AKU-EB MAY EXAMINATIONS 2016

Transcription

1 Page 1 of 3 AGA KHAN UNIVERSITY EXAMINATION BOARD SECONDARY SCHOOL CERTIFICATE CLASS X EXAMINATION MAY 2016 INSTRUCTIONS Please read the following instructions carefully. Literature in English Time: 3 hours Marks: Check your name and school information. Sign if it is accurate. I agree that this is my name and school. Candidate's signature 2. RUBRIC. There are THREE sections. Attempt ALL sections. Section I addresses Plays. It has two parts. Attempt any ONE part from Section I. Section II addresses Essays and Section III addresses Poetry. In each section there are Constructed Response Questions and a choice of Extended Response Questions. 3. When answering the questions: Read each question carefully. Use a black pointer to write your answers. DO NOT write your answers in pencil. Use a black pencil for diagrams. DO NOT use coloured pencils. DO NOT use staples, paper clips, glue, correcting fluid or ink erasers. Complete your answer in the allocated space only. DO NOT write outside the answer box. 4. The marks for the questions are shown in brackets ( ).

2 Page 2 of 3 Section I: (Plays) (ATTEMPT ANY ONE PART FROM SECTION I) Part A George Bernard Shaw: Pygmalion Q.1. Read the passage carefully and answer the questions that follow: (Total 25 Marks) (Total 10 Marks) All the rest have gone except the note taker, the gentleman, and the flower girl, who sits arranging her basket, and still pitying herself in murmurs. THE FLOWER GIRL: Poor girl! Hard enough for her to live without being worried and chivied. THE GENTLEMAN: [returning to his former place on the note taker's left] How do you do it, if I may ask? THE NOTE TAKER: Simply phonetics. The science of speech. That's my profession; also my hobby. Happy is the man who can make a living by his hobby! You can spot an Irishman or a Yorkshireman by his brogue. I can place any man within six miles. I can place him within two miles in London. Sometimes within two streets. THE FLOWER GIRL: Ought to be ashamed of himself, unmanly coward! THE GENTLEMAN: But is there a living in that? THE NOTE TAKER: Oh yes. Quite a fat one. This is an age of upstarts. Men begin in Kentish Town with 80 pounds a year, and end in Park Lane with a hundred thousand. They want to drop Kentish Town; but they give themselves away every time they open their mouths. Now I can teach them THE FLOWER GIRL: Let him mind his own business and leave a poor girl. THE NOTE TAKER: [explosively] Woman: cease this detestable boohooing instantly; or else seek the shelter of some other place of worship. THE FLOWER GIRL: [with feeble defiance] I've a right to be here if I like, same as you. THE NOTE TAKER: A woman who utters such depressing and disgusting sounds has no right to be anywhere no right to live. Remember that you are a human being with a soul and the divine gift of articulate speech: that your native language is the language of Shakespeare and Milton and The Bible; and don't sit there crooning like a bilious pigeon. 25 THE FLOWER GIRL: [quite overwhelmed, and looking up at him in mingled wonder and deprecation without daring to raise her head] Ah ah ah ow ow ow oo! THE NOTE TAKER: [whipping out his book] Heavens! What a sound! [He writes; then holds out the book and reads, reproducing her vowels exactly] Ah ah ah ow ow ow oo! THE FLOWER GIRL: [tickled by the performance, and laughing in spite of herself] Garn!

3 Page 3 of 3 30 THE NOTE TAKER: You see this creature with her kerbstone English: the English that will keep her in the gutter to the end of her days. Well, sir, in three months I could pass that girl off as a duchess at an ambassador's garden party. I could even get her a place as lady's maid or shop assistant, which requires better English. That's the sort of thing I do for commercial millionaires. And on the profits of it, I do genuine scientific work in phonetics, and a little as a poet on Miltonic lines THE GENTLEMAN: I am myself a student of Indian dialects; and THE NOTE TAKER: [eagerly] Are you? Do you know Colonel Pickering, the author of Spoken Sanskrit? THE GENTLEMAN: I am Colonel Pickering. Who are you? THE NOTE TAKER: Henry Higgins, author of Higgins's Universal Alphabet. PICKERING: [with enthusiasm] I came from India to meet you. HIGGINS: I was going to India to meet you. PICKERING: Where do you live? HIGGINS: 27A Wimpole Street. Come and see me tomorrow. PICKERING: I'm at the Carlton. Come with me now and let's have a jaw over some supper. HIGGINS: Right you are. PLEASE TURN OVER THE PAGE

