their responses
more about love than marriage, so did not address the focus of the question fully. There
were also some very interesting responses on Friar Lawrence and his involvement and
motives behind the marriage of Romeo and Juliet.
parts.

Part a):
despite the length, the response moves beyond a narrative

approach and is just beginning to show some understanding of
language and structural features to convey Lady Capulet as a
’demanding’ woman, who is ‘telling Juliet what she will be doing’
mention is made to the use of the imperative ‘shall’ to emphasise
Lady Capulet’s controlling nature and the candidate makes a brief
and incomplete comment on the use of iambic pentameter
the main point is supported by an appropriate quotation from the
extract
Part b):
a little narrative at times but it does show some elements of a

personal response, with two examples from the play to explore the
theme of marriage: Romeo wanting to marry Juliet and Lord
Capulet’s marriage to Lady Capulet and how he ‘has a lot more
power over’ her
the response does lack exemplification
there is some awareness of context and how ‘the father would
choose who his daughter would marry’ in Elizabethan times.
Candidates should try to give examples from across the extract in Part
a).

For this exemplar, we have included a response that gained a mark in a Level 4 for Part a)
and a mark in a Level 3 for Part b).

Part a):
a focused response, which explores the way Lady Capulet is

presented as ‘a distant character’, ‘unloving and uncaring’, a ‘loyal
character’ and a powerful woman
there is an understanding of a range of language and structural
features: imperative phrases, complex sentences, ‘sintatical choice
of words’, adjectives, compound sentences and pronouns
the response is systematic in its approach and at times lacks depth
of discussion to place it higher up the mark scheme
subject terminology is relevant and used to support examples given
Part b):
a sound response that explores how marriage is presented through

the character of Lord Capulet and how he has the power to
determine Juliet’s marriage to Paris
exemplification is appropriate and although the candidate has
included discussion of language, form and structure, which is not
marked in Part b), the style is still critical and there is sound
interpretation
the candidate makes an interesting point at the start of the
response concerning Lord Capulet and how he appears to wish ‘for
Juliet to have a say in who she is to marry’
contextually, mention is made of the way marriage in the
Elizabethan era was ’an obligation’ and how women had a ‘lack of
power’ when it came to choosing a husband.
Ensure that all analysis is detailed and developed fully. Has it fully
explained what the word or sentences shows you?

parts.

Part a):
a sound evaluation of the presentation of Lady Capulet and the way

she is presented as a ‘pushy’, ‘unloving and spiteful’ and ‘self-
centred’ woman who wants to control Juliet and her future marriage
the response does lack subject terminology, which is why a mark at
the lower end of a Level 3 is more appropriate
the choice of textual examples is appropriate and helps develop the
points being made
Part b):
the response shows a sound interpretation of how marriage is

presented in others areas of the play. Consideration is made of
Juliet’s attitude to marriage and how it ‘changes throughout the play’
although occasionally narrative, points made are focused and show
a sound understanding of the play as a whole
several points are supported by well-chosen and appropriate
examples, although more exemplification would place this response
higher up the mark scheme
contextually, the response does consider how ‘most marriages were
arranged’ and how in many cases it was ‘forced and not always a
good thing’.
Ensure terminology is used when analysing examples from the extract.

Question 4
Much Ado about Nothing
The extract for Much Ado about Nothing was taken from Act 1 Scene 3, lines 8 to 40.
Don John in the extract, whilst Part b) required candidates to explain the importance of
hatred elsewhere in the play.
Part a) – Don John
Most students were able to access the extract and although some lower-level candidates
struggled to understand Don John’s frame of mind, they were still able to discuss the fact that
he appeared angry with the way others treat him. Many students understood the
metaphorical language in Don John’s speeches through his frequent links to animals and the
way he feels trapped and would retaliate if he felt threatened. Stronger responses picked up
on the repetition of the pronoun ‘I’ to suggest Don John’s selfish and belligerent personality
and how he is ‘ruled by his emotions and anger’. There was both admiration for and criticism
of, his uncompromising nature throughout many responses.
Part b) – hatred
One examiner felt that this was ‘a highly accessible question, which elicited some great answers’ .
Many of the responses continued on the discussion of Don John from part a) and his hatred
of his brother. Areas explored included the way he caused mischief at the ball and torment
for Leonato, Hero and Beatrice by convincing Claudio that Hero had been unfaithful. This
discussion was usually developed further with an exploration of Claudio’s hatred of Hero and
how he shames her at their wedding, with many candidates including the lines ‘rotten orange’
and ‘approvèd wanton’ in their responses.
There were many candidates who discussed the exaggerated hatred demonstrated by
Beatrice and Benedick and how it was ‘just a front to their real emotions’. Contextually, the
question opened up the discussion of patriarchy within the play and the ‘purity of women
before marriage’. Some higher-level responses also discussed Beatrice’s hatred of society’s
restrictions on women, which tied in nicely with the context.
For this exemplar, we have included a response that was awarded a Level 5 for both parts.

Part a):
a perceptively written response exploring the character of Don John

and how he is presented as a ‘lone wolf’, ‘inquisitive’ and a man who
feels ‘he should be alone’
textual exemplification is wide ranging and forms an integral part of
the response
the analysis of language, form and structure is maturely handled
with consideration made to Shakespeare’s use of metaphorical
language to present Don John as animalistic in his behaviour and
personality. Terminology is wide ranging and perceptively applied to
discuss all of the points made
Part b):
an assured response, showing a high-level of engagement with the

way hate is presented in the rest of the play. Key points that are
discussed include: the ‘light-hearted’ exchange of insults between
Beatrice and Benedick, Claudio’s ‘vicious’ hatred for Hero’s apparent
infidelity and Don John’s hatred for society
a critical style is developed with maturity and every point is
supported by discerning references to the text
mention is made to context and how ‘hate is an inherent part of
Shakespearean comedy’.
Ensure responses for Part b) are driven by the discussion of the text
with contextual points used to develop analysis.

