Post-1914 Prose/Drama Mark Scheme and Model Answers (WJEC Eduqas GCSE English Literature)

After a while, I heard the odd sound again. It seemed to be coming from along the passage to my left, at the far end. But it was still quite impossible to identify. Very cautiously, listening, hardly breathing, I ventured a few steps in that direction. Spider went ahead of me. The passage led only to three other bedrooms on either side and, one by one, regaining my nerve as I went, I opened them and looked inside each one. Nothing, only heavy old furniture and empty unmade beds and, in the rooms at the back of the house, moonlight. Down below me on the ground floor of the house, silence, a seething, blanketing, almost tangible silence, and a musty darkness, thick as felt.

And then I reached the door at the very end of the passage. Spider was there before me and her body, as she sniffed beneath it, went rigid, her growling grew louder. I put my hand on her collar, stroked the rough, short hair, as much for my own reassurance as for hers. I could feel the tension in her limbs and body and it answered to my own.

This was the door without a keyhole, which I had been unable to open on my first visit to Eel Marsh House. I had no idea what was beyond it. Except the sound. It was coming from within that room, not very loud but just to hand, on the other side of that single wooden partition. It was a sound of something bumping gently on the floor, in a rhythmic sort of way, a familiar sort of sound and yet one I still could not exactly place, a sound that seemed to belong to my past, to waken old, half-forgotten memories and associations deep within me, a sound that, in any other place, would not have made me afraid but would, I thought, have been curiously comforting, friendly.

But, at my feet, the dog Spider began to whine, a thin, pitiful, frightened moan, and to back away from the door a little and press against my legs. My throat felt constricted and dry and I had begun to shiver. There was something in that room and I could not get to it, nor would I dare to, if I were able. I told myself it was a rat or a trapped bird, fallen down the chimney into the hearth and unable to get out again. But the sound was not that of some small, panic-stricken creature. Bump bump. Pause. Bump bump. Pause. Bump bump. Bump bump. Bump bump.

GCSE Eduqas English Literature, Post-1914 Prose/Drama question

Write about some of the ghostly experiences described in The Woman in Black and how they are 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

Grade 9 model answer paragraphs

Ghostly experiences are central to the novel’s eerie and sinister atmosphere and are important to the themes of fear, isolation and the supernatural. The protagonist, Arthur Kipps, first sees the Woman in Black at the funeral of Mrs Drablow and her presence is the beginning of Arthur’s encounters with the supernatural and foreshadows the events that will occur. [Explores the use of Hill’s structural choices (foreshadowing) to link to Arthur’s subsequent experiences with the supernatural (AO2)] Arthur’s reaction to the ghostly experiences in the extract demonstrates how deeply affected he is, for as he approaches, his throat becomes “constricted and dry” and he begins to “shiver”, signifying how his fear is physically overwhelming him. He seeks reassurance by stroking Spider, further signifying his need for comfort and support. Spider’s reactions, whining at seemingly empty spaces, adds to the sense of unease both in this extract and throughout the novel. The dog’s reactions also add to the credibility of the ghostly experiences, for as the novel is written in the first person, which could signify the unreliability of Arthur’s narrative, the reader is aware that these incidents may not simply be due to Arthur’s imagination. [Perceptive interpretation of narrative perspective (AO2)] 

Furthermore, the ghostly experience is presented as terrifying, and almost physical in manifestation. The silence is described as “blanketing” and “seething”, the personification hinting at the reality of the experience and adding to the menacing tone and the feeling of dread. The darkness is described through the simile “thick as felt” which conveys its impenetrability, thus creating a claustrophobic and suffocating feeling. [Evaluation of techniques is linked to the topic sentence at beginning of paragraph (AO2)] The continual repetition and juxtaposition of the verbs “bump” and “pause” creates an alternating pace between quiet and sudden moments which also creates tension and suspense. 

Much of the supernatural events occur at Eel Marsh House and Hill uses classic Gothic elements within her narrative, such as the setting, to create an element of entrapment. It is an isolated, decaying mansion and its remote location, accessible only via a causeway and its surrounding marshes with its eerie mists, further add to the novel’s haunting atmosphere. [Shows a perceptive understanding of setting and the literary context of the novel by discussing the importance of Eel Marsh House and its Gothic elements (AO1)]  Indeed, Hill frequently uses pathetic fallacy, through the recurrent fog and mist, to illustrate the mysterious nature of these ghostly experiences. Stormy weather often accompanies these experiences and allude to the danger associated with them. [Sustained focus on the task throughout (AO1); Consistent accuracy in vocabulary, punctuation and sentence structures (AO4)]

ED What else did I say, Christopher?

