MetadataPastPaper.sampleTitle

According to the extract, the two specific auditory details (sounds) mentioned are:
1. The flutes played by the snake charmers ('the competing sounds of snake charmers' flutes').
2. The clacking noise made by the brass cups ('the rhythmic clacking of brass water-cups').

Award 1 mark for each correct sound identified from the text, up to a maximum of 2 marks:
- Snake charmers' flutes (or 'sounds of flutes')
- Rhythmic clacking of brass water-cups (or 'clacking of brass cups')

Reject descriptions of smells (cumin, mint tea, citrus) or physical sensations (head spinning, pressing through crowds).

According to the extract, the two specific auditory details (sounds) mentioned are:
1. The flutes played by the snake charmers ('the competing sounds of snake charmers' flutes').
2. The clacking noise made by the brass cups ('the rhythmic clacking of brass water-cups').

Award 1 mark for each correct sound identified from the text, up to a maximum of 2 marks:
- Snake charmers' flutes (or 'sounds of flutes')
- Rhythmic clacking of brass water-cups (or 'clacking of brass cups')

Reject descriptions of smells (cumin, mint tea, citrus) or physical sensations (head spinning, pressing through crowds).

The first paragraph of the passage contains multiple details describing the geography and appearance of Bhutan's landscape. These include: the omnipresence of mountains (climbing, rolling, folding); the description of the land as a giant wave frozen in mid-leap; the green colour of the terrain; its demanding nature; the absolute absence of flat land; and the steepness of the slopes. To earn 4 marks, the response must correctly identify four of these distinct points, either through direct quotation or accurate paraphrase.

Award 1 mark for each valid detail identified, up to a maximum of 4 marks. Acceptable points include: - Mountains are all around / climb to peaks / roll into valleys / fold in on themselves - The land is like a giant wave, frozen in mid-leap - The land is green / a green insolence - It is a demanding country - There is no flat land - There are only steep slopes (plunging to valleys or soaring to the sky). Reject points that refer to weather rather than landscape (e.g. the air is thin and cold) unless explicitly linked to the geographic landscape.

To gain full marks, candidates must identify five distinct features of Bhutan's landscape and geography as described in the specified section:

1. It is highly mountainous / dominated by massive mountain ranges.
2. It is landlocked, sandwiched between India and Tibet.
3. It has a massive variation in elevation / altitude rises steeply from south to north (ranging from 150m to over 7,000m).
4. It features deep, steep-sided valleys and dramatic gorges.
5. The north is characterized by snow peaks and thin, cold air.
6. The south features hot, humid tropical jungles.
7. It is traversed by swift, powerful rivers.

Award 1 mark for each valid geographical/landscape feature identified, up to a maximum of 5 marks:
- Accept direct quotes or accurate paraphrases.
- Do not award multiple marks for the same point repeated in different words (e.g. mentioning both 'mountainous' and 'has high hills' as two separate marks).
- Candidates must focus strictly on the physical geography as described in the first 15 lines of the text.

To gain full marks, candidates must identify five distinct features of Bhutan's landscape and geography as described in the specified section:

1. It is highly mountainous / dominated by massive mountain ranges.
2. It is landlocked, sandwiched between India and Tibet.
3. It has a massive variation in elevation / altitude rises steeply from south to north (ranging from 150m to over 7,000m).
4. It features deep, steep-sided valleys and dramatic gorges.
5. The north is characterized by snow peaks and thin, cold air.
6. The south features hot, humid tropical jungles.
7. It is traversed by swift, powerful rivers.

Award 1 mark for each valid geographical/landscape feature identified, up to a maximum of 5 marks:
- Accept direct quotes or accurate paraphrases.
- Do not award multiple marks for the same point repeated in different words (e.g. mentioning both 'mountainous' and 'has high hills' as two separate marks).
- Candidates must focus strictly on the physical geography as described in the first 15 lines of the text.

In the extract, Jamie Zeppa uses language and structure to present her evolving thoughts and feelings about Bhutan. Initially, the landscape is depicted as intimidating yet majestic. Zeppa uses vivid imagery and personification to convey the overwhelming nature of the geography: the mountains are 'sharp peaks' and 'vertical' slopes, and the air is 'cold and thin'. She describes the road as 'a series of hairpin turns' that seem to 'cling to the sides of cliffs', evoking a sense of vertigo and vulnerability. The metaphor of the country as a 'giant child's drawing' with its disproportionately steep slopes highlights her disorientation and awe. When presenting the people of Bhutan, Zeppa shifts from a tone of alienation to deep admiration. She describes her hosts and the people in the street with highly positive adjectives: they are 'dignified', 'handsome', and possess 'impeccable' English. The detailed description of their traditional dress—the 'gho' and 'kira'—emphasizes their cultural distinctiveness and pride, making them seem refined and timeless. The structural shift of the passage moves chronologically from her daunting arrival to a reflective historical overview, and finally to her personal acclimation. She contrasts her Westernized expectations of a capital city with the reality of Thimphu, which lacks traffic lights and is filled with 'half-baked' buildings. By balancing historical facts with personal narrative, Zeppa structures her journey as not just a physical transition but an intellectual and emotional awakening, moving from a sense of dislocation to a profound appreciation of Bhutan's unique character.