Question 5
Twelfth Night
The extract for Twelfth Night was taken from Act 1 Scene 2, lines 5 to 39.
For part a) candidates were asked to explore how Shakespeare presents the character of the
Captain in the extract, whilst Part b) required candidates to explain the importance of desire
elsewhere in the play.
Part a) – the Captain
Although this was the least popular Shakespeare question, examiners felt that candidates
seemed happy with the extract and were able to pick up on the positive and supportive
nature of the Captain and how he was trying to comfort Viola. Many candidates commented
on his courteous nature and how he addresses Viola as ‘ madam ’ presenting him as a man
who is aware of social status. Other aspects considered included how he seemed a
knowledgeable man, who was able to provide Viola with information and there were some
candidates who also commented on his gossipy nature and how this was unusual for a man
in his position.
Part b) – desire
Desire worked well as a focus and examiners saw some excellent responses that explored
the contrasting natures of love and desire and romantic love versus other types of desire.
Higher-level responses explored desire as ‘finding a safe haven or achieving a new role in this
new life’. This was particularly relevant when candidates explored the desire of Malvolio to
marry Olivia and his subsequent humiliation at the hands of Maria. Other areas explored
included: Orsino’s desire for Olivia, Olivia’s desire to never marry, Olivia’s desire for Cesario
and Cesario/Viola’s desire for Orsino. Contextually, candidates discussed the turbulent nature
of Twelfth Night and the inversion of societal positions, with the temporary suspension of
rules.

Part a):
a systematic and sound response, which covers a number of

aspects within the extract and explores how Shakespeare presents
the character of the Captain as a ‘reassuring’, ‘well informed’ and
‘quite low down in social class’
points are well supported with textual examples, which are applied
securely and soundly
there is a close focus on specific words or phrases: ‘” they say”
shows that..’, although the response does lack more specific
terminology which would enable a higher mark to be awarded
Part b):
this is a far stronger response and meets many of the requirements

for a mid-level 5 mark
the candidate draws together and sustains a number of interesting
ideas to create a perceptive response. Consideration is made to how
the play ‘has connotations of a ‘topsy-turvy’ theme’. The candidate
explores the presentation of desire through the character of Orsino
and his apparent desire for Olivia, which is ‘actually just the thought
of love’. Mention is also made of the desires or Olivia, Viola and
Malvolio
context is implicitly interwoven throughout and fully supports and
develops the points made
there is convincing integration of text and context, especially
regarding the way the play reflects hierarchical and gender roles in
the Shakespearean era.
When analysing the extract in Part a) or a theme in Part b), use a wide
range of analytical words or connectives – demonstrates, illustrates,
gives the impression, could suggest ...

Question 6
The Merchant of Venice
The extract for The Merchant of Venice was taken from Act 3 Scene 4, lines 10 to 40.
Portia in the extract, whilst Part b) required candidates to explain the importance of trust
elsewhere in the play.
Part a) – Portia
These were generally well answered with close focus on language, form and structure. Most
candidates understood the nature of Portia and how she is portrayed as a strong and
confident female character, through her use of commands and instructions when talking to
Lorenzo. Lower-level responses appeared to misunderstand her relationship with Lorenzo,
mistaking his words for those of love for Portia. There were also more contextual comments
about the role of women in this response in comparison to other questions in Section A.
Some candidates made perceptive comments about Portia’s modesty and assertiveness.
There was some misunderstanding about her plan to spend time at the monastery – a
number of candidates wrote about this as though this was Portia’s intention and evidence of
her faith.
Part b) – trust
Many responses focused on Shylock and his lack of trust/betrayal by Jessica. There were
some very interesting comments on the betrayal of Shylock’s trust in the legal system and the
way that he is ‘tricked’. Trust between friends and the relationship of Antonio and Bassanio
was also a popular area of discussion and how Antonio trusted his ships to arrive, whilst
Bassanio trusted Antonio to support him financially. One or two candidates discussed the
use of the rings and how they were a symbol of trust between husband and wife, which was
appropriately linked to the status of marriage and fidelity within society at the time. Lower-
level responses tried to cover too much ground and lapsed into listing examples of who
various characters trusted and why.
For this exemplar, we have included a response that gained a mark in Level 3 for both parts.

Part a)
a sound response exploring how Portia is seen as a ‘kind and caring’,

‘witty and clever’ woman, who is in love with Bassanio
exemplification is sound, relates to the points being made and is
integrated throughout the response to help develop points
there is brief mention made of the context of the play, which is not
required for Part a)
there is a lack of terminology, however the candidate’s discussion
does show some sound understanding of the language used in the
extract to enable it to be placed in a Level 3.
Part b)
part b) is similar in quality to part a) and demonstrates a sound

understanding of the way trust is shown throughout the rest of the
play. Particular exploration is made of the trust between the close
friends Antonio and Bassanio and the way Antonio’s trust is also
‘placed on his ships returning’ with his merchandise
points are soundly supported throughout with references from the
play, which are soundly explored and interpretated
contextually, the candidate opens their discussion by explaining how
‘male friendship was of significant importance’ during the period,
although this could be developed further.
Remember, context (AO3) is not assessed in Part a).


Part a):
a sustained response, showing a detailed understanding of Portia

and how she is presented as a ‘strong female’, who is ‘empathetic’
and ‘fair’ to those around her
discussion of language, form and structure is sustained and there
are a range of examples taken from the text, which are integrated
throughout and explore how these features add to ‘the readers
confidence in Portia’
the response does include some terminology: the use of
‘ecphonesis’ and the close analysis of key words ‘never’, ‘not’ but this
area could be developed further to move higher up the levels
Part b):
another strong part b) response, demonstrating an assured and

perceptive understanding of the theme of trust in other areas of the
play. Particular focus is made on the relationship between Bassanio
and Antonio and how ‘Antonio’ illustrates his love for Bassanio, by
risking his life. The candidate also explores the trust between
Lorenzo and Jessica
there are very perceptive comments made to the links between love
and trust and how ‘more fragile’ trust is and how ‘we should be
more careful with it’
When discussing the extract, ensure the use of terminology is wide-

ranging and helps enhance the analysis of the language or structural
features being explored.

Question 7
An Inspector Calls
Chain of events.
This was the most popular choice for candidates and there was a variety of responses about
the chain of events. Where candidates did well, they looked at ideas about cyclical structure,
the role of the Inspector and the reactions of the different characters. In some instances, the
question about the 'chain of events' invited a rather narrative approach. Candidates worked
from Mr Birling's sacking of Eva Smith, through the contributions of Sheila, Gerald and Eric, to
the final confrontation with Mrs. Birling. Some answers selected characters to focus on in
more detail, rather than sketching briefly on all of them. There was a good deal of context
included, although this did show a better balance of text and context than previously. Most
candidates identified the Inspector as 'Priestley's mouthpiece’, confirming that he 'uses the play
to evangelise his views' and that 'he transcends all class values.' Candidates identified the
differences between the older and younger generations in what was learnt. One candidate
summed up by saying 'They all took advantage of her and she got fed up with it so she killed
herself by drinking bleach .' There were other more perceptive conclusions such as the idea
that the chain of events restarts if they do not accept what they have done wrong and how an
immoral action will always lead to another and can never exist alone without a chain of
events following it.
For this exemplar, we have included a response that gained a mark in Level 2 for AO1 and
AO3 and a Level 2 for AO4.

