2024 AQA GCSE English Literature 8702 Practice Paper with Answers

To achieve high marks in this essay, students should address both the extract and the play as a whole, focusing on the following areas:

1. Analysis of the Extract:
- Focus on Macbeth's fragmented and panicked speech: the immediate defensive reaction 'Thou canst not say I did it' shows his denial and deep guilt. He distances himself from the physical act of murder.
- Analyze the visceral, sensory imagery of 'gory locks', representing the inescapable and bloody reality of his crimes. This hallucination physically manifests his internal torment.
- Contrast Macbeth's breakdown with Lady Macbeth’s desperate attempts to maintain control. Her interrogative 'Are you a man?' appeals to contemporary expectations of masculine stoicism, highlighting how Macbeth's mental state has emasculated him and disrupted social order.
- Macbeth's response ('Ay, and a bold one...') shows his attempts to reassert his bravery, but his comparison to things that 'might appal the devil' reveals how far into darkness his psyche has plunged.

2. Analysis of the Whole Play:
- **Act 2, Scene 1 (The Dagger Soliloquy):** The transition from rational thought to supernatural hallucination ('Is this a dagger which I see before me...'). This early sign of psychological fragility suggests that Macbeth's ambition is already warping his reality before the murder of Duncan is even committed.
- **Act 2, Scene 2 (Post-Regicide Guilt):** His auditory hallucinations ('Macbeth shall sleep no more') and the metaphorical stain of his guilt ('Will all great Neptune's ocean wash this blood clean from my hand?'), demonstrating an immediate fragmentation of his peace of mind.
- **Act 5, Scene 5 (Nihilistic Despair):** By the end of the play, Macbeth's panic has hardened into cold, numb cynicism. The 'Tomorrow, and tomorrow, and tomorrow' soliloquy shows a complete collapse of purpose and a mind that views life as a meaningless, 'signifying nothing' performance.

3. Contextual Integration (AO3):
- The Divine Right of Kings: The regicide of Duncan is a crime against God, resulting in supernatural punishment, manifest as madness and insomnia.
- Jacobean Beliefs in the Supernatural: Hallucinations and ghosts were viewed by Jacobean audiences as either literal demonic manifestations or signs of a corrupted, sinful soul.
- The Great Chain of Being: Macbeth's internal chaos mirrors the external political chaos gripping Scotland.

Marks are awarded across four Assessment Objectives (AOs):

**AO1 (12 marks) - Critical Response and Textual Evidence:**
- Level 6 (11-12 marks): Critical, exploratory, and conceptualized response to the task and whole text. Insightful analysis of Macbeth's mental deterioration. Precise, integrated quotations used effectively.
- Level 4-5 (7-10 marks): Thoughtful, developed response to the task. Clear understanding of Macbeth's psychological journey with apt references.
- Level 1-3 (1-6 marks): Simple or narrative-focused response with limited support from the text.

**AO2 (12 marks) - Analysis of Writer's Craft:**
- Level 6 (11-12 marks): Analytical and perceptive examination of Shakespeare’s dramatic and linguistic choices (e.g., stichomythia, sensory imagery, structural development of Macbeth's character from Act 1 to Act 5).
- Level 4-5 (7-10 marks): Clear explanation of how Shakespeare uses language, structure, and stagecraft to convey Macbeth's mental state.
- Level 1-3 (1-6 marks): Identification of basic literary features with limited link to meaning.

**AO3 (6 marks) - Contextual Understanding:**
- Level 6 (5-6 marks): Seamless integration of Jacobean context (divine order, demonic influence, psychological views on guilt) to enhance the literary argument.
- Level 4-5 (3-4 marks): Clear understanding of how the historical context of the Jacobean era influences the presentation of guilt and madness.
- Level 1-2 (1-2 marks): Basic, historical facts linked loosely to the text.

**AO4 (4 marks) - Spelling, Punctuation, and Grammar (SPaG):**
- 4 marks: High performance. Consistently accurate spelling, punctuation, and grammar. Appropriate academic register and vocabulary.
- 2-3 marks: Intermediate performance. Generally accurate spelling, punctuation, and grammar with minor errors.
- 1 mark: Threshold performance. Basic accuracy in spelling and punctuation; meaning is clear despite errors.

