Edexcel a level english literature question paper 3 june 2023 + mark scheme

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Mark Scheme (Results) Summer 2023 Pearson Edexcel Level 3 GCE in English Literature(9ET0) Paper 3: PoetryEdexcel and BTEC Qualifications Edexcel and BTEC qualifications are awarded by Pearson, th... e UK’s largest awarding body. We provide a wide range of qualifications including academic, vocational, occupational and specific programmes for employers. For further information visit our qualifications websites at www.edexcel.com or www.btec.co.uk. Alternatively, you can get in touch with us using the details on our contact us page at www.edexcel.com/contactus. Pearson: helping people progress, everywhere Pearson aspires to be the world’s leading learning company. Our aim is to help everyone progress in their lives through education. We believe in every kind of learning, for all kinds of people, wherever they are in the world. We’ve been involved in education for over 150 years, and by working across 70 countries, in 100 languages, we have built an international reputation for our commitment to high standards and raising achievement through innovation in education. Find out more about how we can help you and your students at: www.pearson.com/uk Summer 2023 Question Paper Log Number P72848RA Publications Code 9ET0_03_2306_MS All the material in this publication is copyright © Pearson Education Ltd 2023General Marking Guidance • All candidates must receive the same treatment. Examiners must mark the last candidate in exactly the same way as they mark the first. • Mark schemes should be applied positively. Candidates must be rewarded for what they have shown they can do rather than penal- ised for omissions. • Examiners should mark according to the mark scheme - not according to their perception of where the grade boundaries may lie. • All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the an- swer matches the mark scheme. Examiners should also be pre- pared to award zero marks if the candidate’s response is not wor- thy of credit according to the mark scheme. • Where some judgement is required, mark schemes will provide the principles by which marks will be awarded and exemplifica- tion/indicative content will not be exhaustive. • When examiners are in doubt regarding the application of the mark scheme to a candidate’s response, a senior examiner must be consulted before a mark is given. • Crossed out work should be marked unless the candidate has re- placed it with an alternative response. Marking guidance - specific The marking grids have been designed to assess student work holistically. The grids identify which Assessment Objective is being targeted by each bullet point within the level descriptors. One bullet point is linked to one Assessment Objective, however please note that the number of bullet points in the level descriptor does not directly correlate to the number of marks in the level descriptor. When deciding how to reward an answer, examiners should consult both the indicative content and the associated marking grid(s). When using a levels-based mark scheme, the ‘best fit’ approach should be used: Examiners should first decide which descriptor most closely matches the answer and place it in that level.• examiners should first decide which descriptor most closely matches the answer and place it in that level • the mark awarded within the level will be decided based on the quality of the answer and will be modified according to how securely all bullet points are displayed at that level • in cases of uneven performance, the points above will still apply. Candidates will be placed in the level that best describes their answer according to each of the Assessment Objectives described in the level. Marks will be awarded towards the top or bottom of that level depending on how they have evidenced each of the descriptor bullet points • examiners of Advanced GCE English should remember that all Assessment Objectives within a level are equally weighted. They must consider this when making their judgements • the mark grid identifies which Assessment Objective is being targeted by each bullet point within the level descriptors • indicative content is exactly that – they are factual points that candidates are likely to use to construct their answer. It is possible for an answer to be constructed without mentioning some or all of these points, as long as they provide alterna- tive responses to the indicative content that fulfils the requirements of the ques- tion. It is the examiner’s responsibility to apply their professional judgement to the candidate’s response in determining if the answer fulfils the requirements of the question.Question number Indicative content 1 Candidates may refer to the following in their answers: • comparison of the settings in which the poets explore thoughts and feelings evoked by places, e.g. by Capildeo through the closure of the ‘inessential park’; for Burnside in the way history intrudes on a family visit to the beach • comparison of the ways in which the poets develop their explorations, e.g. Capildeo’s listing of what is hidden, e.g. ‘Cigs, wasteful pansies’ or denied, e.g. ‘The wrong romances will not fall’; Burnside’s introspection as he observes the scene before him • ways in which threats to security are presented, e.g. Burnside’s mention of ‘war planes’; Capildeo’s reference to ‘escape/from beatings’ • ways in which the structure of the poems reflects the nature of the poets’ thoughts and feelings, e.g. Burnside’s