19th-Century Prose Mark Scheme and Model Answers (WJEC Eduqas GCSE English Literature)

GCSE Eduqas English Literature 19th-Century Prose

Write about Mr Rochester and how he is presented at different points in the novel. 

In your response you should:

• refer to the extract and the novel as a whole

• show your understanding of characters and events in the novel

• refer to the contexts of the novel

Half reclined on a couch appeared Mr. Rochester, his foot supported by the cushion; he was looking at Adèle and the dog: the fire shone full on his face. I knew my traveller with his broad and jetty eyebrows; his square forehead, made squarer by the horizontal sweep of his black hair. I recognised his decisive nose, more remarkable for character than beauty; his full nostrils, denoting, I thought, choler; his grim mouth, chin, and jaw—yes, all three were very grim, and no mistake. His shape, now divested of cloak, I perceived harmonised in squareness with his physiognomy: I suppose it was a good figure in the athletic sense of the term—broad chested and thin flanked, though neither tall nor graceful.

Mr. Rochester must have been aware of the entrance of Mrs. Fairfax and myself; but it appeared he was not in the mood to notice us, for he never lifted his head as we approached.

“Here is Miss Eyre, sir,” said Mrs. Fairfax, in her quiet way. He bowed, still not taking his eyes from the group of the dog and child.

“Let Miss Eyre be seated,” said he: and there was something in the forced stiff bow, in the impatient yet formal tone, which seemed further to express, “What the deuce is it to me whether Miss Eyre be there or not? At this moment I am not disposed to accost her.”

I sat down quite disembarrassed. A reception of finished politeness would probably have confused me: I could not have returned or repaid it by answering grace and elegance on my part; but harsh caprice laid me under no obligation; on the contrary, a decent quiescence, under the freak of manner, gave me the advantage. Besides, the eccentricity of the proceeding was piquant: I felt interested to see how he would go on.

He went on as a statue would, that is, he neither spoke nor moved. Mrs. Fairfax seemed to think it necessary that some one should be amiable, and she began to talk. Kindly, as usual—and, as usual, rather trite—she condoled with him on the pressure of business he had had all day; on the annoyance it must have been to him with that painful sprain: then she commended his patience and perseverance in going through with it.

“Madam, I should like some tea,” was the sole rejoinder she got. She hastened to ring the bell; and, when the tray came, she proceeded to arrange the cups, spoons, etc., with assiduous celerity. I and Adèle went to the table; but the master did not leave his couch.

Grade 9 model answer paragraph

The extract hints at the complexity of Rochester’s character: here he is depicted as both aloof and stern, though there are occasions within the novel when he exhibits great charm, wit and charisma [Opening sentence retains a focus on the question while also presenting alternative interpretations (AO1)]. The lack of acknowledgement from Rochester towards Jane and Mrs Fairfax in the room could be interpreted in different ways. His preoccupation with his thoughts could allude to his inner struggles as he has a tendency to retreat into his own thoughts. From the early chapters of the novel, Rochester is depicted as an enigmatic character and his brooding demeanour and moments of introspection demonstrate his feelings of guilt and regret and are perhaps an attempt to reconcile with his past. It could also reflect a deliberate assertion of his dominance, authority and his superiority for as an upper-class gentleman, Rochester is accustomed to asserting power and control. [Provides pertinent references to the text, demonstrating a critical overview of Rochester’s character development while incorporating contextual understanding (AO1, AO3)] Jane accepts this treatment and is “disembarrassed” by his lack of formal politeness, which is indicative of the social norms and class dynamics in 19th-century England. During this era, there was a clear social hierarchy which dictated interactions between individuals of different classes. Figures like Rochester held a position of authority and privilege and those of lower social standing, like Jane, were expected to be deferential. Similarly, the interaction between Mrs Fairfax and Rochester highlights his indifference and her subservience. [Shows an assured understanding of the social and historical context, illustrating how class dynamics influence character interactions (AO3)]  Brontë uses a simile, describing Rochester as “a statue” that “neither spoke nor moved” to suggest a stillness and rigidity to his character and the repetition of the negative verbs further alludes to his emotional detachment. His bow and command to “Let Miss Eyre be seated” are described as “forced” and “impatient yet informal”. This perhaps suggests a reluctant politeness rather than genuine courtesy. The repetition of the adjective “grim” conveys his stern and somewhat intimidating presence and Jane appears to be both wary and intrigued by him. [Analyses the use of a range of literary devices (simile and repetition) to explore overall point about Rochester’s emotional detachment (AO2)]

GCSE Eduqas English Literature 19th Century Prose

Write about Mr Darcy and how he is presented at different points in the novel. 

