Board...SEC 12 (2023): ENGLISH LITERATURE Page 1 of 72 Contents Introduction 2 List of Learning...

SEC 12 Syllabus English Literature

2023

MATSEC Examinations Board

SEC 12 (2023): ENGLISH LITERATURE

Page 1 of 72

Contents Introduction ............................................................................................................................................................................... 2

List of Learning Outcomes ......................................................................................................................................................... 3

List of Subject Foci ..................................................................................................................................................................... 4

Programme Level Descriptors ................................................................................................................................................... 4

Learning Outcomes and Assessment Criteria ............................................................................................................................ 7

Scheme of Assessment ............................................................................................................................................................ 19

General Notes ...................................................................................................................................................................... 19

School candidates ................................................................................................................................................................ 19

Private Candidates ............................................................................................................................................................... 20

Coursework Modes ................................................................................................................................................................. 21

Specimen Assessments: Controlled Paper MQF 2-3 ............................................................................................................... 58

Appendices .............................................................................................................................................................................. 69

Set texts for SEC English Literature ......................................................................................................................................... 72


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Introduction

This syllabus is based on the curriculum principles outlined in The National Curriculum Framework for All (NCF) which was

translated into law in 2012 and designed using the Learning Outcomes Framework that identify what students should know

and be able to achieve by the end of their compulsory education.

As a learning outcomes-based syllabus, it addresses the holistic development of all learners and advocates a quality

education for all as part of a coherent strategy for lifelong learning. It ensures that all children can obtain the necessary skills

and attitudes to be future active citizens and to succeed at work and in society irrespective of socio-economic, cultural,

racial, ethnic, religious, gender and sexual status. This syllabus provides equitable opportunities for all learners to achieve

educational outcomes at the end of their schooling which will enable them to participate in lifelong and adult learning,

reduce the high incidence of early school leaving and ensure that all learners attain key twenty-first century competences.

This programme also embeds learning outcomes related to cross-curricular themes, namely digital literacy; diversity;

entrepreneurship creativity and innovation; sustainable development; learning to learn and cooperative learning and

literacy. In this way students will be fully equipped with the skills, knowledge, attitudes and values needed to further

learning, work, life and citizenship.

English Literature, as a subject, gives learners the opportunity to read, interpret and evaluate literary texts such as poetry,

drama and prose. The subject leads students to identify and appreciate ways in which writers use English to create an artistic

form and to present an informed, personal response to the texts they have studied. The subject also includes the exploration

of wider universal issues, promoting students’ understanding of themselves and the world around them.

In this sense, English Literature has a crucial part to play in reaching cross-curricular outcomes. Narrative, poetry and drama

are powerful tools in the development of empathy and understanding, bridging differences and appealing to our basic

humanity.

Learning Outcomes Framework, English Literature, (DQSE 2015) p.19

What does a study of the subject entail?

English Literature demands a sensitivity to language and as such, learners need to exploit the skills they acquire in their

English language lessons in order to learn about literary genre and devices and improve their ability to write about literary

texts. In fact, literature is considered an integral part of English at all levels, where learners are exposed to regular

opportunities to focus and engage with a range of literary texts. A multimodal approach is encouraged through which all

learners would have the possibility to practise analytical, evaluative and creative skills. While students learn to understand

English literature within time and space, they should also interact with texts on a personal and social level, thus enriching

their reading experience.

How is the subject related to candidates’ lives, to Malta, and/or to the world?

Given that the Maltese context is a bilingual one where learners are exposed to English and have many opportunities for

language use, engagement with the aesthetics of the language strengthens learners’ knowledge and appreciation of the

language. As learners read, enjoy and interact with a poem, play or prose text, they are empowered from a young age to

better understand themselves, society, culture and human nature. Indeed, the study of English literature helps candidates

become better individuals and commendable members of the human community.


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At the end of the programme, I can:

1. develop a love of reading in the context of the idea of literature as a valuable aspect of life;

2. develop my critical, reflective and analytical skills relevant to close reading;

3. apply my knowledge of language to literary texts;

4. identify different ways by which to infer meaning and interpret literary texts;

5. interact with literary texts in different forms and from different periods and cultures;

6. recognise, appreciate and enjoy the figurative, creative and playful dimensions of words;

7. develop an awareness of literary genres, forms, styles and techniques;

8. extend my creative reading skills;

9. communicate an informed personal response appropriately and effectively;

10. respond orally or in writing to literary uses of language;

11. participate in the actual performance and/or writing of literature;

12. identify the contribution of literature across various media platforms.

List of Learning Outcomes

At the end of the programme:

LO 1. I can engage with and respond to a range of literary texts such as poetry, prose and drama written for a

particular audience.

LO 2. I can respond to a range of literary devices adopted in texts such as poetry, prose and drama and explain

how they might be linked to theme, setting or character.

LO 3. I can read literary texts such as poetry, prose and drama from the past and those which are more

contemporary.

LO 4. I can recommend a literary text such as poetry, prose and drama to others and give reasons for this.

LO 5. I can respond to different aspects of set texts.

LO 6. I can tackle unseen literary texts (poetry and prose) independently.

LO 7. I can compare and contrast literary texts or parts of texts taken from poetry, prose and drama.

LO 8. I can use evidence from literary texts (poetry, prose and drama), such as close reference, paraphrase and

commentary, to support my explanation/discussion and can present these quotes using proper conventions.

LO 9. I can interact with literary texts (poetry, prose and drama) I have read or listened to in a creative way.

LO 10. I can interact with a Shakespearean text.

LO 11. I can write well organised literature essays and/or speak in an organised manner about poetry, prose and

drama, using the appropriate conventions.

LO 12. I can write/speak accurately using a range of vocabulary and sentence structures for clarity, purpose and

effect.

(adapted from LOF p.21)


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List of Subject Foci

1. English Literature in time and place

2. Awareness of literary genres and devices

3. Writing about English Literature

Programme Level Descriptors

This syllabus sets out the content and assessment arrangements for the award of Secondary Education Certificate in

ENGLISH LITERATURE at MQF Level 1, 2 or 3. Level 3 is the highest level which can be obtained for this qualification.

Table 1 overleaf refers to the qualification levels on the Malta Qualifications Framework (MQF) with minor modifications to

reflect specific ENGLISH LITERATURE descriptors. These are generic statements that describe the depth and complexity of

each MQF level of study and outline the knowledge, skills and competences required to achieve an award at Level 1, 2 or 3

in ENGLISH LITERATURE.

Knowledge involves the acquisition of basic, factual and theoretical information. Skills involve the application of the acquired

knowledge and understanding to different contexts. Competences indicate sufficiency of knowledge and skills that enable

someone to act in a wide variety of situations, such as whether one is competent to exercise skills with or without

supervision, autonomy or responsibility.


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MQF Level 1 MQF Level 2 MQF Level 3

Basic general related knowledge.

1. Acquires basic general knowledge related to the

immediate environment and expressed through a

variety of simple tools and context as an entry point

to lifelong learning;

2. Knows and understands the steps needed to

complete simple tasks and activities in an

environment;

3. Is aware and understands basic tasks and

instructions;

4. Understands basic textbooks and instruction guides.

Basic factual knowledge of the fields of work or study.

1. Possess good knowledge of the field of work or study;

2. Is aware and interprets related information and

ideas;

3. Understands facts and procedures in the application

of basic related tasks and instructions;

4. Selects and uses relevant knowledge to accomplish

specific actions for self and others.

Knowledge of facts, principles, processes and general

concepts in the field of work or study.

1. Understands the relevancy of theoretical knowledge

and information related to the field of work or study;

2. Assesses, evaluates and interprets facts, establishing

basic principles and concepts in the field of work or

study;

3. Understands facts and procedures in the application

of more complex tasks and instructions;

4. Selects and uses relevant knowledge acquired on

one’s own initiative to accomplish specific actions for

self and others.


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MQF Level 1 MQF Level 2 MQF Level 3

Basic skills required to carry out simple related tasks.

1. Has the ability to apply basic knowledge and carry

out a limited range of simple tasks;

2. Has basic repetitive communication skills to

complete well defined routine tasks and identifies

whether actions have been accomplished;

3. Follows instructions and be aware of consequences

of basic actions for self and others.

Basic cognitive and practical skills required to use relevant

information in order to carry out tasks and to solve related

routine problems using simple rules and tools.

1. Has the ability to demonstrate a range of skills by

carrying out a range of complex related tasks within

the field of work or study;

2. Communicates basic related information;

3. Ensures related tasks are carried out effectively.

A range of cognitive and practical skills required to

accomplish related tasks and solve related problems by

selecting and applying basic methods, tools, materials and

information.

1. Demonstrates a range of developed skills to carry out

more than one complex related task effectively and in

unfamiliar and unpredictable contexts;

2. Communicates more complex information;

3. Solves basic related problems by applying basic

methods, tools, materials and information given in a

restricted learning environment.

Work out or study under Direct Supervision in a

structured context.

1. Applies basic knowledge and skills to do simple,

repetitive and familiar tasks;

2. Participates in and takes basic responsibility for the

action of simple tasks;

3. Activities are carried out under guidance and within

simple defined timeframes;

4. Acquires and applies basic key competences at this

level.

Work or study under supervision with some autonomy.

1. Applies factual knowledge and practical skills to do

some structured tasks;

2. Ensures one acts pro-actively;

3. Carries out related activities under limited

supervision and with limited responsibility in a quality

controlled context;

4. Acquires and applies basic key competences at this

level.

Take responsibility for completion of related tasks in work

or study and adapt own behaviour to circumstances in

solving problems.

1. Applies knowledge and skills to do some tasks

systematically;

2. Adapts own behaviour to circumstances in solving

related problems by participating pro-actively in

structured learning environments;

3. Uses own initiative with established responsibility

and autonomy, but is supervised in quality controlled

learning environments;

4. Acquires key competences at this level as a basis for

lifelong learning.


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Learning Outcomes and Assessment Criteria

Subject Focus: English Literature

Learning Outcome 1:

(Controlled and

Coursework)

I can engage with and respond to a range of literary texts such as poetry, prose and drama written for a particular audience.

Assessment Criteria (MQF 1) Assessment Criteria (MQF 2) Assessment Criteria (MQF 3)

1.1a I can, with support, reply orally/in writing to lower

order questions asked about a poem, prose or drama text.

1.2a I can reply orally/in writing to higher order questions

about a poem, prose or drama text.

1.1b I can, with support, speak/write about the basic plot

in a poem, prose or drama text.

1.2b I can speak/write about characters and the main

theme(s) in a poem, prose or drama text.

1.3b I can speak/write about some of the following

features: character, main themes, structure and language

in a poem, prose or drama text.

1.1c I can, with support, identify one reason why a poem,

prose or drama text is suitable for a particular audience.

1.2c I can give at least two reasons why a poem, prose or

drama text is suitable for a particular audience.

1.3c I can explain in detail why a poem, prose or drama

text is suitable for a particular audience.

1.1d I can, with support, keep within a set timeframe in

my oral/written response.


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Learning Outcome 2:

(Controlled and

Coursework)

I can respond to a range of literary devices adopted in texts such as poetry, prose and drama and explain how they might be linked to theme,

setting or character.


2.1a I can, with support, identify a number of literary

devices in a text.

2.2a I can explain the effect of different literary devices in

a text.

2.3a I can evaluate the effects and functions of literary

devices in a text.

2.1b I can, with support, identify at least one difference in

how literary devices are used in poetry, prose and drama

texts.

2.2b I can describe how literary devices are used similarly

or differently in poetry, prose and drama texts.

2.3b I can analyse how literary devices are used similarly

or differently in poetry, prose and drama texts.

2.1c I can, with support, describe how at least one literary

device conveys a particular meaning about a character.

2.2c I can explain how at least two literary devices are

related to a character and a theme.

2.3c I can discuss how literary devices are linked to

themes, character(s) and setting.


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Learning Outcome 3:

(Controlled and

Coursework)

I can read literary texts such as poetry, prose and drama from the past and those which are more contemporary.


3.1a I can, with support, identify literary devices used in a

text written in the past.

3.2a I can analyse literary devices adopted in a text written

in the past.

3.3a I can evaluate the effect(s) generated by literary

devices adopted in a text written in the past.

3.1b I can, with support, identify one sociohistorical

element in the text written in the past.

3.2b I can describe how the sociohistorical context of the

text written in the past informs my understanding of a

theme(s).

3.3b I can discuss how the sociohistorical context of the

text written in the past illustrates some important aspects

of characterisation and theme(s).

3.1c I can, with support, identify literary devices used in a

contemporary text.

3.2c I can analyse literary devices adopted in a

contemporary text.

