Cambridge IGCSE · thinka 原创模拟试题

2024 Cambridge IGCSE Literature in English (0475) 模拟试题及答案详解

Thinka Nov 2024 (V2) Cambridge IGCSE-Style Mock — Literature in English (0475)

100 180 分钟2024
An original Thinka practice paper modelled on the structure and difficulty of the Nov 2024 (V2) Cambridge IGCSE Literature in English (0475) paper. Not affiliated with or reproduced from Cambridge.

卷一 Poetry and Prose

Answer two questions: one from Section A (Poetry) and one from Section B (Prose). All questions are worth equal marks.
3 题目 · 75
题目 1 · essay
25
Read this passage, and then answer the question that follows it:

"I think everyone expected to see a man emerge—possibly something a little unlike us terrestrial men, but in all essentials a man. I know I did. But, looking, I presently saw something stirring within the shadow: greyish billowy movements, one above another, and then two luminous disks—like eyes. Then something resembling a little grey snake, about the thickness of a walking stick, coiled up out of the writhing middle, and wriggled in the air towards me—and then another.

A sudden chill came over me. There was a loud shriek from a woman behind. I half turned, keeping my eyes fixed upon the cylinder still, from which other tentacles were now projecting, and began to push my way back from the edge of the pit. I saw the astonishment giving place to horror on the faces of the people about me. I heard inarticulate exclamations on all sides. There was a general movement backwards. I found myself shoulder to shoulder with an ogling crowd, and we all retreated together, keeping our eyes upon the pit.

Then the thing itself emerged. A big grey rounded bulk, the size, perhaps, of a bear, was rising slowly and painfully out of the cylinder. As it bulged up and caught the light, it glistened like wet leather.

Two large dark-coloured eyes were regarding me steadfastly. The mass that framed them, the head of the thing, was rounded, and had, one might say, a face. There was a mouth under the eyes, the lipless brim of which quivered and panted, and dropped saliva. The whole creature heaved and pulsated convulsively. A lank tentacular appendage gripped the edge of the cylinder, another swayed in the air.

Those who have never seen a living Martian can scarcely imagine the strange horror of its appearance. The peculiar V-shaped mouth with its pointed upper lip, the absence of brow ridges, the absence of a chin beneath the wedgelike lower lip, the incessant quivering of this mouth, the Gorgon groups of tentacles, the tumultuous breathing of the lungs in a strange atmosphere, the evident heaviness and painfulness of movement due to the greater gravitational energy of the earth—above all, the extraordinary intensity of the immense eyes—were at once vital, intense, inhuman, crippled and monstrous."

How does Wells make this first appearance of the Martians so tense and horrifying?
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解题

To answer this question effectively, candidates should analyze several key aspects of the passage:

1. **Subversion of Human Expectations:**
- The passage starts with the narrator admitting that 'everyone expected to see a man emerge'. This shared, comforting assumption is shattered immediately, intensifying the shock of the actual appearance.

2. **The Slow, Metaphorical Unveiling (Suspense):**
- Wells builds tension by introducing the creature in stages: first, 'greyish billowy movements' and 'two luminous disks', then 'something resembling a little grey snake' (tentacles), and finally the 'big grey rounded bulk'. This piecemeal description delays the full reveal, heightening the reader's anxiety.

3. **Grotesque and Dehumanizing Imagery:**
- The creature is compared to repulsive organic matter and animals ('size... of a bear', 'glistened like wet leather', 'Gorgon groups of tentacles').
- The description of the mouth is particularly visceral: 'lipless brim', 'quivered and panted, and dropped saliva'. The physiological mismatch with our atmosphere is highlighted by the 'tumultuous breathing of the lungs'.

4. **The Dramatic Reaction of the Onlookers:**
- The narrator's internal sensation ('A sudden chill') and the crowd's vocal panic ('loud shriek', 'inarticulate exclamations') reflect the immediate psychological impact of the horror.
- The physical collective movement ('general movement backwards', 'retreated together') mirrors the instinctual flight response, indicating a threat that is deeply felt.

5. **Inhumanity Combined with Malicious Vitality:**
- The creature is both 'crippled' by Earth's gravity and yet 'vital, intense, inhuman... and monstrous'. The focus on 'the extraordinary intensity of the immense eyes' suggests an advanced, alien intelligence that is utterly devoid of human empathy.