· although the response is a little narrative at times, there is some
evidence of a more critical understanding emerging when exploring
the ‘chain of events’. The candidate does not make reference to the
‘chain’ but they do refer to the ‘important events’ and how the Birlings
had ‘done a lot to this girl’
· one or two points made are supported by relevant textual references,

which takes the response away from the bottom of a level 2
· context is lacking but the candidate does refer to the characters as

either ‘dynamic’ or ‘static’ and how they will be perceived by an
audience.
The response was awarded 10 marks for AO1 and AO3 and 4 marks for
AO4.
Responses which tend to re-tell the story are typical of Level 2, where
the key descriptor is 'largely narrative'.
AO3 and a mark in Level 3 for AO4.

a systematic and generally sound response exploring the way
Priestley presents the ‘chain of events’ by showing the audience
‘what each family member had done’ to contribute to Eva’s/Daisy’s
suicide
not all ideas are fully developed but the majority do show a sound
understanding of each character’s involvement with Eva/Daisy,
including Mr Birling having to ‘let her go’ and leading to the
Inspector’s comment that they all ‘helped to kill her’
context is sound and appropriate to the points being made and
explores the different approaches of Capitalism and Socialism
textual examples are well-chosen and aid in developing the points
made.
AO4.
The mark for AO4 is based on the 'demand of the question'. As English
Literature requires candidates to write detailed essays, it is still
possible to achieve full marks for AO4 despite the odd error in spelling,
punctuation or sentence structures.


an assured response, which shows a high level of engagement when
exploring the way Priestley presents the ‘chain of events’ and how,
‘everyone had a part in Eva Smith’s death’
the candidate confidently explores how the Birlings are initially
presented as an ‘ideal family’ but following Mr Birling’s treatment of
Eva/Daisy, by dismissing her from his factory, it ‘started Eva’s
downfall’. Each of the characters are discussed by the candidate and
although Eric is very brief, it is not essential that the candidate
covers the whole play or character/s to achieve a high-level mark
there is a sustained understanding of what the writer is aiming to
achieve and his ‘views on Capitalism’.
AO4.
Three of the four bullet points for Section B focus on the analysis of
the text, whilst two mention the discussion of context. Ensure when
answering a question in this section of the paper that the primary
focus is on the text.
Use the mark grids in the mark schemes to guide you when marking
mock examinations.

Question 8
An Inspector Calls
Anger
This was the less popular choice of question for An Inspector Calls. Candidates focused on
the entitlement of the upper-class and how anger was a default response when this was
challenged. There were some lovely points about the anger the Inspector feels towards the
upper-class and how this mirrors the national feeling of the time. There is still some tendency
for candidates to become narrative in their response – listing all of the characters in turn and
commenting on when and why they are angry – candidates could focus on a narrower range
of characters examining them in more detail.
Despite this, the majority of those who attempted this option tended to show a greater
awareness of the play as they had to focus on anger rather than retell the story. Good
examples were chosen and explained such as Mr Birling, Shelia, Eric etc and how that anger
had a clear purpose in highlighting character traits or showing the moral message. One
examiner commented on a response they had marked where the candidate had commented
on the ‘internalised anger of Eva Smith, which caused her to commit suicide’. Many candidates
commented on the Inspector’s anger at the wider problems of society,

despite this being a very short response, the candidate does explore
two aspects of the play where the theme of anger is presented:
Eric’s anger at his father and Sheila’s anger with her parents
there is some evidence of a critical style emerging, although the
length prevents the points being fully developed
both points are supported with appropriate textual examples
there is no specific reference to context although the first quotation
does reflect the way men were presented in Edwardian society
through the quotation, ‘not the type of father a chap could go to’
this response was placed at the bottom of a Level 2 as this was felt
to be the best fit.
AO4 .

Candidates need to spend around 50 minutes planning and writing
their answer for Section B.
For this exemplar, we have included a response that gained a mark in a Level 4 for AO1 and

a sustained response that considers a range of examples to
illustrate the theme of anger in An Inspector Calls. Points explored
include Sheila’s anger ‘at her mother… to stop her covering up the
truth’; Eric’s anger at his parents; Mr and Mrs Birling’s anger at being
interrogated and finally The Inspector’s anger at the Birlings and
how he acts as ‘Priestley’s mouthpiece’
textual examples are appropriate to the points made, however there
are one or two areas where more exemplification from the text
would help move this higher up level 4
context is interwoven throughout and explores the way Priestley
presents the imbalances within the social classes and political
ideologies.
AO4.
Ensure that all points are fully supported by examples from the play.

Question 9
Hobson's Choice
Men
Examiners felt that the question worked well and invited a lot of discussion of context. Most
wrote at length about Henry Hobson and his relationship with Maggie. Lower-level
candidates struggled to get beyond this and limited themselves by an essay on one character
rather than the presentation of men. Better answers also wrote about Willie Mossop, Freddy
and Albert.
For this exemplar, we have included a response that gains a mark in Level 4 for AO1 and AO3
and Level 3 for AO4.

a sustained personal response, which meets all the requirements of
a top level 4
the succinct opening introduces the men in the play and
summarises their key characteristics: ‘the proud, loud and
suppressive Hobson’
the candidate not only discusses each character in detail but also
considers how they contrast with each other, ‘Will Mossop is
portrayed by Brighouse very differently’
a wide range of well-chosen textual examples are embedded
throughout the response and assist in developing the points being
made. The response is a well-crafted piece of writing
the response concludes by exploring how the presentation of men
in the play highlights the ‘traditional, stereotypical views in Victorian
Society’ and the treatment of working-class people.
AO4.
To move to a Level 5, consider alternative ways to interpret the

evidence chosen.

Question 10
Hobson's Choice
Ambition
Most responses focused on Maggie & Willie and, at times, some tended to stray into
narrative. More successful responses were able to consider the idea of ambition in relation to
the characters (including Hobson himself) and analyse the extent of their ambition and their
success in achieving it. Comments on context here were often more effectively integrated
than those in Q9. All candidates appeared to cope with the demands of the question

a sound response which follows a secure PEE style format to explore
ambition through the ‘three daughters, their husbands and Hobson’
the candidate illustrates a sound understanding of how Maggie’s
ambition is the driving force throughout the play, from her desire to
marry Willie to her ambition of becoming a successful business
woman
the candidate does maintain an appropriate style, however the lack
of close references to the text stops the response from moving
higher up the level
contextually, the candidate does show a sound understanding of
marriage in Victorian England and particularly the way Maggie, by
telling Willie that she wants to marry him, goes against the
stereotypical woman.
AO4.