4 Page 4 of 3 a. In the first part of the given scene, Shaw has not revealed names of the characters. What is the reason behind employing this technique? (4 Marks) b. What type of a person does the note taker appear to be in this passage? Why does he treat the flower girl spitefully? (4 Marks)

5 Page 5 of 3 c. The note taker says they give themselves away every time they open their mouths. Now I can teach them Do you think one s social standing is related to the way a person speaks? Explain by giving a reason. (2 Marks) PLEASE TURN OVER THE PAGE

6 Page 6 of 3 Q.2. Compose a response of about 200 words to any ONE of the options a or b. (Total 15 Marks) EITHER a. HIGGINS: Have you no morals, man? DOOLITTLE: [unabashed] Can t afford them, Governor. Neither could you if you was as poor as me. Analyse George Bernard Shaw s opinion of middle class morality as inferred from the play Pygmalion. How is the portrayal of lower and middle class different from that of the upper class in the play Pygmalion? Support your answer by giving textual evidences. b. Compare the characters of Colonel Pickering and Alfred Doolittle. Do you think the author has a specific purpose in portraying these two characters as opposites of each other? Explain by giving reasons from the play Pygmalion by George Bernard Shaw. OR Option

7 Page 7 of 3 PLEASE TURN OVER THE PAGE

8 Page 8 of 3 (ATTEMPT ANY ONE PART FROM SECTION I) Part B Anton Chekov: The Cherry Orchard Q.3. Read the passage carefully and answer the questions that follow: (Total 10 Marks) No... They've got to collect their luggage and so on... [Pause] Lubov Andreyevna has been living abroad for five years; I don't know what she'll be like now... She's a good sort an easy, simple person. I remember when I was a boy of fifteen, my father, who is dead he used to keep a shop in the village here hit me on the face with his fist, and my nose bled... We had gone into the yard together for something or other, and he was a little drunk. Lubov Andreyevna, as I remember her now, was still young, and very thin, and she took me to the washstand here in this very room, the nursery. She said, "Don't cry, little man, it'll be all right in time for your wedding." [Pause] "Little man"... My father was a peasant, it's true, but here I am in a white waistcoat and yellow shoes... a pearl out of an oyster. I'm rich now, with lots of money, but just think about it and examine me, and you'll find I'm still a peasant down to the marrow of my bones. [Turns over the pages of his book]. Here I've been reading this book, but I understood nothing. I read and fell asleep. [Pause.] DUNYASHA: The dogs didn't sleep all night; they know that they're coming. LOPAKHIN: What's up with you, Dunyasha...? DUNYASHA: My hands are shaking. I shall faint. LOPAKHIN: You're too sensitive, Dunyasha. You dress just like a lady, and you do your hair like one too. You oughtn't. You should know your place. EPIKHODOV: [Enters with a bouquet. He wears a short jacket and brilliantly polished boots which squeak audibly. He drops the bouquet as he enters, then picks it up] The gardener sent these; says they're to go into the dining-room. [Gives the bouquet to Dunyasha.] DUNYASHA: Very well. [Exit.] EPIKHODOV: There's a frost this morning three degrees, and the cherry-trees are all in flower. I can't approve of our climate. [Sighs] I can't. Our climate is indisposed to favour us even this once. And, Ermolai Alexeyevitch, allow me to say to you, in addition, that I bought myself some boots two days ago, and I beg to assure you that they squeak in a perfectly unbearable manner. What shall I put on them? LOPAKHIN: Go away. You bore me. 30 EPIKHODOV: Some misfortune happens to me every day. But I don't complain; I'm used to it, and I can smile.

9 Page 9 of 3 [Dunyasha comes in and brings Lopakhin some kvass]: I shall go. [Knocks over a chair] There [Triumphantly] There, you see, if I may use the word, what circumstances I am in, so to speak. It is even simply marvellous. [Exit.] DUNYASHA: I may confess to you, Ermolai Alexeyevitch, that Epikhodov has proposed to me. LOPAKHIN: Ah! DUNYASHA: I don't know what to do about it. He's a nice young man, but every now and again, when he begins talking, you can't understand a word he's saying. I think I like him. He's madly in love with me. He's an unlucky man; every day something happens. We tease him about it. They call him "Two-and-twenty troubles". LOPAKHIN: [Listens] There they come, I think. DUNYASHA: They're coming! What's the matter with me? I'm cold all over. LOPAKHIN: There they are, right enough. Let's go and meet them. Will she know me? We haven't seen each other for five years. DUNYASHA: [Excited] I shall faint in a minute... Oh, I'm fainting! PLEASE TURN OVER THE PAGE