3.3c I can evaluate the effect(s) generated by literary

devices adopted in a contemporary text.

3.1d I can, with support, identify one sociohistorical

element in a contemporary text.

3.2d I can describe how the sociohistorical context of a

contemporary text informs my understanding of the

theme(s).

3.3d I can explain how the sociohistorical context of a

contemporary text illustrates some important aspects of

characterisation and theme(s).

3.1e I can, with support, identify the difference(s) and

similarity(ies) between a text written in the past and one

which is more contemporary.

3.2e I can describe the difference(s) and similarity(ies)

between a text written in the past and one which is more

contemporary.

3.3e I can analyse and discuss the difference(s) and

similarity(ies) between a text written in the past and one

which is more contemporary.


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Learning Outcome 4:

(Coursework) I can recommend a literary text such as poetry, prose and drama to others and give reasons for this.


4.1a I can, with support, identify the point of view in my

recommendation of the text.

4.2a I can discuss the main theme(s) in my


4.3a I can evaluate any distinctive literary attributes to

explain my recommendation.

4.1b I can, with support, describe an important or

interesting event in the text.

4.2b I can explain why a particular event in a text is

important or interesting.

4.3b I can evaluate the significance of particular events in

the text.

4.1c I can, with support, recommend a text to a particular

audience by referring to one feature.

e.g. plot, characters, etc.

4.2c I can recommend a text to a particular audience by

referring to different features.

e.g. genre, etc.

4.3c I can use rhetoric to persuade my audience to read a

text or watch a play by referring to different features.

e.g. setting, mood, etc.

4.1d I can, with support, write a short review about a

literary text. 4.2d I can write a short review about a literary text. 4.3d I can write a review about a literary text.


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Learning Outcome 5:

(Controlled and

Coursework)

I can respond to different aspects of set texts.


5.1a I can, with support, identify different meanings of

specific words. 5.2a I can analyse different meanings of specific words.

5.3a I can evaluate a text by referring to the different

meanings of specific words.

5.1b I can, with support, describe how the text

might/might not relate to my own experience.

5.2b I can discuss how the text might/might not relate to

my own experience.

5.3b I can evaluate ways in which the text might/might

not relate to my own experiences.

5.1c I can, with support, identify the elements of narrative.

e.g. plot, character, etc.

5.2c I can discuss the elements of narrative.

e.g. setting, action, tone, etc.

5.3c I can evaluate different elements of narrative.

e.g. voice, atmosphere, etc.

5.1d I can, with support, identify the form used in a text. 5.2d I can describe the form and structure used in a text. 5.3d I can analyse form and structure used in a text.


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Learning Outcome 6:

(Controlled and

Coursework)

I can tackle unseen literary texts (poetry and prose) independently.


6.1a I can identify the main points of an unseen text. 6.2a I can describe the main points of an unseen text. 6.3a I can synthesise an unseen text.

6.1b I can identify at least one literary device in an

unseen text.

6.2b I can explain at least two literary devices in an

unseen text.

6.3b I can evaluate the main literary devices in an unseen

text.

6.1c I can identify one grammatical structural feature or

one presentational feature the writer uses to engage the

reader in an unseen text.

6.2c I can describe how writers use linguistic,

grammatical, structural and presentational features to

engage and influence the reader in an unseen text.

6.3c I can evaluate how writers use linguistic,

grammatical, structural and presentational features to

engage and influence the reader in an unseen text.

6.1d I can identify the main theme of an unseen text.

6.2d I can describe how the different literary devices in

an unseen text contribute to the main theme or

character.

6.3d I can evaluate the overall function of the combined

literary devices in an unseen text.

6.1e I can describe how I feel about the unseen text by

referring closely to it.

6.2e I can give a reason for my own personal reaction to

the unseen text by referring closely to it.

6.3e I can discuss my own personal reaction(s) to the

unseen text by referring closely to it.


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Learning Outcome 7:

(Controlled and

Coursework)

I can compare and contrast literary texts or parts of texts taken from poetry, prose and drama.


7.1a I can, with support, compare or contrast the

purpose of literary texts.

7.2a I can compare and contrast the purpose and

audience of literary texts.

7.1b I can, with support, compare or contrast viewpoints

used in two different texts.

7.2b I can compare and contrast viewpoints used in two

different texts.

7.3b I can compare and contrast attitudes and viewpoints


7.1c I can, with support, compare or contrast one literary

device used in two different texts.

7.2c I can compare and contrast at least two literary

devices used in two different texts.

7.3c I can compare and contrast different literary devices


7.1d I can, with support, compare or contrast form in two

different texts.

7.2d I can compare and contrast form used in two

different texts.

7.3d I can compare and contrast form and structure used

in two different texts.


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Learning Outcome 8:

(Controlled and

Coursework)

I can use evidence from literary texts (poetry, prose and drama), such as close reference, paraphrase and commentary, to support my

explanation/discussion and can present these quotes using proper conventions.


8.1a I can, with support, identify parts of the text to

defend a claim I made about the text.

8.2a I can summarise a part or parts of a text to defend a

claim I made about the text.

8.3a I can use paraphrase as evidence to support a

discussion about a text.

8.1b I can, with support, select quotations from a text to

support my answer.

8.2b I can comment about the text by using some

supporting evidence (e.g. quotations).

8.3b I can discuss the text by using substantial supporting

evidence (e.g. paraphrases).


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Learning Outcome 9:

(Coursework) I can interact with literary texts (poetry, prose and drama) I have read or listened to in a creative way.


9.1a I can, with support, change the point of view of a

character or poetic persona featured in a text by rewriting

and/or dramatizing the part in a role play.

9.2a I can change the point of view of a character or poetic

persona featured in a text by rewriting and/or dramatizing

the part in a role play.

9.1b I can, with support, use at least one literary device

in a creative way.

9.2b I can use literary devices in a creative way.

e.g. writing a poem, play script or short story

9.3b I can use narrative techniques in creative ways in a

short story.

9.1c I can, with support, create a short introduction to a

prose passage.

9.2c I can provide an extension to the text by developing

a prologue, thereby contributing a new insight to the

original text.

9.3c I can provide an extension to the text by developing

an epilogue or another chapter or scene, thereby

contributing a new insight to the original text

9.1d I can, with support, create a short, alternative

ending to a prose passage.

9.2d I can change the ending of the original text, thereby

contributing a new insight to the original text.

9.3d I can change the ending of the original text and

explain how it relates to theme(s).

9.1e I can, with support, change into a complete

sentence at least two lines from a poem.

9.2e I can rewrite the stanza of a poem into a short

paragraph that resembles prose. 9.3e I can rewrite a whole poem into a prose form.

9.1f I can, with support, change part of a prose text into a

short dialogue. 9.2f I can dramatise parts of a prose text.

9.3f I can dramatise parts of a prose text and discuss the

effect this change may have on an audience.


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Learning Outcome 10:

(Coursework) I can interact with a Shakespearean text.


10.1a I can, with support, describe Shakespeare’s Globe. 10.2a I can provide a short explanation of Shakespeare’s

Globe by referring to its sociohistorical role.

10.3a I can provide a detailed explanation of

Shakespeare’s Globe by referring to its sociohistorical

role.

10.1b I can, with support, describe Shakespeare’s life.

10.2b I can give a brief account of Shakespeare’s life.

e.g. through a short role play activity interviewing

Shakespeare

10.3b I can give a detailed account of Shakespeare’s life.

e.g. a role play activity interviewing Shakespeare or a

transcript of an interview

10.2c I can, with support, use some examples from

Shakespeare’s language as it is used as everyday

expressions (e.g. vocabulary, idiomatic expressions, etc).

10.3c I can use some examples from Shakespeare’s

language as it is used as everyday expressions (e.g.

vocabulary, idiomatic expressions, etc).

10.1d I can, with support, identify the main events that

occur in a Shakespearean play.

10.2d I can describe the main events that occur in a

Shakespearean play.

10.3d I can analyse the main events that occur in a

Shakespearean play.

10.1e I can, with support, identify the main characters in

a Shakespearean play.

10.2e I can describe character roles in a Shakespearean

play.

10.3e I can evaluate character development in a

Shakespearean play.

10.1f I can, with support, describe how I feel about a

Shakespearean play by giving reasons.

10.2f I can make an informed personal response about

the main themes in a Shakespearean play.

10.3f I can make an informed personal response about

Shakespeare’s choices of poetic language, dramatic

structure and theatrical form.

10.2g I can explain how Shakespeare was reacting to the

context of his time.

10.3g I can demonstrate a clear understanding of social,

historical and cultural context when analysing a

Shakespearean play.


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(Controlled and

Coursework)

I can write well organised literature essays and / or speak in an organised manner about poetry, prose and drama, using the appropriate

conventions.


11.1a I can, with support, complete a short

essay/presentation about different aspects of a literary

text.

11.2a I can structure an essay/presentation in a way that

includes an introduction, paragraphs in the body and a

conclusion.

11.2b I can use quotations effectively as an integral part of my writing/presentation. e.g. embedding of quotations, block quotations, etc.

11.2c I can present a clear argument when discussing

different aspects of a literary text.

11.3c I can present a clear argument/exposition about

different aspects of a literary text.

11.2d I can incorporate literary terminology in my

writing/presentation about literary texts.

11.3d I can demonstrate advanced awareness of literary

terminology.

11.2e I can organise my ideas logically in a short,

coherent essay/presentation.

11.3e I can present well organised ideas that make my

claims clear and effective using cohesive devices

appropriately.

11.3f I can adopt advanced vocabulary when writing about

set texts.


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(Controlled and

Coursework)

I can write/speak accurately using a range of vocabulary and sentence structures for clarity, purpose and effect.


12.1a I can, with support, use fairly accurate language. 12.2a I can use language with reasonable accuracy. 12.3a I can use language with consistent accuracy.

12.1b I can, with support, use a fairly good range of

vocabulary for clarity, purpose and effect.

12.2b I can use a good range of vocabulary fairly

accurately for clarity, purpose and effect.

12.3b I can use a wide range of vocabulary accurately for

clarity, purpose and effect.

12.1c I can, with support, use a fairly good range of

sentence structures for clarity, purpose and effect.

12.2c I can use a good range of sentence structures fairly


12.3c I can use a wide range of sentence structures



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Scheme of Assessment

General Notes

School candidates

The assessment consists of:

Coursework: 30% of the total marks; comprising 3 assignments of equal weighting i.e. 10% each; set during

the three-year course programme.

Controlled assessments: 70% of the total marks; comprising of a two-hour written exam; set at the end of

the programme and differentiated between two tiers:

a. MQF levels 1 and 2;

b. MQF levels 2 and 3.

Candidates can obtain a level higher than Level 1 if they satisfy the examiners in both coursework and

controlled assessments, irrespective of the total marks obtained.

The coursework will be based on all 12 Learning Outcomes. An overview of the coursework assignments

is shown in the table below:

Assignment 1 (10 %) Assignment 2 (10 %) Assignment 3 (10 %)

Creative Interaction and Review Working with the Unseen Prose Compare and Contrast

Table 1: Coursework Assignments for School Candidates

The Controlled Assessment will be based on LO 1, LO 2, LO 3, LO 5, LO 6, LO 7, LO 8, LO 11 and LO 12.

MQF 1 & 2

Section Description Mark

A – Poetry Part A – MCQs, T/F, brief response questions on unseen poem 22

Part B – Controlled compare and contrast of the unseen poem and a set poem 18

B – Drama Questions on set texts with guided points. Candidates are required to write

three very short paragraphs on a selected text from each section.

30

C – Prose 30 Table 2: Scheme of Assessment, Levels 1 – 2 (school candidates)

MQF 2 & 3

Section Description Mark

A – Poetry Part A – Guided critical response on unseen poem 20

Part B – Guided compare and contrast of unseen and set poem 20

B – Drama Part A – Candidates are required to write an essay in response to guided

questions linked to the excerpt of their choice.

30

C – Prose Part B - Candidates are required to write an essay in response to guided

questions linked to the excerpt of their choice.

30

Table 3: Scheme of Assessment, Levels 2 – 3 (school candidates)


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Private Candidates

Private candidates shall be assessed by means of two controlled assessments.

The first controlled assessment will focus on the learning outcomes identified for school candidates’

coursework. Learning outcomes with assessment criteria in the psychomotor domain can be assessed by

asking questions in pen-and-paper format seeking understanding of the activity.

The second controlled assessment paper is common to all school candidates.