Ensure all points made are fully supported by relevant examples from
the text.

Question 11
Blood Brothers
Parents
A less popular question than Q12, although there were some lovely responses that looked at
the different parenting styles in the play. Better responses focused on both the different
mothering styles as well as the fathering styles seen between the two families, with strong
ideas about the impact of contextual factors contributing to the challenges parents face.
There were some weaker responses here that showed a general awareness that the boys had
parents but weren’t able to explore the significance of the different circumstances they were
in and how this contributed to the events of the play.
Context points related to the setting of Liverpool and the social influences that affected
parenting at the time.
AO3 and Level 2 for AO4.

although there are some areas where the response is a little
disjointed, the candidate does show some understanding of the
ways parents are presented in the play and how both Edward and
Mickey benefit or suffer as a result: ‘Mickey curtainley hates school’
the candidate does show some elements of a critical style and is
beginning to consider the differences between both boys: ‘Edward
on the other hand is posh and gets what he wants’, although some
points remain undeveloped
despite there being only 2 close references to the text, these are
appropriately used within the discussion
there is an awareness of context, particularly the impact of class
divides and the lack of money.
AO4.
Candidates are advised to plan their ideas to help them structure their
response.

Question 12
Blood Brothers
Education
Pupils were able to effectively compare the experiences of the two boys. The main areas
identified as showing the importance of education included superstition, as an indication of
lack of education. The first meeting of Edward and Mickey and the differences in their speech
patterns, their manners, Mickey's use of swear words and the question of 'dictionary'. Many
commented on the contrast in secondary schools and links were made to the statement by
Mickey provided in the question that school is boring and the teacher's response that he
won't think that when he can't get a job, which was compared to the encouragement given to
Edward and the 'talk of Oxbridge'. Candidates explored how the differences in education
acted as a catalyst to the rest of the play. Contextually, many responses discussed the
differences in social classes and the links between a good education and the opportunities in
life.

a sound response, which shows a secure understanding of the way
education is shown to create ‘class division’ within the play
the candidate explores the way Mickey and Edward are affected by
their differing experiences of education from early childhood:
‘Edward goes to a private school’, the different punishments they
incur at school, ‘Mickey is excluded’ and how their education impacts
on their future lives, ‘Edward goes to university’
the response does lack exemplification from the text, although there
are one or two embedded words integrated into the body of the
response, which do assist in its development and prevent it from
becoming too narrative. Some points are fairly superficial at times
and lack development
contextually, a wide range of examples are included, which explore
how the ‘education system … punished the lower classes’. It was felt
that the context did dominate the response at times and more focus
on the play would have allowed the response to move higher up the
levels
AO4.
Ensure there is a good balance between the discussion of text and

context. The response should be driven by the text.

Question 13
Journey's End
Relationship between Raleigh and Stanhope
The relationship between Raleigh and Stanhope was explored well in this question, many
candidates being able to explore ideas around their connected background and how their
families were close. There were some excellent explorations of how Stanhope had been
affected by the war, resulting in his drinking – then the subsequent difficulties between the
two as Stanhope does not want Madge to think less of him. Candidates seemed to empathise
greatly with the characters in the play and sensitively discussed the impact of the First World
War on relationships. Where candidates did not do so well on this question there seemed to
be a lack of awareness of the characters and their relationship with some confusion as to
who were who. These responses also tended to over rely on explaining the context and the
events of the First World War.

despite the errors in spelling and grammatical irregularities, which
occasionally hinder understanding, the response is starting to show
a sound understanding of the relationship between Raleigh and
Stanhope. The response comfortably meets the requirements of a
Level 2 and just moves into the lower end of a Level 3
the candidate discusses the way Raleigh is ‘like a little brother’ to
Stanhope, has known him since they were children and the way
Raleigh looks up to Stanhope. Mention is also made to Stanhope’s
support for Raleigh ‘while he is diying’
many of the examples are supported by appropriate examples from
the test
contextual comments are limited, although the candidate does
mention the impact of war on page 3 and the censoring of letters on
the final page.
AO4.
Ensure that the point, evidence, explanation and context flow together
within each paragraph.

Question 14
Journey's End
Support for others
This was a slightly more popular question, and a wide range of ideas were discussed by
candidates. It appears that candidates had been well prepared. There was a clear
understanding as to why men in the trenches needed to support each other, using context to
explore the effect of the war. There were some lovely ideas about Osbourne and Raleigh, and
how Osbourne really looks out for Raleigh. There were also some excellent ideas about the
lack of support that was shown by Stanhope when Raleigh first arrives, and how this changes
towards the end. Candidates showed a real empathy with the situation the men faced. Due
to the prompt, many focused on the episode between Stanhope and Hibbert, considering
both the sympathetic and ‘tough love’ approach. There were also a lot of references to
Osborne’s support of Stanhope. A couple of candidates discussed how food and drink,
especially the latter, supported the men.

a detailed and perceptively written response, which meets the
requirements for a mark in a Level 5 and shows a mature
understanding of the way the men showed ‘support to each other to
establish themselves as comrades together’
the candidate explores the way Osborne acts as ‘uncle’ to the other
men, especially Stanhope, who sees him as his ‘best friend’. There is
also a sustained examination made of how Stanhope, as the most
senior officer, overcomes his anger with Hibbert to support Hibbert
when he struggles to cope with the horrors of war, and how
Stanhope describes how they will ‘stick it together’
all points made are supported by a discerning choice of references
to the text
the discussion of context has a tendency to dominate some areas of
the response, however the links made are excellent and show a
perceptive understanding of the relationship between text and
context.
AO4.
Ensure context is integrated throughout the response and not included

as a bolt-on at the end of a paragraph.

Question 15
The Empress
Abdul Karim
Although only a few responses were seen, they were very well answered and showed a
secure understanding of the play and how Abdul Karim became an important figure in the
life of Queen Victoria. Most of the responses explored the way he was ‘dehumanised’ and
nothing more than a ‘commodity’ when presented to the queen as a gift to celebrate her
jubilee. Many candidates explored how he gradually become one of Victoria’s most important
friends and Munshi, achieving a significant status within the Royal House. Candidates showed
confidence in their discussion of the contextual setting of the play and the impact of
colonialism during the Victorian period.