Assessment Grid for AO2 (12 Marks total): Level 1 (1-2 marks): Simple identification of language and structural features. Very limited support from the text. Mostly descriptive or plot-focused summary. Level 2 (3-5 marks): Some explanation of how language and structure are used to show impressions of Bhutan. Some appropriate textual examples selected. Use of basic terminology. Level 3 (6-8 marks): Clear explanation of a range of language and structural techniques, showing how they shape the reader's view. Appropriate selection of quotes with some analysis of their effects. Level 4 (9-10 marks): Thorough and detailed analysis of how the writer uses language (e.g., metaphors, sensory language, adjectives) and structure (e.g., chronological progression, contrast, insertion of facts) to present Bhutan. Relevant terminology is used accurately. Level 5 (11-12 marks): Perceptive, sophisticated and evaluative analysis of both language and structure. Highly integrated selection of supporting references. Fully appreciates the nuanced shift from disorientation to admiration. Assured use of literary terminology. Key points to reward: - Analysis of physical and geographical imagery (e.g., 'giant child's drawing', 'mountains rise meet the sky'). - Analysis of characterization of the Bhutanese people (e.g., 'dignified', 'polite', 'gentle'). - Analysis of structural contrasts (the rugged wilderness vs the capital city Thimphu; personal memoir vs historical exposition).

Key points of comparison:

1. First Impressions of the Landscapes:
- Text One (Mongolia) presents an landscape of extreme flatness and open space ('an ocean of green', 'boundless horizon'), creating a sense of exposure and freedom.
- Text Two (Bhutan) presents a landscape of vertical extremes, towering peaks, and narrow valleys ('giant hills', 'pinched valleys'). Zeppa emphasizes the overwhelming scale and physical containment of the Himalayas.
- Both writers use vivid visual imagery and metaphors of scale to convey how the geography dwarfs human presence.

2. Feelings of Isolation and Displacement:
- In Text One, the writer experiences displacement through the sheer silence and lack of visible human structures, describing it as 'unsettling yet liberating'.
- In Text Two, Zeppa experiences a strong sense of culture shock and physical dislocation ('I am in Bhutan', 'it is a place that exists only on maps'). Her displacement is compounded by the grueling journey and physical exhaustion.
- Both texts capture a transition from initial disorientation to a deeper, more reflective engagement with their new surroundings.

3. Language and Structure:
- Both writers use first-person perspective to offer an intimate, subjective account of their travel experiences.
- Text One uses horizontal, expansive imagery ('sweeping plains', 'unfolding skies') to match the Mongolian steppes.
- Text Two uses vertical, dramatic imagery ('climbing into the clouds', 'plunging gorges') to reflect the mountainous terrain of Bhutan. Zeppa also employs historical context and local terminology to ground her observations.

This question assesses AO3 (22 marks): Compare writers' ideas and perspectives, as well as how these are conveyed, across two or more texts.

Grid Mark Scheme:

Level 1 (1-4 marks): Simple / Minimal
- Identifies basic similarities and differences between the two texts.
- Minimal reference to the texts or support.
- Focus is mostly on literal plot points rather than stylistic comparison.

Level 2 (5-8 marks): Broad / General
- Offers generalized comparisons of the writers' experiences.
- Describes some obvious features of landscape or feelings of isolation in both texts.
- Selects straightforward examples to support points.

Level 3 (9-13 marks): Clear / Relevant
- Explores a range of points comparing the two writers' impressions and techniques.
- Explains how both writers use language and structure to present their unfamiliar environments.
- Uses relevant, integrated quotations from both texts.

Level 4 (14-18 marks): Detailed / Evaluative
- Provides a detailed comparison of the distinct perspectives and attitudes in both texts.
- Evaluates how language, imagery, and structural techniques create effects on the reader (e.g., contrast of horizontal vs. vertical landscapes).
- Selects precise textual references to support a well-developed argument.

