2025 Edexcel IGCSE English Language A 模擬試題連答案詳解

The first paragraph of the text states that the rescue involved several parties:
- The British navy
- The US coastguard
- Military personnel
- A Qantas passenger jet

Identifying any two of these groups or entities will earn the full 2 marks.

Award 1 mark for each correct group, organization, or entity identified, up to a maximum of 2 marks:
- British navy (1 mark)
- US coastguard (1 mark)
- military personnel (1 mark)
- Qantas passenger jet / Qantas (1 mark)

Accept direct quotations or paraphrases that clearly identify these entities.

According to the text, the previous experiences of Steve Brooks and Quentin Smith include the following:

1. **Steve Brooks' Expedition Experience:** He is a property developer who has spent many years planning and undertaking expeditions, including co-founding a polar expedition group.
2. **Steve Brooks' Bering Strait Achievement:** He achieved a major milestone by being the first person to successfully drive an amphibious vehicle across the Bering Strait.
3. **Quentin Smith's Flying History:** He is a highly trained helicopter pilot who began flying at a young age, specifically since he was 17.
4. **Quentin Smith's Aviation Accolades:** He is a flight instructor, has rescued others in the past, and holds world records, including being the first person to fly a helicopter across both the Atlantic Ocean and the equator.

Award 1 mark for each valid point described, up to a maximum of 4 marks.

Points must relate to their **previous experience** and can include:
* Steve Brooks has spent years planning and participating in expeditions / co-founded the Land Rover Polar Expedition. (1 mark)
* Steve Brooks was the first to drive an amphibious vehicle across the Bering Strait. (1 mark)
* Quentin Smith is an experienced helicopter pilot. (1 mark)
* Quentin Smith has been flying since his teenage years / age 17. (1 mark)
* Quentin Smith is a flight instructor / businessman. (1 mark)
* Quentin Smith has claimed world records, such as being the first to fly a helicopter across the Atlantic / equator. (1 mark)
* Quentin Smith has previously rescued/saved others. (1 mark)

**Guidelines:**
* Accept appropriate paraphrase or direct quotation of the key facts.
* Reject points that refer only to the current Antarctic incident, their current rescue, or general criticisms of their behavior that do not constitute 'previous experience'.

To achieve full marks, candidates must identify and explain five distinct points from the text reflecting the views or reactions of others: 1. The British Ministry of Defence (MoD) and taxpayers: there is resentment and concern over who will foot the bill, as they believe the public should not pay for private recklessness. 2. The Maritime and Coastguard Agency / Search and rescue personnel: they view the men with frustration and some contempt, using the phrase 'boys messing about' to describe their activities. 3. Jo Vestey (wife of Steve Brooks): she displays a mixture of indulgence/resignation (calling the helicopter 'boys' toys' and saying they 'will be in trouble') alongside defense of their experience. 4. Aviation experts (such as Gunter Endres): they express professional skepticism and criticism, pointing out that using a single-engine helicopter in such hostile environments is highly inappropriate. 5. The Chilean navy and authorities: they reacted with professional dispatch but the text notes that the rescue involved a highly coordinated, expensive search operation, implying a significant burden on local services.

Award 1 mark for each valid point explained, up to a maximum of 5 marks. Point 1: The Ministry of Defence's irritation or concern over the taxpayers having to pay the bill. Point 2: The rescue spokesperson's critical description of them as 'boys messing about'. Point 3: Jo Vestey's unsurprised, slightly indulgent but defensive reaction. Point 4: Aviation experts' technical criticism of their inappropriate equipment (the Robinson R44 helicopter). Point 5: The wider public or Chilean authorities' response to the high cost and scale of the rescue effort. Accept paraphrased responses that demonstrate understanding. Reject pure quotation without explanation.

