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LITERATUREWritten examination
Monday 13 November 2017 Reading time: 11.45 am to 12.00 noon (15 minutes) Writing time: 12.00 noon to 2.00 pm (2 hours)
TASK BOOK
Structure of bookSection Number of
questionsNumber of questions
to be answeredNumber of
marks
A 30 1 20B 30 1 20
Total 40
• Studentsarepermittedtobringintotheexaminationroom:pens,pencils,highlighters,erasers,sharpenersandrulers.
• StudentsareNOTpermittedtobringintotheexaminationroom:blanksheetsofpaper,correctionfluid/tapeanddictionaries.
• Nocalculatorisallowedinthisexamination.
Materials supplied• Taskbookof68pages,includingassessment criteriaonpage68• Oneormoreanswerbooks
The task• Youarerequiredtocompletetwopiecesofwriting:oneforSectionAandoneforSectionB.• Eachpieceofwritingmustbebasedonatextselectedfromthelistonpages2and3ofthistaskbook.• Eachselectedtextmustbefromadifferentcategory(novels,plays,shortstories,otherliterature,
poetry).Youmustnotwriteontwotextsfromthesamecategory.Studentswhowriteontwotextsfromthesamecategorywillreceiveascoreofzeroforoneoftheirresponses.
Instructions• Writeyourstudent numberinthespaceprovidedonthefrontcover(s)oftheanswerbook(s).• Intheanswerbook(s),indicatewhichsectionyouarerespondingtoandthetextnumberofyour
selectedtext.• AllwrittenresponsesmustbeinEnglish.
At the end of the examination• Placeallotherusedanswerbooksinsidethefrontcoverofthefirstanswerbook.• Youmaykeepthistaskbook.
Students are NOT permitted to bring mobile phones and/or any other unauthorised electronic devices into the examination room.
©VICTORIANCURRICULUMANDASSESSMENTAUTHORITY2017
Victorian Certificate of Education 2017
2017LITERATUREEXAM 2
Table of contents
Novels Page
Text number Section A Section B
1. ItaloCalvino Baron in the Trees 4 8–9
2. JosephConrad Heart of Darkness 4 10–11
3. MilesFranklin My Brilliant Career 4 12–13
4. ElizabethGaskell North and South 4 14–15
5. MichaelOndaatje The Cat’s Table 4 16–17
6. KimScott That Deadman Dance 4 18–19
7. ChristinaStead The Man Who Loved Children 4 20–21
8. GiuseppeTomasi diLampedusa
The Leopard 4 22–23
9. JuanGabrielVásquez The Sound of Things Falling 4 24–25
Plays
Text number
10. Aeschylus Agamemnon 5 26–27
11. HenrikIbsen A Doll’s House 5 28–29
12. EugèneIonesco Rhinoceros 5 30–31
13. WilliamShakespeare Coriolanus 5 32–33
14. WilliamShakespeare Twelfth Night 5 34–35
15. GeorgeBernardShaw Pygmalion 5 36–37
16. SamShepard Buried Child 5 38–39
17. TennesseeWilliams Cat on a Hot Tin Roof 5 40–41
Short stories
Text number
18. NikolayGogol The Diary of a Madman, The Government Inspector and Selected Stories
5 42–43
19. CateKennedy Dark Roots 5 44–45
20. AnnieProulx Close Range: Brokeback Mountain and Other Stories
5 46–47
3 2017LITERATUREEXAM
TURN OVER
Other literature Page
Text number Section A Section B
21. JulianBarnes A History of the World in 10½ Chapters 6 48–49
22. SheilaFitzpatrick My Father’s Daughter: Memories of an Australian Childhood
6 50–51
23. WEHStanner The Dreaming & Other Essays 6 52–53
24. Voltaire Candide, or Optimism 6 54–55
Poetry
Text number
25. RobertBrowning Selected Poems 6 56–57
26. TinaChang, NathalieHandaland RaviShankar(eds)
Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
6 58–59
27. RosemaryDobson Collected 6 60–61
28. SeamusHeaney Opened Ground: Poems 1966–1996 6 62–63
29. WisławaSzymborska Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska
6 64–65
30. ChrisWallace-Crabbe New and Selected Poems 6 66–67
Assessment criteria 68
2017LITERATUREEXAM 4
SECTION A – continued
SECTION A – Literary perspectives
Instructions for Section AYouarerequiredtocompleteonepieceofwritinginresponsetothetopicsetforonetext.Yourselectedtextmustbeusedasthebasisforyourresponsetothetopic.Youarerequiredtoproduceaninterpretationofthetextusingoneliteraryperspectivetoinformyourview.YourselectedtextforSectionAmustbefromadifferentcategorythanyourselectedtextforSectionB.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionAisworth20marks.
Novels
1. Italo Calvino, Baron in the Trees ConsidertheextenttowhichCalvino’sBaron in the Treesisaboutrefusingtoconformtosocial
expectations.
2. Joseph Conrad, Heart of Darkness TowhatextentisConrad’sHeart of Darknessanindictmentofcolonialism?
3. Miles Franklin, My Brilliant Career Franklin’sMy Brilliant Careerdepictsasocietyinwhichchoicesarelimitedforallindividuals.Towhat
extentdoyouagree?
4. Elizabeth Gaskell, North and South North and Southexplorestheconflictsproducedbychangingsocialconditions.Discuss.
5. Michael Ondaatje, The Cat’s Table Attheendofthenarrator’sjourneyinThe Cat’s Table,thereislittletocompensateforwhathasbeen
lost.Discuss.
6. Kim Scott, That Deadman Dance InThat Deadman Dance,thenarrativeraisesthepossibilityofpeacefulcoexistencebetweentwovery
differentcultures.Towhatextentdoyouagree?
7. Christina Stead, The Man Who Loved Children Considerthepropositionthat,inThe Man Who Loved Children,thePollitsareunconventionalyetthe
familydynamicsaredisturbinglyreal.
8. Giuseppe Tomasi di Lampedusa, The Leopard TowhatextentisThe Leopardaconservativetextthatpresentschangenegatively?
9. Juan Gabriel Vásquez, The Sound of Things Falling ReflectontheideathatVásquez’sThe Sound of Things FallingdepictsagenerationofColombians
caughtupinanationaltragedy.
5 2017LITERATUREEXAM
SECTION A – continuedTURN OVER
Plays
10. Aeschylus, Agamemnon TowhatextentisthetitlecharacterinAgamemnonultimatelyresponsibleforhisowndownfall?
11. Henrik Ibsen, A Doll’s House TowhatextentdoesIbsen’sA Doll’s Housesuggestthatindividualscanbeshapedbytheexpectations
ofothers?
12. Eugène Ionesco, Rhinoceros InRhinoceros,Ionescodemonstratesthatemotionalappealscannotbedefeatedbylogicandreason.
Towhatextentdoyouagree?
13. William Shakespeare, Coriolanus Reflectontheideathat,inShakespeare’sCoriolanus,manhoodisahighlyprizedbutfragilestate.
14. William Shakespeare, Twelfth Night Shakespeare’sromanticcomedyTwelfth Nightsuggeststheambiguityofsociallyconstructedgender
roles.Discuss.
15. George Bernard Shaw, Pygmalion Reflectontheideathat,inPygmalion,Shawcriticisessocietyforitsfailuretorecognisethepotentialin
allindividuals.
16. Sam Shepard, Buried Child InBuried Child,ShepardsuggeststhatthearchetypalAmericanfamilyisfundamentallydamaged.
Towhatextentdoyouagree?
17. Tennessee Williams, Cat on a Hot Tin Roof DiscussthepropositionthatcharactersinWilliams’sCat on a Hot Tin Roofarealonebecausetheyfail
todealwiththe‘inadmissiblethings’oflife.
Short stories
18. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories InThe Diary of a Madman, The Government Inspector and Selected Stories,Gogoloffersacritiqueof
Russiansociety,invitingustolaughatthefoolishandabsurd.Discuss.
19. Cate Kennedy, Dark Roots Reflectontheideathat,inDark Roots,Kennedyispessimisticaboutthepossibilityofindividuals
maintainingsuccessfulrelationships.
20. Annie Proulx, Close Range: Brokeback Mountain and Other Stories InClose Range: Brokeback Mountain and Other Stories,Proulxshowsthathostility,violenceand
disadvantageshapethelivesofthecentralcharacters.Towhatextentdoyouagree?
2017LITERATUREEXAM 6
END OF SECTION A
Other literature
21. Julian Barnes, A History of the World in 10½ Chapters InBarnes’sA History of the World in 10½ Chapters,multiplenarrativevoicesinvestigatethenatureof
history.Discuss.
22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood Inhermemoir,Fitzpatrickdemonstratesthatfamilyshapesanindividual’scharacter.Towhatextentdo
youagree?
23. WEH Stanner, The Dreaming & Other Essays Stanner’scritiqueofgovernmentpoliciesinThe Dreaming & Other Essaysshowsthattherehasbeena
systematicattempttoerodeAboriginalidentity.Discuss.
24. Voltaire, Candide, or Optimism Atitscore,Candide, or Optimismexploresvariousresponsestoitscentralquestion:howshouldone
live?Discuss.
Poetry
25. Robert Browning, Selected Poems TowhatextentdothesetpoemsfromBrowning’sSelected Poemsofferacritiqueofthesocialand
moralconventionsofBrowning’stime?
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
DiscussthepropositionthatthesetpoemsfromLanguage for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyondviewwritingaspolitical.
27. Rosemary Dobson, Collected InmanyofthesetpoemsfromCollected,Dobsoninvitesthereadertoreflectonthepassingoftimeand
thetransienceoflife.Discuss.
28. Seamus Heaney, Opened Ground: Poems 1966–1996 TowhatextentarethesetpoemsinHeaney’sOpened Groundconcernedwithresolvingtheproblemsof
apersonalandapoliticalidentity?
29. Wisława Szymborska, Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska DiscussthepropositionthatthesetpoemsfromSounds, Feelings, Thoughts: Seventy Poems by
Wisława Szymborskapersonalisethepoliticaltogenerateastrong,emotionalresponse.
30. Chris Wallace-Crabbe, New and Selected Poems ReflectontheideathatthesetpoemsfromWallace-Crabbe’sNew and Selected Poemsareacelebration
oflifeinthefaceofloss.
7 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
SECTION B – Close analysis
Instructions for Section BYouarerequiredtocompleteonepieceofwritingbasedononetextinresponsetothetaskset.Threepassageshavebeensetforeverytext.Thesetpassagesarepresentedintheorderinwhichtheyappearinthenominatedversionofthetext.Thesetpassagesarealsoreproducedastheyappearinthenominatedversionofthetext.Youmustusetwo or moreofthesetpassagesasthebasisforadiscussionabouttheselectedtext.Inyourresponse,referindetailtothesetpassagesandtheselectedtext.Youmayincludeminorreferencestoothertexts.YourselectedtextforSectionBmustbefromadifferentcategorythanyourselectedtextforSectionA.Intheanswerbook,indicatewhichsectionyouarerespondingtoandthetextnumberofyourselectedtext.Yourresponsewillbeassessedaccordingtotheassessmentcriteriasetoutonpage68ofthisbook.SectionBisworth20marks.
2017LITERATUREEXAM 8
SECTION B – continued
Novels
1. Italo Calvino, Baron in the Trees
Use two or more of the set passages as the basis for a discussion of Baron in the Trees.
1.
Iyearnedtofollowhim…thehorngiltandhangingonherneckbyachain.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.113and114
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Mybrothersoonmadehimselfuseful…whichwouldburnupthetreeswitheveryoneonthem.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.202and203
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
9 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
1. Italo Calvino, Baron in the Trees
3.
Youthsoonpassesonearth…likeatrioofdrunks.