In your response you should:

• refer to the extract and the novel as a whole

• show your understanding of characters and events in the novel

• refer to the contexts of the novel

“And this,” cried Darcy, as he walked with quick steps across the room, “is your opinion of me! This is the estimation in which you hold me! I thank you for explaining it so fully. My faults, according to this calculation, are heavy indeed! But perhaps,” added he, stopping in his walk, and turning towards her, “these offences might have been overlooked, had not your pride been hurt by my honest confession of the scruples that had long prevented my forming any serious design. These bitter accusations might have been suppressed, had I with greater policy concealed my struggles, and flattered you into the belief of my being impelled by unqualified, unalloyed inclination; by reason, by reflection, by every thing. But disguise of every sort is my abhorrence. Nor am I ashamed of the feelings I related. They were natural and just. Could you expect me to rejoice in the inferiority of your connections? To congratulate myself on the hope of relations, whose condition in life is so decidedly beneath my own?” 

Elizabeth felt herself growing more angry every moment; yet she tried to the utmost to speak with composure when she said,

“You are mistaken, Mr Darcy, if you suppose that the mode of your declaration affected me in any other way, than as it spared me the concern which I might have felt in refusing you, had you behaved in a more gentleman-like manner.”

She saw him start at this, but he said nothing, and she continued, 

“You could not have made me the offer of your hand in any possible way that would have tempted me to accept it.”

Again his astonishment was obvious; and he looked at her with an expression of mingled incredulity and mortification. She went on.

“From the very beginning, from the first moment I may almost say, of my acquaintance with you, your manners impressing me with the fullest belief of your arrogance, your conceit, and your selfish disdain of the feelings of others, were such as to form that ground-work of disapprobation, on which succeeding events have built so immoveable a dislike; and I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”

“You have said quite enough, madam. I perfectly comprehend your feelings, and have now only to be ashamed of what my own have been. Forgive me for having taken up so much of your time, and accept my best wishes for your health and happiness.” 

And with these words he hastily left the room, and Elizabeth heard him the next moment open the front door and quit the house. 

Graded 9 model answer paragraph

Darcy’s own pride, and prejudice towards Elizabeth and the Bennets, is evident in this extract. His outburst reflects his wounded pride and frustration of Elizabeth’s opinion of him. The rapid pace of his speech and his actions, walking as he was “with quick steps across the room”, conveys his agitation. His repetitive use of rhetorical questions and exclamations illustrate his incredulity and frustration. The use of rhetorical questions like “Could you expect me to rejoice in the inferiority of your connections?” conveys the fact that Mr Darcy believed his objections were reasonable and self-evident. His choice of words such as “inferiority” and “decidedly beneath my own” reflect his arrogance and sense of superiority. His defensive tone also indicates his vulnerability and his need to rationalise his feelings and actions. Throughout the novel, Darcy’s language is often perceived as arrogant and condescending, which reflects the class-consciousness of the Regency era. [Contextual understanding elevates analysis of characterisation (AO2)]  

In his marriage proposal to Elizabeth he presents his own social standing in comparison with her family’s status which also reflects societal attitudes towards women where their value was often tied to their marital prospects. While on the surface his words appear to be arrogant, they also reveal the difficulty of balancing his genuine feelings for Elizabeth and the societal expectations he is expected to uphold. [Shows an assured understanding of the social and historical context, illustrating how Regency-era class consciousness is reflected in Darcy’s language (AO3)] Throughout the novel, Mr Darcy’s character is often misunderstood by other characters, including Elizabeth, due to his reserved, arrogant and aloof demeanour but this misunderstanding also stems from his social awkwardness and his inability to express himself effectively. The extract marks a turning point in Darcy’s development as his confrontation with Elizabeth forces him to confront his own faults and reassess his behaviour and his language underscores the prejudices he must overcome [Sophisticated analysis of Austen’s structural choices — here, a turning point in the presentation of a character (AO2)]. 