In 'Explorers, or boys messing about?', Steven Morris presents a highly critical view of the explorers (Steve Brooks and Quentin Smith) and their failed expedition. Key methods include:

1. Language suggesting immaturity and childishness:
- The title labels them as 'boys messing about', undermining their status as experienced explorers.
- Words like 'farce', 'drama', and 'adventure' frame their serious situation as theatrical or trivial.
- Mentioning that one explorer's wife said 'they’ll probably have their bottoms kicked' reinforces a domestic, parental framing of their punishment, diminishing their adult credibility.

2. Language highlighting incompetence and lack of preparation:
- The use of the word 'plunged' suggests sudden, uncontrolled action.
- Their equipment is subtly mocked (e.g., 'trusty helicopter', which ironically failed them).
- Details about their previous failed attempts (like the crossing of the Bering Strait) establish a history of recklessness.

3. Structural contrasts and factual evidence:
- Morris contrasts the childishness of the men with the massive, professional rescue operation involving the Royal Navy, HMS Endurance, and the Chilean air force.
- The inclusion of specific details and figures (such as the cost of the rescue and the types of military hardware used) shifts the focus from an adventure to a costly public burden.
- The text structures the argument to build resentment from the taxpayer, ending with quotes from experts who criticize their planning.

4. Sarcasm and Irony:
- The headline itself uses irony, juxtaposing 'explorers' with 'boys'.
- The writer uses phrases like 'highly experienced' with a tone of underlying skepticism, quickly followed by examples of their failures.

AO2: Analyze how writers use language and structure to achieve effects and influence readers.

Level 5 (11-12 marks):
- Assured, perceptive analysis of how language and structure are used to present the explorers.
- Cohesive evaluation of the writer's techniques (e.g., tone, juxtaposition, word choice).
- Well-selected, integrated textual references.

Level 4 (9-10 marks):
- Clear, sustained analysis of how language and structure are used.
- Thorough understanding of the writer's techniques and their effects on the reader.
- Apt use of textual references.

Level 3 (6-8 marks):
- Sound explanation of how language and structure are used.
- Clear understanding of the writer's methods, with some discussion of effects.
- Relevant textual references.

Level 2 (3-5 marks):
- Limited comment on language and structure, often describing what happens rather than analyzing how it is written.
- Some identification of writer's techniques.
- Basic textual references.

Level 1 (1-2 marks):
- Extremely basic or generalized comments.
- Little to no awareness of language/structural features.
- Sparse or no references to the text.

An exemplar response will compare the texts across several key areas:

1. **Perspectives on the Explorers/Adventurers:**
- **Text One:** Presents the explorer, David Vance, as a figure of deep discipline, respect, and quiet heroism. He is driven by a profound personal quest and an intimate respect for the environment ('a symbiotic dialogue with the ice'). The language used emphasizes his psychological resilience and physical stamina ('sinewy determination', 'monastic simplicity').
- **Text Two:** Presents the two men, Steve Brooks and Quentin Smith, as immature, wealthy dilettantes. The writer utilizes patronizing and infantilesing language ('boys messing about', 'decided to have a go', 'sports.90 helicopter') to undermine their credibility. They are depicted as irresponsible hobbyists rather than serious explorers.

2. **Perspectives on the Expeditions and Risks:**
- **Text One:** The expedition is treated as a serious, calculated endeavor where risk is an inevitable, spiritual challenge. The danger is presented with solemnity and awe ('the yawning crevasse was a silent sentinel of the wild'). The focus is on the human spirit testing its limits.
- **Text Two:** The expedition is framed as an unnecessary, reckless stunt that actively inconvenienced others and wasted public resources. The writer highlights the financial cost and the irritation of the authorities ('taxpayer gets rescue bill', 'resentment in some quarters', 'highly unlikely it will recover any of the money').

3. **Comparison of Language and Tone:**
- **Text One:** The tone is respectful, reflective, and poetic. The writer uses sensory imagery ('the biting iron wind', 'blinding expanse of absolute white') and metaphors to elevate Vance’s solitary struggle to a sublime endeavor.
- **Text Two:** The tone is journalistic, ironic, and highly critical. Steven Morris uses active, mocking verbs ('plunged', 'scrambled') and juxtaposes the men's expensive, high-tech gear with their ultimate failure ('survival suit', 'life-raft', yet they had to be saved by a British Royal Navy vessel).