The Empress
Abdul Karim
The candidate illustrates a secure understanding of Abdul Karim

and how he 'opposes the stereotypical and prejudicial views of
Indians' during the Victorian period.
The response considers his development as a character from his
initial arrival in England as a 'gift' for Queen Victoria, through his rise
to the position of Munshi within the Royal Court and finally his being
'shipped away' to India at the end of the play.
All points made are supported by succinct and appropriately chosen
examples, which are integrated throughout the response and
perceptively analysed.
Contextually, the candidate demonstrates an assured
understanding of the way the text presents Victorian colonialism,
particularly in India and racial attitudes that were prevalent at the
time.
AO4.
Including examples from across the play/novel will demonstrate a

secure understanding of the text as a whole.

Question 16
The Empress
Friendship
Many responses used the quotation in the question paper to explore the friendship between
Rani, Firoza and Lascar Sally and the way they supported Rani as a single mother. Most of the
responses seen were confidently written and the question appeared accessible for
candidates at all levels, although most responses were at a Level 3 or above.
Other key friendships that were discussed were those between Abdul Karim and Queen
Victoria, Harry and Rani and one or two candidates also considered the friendship between
Rani and Dadabhai.

the response meets all the requirements of a Level 3 as there is a
relevant personal engagement with the text, which maintains an
appropriately critical style. There is sound understanding of the way
friendship is presented in the play
the candidate explores the presentation of friendship through a
number of key characters, including the friendship between Rani
and Hari on the boat coming to England and the way Rani ‘is shown
to be teaching Hari to read’. Rani’s friendship with Lascar Sally, who
gives her a place to stay when Rani is abandoned at the docks and
‘defends her from the other Lascars’. The relationship between
Queen Victoria and Abdul Karim and how it went against court
etiquette.
there is a lack of direct references to the text, however the critical
style, depth of discussion and range of areas discussed are sufficient
to place it in a Level 3
the response includes contextual references to racial prejudices in
England during the Victorian period, the harsh treatment of Lascars
and the patriarchal system in England.
AO4.
Ensure all points are fully supported by evidence from the text.

Question 17
Refugee Boy
Anger
There were some outstanding responses for both Q17 and Q18 and many candidates
achieved full marks for both AO1/3 and AO4.
A wide range of examples were taken from the play and in many cases extremely sensitively
discussed. Areas covered included: Alem’s anger at being left by his father, his anger at the
‘hooded mugger’, the anger of the soldiers in both Eritrea and Ethiopia and the anger of
Sweeney and the way he takes his feelings out on others, particularly Alem and Mustapha.
Contextually, candidates considered the concept of ‘toxic masculinity’ and how difficult it was
for young men to adjust to living in care, with many resorting to anger and violence.

a sustained response, which has a thorough engagement with the
text and the way anger is presented in Refugee Boy, against the
backdrop of war between Ethiopia and Eritrea.
a number of paragraphs open with an appropriate and relevant
discussion of the context, which is then linked to the text.
the candidate explores the anger felt by Alem who is stereotyped by
others as a ‘refugee boy’, bullied by Sweeney and the way Alem
retaliates by turning to violence when someone ‘tries to steal his
bike’. All points made are fully supported well-chosen references
the candidate shows a sustained understanding, using a critical style
to meet the requirements of a Level 4.
AO4.
Although AO1 and 3 are equally weighted, three of the four bullet
descriptors are focused on the analysis of text. It is therefore
important that responses are driven by analysis of the text with the
context being used to explore the interrelationship between it and the
theme or character/s being discussed – (bullet 4)

Question 18
Refugee Boy
Alem
Although there were only 69 entries for Q18, most of the responses were very confidently
written and showed a secure understanding of the play and how Alem was the ‘ Titular ’
character. Many candidates were awarded marks in a Level 4 or 5. Most of the responses
followed the chronology of the play and explored the way Sissay develops Alem’s character
from that of a ‘ frightened and abandoned teenager ’, left by his father alone in an unfamiliar
country, to a more confident young man who is starting to ‘ assimilate himself into his new
environment ’. There was a detailed awareness of the relationship between text and context
and areas discussed included the ‘ negative stereotype surrounding refugees ’ and the problems
for young men within the care system.

an extremely perceptive piece of writing that examines the way
Sissay ‘presents Alem’s identity, as a refugee, in a positive light’, in
contrast to the negative stereotype presented in the media. Analysis
of the text is detailed and assured
the writing style is mature and illustrates a perceptive
understanding of the development of Alem’s character from a
‘traumatised child’, who has to fend for himself in a foreign country,
to a young man who ‘successfully assimilated into his new
environment’
all references to the text are discerning and support and develop
the points made
comments on context are appropriate and explore how Sissay uses
Alem to show how 'refugees can overcome their hardships'.
AO4.
To achieve a secure Level 5 mark, aim to include one or two alternative

interpretations when analysing the text.

Question 19
Animal Farm
The relationship between Napoleon and Snowball
The relationship between Napoleon and Snowball was explored extremely well by most
candidates with a clear understanding of the tension between the two. There was a tendency
for candidates to sometimes overstate the importance of Stalin and Trotsky, exploring their
relationship to the development of communism within the novel, as opposed to using the
novel at the forefront of the discussion. There were some lovely points made about
Napoleon’s character and how his manipulation of the other animals and of Snowball was
significant. Where characters were not able to respond so well was where they were unable
to relate ideas to specific events or moments in the novel. Most were able to show that the
relationship was initially positive for the farm and were able to show understanding of why
the relationship declined.

a simple and straightforward response, which shows little personal
response to the relationship between Snowball and Napoleon. The
candidate does understand who the characters are and how they
differ, with Napoleon ‘allway changes the Animal rule’, whilst
Snowball is ‘kicked out of Animal farm’
there is little evidence of a critical style and little relevant supporting
reference to the text
the response lacks links to context.
AO4.
Remember: evidence can be either in the form of a quotation or

paraphrased.

