Previous examination papers provide an opportunity for the learner to self-

assess their knowledge of the content for a specific subject. However, please
note that:

• Past examination papers do not constitute a comprehensive overview of

all the work being assessed in a particular academic year.
• Many CAPS changes come in affect from year to year and therefore, it
is not sufficient to cover only the work contained in a particular past
paper.
• The papers provided to learners are either compiled by Impaq in
conjunction with SACAI or supplied to Impaq by SACAI.

For the most comprehensive preparation for any examination, please refer
to the study notes for a particular subject available to download from the
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Vorige eksamenvraestelle bied leerders die geleentheid om hul kennis van ’n

spesifieke vak self te assesseer, maar dit is belangrik om op te let dat:

• vorige eksamenvraestelle nie ’n omvattende oorsig bied van al die werk

wat in ’n spesifieke akademiese jaar geassesseer word nie.
• Verskeie KABV-veranderinge tree van jaar tot jaar in effek en dit is dus
nie voldoende om slegs die werk wat in ’n spesifieke vorige vraestel
te hersien nie.
• Die vraestelle wat aan leerders beskikbaar gemaak word, word of deur
Impaq in samewerking met SACAI opgestel, of word aan Impaq voorsien
deur SACAI.

Vir die mees omvattende voorbereiding vir enige eksamen, verwys asseblief
na die studienotas vir ’n spesifieke vak (beskikbaar vir aflaai vanaf die Optimi
Learning Portal).
 ENGLISH
HOME LANGUAGE

2022

GRADE 12 – TERM 3
GRAAD 12
PRELIMINARY EXAMINATION

TASK 10.2 - PAPER 2

Time Allocation: 2½ Hours

Total: 80 Marks

This document consists of 21 pages

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TERM 3 – PRELIMINARY EXAM – TASK 10.2 - PAPER 2

INSTRUCTIONS AND INFORMATION

1. Read these instructions carefully before you begin to answer the questions.
2. Do not attempt to read the entire questions paper. Consult the table of content
on page 3 and mark the numbers of the questions set on texts you have
studied this year. Thereafter, read these questions and choose the ones you
wish to answer.
3. This question paper consists of THREE sections:
• SECTION A: Poetry (30 marks)
• SECTION B: Novel (25 marks)
• SECTION C: Drama (25 marks)
4. Answer FIVE QUESTIONS in all: THREE in Section A, ONE in Section B and
ONE in Section C as follows:
• SECTION A: POETRY
o Prescribed Poetry – Answer TWO questions.
o Unseen Poetry – COMPULSORY question.
• SECTION B: NOVEL
o Answer ONE question.
• SECTION C: DRAMA
o Answer ONE question.
5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA):
• Answers questions ONLY on the novel and drama that you have
studied.
• Answer ONE ESSAY AND ONE CONTEXTUAL QUESTION. If you
answer the essay question in Section B, you must answer the
contextual question in Section C. If you answer the contextual question
in Section B, you must answer the essay question in Section C.
• Use the checklist to assist you.
6. LENGTH OF ANSWERS
• The essay question on Poetry should be answered in about 250-300
words.

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• The essay questions on the Novel and Drama sections should be

answered in 400-450 words.
• The length of answers to contextual questions should be determined by
the mark allocation.
• Candidates should aim for conciseness and relevance.
7. Follow the instructions at the beginning of each section carefully.
8. Number your answers correctly according to the numbering system used in
this question paper.
9. Start EACH section on a NEW page.
10. Suggested time management:
• SECTION A: approximately 40 minutes.
• SECTION B: approximately 55 minutes.
• SECTION C: approximately 55 minutes.
11. Write neatly and legibly.

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TABLE OF CONTENTS

Read through the following table of contents and choose the questions you wish to
answer.
This page will enable candidates to choose the questions they wish to answer
without having to read through the entire paper.

SECTION A: POETRY

PRESCRIBED POETRY

Answer any TWO of the following questions:

Question 1: A far cry from Africa Essay 10 Page 6
Question 2: The darkling thrush Contextual 10 Page 7
Question 3: The author to her book Contextual 10 Page 9
Question 4: Weather eye Contextual 10 Page 10

AND

UNSEEN POETRY

This question is COMPULSORY.

Question 5: An abandoned bundle Contextual 10 Page 12

SECTION B: NOVEL

Answer any ONE of the following questions:

Question 6: Diamond Boy Essay 25 Page 14
Question 7: Diamond Boy Contextual 25 Page 14

SECTION B: DRAMA

Answer any ONE of the following questions:

Question 8: Pygmalion Essay 25 Page 18
Question 9: Pygmalion Contextual 25 Page 18

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CHECKLIST

Use this checklist to ensure that you have answered the correct number of
questions!