ItaloCalvino,‘BaronintheTrees’,inOur Ancestors, ArchibaldColquhoun(trans.),Vintage,1998
pp.276and277
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 10
SECTION B – continued
Novels
2. Joseph Conrad, Heart of Darkness
Use two or more of the set passages as the basis for a discussion of Heart of Darkness.
1.
Twowomen,onefatandtheotherslim,satonstraw-bottomedchairs,knittingblackwool.Theslimonegotupandwalkedstraightatme—stillknittingwithdowncasteyes—andonlyjustasIbegantothinkofgettingoutofherway,asyouwouldforasomnambulist,stoodstill,andlookedup.Herdresswasasplainasanumbrella-cover,andsheturnedroundwithoutawordandprecededmeintoawaiting-room.Igavemyname,andlookedabout.Dealtableinthemiddle,plainchairsallroundthewalls,ononeendalargeshiningmap,markedwithallthecoloursofarainbow.Therewasavastamountofred—goodtoseeatanytime,becauseoneknowsthatsomerealworkisdoneinthere,adeuceofalotofblue,alittlegreen,smearsoforange,and,ontheEastCoast,apurplepatch,toshowwherethejollypioneersofprogressdrinkthejollylager-beer.However,Iwasn’tgoinginto anyof these. Iwasgoing into theyellow.Dead in thecentre.Andtheriverwasthere—fascinating—deadly—likeasnake.Ough!Adooropened,awhite-hairedsecretarialhead,butwearingacompassionateexpression,appeared,andaskinnyforefingerbeckonedmeintothesanctuary.Itslightwasdim,andaheavywriting-desksquattedinthemiddle.Frombehindthat structurecameoutan impressionofpaleplumpness inafrock-coat.Thegreatmanhimself.Hewasfivefeetsix,Ishouldjudge,andhadhisgriponthehandle-endofeversomanymillions.Heshookhands,Ifancy,murmuredvaguely,wassatisfiedwithmyFrench.Bon voyage. “In about forty-five seconds I foundmyself again in thewaiting-roomwiththecompassionatesecretary,who,fullofdesolation and sympathy,mademe sign somedocument. IbelieveIundertookamongstotherthingsnottodiscloseanytradesecrets.Well,Iamnotgoingto. “Ibegantofeelslightlyuneasy.YouknowIamnotusedtosuchceremonies,andtherewassomethingominousintheatmosphere. Itwas just as though I hadbeen let into someconspiracy—Idon’tknow—somethingnotquiteright;andIwasgladtogetout.Intheouterroomthetwowomenknittedblackwoolfeverishly.Peoplewerearriving,andtheyoungeronewaswalkingbackandforthintroducingthem.Theoldonesatonherchair.Herflatclothslipperswereproppeduponafoot-warmer,andacatreposedonherlap.Sheworeastarchedwhiteaffaironherhead,hadawartononecheek,andsilver-rimmedspectacleshungonthetipofhernose.Sheglancedatmeabove theglasses.Theswiftand indifferentplacidityofthatlooktroubledme.Twoyouthswithfoolishandcheerycountenanceswerebeingpilotedover,andshethrewatthemthesamequickglanceofunconcernedwisdom.Sheseemedtoknowallaboutthemandaboutmetoo.Aneeriefeelingcameoverme.Sheseemeduncannyandfateful.OftenfarawaythereIthoughtofthesetwo,guardingthedoorofDarkness,knittingblackwoolasforawarmpall,oneintroducing,introducingcontinuouslytotheunknown,theotherscrutinisingthecheeryandfoolishfaceswithunconcernedoldeyes.Ave! Oldknitterofblackwool.Morituri te salutant.Notmanyof these shelookedateversawheragain—nothalf,byalongway.
* * *
2.
Atorncurtainofredtwillhunginthedoorwayofthehut,andflappedsadlyinourfaces.Thedwellingwasdismantled;butwecouldseeawhitemanhadlivedtherenotverylongago.Thereremainedarudetable—aplankontwoposts;aheapofrubbishreposedinadarkcorner,andbythedoorIpickedupabook.Ithadlostitscovers,andthepageshadbeenthumbedintoastateofextremelydirtysoftness;butthebackhadbeenlovinglystitchedafreshwithwhitecottonthread,whichlookedcleanyet.Itwasanextraordinaryfind.Itstitlewas,‘AnInquiryintosomePointsofSeamanship,’byamanTowzer,Towson—somesuchname—MasterinhisMajesty’sNavy.Thematterlookeddrearyreadingenough,withillustrativediagramsandrepulsivetablesoffigures,andthecopywassixtyyearsold.Ihandledthisamazingantiquitywiththegreatestpossibletenderness,lestitshoulddissolveinmyhands.Within,TowsonorTowzerwasinquiringearnestlyintothebreakingstrainofships’chainsandtackle,andothersuchmatters.Notaveryenthrallingbook;butatthefirstglanceyoucouldseethereasinglenessofintention,anhonestconcernfortherightwayofgoingtowork,whichmade these humblepages, thought out somanyyears ago,luminouswithanotherthanaprofessionallight.Thesimpleoldsailor,withhistalkofchainsandpurchases,mademeforgetthejungleandthepilgrimsinadelicioussensationofhavingcomeuponsomethingunmistakablyreal.Suchabookbeingtherewaswonderfulenough;butstillmoreastoundingwerethenotespencilledinthemargin,andplainlyreferringtothetext.Icouldn’tbelievemyeyes!Theywereincipher!Yes,itlookedlikecipher.Fancyamanluggingwithhimabookofthatdescriptionintothisnowhereandstudyingit—andmakingnotes—incipheratthat!Itwasanextravagantmystery. “Ihadbeendimlyawareforsometimeofaworryingnoise,andwhenIliftedmyeyesIsawthewood-pilewasgone,andthemanager,aidedbyallthepilgrims,wasshoutingatmefromtheriver-side.Islippedthebookintomypocket.Iassureyoutoleaveoffreadingwasliketearingmyselfawayfromtheshelterofanoldandsolidfriendship. “Istartedthelameengineahead.‘Itmustbethismiserabletrader—this intruder,’ exclaimed themanager, lookingbackmalevolentlyattheplacewehadleft.‘HemustbeEnglish,’Isaid.‘Itwillnotsavehimfromgettingintotroubleifheisnotcareful,’mutteredthemanagerdarkly.Iobservedwithassumedinnocencethatnomanwassafefromtroubleinthisworld. “Thecurrentwasmorerapidnow,thesteamerseemedatherlastgasp,thestern-wheelfloppedlanguidlyandIcaughtmyself listeningon tiptoe for thenextbeatof thefloat, forinsobertruthIexpectedthewretchedthingtogiveupeverymoment.Itwaslikewatchingthelastflickersofalife.Butstillwecrawled.SometimesIwouldpickouta treea littlewayahead tomeasureourprogress towardsKurtzby,but I lostitinvariablybeforewegotabreast.Tokeeptheeyessolongononethingwastoomuchforhumanpatience.Themanagerdisplayedabeautifulresignation.IfrettedandfumedandtooktoarguingwithmyselfwhetherornoIwouldtalkopenlywith
11 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
2. Joseph Conrad, Heart of Darkness
Kurtz;butbeforeIcouldcometoanyconclusionitoccurredtomethatmyspeechormysilence,indeedanyactionofmine,wouldbeamerefutility.Whatdiditmatterwhatanyonekneworignored?Whatdiditmatterwhowasmanager?Onegetssometimessuchaflashofinsight.Theessentialsofthisaffairlaydeepunderthesurface,beyondmyreach,andbeyondmypowerofmeddling.
* * *
3.
“Themanagerappearedsilentlyinthedoorway;Isteppedoutatonceandhedrewthecurtainafterme.TheRussian,eyedcuriouslybythepilgrims,wasstaringattheshore.Ifollowedthedirectionofhisglance. “Darkhuman shapes couldbemadeout in thedistance,flittingindistinctlyagainstthegloomyborderoftheforest,andneartherivertwobronzefigures,leaningontallspears,stoodinthesunlight,underfantastichead-dressesofspottedskins,warlikeandstillinstatuesquerepose.Andfromrighttoleftalongthelightedshoremovedawildandgorgeousapparitionofawoman. “Shewalkedwithmeasured steps, draped in striped andfringedcloths,treadingtheearthproudly,withaslightjingleandflashofbarbarousornaments.Shecarriedherheadhigh;herhairwasdoneintheshapeofahelmet;shehadbrasslegginstotheknee,brasswiregauntletstotheelbow,acrimsonspotonhertawnycheek,innumerablenecklacesofglassbeadsonherneck;bizarrethings,charms,giftsofwitch-men,thathungabouther,glitteredandtrembledateverystep.Shemusthavehadthevalueofseveralelephanttusksuponher.Shewassavageandsuperb,wild-eyedandmagnificent;therewassomethingominous and stately in her deliberate progress.And in thehushthathadfallensuddenlyuponthewholesorrowfulland,theimmensewilderness,thecolossalbodyofthefecundandmysteriouslifeseemedtolookather,pensive,asthoughithadbeenlookingattheimageofitsowntenebrousandpassionatesoul. “Shecameabreastofthesteamer,stoodstill,andfacedus.Herlongshadowfelltothewater’sedge.Herfacehadatragicandfierceaspectofwildsorrowandofdumbpainmingledwith the fear of some struggling, half-shaped resolve. Shestoodlookingatuswithoutastir,andlikethewildernessitself,withanairofbroodingoveraninscrutablepurpose.Awholeminutepassed,andthenshemadeastepforward.Therewasalowjingle,aglintofyellowmetal,aswayoffringeddraperies,and she stopped as if her heart had failed her.The youngfellowbymy side growled.Thepilgrimsmurmured atmyback.Shelookedatusallasifherlifehaddependedupontheunswervingsteadinessofherglance.Suddenlysheopenedherbaredarmsandthrewthemuprigidaboveherhead,asthoughinanuncontrollabledesiretotouchthesky,andatthesametimetheswiftshadowsdartedoutontheearth,sweptaroundontheriver,gatheringthesteamerintoashadowyembrace.Aformidablesilencehungoverthescene. “Sheturnedawayslowly,walkedon,followingthebank,andpassedintothebushestotheleft.Onceonlyhereyesgleamedbackatusintheduskofthethicketsbeforeshedisappeared.
* * *
2017LITERATUREEXAM 12
SECTION B – continued
Novels
3. Miles Franklin, My Brilliant Career
Use two or more of the set passages as the basis for a discussion of My Brilliant Career.
1.
The curse ofEve being uponmy poormother in thosedays,shewasunabletofollowherhusband.Prideforbadeherappealingtoherneighbours,soonmedevolvedthedutyoftrackingmyfatherfromonepubtoanotherandbringinghimhome. HadIdonejusticetomymother’s trainingIwouldhavehonouredmypaternalparentinspiteofallthis,butIamanindividualeverdoingthingsIoughtn’tatthetimeIshouldn’t. Cominghome,oftenaftermidnight,withmydrunkenfathertalkingmaudlinconceitednonsensebesideme, Idevelopedcurious ideason thefifthcommandment.Those journeys inthespring-cartthroughthesoftfaintstarlightwereconducivetothought.Myfather,likemostmenwhenundertheinfluenceofliquor,wouldallownoonebuthimselftohandlethereins,andhewasoftensoincapablethathewouldkeepturningthehorseroundandroundintheoneplace.Itisamarvelwenevermetwithanaccident.Iwasnotnervous,butquitecontenttotakewhatevercame,andourtrustyoldhorsefulfilledhisduty,everfaithfullytakingushomealongthegum-tree-linedroad. MymotherhadtaughtmefromtheBiblethatIshouldhonourmyparents,whethertheyweredeservingofhonourornot. DickMelvynbeingmyfatherdidnotblindmetothefactthathewasadespicable,selfish,weakcreature,andassuchIdespisedhimwiththerelentlessnessoffifteen,whichmakesno allowance for human frailty andweakness.Disgust, nothonour,wasthefeelingwhichpossessedmewhenIstudiedthematter. TowardsmotherIfeltdifferently.Awomanisbutthehelplesstoolofman—acreatureofcircumstances. Seeingmyfatherbesideme,andthinkingofhisinfantwithitsmother,eatingherheartoutwithanxietyathome,thiswasthereasoningwhichtookpossessionofme.AmongothersuchinexpressiblethoughtsIgotlost,grewdizzy,anddrewbackappalledatthespiritwhichwasmaturingwithinme.Itwasagrimlonelyone,whichIvainlytriedtohideinabosomwhichwasnotbigorstrongenoughforitscomfortablehabitation.Itwas as a climbingplantwithout a pole—it groped abouttheground,bruiseditself,andbecamehungrysearchingforsomethingstrongtowhichtocling.Needingamaster-handtotrainandprune,itwasbecomingrankandsour.