CHRISTOPHER I don’t know.

ED Come on, you’re the memory man. Not to go round sticking your nose into other people’s business. And what do you do? You go around sticking your nose into other people’s business. You go around raking up the past and sharing it with every Tom, Dick and Harry you bump into. What am I going to do with you, Christopher? What am I going to do with you, Christopher?

CHRISTOPHER I was just chatting with Mrs Alexander. I wasn’t doing investigating.

ED I ask you to do one thing for me, Christopher. One thing.

CHRISTOPHER I didn’t want to talk to Mrs Alexander. It was Mrs Alexander who ...

ED grabs CHRISTOPHER’S arm.

CHRISTOPHER screams.

ED shakes CHRISTOPHER hard with both hands.

CHRISTOPHER punches ED repeatedly in the face. He cuts his mouth.

ED hits the side of CHRISTOPHER’S head.

CHRISTOPHER falls unconscious for a few seconds.

ED stands above him. He is still holding the book.

ED I need a drink.

He leaves. He comes back without the book. He looks at CHRISTOPHER for a while before he speaks.

Everybody else on stage watches what he says.

ED I’m sorry I hit you. I didn’t mean to. I love you very much, Christopher. Don’t ever forget that. I know I lose my rag occasionally. And I know I shouldn’t. But I only do it because I worry about you, because I don’t want to see you getting into trouble, because I don’t want you to get hurt. Do you understand?

CHRISTOPHER Where’s my book?

ED Christopher, do you understand that I love you?

ED holds his right hand up and spreads his fingers out in a fan.

CHRISTOPHER does the same with his left hand.

They make their fingers and thumbs touch each other.

CHRISTOPHER Is it in the dustbin at the front of the house?

GCSE Eduqas English Literature, Post-1914 Prose/Drama question

There is a lot of conflict between the characters in The Curious Incident of the Dog in the Night-Time. Write about some of the times there is conflict and how this is presented at different points in the play.

In your response you should:

• refer to the extract and the play as a whole

• show your understanding of characters and events in the play

Grade 9 model answer paragraphs

The play explores the theme of conflict within family relationships and depicts not only the protagonist’s personal struggles but also the challenges faced by Christopher’s father. Conflict is depicted through arguments, anxiety attacks and instances of physical violence in order to convey the complexities of estrangement, heartbreak and the difficulties of parenthood. [Clear focus on the task by identifying the central theme of familial conflict and its significance in the play (AO1)] Stephens uses dialogue and stage directions to present and intensify conflicts throughout the play and this is evident in this extract: the characters react impulsively, tension mounts and the situation becomes increasingly volatile, which heightens the dramatic tension. Ed’s accusatory tone in his claim that “You go around sticking your nose into other people’s business” and Christopher’s defensive response — “I was just chatting with Mrs Alexander” — is a typical example of conflict within the play, leading to an intense and violent confrontation. [Examines the use of accusatory and defensive dialogue to highlight the escalating conflict (AO2)] Ed’s repetitive use of questions, “What am I going to do with you, Christopher?” conveys his deep frustration and exasperation at his son’s behaviour and signifies the recurring nature of their conflicts. The scene rapidly escalates and Stephens uses vivid language and stage directions to heighten the physical conflict. Verbs such as “punches”, “grabs”, “screams”, “shakes” and “cuts” illustrate the level of aggression and violence in their altercation. These violent actions indicate a lack of restraint and this impulsivity adds to the chaos of the scene. [Analyses use of language to depict the physical intensity and aggression of the conflict (AO2)] 

This scene highlights Stephens’ characterisation of Ed throughout the play and conveys the damaging effects of isolation and emotional strain. Ed reveals his struggle with his violent temper, confessing to Christopher that he sometimes sees a “red mist” which he struggles to control. Indeed, Christopher appears to accept his father’s outbursts, acknowledging to Siobhan that his father becomes “angry” and physically aggressive. However Stephens also presents Ed sympathetically and despite his outbursts, he is depicted as humble and capable of admitting his mistakes. He states that “I know I lose my rag occasionally” and his intimate bond with his son means that he understands Christopher’s condition. [Demonstrates a sensitive and evaluative approach to the task by exploring Ed’s characterisation (AO1)] After the physical confrontation, Ed’s language shifts to a more apologetic and emotional tone (“I love you very much, Christopher”) which demonstrates his attempt to reconcile his actions. His unique gesture of showing affection towards Christopher, making their fingers and thumbs touch each other, reflects their intimate relationship, despite their occasional conflicts. [Engages fully with the extract and the wider text with pertinent references and quotations to support the analysis of Ed and Christopher’s relationship (AO1); Consistent accuracy in vocabulary, punctuation and sentence structures (AO4)]

INSPECTOR Was it or was it not your influence?