Question No. of Questions

Section Tick
No. Answered
A: Poetry: Prescribed 1-4 2
A: Poetry: Unseen 5 1
B: Novel (Essay or Contextual) 6-7 1
C: Drama (Essay or Contextual) 8-9 1

NOTE:

In SECTIONS B and C, ONE of the questions must either be an ESSAY or a

CONTEXTUAL question. You may NOT answer TWO essay or TWO contextual
questions.

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TERM 3 – PRELIMINARY EXAM – TASK 10.2 - PAPER 2
SECTION A: POETRY
PRESCRIBED POETRY
Answer any TWO of the following four questions.
QUESTION 1: POETRY – ESSAY QUESTION
Read the poem below and answer the question that follows.

A FAR CRY FROM AFRICA – DEREC WALCOT

A wind is ruffling the tawny pelt

Of Africa. Kikuyu, quick as flies
Batten upon the bloodstreams of the veldt.
Corpses are scattered through a paradise.
Only the worm, colonel of carrion, cries: 5
‘Waste no compassion on these separate dead!’
Statistics justify and scholars seize
The salients of colonial policy,
What is that to the white child hacked in bed?
To savages, expendable as Jews? 10

Threshed out by beaters, the long rushes break

In a white dust of ibises whose cries
Have wheeled since civilization’s dawn
From the parched river or beast-teeming plain.
The violence of beast on beast is read 15
As natural law, but upright man
Seeks his divinity by inflicting pain.
Delirious as these worried beasts, his wars
Dance to the tightened carcass of a drum,
While he calls courage still that native dread 20
Of the white peace contracted by the dead.

Again brutish necessity wipes its hands

Upon the napkins of a dirty cause, again
A waste of our compassion, as with Spain,
The gorilla wrestles with the superman. 25
I who am poisoned with the blood of both,

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Where shall I turn, divided to the vein?
I who have cursed
The drunken officer of British rule, how choose
Between this Africa and the English tongue I love? 30
Betray them both, or give back what they give?
How can I face such slaughter and be cool?
How can I turn from Africa and live?

This poem, A Far Cry from Africa, explores the speaker’s struggle with his identity.

Discuss the validity of this statement with reference to form, imagery and diction.
Your response should be a poetry essay of 250-300 words (1–1½ pages).
[10]
QUESTION 2: POETRY – CONTEXTUAL QUESTIONS
Read the poem below and answer the questions that follow.
THE DARKLING THRUSH – THOMAS HARDY
I leant upon a coppice gate
When Frost was spectre-grey,
And Winter's dregs made desolate
The weakening eye of day.
The tangled bine-stems scored the sky 5
Like strings of broken lyres,
And all mankind that haunted nigh
Had sought their household fires.

The land's sharp features seemed to be

The Century's corpse outleant, 10
His crypt the cloudy canopy,
The wind his death-lament.
The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth 15
Seemed fervourless as I.

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At once a voice arose among
The bleak twigs overhead
In a full-hearted evensong
Of joy illimited; 20
An aged thrush, frail, gaunt, and small,
In blast-beruffled plume,
Had chosen thus to fling his soul
Upon the growing gloom.

So little cause for carolings 25

Of such ecstatic sound
Was written on terrestrial things
Afar or nigh around,
That I could think there trembled through
His happy good-night air 30
Some blessed Hope, whereof he knew
And I was unaware.

2.1 What are the implications of the word ‘dregs’ (line 3) in context? (2)

2.2 Account for the speaker’s use of the word ‘corpse’ (line 10) to describe
the past century. (2)

2.3 Refer to line 21: ‘An aged thrush, frail, gaunt, and small.’

Comment on the effectiveness of this choice of bird within the context

of the poem. (3)

2.4 Critically discuss how stanza 4 conveys the speaker’s attitude toward
the thrush. (3)

[10]

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QUESTION 3: POETRY – CONTEXTUAL QUESTIONS
Read the poem below and answer the questions that follow.