As his character evolves in the latter parts of the novel, his language becomes much more sincere and humble, evident through his admission during his second proposal of marriage to Elizabeth: “I have been a selfish being all my life”. This reveals a marked change in his character from pride to humility. His eventual genuine acknowledgement of Elizabeth’s worth and his willingness to cross social boundaries reflects his maturation as a character and also reveals Austen’s critique of class prejudices. [Shows an assured understanding of Darcy’s complex character, and Austen’s intentions (AO1)]

GCSE Eduqas English Literature 19th Century Prose

Write about how Dickens presents the ghosts. How are they important to the novel as a whole? 

In your response you should:

• refer to the extract and the novel as a whole

• show your understanding of characters and events in the novel

• refer to the contexts of the novel

Scrooge had often heard it said that Marley had no bowels, but he had never believed it until now. No, nor did he believe it even now. 

Though he looked the phantom through and through, and saw it standing before him; though he felt the chilling influence of its death-cold eyes; and marked the very texture of the folded kerchief bound about its head and chin, which wrapper he had not observed before: he was still incredulous, and fought against his senses. 

‘How now!’ said Scrooge, caustic and cold as ever. ‘What do you want with me?’ 

‘Much!’ — Marley’s voice, no doubt about it. 

‘Who are you?’ 

‘Ask me who I was.’ 

‘Who were you then?’ said Scrooge, raising his voice. ‘You’re particular — for a shade.’ He was going to say ‘to a shade’, but substituted this, as more appropriate. 

‘In life I was your partner, Jacob Marley.’ 

‘Can you — can you sit down?’ asked Scrooge, looking doubtfully at him. 

‘I can.’ 

‘Do it then.’ Scrooge asked the question, because he didn’t know whether a ghost so transparent might find himself in a condition to take a chair; and felt that in the event of its being impossible, it might involve the necessity of an embarrassing explanation. But the Ghost sat down on the opposite side of the fireplace, as if he were quite used to it. ‘You don’t believe in me,’ observed the Ghost. 

‘I don’t,’ said Scrooge. 

‘What evidence would you have of my reality, beyond that of your senses?’ 

‘I don’t know,’ said Scrooge. 

‘Why do you doubt your senses?’ 

‘Because,’ said Scrooge, ‘a little thing affects them. A slight disorder of the stomach makes them cheats. You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato. There’s more of gravy than of grave about you, whatever you are!’ 

Scrooge was not much in the habit of cracking jokes, nor did he feel, in his heart, by any means waggish then. The truth is, that he tried to be smart, as a means of distracting his own attention, and keeping down his terror; for the spectre’s voice disturbed the very marrow in his bones.

Grade 9 model answer

A Christmas Carol follows the conventions of a typical ghost story which was traditionally designed to bring about a crisis in which a character is confronted by ghosts, but also their own failings. The ghosts are therefore important characters in the novella as they represent the catalysts which bring about Scrooge’s redemption. [Sophisticated introduction sets out a developed argument and highlight’s Dickens’ intention (AO1)]

Marley is the first spirit to appear to Scrooge and despite Scrooge’s attempts to blithely dismiss the ghost, Marley is the first spirit to force Scrooge to question himself and his beliefs [Clear topic sentence sets out the focus of this paragraph (AO1)]. In the extract, Dickens uses humour to convey Scrooge’s initial disbelief at the ghost. At first, Scrooge’s scepticism is evident through his attempts at humour and wit. He responds to Marley’s ghost with caustic and sarcastic remarks, such as when he questions his identity, asking him “Who are you?” and jesting about the ghost’s transparency: “You’re particular — for a shade”. Further, he uses hyperbole and a list of three to dismiss the existence of the ghost — “You may be an undigested bit of beef, a blot of mustard, a crumb of cheese” — and this is used to deflect his own fear as he attempts to remain composed and detached. Scrooge’s cold language is marked by short, curt sentences such as “How now!” and “I don’t” and this is juxtaposed with the solemn and authoritative tone of Marley’s ghost. Dickens uses this contrast to convey the seriousness and importance of the ghost’s message. However, Scrooge’s initial disbelief eventually gives way to his terror. Imagery is used through phrases such as “death-cold eyes” and “transparent” to depict a haunting image of Marley’s ghost and to create an eerie and unsettling mood. [Analyses how language is used to create mood and atmosphere (AO2)] Structurally, Jacob Marley is first referenced in the opening lines of the novella and by declaring that Marley has been dead seven years before the narrative opens, it sets up the scene for the shock and anguish which Scrooge now experiences when he appears to him. The extract depicts Scrooge’s fears as he attempts to keep “down his terror” as Marley’s ghost has “disturbed the very marrow in his bones”. It is this fear which first prompts his desire to change and thus one of the purposes of Marley’s ghost is to save Scrooge from a similar fate. He therefore is important as he acts as a catalyst for the transformation of Scrooge. Dickens also uses Marley’s ghost as an allegorical warning against greed and his eventual warning to Scrooge, and to the reader, is that everyone is responsible for their actions and will be held accountable for them. [Analyses the extract and wider text critically and shows a perceptive understanding of Dickens’ wider message (AO1)] 