MQF 1 & 2 (Paper 1) MQF 1 & 2 (Paper 2)

Section Description Mark Section Description Mark

A

Shakespeare awareness –

MCQs, T/F, brief response

questions

15

A – Poetry

Part A–MCQs, T/F, brief

response questions on unseen

poem

22

Review of a set text 25

Part B – Controlled compare

and contrast of the unseen

poem and a set poem

18

B

Textual intervention –

Questions on set texts with

guided points.

30 B – Drama


guided points. Candidates are

required to write three very

short paragraphs on a selected

text from each section.

30

C Unseen Prose – Guided

questions 30 C – Prose


guided points. Candidates are

required to write three very

short paragraphs on a selected

text from each section.

30

Table 4: Scheme of Assessment, Levels 1 – 2 (private candidates)

MQF 2 & 3 (Paper 1) MQF 2 & 3 (Paper 2)

Section Description Mark Section Description Mark

A

Shakespeare awareness

15

A – Poetry

Part A – Guided critical response

on unseen poem 20

Review of a set text 25 Part B – Guided compare and

contrast of unseen and set poem 20

B Textual intervention 30 B – Drama

Part A – Candidates select one

excerpt from set texts with

specific guidelines leading to

guided responses.

30

C Unseen Prose 30 C – Prose

Part B - Candidates are required

to write an essay in response to

guided questions linked to the

excerpt of their choice.

30

Figure 5: Scheme of Assessment, Levels 2 – 3 (private candidates)


Page 21 of 72

Coursework Modes

COURSEWORK ASSIGNMENT 1 – CREATIVE INTERACTION AND REVIEW (MQF 1,2 & 3)

IMPORTANT NOTE:

Schools which opt for a Shakespearean play to be assessed in the Controlled

Assessment paper, have the possibility of choosing a prose text or a different

drama text for this assignment, other than Shakespeare. Learning Outcome 10

would be addressed in the Controlled Assessment.

If schools opt not to have a Shakespearean text assessed in the Controlled

Assessment paper, the texts for this assignment must be either:

a full text of a Shakespearean play;

OR

an abridged edition of any Shakespearean play which may include

paraphrased text or a part of a play.

It is recommended that the selected text is appropriate to the students’ level of

attainment. A film production or a stage performance of the play may complement the

text but must not substitute the text.

Particular attention is to be given to the sociohistorical context which relates to setting,

social structures, cultural contexts and the historical period in which the text was written.

The universality of a literary text which transcends its historical context to reflect the

human condition is also considered important.

The Learning Outcomes addressed by this assignment are:

LO3 I can read literary texts such as poetry, prose and drama from the past and those

which are more contemporary.

LO4 I can recommend a literary text such as poetry, prose and drama to others

and give reasons for this.

LO8 I can use evidence from literary texts (poetry, prose and drama), such as close

reference, paraphrase and commentary, to support my writing and can present these

quotes using proper conventions.

LO 9 I can interact with literary texts (poetry, prose and drama) I have read or

listened to in a creative way.

LO10 I can interact with a Shakespearean text.

(This learning outcome applies to schools who do not opt for a set Shakespeare play)

LO11 I can write well organised literature essays about poetry, prose and drama, using

the appropriate conventions.


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LO12 I can write accurately using a range of vocabulary and sentence structures for


This compulsory assignment is generally driven by Learning Outcomes 4 and 9.

SECTION A – Reviewing a text (50 marks)

In SECTION A students may opt for ONE of the following:

1. Writing a review

2. Oral presentation of a review

OPTION A1. Writing a review

After having been exposed to a collection of reviews from newspapers and online portals

to identify audience, purpose and features of a review, students should write a review of

about 300-400 words.

When writing a review, students are expected to:

focus on how the plot is presented;

provide evidence from the text to support and justify an opinion or opinions;

plan the overall structure by identifying a topic for each paragraph which would

construct an argument related to the brief;

present a clear and well informed personal response based on the reviewer’s

lasting impressions about the text (and performance).

Assignment Brief:

Write a review for your school’s online English magazine in which you recommend

Shakespeare’s Macbeth to people your age by referring to the theme of ambition. In your

discussion, include how this may be relevant to your readers despite the different

sociohistorical context.

It is important to refer closely to the text and to include quotations to support your main

points.

Your review must not be less than 300 words.

You may wish to include some, or all of the points listed below to complete the assignment.

Comment on the setting and plot.

Discuss character development of Macbeth and Lady Macbeth in relation to the

theme of ambition.

Comment on the significance of particular events in the text.

Highlight the reasons why you recommend your readers to read or watch Macbeth.

Discuss the play’s sociohistorical context in relation to important aspects of

characterisation and the theme of ambition.

Persuade your readers to read or watch the play by underlining the relevance of

the theme of ambition to our contemporary world and the human condition.


Page 23 of 72

OPTION A2. Oral presentation of a review

The purpose of this option is to illustrate how the assessment of Literature can be

approached through a skill other than writing by focusing on speaking which will be

assessed through a presentation. The text used is Macbeth, the same as in the written

exemplar option above.

The students are expected to be familiar with the play script and able to identify how

Macbeth and Lady Macbeth behave in relation to the theme of ambition. This will be

presented in a discussion on the relevance of this theme to the audience. In order to foster

the importance of emphasizing audience and purpose, the following example is used to

provide a context for this presentation.

Assignment Brief:

Prepare a 3 to 5-minute presentation by paying particular attention to audience, purpose

and context:

Target Audience: A group of students who have watched the play, Macbeth, and who

will be participating in a debate on how the play’s theme of ambition

is relevant to young people and today’s world.

Purpose: To recommend Shakespeare’s Macbeth to people your age by

referring to the theme of ambition. Discuss how this may be relevant

to your target audience despite the different sociohistorical context.

Context: A classroom debate on the theme of ambition in Macbeth.

It is important to refer closely to the text and to include quotations to support your main

points.

Your presentation must not be less than 3 and not longer than 5 minutes.

You may wish to include some, or all of the points listed below to complete the assignment.

Comment on the setting and plot.

Discuss character development of Macbeth and Lady Macbeth in relation to the

theme of ambition.

Comment on the significance of particular events in the text.

Highlight the reasons why you recommend your readers to read or watch Macbeth.

Discuss the play’s sociohistorical context in relation to important aspects of

characterisation and the theme of ambition.

Persuade your audience to read or watch the play by highlighting the relevance of

the theme of ambition to our contemporary world and the human condition.

This is a checklist for planning and delivering the presentation:

use of appropriate pauses


Page 24 of 72

use of body language

establishing eye contact

explanation of the purpose of the presentation

use of appropriate vocabulary

use of appropriate register

use of opening, closing and signposting

reasons for supporting a point of view

summary of the points mentioned in the presentation

time management

SECTION B – Interacting with a text in a creative way (50 marks)

In SECTION B students may opt for ONE of the following:

1. Textual intervention through a written task

2. Textual intervention through role-play

OPTION B1. Textual intervention through a written task

The written task should be around 300 words long and written in modern English.

Assignment brief:

Either

Refer to Macbeth Act 3 Scene 1

Create a scene: Add a scene following Banquo’s exit from Act 3 Scene 1.

In your scene, Banquo rides out to a quiet place and writes a letter to a friend.

Write Banquo’s letter to his friend recounting recent events and his interpretation of what

was happening.

OR


Create a scene: Add a scene following the Doctor and Gentlewoman’s conversation in Act

5 Scene 1.

In your scene Lady Macbeth decides to write down her tormenting thoughts in a diary.

Write a diary entry written from Lady Macbeth’s point of view.


Page 25 of 72

OPTION B 2. Textual intervention through role-play

The role-play should be 3 - 5 minutes long and expressed in modern English.

Assignment brief:

Either


Create a scene: Add a scene following the banquet in Act 3 Scene 4.

In your scene Lady Macbeth and Macbeth have a conversation in their bedroom about

what happened at the banquet.

Plan and act out a role-play which depicts the two characters’ perspectives.

OR

Refer to Macbeth Act 5 Scene 1.

Create a character and a scene: Add a scene following the Doctor and Gentlewoman’s

conversation in Act 5 Scene 1.

In your scene create a character with whom Lady Macbeth manages to confide her fears.

Plan and act out a role-play between this character and Lady Macbeth which depicts Lady

Macbeth’s perspective.


Page 26 of 72

Assessment Criteria:

MQF 1 (30%) MQF 2 (30%) MQF 3 (40%)

3.1a I can, with support,

identify literary devices used

in a text written in the past.

3.2a I can analyse literary

devices adopted in a text

written in the past.

3.3a I can evaluate the

effect(s) generated by

literary devices adopted in a

text written in the past

3.1b I can, with support,

identify one sociohistorical

element in the text written in

the past.

3.2b I can describe how the

sociohistorical context of the


informs my understanding of

a theme(s).

3.3b I can discuss how the

sociohistorical context of the


illustrates some important

aspects of characterisation

and theme(s).


identify the point of view in

my recommendation of the

text.

4.2a I can discuss the main

theme(s) in my


4.3a I can evaluate any

distinctive literary attributes

to explain my

recommendation.


describe an important or

interesting event in the text.

4.2b I can explain why a

particular event in a text is

important or interesting.

4.3c I can evaluate the

significance of particular

events in the text.

4.1c I can, with support,

recommend a text to a

particular audience by

referring to one feature.

e.g. plot, characters, etc

4.2c I can recommend a text

to a particular audience by

referring to different

features.

e.g. genre, etc.

4.3c I can use rhetoric to

persuade my audience to

read a text or watch a play

by referring to different

features.

e.g. setting, mood, etc.

4.1d I can, with support,

write a short review about a

literary text.

4.2d I can write a short

review about a literary text.

4.3d I can write a review

about a literary text.


identify parts of the text to

defend a claim I made about

the text.

8.2a I can summarise a part

or parts of a text to defend a

claim I made about the text.

8.3a I can use paraphrase as

evidence to support a



select quotations from a text

to support my answer.

8.2b I can comment about

the text by using some

supporting evidence (e.g.

quotations).

8.3b I can discuss the text by

using substantial supporting



change the point of view of a

character or poetic persona

featured in a text by

rewriting and/or dramatizing

the part in a role play.

9.2a I can change the point

of view of a character or

poetic persona featured in a

text by rewriting and/or

dramatizing the part in a role

play.

9.1b I can, with support, use

at least one literary device in

a creative way.

9.2b I can use literary

devices in a creative way.

e.g. writing a poem, play

script or short story

9.3b I can use narrative

techniques in creative ways

in a short story.


Page 27 of 72


create a short introduction to

a prose passage.

9.2c I can provide an

extension to the text by

developing a prologue,

thereby contributing a new

insight to the original text.

9.3c I can provide an

extension to the text by

developing an epilogue or

another chapter or scene,

thereby contributing a new

insight to the original text


create a short, alternative

ending to a prose passage.

9.2d I can change the ending

of the original text, thereby

contributing a new insight to

the original text.

9.3d I can change the ending

of the original text and

explain how it relates to

theme(s).

9.1f I can, with support,

change part of a prose text

into a short dialogue.

9.2f I can dramatise parts of

a prose text.

9.3f I can dramatise parts of

a prose text and discuss the

effect this change may have

on an audience.


identify the main events that

occur in a Shakespearean

play.

10.2.d I can describe the

main events that occur in a

Shakespearean play.

10.3.d I can analyse the

main events that occur in a

Shakespearean play.

10.1.e I can, with support,

identify the main characters

in a Shakespearean play.

10.2.e I can describe

character roles in a

Shakespearean play.

10.3.e I can evaluate

character development in a

Shakespearean play.

10.1.f I can, with support,

describe how I feel about a

Shakespearean play by

giving reasons.

10.2.f I can make an

informed personal response

about the main themes in a

Shakespearean play.

10.3.f I can make an

informed personal response

about Shakespeare’s choices

of poetic language, dramatic

structure and theatrical form.

10.2.g I can explain how

Shakespeare was reacting to

the context of his time.

10.3.g I can demonstrate a

clear understanding of social,

historical and cultural context

when analysing a

Shakespearean play.


complete a short essay about

different aspects of a literary

text.

11.2a I can structure an

essay in a way that includes

an introduction, paragraphs

in the body and a conclusion.

11.2b I can use quotations

effectively as an integral part

of my writing.

e.g. embedding of

quotations, block quotations,

etc.

11.2c I can present a clear

argument when discussing


text.


argument/exposition about


text.

11.2d I can incorporate

literary terminology in my

writing/ presentation about

literary texts.

11.3d I can demonstrate

advanced awareness of

literary terminology.


Page 28 of 72

11.2e I can organise my

ideas logically in a short,

coherent essay/

presentation.

11.3e I can present well

organised ideas that make

my claims clear and effective

using cohesive devices

appropriately.