Level 5 (19-22 marks): Perceptive / Sophisticated
- Offers a highly perceptive, comparative synthesis of the two texts.
- Explores subtle differences in the nature of their displacement and their relationship with the landscape.
- Demonstrates a sophisticated understanding of how linguistic and structural choices construct the distinct atmosphere of each travelogue.

To score highly in this task, candidates should address the following key areas:

1. Form and Register (AO4):
- Format: Article layout, including an engaging headline, introductory hook, and logical section subheadings.
- Tone: Accessible, engaging, and relatable for a teenage audience, avoiding overly academic or condescending language.
- Content: Balanced exploration of the benefits (e.g., instant connection, global communities) and drawbacks (e.g., screen fatigue, reduced deep communication) of technology.
- Persuasive features: Direct address ('you'), relatable anecdotes, rhetorical questions, and a compelling concluding call-to-action urging readers to balance screen time with face-to-face interaction.

2. Style and Accuracy (AO5):
- Sentence structure: Variety of sentence lengths and structures (simple, compound, complex) used for conscious effect.
- Vocabulary: Precise, sophisticated, and evocative word choices appropriate to both the topic and the teenage demographic.
- Accuracy: Consistently high standard of punctuation (including colons, semicolons, and dashes for parenthesis), grammar, and spelling.

Grid for Assessment:

AO4 (27 marks) - Communication and Organisation:
- Level 5 (22-27 marks): Communication is perceptive and subtly adapted to purpose and target audience. Structure is highly cohesive and cohesive devices are used with confidence. Register is sophisticated, authentic, and sustained throughout.
- Level 4 (17-21 marks): Communication is clear and effectively adapted to purpose and audience. Organisation is structured logically with clear paragraphing. Appropriate register is maintained.
- Level 3 (12-16 marks): Communication is clear with some successful adaptation to purpose and audience. Organisation is mostly structured with some development of ideas.
- Level 2 (7-11 marks): Communication has limited clarity. Structure is simple with limited development.
- Level 1 (1-6 marks): Communication is basic; minimal awareness of audience or structure.

AO5 (18 marks) - Accuracy of Writing:
- Level 5 (15-18 marks): Secure control of a wide range of vocabulary and complex sentence structures. Highly accurate spelling, punctuation, and grammar.
- Level 4 (11-14 marks): Vocabulary is varied and sentence structures are controlled. Punctuation, spelling, and grammar are mostly accurate with minor errors.
- Level 3 (8-10 marks): Vocabulary and sentence structures are appropriate. Spelling, punctuation, and grammar are generally accurate, though some errors may occur.
- Level 2 (4-7 marks): Limited vocabulary and basic sentence structures. Frequent errors in spelling, punctuation, and grammar.
- Level 1 (1-3 marks): Very basic vocabulary and simple sentences. Persistent errors distract from meaning.

In Guy de Maupassant's 'The Necklace', Mathilde Loisel's search for happiness is depicted as a tragic pursuit of superficial illusions. From the outset, Maupassant establishes her deep-seated dissatisfaction, describing her as if born 'by an error of destiny' into a lower-middle-class family. Her search for happiness is completely tied to material wealth and social status. She suffers endlessly, feeling herself born for every delicacy and luxury. Her home, with its shabby walls and worn chairs, causes her physical torment, demonstrating her inability to find joy in reality. This is contrasted sharply with her husband, Monsieur Loisel, who is satisfied with simple pleasures, such as the pot-au-feu, whereas Mathilde dreams of silent antechambers and exquisite dinners. Her pursuit of happiness reaches its zenith at the Ministry ball. Maupassant uses words like 'intoxicated', 'frenzy', and 'triumph' to depict her temporary joy. This euphoric experience is entirely dependent on the validation and envious glances of others. However, this happiness is fragile and fleeting, as symbolized by the borrowed diamond necklace, which is later revealed to be fake. The loss of the necklace forces Mathilde into a life of genuine hardship and physical labor. Ironically, it is during this decade of grinding poverty that she develops a grim, 'heroic' resilience, showing a shift from her earlier self-pity. The final twist—that the necklace was worthless paste—highlights the tragic futility of her obsession with appearances. Through Mathilde's journey, Maupassant suggests that a search for happiness based on superficiality and pride leads only to ruin and disillusionment.