To achieve a top-band mark, responses should cover the following points:

In the extract:
- **Physiognomy and Deformity**: Analyze how Hyde is 'pale and dwarfish' and gives an 'impression of deformity' that cannot be named. This aligns with Lombroso's theories of anthropological criminology, where physical abnormality indicated a criminal nature.
- **Animalistic/Primitive Imagery**: Utterson labels Hyde as 'hardly human' and 'troglodytic' (primitive/caveman-like), reflecting contemporary Victorian fears of evolutionary regression (Darwinism) and the beast within civilised man.
- **Oxymoronic and Sensory Descriptions**: The 'murderous mixture of timidity and boldness' and 'husky, whispering... voice' build a sense of unnatural, uncanny terror.
- **Visceral Reactions**: Hyde elicits an immediate, inexplicable reaction of 'disgust, loathing, and fear' from the highly rational Utterson, showing that Hyde's evil is recognized at a spiritual, subconscious level ('radiance of a foul soul').

In the novel as a whole:
- **Animalistic Violence**: Contrast the extract with Hyde's raw brutality elsewhere, such as the trampling of the little girl ('like some damned Juggernaut') in Chapter 1 and the clubbing of Sir Danvers Carew ('with ape-like fury') in Chapter 4.
- **The Corruption of Dr. Jekyll**: Explore how Hyde represents the dark, repressed side of Dr. Jekyll's psyche. As the novel progresses, Hyde becomes stronger, eventually dominating Jekyll entirely, demonstrating the danger of indulging hidden sins.
- **Impact on Others**: Discuss how other rational characters, like Dr. Lanyon, are physically and mentally destroyed by the revelation of Hyde's true origin, highlighting the existential horror Hyde represents to Victorian society.

AO1 (12 marks): Clear, focused response to the prompt; well-structured argument with relevant textual references from both the extract and the wider novel.
AO2 (12 marks): Detailed analysis of Stevenson's language (e.g., 'troglodytic', 'foul soul', 'ape-like fury') and structural devices (e.g., shifting perspectives, delayed revelation of Jekyll's secret) to construct Hyde's terrifying character.
AO3 (6 marks): Insightful connection to Victorian context, including Victorian anxieties regarding Darwin's theory of evolution, the strict codes of respectability, Lombroso's physiognomy, and the Christian concept of original sin.

Level 6 (26-30 marks): Conceptualized, critical, and highly analytical response. Perceptive exploration of Stevenson's craft and context.
Level 5 (21-25 marks): Thoughtful, developed response. Clear understanding of the text, with close language analysis and contextual links.
Level 4 (16-20 marks): Clear, consistent response. Sound understanding of Hyde's presentation with relevant supportive evidence.
Level 3 (11-15 marks): Explanatory response. Shows understanding of Hyde's character with basic reference to context.
Level 2 (6-10 marks): Supported response. Simple comments on Hyde with limited focus on the extract or whole novel.
Level 1 (1-5 marks): Minimal/literal response. Extremely limited engagement with the task.

### Indicative Content

**AO1: Response to Task and Text**
* **Initial Complacency:** Students may explore how the Birling family and Gerald Croft are introduced in a state of supreme, self-satisfied comfort. Arthur Birling's speechifying about economic progress, the impossibility of war, and the 'unsinkable' Titanic serves as a prime vehicle for this theme.
* **Social and Class Complacency:** Characters like Sybil Birling show absolute confidence in their social superiority and moral infallibility, particularly through her role in the Brumley Women's Charity Organisation where she decides who is 'deserving' based on personal prejudice.
* **The Generational Divide:** The younger generation (Sheila and Eric) have their complacency thoroughly shattered by the end of the play, moving from superficial concerns (the engagement ring, drinks) to deep moral distress. In contrast, the older generation (Arthur and Sybil) and Gerald try to restore the status quo once the Inspector is revealed to be a 'hoax'.

**AO2: Analysis of Writer's Methods**
* **Dramatic Irony:** Priestley uses dramatic irony in Arthur Birling’s Act One speeches (declaring there is 'no chance of war' and describing the Titanic as 'unsinkable, absolutely unsinkable') to immediately undermine the credibility of capitalist complacency in the eyes of a 1945 audience.
* **Stage Directions and Lighting:** The initial stage direction specifying 'pink and intimate' lighting reflects the family's rose-tinted, complacent worldview. The shift to 'brighter and harder' lighting upon the Inspector’s arrival symbolizes the exposure of this complacency to harsh truth.
* **The Sound of the Doorbell:** The sharp ring of the front doorbell interrupts Mr. Birling's complacent lecture on 'a man has to mind his own business', using structure and timing to signal the shattering of their comfortable isolation.
* **Character Dialogue:** The shift in Sheila's language from childish terms ('mummy', 'daddy') to assertive, critical statements ('You began to learn something. And now you’ve stopped') tracks her journey out of complacency.