评分标准

The assessment is based on the 8-band scale for IGCSE Literature (0475):

- **Band 8 (23–25 marks):** Sustains a perceptive, highly critical, and evaluative response. Explores Wells's linguistic choices in detail (e.g., the V-shaped mouth, the Gorgon reference, the comparison to wet leather). Demonstrates a sophisticated appreciation of how suspense is structurally engineered through the slow reveal.
- **Band 7 (20–22 marks):** Shows a clear critical understanding of the passage. Effectively analyzes language and structure, linking stylistic devices directly to the creation of horror and tension.
- **Band 6 (17–19 marks):** Provides a well-developed response with relevant textual references. Understands both the physical horror of the Martian and the psychological panic of the crowd.
- **Band 5 (14–16 marks):** Shows a secure understanding of the passage. Makes reasonable comments on Wells's descriptive language, though the analysis may be more straightforward.
- **Band 4 (11–13 marks):** Demonstrates some understanding of the plot and the horrifying nature of the scene, but with limited deep analysis of language or writer's craft.
- **Bands 1–3 (1–10 marks):** Offers basic, superficial, or narrative-focused responses with limited engagement with the writing style or structural tension.
题目 2 · Essay
25
In what ways does Wells make the Artilleryman such a memorable and disturbing character in *The War of the Worlds*?
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解题

An excellent response will explore several key aspects of the Artilleryman's characterization:

1. **Initial Impression and Contrast:** When the narrator first encounters the Artilleryman in Book 1, Chapter 11 ('At the Window'), he is depicted as a traumatized, exhausted survivor of the first Martian onslaught. Here, Wells builds pity and respect for him, as his grim realism about military defeat contrasts sharply with the foolish optimism of the British public.

2. **The Transformation in Book 2 (Chapter 7: 'The Man on Putney Hill'):** When they meet again, the Artilleryman's trauma has evolved into a disturbing survivalist ideology. He has adjusted to human defeat, speaking with bizarre enthusiasm about a future where humanity lives like scavengers under the feet of the Martians.

3. **Disturbing Social Darwinist Philosophy:** He outlines a terrifying vision where the weak, the sick, and the soft are left to be consumed or domesticated by the Martians like 'tame' cattle. He proposes a selective underground community of 'wild' humans who will keep human science and strength alive. His cold, clinical dismissal of traditional human empathy and social institutions is deeply chilling.

4. **Inaction, Delusion, and Hypocrisy:** The ultimate horror of the Artilleryman lies in his hypocrisy. Despite his grand speeches about tunneling under London and eventually seizing Martian war machines, the narrator reveals him to be lazy and self-indulgent. He spends his days drinking stolen champagne, playing cards, and avoiding the hard labor of actually digging. His grandiose vision is merely a psychological coping mechanism for his own cowardice and complacency.

5. **Thematic Significance:** Through him, Wells delivers a scathing critique of class decay and social Darwinist theories popular in the late Victorian era, proving that in crisis, intellectual vanity can be just as dangerous as physical cowardice.

评分标准

This question is marked according to the standard Paper 1 Generic Marking Grid (maximum 25 marks):

- **Level 8 (23–25 marks):** Demonstrates knowledge by incorporating well-selected references to the text skilfully and with flair (AO1). Sustains a critical understanding of the text showing individuality and insight (AO2). Responds sensitively and in considerable detail to the way the writer uses language and structural contrasts to present the character (AO3). Sustains personal and evaluative engagement with the task (AO4).
- **Level 7 (20–22 marks):** Demonstrates knowledge by integrating much well-selected reference (AO1). Shows a clear critical understanding of the text (AO2). Responds sensitively and in detail to the ways Wells achieves his literary effects (AO3). Sustains a perceptive, convincing personal response (AO4).
- **Level 6 (17–19 marks):** Demonstrates knowledge by supporting with careful and relevant references (AO1). Shows a clear understanding of the text and some of its deeper thematic implications (AO2). Makes a developed response to how the writer achieves effects (AO3). Makes a well-developed, detailed, and relevant personal response (AO4).
- **Level 5 (14–16 marks):** Demonstrates knowledge by showing some thoroughness in the use of supporting evidence (AO1). Shows understanding of the character and the main themes of survival and hypocrisy (AO2). Makes some response to the way the writer uses language and dialogue (AO3). Makes a reasonably developed relevant personal response (AO4).
- **Level 4 (11–13 marks):** Demonstrates knowledge by using some supporting textual detail (AO1). Shows some understanding of meaning (AO2). Makes a little reference to the language of the text (AO3). Begins to develop a relevant personal response (AO4).
题目 3 · Essay
25
In what ways does Wells make the Artilleryman such a memorable and disturbing character in *The War of the Worlds*?
查看答案详解

解题

An excellent response will explore several key aspects of the Artilleryman's characterization:

1. **Initial Impression and Contrast:** When the narrator first encounters the Artilleryman in Book 1, Chapter 11 ('At the Window'), he is depicted as a traumatized, exhausted survivor of the first Martian onslaught. Here, Wells builds pity and respect for him, as his grim realism about military defeat contrasts sharply with the foolish optimism of the British public.

2. **The Transformation in Book 2 (Chapter 7: 'The Man on Putney Hill'):** When they meet again, the Artilleryman's trauma has evolved into a disturbing survivalist ideology. He has adjusted to human defeat, speaking with bizarre enthusiasm about a future where humanity lives like scavengers under the feet of the Martians.