* * *
2.
Iputitdowntohisconceit.Ithoughtthathefanciedhecouldwinanywoman,andmewithouttheleastpalaverortrouble.Ifeltannoyed.Isaidaloud,“Iwillbecomeengagedtoyou;”tomyselfIadded,“Justforalittlewhile,themoretosurpriseandtaketheconceitoutofyouwhenthetimecomes.” NowthatIunderstandhischaracterIknowthatitwasnotconceit,butjusthisquietunpretendingway.Hehadmeantallhisactionstowardsme,andhadtakenmineinreturn. “Thankyou,Sybylla,thatisallIwant.Wewilltalkaboutthemattermoresomeothertime.IwillgouptoCaddagatnextSunday.Youhavesurprisedmenearlyoutofmywits,”herehelaughed.“Ineverdreamtyouwouldsayyessoeasily,justlikeanyothergirl.IthoughtIwouldhavealotoftroublewithyou.” Heapproachedmeandwasstoopingtokissme.Icannotaccount formy action or condemn it sufficiently. Itwashysterical—theoutcomeofanover-strung,highlyexcitable,andnervoustemperament.Perhapsmyvanitywaswounded,andmytendencytostrikewhentouchedwasupinarms.ThecalmairofownershipwithwhichHarolddrewnearannoyedme,or,asSunday-schoolteacherswouldexplainit,Satangotholdofme.Hecertainlyplacedalongstrongriding-whiponthetablebeneathmyhand.AsHaroldstoopedwiththeintentionofpressinghislipstomine,Iquicklyraisedthewhipandbroughtitwithallmystrengthrightacrosshisface.The instant thewhiphaddescended Iwouldhave smashedmyarmon thedoorposttorecallthatblow.Butthatwasimpossible.Ithadleftagreatwealonthehealthysun-tannedskin.Hismoustachehadsavedhislips,butithadcaughthisnose,theleftcheek,hadblindedthelefteye,andhadleftacutonthetemplefromwhichdropsofbloodwererollingdownhischeekandstaininghiswhitecoat.Amomentarygleamofangershotintohiseyesandhegaveagasp,whetherofsurprise,pain,orannoyance,Iknownot.Hemadeagesturetowardsme.Ihalfexpectedandferventlywishedhewouldstrike.TheenormityofwhatIhaddoneparalysedme.ThewhipfellfrommyfingersandIdroppedontoalowloungebehindme,andplacingmyelbowsonmykneescrouchinglyburiedmyfaceinmyhands;myhairtumbledsoftlyovermyshouldersandreachedthefloor,asthoughtosympatheticallycurtainmyhumiliation.Oh,thatHaroldwouldthrashmeseverely!Itwouldhaveinfinitelyrelievedme.Ihaddoneameanunwomanly thing in thusstrikingaman,whobyhisgreatstrengthandsexwasdebarredretaliation.Ihadcommittedaviolationofself-respectandcommondecency;I hadgiven aman an ignominiousblow in the facewith ariding-whip.AndthatmanwasHaroldBeecham,whowithallhisstrengthandgreatstaturewassowondrouslygentle—whohadalwaystreatedmywhimsandnonsensewithsomethingliketheamusedtoleranceheldbyagreatNewfoundlandforthepranksofakitten.
* * *
13 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
3. Miles Franklin, My Brilliant Career
3.
DearHarold, Iwillnotgetachanceofspeakingtoyouinthemorning,sowrite.Nevermentionmarriagetomeagain.Ihavefirmlymadeupmymind—itmustbeNo.ItwillalwaysbeacomforttomeintheyearstocometoknowthatIwaslovedonce,ifonlyforafewhours.ItisnotthatIdonotcareforyou,asIlikeyoubetter thananymanIhaveeverseen;butIdonotmeanevertomarry.WhenyoulostyourfortuneIwaswillingtoaccede toyour request,as I thoughtyouwantedme;butnowthatyouarerichagainyouwillnotneedme.Iamnotgoodenough tobeyourwife, foryouareagoodman;andbetter,becauseyoudonotknowyouaregood.Youmayfeeluncomfortableorlonelyforalittlewhile,because,whenyoumakeupyourmind,youarenoteasilythwarted;butyouwillfindthatyourfancyformewillsoonpass.Itisonlyafancy,Hal.Takealookintheglass,andyouwillseereflectedtherethefigureofastalwartmanwhoispurelyvirile,possessingnottheslightestattributeoftheweakersex,thereforeyourloveismerelyapassingflame.Idonotimputeficklenesstoyou,butmerelypointoutamasculinecharacteristic,andthatyouareaman,andonlyaman,pureandunadulterated.Lookaround,andfromthenumbersofgoodwomentobefoundoneverysidechooseonewhowillmakeyouafitterhelpmeet,amoreconventionalcomrade,thanIcouldeverdo.Ithankyoufortheinestimablehonouryouhaveconferreduponme;butkeepittillyoufindsomeoneworthyofit,andbyandbyyouwillbegladthatIhavesetyoufree. Good-bye,Hal!
Yoursincereandaffec.friendSybyllaPenelopeMelvyn
ThenIcreptintobedbesidemylittlesister,andthoughtheairinsidehadnotcooled,andtheroomwaswarm,IshiveredsothatIclaspedthechubby,golden-hairedlittlesleeperinmyarmsthatImightfeelsomethinglivingandrealandwarm. “Oh,Rory,Rory!” Iwhispered, raininguponher lonely-heartedtears.“Inalltheworldisthereneveracomradestrongandtrue to teachmethemeaningof thishollow,grimlittletragedy—life?Willitalwaysbethisghastlyaloneness?WhyamInotgoodandprettyandsimplelikeothergirls?Oh,Rory,Rory,whywasIeverborn?Iamofnouseorpleasuretoanyoneinalltheworld!”
* * *
2017LITERATUREEXAM 14
SECTION B – continued
2.
Margaretfeltintuitively,thatinaninstantallwouldbeuproar;thefirst touchwould cause an explosion, inwhich, amongsuchhundredsofinfuriatedmenandrecklessboys,evenMrThornton’slifewouldbeunsafe,–thatinanotherinstantthestormypassionswouldhavepassedtheirbounds,andsweptawayallbarriersofreason,orapprehensionofconsequence.Evenwhileshelooked,shesawladsinthebackgroundstoopingtotakeofftheirheavywoodenclogs–thereadiestmissiletheycouldfind;shesawitwasthesparktothegunpowder,and,withacry,whichnooneheard,sherushedoutoftheroom,downstairs,–shehadliftedthegreatironbarofthedoorwithan imperiousforce–had thrown thedooropenwide–andwasthere,infaceofthatangryseaofmen,hereyessmitingthemwithflamingarrowsofreproach.Theclogswerearrestedinthehandsthatheldthem–thecountenances,sofellnotamomentbefore,nowlookedirresolute,andasifaskingwhatthismeant.Forshestoodbetweenthemandtheirenemy.Shecouldnotspeak,butheldoutherarmstowardsthemtillshecouldrecoverbreath. ‘Oh,donotuseviolence!Heisoneman,andyouaremany;’butherwordsdiedaway,fortherewasnotoneinhervoice;itwasbutahoarsewhisper.MrThorntonstoodalittleononeside; he hadmoved away frombehindher, as if jealousofanythingthatshouldcomebetweenhimanddanger. ‘Go!’saidshe,oncemore(andnowhervoicewaslikeacry).‘Thesoldiersaresentfor–arecoming.Gopeaceably.Goaway.Youshallhaverelieffromyourcomplaints,whatevertheyare.’ ‘ShallthemIrishblackguardsbepackedbackagain?’askedonefromoutthecrowd,withfiercethreateninginhisvoice. ‘Never, for your bidding!’ exclaimedMrThornton.Andinstantlythestormbroke.Thehootingsroseandfilledtheair–butMargaretdidnothearthem.Hereyewasonthegroupofladswhohadarmedthemselveswiththeirclogssometimebefore.Shesawtheirgesture–sheknewitsmeaning,–shereadtheiraim.Anothermoment,andMrThorntonmightbesmittendown,–hewhomshehadurgedandgoadedtocometothisperilousplace.Sheonlythoughthowshecouldsavehim.Shethrewherarmsaroundhim;shemadeherbodyintoashieldfromthefiercepeoplebeyond.Still,withhisarmsfolded,heshookheroff. ‘Goaway,’saidhe,inhisdeepvoice.‘Thisisnoplaceforyou.’ ‘Itis!’saidshe.‘YoudidnotseewhatIsaw.’Ifshethoughthersexwouldbeaprotection,–if,withshrinkingeyesshehadturnedawayfromtheterribleangerofthesemen,inanyhopethatereshelookedagaintheywouldhavepausedandreflected,andslunkaway,andvanished,shewaswrong.Theirrecklesspassionhadcarriedthemtoofartostop–atleasthadcarriedsomeofthemtoofar;foritisalwaysthesavagelads,withtheirloveofcruelexcitement,whoheadtheriot–recklesstowhatbloodshed itmay lead.Aclogwhizzed through theair.Margaret’sfascinatedeyeswatcheditsprogress;itmisseditsaim,andsheturnedsickwithaffright,butchangednotherposition,onlyhidherfaceonMrThornton’sarm.Thensheturnedandspokeagain:
1.
Margarethadnever spokenofHelstone since she left it,exceptjustnamingtheplaceincidentally.Shesawitindreamsmorevividthanlife,andasshefellawaytoslumberatnightshermemorywanderedinallitspleasantplaces.Butherheartwasopenedtothisgirl:‘Oh,Bessy,Ilovedthehomewehaveleftsodearly!Iwishyoucouldseeit.Icannottellyouhalfits beauty.There are great trees standing all about it,withtheirbranchesstretchinglongandlevel,andmakingadeepshadeofrestevenatnoonday.Andyet,thougheveryleafmayseemstill,thereisacontinualrushingsoundofmovementallaround–notcloseathand.Thensometimestheturfisassoftandfineasvelvet;andsometimesquitelushwiththeperpetualmoistureofalittle,hidden,tinklingbrooknearathand.Andtheninotherpartstherearebillowyferns–wholestretchesoffern;someinthegreenshadow;somewithlongstreaksofgoldensunlightlyingonthem–justlikethesea.’ ‘Ihaveneverseenthesea,’murmuredBessy.‘Butgoon.’ ‘Then,hereandthere,therearewidecommons,highupasifabovetheverytopsofthetrees–’ ‘I’mgladofthat.Ifeltsmotheredlikedownbelow.WhenIhavegoneforanout,I’vealwayswantedtogethighupandseefaraway,andtakeadeepbreatho’fulnessinthatair.IgetsmotheredenoughinMilton,andIthinkthesoundyo’speakofamongthetrees,goingonforeverandever,wouldsendmedazed;it’sthatmademyheadachesointhemill.NowonthesecommonsIreckonthereisbutlittlenoise?’ ‘No,’saidMargaret;‘nothingbuthereandtherealarkhighintheair.SometimesIusedtohearafarmerspeakingsharpandloudtohisservants;but itwassofarawaythat itonlyremindedmepleasantlythatotherpeoplewerehardatworkinsomedistantplace,whileIjustsatontheheatheranddidnothing.’ ‘Iused to thinkonce that if Icouldhaveadayofdoingnothing,torestme–adayinsomequietplacelikethatyo’speakon–itwouldmaybesetmeup.ButnowI’vehadmanydayso’idleness,andI’mjustaswearyo’themasIwaso’mywork.SometimesI’msotiredoutIthinkIcannotenjoyheavenwithoutapieceofrestfirst.I’mratherafeardo’goingstraighttherewithoutgettingagoodsleepinthegravetosetmeup.’ ‘Don’t be afraid,Bessy,’ saidMargaret, layingher handonthegirl’s;‘Godcangiveyoumoreperfectrestthanevenidlenessonearth,orthedeadsleepofthegravecando.’