longer form with constantly varying line lengths to express the hesitant, unfolding nature of his thoughtprocess; Capildeo’s shorter lines, focused mainly on what is denied • comparison of language choices, e.g. Capildeo’s use of ‘no place’, ‘not’, ‘only’, reflecting what is no longer possible or is considered ‘inessential’; Burnside’s mixture of the physical detail, e.g. ‘that gasoline smell’, ‘snail shells’ and the abstract, e.g. ‘fear’, ‘the irredeemable’ • how the poets conclude their explorations, e.g. Burnside’s reflection of the tension between fear and ‘the irredeemable’ in the image of the kite; how Capildeo moves on from repetition of the opening line to contrasting the ‘visible, unusable/park’ with the ‘imagined bridge’ as a way to ‘things invisible’. These are suggestions only. Reward any valid alternative response. 2 Candidates may refer to the following in their answers: • comparison of the ways in which transformations are presented, e.g. Feaver’s opening statement that ‘Bringing a gun into a house/changes it’; how Capildeo lists what is lost through the closure of the park • comparison of ways in which the poets develop the transformations, e.g. how Capildeo includes both physical features no longer visible, e.g. ‘gratuitous/marigolds’ and the human impact, e.g. ‘no place to lose the words/of crazymakers’; how Feaver’s gun moves from ‘something dead/itself… casting a grey shadow’ to something that ‘brings the house alive’ • comparison of point of view, e.g. the voice in Feaver’s poem is first ‘you’ and finally, when the house is ‘alive’, an excited ‘I’; Capildeo’s introduction of ‘you’, whose ‘inward silence’ must now grow ‘indoors’ • comparison of language choices, e.g. Feaver describes how ‘creatures/that have run and flown’ become ‘fur and feathers’; effect of Capildeo’s repetition of ‘the inessential park’ alongside the ways in which it has been a refuge for the ‘homeless’ or those ‘craving escape/from beatings’ • structural comparisons, e.g. ways in which Feaver varies stanza and line length for emphasis; effect of Capildeo's short lines and use of line breaks for emphasis, e.g. ‘grow/your inward silence’ • comparison of ways in which the poems end, e.g. Feaver’s introduction of the mythical ‘King of Death’; Capildeo’s transition to an ‘imagined’ place; the enigmatic final line, echoing the title. These are suggestions only. Reward any valid alternative response. Section APlease refer to the Specific Marking Guidance on page 3 when applying this marking grid. AO1 = bullet point 1 AO2 = bullet point 2 AO4 = bullet point 3 Level Mark Descriptor (AO1, AO2, AO4) 0 No rewardable material. Level 1 1–6 Descriptive • Makes little reference to texts with limited organisation of ideas. Limited use of appropriate concepts and terminology with frequent errors and lapses of expression. • Uses a narrative or descriptive approach that shows limited knowledge of texts and how meanings are shaped in texts. Shows a lack of understanding of the writer’s craft. • Demonstrates limited awareness of connections between texts. Describes the texts as separate entities. Level 2 7–12 General understanding/exploration • Makes general points, identifying some literary techniques with general explanation of effects. Aware of some appropriate concepts and terminology. Organises and expresses ideas with clarity, although still has errors and lapses. • Gives surface readings of texts relating to how meanings are shaped in texts. Shows general understanding by commenting on straightforward elements of the writer’s craft. • Identifies general connections between texts. Makes general crossreferences between texts. Level 3 13–18 Clear relevant application/exploration • Offers a clear response using relevant textual examples. Relevant use of terminology and concepts. Creates a logical, clear structure with few errors and lapses in expression. • Demonstrates knowledge of how meanings are shaped in texts with consistent analysis. Shows clear understanding of the writer’s craft. • Makes relevant connections between texts. Develops an integrated approach with clear examples. Level 4 19-24 Discriminating controlled application/exploration • Constructs a controlled argument with fluently embedded examples. Discriminating use of concepts and terminology. Controls structures with precise cohesive transitions and carefully chosen language. • Demonstrates discriminating understanding of how meanings are shaped in texts. Analyses, in a controlled way, the nuances and subtleties of the writer’s craft. • Analyses connections between texts. Takes a controlled discriminating approach to integration with detailed examples. Level 5 25–30 Critical and evaluative • Presents a critical evaluative argument with sustained textual examples. Evaluates the effects of literary features with sophisticated use of concepts and terminology. Uses sophisticated structure and expression. • Exhibits a critical evaluation of the ways meanings are shaped in texts. Displays a sophisticated understanding of the writer’s craft. • Evaluates connections between texts. Exhibits a fully integrated approach with sophisticated use of examples.Question number Indicative content 3 Medieval Poetic Drama Candidates may refer to the following in their answers: • appropriate selection of similar length passage presenting marriage to accompany the specified lines, e.g. the argument between Noah and his wife over entering the ark • ways in which marriage is presented as ‘mickle woe’, e.g. in the Second Shepherd’s description of his wife as ‘sharp as thistle’ • presentation of marriage as ‘shackles’ as a comic theme deemed appropriate for the carnival humour of plays for public performance • ways in which marriage is presented, e.g. from the perspective of the Shepherd husband or through the on-stage arguments between Noah and his wife • marriage in the Medieval context of the plays, e.g. in the details of everyday life for the working-class shepherds • complications of married life in contrast to the revelation of the divine at the heart of the plays. These are suggestions only. Reward any valid alternative response. 