THE AUTHOR TO HER BOOK – ANNE BRADSTREET

Thou ill-form’d offspring of my feeble brain,

Who after birth didst by my side remain,
Till snatched from thence by friends, less wise than true,
Who thee abroad, expos’d to publick view,
Made thee in raggs, halting to th’ press to trudge, 5
Where errors were not lessened (all may judg).
At thy return my blushing was not small,
My rambling brat (in print) should mother call,
I cast thee by as one unfit for light,
Thy Visage was so irksome in my sight; 10
Yet being mine own, at length affection would
Thy blemishes amend, if so I could:
I wash’d thy face, but more defects I saw,
And rubbing off a spot, still made a flaw.
I stretched thy joynts to make thee even feet, 15
Yet still thou run’st more hobling then is meet;
In better dress to trim thee was my mind,
But nought save home-spun Cloth, i’ th’ house I find.
In this array ’mongst Vulgars mayst thou roam.
In Criticks hands, beware thou dost not come; 20
And take thy way where yet thou art not known,
If for thy Father askt, say, thou hadst none:
And for thy Mother, she alas is poor,
Which caus’d her thus to send thee out of door.

3.1 Account for the speaker’s use of the words ‘ill-form’d’ and ‘feeble’
(line 1). (2)

3.2 What is the significance of comparing the book to a child in lines 2-3? (2)

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3.3 Refer to lines 13-18: ‘I wash’d thy face…house I find.’

Comment on the appropriateness of this image within the context of the
poem. (3)

3.4 Refer to lines 22-24: ‘If for the Father…out of door.’

Critically discuss how the tone of these lines reinforce a central idea of
the poem. (3)
[10]

QUESTION 4: POETRY – CONTEXTUAL QUESTIONS

Read the poem below and answer the questions that follow.
Weather eye – Isobel Dixon
(for Ann and Harwood)

In summer when the Christmas beetles

filled each day with thin brass shrilling,
heat would wake you, lapping at the sheet,
and drive you up and out into the glare
to find the mulberry’s sweet shade 5
or watch ants marching underneath the guava tree.

And in the house, Mommy would start

the daily ritual, whipping curtains closed,
then shutters latched against the sun
and when you crept in, thirsty, from the garden, 10
the house would be a cool, dark cave,

an enclave barricaded against light

and carpeted with shadow, still
except the kitchen where the door was open
to nasturtiums flaming at the steps 15
while on the stove the pressure cooker chugged
in tandem with the steamy day.

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And in the evenings when the sun had settled
and crickets started silvering the night,
just home from school, smelling of chalk and sweat, 20
Daddy would do his part of it, the checking,
on the front verandah, of the scientific facts.

Then if the temperature had dropped enough

the stays were loosened and the house undressed
for night. Even the front door wide now 25
for the slightest breeze, a welcoming
of all the season’s scents, the jasmine,
someone else’s supper, and a neighbor’s voice –

out walking Labradors, the only time of day

for it, this time of year. How well the world 30
was ordered then. These chill machines
don’t do it half as true, the loving regulation
of the burning days. Somehow my judgement isn’t quite
as sure when faced with weather-signs. Let me come home
to where you watch the skies and keep things right. 35

4.1 Refer to line 4: ‘and drive you up’

Explain what the word, “drive” conveys about the temperature. (2)

4.2 What are the implications of the word ‘barricaded’ (line 12) in context? (2)

4.3 Comment on the appropriateness of the image in line 24 within the

context of this poem. (3)

4.4 Refer to lines 31-33: ‘These chill machines…the burning days.’

Critically discuss how the tone of these lines reinforce a central idea of
the poem. (3)

[10]
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UNSEEN POETRY

The following question is compulsory.

QUESTION 5: UNSEEN POETRY – CONTEXTUAL QUESTIONS

Read the poem below and answer the questions that follow.

AN ABANDONED BUNDLE – MBUYISENI OSWALD MTSHALI

The morning mist

and chimney smoke
of White City Jabavu
flowed thick yellow
as pus oozing 5
from a gigantic sore.

It smothered our little houses

like fish caught in a net.

Scavenging dogs
draped in red bandanas of blood 10
fought fiercely
for a squirming bundle.

I threw a brick
they bared fangs
flicked velvet tongues of scarlet 15
and scurried away,
leaving a mutilated corpse-
an infant dumped on a rubbish heap-
‘Oh! Baby in the Manger
sleep well 20
on human dung.’

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Its mother
had melted into the rays of the rising sun,
her face glittering with innocence
her heart as pure as untrampled dew. 25

5.1 Refer to line 4-6. What impression is created of the area where the
speaker lives. (2)

5.2 How does the word ‘squirming’ influence the reader’s reaction to the
scene? (2)

5.3 Refer to line 16: ‘flicked velvet tongues of scarlet’

Comment on the appropriateness of this image in the context of this

poem. (3)

5.4 With reference to the poem as a whole, comment critically on the

impact of the image of the mother in the last stanza. (3)

[10]

TOTAL SECTION A: [30]

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SECTION B: NOVEL
DIAMOND BOY

Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essay or two contextual
questions.