Marking Criteria: AO1 (15 marks): Demonstrate close knowledge and understanding of the text; select and evaluate relevant textual evidence to support cohesive arguments. AO2 (15 marks): Analyze how the writer uses linguistic and structural devices to achieve specific effects. Level 1 (1-6 marks): Shows basic awareness of the story and characters with simple, descriptive assertions. Level 2 (7-12 marks): Offers a narrative-focused response with some relevant points and basic examples. Level 3 (13-18 marks): Provides a clear explanation of Mathilde's character and search for happiness, with sound references and some discussion of language or irony. Level 4 (19-24 marks): Presents a thorough, analytical essay exploring how Maupassant constructs her character and the theme of happiness, using well-integrated quotations and detailed stylistic analysis. Level 5 (25-30 marks): Delivers a highly perceptive, sophisticated analysis with a sustained and cohesive argument. Demonstrates a deep understanding of Maupassant's use of irony, structural contrast, and linguistic techniques, supported by precise textual evidence.

### Narrative Approach Options for 'The Crossing'

Candidates may interpret the prompt literally or metaphorically. Some options include:
1. **A Physical Journey / Crossing:** A challenging crossing of a geographical obstacle (e.g., a turbulent river, a mountain pass, a heavily guarded border, or an unstable bridge). The focus here lies on tension, sensory detail, and physical peril.
2. **A Metaphorical Crossing:** A developmental transition from childhood to adulthood, or making a major, life-altering decision (e.g., leaving a homeland, accepting a new truth, crossing an emotional divide to reconcile with a family member).

### Exemplar Narrative Structure Plan

* **Exposition:** Set the scene at dusk near a decaying rope bridge over a roaring canyon. Establish the protagonist's reluctance and fear, contrasted with their absolute need to cross the chasm to find safety.
* **Rising Action:** The first steps onto the bridge. The physical sensations of the wind, the swaying of the ropes, and the sound of the raging rapids below. A sudden snap of a wooden plank increases the tension.
* **Climax:** A moment of extreme crisis—the protagonist slips, losing their footing and hanging suspended over the abyss. They must summon inner strength or trust a companion to survive.
* **Falling Action:** Pulling themselves back up to the narrow walkway and pressing forward through sheer adrenaline.
* **Resolution:** Stepping onto solid ground on the other side. A quiet moment of reflection, realizing they have crossed both a physical and psychological barrier.

### Key Linguistic Devices to Deploy
* **Sensory Imagery:** The smell of damp moss, the bite of icy wind, the deafening roar of water, the visual contrast between the shadow of the canyon and the distant light.
* **Sentence Variety:** Short, punchy sentences during the climax to mimic a racing heartbeat; longer, complex sentences during the initial descriptions to build a rich, atmospheric setting.
* **Metaphors and Similes:** Comparing the bridge to an ancient, dormant serpent, or the water below to a hungry beast.

### Assessment Objectives
* **AO4 (18 marks):** Communicate effectively and imaginatively, adapting form, tone and register of writing for different purposes and audiences.
* **AO5 (12 marks):** Write clearly, using a range of vocabulary and sentence structures, with appropriate spelling, punctuation and grammar.

---

### AO4 Mark Scheme (18 Marks)

* **Level 1 (1–3 marks):**
* Communication is at a basic level, with little awareness of form, purpose, or audience.
* Narrative is simple, lacks cohesion, and has minimal character or setting development.
* **Level 2 (4–7 marks):**
* Communication has some success; some attempt to engage the reader and adapt tone.
* Narrative structure is linear with basic sequencing; some attempt at description and characterization.
* **Level 3 (8–11 marks):**
* Communicates clearly; shows consistent awareness of purpose and audience.
* Narrative is structured with a clear beginning, middle, and end. Features clear atmospheric setting and basic character relationships.
* **Level 4 (12–15 marks):**
* Communicates effectively and imaginatively, manipulating the reader's response.
* Well-structured narrative with controlled pacing and tension. Imagery and description are used purposely to create a vivid atmosphere.
* **Level 5 (16–18 marks):**
* Sophisticated, compelling, and highly imaginative communication.
* Expertly structured narrative with seamless transitions, fully realized characters, and a powerful sense of atmosphere and setting.

---

### AO5 Mark Scheme (12 Marks)

* **Level 1 (1–2 marks):**
* Basic vocabulary with frequent errors in spelling and punctuation. Sentence structures are repetitive and simple.
* **Level 2 (3–5 marks):**
* Generally appropriate vocabulary. Some sentence variety attempted. Common spelling and punctuation errors do not impede meaning.
* **Level 3 (6–8 marks):**
* Good selection of vocabulary. Range of sentence structures used for effect. Spelling, punctuation, and grammar are mostly accurate.
* **Level 4 (9–10 marks):**
* Wide and precise vocabulary. Sophisticated sentence variety (e.g., short sentences for tension, complex structures for detail). Punctuation is accurate and used for deliberate effect.
* **Level 5 (11–12 marks):**
* Exceptionally rich and precise vocabulary. Flawless control of complex sentence structures and varied punctuation. Highly accurate spelling and grammar.