MRS B. (stung) Yes, it was. I didn’t like her manner. She’d impertinently made use of our name, though she pretended afterwards it just happened to be the first she thought of. She had to admit, after I began questioning her, that she had no claim to the name, that she wasn’t married, and that the story she told at first — about a husband who’d deserted her — was quite false. It didn’t take me long to get the truth — or some of the truth — out of her.

INSPECTOR Why did she want help?

MRS B. You know very well why she wanted help.

INSPECTOR No, I don’t. I know why she needed help. But as I wasn’t there, I don’t know what she asked from your committee.

MRS B. I don’t think we need discuss it.

INSPECTOR You have no hope of not discussing it, Mrs Birling.

MRS B. If you think you can bring any pressure to bear upon me, Inspector, you’re quite mistaken. Unlike the other three, I did nothing I’m ashamed of or that won’t bear investigation. The girl asked for assistance. We were asked to look carefully into the claims made upon us. I wasn’t satisfied with the girl’s claim — she seemed to me to be not a good case — and so I used my influence to have it refused. And in spite of what’s happened to the girl since, I consider I did my duty. So if I prefer not to discuss it any further, you have no power to make me change my mind.

INSPECTOR Yes I have.

MRS B. No you haven’t. Simply because I’ve done nothing wrong — and you know it.

INSPECTOR (very deliberately) I think you did something terribly wrong — and that you’re going to spend the rest of your life regretting it. I wish you’d been with me tonight in the Infirmary. You’d have seen—

SHEILA (bursting in) No, no, please! Not that again. I’ve imagined it enough already.

INSPECTOR (very deliberately) Then the next time you imagine it, just remember that this girl was going to have a child.

SHEILA (horrified) No! Oh — horrible — horrible! How could she have wanted to kill herself?

INSPECTOR Because she’d been turned out and turned down too many times. This was the end.

SHEILA Mother, you must have known.

INSPECTOR It was because she was going to have a child that she went for assistance to your mother’s committee.

BIRLING Look here, this wasn’t Gerald Croft—

INSPECTOR (cutting in, sharply) No, no. Nothing to do with him.

SHEILA Thank goodness for that! Though I don’t know why I should care now.

INSPECTOR (to MRS BIRLING) And you’ve nothing further to tell me, eh?

MRS B. I’ll tell you what I told her. Go and look for the father of the child. It’s his responsibility.

GCSE Eduqas English Literature, Post-1914 Prose/Drama question

Write about Mrs Birling and how she is presented at different points in the play.

In your response you should:

• refer to the extract and the play as a whole

• show your understanding of characters and events in the play

Grade 9 model answer

Priestley presents Mrs Birling as one of the least compassionate characters in the play and she is used as a symbol of the moral hypocrisy and indifference exhibited among the upper classes in Edwardian society. Her character illustrates the themes of social inequality, gender, guilt and responsibility. [Introduction presents a clear focus on the task with brief summary of Mrs Birling’s characterisation (AO1)]

Initially introduced as “a rather cold woman”, Mrs Birling’s demeanour remains consistent throughout the play: it is characterised by snobbishness, indifference and a dismissiveness towards others. Priestley portrays Mrs Birling as emblematic of the privileges enjoyed by the upper classes and their selfish conduct. She is also introduced as her husband’s “social superior” and she herself is acutely aware of her elevated social status, exhibiting much more arrogance and prejudice than Mr Birling. [Demonstrates an evaluative approach by comparing Mrs Birling’s characterisation to that of Mr Birling (AO1)] Her treatment of the Inspector reflects her belief in her own superiority and this is evident within the extract. She adopts a condescending tone in her lofty statement to the Inspector that “If you think you can bring any pressure to bear upon me… you’re quite mistaken”, which indicates that she believes herself to be above his scrutiny. In this scene, she continually refuses to engage meaningfully with the Inspector’s questions and her dismissive remark, “I don’t think we need discuss it”, shows that she refuses to accept his authority and questions his legitimacy to interrogate her. [Use of sophisticated vocabulary all spelled accurately (AO4)] She regularly uses imperatives throughout her dialogue to assert her authority and control over the situation. Yet despite her attempts to dismiss the Inspector, Priestley’s stage directions reveal her growing frustration: the fact that she was “agitated now” conveys her discomfort and unease and then Priestley’s indication that she was “rather cowed” suggests she is perhaps, to some extent, intimidated by the Inspector’s authoritative presence. [Analysis of stage directions, and their intended effects, is sophisticated understanding of stagecraft (AO2)] Her slight change in demeanour in this scene indicates that Mrs Birling’s initial confidence and arrogance are perhaps beginning to waver due to the Inspector’s relentless scrutiny, though this is only fleeting, for by the end of the play, she resumes her superiority and remains indifferent to the events of the evening. Her inability to change is underscored by Priestley’s use of a cyclical structure, which suggests that some characters are doomed to repeat the same mistakes as before and will thus fail to learn any lessons from the Inspector. [Evaluates the use of, and crucially Priestley’s intentions behind, structural techniques, here cyclical structure (AO2)] 