11.3f I can adopt advanced

vocabulary when writing

about set texts.

12.1a I can use fairly

accurate language.

12.2a I can use language

with reasonable accuracy.


with consistent accuracy.

12.1b I can use a fairly good

range of vocabulary for


12.2b I can use a good range

of vocabulary fairly

accurately for clarity,

purpose and effect.

12.3b I can use a wide range

of vocabulary accurately for


12.1c I can use a fairly good

range of sentence structures

for clarity, purpose and

effect.

12.2c I can use a good range

of sentence structures fairly


purpose and effect.

12.3c I can use a wide range

of sentence structures


purpose and effect.


Page 29 of 72

RATING SCALE – WRITING A REVIEW

MQF 3 MQF 3 MQF 2 MQF 1

15 – 14 13 – 10 9 – 5 4 – 0

Students

characteristically

Students

characteristically

Students

characteristically

Students

characteristically

Knowledge and

Understanding

of Content

(what the text

is about and

main topic or

message

conveyed by

the writer):

(15 marks)

communicate thorough

knowledge and

understanding of the

text

demonstrate an

excellent


text by going beyond

the surface level

demonstrate a well

informed personal

response

show excellent


social, historical and

cultural context when

analysing the text

communicate basic

knowledge and


text

demonstrate some


text but with flaws

demonstrate an

attempt at a personal

response

show a fairly adequate


sociohistorical context

of the text

communicate limited

knowledge of the text

demonstrate limited


text

demonstrate a limited

personal response

show a limited


main features of the

text

show a limited


context in which the

text was written

communicate very

limited knowledge and


text

use inaccurate details

demonstrate a very

limited personal

response

show a very limited



text

20 – 17 16 – 12 11 – 7 6 – 0

Task

Achievement

and Relevance

(observations

on: choice of

language and

effect;

organisation;

present a relevant

evaluation of particular

events in the text by

selecting appropriate

textual references as

supporting evidence

confidently use

persuasive language to

convince the intended

present fairly relevant

explanation by

selecting fairly

appropriate textual

references as

supporting evidence

for the text

explain fairly well why

a particular event in a


explanation about the

importance of a

particular event

use very limited

textual references to

different features of

the text

barely describe one

important event in the

text

show inaccuracies in

their references to

different features of

the text


Page 30 of 72

form and

structure;

other literary

devices):

(20 marks)

audience to read the

text or watch the play

while referring to

various features very

well.

apply excellent review

terminology

appropriately

Students ability to

show understanding of

the text and go

beyond it.

text is important or

interesting

choose some

arguments related to a

few features to

recommend the text to

the intended audience

apply fairly good

review terminology

appropriately

make a limited

recommendation to


apply limited use of

review terminology

appropriately

make no or hardly any

recommendation to


show inappropriate

choice of evidence

apply very limited (if

at all) review

terminology

appropriately

10 – 9 8 – 5 4 – 3 2 – 0

Organisation

and Structure:

(10 marks)

structure and organise

their writing in a

cogent manner with a

clear focus on

coherence and

cohesion

attempt to structure

and organise their

writing but not

consistently successful


and organise their

writing with very

limited success

show a poor attempt

(if at all) to structure

and organise their

writing

5 2 1 0

Language use:

(5 marks)

use an excellent range

of vocabulary and

sentence structures for

clarity, purpose and

effect, with accurate

spelling and

punctuation

use an adeuqte range

of vocabulary and

sentence structures

but with some issues

of clarity, purpose and

effect, and with some

inaccurate spelling

andinappropriate use

of punctuation

use a limited range of

vocabulary and

sentence structures

with lack of clarity,

purpose and effect,

and with inaccurate

spelling and

inappropriate use of

punctuation


vocabulary and

sentence structures


purpose and effect,

and with inaccurate

spelling and


punctuation


Page 31 of 72

RATING SCALE – LITERATURE PRESENTATION

Presentation -

Literature MQF 3 MQF 3 MQF 2 MQF 1

15 – 14 13 – 10 9 – 5 4 – 0

Knowledge and

understanding of

content:

(15 marks)

Evidence of mature


text.

Evidence of an in-

depth understanding

of the text.

Evidence of basic

knowledge of the text;

Evidence of some depth

of understanding of the text.

Fairly limited


Fairly limited

understanding of the text;

Examples given are sometimes inaccurate.

Minimal knowledge (if

at all) of the text;

Minimal understanding (if at all) of the text;

Examples given are mostly inaccurate.

Relevance and

Selection:

(15 marks)

Evidence of

relevant, well-

grounded responses

by selecting

appropriate textual

references as

supporting material;

Student confidently

analyses how the

writer uses specific

aspects to shape meaning;

Student

demonstrates

maturity of

argumentation and

interpretation;

Student presents fairly

relevant responses grounded in the text;

Student makes use of

appropriate textual

references as supporting evidence;

Student describes

some aspects with

reference to how the

writer shapes meaning;

Fairly good use of

references (quotation, paraphrase, etc.).

Fairly limited focus;

Fairly limited textual

references;

Inaccurate references.

Minimal focus on text;

Minimal or no reference

to other aspects of the text;

Inappropriate or

inaccurate choice of material.


Page 32 of 72

Good use of

references

(quotation, paraphrase, etc.).

Evaluative

comments &

personal response:

(15 marks)

Excellent exploration

of effects of writer’s

choice of actions on audience;

A clear and well

informed personal response;

Appropriate use of

subject terminology.

A clear attempt at

exploration of effects of

writer’s choice of actions on reader;

Adequate evidence of

an informed personal response;

Adequate use of


A fair attempt at



Some evidence of an


Fairly use of subject

terminology.

Minimal attempt at



Minimal evidence of an


Fairly adequate use of

subject terminology. (if at all).

5 2 1 0

Intelligibility,

Expression,

Organisation,

Coherence and

Time Management:

(5 marks)

Student

communicates

accurately and intelligibly;

Student

communicates

meaning successfully;

Audience follows the

line of

argumentation/

exposition/idea/ thought effortlessly;

Manages time well.

Student communicates

quite accurately and intelligibly;


meaning with some success;

Audience makes some

effort to follow the line

of argumentation/

exposition/idea/ thought;

Manages time fairly

well.

Student has some

difficulties

communicating



meaning with limited success;

Audience makes an


of argumentation/

exposition/idea/ thought;

Manages time fairly well.

Student has minimal

success communicating


Student has difficulty

communicating

meaning;

Audience can hardly

follow the line of

argumentation/

exposition/idea/

thought;

Poor time management.


Page 33 of 72

RATING SCALE – ROLE PLAY

MQF 3 MQF 3 MQF 2 MQF 1

15 – 14 13 – 10 9 – 5 4 – 0

Character

Presentation

(15 marks)

Convincing

communication of

character’s feelings,

situation and motives.

Competent

communication of


situations and motives.

Adequate

communication of



Limited communication

of character’s feelings,


10 – 9 8 – 5 4 – 3 2 – 0

Evidence of

knowledge and

understanding of

text

(10 marks)

Choice of examples or

references to the text

demonstrate a good


text.



demonstrate quite a

good understanding of

the text.



demonstrate some


text.



demonstrate a poor

understanding (if at all)

of the text.

15 – 14 13 – 10 9 – 5 4 – 0

Relevance and Task

Achievement

(15 marks)

Task is achieved well

The communicative

exchange and/or

discussion is clearly

relevant to the

purpose established by

the task.

Task is achieved quite

well;

The communicative

exchange and/or

discussion is mostly

relevant to the purpose

established by the task.

Task is somewhat

achieved;

The communicative

exchange and/or

discussion is quite

relevant to the purpose

established by the task.

Task is achieved with

limitations;

The communicative

exchange and/or

discussion is not quite

relevant (if at all) to the

purpose established by

the task.

5 2 1 0

Use of Non-Verbal

Cues (voice,

gestures, eye

contact) (5 marks)

Good variety of non-

verbal cues are used

in a competent way

Satisfactory variety of

non-verbal cues used in

an acceptable way.

Limited variety of non-

verbal cues are used in a

developing way.

Poor use of non-verbal

cues.

5 2 1 0

Intelligibility,

Expression,

Organisation,

Coherence and

Student

communicates

accurately and

intelligibly;


quite accurately and

intelligibly;

Student has some

difficulties

communicating

accurately and

intelligibly;

Student has minimal

success communicating

accurately and

intelligibly;


Page 34 of 72

Time Management:

(5 marks)

Student

communicates

meaning successfully;

Audience follows the

line of argumentation

/ exposition/idea/

thought effortlessly;

Manages time well.


meaning with some

success;

Audience makes some


of argumentation/

exposition/idea/thought;

Manages time fairly

well.


meaning with limited

success;

Audience makes an


of argumentation/


Manages time fairly

well.

Student has difficulty

communicating

meaning;

Audience can hardly

follow the line of

argumentation/


Poor time management.


Page 35 of 72

RATING SCALE – WRITTEN TEXTUAL INTERVENTION

MQF3 MQF3 MQF2 MQF1

15 – 14 13 – 10 9 – 5 4 – 0

Students

characteristically

Students

characteristically

Students

characteristically

Students

characteristically

Knowledge and

Understanding

of Content

(what the text

is about and

main topic or

message

conveyed by

the writer):

(15 marks)


knowledge and


text;

demonstrate an

excellent


text by going beyond

the surface level;

demonstrate a well

informed personal

response;

show excellent


social, historical and

cultural context when

analysing the text.

communicate basic

knowledge and


text;

demonstrate some


text but with flaws;

demonstrate an


response;



sociohistorical context

of the text.

communicate limited


demonstrate limited


text;


personal response;

show a limited



text;

show a limited


context in which the

text was written.

communicate very



text;

use inaccurate details;

demonstrate a very

limited personal

response;

show a very limited



text.

20 – 17 16 – 12 11 – 7 6 – 0

Task

Achievement

and Creative

textual

intervention:

(20 marks)

present a relevant

alternative to a

particular event in the

text by selecting

appropriate textual

references as

supporting evidence;

create new or adapt

elements in the text

present a fairly

relevant explanation

by selecting fairly

appropriate textual

references as

supporting evidence

for the created text;

create new or adapt



explanation about the

importance of the

alternative event;

create new or adapt


that demonstrate a

slightly unusual

perspective.

barely describe one

important alternative

event in the text

limited (if at all)

textual intervention.


Page 36 of 72

that demonstrate

originality or an

unusual perspective.

that demonstrate some

originality or an

unusual perspective.

10 – 9 8 – 5 4 – 3 2 – 0

Organisation

and Structure:

(10 marks)


their writing in a


clear focus on

coherence and

cohesion


and organise their

writing but not



and organise their

writing with very

limited success

show a poor attempt

(if at all) to structure

and organise their

writing

5 2 1 0

Language use:

(5 marks)


of vocabulary and




spelling and

punctuation


of vocabulary and

sentence structures




inaccurate spelling


of punctuation


vocabulary and

sentence structures


purpose and effect,

and with inaccurate

spelling and


punctuation


vocabulary and

sentence structures


purpose and effect,

and with inaccurate

spelling and


punctuation


Page 37 of 72

COURSEWORK ASSIGNMENT 2 - PROCESS WRITING: UNSEEN PROSE

UNSEEN LITERATURE ESSAY (MQF1,2 & 3)

The main purpose of this compulsory assignment is for students to respond to an unseen

prose passage by preparing a short essay which goes through an important writing process

that includes three drafts (first, second and final). By preparing drafts through an editing

and proofreading process, the task will demonstrate the student’s ability to revise and

refine their work.


LO 2 I can respond to a range of literary devices adopted in texts such as poetry, prose

and drama and explain how they might be linked to theme, setting or character.

LO 5 I can respond to different aspects of set texts.

LO 6 I can tackle unseen literary texts (poetry and prose) independently.

LO 8 I can use evidence from literary texts (poetry, prose and drama), such as close

reference, paraphrase and commentary, to support my writing and can present

these quotes using proper conventions.

LO 11 I can write well organised literature essays about poetry, prose and drama,

using the appropriate conventions.

LO 12 I can write accurately using a range of vocabulary and sentence structures for


Assignment Brief:

In order to guide the students through the writing process, a pre-writing task made up of

nine questions have been prepared to encourage students to actively engage with the text

through close reading. This is followed by a first and second draft that should lead the

students to writing and submitting a final draft of a literature essay. The marks allocated

for each stage reflect the weighting for MQF 1 and 2.