4. **Comparison of Structural Features:**
- **Text One:** Follows a chronological, narrative arc that builds tension as Vance faces a sudden blizzard, emphasizing his methodical decision-making process and reinforcing his competence.
- **Text Two:** Uses a typical news-report structure with a dramatic lead sentence, followed by background details (including previous failed expeditions) specifically curated to undermine the men's reputation and construct a biased, critical perspective from the outset.

**Assessment Objective AO3:** Compare writers' ideas and perspectives, including how these are conveyed, through two or more texts.

**Mark Scheme Grid (22 Marks):**

* **Level 1 (1–4 marks):**
- Simple comparison of the texts.
- Very basic identification of ideas and perspectives.
- Minimal reference to language or structure; heavily reliant on quotation without analysis.

* **Level 2 (5–8 marks):**
- Straightforward comparison of some obvious ideas and perspectives.
- Some awareness of how the writers' choices of language/structure shape meaning.
- Selection of basic examples, though they may not always be analyzed effectively.

* **Level 3 (9–13 marks):**
- Clear, organized comparison of the writers' main ideas and perspectives.
- Clear explanation of how language and structure are used to convey these perspectives in both texts.
- Relevant, supporting references from both texts are integrated.

* **Level 4 (14–18 marks):**
- Thorough and cohesive comparison of a range of ideas and perspectives.
- Detailed, analytical exploration of the writers' use of language and structure, with appropriate terminology.
- Well-selected, precise references are woven naturally into the argument.

* **Level 5 (19–22 marks):**
- Perceptive, evaluative comparison of the subtle nuances in the writers' perspectives and ideas.
- Sharp, sophisticated analysis of a wide range of features of language and structure, demonstrating how they construct meaning and impact the reader.
- Highly discriminative, illuminating references used to support a well-structured, cohesive comparative argument.

### Candidate Response Guide

An excellent response will successfully address the task of writing a magazine article for a youth audience. Key aspects include:

* **Form and Register:**
* A catchy, engaging title/headline suitable for a youth magazine.
* An introductory paragraph that grabs the reader's attention and introduces the debate around volunteering.
* A lively, engaging, and personal register (using 'we', 'you', colloquial but respectful language, rhetorical questions) suitable for peers.
* Use of subheadings or clear paragraph transitions to guide the reader through different perspectives.

* **Content and Development:**
* **Benefits of Volunteering:** Gaining new skills (leadership, teamwork), building a sense of purpose, boosting self-esteem, enhancing CVs/university applications, and making a positive impact on the community.
* **Drawbacks/Challenges:** Time pressures, academic stress, feeling exploited or given mundane tasks, or the feeling of obligation rather than genuine desire.
* **Synthesis/Conclusion:** Offering a balanced yet persuasive conclusion, perhaps suggesting how volunteering can be made more appealing or manageable for teenagers.

* **Language and Structure (AO4/AO5):**
* **AO4 (30 marks):** Adapt tone and register effectively. Use persuasive devices such as anecdotes, statistics (invented but plausible), tripling, and direct address.
* **AO5 (15 marks):** Use a wide range of sentence structures (simple, compound, complex) and vocabulary. Maintain high accuracy in spelling, punctuation, and grammar.

### Marking Grid (Total: 45 marks)

#### AO4: Communicate effectively and imaginatively, adapting form, tone and register of writing for specific purposes and audiences (30 Marks)

* **Level 5 (25–30 marks):**
* Communication is perceptive and subtle.
* Task is sharply focused on purpose and audience; form is highly appropriate and sophisticated (genuine magazine article feel).
* Sophisticated control of tone, style, and register.
* Ideas are highly developed, cohesive, and structured logically.

* **Level 4 (19–24 marks):**
* Communication is clear and detailed.
* Secure focus on purpose, audience, and form.
* Tone and register are consistently appropriate and effective.
* Well-structured and sustained arguments with clear development.