3. **Disturbing Social Darwinist Philosophy:** He outlines a terrifying vision where the weak, the sick, and the soft are left to be consumed or domesticated by the Martians like 'tame' cattle. He proposes a selective underground community of 'wild' humans who will keep human science and strength alive. His cold, clinical dismissal of traditional human empathy and social institutions is deeply chilling.

4. **Inaction, Delusion, and Hypocrisy:** The ultimate horror of the Artilleryman lies in his hypocrisy. Despite his grand speeches about tunneling under London and eventually seizing Martian war machines, the narrator reveals him to be lazy and self-indulgent. He spends his days drinking stolen champagne, playing cards, and avoiding the hard labor of actually digging. His grandiose vision is merely a psychological coping mechanism for his own cowardice and complacency.

5. **Thematic Significance:** Through him, Wells delivers a scathing critique of class decay and social Darwinist theories popular in the late Victorian era, proving that in crisis, intellectual vanity can be just as dangerous as physical cowardice.

评分标准

This question is marked according to the standard Paper 1 Generic Marking Grid (maximum 25 marks):

- **Level 8 (23–25 marks):** Demonstrates knowledge by incorporating well-selected references to the text skilfully and with flair (AO1). Sustains a critical understanding of the text showing individuality and insight (AO2). Responds sensitively and in considerable detail to the way the writer uses language and structural contrasts to present the character (AO3). Sustains personal and evaluative engagement with the task (AO4).
- **Level 7 (20–22 marks):** Demonstrates knowledge by integrating much well-selected reference (AO1). Shows a clear critical understanding of the text (AO2). Responds sensitively and in detail to the ways Wells achieves his literary effects (AO3). Sustains a perceptive, convincing personal response (AO4).
- **Level 6 (17–19 marks):** Demonstrates knowledge by supporting with careful and relevant references (AO1). Shows a clear understanding of the text and some of its deeper thematic implications (AO2). Makes a developed response to how the writer achieves effects (AO3). Makes a well-developed, detailed, and relevant personal response (AO4).
- **Level 5 (14–16 marks):** Demonstrates knowledge by showing some thoroughness in the use of supporting evidence (AO1). Shows understanding of the character and the main themes of survival and hypocrisy (AO2). Makes some response to the way the writer uses language and dialogue (AO3). Makes a reasonably developed relevant personal response (AO4).
- **Level 4 (11–13 marks):** Demonstrates knowledge by using some supporting textual detail (AO1). Shows some understanding of meaning (AO2). Makes a little reference to the language of the text (AO3). Begins to develop a relevant personal response (AO4).

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卷二 Drama

Answer two questions on two different set texts: one passage-based question (a) and one essay question (b). All questions are worth equal marks.
2 题目 · 50
题目 1 · Drama
25
Read this passage from Act 3, Scene 2 of *A Midsummer Night's Dream*, and then answer the question that follows:

HELENA:
Lo, she is one of this confederacy!
Now I perceive they have conjoin'd all three
To fashion this false sport, in spite of me.
Injurious Hermia! most ungrateful maid!
Have you conspired, have you with these contrived
To bait me with this foul derision?
Is all the counsel that we two have shared,
The sisters' vows, the hours that we have spent,
When we have chid the hasty-footed time
For parting us,—O, is it all forgot?
All school-days' friendship, childhood innocence?
We, Hermia, like two artificial gods,
Have with our needles created both one flower,
Both on one sampler, sitting on one cushion,
Both warbling of one song, both in one key,
As if our hands, our sides, voices and minds,
Had been incorporate. So we grow together,
Like to a double cherry, seeming parted,
But yet an union in partition;
Two lovely berries moulded on one stem;
So, with two seeming bodies, but one heart;
Two of the first, like coats in heraldry,
Due but to one and crowns coronary.
And will you rent our ancient love asunder,
To join with men in scorning your poor friend?
It is not friendly, 'tis not maidenly:
Our sex, as well as I, may chide you for it,
Though I alone do feel the injury.

In what ways does Shakespeare make this a particularly dramatic and moving moment in the play?
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解题

To achieve high marks, candidates should explore several key aspects of this passage:

1. **The Drama of the Conflict and Betrayal:**
- Helena's sudden conviction that Hermia has joined Lysander and Demetrius in a 'confederacy' against her is emotionally charged. Strong accusatory words such as 'Injurious', 'ungrateful', 'conspired', and 'contrived' show the depth of her anger and hurt.
- There is intense dramatic irony: Helena genuinely believes there is a conspiracy, whereas the audience knows Hermia is completely innocent and confused herself. This structural irony heightens the pathos of Helena's genuine suffering.

