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Cambridge IGCSE

LITERATURE IN ENGLISH 0475/33

Paper 3 Drama (Open Text) May/June 2022
45 minutes

You must answer on the enclosed answer booklet.

You will need: Answer booklet (enclosed)

*8817140876*

Candidates may take their set texts into the exam room, but these must NOT contain personal
annotations, highlighting or underlining.

INSTRUCTIONS
• Answer one question.
• Follow the instructions on the front cover of the answer booklet. If you need additional answer paper, ask
the invigilator for a continuation booklet.
• You may take your set text into the exam room, but this must not contain personal annotations, highlighting
or underlining.

INFORMATION
• The total mark for this paper is 25.
• All questions are worth equal marks.

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

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LYNN NOTTAGE: Crumbs from the Table of Joy

Remember to support your ideas with details from the writing.

Either 1(a)

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

Lily: Oh please, Godfrey, don’t make me sick. Gimme a drink, will ya, goddamnit!
[ERMINA’s eyes grow big. LILY continues to laugh. GODFREY is horrified.]
You really a Christian? [She peers at the portrait of Father Divine.] Oh I see,
the Peace Mission, Father Divine. He still alive and playing God?
Godfrey: Sweet Father Divine, he found me down in Florida and his word carried us up 5
here. I’d still be mourning over my biscuits in the Nortons’ kitchen if –
[LILY straightens her clothing.]
Lily: I’m touched, Mr. Crump –
Ermina: Goodness.
Lily: Goodness. I recall a certain Saturday at the juke – 10
Godfrey: Please.
Lily: Please, nonsense. You do remember the juke joint. Don’t tell me you’ve given
up everything? Everything? Hell, I’m surprised.
[A moment.]
Godfrey: Now we both been surprised. And you? You still up there fooling with – 15
Lily: Go on say it, tongue won’t fall out. The communist party, amongst other things.
[ERMINA giggles.]
Oh, you find that funny? [Earnestly.] I ain’t laughing. I suppose ya happy with
what you got, a bit of nothing. Sure, I was happy at your age, “a little pickaninny”
selling hotcakes to the fishermen. Taking pennies from poor people ain’t a job, 20
it’s a chore. This may be New York, but this still the basement. Don’t none of
those crackers want to share any bit of power with us. That’s what it’s about.
Red Scare, should be called Black Scare.
Godfrey: I wish you wouldn’t conniggerate in front of the gal.
Lily: You act like I’m saying dirty words. Worker! Revolution! Proletariat! There! 25
Christian!
Godfrey: This communism thing a bit frightening to this young one.
Lily: Ain’t no more frightening than Jim Crow. I said my “peace.”
Godfrey: Go on! ’Cause talk like that keeps company with the door closing behind you.
You know something about that. 30

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Lily: Watch yourself! I promised Nana I’d look after these gals for her. She don’t
think it’s proper that a man be living alone with his daughters once they sprung
bosom. I’m here out of sense of duty. So relax, you’ve always been tight in the
chest. Breathe, breathe. There you go. God won’t strike you down for relaxing.
[A moment. Smiling.] Well, could I get a soda pop at least, spent half the day 35
underground.
Ermina [Cheerfully.]: I’ll get it. [She exits.]
Lily [Yelling after.]: Thank you, sweet thing.
[She and GODFREY have a tense, awkward moment, not quite sure what to
say to each other.] 40
Nice-looking gal. Precious.
[LILY smiles seductively; GODFREY looks away, then takes out his little pad
and jots down some notes.]
Lily: What do you keep writing down?
Godfrey: Oh, nothing, just questions. Things I want to ask Father Divine when he comes 45
to New York for the Holy Communion.
Lily: Oh! And I thought it was something interesting.

[from Act 1, Scene 2]

How does Nottage strikingly convey the differences between Lily and Godfrey at this moment in the
play?

Or 1(b)

In what ways does Nottage make you feel sorry for Ernestine and Ermina?

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ARTHUR MILLER: The Crucible

Remember to support your ideas with details from the writing.

Either 2(a)

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

Proctor: I come not to hurt the court; I only –

Content removed due to copyright restrictions.

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Content removed due to copyright restrictions.

[MARY WARREN suddenly sobs.]

[from Act 3]

How does Miller vividly portray the unfairness of the witch trials at this moment in the play?

Or 2(b)

In what ways does Miller strikingly depict revenge in the play?