QUESTION 6: NOVEL - ESSAY

The title of the novel has both literal, and figurative significance.

Discuss the extent to which you agree with this statement in a literature essay of 400
– 450 words (2 – 2½ pages). [25]

QUESTION 7: NOVEL – CONTEXTUAL QUESTIONS

Read the extracts below and answer the questions that follow.
EXTRACT 1
He must have known that in Uncle James’ eyes he was no better than those who
begged for work on the mine, a humiliating end for a man who had been to
university and worked in a profession. Digging in the dirt.

“I was wondering whether you might consider me useful in your mining operation. I
don’t want to be an imposition, but if there was a role that I might be able to play, it 5
would be greatly appreciated.” He should have stopped there, but: “I have been
reading extensively on the extraction methods of alluvial mining, information which I
would be happy to share with you and implement in the field. Or perhaps I could be
useful as a bookkeeper. I’m quite competent with figures…”

I was embarrassed for him. Ashamed, too. He spoke so earnestly, like a schoolboy. 10
Kuda and Prisca exchanged knowing glances and I squirmed in the suddenly silent
room.

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“You’d like to work for me?” Uncle James considered him blankly.

My father swallowed. “Yes. If you think there might be a place for me.”

The Wife raised her eyebrows, a glint of triumph in her eyes. 15

When Uncle James spoke, his voice was mocking. “Good decision, Mr Teacher.
You can start demonstrating your extraction methods tomorrow. Now, Jamu and
Patson, come here.” He gripped our forearms and pushed us together until our
shoulders touched. “You want to become a miner, Patson?”

I could see the stones in my hand again – sparkling, bright with promise. 20

“I want to be a miner, Uncle James –“

“Patson,” interrupted my father, his face stricken.

[Diamond Boy: Chapter 7]

QUESTIONS: EXTRACT 1
7.1 Place the extract in context. (3)

7.2 Refer to lines 4-10: ‘I was wondering…competent with figures…’

Explain what Joseph Moyo’s choice of words reveal about him. (3)

7.3 Refer to line 16: ‘The Wife raised her eyebrows, a glint of triumph in her
eyes.’
Critically discuss what the Wife represents to Patson. (3)

7.4 Refer to line 23: ‘I want to be a miner, Uncle James …‘

Discuss the significance of this line within the context of the whole
novel. (3)

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EXTRACT 2
“You didn’t know they were there?”

“No, I didn’t.” I let them fall back into the tray.

“I thought so. I knew you were telling the truth in the foyer,” he said, smiling.
“Whoever put them in your wound knew what they were doing.”

“It was an old lady. People called her Doctor Muti. She worked with the soldiers in 5
the bush war,” I answered, staring down the stones I had for so long prized above
all else, stones I believed had been lost. That had caused me so much trouble.

I do not know why or whether I deserved my girazis, but there they were, lying on
the corner of the metal tray. The first because of the angry words of Banda. The
second dislodged from the bank by a torrential downpour. And the most beautiful 10
one of all sent in a dream by my shavi.

I remembered the flickering candles, the smell of herbs and burnt blood, and the
tinkle of diamonds boiling in her oil pot. “All you need is within you,” the old woman
had said, and now I understood. And, in truth, I had relied on something deep
within myself. 15

But it was something no diamond could buy.

“Take them away,” I said quietly, handing Dr Morris the tray. “I don’t want them. I
don’t want to see them ever again.”

He looked surprised. “These are your stones, Patson. Didn’t you find them?”

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QUESTIONS: EXTRACT 2
7.5 Refer to line 14: ‘All you need is within you.’
Account for the ambiguity in Doctor Muti’s words. (3)

7.6 The woman who saved Patson’s diamonds,Doctor Muti, is Arves’

grandmother. Discuss the significance of Arves in Patson’s life. (3)

7.7 Based on your knowledge of the novel as a whole, discuss whether

Patson’s decision regarding the diamonds (lines 18-19) is typical of his
character. (3)

7.8 Critically discuss the effectiveness of the title of this novel. (4)

[25]

TOTAL SECTION B: [25]

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SECTION C: DRAMA
PYGMALION

Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essay or two contextual
questions.

QUESTION 8: DRAMA - ESSAY

Mrs Higgins: You certainly are pretty babies, playing with your live doll.