* * *
Novels
4. Elizabeth Gaskell, North and South
Use two or more of the set passages as the basis for a discussion of North and South.
15 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
‘ForGod’ssake!donotdamageyourcausebythisviolence.Youdonotknowwhatyouaredoing.’Shestrovetomakeherwordsdistinct. Asharppebbleflewbyher,grazingforeheadandcheek,anddrawingablindingsheetoflightbeforehereyes.ShelaylikeonedeadonMrThornton’sshoulder.Thenheunfoldedhisarms,andheldherencircledinoneforaninstant: ‘You dowell!’ said he. ‘You come to oust the innocentstranger.Youfall–youhundreds–ononeman;andwhenawomancomesbeforeyou,toaskyouforyourownsakestobereasonablecreatures,yourcowardlywrathfallsuponher!Youdowell!’Theyweresilentwhilehespoke.Theywerewatching,open-eyed andopen-mouthed, the threadof dark-redbloodwhichwakenedthemupfromtheirtranceofpassion.Thosenearest the gate stole out ashamed; therewas amovementthroughallthecrowd–aretreatingmovement.Onlyonevoicecriedout: ‘Th’ stoneweremeant for thee; but thouwert shelteredbehindawoman!’
* * *
Novels
4. Elizabeth Gaskell, North and South
3.
‘[…]Aworkingmancanhardlybemadetofeelandknowhowmuchhisemployermayhavelabouredinhisstudyatplansforthebenefitofhisworkpeople.Acompleteplanemergeslikeapieceofmachinery,apparentlyfittedforeveryemergency.Butthehandsacceptitastheydomachinery,withoutunderstandingtheintensementallabourandforethoughtrequiredtobringittosuchperfection.ButIwouldtakeanidea,theworkingoutofwhichwouldnecessitatepersonalintercourse;itmightnotgowellatfirst,butateveryhitchinterestwouldbefeltbyanincreasingnumberofmen,andatlastitssuccessinworkingcometobedesiredbyall,asallhadborneapartintheformationoftheplan;andeventhenIamsurethatitwouldloseitsvitality,ceasetobeliving,assoonasitwasnolongercarriedonbythatsortofcommoninterestwhichinvariablymakespeoplefindmeansandwaysofseeingeachother,andbecomingacquaintedwitheachother’scharactersandpersons,andeventricksoftemperandmodesofspeech.Weshouldunderstandeachotherbetter,andI’llventuretosayweshouldlikeeachothermore.’ ‘Andyouthinktheymaypreventtherecurrenceofstrikes?’ ‘Notatall.Myutmostexpectationonlygoessofarasthis–thattheymayrenderstrikesnotthebitter,venomoussourcesofhatredtheyhavehithertobeen.Amorehopefulmanmightimagine that a closer andmore genial intercourse betweenclassesmightdoawaywithstrikes.But Iamnotahopefulman.’ Suddenly,asifanewideahadstruckhim,hecrossedovertowhereMargaretwassitting,andbegan,withoutpreface,asifheknewshehadbeenlisteningtoallthathadpassed: ‘MissHale,Ihadaround-robinfromsomeofmymen–IsuspectinHiggins’handwriting–statingtheirwishtoworkforme,ifeverIwasinapositiontoemploymenagainonmyownbehalf.Thatwasgood,wasn’tit?’ ‘Yes.Justright.Iamgladofit,’saidMargaret,lookingupstraightintohisfacewithherspeakingeyes,andthendroppingthemunderhiseloquentglance.Hegazedbackatherforaminute,asifhedidnotknowexactlywhathewasabout.Thensighed;andsaying,‘Iknewyouwouldlikeit,’heturnedaway,andneverspoketoheragainuntilhebidheraformal‘goodnight.’ AsMrLennox tookhisdeparture,Margaret said,withablushthatshecouldnotrepress,andwithsomehesitation, ‘CanIspeaktoyoutomorrow?Iwantyourhelpabout–something.’ ‘Certainly. Iwill come atwhatever timeyouname.Youcannotgivemeagreaterpleasurethanbymakingmeofanyuse.Ateleven?Verywell.’ Hiseyebrightenedwithexultation.Howshewaslearningtodependuponhim!Itseemedasifanydaynowmightgivehim the certainty,withouthavingwhichhehaddeterminednevertooffertoheragain.
* * *
2017LITERATUREEXAM 16
SECTION B – continued
Novels
5. Michael Ondaatje, The Cat’s Table
Use two or more of the set passages as the basis for a discussion of The Cat’s Table.
1.
We considered ourselves good at vacuuming…along thefamiliarruttheyhavemadeforthemselves.
MichaelOndaatje,The Cat’s Table, JonathanCape,2011
pp.79–81
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Irememberstillhowwemovedinthatcanal…withoureyeswideopen.
MichaelOndaatje,The Cat’s Table, JonathanCape,2011
pp.139and140
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
17 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
5. Michael Ondaatje, The Cat’s Table
3.
we slipped into england in the dark … hordeofpassengerscomingofftheboat.
MichaelOndaatje,The Cat’s Table, JonathanCape,2011
pp.284and285
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 18
SECTION B – continued
Novels
6. Kim Scott, That Deadman Dance
Use two or more of the set passages as the basis for a discussion of That Deadman Dance.
1.
Drenchedwithspray…KingGeorgeTownpeoplecallthisplacenow.
KimScott,That Deadman Dance, Picador,2013
pp.9–11
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Asamucholdermanontheharbourshore…Womennolongerseeanoldmanlikehim.
KimScott,That Deadman Dance, Picador,2013
pp.158–160
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
19 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
6. Kim Scott, That Deadman Dance
3.
Butwhataboutthewhales?…Wouldtheyfindalonewhale?
KimScott,That Deadman Dance, Picador,2013
pp.338–340
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 20
SECTION B – continued
2.
LouieandSamchattedforawhileonthisinterestingsubjectofcountenancedmurder,andthenSamtoldLouiethat theymustbeserious,formurderwasreallyaseriousthing,becauseitmeanthate,andhateproducedallthewickednessoftheworld. “Ifyourowndearmotherhadlived,forexample,mylifewouldhavebeenfulfilledanditwouldhavebeenaparadiseforme.Iwouldnothavemindedifhermindhadnotdeveloped,ifshehadjustremainedmyowndearwife,forIshouldhavebeenheartened to goon.Your dearmother understoodmyaims—or,letussay,sheunderstoodmeandurgedmeon,ineverything.Shewasanxiousformetostudyandgeton,notforvulgarsuccess,butbecauseshewasatruewomanwhosehomewasdeartoherandbecauseIwasdeartoherandyoutoo,littleDuckyshecalledyou,andthenbecausesheknewofmyhighambitions,throughmysooftenhavingtoldthemtoher.” “Whatwasyourambition?”askedLouie,fullofinterest.Shetoowasveryambitious.ShewishedtobeaSpartan,forexample:ifshecouldgotothedentistandnevermakeasqueak,shefeltshewouldmakeagreatimpression.Thenshewishedtobecomegreat.Atpresentsheonlyreadaboutmenofdestiny. “Youknowit,Looloo,”herepliedinadeepvoice.“Itistobeofthosewhospreadthelight,thechildrenoflight.” On thewayback,hewas soulfullyhappy.Toamuseherhetoldhersomemoreaboutpermittedmurder,forhecouldseeitamusedher.Insomesecretsocieties,itwasunderstoodthatatraitorwouldbemurderedbyamemberofthesociety:thiswastheunderstandingonwhichheenteredthefraternity.Suicideought tobe recognizedandpermitted, for apersonwascaptainofhisownlife.Murderoftheunfit,incurable,andinsaneshouldbepermitted.Childrenbornmentallydeficientordiseasedshouldbemurdered,andnoneof thesemurderswouldreallybeacrime,forthecommunitywasbenefited,andthegoodofthewholewastheaimofall,orshouldbe. “Murdermight be beautiful, a self-sacrifice, a sacrificeof someone near and dear, for the good of others—I canconceiveofsuchathing,Looloo!Theextinctionofonelife,whenmanyarethreatened,orwhenfuturegenerationsmightsuffer—wouldn’tyou,evenyou,thinkthatafinething?Why,wemightmurderthousands—notindiscriminatelyasinwarnow—butpickingout theunfitandputting thempainlesslyintothelethalchamber.Thisalonewouldbenefitmankindbyclearingthewayforaeugenicrace.Iamgladtosaythatsomeofourstateshavealreadypassedlawswhichseemtopointtoareallyscientificviewofthesethings,inthenearfuture.Butyouareright,Looloo,theoldsavageswentusonebetter—thePolynesiansgottherebeforeus,inaway.” Whentheygothome,Louiewasfullofexcitement.Shehadnevercomesoneartotalkingaboutherownambitions,andSamwasinacomradelymood. “Youwillbeallright,Looloo,”concludedSam,kissinghergoodnight.“Youaremyself;Iknowyoucannotgoastray.” “Iwon’tbelikeyou,Dad.” Helaughed,“Youcan’thelpit:youaremyself.”
* * *
1.
Hennysatdreaming,withtheletterinherlap.ShewasnotnervousandlivelylikethePollits,herhusband’sfamily,who,shesaid,“alwaysbehavedlikechickenswiththeirheadscutoff,” butwould sit there still, so gracefully languid, exceptto runherfingers over the tablecloth, tracing the design inthe damask, or to alter her pose and lean her face on herhandandstareintothedistance,acommonplacehabitwhichlookedverytheatricalinHenny,becauseofherlarge,brighteyeballsandthin,high-curvedblackeyebrows.Shewaslikeatallcraneinthereachesoftheriver,standingwithonelegcrookedand listening.Shewould lookfixedlyathervisionandsuddenlyclosehereyes.Thechildwatching(therewasalways one)would see nothing but the huge eyeball in itsgloveofflesh,deep-sunkinthewrinkledskullhole,thedarkcirclerounditandtheeyebrowfarabove,asitseemed,whileallherskin,unrelievedbybrillianteye,cameoutinitsrealshade,burntolive.Shelookedformidableinsuchmoments,inherintemperatesilence,thebittersetofherdiscoloredmouthwithherunevenslendergambler’snoseandscornfulnostrils,lengthening her sharp oval face, pulling the dry skinfolds.Thenwhensheopenedhereyes,therewouldshootoutalookofhate,horror,passion,orcontempt.Thechildren(theyweregoodchildren,aseveryonesaid)wouldcreepup,soasnottoannoyherandsay,atherelbow,“Moth,canWhiteycomein?”Orsomesuchthing,andshewouldstartandcry, “Whatdoyoumeansneakinguponmelikethat,areyouspyingonmelikeyourfather?”or,“GetoutofmysightbeforeIlandyouone,youcreeper!”or,“Whatdoyoumeantryingtofrightenme,isitsupposedtobefunny?” Andatothertimes,asnow,shewouldsitwithherglanceshovering round the room, running from dustymolding totorn curtain frill, from a nail under the transom left overfrom the lastChristmas to awornpatchon the oilcloth bythedoor,threadbareundersomanythousandlittlefootsteps,notworryingabout them,but consideringeachwell-knownitem,almostamiablefromfamiliarity,almostinterested,asifconsideringanewhowtofixupthesethingswhenfatiguehadgoneandtheteaandresthadputnewenergyintoher. Henny had never lived in an apartment. She was an old-fashionedwoman. She had the calm of frequentation;shebelonged to thishouseand it toher.Thoughshewasaprisonerinit,shepossessedit.Sheanditwerehermarriage.Shewasindwellingineveryboardandstoneofit:everyfoldinthecurtainshadameaning(perhapstheyweresofoldedtohideadarnorstain);everyroomwasaphialofrevelationtobepouredoutsomefeverishnight in thesecret laboratoriesof her decisions, full of living cancers of insult, leprosiesofdisillusion, abscessesofgrudge,gangreneofnevermore,quintanfeversofdivorce,andall theproliferatingmiseries,therunningsoresandthickscabs,forwhich(andnotforitsheavenlyjoys)thefleshofmarriageissoheavilyveiledandconventuallyinterned.