Pre-writing task (25 marks)

MQF 1: 7 marks MQF 2: 8 marks MQF 3: 10 marks

First and final drafts (25 marks)


Final draft (50 marks)



Page 38 of 72

Unseen Prose Task

The following excerpt is taken from a short story titled ‘Sun and Moon’ written by Katherine

Mansfield. Sun and Moon are brother and sister who are watching and observing the

activity of servants who are preparing for a family party which is to be held at their house.

The excerpt has been divided into smaller parts and each one is followed by a set of short

questions

Part 1

In the afternoon the chairs came, a whole big cart full of little gold ones with

their legs in the air. And then the flowers came. When you stared down from the

balcony at the people carrying them, the flower pots looked like funny awfully

nice hats nodding up the path.

1. The writer is describing the activity and atmosphere in preparation for the family party.

a. Which statements are True / False?

b. Give reasons for your choice. (4)

i. The gold chairs were brought to the house in a big cart.

ii. There were people wearing funny hats.

iii. The writer is trying to create a sense of excitement about the party.

iv. A sad atmosphere is being described.

Part 2

There was nobody to look after Sun and Moon. Nurse was helping Annie alter

Mother's dress which was much-too-long-and-tight-under-the-arms and Mother

was running all over the house and telephoning Father to be sure not to forget

things. She only had time to say: “Out of my way, children!”

They kept out of her way – at any rate Sun did. He did so hate being sent

stumping back to the nursery. It didn't matter about Moon. If she got tangled in

people's legs, they only threw her up and shook her till she squeaked. But Sun

was too heavy for that. He was so heavy that the fat man who came to dinner on

Sundays used to say: “Now, young man, let's try to lift you.” And then he would

try to lift Sun up but after trying hard, he’d give up saying: “Son is a perfect little

ton of bricks!”

2. Sun and Moon are brother and sister and they are caught up in the whole activity.

a. Which statements are True / False? (Insert T or F in the empty column)

b. Give reasons for your choice.


Page 39 of 72

i. Sun and Moon were helping the servants with the party preparation.

ii. Mother’s party dress is very short.

iii. Moon is like a soft toy, light and squeaky.

iv. Sun is probably older than Moon and ‘the fat man who visited on

Sundays’ was only pretending that Sun was as heavy as a “ton of bricks”

(8)

Part 3

Nearly all the furniture was taken out of the dining-room. The big piano was

put in a corner and then there came a row of flower pots and then there came

the golden chairs. That was for the concert. When Sun looked in, a white faced

man sat at the piano – not playing, but banging at it and then looking inside. He

had a bag of tools on the piano and he had stuck his hat on a statue against the

wall. Sometimes he just started to play and then he jumped up again and looked

inside. Sun hoped he wasn't the concert.

But of course the place to be in was the kitchen. There was a man helping in a

white cap, and their real cook, Minnie, was all red in the face and laughing. Not

angry at all. She gave them each an almond finger and lifted them up on to the

flour bin so that they could watch the wonderful things she and the man were

making for supper. Cook brought in the things and he put them on dishes and

trimmed them. Whole fishes, with their heads and eyes and tails still on, he

sprinkled with red and green and yellow bits; he dotted almonds and tiny round

biscuits on the creams. And more and more things kept coming.

3. Who is describing the activity in the dining room and the kitchen? (1)

____________________________________________________________________

4. What do you think will happen in the dining room when the party starts in the evening?

(1)

___________________________________________________________________

5. Choose the best answer that describes what the ‘white faced’ man is doing in the dining

room. (1)

a. He is destroying the piano.

b. He cannot play the piano, so he is banging on it.

c. He is tuning the piano to get it ready for the concert.

d. He cannot find the tool he needs to fix the piano.


Page 40 of 72

6. Which statements are True/False? Give reasons for your choice. (4)

a. Sun and Moon were not allowed to remain in the kitchen.

b. Sun and Moon kept getting into Minnie’s way.

c. Minnie, who is the family cook, is very excited about the party.

d. The cook in the white cap is decorating the food.

7. Choose the best answer that describes the atmosphere in these two paragraphs. (2)

a. Minnie and the Cook were annoyed because of all the work they had to do in

the kitchen.

b. Sun and Moon wanted to go back to their nursery because they were bored.

c. The writer describes the enthusiasm about the party by listing all the food items

being prepared in the kitchen.

d. The writer describes how Cook was not helping Minnie in the kitchen.

Part 4

The housemaid came in and she seemed all excited. “It's a picture, Min,” said

Nellie. “Come along and have a look.” So they all went into the dining-room. Sun

and Moon were almost frightened. They wouldn't go up to the table at first; they

just stood at the door and made eyes at it.

It wasn't real night yet but the blinds were down in the dining-room and the

lights turned on – and all the lights were red roses. Red ribbons and bunches of

roses tied up the table at the corners. In the middle was a lake with rose petals

floating on it.

Two silver lions with wings had fruit on their backs, and the salt cellars were

tiny birds drinking out of basins.

And all the winking glasses and shining plates and sparkling knives and forks

– and all the food. And the little red table napkins made into roses…

“Are people going to eat the food?” asked Sun.

“I should just think they were,” laughed Cook, laughing with Nellie. Moon

laughed, too; she always did the same as other people. But Sun didn't want to

laugh.


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8. Choose the best answer that suggests the meaning of following line: ‘They wouldn't

go up to the table at first; they just stood at the door and made eyes at it’.

(2)

a. Sun and Moon did not wish to look at the dining room.

b. Sun and Moon were in awe by the beautiful decorations and starred in

amazement at the dining room.

c. Minnie and the Cook did not wish to approach the table.

d. Nellie did not allow the children to approach the table.

9. Choose the best answer that suggests what the writer is trying to convey in the two

sentences: ‘And all the winking glasses and shining plates and sparkling knives

and forks – and all the food. And the little red table napkins made into roses…’

(2)

a. The first sentence is long, and the second sentence is short but incomplete

because the writer had to stop describing the table.

b. Sun and Moon were running around the table excitedly.

c. Nellie and the other servants were breathless after having worked hard to

prepare the dining table.

d. The repetition of ‘and’ suggests that the long list of beautiful items found on

the dining table is never ending so it catches the attention of all those who see

it.

10. Prepare a first, a second and a final draft of a literature essay which comments and

evaluates all the parts of the prose passage. The nine questions and answers you have

completed should guide you in the planning and writing of the essay. The final draft

should be between 250 and 400 words long. (75)

You may wish to include some, or all, of the points listed below to complete the task.

Consider some ways in which the author creates atmosphere in the extract.

Focus on Sun and comment on how the author presents the child.

Comment on how the other characters are presented.

Observe the choice of words and /or phrases and discuss how they create a

particular effect.

Comment on the organisation and structure of the passage.


Page 42 of 72


MQF 1 MQF 2 MQF 3

2.1a I can identify a number

of literary devices in a text.

2.2a I can explain the effect

of different literary devices

in a text.


effects and functions of

literary devices in a text.

2.1b I can identify at least

one difference in how literary

devices are used in poetry,

prose and drama texts.

2.2b I can describe how

literary devices are used

similarly or differently in

poetry, prose and drama

texts.

2.3b I can analyse how




texts.

2.2c I can explain how at

least two literary devices

are related to a character

and a theme.

2.3c I can discuss how

literary devices are linked to

themes, character(s) and

setting.


identify different meanings

of specific words.

5.2a I can analyse how

some words have different

meanings in some parts of

a text.

5.3a I can evaluate a text by

referring to its connotations.

5.1d I can identify the form

used in a text.

5.2d I can describe the

form and structure used in

a text.

5.3d I can analyse form and

structure.

6.1a I can identify the main

points of an unseen text.

6.2a I can describe the

main points of an unseen

text.

6.3a I can synthesise an

unseen text.

6.1b I can identify at least

one literary device in an

unseen text.

6.2b I can explain at least

two literary devices in an

unseen text.

6.3b I can discuss the main

literary devices in an unseen

text.

6.1c I can identify one

grammatical structural

feature or one presentational

feature the writer uses to

engage the reader in an

unseen text.

6.2c I can describe how

writers use linguistic,

grammatical, structural

and presentational features

to engage and influence the


6.3c I can evaluate how

writers use linguistic,

grammatical, structural and

presentational features to

engage and influence the


6.1d I can identify the main

theme of an unseen text.

6.2d I can describe how the

different literary devices in

an unseen text contribute

to the main theme or

character.

6.3d I can evaluate the

overall function of the

combined literary devices in

an unseen text.

6.1e I can describe how I feel

about the unseen text by


6.2e I can give a reason for

my own personal reaction

to the unseen text by


6.3e I can discuss my own

personal reaction(s) to the

unseen text by referring

closely to it.


identify parts of the text to

defend a claim I made about

the text.

8.2a I can summarise a

part or parts of a text to

defend a claim I made

about the text.

8.3a I can use paraphrase as

evidence to support a



Page 43 of 72


select quotations from a text

to support my answer.

8.2b I can comment about

the text by using some


quotations).

8.3b I can discuss the text by

using substantial supporting



complete a short essay

about different aspects of a

literary text.


essay in a way that includes

an introduction,

paragraphs in the body and

a conclusion.

11.2b I can use quotations

effectively as an integral

part of my writing.

e.g. embedding of

quotations, block

quotations, etc.

11.3b I can present a clear

argument/exposition about


text.


argument when discussing

different aspects of a

literary text.


literary terminology in my

writing about literary texts.






coherent essay.


organised ideas that make

my claims clear and effective

using cohesive devices

appropriately.

11.3f I can adopt advanced

vocabulary when writing

about set texts.


use fairly accurate language.


with reasonable accuracy.




use a fairly good range of

vocabulary for clarity,

purpose and effect.

12.2b I can use a good

range of vocabulary fairly


purpose and effect.

12.3b I can use a wide range

of vocabulary accurately for



use a fairly good range of



12.2c I can use a good

range of sentence

structures fairly accurately

for clarity, purpose and

effect.

12.3c I can use a wide range

of sentence structures


purpose and effect.


Page 44 of 72

Scoring Rubric

Process Writing – Draft 1 & 2 5 4 3 2 1 0

Ideas generated

Organisation of ideas

Evidence of First draft & Second draft

Editing with changes remaining visible

Proof reading

Process Writing – Final draft 5 4 3 2 1 0

1. Knowledge and understanding of content:

Factual information is correct

Understanding of the text

2. Relevance and Selection:

Use of textual references (quotations/paraphrasing)

Explain interpretations

Support interpretations

Selected points are relevant

3. Critical analysis and evaluation:

Focus on author’s use of language

Focus on observation of organisation and structure

Demonstrate and informed personal response

4. Expression, Organisation and Structure (Coherence and

Cohesion)

Total:


Page 45 of 72

Detailed Rating Scale – Process Writing

Process Writing

– Draft 1 & 2

MQF 3 MQF 3

MQF 2 MQF 1

25 – 22 21 – 15 14 – 8 7 – 0

Ideas generated

Organisation of

ideas

First draft &

Second draft

Editing with

changes

remaining visible

Proof reading

Ideas generated show a

clear focus on the text;

Selected points are

organised clearly;

First and sescond draft

are produced;

Editing has a clear focus

on logical progression

from one idea/point/

sentence/paragraph to

another;

Proof reading clearly

focuses on literary writing

conventions (spelling and

punctuation, grammar,

appropriate terminology,

register, and appropriate

cohesive links).

Ideas generated show a

part focus on the text;

Some of the selected

points are organised

clearly;

First and second draft are

produced;

Editing has a fairly clear

focus on logical

progression from one

idea/point/sentence/

paragraph to another;

Proof reading is fairly

focused on literary writing





cohesive links).

Ideas generated show

they are not immediately

focused on the text;

Selected points show

some level of

organisation;


produced;

Editing has limited focus

on logical progression

from one idea/point/

sentence/paragraph to

another;

Proof reading shows

limited focus on literary

writing conventions

(spelling and punctuation,

grammar, appropriate

terminology, register, and

appropriate cohesive

links).

Ideas generated show

minimal focus (if at all) on

the extract;

Selected points show

minimal (if at all)

organisation;


produced;

Editing appears with


logical progression from

one idea/point/sentence/

paragraph to another;

Proof reading shows


literary writing





cohesive links).

Process Writing

– Final draft

10 9 – 7 6 – 4 3 – 0

Knowledge and

understanding of

Evidence of thorough


Evidence of basic


Fairly limited knowledge

of the text;

Minimal knowledge (if

at all) of the text;


Page 46 of 72

content:

(10 marks)

Evidence of mature


text.

Evidence of some depth

of understanding of the

text.

Fairly limited

understanding of the text;

Details are sometimes

inaccurate.

Minimal understanding

(if at all) of the text;

Details are mostly

inaccurate.