**AO3: Contextual Relationships**
* **Setting vs. Reception:** The play is set in 1912, a time of rigid class divisions, imperial pride, and capitalist expansion, but written and first performed in 1945/1946 when Britain was looking to build a more egalitarian, welfare-focused society after WWII.
* **Socialist Intent:** Priestley uses the dismantling of the Birlings' complacency to advocate for collective social responsibility and the establishment of the Welfare State, warning that if society remains complacent, it will be taught its lesson in 'fire and blood and anguish'.

### Mark Scheme (Total: 34 Marks)

#### **Part 1: AO1, AO2, AO3 (30 Marks)**
* **Level 6 (26–30 marks) - Convincing, critical study**
* Critical, exploratory conceptualized response to task and whole text.
* Insightful exploration of Priestley’s methods and their effects, supported by judiciously chosen quotes.
* Deep understanding of contextual factors (capitalist complacency in 1912 vs. post-war reconstruction in 1945).
* **Level 5 (21–25 marks) - Thoughtful, developed consideration**
* Thoughtful, developed response to task and whole text.
* Clear analysis of Priestley's methods (e.g., dramatic irony, lighting) with relevant supporting detail.
* Good understanding of the context of class and social responsibility.
* **Level 4 (16–20 marks) - Clear, consistent explanation**
* Clear, logical response to the prompt.
* Explains how Priestley presents complacency using relevant references.
* Clear understanding of the play's moral and political messages.
* **Level 3 (11–15 marks) - Explained, structured response**
* Structured response focusing on some key aspects of complacency.
* Identifies basic methods (e.g., Birling's speeches) and explains their meaning.
* Broad awareness of the contextual setting of 1912.
* **Level 2 (6–10 marks) - Supported, relevant comments**
* Attempts to address the task with some relevant, simple points about characters being selfish or self-satisfied.
* Relies on plot retelling with occasional reference to character traits.
* **Level 1 (1–5 marks) - Simple, explicit remarks**
* Narrative-based response with limited focus on the prompt.
* Simple, generalized comments about the characters or story.

#### **Part 2: Spelling, Punctuation and Grammar - AO4 (4 Marks)**
* **High Performance (4 marks):** Learners spell and punctuate with consistent accuracy, using a wide range of vocabulary and sentence structures appropriately.
* **Intermediate Performance (2–3 marks):** Learners spell and punctuate with considerable accuracy, using a good range of vocabulary and sentences.
* **Threshold Performance (1 mark):** Learners spell and punctuate with reasonable accuracy, meaning is clear despite some errors.

### Key Comparative Points

#### 1. The Presentation of Trauma and Memory
* **In 'Remains'**: Simon Armitage explores how traumatic memories persist long after the physical conflict has ended. The speaker is haunted by the image of the looter, whose death is replayed in his mind: "I walk right over it week after week". The phantom presence of the dead man is a physical manifestation of Post-Traumatic Stress Disorder (PTSD), where "the drink and the drugs won't flush him out".
* **In 'War Photographer'**: Carol Ann Duffy similarly presents the psychological impact as a delayed reaction that occurs in safety. The photographer's hands, which "did not tremble then / though seem to now", show a physical reaction to suppressed emotional trauma. The development of the photographs triggers vivid recollections of "a half-formed ghost" and the "blood stained into foreign dust".
* **In 'Bayonet Charge'**: Ted Hughes focuses on the immediate psychological paralysis of a soldier in battle, where time seems to stand still ("In what cold clockwork... / Was he the hand pointing that second?"). The soldier's individual identity is stripped away, leaving him in a state of primal terror.

#### 2. Language, Imagery, and Tone
* **In 'Remains'**: Armitage uses colloquial, conversational language ("legs it", "mates", "tosses his guts") to reflect the soldier's attempt to downplay the event, which contrasts sharply with the visceral, poetic imagery of the climax ("his bloody life in my bloody hands"). This change in register underscores the breakdown of his psychological coping mechanisms.
* **In 'War Photographer'**: Duffy uses structured stanzas (six lines per stanza, regular rhyme scheme) to reflect the photographer's attempt to impose order on the chaotic, horrific events he has witnessed ("ordered rows"). The contrast between "ordinary pain" of rural England and the visceral "cries / of this man's wife" highlights his psychological alienation from his home country.
* **In 'Kamikaze'**: Beatrice Garland uses natural imagery (the "green-blue translucent sea" and "shoals of fishes") to show how a pilot's psychological shift away from nationalistic duty is triggered by a sudden appreciation for the beauty of life, resulting in a different kind of trauma—social death and isolation.