The appearance of the Ghost of Christmas Past in Stave 2 also signifies the importance of the ghosts as it takes Scrooge on a journey of self-reflection by revisiting key moments from his past. The spirit is depicted as wise, gentle, forceful yet enigmatic and is described through a range of dualities and paradoxes. It is described “like a child: yet not so like a child as like an old man”. Further, “Its hair… was white as if with age; and yet the face had not a wrinkle in”. Dickens uses these dualities and paradoxes to illustrate Scrooge’s contradictory qualities, as the spirit reveals a younger Scrooge who was once capable of having feelings for others [Points offer personal interpretations that are developed and well-evidenced with both quotations and other references to the plot (AO1)]. Additionally, Dickens describes the spirit as emitting “a bright clear jet of light” from its head and this could be seen as symbolic of the illumination, memory, and guidance that it offers Scrooge. [Responses include pertinent, direct references from across the wider text (AO1)] At first, Scrooge is defiant and challenges the authority of the spirit though he eventually begins to embrace this guidance. The spirit confronts Scrooge with a series of visions from his past and his response conveys how distressing they are for him. These visions force Scrooge to display emotion which creates empathy for his character. Before the ghost disappears, Scrooge attempts to extinguish the spirit’s light but fails to do so as he “could not hide the light” and his inability to extinguish it depicts the power of reflection and self-discovery. Although Scrooge is reluctant to confront his past, as it exposes him to pain and regret, it is necessary for his redemption. [Fully developed points show sophisticated understanding of the themes explored by Dickens (AO1)]

The final two ghosts are similarly important as they demonstrate to Scrooge the negative consequences of his actions [Clear, straightforward opening sentence to paragraph enables examiner to understand the argument immediately (AO1)]. The Ghost of Christmas Present is crucial as it serves as a mouthpiece for Dickens’ views on poverty and social injustice which was prevalent in Victorian England. Through the spirit, Dickens highlights the selfishness of the rich towards the suffering of the poor and he uses it to deliver scathing moral discourses about social reform. [Show an assured understanding of the relationships between texts and the contexts in which they were written (AO3)] Symbolically, the emergence of two starving children, Ignorant and Want, from under the ghost’s cloak symbolises society’s cruelty towards the poor and marginalised. While the Ghost of Christmas Present shows Scrooge the immediate consequences of his behaviour on others in the present, the Ghost of Christmas Yet to Come provides a glimpse into the long-term repercussions of his behaviour. This final ghost is a deeply harrowing and sinister figure, and is described as “shrouded in a deep black garment”. This ghost instils terror in Scrooge and he admits: “I fear you more than any spectre I have seen”. While the previous two ghosts were associated with light, this ghost is associated with darkness, death and concealment. Further, unlike the earlier spirits who guided Scrooge through dialogue with him, Dickens intentionally renders this ghost silent. This perhaps suggests Scrooge must finally come to a realisation all by himself and without any help from the ghost. [Analyses the structural and thematic significance of Dickens’ choice to make the final Ghost silent (AO2)]  Dramatic tension is also created through the use of time as Scrooge is repeatedly reminded that the ghosts have limited time to convey their message and also signify Scrooge’s limited time in which to redeem himself. It may also be used to denote the endless state of purgatory which awaits Scrooge if he does not change.[Evaluates the way meaning and ideas are conveyed through language, structure and form (AO2)]

The ghosts are crucial characters within A Christmas Carol and through their interventions they confront Scrooge with his past, present and future, forcing him to see the consequences of his actions on others. This leads to Scrooge’s redemption and his new commitment to kindness and generosity. [Conclusion offers a summary of the student’s overall argument succinctly (AO1)]