Question 20
Animal Farm
Dishonesty
Dishonesty was a key theme that many could engage with. Some students chose to respond
by working through events in a chronological order, whilst others were able to talk in more
detail about dishonesty in association with key characters or moments from the text. There
were a range of ideas about the dishonest alteration of the Seven Commandments, the
dishonest use of propaganda by Squealer and the dishonest nature of Boxer’s death that
were explored. There were some interesting comments on education opening up
opportunities for dishonesty. One student wrote ‘The animals were forced to believe Squealer
because they simply couldn’t understand him’. Some commented on Moses and the dishonesty
of religion. Candidates seemed confident in discussing the theme in relation to context, and
this seemed more balanced than in Q19. Although Animal Farm can be very context heavy at
times, it was interesting to see some responses also talked about similarities with Trump and
Putin as well as referring to the more traditional contextual background to the novel.
For this exemplar, we have included a response that gained a Level 4 for AO1 and AO3 and a
Level 3 for AO4.

a sustained response, which has a thorough engagement with the
text and the way dishonesty is presented in Animal Farm,
particularly through the character of Napoleon whose ‘dishonesty
towards the animals results’ in the animals being taken advantage of
and the use of propaganda and the way ‘the pigs use lies and deceit’
to change the commandments
each paragraph opens with an appropriate and relevant discussion
of the context, which is then linked to the text. Although AO1 and 3
are equally weighted, three of the four bullet descriptors are
focused on the analysis of text. It is therefore important that
responses are driven by analysis of the text with the context being
used to explore the interrelationship between it and the theme or
character/s being discussed – (bullet 4)
the candidate shows a sustained understanding, using a critical style
and well-chosen examples from the text to meet the requirements
of a Level 4.
AO4.
Any discussion of the context needs to be relevant to the point being

made and used to develop an idea rather than re-tell everything that is
known about the social and political history behind the novel.

Question 21
Lord of the Flies
Evil
There were some really excellent responses for Q21, where context was integrated effectively
and with detailed reference to the text. Most students concluded that the evil came from the
boys themselves, particularly the Hunters and the killing of Simon was frequently used as an
example. Most candidates commented on the cutting of the pig’s throat and some higher-
Level candidates tracked the way evil was developed throughout the text and how this linked
to Golding’s youth. Some candidates linked to Biblical parallels in the text but this was not
always secure, usually taking the form of a bolt on comment about the devil. A more obvious
point discussed was the shattering of the conch marking the end of civilisation. Other
contextual points included what Golding was trying to say about society and the evils of
human nature and his experiences as a schoolteacher.
For this exemplar, we have included a response that gained a Level 3 for AO1 and AO3 and a
Level 3 for AO4

the response meets all the requirements of a Level 2 and, although
some areas do require further development and fuller analysis, it is
beginning to show a sound understanding of the way evil is
presented in the novel
the candidate explores the presentation of evil through the action of
the boys when they are hunting the pig and ‘chanting ‘kill the pig, cut
her throat, spill her blood’’, the changes in Jack and the way he led
the boys ‘to destruction’ and the ‘connotations towards evil’ through
the fire and sacrifice
there are some references to text and an emerging critical style: ‘I
think…’, although this is not always maintained
the response includes contextual references to Coral Island and
Hitler to discuss the relationship between text and context.
AO4.
To avoid a response becoming narrative at times, use a PEEC format

with a range of discourse markers – firstly, secondly, in addition,
penultimately.

Question 22
Lord of the Flies
Hunters
This question was also well answered, and many candidates defined the concept of ‘hunting’
before moving on to the evolution of Jack’s hunters as a group in the novel. Some
sophisticated arguments on man’s instincts and the importance of the hunt to survival were
seen. Some candidates wrote about the hunting and demise of Simon as a precursor to the
final hunting of Ralph at the end of the novel, whilst some drew in cogent references to the
significance of the adults arriving at the end and the place of hunting in supposedly civilised
society. Nearly all candidates wrote strong responses and recounted the evil deeds of the
hunters rather than on the importance of the hunters in a wider context. Some responses
explored the comparison of the two 'tribes' and the way in which they began to separate.

although the response does follow a formulaic format, with each
paragraph opening with ‘Golding presents the hunters…’ and
concluding with ‘contextually…’ there is a sound understanding of
the novel. The candidate considers the way the Hunters appear
‘inhumane’, evil, the way they become savages and how they finally
lose their innocence through the killing of Simon
the quality of the response improves as it progresses and it begins
to show signs of a more sustained quality, with analysis of examples
more developed and critical in style
textual examples are integrated, although they are not always fully
relevant to the point being made. Further development, unpicking
of these examples and exploration of why things are presented a
certain way would move this into a Level 4
contextually, the candidate illustrates a sound understanding of how
the Hunters and their behaviour mirrors the ‘war around them’ and
how they appear as ‘soldiers’.
AO4.
Ensure that all examples given from the text relate to the points made.

Question 23
Anita and Me
Tracey
Although one of the least popular choices on the paper, marks were awarded across nearly
all of the Levels. Most candidates showed a sound understanding of Tracey and how she is
emotionally and physically neglected by her family and is a ‘latchkey kid’. Many candidates
explored her physical presentation and the way Syal describes her as a ‘whippet’ who has to
wear her sister’s clothes. There were many candidates who sensitively explored how Tracey
appeared to be sexually abused with ‘row of bruises on her thighs’ and how she is terrified
when she sees Sam with Anita having sex. Contextually candidates linked the significance of
Tracey to the problems of social classes, unemployment and dysfunctional families.

the response is fairly short and a little narrative at times but the
candidate is beginning to show some critical understanding of the
way Tracey 'just wants to be loved and noticed by her family', which
places this towards the top of a Level 2.
the response explores Tracey's relationship with her sister and how
she is bullied by Anita and mocked in front of the other children in
Tollington. Mention is also made to the way Tracey may be the
'victim of sexual abuse' and how, despite the way her mother
'abandons' her, Tracey still loves her mother.
points do lack supporting evidence and most points are
undeveloped.
There is some understanding of the contextual setting of the novel
and what life was like in the 1970s. The candidate mentions the
impact of closing factories and the way that lead to 'high
unemployment for the men' in the North of England.
AO4.
Candidates should read through their responses to check that a range

of punctuation marks are used correctly (AO4).