In a literature essay of 400 – 450 words (2 – 2½ pages), discuss the extent to which
you agree that Eliza is merely a live doll in the play. [25]

QUESTION 9: DRAMA – CONTEXTUAL QUESTIONS

Read the extracts below and answer the questions that follow.

EXTRACT 3
HIGGINS: Oh, that’s all right, Mrs Pearce. Has she an interesting
accent?

MRS PEARCE: Oh, something dreadful, sir, really. I don’t know how you
can take an interest in it!

HIGGINS: (To Pickering) Let’s have her up. Show her up, Mrs Pearce 5
(he rushes across to his working table and picks out a
cylinder to use on the phonograph).

MRS PEARCE: (Only half resigned to it) Very well, sir. It’s for you to say.
(She goes downstairs).

HIGGINS: This is rather a bit of luck. I’ll show you how I make 10
records. WPe’ll get her talking; and I’ll take it down in Bell’s
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TERM 3 – PRELIMINARY EXAM – TASK 10.2 - PAPER 2
visible Speech; then in broad Romic; and then we’ll get her
on the phonograph so that you can turn her on as often as
you like with the written transcript before you.

MRS PEARCE: (returning) This is the young woman, sir. 15

HIGGINS: (Brusquely, recognising her with unconcealed

disappointment, and at once, baby-like, making an
intolerable grievance of it). Why, this is the girl I jotted
down last night. She’s no use: I’ve got all the records I
want of the Lisson Grove lingo; and I’m not going to waste 20
another cylinder on it. (To the girl.) Be off with you: I don’t
want you.

Don’t you be so saucy. You ain’t heard what I come for yet.
(To Mrs Pearce, who is waiting at the door for further
THE FLOWER GIRL: instruction.) Did you tell him I came in a taxi? 25

[Pygmalion: Act 2]

QUESTIONS: EXTRACT 3
9.1 Place the extract in context. (3)

9.2 Refer to lines 5-15.

Explain what Higgins’ eagerness to let Eliza up reveal about his
character. (3)

9.3 Refer to line 8: ‘Only half resigned to it’

Based on your knowledge of the whole play, critically discuss Mrs
Pearce’s role in Eliza’s ultimate transformation. (3)

9.4 Refer to lines 22-23: ‘Be off with you: I don’t want you.’
Discuss the paradoxical nature of Higgins’ character within the context
of the whole play. (3)

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EXTRACT 4

ELIZA: Oh, I’m only a squashed cabbage leaf.

PICKERING: (Impulsively). No.

ELIZA: (Continuing quietly) – but I owe so much to you that I should

be very unhappy if you forgot me.

PICKERING: It’s very kind of you to say so, Miss Doolittle. 5

ELIZA: It’s not because you paid for my dresses. I know you are
generous to everybody with money. But it was from you that
I learnt really nice manners; and that is what makes one a
lady, isn’t it? You see it was so very difficult for me with the
example of Professor Higgins always before me. I was 10
brought up to be just like him, unable to control myself, and
using bad language on the slightest provocation. And I
should never have known that ladies and gentlemen didn’t
behave like that if you hadn’t been there.

HIGGINS: Well! 15

PICKERING: Oh, that’s only his way, you know. He doesn’t mean it.

ELIZA: Oh, I didn’t mean it either, when I was a flower girl. It was
only my way. But you see I did it; and that’s what makes the
difference after all.
PICKERING: No doubt. Still, he taught you to speak; and I couldn’t have 20
done that, you know.

ELIZA: (Trivially). Off course: that is his profession.

HIGGINS: Damnation!

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(Continuing). It was just like learning to dance in the
fashionable way: there was nothing more than that in it. But 25
do you know what began my real education?

What?

(Stopping her work for a moment). You calling me Miss

Doolittle that day when I first came to Wimpole Street. That
was the beginning of self-respect for me. 30

[Pygmalion: Act 5]

QUESTIONS: EXTRACT 4
9.5 Refer to line 1: ‘I’m only a squashed cabbage leaf.”
Account for Eliza’s assessment of herself. (3)

9.6 Refer to lines 25-26: ‘It was just like learning to dance in the
fashionable way.’
Discuss the significance of Eliza’s words. (3)

9.7 Critically comment how this play distinguishes between ‘self-respect’

(line 31) and respectability. (3)

9.8 Critically discuss the appropriateness of the title of the play. (4)

[25]

TOTAL SECTION C: [25]

GRAND TOTAL: [80]

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