20 – 18 14 – 12 11 – 6 5 – 0

Relevance and

Selection:

(20 marks)

Use of textual

references

Support and

illustrate

interpretations

Evidence of relevant,

well-grounded

responses by selecting

appropriate textual

references as supporting

material;

Student confidently

analyses how the writer

uses specific aspects to

shape meaning;

Student demonstrates

maturity of argumentation

and interpretation.

Student presents fairly

relevant responses

grounded in the text;

Student makes use of

appropriate textual

references as supporting

evidence;

Student describes some

aspects with reference to

how the writer shapes

meaning.

Fairly limited focus;

Fairly limited textual

references;

Inaccurate references.

Minimal focus on text;

Minimal or no reference

to other aspects of the

text;

Inappropriate or

inaccurate choice of

material.

15 – 14 13 – 10 9 – 5 4 – 0

Critical analysis

and evaluation:

(15 marks)

Focus on

author’s use of

language

Observation on

organisation and

structure

Demonstrate

and informed

Excellent analysis of

author’s use of

language;

Excellent analysis of

writer’s methods

(organisation, structure,

etc.);

Excellent exploration of

effects of writer’s

methods on reader;

A clear and well

informed personal

response;

Good focus on author’s

use of language;

Judicious evaluation of

writer’s methods

(organisation, structure,

etc.);

Some exploration of

effects of writer’s

methods on reader;

Evidence of an informed

personal response;

Judicious use of subject

terminology.

Adequate focus on

author’s use of

language;

Quite adequate

evaluation of writer’s

methods (organisation,

structure, etc.);

A clear attempt at


writer’s methods on

reader;

Minimal focus (if at all)

on author’s use of

language;

Minimal attempt to

evaluate the writer’s

methods (organisation,

structure, etc.) (if at

all);

No attempt at exploration

of effects of writer’s

methods on reader;

No attempt at a personal

response;


Page 47 of 72

personal

response

Use of

appropriate

terminology to

describe the

extract

Appropriate use of


Some evidence of an

informed personal

response;

Adequate use of subject

terminology.

Minimal use of subject

terminology (if at all)

5 4 – 3 2 1 – 0

Expression,

Organisation and

Structure

(Coherence and

Cohesion):

(5 marks)


using clear, accurate

writing;

Writing is structured

and organised in a

cogent manner;

Paragraph features are

adhered to;

Sentences and

paragraphs are

cohesively linked;

The reader can follow

the line of

argumentation/

exposition/idea/thought

effortlessly.


meaning using

straightforward language;

Paragraph and sentence

structure are fairly correct

though unambitious;


somewhat evident;

There may be some

evidence of cohesion

between and within

sentences as well as

between paragraphs;

The reader may have to

make some effort to

follow the line of

argumentation/

exposition/idea/thought.

Student attempts to

communicate meaning

with limited accuracy;

Paragraph and sentence

structure show lack of

control;


rarely evident;

There may be little

evidence of cohesion

between and within

sentences as well as

between paragraphs;

The reader has to make

an effort to follow the

line of argumentation/

exposition/idea/

thought.

Student uses inaccurate

language;

No attempt to structure

and organise the

writing;


not adhered to;

There is a lack of

cohesion between

sentences and less so

between paragraphs;

The reader struggles to

follow the line of

argumentation/

exposition/idea/

thought.


Page 48 of 72

COURSEWORK ASSIGNMENT 3 - COMPARE AND CONTRAST (MQF 1,2 & 3)

The main purpose of this assignment is to illustrate how tasks can be designed to

address one of the key skills in literature, the ability to compare texts and illustrate the

significant differences by communicating them with clarity.


LO2 I can respond to a range of literary devices adopted in texts such as poetry, prose

and drama and explain how they might be linked to theme, setting or character.

LO5 I can respond to different aspects of set texts.

LO7 I can compare and contrast literary texts or parts of texts taken from poetry,

prose and drama.

LO8 I can use evidence from literary texts (poetry, prose and drama), such as close

reference, paraphrase and commentary, to support my writing and can present

these quotes using proper conventions.

LO11 I can write well organised literature essays about poetry, prose and drama,

using the appropriate conventions.





Assignment Brief:

In order to guide students through the comparative exercise, three main tasks have

been designed. The first two tasks focus on two poems that students are familiar with

and short questions will guide them through their reading and understanding of the

poems. The third task offers students an organised approach to a compare and contrast

essay of around 250 and 350 words. The marks are divided as follows:

MQF 1:30 marks MQF 2:30 marks MQF 3:40 marks


Page 49 of 72

Compare and Contrast (100 marks)

The two poems, Slow Reader by Vicky Feaver and First Day at School by Roger McGough

have been selected for the purpose of a comparative exercise. The questions below will

guide you in selecting the similarities and differences between these two poems.

Task 1 – About Slow Reader (14 marks)

Underline the best answer. (2)

1. The poem is about:

a. a grown-up who is angry at a boy.

b. a young boy who enjoys reading many books.

c. a young boy who is reluctant to read.

d. a grown-up who reads very slowly.

2. The persona is: (2)

a. a child.

b. a young girl.

c. an adult.

3. In the first stanza the boy is described as being creative and sociable. Quote two

separate phrases from the poem which show this. (4)

a. Creative ____________________________________________________

b. Sociable ____________________________________________________

4. Why do you think the poet compares the child to an old man who knows how difficult

it would be for him to climb a mountain? (2)

a. The child is as wrinkly as an old man.

b. The child is shaking his head and sighing like an old man.

c. The child, like an old man who realises how difficult it is to climb a mountain,

knows how hard reading is for him.

d. The child feels tired like the old man.

5. The child’s behaviour is described in this way: ‘He toys with words,/letting them go

cold/as gristly meat’ (lines 13 – 15). This seems to suggest that (2)

a. The adult is feeding the child food to keep him healthy.

b. The child dislikes reading as much as he dislikes chewing on meat.

c. The child is enjoying his supper.


Page 50 of 72

d. The adult is force feeding the child.

6. In the last lines (16 – 25), the adult allows the child to leave and he draws a

comparison to a fish and a young horse. What does this tell you about the child?

(2)

a. The child, probably, feels trapped by the adult and he is therefore happy to be

set free like a fish that returns to the water and a young horse let loose.

b. The child behaves like a fish as he wriggles down from the adult’s lap.

c. The adult is pushing the child to have fun like a fish.

d. The child is young and is similar to a young horse.

Task 2 – About First Day at School (26 marks)

1. The persona is: (2)

a. a teacher.

b. a young boy.

c. a headmaster.

2. Underline the best answer. (2)

The poem is about:

a. a teacher who dislikes school children.

b. a young boy describing his experience on his first day at school.

c. a young boy who had great fun at school.

d. a young boy who is lost in the school’s playground.

3. Tick either positive or negative in reply to the following question and add a quote to

justify your reason. How do you think the persona feels about: (7)

Positive Negative Quote a reason

the school premises?

school children?

uniforms?

games?

lessons?

classrooms?

the teacher?


Page 51 of 72

4. In the first stanza, the persona seems confused. Quote three phrases from the first

stanza that show: (i) how the poet tries to show this confusion and (ii) how the

persona tries to explain what he cannot understand. (6)

a. ___________________________________________________________

b. ___________________________________________________________

c. ___________________________________________________________

5. In the second stanza, the persona focusses on the school railings, classrooms and

lessons. He tries to imagine what these strange ‘things’ are for. Underline the best

three answers. (6)

a. The railings are important to protect the school from children.

b. The railings are there to protect the school children by keeping dangerous

creatures out.

c. Lessons sound like fun activities for children.

d. Classrooms are made out of glass.

e. The railings imprison school children, so they do not escape from school

grounds.

f. Lessons are like creatures kept in classrooms.

6. The poet uses humour throughout the poem. (3)

a. Read the last stanza and quote one line that made you smile.

___________________________________________________________

b. Mention two things the persons thinks are useful.

i. ______________________________________________________

ii. ______________________________________________________

Task 3 – Compare the two poems (60 marks)

Write about both poems and their effect on you. Show how they are similar and how

they are different.

You may wish to include three or all of the points listed below to complete the task.

Comment on what each poem is about

Highlight the ideas or messages you think the poets wish to convey

Make an observation of the mood or atmosphere generated in the poems

Comment on the choice of words and /or phrases and how they create a

particular effect


Page 52 of 72

Comment on the organisation, form and structure of the poems

State how they are similar or different by referring to the preceding points


MQF 1 (30%) MQF 2 (30%) MQF 3 (40%)


identify a number of


2.2a I can explain the

effect of different literary

devices in a text.


effects and functions of



identify at least one

difference in how literary

devices are used in


texts.

2.2b I can describe how




texts.

2.3b I can analyse how




texts.

2.2c I can explain how at

least two literary devices

are related to a character

and a theme.

2.3c I can discuss how

literary devices are linked

to themes, character(s)

and setting.


identify different

meanings of specific

words.

5.2a I can analyse how

some words have

different meanings in

some parts of a text.

5.3a I can evaluate a

text by referring to its

connotations.


identify the form used in

a text.

5.2d I can describe the

form and structure used

in a text.

5.3d I can analyse form

and structure.


compare or contrast the

purpose of literary texts.

7.2a I can compare and

contrast the purpose and

audience of literary texts.


compare or contrast

viewpoints used in two

different texts.

7.2b I can compare and

contrast viewpoints used


7.3b I can compare and

contrast attitudes and

viewpoints used in two

different texts.


compare or contrast one

literary device used in

two different texts.

7.2c I can compare and

contrast at least two

specific literary devices

used in two different

texts.

7.3c I can compare and

contrast different literary

devices used in two

different texts.


Page 53 of 72


compare or contrast form


7.2d I can compare and

contrast form used in two

different texts.

7.3d I can compare and

contrast structure used in

two different texts.


identify parts of the text

to defend a claim I made

about the text.

8.2a I can summarise a

part or parts of a text to

defend a claim I made

about the text.

8.3a I can use

paraphrase as evidence

to support a discussion

about a text.


select quotations from a

text to support my

answer.

8.2b I can comment

about the text by using

some supporting

evidence (e.g.

quotations).

8.3b I can discuss the

text by using substantial


paraphrases).

11.1a I can, with

support, complete a

short essay about

different aspects of a

literary text.


essay in a way that

includes an introduction,

paragraphs in the body

and a conclusion.

11.2b I can use

quotations effectively as

an integral part of my

writing.

e.g. embedding of

quotations, block

quotations, etc.

11.3b I can present a

clear argument /

exposition about different

aspects of a literary text.

11.2c I can present a

clear argument when

discussing different

aspects of a literary text.


literary terminology in

my writing about literary

texts.






coherent essay.


organised ideas that

make my claims clear

and effective using


Page 54 of 72

cohesive devices

appropriately.

11.3f I can adopt

advanced vocabulary

when writing about set

texts.

12.1a I can, with

support, use fairly

accurate language.


with reasonable

accuracy.



12.1b I can, with

support, use a fairly good

range of vocabulary for


effect.

12.2b I can use a good

range of vocabulary fairly


purpose and effect.

12.3b I can use a wide

range of vocabulary


purpose and effect.

12.1c I can, with

support, use a fairly good

range of sentence

structures for clarity,

purpose and effect.

12.2c I can use a good

range of sentence

structures fairly


purpose and effect.

12.3c I can use a wide

range of sentence

structures accurately for


effect.