* * *
Novels
7. Christina Stead, The Man Who Loved Children
Use two or more of the set passages as the basis for a discussion of The Man Who Loved Children.
21 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
True,theworldwasallearsandeyesforSam’smisfortune,butSamboreitwithnobledignity,fornowatleastpeopleknewwhathehadbornealltheseyears.Butastowherethemoneyhadgone,hewasasinnocentasababe,hetoldthecreditorslateron:itwaslikelightningopeningthegroundathisfeet,andnow,toacertainextent,hecouldunderstandsomeoftherages of the unfortunate, guilty, butmiserablewoman.Shehadbeenharassedbythebloodhoundsofdebt;theirtongueshadbeenbellinginherbrain,theirmawsopeningathershins,theirhell-breathmixingwithherbreathalltheseyears.Yes,ifshehadonlyconfidedinhim,hewouldhavebeenabletodenypubliclyhisresponsibilityandsotakepossibilityofcreditawayfromher,orhewouldhavebeenabletoreinherin,saveherfromthiscriminalrecklessness.Forsheknew,hesaidsadly,toJo,alas!sheknewonlytoowellwhatmoneywastewas:itwasintheblood.Sheknewbetterthanhe,butshewasafoolish,weak,sillywomanwithatasteforextravaganceandnomeansofgratifyingit.Wheredidthemoneygo?Theymustnotaskhim.Hissalarywouldhavebeenampleforasensiblewoman,andheshouldhaveknownbetterthantomarryarichgirlwithnoideaofaplannedeconomy. Now, he proposed a five-year-plan for his creditors: herefusedtoletoneborrowedcentgoroundtheworldinraggedtrouserswithhisnametoit—hewouldpaybackeverything.Hehadnomoney.Theysawinhimapennilessman,whosegoodnamehadbeentornfromhisbackbythewickednessoftheworld,buthewouldwinhiswayback,makeanewworldforhischildren,andpaybackallthemoneythatthewretchedcreaturehadborrowed.Therewasnotevenanysensetoallthiswaste:itwasmerepointlessruin,forthemoneyhadgonetobuyclothesandfoodthatwouldhavebeenpaidforoutofhissalaryifhissalaryhadnotbeeneatenupsecretlybytheloansharksandbloodsuckingusurersagainstwhomhehadnorecourse,sincetheirprocedureswereillegal.HewalkedbacktoSpaHouseabeatenman,withhispocketsoutandhisnamemud-spattered,true,saidhe;butwhatdidhecareforslanderandname-slinging?Infiveyearshewouldhavepaidoffall,andhischildrenwouldbeprouderthaneveroftheirfather’shonor;histruthcrushedtoearthwouldriseagain,fresherfromhermudbath.
* * *
Novels
7. Christina Stead, The Man Who Loved Children
2017LITERATUREEXAM 22
SECTION B – continued
Novels
8. Giuseppe Tomasi di Lampedusa, The Leopard
Use two or more of the set passages as the basis for a discussion of The Leopard.
1.
Now,withhissensibilitytopresagesandsymbols…aswellasthatoflocalbeauty.
GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007
pp.55–57
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
november,1860as meetings due to themarriage contract becamemorefrequent…ableinanywaytodiscernitsorigins.
GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007
pp.102and103
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
23 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Novels
8. Giuseppe Tomasi di Lampedusa, The Leopard
3.
TherewasorhadbeenasenateinPalermo…simplythatof‘doing’atall.[…]
GiuseppeTomasidiLampedusa,The Leopard, Vintage,2007
pp.134–136
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 24
SECTION B – continued
2.
ThefirstMondayof1970–adry,tough,hotday,adayofsomuchlightthattheheavensseemedwhiteinsteadofblue–ElainerodeoffonTrumaninthedirectionofGuarinocito,wheretheywerebuildingaschoolandshewasgoingtotalkaboutaliteracyprogrammethevolunteersinthedepartmenthadbeguntocoordinate,andwhenshecamearoundacornershethoughtshesawCarlosandMikeBarbieriinthedistance.Thatevening,whenshegothome,Ricardohadnewsforher:they’dgothimajob,hewasgoingtobeawayforacoupleofdays.HewasgoingtobringacoupleoftelevisionsfromSanAndrés,nothingeasier,buthewouldhavetosleepoveratthedestination.That’showheputit,‘atthedestination’.Elainewas pleased that hewas starting to getwork:maybe, afterall,itwasn’tgoingtobesohardtomakealivingasapilot.‘Everything’sgoingwell,’Elainewrote at thebeginningofFebruary.‘Ofcourse,it’sathousandtimeseasiertoflyalightaircraftonceyouknowhowtoreadtheinstruments thantomakevillagepoliticianscooperatewitheachother.’Sheadded:‘Andharderstillforawoman.’Andthen:
OnethingIhavelearned:sincethepeopleareusedtobeingtoldwhattodo,Ihavebeguntoactlikeapatrón.I’mverysorrytohavetoreportthatitgetsresults.IgotthewomenofVictoria(anearbyvillage)todemandthedoctororganizeanutritionanddental-healthcampaign.Yes,it’soddtoseethe two together, but feeding themselves on sugar-waterwoulddestroyanyone’steeth.So,atleastI’veaccomplishedsomething.It’snotmuch,butit’sastart. Ricardoishappy,that’sforsure.Likeakidinacandystore.He’sstartingtoget jobs,nota lot,butenough.Hedoesn’thavetheflyinghourstobecomeacommercialpilotyet,butthat’sbetter,becausehechargeslessandtheypreferhimfor that (inColombiaeverything’sbetter if it’sdoneunderthecounter).Ofcourse,Iseelessofhim.Heleavesveryearly,flyingoutofBogotáandthesejobseatuphisday.Sometimeshehastosleepoverathisoldhouse,athisparents’house,onhiswayoutoronhiswayback,orboth.Andmeherebymyself.Sometimes it’s infuriatingbut Ihavenorighttocomplain.
* * *
1.
Laverdehandedherthecassettelikeasoldiersurrenderinghisweapon,withfingersvisiblysmudgedwithbluebilliardchalk.Hewent to sit down, submissive as I’d never seenhimbefore, in the armchair thewomanpointed him to; heput on the headphones, leaned back and closed his eyes.Meanwhile,Iwaslookingforsomethingtooccupymytimewhile Iwaited, andmyhandpickedupSilva’spoemsas itmighthavechosenanyotherrecording(Imusthavegivenintothesuperstitionofanniversaries).Isatdowninmychair,pickedupthecorrespondingheadphones,adjustedthemovermyearswiththatfeelingofputtingmyselfbeyondorclosertoreallife,ofstartingtoliveinanotherdimension.Andwhenthe‘Nocturne’begantoplay,whenavoiceIcouldn’tidentify–abaritone thatvergedonmelodrama–read thatfirst linethateveryColombianhaspronouncedaloudat leastonce,InoticedthatRicardoLaverdewascrying.One night all heavy with perfume,saidthebaritoneoverapianoaccompaniment,andafewstepsawayfrommeRicardoLaverde,whowasn’tlisteningtothelinesIwaslisteningto,wipedthebackofhishandacrosshiseyes,thenhiswholesleeve,with murmurs and music of wings.RicardoLaverde’sshouldersbegantoshake;hehunghishead,broughthishands together like someonepraying.And your shadow, lean and languid,saidSilvainthevoiceofthemelodramaticbaritone,And my shadow, cast by the moonbeams.Ididn’tknowwhethertolookatLaverdeornot,whethertoleavehimaloneinhissorroworgoandaskhimwhatwaswrong.IrememberhavingthoughtthatIcouldatleasttakeoffmyheadphones,awaylikeanyotherofopeningaspacebetweenLaverdeandme,ofinvitinghimtospeaktome;andIrememberdecidingagainstit,havingchosenthesafetyandsilenceofmyrecording,wherethemelancholyofSilva’spoemwouldsaddenmewithoutputtingmeatrisk.IguessedthatLaverde’ssadnesswasfullofrisks,Iwasafraidofwhatthatsadnessmightcontain,butmyintuitiondidn’tgofarenoughtounderstandwhathadhappened.Ididn’trememberthewomanLaverdehadbeenwaitingfor,Ididn’trememberhername,Ididn’tassociatehimwiththeaccidentatElDiluvio,butIstayedwhereIwas,inmychairandwiththeheadphoneson,tryingnottointerruptRicardoLaverde’ssadness,andIevenclosedmyeyessoIwouldn’tbotherhimwithmyindiscreetgaze,toallowhimacertainprivacyinthemiddleofthatpublicplace.Inmyhead,andonlyinmyhead,Silvasaid:And they were one single long shadow.Inmyself-containedworld,whereallwasfullofthebaritonevoiceandSilva’swordsandthedecadentpianomusicthatenvelopedthem,atimewentbythatlengthensinmymemory.Thosewholistentopoetryknowhowthiscanhappen,timekeptbythelinesofverselikeametronomeandatthesametimestretchinganddispersingandconfusinguslikedreamtime. WhenIopenedmyeyesLaverdewasnolongerthere.
* * *
Novels
9. Juan Gabriel Vásquez, The Sound of Things Falling
Use two or more of the set passages as the basis for a discussion of The Sound of Things Falling.