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R C SHERRIFF: Journey’s End

Remember to support your ideas with details from the writing.

Either 3(a)

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

Stanhope: Oh, for Lord’s sake don’t be a damn fool, You know! You know he’ll write and
tell her I reek of whisky all day.
Osborne: Why should he? He’s not a –
Stanhope: Exactly. He’s not a damned little swine who’d deceive his sister.
Osborne: He’s very young; he’s got hundreds of strange things to learn; he’ll realize that 5
men are – different – out here.
Stanhope: It’s no good, Uncle. Didn’t you see him sitting there at supper? – staring at me?
– and wondering? He’s up in those trenches now – still wondering – and
beginning to understand. And all these months he’s wanted to be with me out
here. Poor little devil! 10
Osborne: I believe Raleigh’ll go on liking you – and looking up to you – through everything.
There’s something very deep, and rather fine, about hero-worship.
Stanhope: Hero-worship be damned! [He pauses, then goes on, in a strange, high-pitched
voice] You know, Uncle, I’m an awful fool. I’m captain of this company. What’s
that bloody little prig of a boy matter? D’you see? He’s a little prig. Wants to 15
write home and tell Madge all about me. Well, he won’t; d’you see, Uncle? He
won’t write. Censorship! I censor his letters – cross out all he says about me.
Osborne: You can’t read his letters.
Stanhope [Dreamily.]: Cross out all he says about me. Then we all go west in the big
attack – and she goes on thinking I’m a fine fellow for ever – and ever – and 20
ever. [He pours out a drink, murmuring ‘Ever – and ever – and ever.’]
Osborne [Rising from his bed]: It’s not as bad as all that. Turn in and have a sleep.
Stanhope: Sleep! Catch me wasting my time with sleep.
Osborne [Picking up STANHOPE’s pack and pulling out the blanket]: Come along, old
chap. You come and lie down here. [He puts the pack as a pillow on 25
STANHOPE’s bed, spreads out the blanket.]
Stanhope [With his chin in his hands.]: Little prig – that’s what he is. Did I ask him to force
his way into my company? No! I didn’t. Very well, he’ll pay for his damn cheek.
[OSBORNE lays his hand gently on STANHOPE’s shoulder to persuade him
to lie down.] 30
Go away! [He shakes OSBORNE’s hand off.] What the hell are you trying to
do?
Osborne: Come and lie down and go to sleep.
Stanhope: Go sleep y’self. I censor his letters, d’you see, Uncle? You watch and see he
doesn’t smuggle any letters away. 35

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Osborne: Righto. Now come and lie down. You’ve had a hard day of it.
Stanhope [Looking up suddenly]: Where’s Hardy? D’you say he’s gone?
Osborne: Yes. He’s gone.
Stanhope: Gone, has he? Y’know, I had a word to say to Master Hardy. He would go, the
swine! Dirty trenches – everything dirty – I wanner tell him to keep his trenches 40
clean.
Osborne [Standing beside STANHOPE and putting his hand gently on his shoulder
again.]: We’ll clean them up tomorrow.
[STANHOPE looks up at OSBORNE and laughs gaily.]
Stanhope: Dear old Uncle! Clean trenches up – with little dustpan and brush. [He laughs.] 45
Make you little apron – with lace on it.
Osborne: That’ll be fine. Now then, come along, old chap. I’ll see you get called at two
o’clock. [He firmly takes STANHOPE by the arm and draws him over to the
bed.] You must be tired.
Stanhope [In a dull voice.]: God, I’m bloody tired; ache – all over – feel sick. 50

[from Act 1]

Explore how Sherriff vividly conveys Stanhope’s state of mind at this moment in the play.

Or 3(b)

How does Sherriff’s portrayal of Hibbert contribute to the dramatic impact of the play?

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WILLIAM SHAKESPEARE: Twelfth Night

Remember to support your ideas with details from the writing.