* **Level 3 (13–18 marks):**
* Communication is generally clear with some detailed development.
* Shows awareness of purpose, audience, and form, though there may be occasional lapses.
* Straightforward tone and style.
* Logical structure with adequate paragraphing.

* **Level 2 (7–12 marks):**
* Communication is basic with some simple development.
* Limited awareness of purpose, audience, and form.
* Tone and style may be inconsistent or flat.
* Simple structure; organization is weak but some connection between ideas.

* **Level 1 (1–6 marks):**
* Extremely limited communication; simple or fragmented ideas.
* Little or no awareness of audience, purpose, or form.
* Unstructured and disorganized.

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#### AO5: Write clearly, using a range of vocabulary and sentence structures, with appropriate spelling, punctuation and grammar (15 Marks)

* **Level 5 (13–15 marks):**
* Writing is highly accurate with extremely secure control of complex grammatical structures.
* Extensive and sophisticated vocabulary is used precisely.
* Punctuation is used accurately and purposefully to enhance meaning and pace.
* Spelling is consistently accurate, including complex/ambitious vocabulary.

* **Level 4 (10–12 marks):**
* Writing is mostly accurate with secure control of a range of grammatical structures.
* A wide range of vocabulary is used appropriately.
* Punctuation is mostly accurate and helps shape meaning.
* Spelling of common and some complex words is accurate.

* **Level 3 (7–9 marks):**
* Writing has general control of sentence structures, though errors may occur in complex sentences.
* Vocabulary is varied and adequate for the task.
* Basic punctuation is mostly accurate, though there may be errors in more complex structures.
* Spelling is generally accurate, with some errors in more complex vocabulary.

* **Level 2 (4–6 marks):**
* Basic sentence structures are used, but grammatical errors are frequent.
* Limited vocabulary used.
* Punctuation is basic and often inaccurate.
* Frequent spelling errors, even in common words.

* **Level 1 (1–3 marks):**
* Grammatical control is very weak, causing lapses in clarity.
* Extremely limited vocabulary.
* Punctuation is absent or highly erratic.
* Persistent spelling errors hinder communication.

### Candidate Response Guide

An excellent response will successfully address the task of writing a magazine article for a youth audience. Key aspects include:

* **Form and Register:**
* A catchy, engaging title/headline suitable for a youth magazine.
* An introductory paragraph that grabs the reader's attention and introduces the debate around volunteering.
* A lively, engaging, and personal register (using 'we', 'you', colloquial but respectful language, rhetorical questions) suitable for peers.
* Use of subheadings or clear paragraph transitions to guide the reader through different perspectives.

* **Content and Development:**
* **Benefits of Volunteering:** Gaining new skills (leadership, teamwork), building a sense of purpose, boosting self-esteem, enhancing CVs/university applications, and making a positive impact on the community.
* **Drawbacks/Challenges:** Time pressures, academic stress, feeling exploited or given mundane tasks, or the feeling of obligation rather than genuine desire.
* **Synthesis/Conclusion:** Offering a balanced yet persuasive conclusion, perhaps suggesting how volunteering can be made more appealing or manageable for teenagers.

* **Language and Structure (AO4/AO5):**
* **AO4 (30 marks):** Adapt tone and register effectively. Use persuasive devices such as anecdotes, statistics (invented but plausible), tripling, and direct address.
* **AO5 (15 marks):** Use a wide range of sentence structures (simple, compound, complex) and vocabulary. Maintain high accuracy in spelling, punctuation, and grammar.

### Marking Grid (Total: 45 marks)

#### AO4: Communicate effectively and imaginatively, adapting form, tone and register of writing for specific purposes and audiences (30 Marks)

* **Level 5 (25–30 marks):**
* Communication is perceptive and subtle.
* Task is sharply focused on purpose and audience; form is highly appropriate and sophisticated (genuine magazine article feel).
* Sophisticated control of tone, style, and register.
* Ideas are highly developed, cohesive, and structured logically.