10 Page 10 of 3 a. You dress just like a lady and you do your hair like one too. You oughtn t. You should know your place (lines 17-18). Discuss the social issue raised by the author and mention your personal opinion about it. (4 Marks) b. Discuss with reference to the passage, what memory does Lopakhin have of Lubov Andreyevna. (6 Marks)

11 Page 11 of 3 Q.4. Compose a response of about 200 words to any ONE of the options a or b. (Total 15 Marks) EITHER a. Nature is seen as a source of both illusion and memory in this play. Nature, as represented by the orchard, has significant value in The Cherry Orchard, both as something of inherent beauty and as a connection with the past." In what ways has the author Anton Chekov used the orchard as a symbol to represent the changing world of the characters? Support your text with examples. OR b. She brought me over to the washstand here in this very room, the nursery as it was. Don t cry, little peasant, she said. You'll soon be as right as rain. [Pause] Little peasant. It's true my father was a peasant, but here am I in my white waistcoat and brown boots, barging in like a bull in a china shop. The only thing is, I am rich. Act I Explain the given quote from the play The Cherry Orchard by Anton Chekov. Evaluate Anton Chekov s message about the class struggle and its impact on the lives of the poor. Support your answer by giving evidences. Option PLEASE TURN OVER THE PAGE

12 Page 12 of 3

13 Page 13 of 3 Section II: (Essays) Q.5. Answer the following questions from the recommended essays: (Total 25 Marks) (Total 10 Marks) a. i. Darrach and Petranek discuss the idea of terraformation of Mars in the essay Greening the Red Planet. Discuss any THREE stages which the planet Mars should go through according to the authors in order to become habitable for human beings. ii. Do you agree with the authors that Mars should be transformed into a colony of Earth? Give at least TWO reasons for your answer. (6 Marks) _ PLEASE TURN OVER THE PAGE

14 Page 14 of 3 b. Helen Keller says in her essay, Three Days to See, that she is convinced that the seeing see little. Explain the given phrase and cite any THREE supporting details from the text to support your answer. (4 Marks)

15 Page 15 of 3 Q.6. Compose a response of about 200 words to any ONE of the options a or b. (Total 15 Marks) EITHER a. How does Helen Keller movingly convey her feelings while contemplating ways in which she would spend her time if she had eyes? Support your answer with reasons from the essay Three Days to See. OR b. Explore the ways in which the author Intizar Hussain appreciates as well as critiques the culture that developed after the independence of Pakistan in his essay My Fifty Years in Lahore. Do you think his views are justified? Mention reasons for your answer. Option PLEASE TURN OVER THE PAGE

16 Page 16 of 3

17 Page 17 of 3 Section III: (Poetry) Q.7. Answer the following questions from the recommended poems. (Total 25 Marks) (Total 10 Marks) a. Explain the given lines with reference to the context. (5 Marks) When I behold, upon the night s starred face, Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more, Never have relish in the faery power Of unreflecting love then on the shore Of the wide world I stand alone, and think Till love and fame to nothingness do sink. PLEASE TURN OVER THE PAGE

18 Page 18 of 3 b. Explain the given lines with reference to the context. (5 Marks) This rider of winds, how awkward he is, and weak! How droll he seems, who lately was all grace! A sailor pokes a pipestem into his beak; Another, hobbling, mocks his trammelled pace. The Poet is like this monarch of the clouds, Familiar of storms, of stars, and of all high things

19 Page 19 of 3 Q.8. Compose a response of about 200 words to any ONE of the options a or b. (Total 15 Marks) EITHER a. There is no such thing as a perfect relationship because there are no perfect human beings this leads to conflicts but, over time, family members learn to not only accept, but appreciate, one another s imperfections and eccentricities. To what degree does Vikram Seth s Departure Lounge validate this statement? Support your answer with textual evidences. b. Poets of different ages have often romanticised living through their poetry. Some poets are confident that their poetry will allow their identity and the ideas and people that they have described in their poetry, to survive long after them while others fear that their identity and poetry will be lost into nothingness when they die. OR Explain how the theme of surviving through poetry is explored in any ONE of the given poems. Support your answer with textual evidences. i. Sonnet 18 by William Shakespeare ii. When I have Fears that I May Cease to Be by John Keats Option PLEASE TURN OVER THE PAGE

20 Page 20 of 3 END OF PAPER