#### 3. Structure and Form
* **In 'Remains'**: The poem begins with a collective pronoun ("we") but shifts to the singular first-person ("I", "my") by the final stanzas. This structural shift reflects the isolated burden of personal guilt. The final couplet stands out, breaking the quatrain structure to emphasize that the conflict is never truly resolved for the individual.
* **In 'War Photographer'**: The cyclical structure of the poem (beginning with the photographer returning from a trip and ending with him departing on another) suggests a perpetual loop of trauma, where he remains isolated in a society that "do not care".

### Marking Scheme (30 Marks Total)

#### Assessment Objectives Covered:
* **AO1 (12 Marks)**: Read, understand and respond to texts. Maintain a critical style and develop an informed personal response. Use textual references/quotations.
* **AO2 (12 Marks)**: Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology.
* **AO3 (6 Marks)**: Show understanding of the relationships between texts and the contexts in which they were written.

#### Level Descriptor Breakdowns:

* **Level 6 (26–30 Marks) - Critical, Exploratory & Conceptual:**
* **AO1**: Insightful, exploratory response to the task and poems. Analytical, well-integrated use of precise references.
* **AO2**: Evaluative analysis of language, form, and structural choices. Subject terminology is integrated seamlessly to develop the argument.
* **AO3**: Sophisticated integration of contextual factors (such as the legacy of modern warfare, military desensitisation, societal indifference, or PTSD) to enrich the reading of both poems.

* **Level 5 (21–25 Marks) - Thoughtful & Developed:**
* **AO1**: Clear, sustained, and thoughtful comparison. Apt choice of references to support arguments.
* **AO2**: Detailed examination of how poets use language, form, and structural devices to present the psychological impact of conflict.
* **AO3**: Clear understanding of the relationship between the texts and their contexts.

* **Level 4 (16–20 Marks) - Clear & Consistent:**
* **AO1**: Clear and logical comparison of the two poems, addressing the theme of psychological trauma.
* **AO2**: Identification and explanation of relevant literary techniques, such as Armitage's use of colloquialisms or Duffy's structured stanzas.
* **AO3**: Connection of the poems to relevant historical or social contexts, such as the reality of modern combat or the role of conflict media.

* **Level 3 (11–15 Marks) - Explained & Structured:**
* **AO1**: Some structured comparison of points between the two poems.
* **AO2**: Broad identification of poetic devices (e.g., metaphors, imagery, stanzas) with simple explanations of their effects.
* **AO3**: Awareness of context, though it may feel tacked-on rather than integrated.

### Model Response Outline

**Introduction**
* The poem explores the inexorable reclamation of human engineering by the forces of nature. The poet portrays nature not as an aggressive invader, but as a persistent, quiet, and ultimate victor over human industry.
* The contrast between the rigid, manufactured past ('iron rails', 'heavy engines') and the organic, soft present ('quiet green', 'tangled dog-rose') underscores the transience of human endeavors.

**Body Paragraph 1: The Contrast of Imagery (AO2)**
* **Evidence:** The poem opens with a contrast: 'The iron rails, once bright and straight / now bend beneath the bramble's weight.'
* **Analysis:** The juxtaposition of 'iron' (associated with strength and permanence) with the soft-sounding 'bramble' shows how the seemingly fragile organic world can wear down and overpower human achievements. The alliteration of 'bend beneath the bramble's' slows the line, mirroring the slow, physical pressure of growing plants.
* **Effect:** The reader is introduced to the central conflict—the rigid versus the organic—and is shown that nature’s slow persistence defeats industrial strength.

**Body Paragraph 2: Auditory Imagery and Silence (AO1 / AO2)**
* **Evidence:** 'No heavy engines shake the ground, / nor whistles throw their iron sound... instead, a quiet green is here.'
* **Analysis:** The poet uses negative phrasing ('No', 'nor') to emphasize the absence of human activity. The harsh, intrusive sounds of industry ('shake', 'whistles', 'iron sound') are replaced by 'a quiet green'. By describing color as 'quiet', the poet uses synesthesia to create an atmosphere of profound, undisturbed peace.
* **Effect:** This highlights nature’s restorative power, reclaiming chaotic industrial spaces and replacing them with tranquility.

**Body Paragraph 3: The Destruction of Order (AO2)**
* **Evidence:** 'Where passengers once stood in rows, / a wild and tangled dog-rose grows,'
* **Analysis:** The 'rows' of passengers represent human organization, conformity, and routine. This is directly contrasted with the 'wild and tangled' dog-rose, representing the chaotic, untamable freedom of nature. The verb 'pried' in 'roots have pried the stones apart' suggests a deliberate, active strength, portraying nature as an active architect dismantling human masonry.