Page 55 of 72

RATING SCALE – COMPARE AND CONTRAST TASK 3

MQF3 MQF3 MQF2 MQF1

Students

characteristically

Students

characteristically

Students

characteristically

Students

characteristically

20 – 18 17 – 13 12 – 7 6 – 0

Knowledge and

Understanding of

Content

(what the text is

about and main

topic or message

conveyed by the

writer)

LO7 & 8


knowledge and

understanding of both

texts

demonstrate an

excellent


texts by going beyond

the surface level

demonstrate a well

informed personal

response

show excellent


relationships between

texts

communicate basic

knowledge and


texts or focus on one

more than the other

demonstrate some


texts but with flaws

demonstrate an


response




texts

communicate limited

knowledge of both texts

or focus only on one of

the texts

demonstrate limited


text


personal response

show a limited



texts

communicate very



texts

use inaccurate details

demonstrate a very

limited personal

response

show a very limited



texts

24 – 21 20 – 15 14 – 8 7 – 0

Relevance and

Selection

(observations on:

choice of

language and

effect;

organisation;

form and

structure; other

literary devices)

LO2, 5, 7 & 8

present relevant


appropriate textual

references as

supporting material

from both texts

confidently analyse

how the writers use

language to shape

meaning

demonstrate

argumentation and

interpretation of the

similarities and

differences

present fairly relevant


fairly appropriate

textual references as

supporting evidence for

both texts or for one

more than the other

describes fairly well

how the writers use

language to shape

meaning

choose some

arguments to support

interpretation of the

similarities and

differences

demonstrate limited

focus

use very limited textual

references

show inaccuracies in

their references

limited use of subject

terminology

appropriately

show barely any


passage

make no reference to

other aspects of the

text

show inappropriate

choice of material

very limited (if at all)

use of subject

terminology

appropriately


Page 56 of 72

excellent use of

subject terminology

appropriately

Fairly good use of

subject terminology

appropriately

10 – 8 7 – 6 5 – 3 2 – 0

Organisation and

Structure

LO11


their writing in a


clear focus on

coherence and

cohesion


and organise their

writing but not



and organise their

writing with very

limited success

show a poor attempt (if

at all) to structure and

organise their writing

6 5 – 4 3 – 2 1 – 0

Language use

LO12


of vocabulary and




spelling and

punctuation


of vocabulary and

sentence structures




inaccurate spelling


of punctuation


vocabulary and

sentence structures


purpose and effect,

and with inaccurate

spelling and


punctuation


vocabulary and

sentence structures


purpose and effect,

and with inaccurate

spelling and


punctuation


Page 57 of 72

Slow Reader

He can make sculptures

and fabulous machines,

invent games, tell jokes,

give solemn, adult advice –

but he is slow to read.

When I take him on my knee

with his Ladybird book

he gazes into the air,

sighing and shaking his head

like an old man

who knows the mountains

are impassable.

He toys with words,

letting them go cold

as gristly meat,

until I relent

and let him wriggle free:

a fish returning

to its element,

or a white-eyed colt – shying

from the bit – who sees

that if he takes it

in his mouth

he’ll never run

quite free again.

by Vicky Feaver

First Day at School

A millionbillionwillion miles from home

Waiting for the bell to go. (To go where?)

Why are they all so big, other children?

So noisy? So much at home they

Must have been born in uniform

Lived all their lives in playgrounds

Spent the years inventing games

That don't let me in. Games

That are rough, that swallow you up.

And the railings.

All around, the railings.

Are they to keep out wolves and monsters?

Things that carry off and eat children?

Things you don't take sweets from?

Perhaps they're to stop us getting out

Running away from the lessins. Lessin.

What does a lessin look like?

Sounds small and slimy.

They keep them in the glassrooms.

Whole rooms made out of glass. Imagine.

I wish I could remember my name

Mummy said it would come in useful.

Like wellies. When there's puddles.

Yellowwellies. I wish she was here.

I think my name is sewn on somewhere

Perhaps the teacher will read it for me.

Tea-cher. The one who makes the tea.

by Roger McGough


Page 58 of 72

Specimen Assessments: Controlled Paper MQF 2-3

MATRICULATION AND SECONDARY EDUCATION CERTIFICATE

EXAMINATIONS BOARD

SECONDARY EDUCATION CERTIFICATE LEVEL

SAMPLE PAPER

SUBJECT: English Literature

PAPER NUMBER: Level 2 – 3

DATE:

TIME: 2 Hours

Section A: Poetry (40 marks)

Answer both Question 1 and Question 2

You are advised to spend about 25 minutes on Part A and about 25 minutes on Part B.

__________________________________________________________________________________

Read the poem and answer the questions below.

Turmoil in the countryside

There’s turmoil in the countryside, turmoil in the countryside.

The deafening hum of chain saw and the roar of bulldozers are heard for miles.

Thousands upon thousands of healthy trees tumble to their death.

Forest animals of many species barely escape the rampage.

5 Elaborate butterflies and scores of flying and crawling insects scatter in all

directions.

Flocks of rare birds flee in a frenzy.

Mounds of soil are piled high to cover ponds and streams filled with abundant

aquatic life.

10 A blinding light flares in our presence.

Acrid* gray smoke permeates the once fragrant air of the woods.

The massacists have set the stage for the future.

Margaret Marshall

* An acrid smell or taste is strong and bitter and causes a burning feeling in the throat

https://www.poemhunter.com/margaret-marshall/poems/


Page 59 of 72

Question 1 (20 marks) – It is recommended that you spend 20 minutes on the following questions.

1. Underline the best answer. (1) The poem is about:

i. a loud noise.

ii. the destruction of the countryside.

iii. a fire in the woods.

iv. a bulldozer.

2. Mark () the following TRUE (T) or FALSE (F) according to the poem. Give a reason for

the False statements. (2)

T F

1. The forest animals find it very difficult to remain safe.

2. Butterflies and insects moved all together in the same direction.

3. The birds were singing peacefully.

4. The ponds and streams were full of creatures that live in water.

3. Underline the best answer. (1)

i. The poem uses a regular rhyme scheme probably to create a sense of confusion.

ii. The poem uses a regular rhyme scheme probably to reflect nature.

iii. The poem does not use a rhyme scheme probably to reflect the chaos caused by the

bulldozers.

iv. The poem does not make use of rhyme scheme because it is a meaningless poem.

4. a) Quote ONE line which shows the use of repetition. (1)

_________________________________________________________________________

b) Underline the best answer. (1)

The poet probably uses repetition to:

i. emphasise the beauty of the countryside

ii. list the number of creatures in the forest

iii. simplify the poem

iv. emphasise the trouble in the countryside


Page 60 of 72

5. a) The sentence below uses onomatopoeia. Write down the TWO onomatopoeic words: (2)

‘The deafening hum of chain saw and the roar of bulldozers’

i. ___________________________

ii. ___________________________


These onomatopoeic words may be used to

i. compare the chain saw with the bulldozers.

ii. describe the colours of the chain saw and bulldozers.

iii. create the sounds of the machinery used.

iv. list the kind of machinery used.

6. Underline the best answer. (1) In line 3 (reproduced below), the poet creates an image which suggests that

‘Thousands upon thousands of healthy trees tumble to their death’

i. a large number of trees are dying like people would in a massacre.

ii. trees dying because of a deadly disease.

iii. the forest is burning.

iv. many trees are dying because of the damage caused by a storm.

7. a) Quote THREE words or phrases from the poem which describe a large quantity. (3)

i. ____________________________

ii. ____________________________

iii. ____________________________


The poet probably uses words of quantity to refer to

i. the number of forests that have to be destroyed.

ii. the large scale extermination of the environment.

iii. the huge effort to save the forests.

iv. the large scale destruction of the forest as a result of a natural disaster.

8. In line 11 the poet explains that the ‘acrid gray smoke permeates the once fragrant air of

the woods’. By this, the poet suggests that the sweet smelling forest was (1)

i. ruined by a flood.

ii. created by the presence of mankind.

iii. ruined by mankind.

iv. ruined by the invasion of forest creatures.


Page 61 of 72

9. Look at the last line of the poem: (5)

The ‘massacists’ (line 12) have set the stage for the future

What do you think the poet might mean by this?

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

Question 2 (20 marks) – It is recommended that you spend 30 minutes on this task.

Compare and contrast Turmoil in the Countryside by Margaret Marshall and We Are Going to See

the Rabbit by Alan Brownjohn.

The answer should include:

a comment on the possible purpose and audience of both poems;

a comment on the viewpoints adopted in the two poems;

a comment on the poet’s choice of words, phrases and poetic devices used in the two poems;

an explanation of how form and structure are used in the two different poems;

your personal conclusion to the two poems by using evidence from the texts;

use of quotations / paraphrasing when providing evidence from the text.

Note the poem is reproduced here below for ease of reference.

We are Going to See the Rabbit

We are going to see the rabbit.

We are going to see the rabbit.

Which rabbit, people say?

Which rabbit , ask the children?

Which rabbit?

The only rabbit,

The only rabbit in England,

Sitting behind a barbed-wire fence

Under the floodlights, neon lights,

Sodium lights,

Nibbling grass

On the only patch of grass

In England, in England

(except the grass by the hoardings

Which doesn’t count.)


Page 62 of 72

We are going to see the rabbit

And we must be there on time.

First we shall go by escalator,

Then we shall go by underground,

And then we shall go by motorway,

And then by helicopterway,

And the last 10 yards we shall have to go

On foot.

And now we are going

All the way to see the rabbit,

We are nearly there,

We are longing to see it,

And so is the crowd

Which is here in thousands

With mounted policemen

And big loudspeakers

And bands and banners,

And everyone has come a long way.

But soon we shall see it

Sitting and nibbling

The blades of grass

In – but something has gone wrong!

Why is everyone so angry,

Why is everyone jostling

And slanging and complaining?

The rabbit has gone,

Yes, the rabbit has gone.

He has actually burrowed down into the earth

And made himself a warren, under the earth,

Despite all these people,

And what shall we do?

What can we do?

It is all a pity, you must be disappointed,

Go home and do something for today,

Go home again, go home for today.

For you cannot hear the rabbit, under the earth,

Remarking rather sadly to himself, by himself,

As he rests in his warren, under the earth:

‘It won’t be long, they are bound to come,

They are bound to come and find me, even here.’

Alan Brownjohn


Page 63 of 72

Section B: Drama (30 marks)

You are advised to spend about 35 minutes on Section B.

Answer ONE question on ONE dramatic text.

Macbeth by William Shakespeare

Act 1 Scene 5, lines 53 to 71

In this extract, Lady Macbeth speaks to her husband, after she has read his letter about the witches’

prophecy.

LADY MACBETH Enter MACBETH

Great Glamis! worthy Cawdor!

Greater than both, by the all-hail hereafter!

Thy letters have transported me beyond

This ignorant present, and I feel now

The future in the instant.

MACBETH My dearest love,

Duncan comes here tonight.

LADY MACBETH And when goes hence?

MACBETH Tomorrow, as he purposes.

LADY MACBETH O! never

Shall sun that morrow see!

Your face, my thane, is as a book, where men

May read strange matters. To beguile the time,

Look like the time, bear welcome in your eye,

Your hand, your tongue: look like the innocent flower

But be the serpent under’t. He that’s coming

Must be provided for; and you shall put

This night’s great business into my despatch;

Which shall to all our nights and days to come

Give solely sovereign sway and masterdom.

MACBETH We will speak further –

LADY MACBETH Only look up clear;

To alter favour ever is to fear.

Leave all the rest to me.

In this extract, Shakespeare presents Lady Macbeth as a strong character.

Write about:

how Shakespeare makes Lady Macbeth appear strong in this conversation

how Lady Macbeth’s strength is not what it seems in the rest of the play (30)


Page 64 of 72

The Curious Incident of the Dog in the Night-Time adapted by Simon Stephens

Part 1

In this extract, Siobhan starts reading Christopher’s book where he recounts the incident of the dog.

CHRISTOPHER’s teacher, twenty-seven-year-old SIOBHAN opens CHRISTPHER’s book. She reads

from it.

SIOBHAN It was seven minutes after midnight. The dog was lying on the grass in the

middle of the lawn in front of Mrs Shears’ house.

MRS SHEARS Get away from my dog.

SIOBHAN Its eyes were closed. It looked as if it was running on its side, the way dogs run

when they think they are chasing a cat in a dream. But the dog was not

running or asleep. The dog was dead.


SIOBHAN There was garden fork sticking out of the dog. The dog was called Wellington. It

belonged to Mrs Shears who was our friend. She lived on the opposite side of

the road, two houses to the left.


CHRISTOPHER takes two steps away from the dog.

SIOBHAN My name is Christopher John Francis Boone. I know all the countries of the world

and the capital cities. And every prime number up to 7507.


CHRISTOPHER puts his hands over his ears. He closes his eyes. He rolls forward. He presses his

forehead on to the grass. He starts groaning.

Christopher does not always speak directly to the audience in the play. Stephens choose Siobhan as the

narrator in this extract.

Write about:

how Christopher’s thoughts in this extract reveal the way he sees the world differently

how Christopher behaves in an unusual way in the rest of the play

(30)


Page 65 of 72

Section C: Prose (30 marks)

You are advised to spend about 35 minutes on Section C.

Answer ONE question on ONE text.

Listen to the Moon by Michael Morpurgo

Chapter Nine – White-out

In this extract, Lucy went missing and almost all the islanders were searching for her, despite the

blanket of fog that had descended on Bryher.

An atmosphere of mystery and desperate uncertainty is created in this extract as Lucy goes missing.