Either 4(a)

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

Duke: Once more, Cesario,

Get thee to yond same sovereign cruelty.
Tell her my love, more noble than the world,
Prizes not quantity of dirty lands;
The parts that fortune hath bestow’d upon her, 5
Tell her I hold as giddily as Fortune;
But ’tis that miracle and queen of gems
That Nature pranks her in attracts my soul.
Viola: But if she cannot love you, sir?
Duke: I cannot be so answer’d. 10
Viola: Sooth, but you must.
Say that some lady, as perhaps there is,
Hath for your love as great a pang of heart
As you have for Olivia. You cannot love her;
You tell her so. Must she not then be answer’d? 15
Duke: There is no woman’s sides
Can bide the beating of so strong a passion
As love doth give my heart; no woman’s heart
So big to hold so much; they lack retention.
Alas, their love may be call’d appetite – 20
No motion of the liver, but the palate –
That suffer surfeit, cloyment, and revolt;
But mine is all as hungry as the sea,
And can digest as much. Make no compare
Between that love a woman can bear me 25
And that I owe Olivia.
Viola: Ay, but I know –
Duke: What dost thou know?
Viola: Too well what love women to men may owe.
In faith, they are as true of heart as we. 30
My father had a daughter lov’d a man,
As it might be perhaps, were I a woman,
I should your lordship.
Duke: And what’s her history?

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Viola: A blank, my lord. She never told her love, 35

But let concealment, like a worm i’ th’ bud,
Feed on her damask cheek. She pin’d in thought;
And with a green and yellow melancholy
She sat like Patience on a monument,
Smiling at grief. Was not this love indeed? 40
We men may say more, swear more, but indeed
Our shows are more than will; for still we prove
Much in our vows, but little in our love.
Duke: But died thy sister of her love, my boy?
Viola: I am all the daughters of my father’s house, 45
And all the brothers too – and yet I know not.
Sir, shall I to this lady?
Duke: Ay, that’s the theme.
To her in haste. Give her this jewel; say
My love can give no place, bide no denay. 50
[Exeunt.

[from Act 2, Scene 4]

How does Shakespeare make this moment in the play so moving?

Or 4(b)

How does Shakespeare make Olivia such a fascinating character?

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WILLIAM SHAKESPEARE: Othello

Remember to support your ideas with details from the writing.

Either 5(a)

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

[Re-enter CASSIO, driving in RODERIGO.]

Cassio: Zounds, you rogue, you rascal!
Montano: What’s the matter, Lieutenant?
Cassio: A knave teach me my duty! But I’ll beat the knave into a twiggen bottle.
Roderigo: Beat me! 5
Cassio: Dost thou prate, rogue? [Strikes him.
Montano: Nay, good Lieutenant; I pray you, sir, hold your hand.
Cassio: Let me go, sir, or I’ll knock you o’er the mazard.
Montano: Come, come, you’re drunk.
Cassio: Drunk! [They fight. 10
Iago [Aside to RODERIGO.]: Away, I say!
Go out and cry a mutiny. [Exit RODERIGO.
Nay, good Lieutenant. God’s will, gentlemen!
Help, ho! – Lieutenant – sir – Montano – sir –
Help, masters! Here’s a goodly watch indeed! 15
[A bell rung.
Who’s that which rings the bell? Diablo, ho!
The town will rise. God’s will, Lieutenant, hold.
You’ll be asham’d for ever.
[Re-enter OTHELLO and GENTLEMEN, with weapons.] 20
Othello: What is the matter here?
Montano: Zounds, I bleed still; I am hurt to the death – He dies.
Othello: Hold, for your lives!
Iago: Hold, ho! Lieutenant – sir – Montano – gentlemen –
Have you forgot all sense of place and duty? 25
Hold! The General speaks to you; hold, hold, for shame!

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Othello: Why, how now, ho! From whence ariseth this?

Are we turn’d Turks, and to ourselves do that
Which Heaven hath forbid the Ottomites?
For Christian shame, put by this barbarous brawl. 30
He that stirs next to carve for his own rage
Holds his soul light: he dies upon his motion.
Silence that dreadful bell; it frights the isle
From her propriety. What’s the matter, masters?
Honest Iago, that looks dead with grieving, 35
Speak. Who began this? On thy love, I charge thee.
Iago: I do not know. Friends all but now, even now,
In quarter, and in terms, like bride and groom
Divesting them for bed; and then, but now,
As if some planet had unwitted men, 40
Swords out, and tilting one at other’s breast
In opposition bloody. I cannot speak
Any beginning to this peevish odds;
And would in action glorious I had lost
These legs that brought me to a part of it! 45
Othello: How comes it, Michael, you are thus forgot?
Cassio: I pray you, pardon me; I cannot speak.

[from Act 2, Scene 3]

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

Or 5(b)

Explore two moments in the play where Shakespeare vividly portrays feelings of jealousy.

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