4 Medieval Poetic Drama Candidates may refer to the following in their answers: • appropriate selection of similar length passage presenting craft skills to accompany the specified lines, e.g. the account of the building of the ark in Noah • ways in which the crucifixion is presented through details of craft in action, e.g. locating the nail holes in the cross • ways in which the practicalities of craft skills make the realities of crucifixion more graphic and credible for a Medieval audience • contextual links to the work of the Medieval craft guilds performing the plays • ways in which dialogue between the characters develops the presentation of the tasks involved, e.g. attaching nails; pulling cords to attach Christ to the cross • language used by the workers, interspersed with oaths and sarcasm, e.g. ‘full snelly as a snail’. These are suggestions only. Reward any valid alternative response. Section BQuestion number Indicative content 5 Medieval Poet: Geoffrey Chaucer Candidates may refer to the following in their answers: • appropriate selection of similar length passage to accompany the specified lines, e.g. the Wife’s account of her relationships with her first four husbands • the war between the sexes in the context of the status of women in Medieval society • Jankin’s book as representative of the attitudes of the religious authorities and many men towards women • ways in which Chaucer dramatises the war between the sexes in the specified extract, e.g. in the fight between Alisoun and Jankin • effect on Chaucer’s presentation of women in the description of the Wife’s victory over Jankin as ‘maistrie’ and ‘soveraintee’ • effect of Chaucer’s language in presenting strife, e.g. ’as dooth a wood leoun’; ‘he yaf me all the bridel in myn hond’. These are suggestions only. Reward any valid alternative response. 6 Medieval Poet: Geoffrey Chaucer Candidates may refer to the following in their answers: • appropriate selection of similar length passage to accompany the named lines, e.g. the argument between the Friar and Summoner at the end of the Prologue • ways in which Chaucer uses the pilgrimage setting to introduce additional characters during the Prologue, creating dramatic tension in order to hold the reader’s attention • ways in which the reader’s attention is held by the Wife’s forthright and earthy language • Chaucer’s use of religious figures and their rivalries in the context of the Medieval church, including criticism of clerical abuses • creation of dramatic interest through dialogue, e.g. the Pardoner’s interjection • Chaucer’s use of a cast of characters such as the Wife with strong views, holding the reader’s attention while distancing the teller from their views and conduct, e.g. the Wife’s ‘myn intente is nat but for to pleye’. These are suggestions only. Reward any valid alternative response.Question number Indicative content 7 The Metaphysical Poets Candidates may refer to the following in their answers: • appropriately selected second poem to accompany The Collar, e.g. Donne’s Elegy: To his Mistress Going to Bed • different ways in which pleasure is presented, e.g. as worldly temptation or as something to be seized • Herbert’s arresting first line and series of rhetorical questions typical of ways in which Metaphysical poets dramatise feelings and thoughts; influence of contemporary theatre • ways in which the elaborate conceit of rebellion and the conflict between pleasure and devotion are typical of both Metaphysical poetry and the social and religious context of the period • effect of Herbert’s language to describe pleasure and constraint, e.g. ‘my lines and life are free’; ‘sigh-blown age’ • ways in which Herbert shapes the narrative to resolve the argument. These are suggestions only. Reward any valid alternative response. 8 The Metaphysical Poets Candidates may refer to the following in their answers: • appropriately selected second poem to accompany The Flea, e.g. Marvell’s To His Coy Mistress • ways in which poets employ persuasion, e.g. to seduce by appealing to apparent logic based on the flea’s drawing blood from both poet and the woman; by flattery, threat and carpe diem appeal • poets’ uses of hyperbole, typical of poetry of the period, e.g. comparison of the flea to a ‘marriage temple’; references to ‘self-murder’ and ‘sacrilege’ • ways in which persuasion is based on 17th century attitudes towards women and sex, e.g. absence of the female voice; beliefs about ‘honour’ • poets’ use of learning in support of persuasive argument as typical of Metaphysical poetry, e.g. trope of the flea based on Ovid; parody of theological reasoning with references to marriage and the Trinity; use of sexual innuendo • rhetorical devices to persuade, including use of poetic structure, e.g. Donne’s apparent concession of the woman’s ‘triumph’ only to turn the argument against her in final rhyming triplet [Show More]

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