Question 24
Anita and Me
Challenges
There were some excellent responses seen for Q24 and several candidates were awarded full
marks. Some responses not only discussed the challenges faced by the residents of
Tollington but also those experienced by the Kumar family escaping the violence in India as a
result of the country’s partition in 1947. Other challenges discussed included the racism
experienced by Meena as she grows up; the challenges of religion and how ‘Mr Ormerod
constantly tries to convert the Kumars to Christianity’; the challenges faced by Anita and Tracey
in a ‘dysfunctional family’ and the financial challenges faced by the residents of Tollington
following the closure of the mines.

an extremely well-developed response that covers a wide range of
examples from across the entire text and illustrates an assured and
perceptive understanding of the various challenges faced
throughout the novel. These include challenges experienced in
Tollington and India during the 1947 partition.
the candidate sensitively deals with the theme of racism and the
way the Kumars face the challenges of coping with the bigoted
attitudes of some residents in Tollington and how they deal with
abuse in 'everyday life'. A further challenge explored is the one faced
by Meena growing up, 'fitting in' and 'accepting her own identity'.
All points are supported by a discerning choice of references to the
text, which are perceptively analysed and linked to the context.
AO4.
Planning an answer before writing an answer provides a good

framework and checklist.

Question 25
The Woman in Black
Different locations
Examiners commented on how well candidates had handled both questions for The Woman
in Black and candidates appeared to have been well prepared for the task. The responses
were often very detailed and many contrasted Crythin Gifford and Eel Marsh House with
London. Other locations discussed included Monk’s Piece and the inn where Kipps' stayed in
Crythin Gifford. In many responses, there was a strong understanding of the Gothic genre
and the way isolated and ominous locations were a key feature in this style of writing. Most
candidates commented on the immediate correlation between location and Kipps frame of
mind. Some lower-level candidates struggled with linking context and just wrote everything
they knew about the Gothic genre, rather than linking specific features to the novel.

although this is a fairly short response, it does move away from a
narrative approach and the candidate does show some
understanding of the way two locations are presented in the novel.
Mention is made to the causeway, and how it ‘creates the theme of
isolation and the supernatural’ and the way that ‘eel marsh house is
a big house isolated from the town’
there are two relevant textual examples and there is some critical
analysis and engagement, which explores how the use of different
locations are ‘foreshadowing for what is going to happen’
although there is no explicit comment on context, the candidate
does mention that the use of locations enables the reader to ‘know
what kind of book it is’.
AO4.
Ensure all points made are fully developed – think about why the
particular aspect of the quotation is significant, what words convey
that impression to you? what does it tell you about the character or
theme being discussed? How does this link to the context of the novel?

Question 26
The Woman in Black
Memories
Many candidates focused on the destructive nature of Jennet Humfrye’s memories and how
they impacted on the residents of Crythin Gifford. Lower-level candidates looked at
memories in isolation, one character at a time, whilst the higher-level responses looked at
the notion of memories in a more holistic way, developing links and comparisons.
A number of candidates referred to the theory that ghosts are the imprinted memories of
the past on the ‘psyche of the future’ and linked this to the fate of Jennet Humfrye out on the
marshes and Hill’s use of Gothic genre conventions to create a sense of terror in the novel.
AO3 and a mark in level 3 for AO4.

an extremely mature and perceptive piece of writing that takes a more
philosophical approach to analysing the text and how memories are
important in The Woman in Black, acting as ‘the driving force of the
plot’
whilst the writing style is mature and illustrates a perceptive

understanding of the novel, it was felt that, at times, due to the
philosophical approach of the candidate, that the engagement with
the text was not secure enough for a mark at the top of a Level 5. In
the same way as candidates are encouraged to use the text to
explore its relationship to the context, using the text as the primary
focus to then explore the philosophical elements of the novel would
be a better approach in this response
all references are discerning and support and develop the points
made
comments on context are discerning and explore how ‘the entire
story is a frame narrative’ and maintains the conventions of a
‘Gothic novelo’.
AO4.
Using topic sentences or key words to signpost each paragraph is an

excellent way to maintain focus within each section of the response.

Question 27
Coram Boy
Friendship
Although Coram Boy had the smallest number of entries, as it was only introduced in 2021,
I’m sure its popularity will grow in time. The responses that were seen generally fell into the
Level 3 and 4 area and all demonstrated secure understanding of the way friendship was
presented. The majority of responses explored the friendship between Thomas and
Alexander and how ‘ despite coming from different backgrounds’ were inseparable, supporting
each other whilst at school and when reunited as adults. The other area of friendship that
was popular with most candidates was the parallel story of Aaron and Toby’s friendship in
the Coram Hospital and how Toby is prepared to ‘ risk his life to save Aaron ’ when he is thrown
onto a slave ship by Mr Gaddarn. Contextually, candidates included comments on the
different class systems, the Coram Hospital and slavery in Britain.

although the response does follow a slightly formulaic format at
times, there is a sound understanding of the novel. The candidate
considers the way friendship is an important factor in the
relationship between Thomas and Alexander and the way Alexander
is responsible for ‘showing him the ropes when Thomas is being
bullied’
other areas explored include: the friendship of Toby and Aaron and
how it breaks the stereotype of racial prejudice and the friendship
between Isobel and Melissa and how Isobel supports Melissa when
she becomes pregnant
the quality of the response improves as it progresses and it begins
to show signs of a sound quality, with analysis of examples more
focused and critical in style
textual examples are integrated, although they are not always fully
analysed. Further development, unpicking of these examples and
exploration of why things are presented a certain way would move
this into a top Level 3 or Level 4
contextually, the candidate illustrates a sound understanding of the
social restrictions in Georgian England.
AO4.
Use the exemplars in the report to help students identify the key
components within a response – AO1/3 and AO4.

Question 28
Coram Boy
Meshak/Mish
The few responses entered for Q28 showed a sound understanding of the character of
Meshak/Mish and how he was a ‘disturbed young man who has the mind of a child’. All the
candidates discussed the way he suffered at the hands of his father, who ‘kicked, whipped and
slapped’ him and forced him to bury the babies, which was then linked to the conventions of
the Gothic genre. His rescue of and relationship with Aaron was also discussed by many
candidates and how Meshak acts as a guardian to Aaron when he is at the Coram Hospital.
Most responses explored Meshak’s development chronologically, thereby showing a good
understanding of the novel.
AO3 and a mark in Level 2 for AO4

although it is a fairly short response, it does move away from a
narrative approach and is starting to show a sound critical style
when discussing the character of Meshak and how he is used to
‘embody certain tropes and themes’ within the novel
the candidate illustrates a sound understanding of how Meshak is
presented as a ‘drooling simpleton’, who is abused by his father and
the way he reflects the way society at that time was harsh for
children who were disabled
the candidate does maintain an appropriate style; however, some
areas do lack development, which stops the response from moving
higher up the level
contextually, the candidate does show a sound understanding of the
way Gavin presents ‘hatred towards people with physical and
mental disabilities’ in the Georgian era.
AO4.
Create a bank of discourse markers and linking phrases that can be

used at the start of each paragraph.