©JuanGabrielVásquez,2012;AnneMcLean(trans.);BloomsburyPublishingPlc.;reproducedbypermission
25 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Butmaybe the strangest thing that afternoonwas thateverythingwe sawwe saw in silence.We looked at eachotherfrequently,butweneverspokeanythingmorethananinterjectionoranexpletive,perhapsbecauseallthatwewereseeingwas evoking differentmemories and different fearsforeachofus,anditseemedimprudentorperhapsrashtogorummagingaroundineachother’spasts.Becauseitwasthat,ourcommonpast,thatwastherewithoutbeingthere,liketheunseenrustthatwasrightinfrontofuseatingawayatthecardoorsandrimsandfendersanddashboardsandsteeringwheels.Asfortheproperty’spast,weweren’toverlyinterested:thethingsthathadhappenedthere,thedealsthatweremadeandthelivesthatwereextinguishedandthepartiesthatwereheldand theviolence thatwasplanned,all thatwasabackdrop,scenery.Without awordwe agreedwe’d seen enough andbegantowalktowardstheNissan.AndthisIremember:Mayatookmyarm,orslippedherarminminelikewomenusedtodointimesgoneby,andintheanachronismofhergesturetherewasanintimacyIcouldnothavepredicted,thatnothinghadforetold. Thenitbegantorain. Itwasjustdrizzleatfirst,althoughwithfatdrops,butinamatterofsecondstheskyturnedasblackasadonkey’sbellyandadownpourdrenchedour shirtsbeforewehad time toseekshelteranywhere.‘Shit,that’stheendofourstroll,’saidMaya.BythetimewegottotheNissan,weweresoakedtotheskin;sincewe’drun(shouldersraised,onearmuptoshieldoureyes),thefrontsofourtrouserswerewetthrough,whiletheback,almostdry,seemedmadeofadifferentfabric.Thewindowsofthejeepfoggedupimmediatelywiththeheatofourbreathing,andMayahadtogetaboxoftissuesoutoftheglovecompartmenttocleanthewindscreensowewouldn’tcrash.Sheopenedthevents,ablackgrilleinthemiddleofthedashboard,andwebegantomovecautiouslyforward.Butwehadonlygoneabout100metreswhenMayastoppedsuddenly,rolleddown thewindowas fastasshecouldso I, fromthepassengerseat,couldseewhatshewaslookingat:thirtystepsawayfromus,halfwaybetween theNissanand thepond,ahippopotamuswasstudyingusgravely.
* * *
Novels
9. Juan Gabriel Vásquez, The Sound of Things Falling
©JuanGabrielVásquez,2012;AnneMcLean(trans.);BloomsburyPublishingPlc.;reproducedbypermission
2017LITERATUREEXAM 26
SECTION B – continued
Plays
10. Aeschylus, Agamemnon
Use two or more of the set passages as the basis for a discussion of Agamemnon.
1.
clytaemnestra:Thecity’sours–inourhandsthisveryday!
[…]
leader:[…]Thejoyisworththelabour.
Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979
pp.215and216
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
agamemnon: First,[…]theflatteringmirroroftheproud.
Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979
pp.133and134
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
27 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
10. Aeschylus, Agamemnon
3.
aegisthus: Yousay!youslavesattheoars–whilethemasteronthebenchescracksthewhip?
[…]
clytaemnestra:[…]Nobloodshednow.
Aeschylus,‘Agamemnon’,inThe Oresteia, RobertFagles(trans.),PenguinClassics,1979
pp.170and171
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 28
SECTION B – continued
2.
helmer:But,Noradear,youlooktiredout–haveyoubeenrehearsingtoomuch?
nora:No,Ihaven’trehearsedatall.helmer:Oh,butyoushouldhave.nora:Yes,IknowIshouldhave,butIcan’tdoanythingunless
youhelpme,Torvald.I’veforgottenabsolutelyeverything.helmer:Oh,we’llsoonpolishitupagain.nora:Yes,dotakemeinhand,Torvald–promiseyouwill.I’m
sonervous–allthosepeople...Youmustgiveupthewholeevening tome;youmustn’tdoascrapofbusiness–notevenpickupapen!You’lldothat,won’tyou,dearTorvald?
torvald:Ipromise.ThiseveningI’llbewhollyandentirelyatyourservice–youpoorhelplesslittlecreature!Ah,butfirst,whileIthinkofit,Imustjust–[going towards the hall door].
nora:Whatdoyouwantoutthere?torvald:I’mjustseeingifthepost’scome.nora:No,no,Torvald–don’tdothat.helmer:Whynot?nora:Pleasedon’tTorvald–there’snothingthere.torvald:I’lljustlook[He starts to go.]
[nora, at the piano, plays the opening bars of the tarantella.]
helmer[stopping in the doorway]:Aha!nora:Ishan’tbeabletodancetomorrowifIdon’tgoover
itwithyou.helmer[going to her]:Noradear,areyoureallysoworried
aboutit?nora:Yes,terriblyworried.Letmerehearseitnow–there’s
stilltimebeforedinner.Sitdownandplayforme,Torvalddear;criticizeme,andshowmewhereI’mwrong,thewayyoualwaysdo.
helmer:I’dliketo,if that’swhatyouwant.[He sits at the piano.]
[nora pulls a tambourine out of the box, then a long parti-coloured shawl which she quickly drapes round herself. Then, with a bound, she takes up her position in the middle of the floor, and calls:]
nora:Nowplayforme,andI’lldance![helmer plays and nora dances. dr rank stands behind helmer at the piano and looks on.]
helmer[as he plays]:Slower–slower!nora:Icanonlydoitthisway.helmer:Notsoviolently,Nora!nora:Thisishowitshouldgo.helmer[stops playing]:No,no,that’sallwrong.nora [laughing and brandishing her tambourine]:There!
Didn’tItellyou?rank:Letmeplayforher.helmer[rising]:Yes,do;thenIcanshowherbetter.
[rank sits at the piano and plays. nora dances more and more wildly. helmer, taking up a position by the stove, gives her frequent directions as she dances. She seems not to hear them, her hair comes down and falls over her shoulders, but she goes on dancing without taking any notice. mrs linde comes in.]
1.
nora:But...Oh,Iseewhatyoumean–youthinkperhapsTorvaldmightbeabletodosomethingforyou.
mrs linde:Yes,Ithoughthemight.nora:Oh,hewill,Kristina;justleaveittome.I’llbringthe
subjectupverycleverly....I’llthinkofsomewonderfulwaytoputhiminagoodmood....Oh,Ishouldsoliketohelpyou.
mrs linde: It is kind of you,Nora, towant to do this for me...especiallywhenyouknowsolittleaboutthetroublesandhardshipsoflife.
nora:I?Solittle?mrs linde[smiling]:Well,goodheavens,alittlebitofsewing
andthatsortofthing!You’reonlyababy,Nora!nora[crossing the room with a toss of her head]:Don’tbe
sosuperior.mrs linde:No?nora:You’relikealltheothers–younoneofyouthinkIcould
doanythingworthwhile....mrs linde:Well?nora:AndyouthinkI’vehadaneasylife,withnothingto
contendwith.mrs linde: But,Nora dear, you’ve just toldme all your
troubles.norah: Pooh, theywere nothing. [Dropping her voice] I
haven’ttoldyouthereallyimportantthing.mrs linde:Theimportantthing?Whatwasthat?nora:Iexpectyoulookdownonme,Kristina,butyou’veno
rightto.You’reproudbecauseyouworkedsohardforyourmotherallthoseyears.
mrs linde:Idon’tlookdownonanyone;butofcourseI’mproud–andglad–toknowthatIwasabletomakeMother’slastdaysalittleeasier.
nora:Andyou’reproudofwhatyoudidforyourbrothers.mrs linde:IthinkIhaveeveryrighttobe.nora: I quite agree.But now letme tell you something,
Kristina;I’vegotsomethingtobeproudof,too.mrs linde:I’msureyouhave;whatisit?nora:Notsoloud–supposeTorvaldweretohear!Iwouldn’t
havehimfindoutfortheworld.Noonemustknowaboutit–noonebutyou,Kristina.
mrs linde:Butwhatisit?nora:Comeoverhere.[Pulling her down on the sofa beside
her]Ohyes,I’vesomethingtobeproudof.ItwasIwhosavedTorvald’slife.
* * *
Plays
11. Henrik Ibsen, A Doll’s House
Use two or more of the set passages as the basis for a discussion of A Doll’s House.
29 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
mrs linde[stopping spellbound in the doorway]: Ah!nora[as she dances]:Oh,thisisfun,Kristina!helmer:But,Nora darling, you’re dancing as if your life
dependedonit!nora:Soitdoes.
* * *
Plays
11. Henrik Ibsen, A Doll’s House
3.
nora[after a short pause]:Doesn’titstrikeyouthatthere’ssomethingstrangeaboutthewaywe’resittinghere?
helmer:No...what?nora:We’vebeenmarried for eight years now.Don’t you
realizethatthisisthefirsttimethatwetwo–youandI,manandwife–havehadaserioustalktogether?
helmer:Serious?Whatdoyoumeanbythat?nora:Foreightwholeyears–no,longerthanthat–eversince
wefirstmet,we’veneverexchangedaseriouswordonanyserioussubject.
helmer:WasItokeepforeverinvolvingyouinworriesthatyoucouldn’tpossiblyhelpmewith?
nora:I’mnottalkingaboutworries;whatI’msayingisthatwe’veneversatdowninearnesttogethertogettothebottomofasinglething.
helmer:But,Noradearest,whatgoodwouldthathavebeentoyou?
nora:That’s just thepoint –you’veneverunderstoodme.I’vebeendreadfullywronged,Torvald–firstbyPapa,andthenbyyou.
helmer:What?Byyourfatherandme?Thetwopeoplewholovedyoumorethananyoneelseintheworld.
nora[shaking her head]:You’veneverlovedme,you’veonlyfounditpleasanttobeinlovewithme.
helmer:Nora–whatareyousaying?nora:It’strue,Torvald.WhenIlivedathomewithPapa,he
usedtotellmehisopinionabouteverything,andsoIhadthesameopinion.IfIthoughtdifferently,Ihadtohideitfromhim,orhewouldn’thavelikedit.Hecalledmehislittledoll,andheusedtoplaywithmejustasIplayedwithmydolls.ThenIcametoliveinyourhouse–
helmer:That’snowaytotalkaboutourmarriage!nora[undisturbed]:ImeanwhenIpassedoutofPapa’shands
intoyours.Youarrangedeverythingtosuityourowntastes,and so I came tohave the same tastes as yours . . . or Ipretendedto.I’mnotquitesurewhich...perhapsitwasabitofboth–sometimesoneandsometimestheother.NowthatIcometolookatit,I’velivedherelikeapauper–simplyfromhandtomouth.I’velivedbyperformingtricksforyou,Torvald.Thatwashowyouwantedit.YouandPapahavecommittedagrievoussinagainstme:it’syourfaultthatI’vemadenothingofmylife.
helmer:That’sunreasonable,Nora–andungrateful.Haven’tyoubeenhappyhere?
nora:No,that’ssomethingI’veneverbeen.IthoughtIhad,butreallyI’veneverbeenhappy.
helmer:Never...happy?nora:No,onlygay.Andyou’vealwaysbeensokindtome.
Butourhomehasbeennothingbutaplay-room.I’vebeenyourdoll-wifehere,justasathomeIwasPapa’sdoll-child.Andthechildrenhavebeenmydollsintheirturn.Ilikeditwhenyoucameandplayedwithme,justastheylikeditwhenIcameandplayedwiththem.That’swhatourmarriagehasbeen,Torvald.
* * *
2017LITERATUREEXAM 30
SECTION B – continued
1.
jean[to Berenger]:Insteadofsquanderingallyoursparemoneyondrink,isn’titbettertobuyaticketforaninterestingplay?
[…]
[A sound of rapid galloping is heard approaching again, trumpeting and the sound of rhinoceros hooves and pantings; this time the sound comes from the opposite direction approaching from back-stage to front, in the left wings.]
EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,
PenguinModernClassics,2000
pp.30–32
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
12. Eugène Ionesco, Rhinoceros
Use two or more of the set passages as the basis for a discussion of Rhinoceros.
31 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
2.
jean:Itellyouit’snotasbadasallthat.
[…]
jean [from the bathroom in a very hoarse voice, difficult to understand]:Utterrubbish!
EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,
PenguinModernClassics,2000
pp.79and80
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Plays
12. Eugène Ionesco, Rhinoceros
3.
berenger:Justthesightofthemupsetsme.
[…]
berenger [getting up]:Well, I don’twant to accept thesituation.