Write about:

how the islanders deal with Lucy Lost’s sudden disappearance in this extract

how Morpurgo uses this extract and other parts of the novel to develop the theme of social

exclusion

(30)

There were even whisperings now – and not only among the children – that maybe the story about

Lucy Lost being a ghost might be true after all. She was the ghost child of St Helen’s, a poor lost

soul condemned to wander there alone till the end of time. Ghosts come and go as they please,

don’t they? They can be visible and invisible, materialise as and when they like, can’t they? As the

search became ever more desperate, this idea, however absurd it seemed to some, gained more

and more credence. Some believed it absolutely. If Lucy Lost had disappeared, and there was no

sign of her, no body found, then Lucy Lost had to have been a ghost all along.


Page 66 of 72

Animal Farm by George Orwell

Chapter 10

In this extract, time has passed and the animals on the farm have increased but they are all still

working hard, with the exception of the pigs, of course.

A number of key changes were made on the farm and these are mentioned in the extract.

Write about:

the significance of the changes when compared to the previous events

how the theme of corruption is highlighted through Pilkington and Napoleon in the final chapter,

from where the extract has been taken.

(30)

The farm was more prosperous now, and better organised: it had even been enlarged by two

fields which had been bought from Mr. Pilkington. The windmill had been successfully completed

at last, and the farm possessed a threshing machine and a hay elevator of its own, and various

new buildings had been added to it. Whymper had bought himself a dogcart. The windmill,

however, had not after all been used for generating electrical power. It was used for milling

corn, and brought in a handsome money profit. The animals were hard at work building yet

another windmill; when that one was finished, so it was said, the dynamos would be installed.

But the luxuries of which Snowball had once taught the animals to dream, the stalls with electric

light and hot and cold water, and the three-day week, were no longer talked about. Napoleon

had denounced such ideas as contrary to the spirit of Animalism. The truest happiness, he said,

lay in working hard and living frugally.


Page 67 of 72

The Boy in the Striped Pyjamas by John Boyne

Chapter One – Bruno Makes a Discovery

In this extract, Bruno turns to his mother for an explanation after coming home from school and finding

Maria, the family’s maid, standing in his bedroom and packing his belongings.

‘Mother,’ he insisted. ‘What’s going on? Are we moving?’

‘Come downstairs with me,’ said Mother, leading the way towards the large dining room where the

Fury had been to dinner the week before. ‘We’ll talk down there.’

Bruno ran downstairs and even passed her out on the staircase so that he was waiting in the

dining room when she arrived. He looked at her without saying anything for a moment and thought

to himself that she couldn’t have applied her make-up correctly that morning because the rims of

her eyes were more red than usual, like his own after he’d been causing chaos and got into trouble

and ended up crying.

‘Now, you don’t have to worry, Bruno,’ said Mother, sitting down in the chair where the

beautiful blonde woman who had come to dinner with the Fury had sat and waved at him when

Father closed the doors. ‘In fact if anything, it’s going to be a great adventure.’

Bruno is oblivious to the nature of his father’s job, and the reason for having to move out of his house

in Berlin. He seems uncertain and anxious as he does not quite understand what lies beneath

appearances.

Write about:

how this extract presents Bruno’s anxiety?

how Boyne develops the theme of appearance and reality in the novel? (30)


Page 68 of 72

A Christmas Carol by Charles Dickens

A Christmas Carol – Stave 3

In this extract Scrooge was awakened by a light shining through the door and a loud voice. Scrooge

enters and meets the Ghost of Christmas Present.

“I am the Ghost of Christmas Present,” said the Spirit. “Look upon me.”

Scrooge reverently did so. It was clothed in one simple green robe, or mantle, bordered with white fur.

This garment hung so loosely on the figure, that its capacious breast was bare, as if disdaining to be

warded or concealed by any artifice. Its feet, observable beneath the ample folds of the garment, were

also bare; and on its head it wore no other covering than a holly wreath, set here and there with shining

icicles. Its dark brown curls were long and free; free as its genial face, its sparkling eye, its open hand,

its cheery voice, its unconstrained demeanour, and its joyful air. Girded round its middle was an antique

scabbard; but no sword was in it, and the ancient sheath was eaten up with rust.

“You have never seen the like of me before.” exclaimed the Spirit.

“Never,” Scrooge made answer to it.

“Have never walked forth with the younger members of my family; meaning (for I am very young) my

elder brothers born in these later years.” pursued the Phantom.

“I don't think I have,” said Scrooge. “I am afraid I have not. Have you had many brothers, Spirit.”

“More than eighteen hundred,” said the Ghost.

“A tremendous family to provide for.” muttered Scrooge.

This extract reveals the Ghost of Christmas Present.

Write about:

how Dickens presents this Ghost?

how the theme of the supernatural present in this extract also extends to the rest of the novel?

(30)


Page 69 of 72

Appendices

A GLOSSARY OF LITERARY TERMS

LITERARY DEVICES

Alliteration: The repetition of initial consonant sounds used especially in poetry to emphasize and link words as well as to

create pleasing musical sounds. Example – the fair breeze blew, the white foam flew.

Allusion: A reference to a well-known person, place, event, literary work, or work of art to enrich the reading experience by

adding meaning.

Characterisation: Techniques a writer uses to create and develop a character by what:

he/she does or says,

other characters say about him/her, or how they react to him/her

the author reveals directly or through a narrator.

Dialect: Speech that reflects pronunciation, vocabulary, and grammar typical of a geographical region.

Flashback: Interruption of the chronological (time) order to present something that occurred before the beginning of the

story.

Figurative Language: Language that has meaning beyond the literal meaning; also known as “figures of speech.”

Simile: comparison of two things using the words “like” or “as,” e.g. “Her smile was as cold as ice.”

Metaphor: comparison of two things essentially different but with some similarities; does not use “like” or “as,” e.g. “Her smile was ice.”

Hyperbole: a purposeful exaggeration for emphasis or humour.

Personification: human qualities attributed to an animal, object, or idea, e.g. “The wind exhaled.”

Free Verse: Poetry that does not conform to a regular meter or rhyme scheme. Poets who write in free verse try to reproduce the natural rhythms of spoken language.

Foreshadowing: Important hints that an author drops to prepare the reader for what is to come, and help the reader anticipate the outcome.

Imagery: Words or phrases that appeal to the reader’s senses.

Humour: The quality of a literary or informative work that makes the character and/or situations seem funny, amusing, or ludicrous.

Irony: A technique that involves surprising, interesting, or amusing contradictions or contrasts. Verbal irony occurs when words are used to suggest the opposite of their usual meaning. An irony of situation is when an event occurs that directly contradicts expectations.

Onomatopoeia: The use of words that imitate sounds. Examples would be hiss, buzz, swish, and crunch.

Point of View: Perspective from which the story is told

First-person: narrator is a character in the story; uses “I,” “we,” etc.

Third-person: narrator outside the story; uses “he,” “she,” “they”

Third-person limited: narrator tells only what one character perceives

Third-person omniscient: narrator can see into the minds of all characters.

Satire: Writing that comments humorously on human flaws, ideas, social customs, or institutions in order to change them.

Style: The distinctive way that a writer uses language including such factors as word choice, sentence length, arrangement, and complexity, and the use of figurative language and imagery.


Page 70 of 72

Suspense: A feeling of excitement, curiosity, or expectation about what will happen.

Symbol: Person, place, or thing that represents something beyond itself, most often something concrete or tangible that represents an abstract idea.

LITERARY FORMS

Allegory: A story, play or poem that can be interpreted to reveal a hidden meaning, typically a moral or political one.

Autobiography: A writer’s story of his or her own life.

Biography: A writer’s account of some other person’s life.

Comedy: Writing that deals with life in a humorous way, often poking fun at people’s mistakes.

Drama: Also called a play, this writing form uses dialogue to share its message and is meant to be performed in front of an

audience.

Essay: A short piece of nonfiction that expresses the writer’s opinion or shares information about a subject.

Fable: A short story that often uses talking animals as the main characters and teaches an explicit moral or lesson.

Fantasy: A story set in an imaginary world in which the characters usually have supernatural powers or abilities.

Folktale: A story originally passed from one generation to another by word of mouth only. The characters are usually all

good or all bad and in the end are rewarded or punished as they deserve.

Historical Fiction: A made-up story that is based on a real time and place in history, so fact is mixed with fiction.

Myth: A traditional story intended to explain some mystery of nature, religious doctrine, or cultural belief. The gods and

goddesses of mythology have supernatural powers, but the human characters usually do not.

Novel: A book-length, fictional prose story. Because of its length, a novel’s characters and plot are usually more developed

than those of a short story.

Poetry: A literary work that uses concise, colourful, often rhythmic language to express ideas or emotions. Examples: ballad,

blank verse, free verse, elegy, limerick, sonnet.

Prose: A literary work that uses the familiar spoken form of language, sentence after sentence.

Realistic Fiction: Writing that attempts to show life as it really is.

Magic Realism: Writing in which realistic narrative is combined with surreal elements of dream and fantasy.

Science Fiction: Writing based on real or imaginary scientific developments and often set in the future.

Short Story: Shorter than a novel, this piece of literature can usually be read in one sitting. Because of its length, it has only

a few characters and focuses on one problem or conflict.

LITERARY ELEMENTS

Action: Everything that happens in a story.

Antagonist: The person or force that works against the hero of the story. (See protagonist)

Character: One of the people (or animals) in a story.


Page 71 of 72

Climax: The high point in the action of a story.

Conflict: A problem or struggle between two opposing forces in a story.

There are four basic conflicts:

Person Against Person: A problem between characters.

Person Against Self: A problem within a character’s own mind.

Person Against Society: A problem between a character and society, school, the law, or some tradition.

Person Against Nature: A problem between a character and some element of nature-a blizzard, a hurricane,

a mountain climb, etc.

Dialogue: The conversations that characters have with one another.

Exposition: The part of the story, usually near the beginning, in which the characters are introduced, the background is

explained, and the setting is described.

Falling Action: The action and dialogue following the climax that lead the reader into the story’s end.

Mood: The feeling a piece of literature is intended to create in a reader.

Moral: The lesson a story teaches.

Narrator: The person or character who actually tells the story, filling in the background information and bridging the gaps

between dialogue. (See Point of View.)

Plot: The action that makes up the story, following a plan called the plot line.

Plot line: The planned action or series of events in a story. There are five parts: exposition, rising action, climax, falling

action, and resolution.

Protagonist: The main character in a story, often a good or heroic type.

Resolution: The part of the story in which the problems are solved and the action comes to a satisfying end.

Rising Action: The central part of the story during which various problems arise after a conflict is introduced.

Setting: The place and the time frame in which a story takes place.

Style: The distinctive way that a writer uses language including such factors as word choice, sentence length, arrangement,

and complexity, and the use of figurative language and imagery.

Theme: The message about life or human nature that is “the focus” in the story that the writer tells.

Tone: The writer’s attitude towards a subject or an audience. Tone is generally conveyed through the choice of words, or

the viewpoint of a writer on a particular subject.

Adapted from:

TEACHING AND LEARNING TO STANDARDS Reading and Literature – A Glossary of Literary Terms


Page 72 of 72

Set texts for SEC English Literature

Genre MQF 1-2-3

Drama

1. The Curious Incident of the Dog in the Night-Time by Simon Stephens (play script)

2. A View from the Bridge by Arthur Miller

3. Macbeth by William Shakespeare

4. The Merchant of Venice by William Shakespeare

5. Wild Girl, Wild Boy* and Skellig by David Almond

Prose

1. The Boy in the Striped Pyjamas by John Boyne

2. A Christmas Carol by Charles Dickens

3. Animal Farm by George Orwell

4. Listen to the Moon by Michael Morpurgo

5. Short Stories: a. The Red Room by H. G. Wells b. Farthing House by Susan Hill c. The Whole Town’s Sleeping by Ray Bradbury d. A Terribly Strange Bed by Wilkie Collins e. The Landlady by Roald Dahl f. Lamb to the Slaughter by Roald Dahl g. The Speckled Band by Sir Arthur Conan Doyle

6. The Breadwinner by Deborah Ellis*

Poetry:

1. The Sea by James Reeves*

2. The Nightmail by W.H. Auden

3. We Refugees by Benjamin Zephaniah*

4. Dulce et Decorum Est by Wilfred Owen

5. We are Going to See the Rabbit by Alan Brownjohn*

6. Caged Bird by Maya Angelou*

7. Ozymandias by Percy Bysshe Shelley

8. Valentine by Carol Ann Duffy*

9. Sonnet LX by William Shakespeare

10. Slow Reader by Vicki Feaver*

11. First Day at School by Roger McGough*

12. Fireworks by James Reeves*

*Titles marked with an asterisk refer to the list of poems linked to the MQF 1-2 controlled assessment; in the MQF 2-3 controlled assessment Wild Girl, Wild Boy will be assessed together with Skellig.

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