Mrs Birling’s complete disregard for others is also demonstrated throughout the play, particularly those she deems beneath her social status. Her refusal to engage with the Inspector’s inquiries and her attempts to assert her own superiority suggests that she also considers him as beneath her socially. Priestley intentionally sets the play in the Birlings’ dining room and this confined setting could be used to signify the Birlings’ isolation and detachment from the lower classes. [Explores the symbolic significance of the setting (AO2)] Throughout the play, she makes unfounded assumptions about the working class, whom she knows little about, and considers them morally and socially inferior. This is evidenced through her behaviour towards Eva Smith. She ignorantly equates class with morality and is incredulous that Eva, a working-class girl, would refuse stolen money, as she believes Eva would not possess the same level of morality as the upper classes. Indeed, she refuses to use Eva’s name and refers to her only as a “girl”, as though Eva is not worthy of being recognised as an individual. [Connects analysis of characters’ language to wider themes, such as privilege and prejudice (AO1)] Further, she demonstrates her indifference in her refusal to assist Eva and displays a lack of empathy for her situation. Although she holds a prominent position within a local women’s charity, her involvement stems more from a desire for social status rather than genuine concern for those less fortunate. She also uses derogatory language when she disparagingly groups Eva in with “girls of that class”, illustrating her disdain and complete lack of empathy. Priestley also uses dramatic irony to illustrate how Mrs Birling’s actions were instrumental in driving Eva to desperation and her repeated assertions of moral superiority are deeply ironic as it exposes her self-deception. [Analyses the effects of dramatic techniques — here, dramatic irony (AO2)]

Therefore, while Mrs Birling could be interpreted as a character who struggles to fully comprehend those around her, she could also be perceived as one who deliberately ignores any truths that challenge her idealised perception of herself and her family. [Provides a perceptive interpretation of Mrs Birling’s character, acknowledging the complexity of her motivations and actions (AO1)] Initially she rejects the notion that Eric could be the father of Eva’s child and even refuses to acknowledge her son’s issues with alcohol. Even upon learning that Eric is the father of Eva’s child, she remains steadfast in her belief that the charity should deny assistance to those it deems unworthy of support. Further, when faced with the revelation that her actions indirectly led to the deaths of Eva and her grandchild, she seeks solace in the belief that she fulfilled her role. [Engages fully with the wider text by discussing Mrs Birling's reactions from across the play (AO1)] Her repeated assertions, “I consider I did my duty” and “I’ve done nothing wrong”, illustrate her refusal to accept any responsibility for Eva’s fate and her insistence on having acted appropriately within her social role. Both Mr and Mrs Birling uphold a respectable façade and as the play concludes, Mrs Birling remains firmly rooted in her prejudiced beliefs and her characters show no signs of change. [Sustains focus on the task by discussing Mrs Birling's lack of development throughout the play (AO1)] Her hypocritical attitude leads her to overlook her own selfish and immoral actions, as well as those of her social class: she turns a blind eye to Gerald keeping a mistress and ignores her son’s immoral behaviour with Eva. [Examines Mrs Birling’s complicity in overlooking immoral behaviour within her social class (AO2)] 

Throughout the play, Mrs Birling is depicted as a character who remains inflexible and resistant to change. She appears to be the least impacted by the tragic events which led to Eva’s death and she remains the most resistant to the Inspector’s message. Priestley’s portrayal of her character is used to critique the arrogance and indifference of the upper classes and to convey the damaging consequences of refusing moral and social responsibility of one’s actions.  [Conclusion provides a summary of the argument made, while also maintaining focus on the subject of the question (AO1)]