EugèneIonesco,‘Rhinoceros’,DerekProuse(trans.),inRhinoceros, The Chairs, The Lesson,
PenguinModernClassics,2000
pp.91–93
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 32
SECTION B–continued
2.
cominius Ihavebeeni’th’marketplace;and,sir,’tisfit
Youmakestrongparty,ordefendyourself Bycalmnessorbyabsence.All’sinanger.
menenius Onlyfairspeech.cominius Ithink’twillserve,ifhe
Cantheretoframehisspirit.volumnia Hemust,andwill.
Pritheenow,sayyouwill,andgoaboutit.coriolanus MustIgoshowthemmyunbarbedsconce?MustI
Withmybasetonguegivetomynobleheart Aliethatitmustbear?Well,Iwilldo’t. Yet,weretherebutthissingleplottolose, ThismoldofMartius,theytodustshouldgrindit Andthrow’tagainstthewind.Toth’marketplace! Youhaveputmenowtosuchapartwhichnever Ishalldischargetoth’life.
cominius Come,come,we’llpromptyou.volumnia Ipritheenow,sweetson,asthouhastsaid
Mypraisesmadetheefirstasoldier,so, Tohavemypraiseforthis,performapart Thouhastnotdonebefore.
coriolanus Well,Imustdo’t. Away,mydisposition,andpossessme Someharlot’sspirit!Mythroatofwarbeturned, Whichquiredwithmydrum,intoapipe Smallasaneunuch,orthevirginvoice Thatbabieslullsasleep!Thesmilesofknaves Tentinmycheeks,andschoolboys’tearstakeup Theglassesofmysight!Abeggar’stongue Makemotionthroughmylips,andmyarmedknees, Whobowedbutinmystirrup,bendlikehis Thathathreceivedanalms!Iwillnotdo’t, LestIsurceasetohonormineowntruth Andbymybody’sactionteachmymind Amostinherentbaseness.
volumnia Atthychoice,then. Tobegofthee,itismymoredishonor Thanthouofthem.Comealltoruin!Let Thymotherratherfeelthypridethanfear Thydangerousstoutness,forImockatdeath Withasbigheartasthou.Doasthoulist. Thyvaliantnesswasmine,thousuck’stitfromme, Butowethypridethyself.
coriolanus Pray,becontent. Mother,Iamgoingtothemarketplace. Chidemenomore.I’llmountebanktheirloves, Cogtheirheartsfromthem,andcomehomebeloved OfallthetradesinRome.Look,Iamgoing. Commendmetomywife.I’llreturnconsul, Ornevertrusttowhatmytonguecando I’th’wayofflatteryfurther.
volumnia Doyourwill.Exit Volumnia.
* * *
1.
II.1 Enter Menenius, with the two Tribunes of the People, Sicinius and Brutus.
menenius Theaugurertellsmeweshallhavenewstonight.brutus Goodorbad?menenius Notaccordingtotheprayerofthepeople,forthey
lovenotMartius.sicinius Natureteachesbeaststoknowtheirfriends.menenius Prayyou,whodoesthewolflove?sicinius Thelamb.menenius Ay,todevourhim,asthehungryplebeianswould
thenobleMartius.brutus He’salambindeed,thatbaaslikeabear.menenius He’sabearindeed,thatliveslikealamb.Youtwo
areoldmen:tellmeonethingthatIshallaskyou.both Well,sir.menenius InwhatenormityisMartiuspoorin,thatyoutwo
havenotinabundance?brutus He’spoorinnoonefault,butstoredwithall.sicinius Especiallyinpride.brutus Andtoppingallothersinboasting.menenius Thisisstrangenow.Doyoutwoknowhowyou
arecensuredhereinthecity,Imeanofuso’th’right-handfile?Doyou?
both Why,howarewecensured?menenius Becauseyoutalkofpridenow–willyounotbe
angry?both Well,well,sir,well.menenius Why,’tisnogreatmatter,foraverylittlethiefof
occasionwillrobyouofagreatdealofpatience.Giveyourdispositionsthereinsandbeangryatyourpleasures–attheleast,ifyoutakeitasapleasuretoyouinbeingso.YoublameMartiusforbeingproud?
brutus Wedoitnotalone,sir.menenius Iknowyoucandoverylittlealone,foryourhelps
aremany,orelseyouractionswouldgrowwondroussingle.Yourabilitiesaretooinfantlikefordoingmuchalone.Youtalkofpride:Othatyoucouldturnyoureyestowardthenapesofyournecks,andmakebutaninteriorsurveyofyourgoodselves!Othatyoucould!
brutus Whatthen,sir?menenius Why, then you should discover a brace of
unmeriting, proud, violent, testymagistrates, alias fools,asanyinRome.
* * *
Plays
13. William Shakespeare, Coriolanus
Use two or more of the set passages as the basis for a discussion of Coriolanus.
33 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
aufidius Readitnot,noblelords, Buttellthetraitorinthehighestdegree Hehathabusedyourpowers.coriolanus Traitor?hownow?aufidius Ay,traitor,Martius!coriolanus Martius?aufidius Ay,Martius,CaiusMartius!Dostthouthink I’llgracetheewiththatrobbery,thystol’nname “Coriolanus”inCorioles? Youlordsandheadso’th’state,perfidiously Hehasbetrayedyourbusinessandgivenup, Forcertaindropsofsalt,yourcityRome– Isay“yourcity”–tohiswifeandmother, Breakinghisoathandresolutionlike Atwistofrottensilk;neveradmitting Counselo’th’war;butathisnurse’stears Hewhinedandroaredawayyourvictory, Thatpagesblushedathimandmenofheart Lookedwond’ringeachatother.coriolanus Hear’stthou,Mars?aufidius Namenotthegod,thouboyoftears!coriolanus Ha!aufidius Nomore.coriolanus Measurelessliar,thouhastmademyheart Toogreatforwhatcontainsit.Boy?Oslave! Pardonme,lords,’tisthefirsttimethatever Iwasforcedtoscold.Yourjudgments,mygravelords, Mustgivethiscurthelie;andhisownnotion– Whowearsmystripesimpresseduponhim,that Mustbearmybeatingtohisgrave–shalljoin Tothrustthelieuntohim.first lord Peace,both,andhearmespeak.coriolanus Cutmetopieces,Volsces.Menandlads, Stainallyouredgesonme.Boy?Falsehound! Ifyouhavewrityourannalstrue,’tisthere That,likeaneagleinadovecote,I FlutteredyourVolsciansinCorioles. AloneIdidit.Boy?aufidius Why,noblelords, Willyoubeputinmindofhisblindfortune, Whichwasyourshame,bythisunholybraggart, ’Foreyourowneyesandears?all conspirators Lethimdiefor’t.all people Tearhimtopieces!–Doitpresently!– Hekilledmyson!–Mydaughter!–Hekilledmy cousinMarcus!Hekilledmyfather!
Plays
13. William Shakespeare, Coriolanus
second lord Peace,ho!Nooutrage.Peace! Themanisnobleandhisfamefoldsin Thisorbo’th’earth.Hislastoffensestous Shallhavejudicioushearing.Stand,Aufidius, Andtroublenotthepeace.coriolanus OthatIhadhim, WithsixAufidiuses,ormore,histribe, Tousemylawfulsword!aufidius Insolentvillain!all conspirators Kill,kill,kill,kill,killhim! Draw the Conspirators, and kill Martius, who falls. Aufidius stands on him.
* * *
2017LITERATUREEXAM 34
SECTION B – continued
Plays
14. William Shakespeare, Twelfth Night
Use two or more of the set passages as the basis for a discussion of Twelfth Night.
1.
orsino Thereisnowoman’ssidesCanbidethebeatingofsostrongapassionAslovedothgivemyheart;nowoman’sheartSobig,toholdsomuch.Theylackretention.Alas,theirlovemaybecalledappetite,Nomotionoftheliver,butthepalate,Thatsufferssurfeit,cloyment,andrevolt,Butmineisallashungryasthesea,Andcandigestasmuch.MakenocompareBetweenthatloveawomancanbearme,AndthatIoweOlivia.
viola Ay,butIknow–orsinoWhatdostthouknow?viola Toowellwhatlovewomentomenmayowe.
Infaith,theyareastrueofheartaswe.MyfatherhadadaughterlovedamanAsitmightbeperhaps,wereIawoman,Ishouldyourlordship.
orsino Andwhat’sherhistory?viola Ablank,mylord.Shenevertoldherlove,
Butletconcealmentlikeawormi’th’budFeedonherdamaskcheek.Shepinedinthought,AndwithagreenandyellowmelancholyShesatlikePatienceonamonument,Smilingatgrief.Wasnotthisloveindeed?Wemenmaysaymore,swearmore,butindeedOurshowsaremorethanwill:forstillweproveMuchinourvows,butlittleinourlove.
orsino Butdiedthysisterofherlove,myboy?viola Iamallthedaughtersofmyfather’shouse,
Andallthebrothers,too–andyetIknownot.Sir,shallItothislady?
orsino Ay,that’sthetheme.Toherinhaste;giveherthisjewel;sayMylovecangivenoplace,bidenodenay.
* * *
2.
malvolio Bymylife,thisismylady’shand:thesebeherveryc’s,heru’s,andhert’s,andthusmakesshehergreatP’s.Itis,incontemptofquestion,herhand.
sir andrew Herc’s,heru’s,andhert’s:whythat?malvolio [Reads]‘Totheunknownbeloved,this,andmy
goodwishes’–herveryphrases!Byyour leave,wax.Soft!AndtheimpressureherLucrece,withwhich she uses to seal: ’tismy lady.Towhomshouldthisbe?[Opens the letter]
fabian Thiswinshim,liverandall.malvolio [Reads]JoveknowsIlove, Butwho? Lips,donotmove: Nomanmustknow.
‘Nomanmustknow.’Whatfollows?Thenumbersaltered!‘Nomanmustknow’!Ifthisshouldbethee,Malvolio!
sir toby Marry,hangthee,brock!malvolio [Reads]ImaycommandwhereIadore, Butsilence,likeaLucreceknife, Withbloodlessstrokemyheartdothgore; M.O.A.I.dothswaymylife.fabian Afustianriddle!sir toby Excellentwench,sayI.malvolio ‘M.O.A.I.dothswaymylife.’Nay,butfirstlet
mesee,letmesee,letmesee.fabian Whatdisho’poisonhasshedressedhim!sir toby Andwithwhatwingthestanielchecksatit!malvolio ‘ImaycommandwhereIadore.’Why,shemay
commandme: I serveher; she ismy lady.Why,thisisevidenttoanyformalcapacity.Thereisnoobstructioninthis,andtheend–whatshouldthatalphabeticalpositionportend?IfIcouldmakethatresemblesomethinginme–Softly!‘M.O.A.I.’–
sir toby Oay,makeupthat!Heisnowatacoldscent.fabian Sowterwillcryupon’tforallthis,thoughitbeas
rankasafox.malvolio ‘M’–Malvolio.‘M’–why,thatbeginsmyname!fabian Did not I say hewouldwork it out?The cur is
excellentatfaults.malvolio ‘M’– but then there is no consonancy in the
sequel that suffers under probation. ‘A’ shouldfollow,but‘O’does.
fabian AndOshallend,Ihope.sir toby Ay,orI’llcudgelhimandmakehimcry‘O’!malvolio Andthen‘I’comesbehind.fabian Ay,andyouhadanyeyebehindyou,youmightsee
moredetractionatyourheelsthanfortunesbeforeyou.