* **Level 4 (19–24 marks):**
* Communication is clear and detailed.
* Secure focus on purpose, audience, and form.
* Tone and register are consistently appropriate and effective.
* Well-structured and sustained arguments with clear development.

* **Level 3 (13–18 marks):**
* Communication is generally clear with some detailed development.
* Shows awareness of purpose, audience, and form, though there may be occasional lapses.
* Straightforward tone and style.
* Logical structure with adequate paragraphing.

* **Level 2 (7–12 marks):**
* Communication is basic with some simple development.
* Limited awareness of purpose, audience, and form.
* Tone and style may be inconsistent or flat.
* Simple structure; organization is weak but some connection between ideas.

* **Level 1 (1–6 marks):**
* Extremely limited communication; simple or fragmented ideas.
* Little or no awareness of audience, purpose, or form.
* Unstructured and disorganized.

---

#### AO5: Write clearly, using a range of vocabulary and sentence structures, with appropriate spelling, punctuation and grammar (15 Marks)

* **Level 5 (13–15 marks):**
* Writing is highly accurate with extremely secure control of complex grammatical structures.
* Extensive and sophisticated vocabulary is used precisely.
* Punctuation is used accurately and purposefully to enhance meaning and pace.
* Spelling is consistently accurate, including complex/ambitious vocabulary.

* **Level 4 (10–12 marks):**
* Writing is mostly accurate with secure control of a range of grammatical structures.
* A wide range of vocabulary is used appropriately.
* Punctuation is mostly accurate and helps shape meaning.
* Spelling of common and some complex words is accurate.

* **Level 3 (7–9 marks):**
* Writing has general control of sentence structures, though errors may occur in complex sentences.
* Vocabulary is varied and adequate for the task.
* Basic punctuation is mostly accurate, though there may be errors in more complex structures.
* Spelling is generally accurate, with some errors in more complex vocabulary.

* **Level 2 (4–6 marks):**
* Basic sentence structures are used, but grammatical errors are frequent.
* Limited vocabulary used.
* Punctuation is basic and often inaccurate.
* Frequent spelling errors, even in common words.

* **Level 1 (1–3 marks):**
* Grammatical control is very weak, causing lapses in clarity.
* Extremely limited vocabulary.
* Punctuation is absent or highly erratic.
* Persistent spelling errors hinder communication.

### Analytical Guide to the Poem

**1. The Daily Hardships and Dangers of War:**
* **Sensory details of deprivation:** Harrison uses stark, physical imagery of citizens queuing for basic survival resources ("water-bottles", "canister", "conduits"). The struggle is regularized, as the residents "stray" and "dodge the snipers on the way".
* **The imagery of violence:** The poem recalls historical trauma through the "mortar scars" on the streets, likened to "splintered leeks" and "broken stones". This domestic comparison brings the destruction into the intimate, domestic realm.
* **The atmospheric darkness:** Darkness is literal (due to lack of electricity/gas) but also symbolic of the oppressive force of war, where the night sky has "no streetlamps to disclose" what lies beneath.

**2. The Presentation of the Young Couple:**
* **Juxtaposition with the background of war:** Amid the bleakness of "rationed days" and mortar fire, the young couple represents hope, vitality, and normal human intimacy. Their progression through the dark streets suggests resilience.
* **The metaphor of light:** Harrison uses light imagery specifically to describe their connection. They are seen "holding hands" as they navigate the dark. Even the physical markers of war ("blood-dunked" streets) are transformed by their presence into a sort of dark romantic backdrop.
* **Precious metal imagery:** The poet refers to the coffee as "precious metal" or describes their meeting as defying the "darkness". Their connection is a rare, valuable remnant of humanity.