**Body Paragraph 4: Philosophical Conclusion (AO1)**
* **Evidence:** 'Time does not weep for what is gone, / but lets the quiet grass grow on,'
* **Analysis:** The personification of 'Time' suggests an indifferent universe. Human achievements are temporary, and nature's quiet continuation ('lets the quiet grass grow on') is the default state of the world. The final image of 'green leaves turning night to day' suggests hope and renewal, positioning nature’s victory as a positive, life-giving process rather than a tragic decay.

### AQA GCSE English Literature Mark Scheme (24 Marks - Unseen Poetry)

**Level 6 (21–24 marks): Convincing, critical analysis and exploration**
* Critical, conceptualized response to the poem and the prompt.
* Insightful analysis of the poet's choices of language, form, and structure (AO2).
* Precise and evocative use of textual references to support the argument.

**Level 5 (17–20 marks): Thoughtful, developed consideration**
* Thoughtful, developed response showing clear understanding of the poem’s themes.
* Clear analysis of how the poet uses language and structure to create effects (AO2).
* Well-chosen textual references integrated into points.

**Level 4 (13–16 marks): Clear, consistent explanation**
* Clear understanding of the poet's ideas about nature and humanity.
* Consistent explanation of the effects of writer's choices (language/structure).
* Clear use of relevant quotes to support points.

**Level 3 (9–12 marks): Explained response**
* Some explained response to the poem’s ideas.
* Some identification of language or structural features, with basic explanation of effects.
* Some reliance on narrative summary but supported by quotes.

**Level 2 (5–8 marks): Supported, relevant comments**
* Attempts to write about the poem with some relevance to the task.
* Identifies some simple features of language or rhythm.
* Supported by direct reference or paraphrase.

**Level 1 (1–4 marks): Simple, explicit comments**
* Simple, literal remarks about the poem's content.
* Minimal awareness of writer's craft or structure.
* Very limited or no references to the text.

An exemplar response might explore the following points of comparison:

- **Contrasting Effects of Winter**: In 'First Snow', the winter weather brings peace, stillness, and a sense of magical transformation ('silver sheets', 'quiet peace'). In contrast, 'Winter Storm' presents winter as a violent, destructive, and disruptive force that aggressively attacks the landscape ('howling', 'tears', 'stamps').

- **Use of Imagery and Personification**: Vance uses gentle imagery to depict the snow wrapping the city in 'silver sheets', transforming the 'grimy roofs' into something clean and beautiful. Gray, however, uses aggressive personification to depict the storm as a 'fierce giant' with 'angry might' stamping 'frosty boots', making the weather feel hostile and threatening.

- **Sound and Auditory Devices**: 'First Snow' relies on quiet, soft sounds ('silent flakes', 'sudden hush', 'breathless') to reflect the silence of the city. Conversely, 'Winter Storm' utilizes loud, harsh auditory imagery ('howling', 'shakes') and plosive sounds to emphasize the chaotic energy of the wind.

- **Structural Devices**: 'First Snow' is structured as a single, cohesive stanza with a regular rhyme scheme (AABBCB) that mimics the gentle, steady falling of snow. 'Winter Storm' uses an erratic rhythm and enjambment to mirror the unpredictable, wild movement of the gale force winds.

This question assesses AO2 (8 marks): Analyze how language, form, and structure influence reader response, comparing effects across texts.

**Level 4 (7-8 marks) - Exploratory, cohesive comparison:**
- Insightful comparison of how the two poems present the effects of winter weather.
- Analytical, close discussion of the poets' methods (e.g., contrast between Vance's peaceful metaphors and Gray's aggressive personification).
- Precise selection of subject terminology used to support the comparison.

**Level 3 (5-6 marks) - Clear, explained comparison:**
- Clear comparison of the effects of winter in both poems.
- Clear explanation of how methods like personification, imagery, and sound effects are used to convey these ideas.
- Relevant quotes selected from both texts to support points.

**Level 2 (3-4 marks) - Supported, straightforward comparison:**
- Identification of similarities and/or differences in how the weather is described (e.g., one is quiet, one is loud).
- Some focus on writers' methods with simple explanations.
- Some supporting references used.

**Level 1 (1-2 marks) - Simple, explicit comparison:**
- Simple comments on what happens in each poem.
- Little or no comparison of methods.