Question 29
Boys Don't Cry
Love
Although Boys Don’t Cry is one of the new texts on the paper, it was really encouraging to see
that a number of centres had decided to study the novel and hopefully there will be more
entries in future series. Examiners reported that they had seen a variety of responses on the
theme of love which ranged from Level 2 in quality, where the main event of Emma being left
with Dante was discussed and how he ‘ grew to love her ’, to the higher-level ones that
explored how ‘ Emma teaches the family how to love again’ . Many ideas were well developed
and had a range of examples from across the novel. Contextually, it was interesting to see the
theme of toxic masculinity being discussed again and how ‘ historically men should not express
their feelings’ . The most common contextual point made was the differences of being a single
parent.

a sound response, which shows a secure understanding of the way
different aspects of love are shown within the novel and through the
various relationships and interactions of the characters
the candidate discusses the way Adam explores his own sexuality
and the struggles he faces with being ‘open with who you love’.
Consideration is also made to the difficulties he faces with his own
family who are initially unable to accept Adam’s sexuality and the
way it affects the love and honesty between them
another key area explored is the way Dante’s love for Emma
develops as the novel progresses and how this relationship with her
slowly brings him closer to his father and brother
the response does become a little narrative at times, however there
are sufficient examples from across the novel, together with
discussion and engagement with the text, to place this in a Level 3
contextually, a number of examples are included, which explore the
stereotypical attitudes to sexuality and teenage pregnancy and the
way men find it hard to express emotions or ‘cry in front of each
other’.
AO4.
To achieve a mark in a Level 3 or above, try to avoid a narrative

approach. Using a PEEC format ensures that all AOs are met.

Question 30
Boys Don't Cry
Adam
A full range of responses was seen for this question, ranging from a well-integrated and
fluent exploration of Adam and how he has to cope with ‘the challenges of growing up as a
young gay man’. Many candidates discussed how Adam ‘represents the isolation that comes with
feeling left out as the youngest sibling’ and how ‘suicide will never be the best option’. Most
candidates focused on the attack by Josh and the problems of homophobia and how Dante
perceived Adam’s homosexuality as a ‘phase’. There was a general feeling by most candidates
that Adam represented many of the issues experienced by teenagers, as opposed to Dante,
whose problem was a-typical to some extent.

a sustained response that discusses the significance of Adam in Boys
Don’t Cry. Points explored include the way Adam deals with his
sexuality and how it is ‘okay to be open and honest about who you
are’. In addition the candidate discusses how Adam deals with the
verbal and physical abuse he suffers for being gay and the way his
character shows what it is like to live in a single parent family, with
the ‘struggles’ of coming to terms with the loss of a parent
textual examples are appropriate to the points made, however there
are one or two areas where more exemplification from the text
would help move this higher up level 4
context is interwoven throughout and explores the way Blackman
presents the difficulties faced by young people growing up and
coming to terms with their sexuality.
AO4.
Candidates are advised to spend approximately 50 minutes on Section

B.

Paper Summary
Based on their performance on this paper, centres are offered the following advice:
please remind students to write their responses in the correct area of the answer booklet.
Space is provided for each part. It does not matter which order questions are attempted,
but the responses should be in the correct answer space
candidates need to write their responses in a black or blue pen to ensure that it can be
read by the examiner via the online system
candidates should not use extra paper. Ample space is provided in the answer booklet
centres should remind their students of which Assessment Objectives are being assessed:
Section A part a) candidates must discuss the language, form and structure of the
extract and only refer to the extract in this part of the question.
Section A, Part (b), candidates should draw on their knowledge of the text that they
have studied and give examples from elsewhere in the play, whilst making links to the
context. Candidates may, depending on the question, explore a specific area in detail or
cover a range of examples. They must not refer to the extract in the question
Section B play/prose, candidates should discuss areas of the play/prose that relate to
the chosen question, whilst making links to the context. Language, form and structure
are not assessed in this part of the paper.
candidates can paraphrase quotations from memory, but exact quotations are not
mandatory, particularly as this is a closed book examination.
Candidates should be reminded to label their answers clearly (particularly Section A) and
to use the correct space in the answer booklet.

Grade boundaries
Grade boundaries for this, and all other papers, can be found on the website on this link:
https://qualifications.pearson.com/en/support/support-topics/results-certification/grade-
boundaries.html

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with its registered office at 80 Strand, London WC2R 0RL.

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GCSE English Literature 1ET0 01 2

The total number of marks available is 80.

The paper is assessed across AO1, 2, 3 and 4:

3 GCSE English Literature 1ET0 01

The maximum marks for the question are:

Romeo and Juliet

Much Ado About Nothing

The Merchant of Venice

GCSE English Literature 1ET0 01 4

An Inspector Calls: J B Priestley

Hobson's Choice: Harold Brighouse

5 GCSE English Literature 1ET0 01

Journey's End: R C Sherriff

Empress: Tanika Gupta

Animal Farm: George Orwell

Lord of the Flies: William Golding

Anita and Me: Meera Syal

The Woman in Black: Susan Hill

Coram Boy: Jamila Gavin

Boys Don’t Cry: Malorie Blackman

GCSE English Literature 1ET0 01 6

The extract was taken from Act 3 Scene 4, lines 75 to 107

7 GCSE English Literature 1ET0 01

GCSE English Literature 1ET0 01 8

the response shows some level of understanding and there are

This is a Level 2 response gaining 6 marks

This is a Level 2 response gaining 7 marks.

GCSE English Literature 1ET0 01 12

13 GCSE English Literature 1ET0 01

GCSE English Literature 1ET0 01 14

a sound response, which explores how Macbeth is ‘terrified’, ‘crazy’

The response was awarded 11 marks.

The response was awarded 7 marks.

Candidates are advised to split their time equally when answering

GCSE English Literature 1ET0 01 18

19 GCSE English Literature 1ET0 01

the candidate shows a sustained understanding of Macbeth and

The response was awarded 14 marks.

despite the occasional discussion of language – which is not marked

The response was awarded 15 marks.

GCSE English Literature 1ET0 01 26

27 GCSE English Literature 1ET0 01

GCSE English Literature 1ET0 01 28

a coherent response, which explores a wide range of areas within

The response was awarded 18 marks.

the response shows a high level of engagement and confidently

The response was awarded 20 marks.

Keep quotations succinct and integrate them within the response.

GCSE English Literature 1ET0 01 34

35 GCSE English Literature 1ET0 01

a cohesive response, which explores the way Caliban is presented as