2. **The Poetic Imagery of Childhood Unity:**
- Shakespeare uses tender, highly detailed domestic imagery to evoke their previous sisterly bond. The image of the girls working together like 'two artificial gods' creating 'one flower' on 'one sampler' sitting on 'one cushion' shows an almost symbiotic connection.
- The natural metaphors of the 'double cherry' and 'two lovely berries moulded on one stem' emphasize their physical and spiritual closeness. Candidates should highlight the repetition of the word 'one' to underscore their previous indivisibility, contrasted sharply with their current division.

3. **The Rhetorical Shift to Accusation:**
- Helena moves from nostalgic yearning to direct condemnation. She accuses Hermia of violating gender expectations ('not friendly, 'tis not maidenly') and calls upon 'our sex' to support her claim, elevating her personal grievance to a wider moral issue.
- The language transitions from lyrical harmony in the description of their childhood to harsh, discordant terms of separation ('rent our ancient love asunder', 'scorning your poor friend').

评分标准

Marks are awarded out of 25 based on the following level descriptors:

- **Band 8 (23–25 marks):** Shows sustained, critical, and perceptive understanding of the passage and its context. Explores the poetic devices, the specific effects of the imagery (e.g., the heraldic and natural imagery), and the dramatic irony with great sensitivity. Integrates well-selected textual details seamlessly into a persuasive personal response.
- **Band 7 (20–22 marks):** Demonstrates clear critical understanding. Explores how Shakespeare's language conveys Helena's sense of betrayal and nostalgia, using plenty of relevant textual support.
- **Band 6 (17–19 marks):** Shows a good understanding of Helena's emotional distress and her relationship with Hermia. Develops clear, structured arguments about what makes the moment dramatic and moving.
- **Band 5 (14–16 marks):** Shows broad understanding of the characters and the plot at this moment in the forest. Makes straightforward comments on Helena's feelings, with some attempt to analyze the imagery of the 'double cherry'.
- **Band 4 (11–13 marks):** Offers a basic response to Helena's speech, focusing largely on retelling the plot or identifying basic emotions of anger and sadness, with limited close focus on Shakespeare's use of language.
- **Bands 1–3 (1–10 marks):** Answers may be short, highly narrative, or show limited understanding of the conflict or the meaning of the passage.
题目 2 · essay
25
In what ways does Williams make Mitch such a significant and sympathetic character in the play?
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解题

A strong essay should explore the following points:

1. **Contrast with Stanley and the other men:** Williams presents Mitch as distinct from the brutish, hyper-masculine world of the poker players. He is sensitive, clumsy, and deeply devoted to his dying mother, which immediately establishes him as a sympathetic figure.
2. **The Shared Experience of Grief:** Both Mitch and Blanche have lost former loves. This shared sense of loss and loneliness creates a tender, mutual bond during their initial courtship, making Mitch a beacon of hope and security for Blanche.
3. **Mitch as Blanche's Potential Savior:** Their relationship represents Blanche's last desperate chance for stability and respectability. Williams uses Mitch to dramatize the conflict between 'magic' (Blanche's illusions) and 'realism' (Mitch's desire for plain truth).
4. **The Betrayal and Confrontation:** When Stanley exposes Blanche's past, Mitch's subsequent confrontation with her is painful and complex. While his rejection of her is harsh and reveals his own limitations, his heartbreak and feelings of betrayal keep him a deeply human and sympathetic character.
5. **Tragic Helplessness in the Final Scene:** In the play's climax, Mitch's despair and violent outburst against Stanley highlight his powerlessness to save Blanche. His collapse into tears reinforces the tragedy of his lost opportunity for happiness.

评分标准

Answers should be marked using the following levels of response:

* **Band 8 (23–25 marks):** Sustains a highly critical, sensitive, and evaluative engagement with the character of Mitch. Demonstrates deep understanding of his dramatic function as a foil to Stanley and his role in Blanche's tragedy. Incorporates well-selected, precise references to his language, actions, and interactions.
* **Band 7 (20–22 marks):** Shows a clear critical understanding of Mitch's significance. Responds in detail to how Williams uses his characterization to elicit sympathy, with developed analysis of key scenes (e.g., the paper lantern scene, the confrontation, and the final scene).
* **Band 6 (17–19 marks):** Makes a developed, coherent response exploring multiple ways Mitch is portrayed. Shows clear understanding of his relationship with Blanche and his contrast to Stanley, supported by relevant textual references.
* **Band 5 (14–16 marks):** Shows a straightforward understanding of Mitch's character and his place in the plot. Offers some relevant comments on his relationship with his mother and his eventual rejection of Blanche, with some supporting evidence.
* **Bands 1–4 (1–13 marks):** Shows limited to basic knowledge of the play's plot. Offers simple character descriptions with minimal focus on how Williams makes Mitch 'significant' or 'sympathetic'.

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