Materials For this paper you must have: • an AQA 12-page answer book • a copy of each of the set texts you have studied for Section C. These texts must not be annotated and must not contain additional notes or materials. Instructions • Use black ink or black ball-point pen. • Write the information required on the front of your answer book. The Paper Reference is 7712/1. • In Section A you will answer one question about a Shakespeare play. • In Section B you will answer the one question about unseen poetry. • In Section C you will answer one question about two texts: one poetry text and one prose text, one of which must be written pre-1900. • Do all rough work in your answer book. Cross through any work you do not want to be marked. Information • The marks for questions are shown in brackets. • The maximum mark for this paper is 75. • You will be marked on your ability to: – use good English – organise information clearly – use specialist vocabulary where appropriate. • In your response you need to: – analyse carefully the writers’ methods – explore the contexts of the texts you are writing about – explore connections across the texts you have studied – explore different interpretations of your texts. A-level ENGLISH LITERATURE A Paper 1 Love through the ages 2 IB/H/Jun24/7712/1 Section A: Shakespeare Answer one question in this section. Either 0 1 Othello – William Shakespeare ‘In Othello, Iago’s skills make him a likeable anti-hero rather than a hateful villain.’ In the light of this view, discuss how Shakespeare presents Iago’s attitudes to love in this extract and elsewhere in the play. [25 marks] IAGO Come, come; good wine is a good familiar creature if it be well used: exclaim no more against it. And, good Lieutenant, I think you think I love you. CASSIO I have well approved it, sir. I drunk! IAGO You or any man living may be drunk at a time, man. I’ll tell you what you shall do. Our General’s wife is now the General. I may say so in this respect, for that he hath devoted and given up himself to the contemplation, mark, and denotement of her parts and graces. Confess yourself freely to her; importune her help to put you in your place again. She is of so free, so kind, so apt, so blessed a disposition, that she holds it a vice in her goodness not to do more than she is requested. This broken joint between you and her husband, entreat her to splinter; and my fortunes against any lay worth naming, this crack of your love shall grow stronger than it was before. CASSIO You advise me well. IAGO I protest in the sincerity of love and honest kindness. CASSIO I think it freely; and betimes in the morning I will beseech the virtuous Desdemona to undertake for me. I am desperate of my fortunes if they check me here. IAGO You are in the right. Good night, Lieutenant, I must to the watch. CASSIO Good night, honest Iago. Exit IAGO And what’s he then that says I play the villain, When this advice is free I give, and honest, Probal to thinking, and indeed the course To win the Moor again? For ’tis most easy Th’inclining Desdemona to subdue In any honest suit. She’s framed as fruitful As the free elements; and then for her To win the Moor, were’t to renounce his baptism, All seals and symbols of redeemèd sin, His soul is so enfettered to her love, That she may make, unmake, do what she list, 3 IB/H/Jun24/7712/1 Turn over ► Even as her appetite shall play the god With his weak function. How am I then a villain To counsel Cassio to this parallel course Directly to his good? Divinity of hell! When devils will the blackest sins put on, They do suggest at first with heavenly shows As I do now. For whiles this honest fool Plies Desdemona to repair his fortunes And she for him pleads strongly to the Moor, I’ll pour this pestilence into his ear: That she repeals him for her body’s lust, And by how much she strives to do him good, She shall undo her credit with the Moor. So will I turn her virtue into pitch, And out of her own goodness make the net That shall enmesh them all. (Act 2, Scene 3) Turn over for the next question 4 IB/H/Jun24/7712/1 or 0 2 The Taming of the Shrew – William Shakespeare ‘Grumio and other servants are crucial to the development of the love stories in The Taming of the Shrew.’ In the light of this view, discuss how Shakespeare presents Grumio and other servants in this extract and elsewhere in the play. [25 marks] CURTIS I prithee, good Grumio, tell me how goes the world? He kindles a fire GRUMIO A cold world, Curtis, in every office but thine – and therefore fire. Do thy duty, and have thy duty, for my master and mistress are almost frozen to death. CURTIS There’s fire ready – and therefore, good Grumio, the news. GRUMIO Why, ‘Jack boy, ho boy!’ and as much news as wilt thou. CURTIS Come, you are so full of cony-catching. GRUMIO Why therefore fire, for I have caught extreme cold. Where’s the cook? Is supper ready, the house trimmed, rushes strewed, cobwebs swept, the serving- men in their new fustian, their white stockings, and every officer his wedding-garment on? Be the Jacks fair within, the Jills fair without, the carpets laid, and everything in order? CURTIS All ready – and therefore, I pray thee, news. GRUMIO First know my horse is tired, my master and mistress fallen out. CURTIS How? GRUMIO Out of their saddles into the dirt, and thereby hangs a tale. CURTIS Let’s ha’t, good Grumio. GRUMIO Lend thine ear. CURTIS Here. GRUMIO There. He boxes Curtis’s ear CURTIS This ’tis to feel a tale, not to hear a tale. GRUMIO And therefore ’tis called a sensible tale; and this cuff was but to knock at your ear and beseech listening. Now I begin. Imprimis, we came down a foul hill, my master riding behind my mistress – CURTIS Both of one horse? GRUMIO What’s that to thee? CURTIS Why, a horse. GRUMIO Tell thou the tale. But hadst thou not crossed me, thou shouldst have heard how her horse fell, and she under her horse; thou shouldst have heard in how miry a place, how she was bemoiled, how he left her