**3. Language, Structure, and Form:**
* **Structure & Rhyme Scheme:** Written in heroic couplets (AABB...), which provides a rhythmic, orderly contrast to the chaotic, fragmented reality of a besieged city. The tight formal control reflects the citizens' determination to maintain order and dignity.
* **Juxtaposition & Contrast:** Bright lights vs. dark streets, death vs. young love, "blood" vs. "rose". The contrast highlights that despite the heavy hand of destruction, life and love persist.
* **Tone:** The poem shifts from a bleak, documentary-style record of daytime deprivation to a highly lyrical, almost magical-realist romantic nocturne at night.

### Assessment Grid (30 Marks Total)

#### Level 1 (1–6 marks): Simple / Minimal
* **AO1:** Offers limited, generalized reading of the text. Direct reference is scarce or inaccurate.
* **AO2:** Identifies basic linguistic or structural elements without clear linkage to meaning or writer's purpose.

#### Level 2 (7–12 marks): Emerging / Unsupported
* **AO1:** Provides some relevant points but lacks depth. Simplistic understanding of the conflict/romance contrast.
* **AO2:** Attempts basic comment on language (e.g., noting the dark/light contrast) with limited explanation of its impact.

#### Level 3 (13–18 marks): Clear / Relevant
* **AO1:** A sound grasp of the poem's themes. Relevant points are supported by appropriate textual examples.
* **AO2:** Clear explanation of how Harrison uses poetic techniques (such as contrast, imagery of war vs. peace, rhyming couplets) to convey his message.

#### Level 4 (19–24 marks): Thorough / Detailed
* **AO1:** Analytical and structured response demonstrating a thorough understanding of the text's deeper thematic concerns.
* **AO2:** Close, detailed examination of Harrison's craft, exploring how sensory imagery, metaphors of war, and structural shifts build the romantic yet tragic atmosphere.

#### Level 5 (25–30 marks): Perceptive / Assured
* **AO1:** Highly insightful interpretation, showing a sophisticated grasp of the enduring nature of human spirit under siege.
* **AO2:** Flawless analysis of linguistic nuances and structural devices (e.g., the significance of the rhyming couplets in imposing order on chaos) and how they reinforce the central duality of the poem.

An effective response to this prompt should craft an engaging story with a clear narrative structure. The concept of 'The Threshold' can be interpreted literally (such as entering a forgotten room, a physical border, or a hidden passage) or metaphorically (such as a rite of passage, a major life decision, or a moment of psychological change). A successful response will: 1. Set a vivid scene with sensory descriptions (e.g., the heavy silence, the smell of damp earth, the cold touch of a rusty door handle). 2. Establish a clear protagonist with a distinct voice and motivations. 3. Use structural techniques like a hook, rising action, a turning point (crossing the threshold), and a resolution or reflective ending. 4. Vary sentence lengths and structures for dramatic effect. For example, short sentences can heighten tension at the moment of crossing: 'Silence fell. I stepped through.' 5. Use sophisticated figurative language (similes, metaphors, personification) to build atmosphere.

AO4 (12 marks): Communicate effectively and imaginatively, adapting form, tone, and register. Level 1 (1-2 marks): Minimal awareness of form, simple narrative. Level 2 (3-4 marks): Straightforward narrative, some attempt to engage the reader. Level 3 (5-7 marks): Clear and coherent story with some effective structural choices. Level 4 (8-10 marks): Engaging and secure narrative with sustained tone and purposeful structure. Level 5 (11-12 marks): Perceptive, sophisticated, and cohesive control of narrative form and technique. AO5 (18 marks): Write clearly, using a range of vocabulary and sentence structures, with appropriate spelling, punctuation, and grammar. Level 1 (1-3 marks): Basic vocabulary, frequent technical errors. Level 2 (4-7 marks): Simple sentence structures, general grammatical control with some errors. Level 3 (8-11 marks): Varied vocabulary, generally accurate spelling and punctuation. Level 4 (12-15 marks): Wide vocabulary, secure and varied sentence structures, highly accurate mechanics. Level 5 (16-18 marks): Sophisticated range of vocabulary, precise and highly effective sentence variations, virtually flawless spelling, punctuation, and grammar.