35 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
14. William Shakespeare, Twelfth Night
malvolio ‘M.O.A.I.’Thissimulationisnotastheformer,andyet,tocrushthisalittle,itwouldbowtome,foreveryoneoftheselettersareinmyname.Soft,here followsprose. [Reads] ‘If this fall into thyhand,revolve.InmystarsIamabovethee,butbenotafraidofgreatness.Someareborngreat,someachievegreatness,andsomehavegreatnessthrustupon’em.Thyfatesopentheirhands;letthybloodandspiritembrace them,and, to inure thyself towhat thouart like tobe,cast thyhumblesloughand appear fresh.Be oppositewith a kinsman,surlywithservants;letthytonguetangargumentsofstate;putthyselfintothetrickofsingularity.Shethus advises thee that sighs for thee.Rememberwhocommendedthyyellowstockingsandwishedtoseetheeevercross-gartered:Isay,remember.Go to, thou artmade if thoudesir’stto be so; if not, letme see thee a steward still,the fellowof servants, and notworthy to touchFortune’sfingers.Farewell.She thatwouldalterserviceswiththee,
TheFortunate-Unhappy.’Daylight and champain discovers not more!This is open. Iwill be proud, Iwill readpoliticauthors,IwillbaffleSirToby,Iwillwashoffgrossacquaintance,Iwillbepoint-device,theveryman.Idonotnowfoolmyself to let imaginationjademe;foreveryreasonexcitestothis,thatmyladylovesme.Shedidcommendmyyellowstockingsoflate,shedidpraisemylegbeingcross-gartered;and in this shemanifests herself tomy love,andwithakindof injunctiondrivesme to thesehabitsofherliking.Ithankmystars,Iamhappy.Iwill be strange, stout, in yellow stockings and cross-gartered,evenwiththeswiftnessofputtingon. Jove andmy stars be praised!Here is yet apostscript. [Reads] ‘Thou canst not choose butknowwhoIam.Ifthouentertain’stmylove,letitappearinthysmiling;thysmilesbecometheewell.Thereforeinmypresencestillsmile,dearmysweet,Iprithee.’Jove,Ithankthee.Iwillsmile;Iwilldoeverythingthatthouwilthaveme. Exit
* * *
3.
olivia Stay!Ipritheetellmewhatthouthink’stofme.
viola Thatyoudothinkyouarenotwhatyouare.olivia IfIthinkso,Ithinkthesameofyou.viola Thenthinkyouright:IamnotwhatIam.olivia IwouldyouwereasIwouldhaveyoube.viola Woulditbebetter,madam,thanIam?
Iwishitmight,fornowIamyourfool.olivia [Aside]Owhatadealofscornlooksbeautiful
Inthecontemptandangerofhislip!Amurd’rousguiltshowsnotitselfmoresoon,Thanlovethatwouldseemhid.Love’snightisnoon.Cesario,bytherosesofthespring,Bymaidhood,honour,truth,andeverything,Ilovetheesothat,maugreallthypride,Norwitnorreasoncanmypassionhide.Donotextortthyreasonsfromthisclause,ForthatIwoo,thouthereforehastnocause;Butratherreasonthuswithreasonfetter:Lovesoughtisgood,butgiv’nunsoughtisbetter.
viola ByinnocenceIswear,andbymyyouth,Ihaveoneheart,onebosom,andonetruth,Andthatnowomanhas;nornevernoneShallmistressbeofit,saveIalone.Andso,adieu,goodmadam;nevermoreWillImymaster’stearstoyoudeplore.
olivia Yetcomeagain:forthouperhapsmaystmoveThatheartwhichnowabhorstolikehislove.
Exeunt
* * *
2017LITERATUREEXAM 36
SECTION B – continued
Plays
15. George Bernard Shaw, Pygmalion
Use two or more of the set passages as the basis for a discussion of Pygmalion.
1.
mrs pearce [returning]Thisistheyoungwoman,sir. The flower girl enters in state. She has a hat with three ostrich feathers, orange, sky-blue, and red. She has a nearly clean apron and the shoddy coat has been tidied a little. The pathos of this deplorable figure, with its innocent vanity and consequential air, touches Pickering, who has already straightened himself in the presence of Mrs Pearce. But as to Higgins, the only distinction he makes between men and women is that when he is neither bullying nor exclaiming to the heavens against some featherweight cross, he coaxes women as a child coaxes its nurse when it wants to get anything out of her.
higgins [brusquely, recognizing her with unconcealed disappointment, and at once, babylike, making an intolerable grievance of it]Why,thisisthegirlIjotteddownlastnight.She’snouse:IvegotalltherecordsIwantoftheLissonGrovelingo;andI’mnotgoingtowasteanothercylinderonit.[To the girl]Beoffwithyou:Idontwantyou.
the flower girl. Dontyoubesosaucy.YouaintheardwhatIcomeforyet.[To Mrs Pearce, who is waiting at the door for further instructions]DidyoutellhimIcomeinataxi?
mrs pearce. Nonsense,girl!whatdoyouthinkagentlemanlikeMrHigginscareswhatyoucamein?
the flowers girl. Oh,weareproud!Heaintabovegivinglessons,nothim:Iheardhimsayso.Well,Iaintcomeheretoask foranycompliment;and ifmymoney’snotgoodenoughIcangoelsewhere.
higgins. Goodenoughforwhat?the flower girl. Goodenoughforyә-oo.Nowyouknow,
dontyou?I’mcomingtohavelessons,Iam.Andtopayforemtә-oo:makenomistake.
higgins [stupent]Well!!![Recovering his breath with a gasp]Whatdoyouexpectmetosaytoyou?
the flower girl. Well,ifyouwasagentleman,youmightaskmetositdown,I think.DontI tellyouI’mbringingyoubusiness?
higgins. Pickering:shallweaskthisbaggagetositdown,orshallwethrowheroutofthewindow?
the flower girl [running away in terror to the piano, where she turns at bay]Ah-ah-oh-ow-ow-ow-oo![Wounded and whimpering]IwontbecalledabaggagewhenIveofferedtopaylikeanylady. Motionless, the two men stare at her from the other side of the room, amazed.
pickering [gently]Butwhatisityouwant?the flower girl. Iwanttobealadyinaflowershopsteadof
sellinatthecornerofTottenhamCourtRoad.ButtheywonttakemeunlessIcantalkmoregenteel.Hesaidhecouldteachme.Well,hereIamreadytopayhim–notaskinganyfavor–andhetreatsmezifIwasdirt.
* * *
2.
higgins [fervently]ThankGodit’sover! Eliza flinches violently; but they take no notice of her; and she recovers herself and sits stonily as before.
pickering. Wereyounervousatthegardenparty?Iwas.Elizadidntseemabitnervous.
higgins. Oh,shewasntnervous.Iknewshe’dbeallright.No:it’sthestrainofputtingthejobthroughallthesemonthsthathastoldonme.Itwasinterestingenoughatfirst,whilewewereatthephonetics;butafterthatIgotdeadlysickofit.IfIhadntbackedmyselftodoitIshouldhavechuckedthewholethinguptwomonthsago.Itwasasillynotion:thewholethinghasbeenabore.
pickering. Ohcome!thegardenpartywasfrightfullyexciting.Myheartbeganbeatinglikeanything.
higgins. Yes,forthefirstthreeminutes.ButwhenIsawweweregoingtowinhandsdown,Ifeltlikeabearinacage,hangingaboutdoingnothing.Thedinnerwasworse:sittinggorgingthereforoveranhour,withnobodybutadamnedfoolofafashionablewomantotalkto!Itellyou,Pickering,neveragainforme.Nomoreartificialduchesses.Thewholethinghasbeensimplepurgatory.
pickering. Youveneverbeenbrokeninproperlytothesocialroutine.[Strolling over to the piano]Iratherenjoydippingintoitoccasionallymyself:itmakesmefeelyoungagain.Anyhow,itwasagreatsuccess:animmensesuccess.IwasquitefrightenedonceortwicebecauseElizawasdoingitsowell.Yousee,lotsoftherealpeoplecantdoitatall:theyresuchfoolsthattheythinkstylecomesbynaturetopeoplein theirposition; and so theynever learn.Theresalwayssomethingprofessionalaboutdoinga thingsuperlativelywell.
higgins. Yes: thatswhat drivesmemad: the silly peopledontknowtheirownsillybusiness.[Rising]However,it’soveranddonewith;andnowIcangotobedatlastwithoutdreadingtomorrow.
Eliza’s beauty becomes murderous.pickering. IthinkIshallturnintoo.Still,it’sbeenagreat
occasion:atriumphforyou.Goodnight.[He goes].higgins [following him]Goodnight. [Over his shoulder, at
the door]Putoutthelights,Eliza;andtellMrsPearcenottomake coffee forme in themorning: I’ll take tea. [He goes out]. Eliza tries to control herself and feel indifferent as she rises and walks across to the hearth to switch off the lights. By the time she gets there she is on the point of screaming. She sits down in Higgins’s chair and holds on hard to the arms. Finally she gives way and flings herself furiously on the floor, raging.
higgins [in despairing wrath outside]WhatthedevilhaveIdonewithmyslippers?[He appears at the door].
* * *
37 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
15. George Bernard Shaw, Pygmalion
3.
liza […]YouthinkImustgobacktoWimpoleStreetbecauseIhavenowhereelsetogobutfather’s.Butdontyoubetoosurethatyouhavemeunderyourfeet tobetrampledonandtalkeddown.I’llmarryFreddy,Iwill,assoonasI’mabletosupporthim.
higgins [thunderstruck]Freddy!!!thatyoungfool!Thatpoordevilwhocouldntgetajobasanerrandboyevenifhehadthegutstotryforit!Woman:doyounotunderstandthatIhavemadeyouaconsortforaking?
liza. Freddylovesme:thatmakeshimkingenoughforme.Idontwanthimtowork:hewasntbroughtuptoitasIwas.I’llgoandbeateacher.
higgins. Whatllyouteach,inheaven’sname?liza. Whatyoutaughtme.I’llteachphonetics.higgins.Ha!ha!ha!liza. I’ll offermyself as an assistant to that hairyfaced
Hungarian.higgins [rising in a fury]What!Thatimpostor!thathumbug!
that toadying ignoramus!Teach himmymethods!mydiscoveries!YoutakeonestepinhisdirectionandI’llwringyourneck.[He lays hands on her].Doyouhear?
liza [defiantly non-resistant]Wringaway.WhatdoIcare?Iknewyoudstrikemesomeday.[He lets her go, stamping with rage at having forgotten himself, and recoils so hastily that he stumbles back into his seat on the ottoman].Aha!NowIknowhowtodealwithyou.WhatafoolIwasnottothinkofitbefore!Youcanttakeawaytheknowledgeyougaveme.YousaidIhadafinerearthanyou.AndIcanbecivilandkindtopeople,whichismorethanyoucan.Aha![Purposely dropping her aitches to annoy him]Thatsdoneyou,EnryIggins,itaz.NowIdontcarethat[snapping her fingers]foryourbullyingandyourbigtalk.I’lladvertizeitinthepapersthatyourduchessisonlyaflowergirlthatyoutaught,andthatshe’llteachanybodytobeaduchessjustthesameinsixmonthsforathousandguineas.Oh,whenIthinkofmyselfcrawlingunderyourfeetandbeingtrampledonandcallednames,whenallthetimeIhadonlytoliftupmyfingertobeasgoodasyou,Icouldjustkickmyself.
higgins [wondering at her]Youdamnedimpudentslut,you!Butit’sbetterthansnivelling;betterthanfetchingslippersandfindingspectacles,isntit?[Rising]ByGeorge,Eliza,IsaidI’dmakeawomanofyou;andIhave.Ilikeyoulikethis.
liza. Yes:youcanturnroundandmakeuptomenowthatI’mnotafraidofyou,andcandowithoutyou.
higgins. OfcourseIdo,youlittlefool.Fiveminutesagoyouwerelikeamillstoneroundmyneck.Nowyoureatowerofstrength:aconsortbattleship.YouandIandPickeringwillbethreeoldbachelorsinsteadofonlytwomenandasillygirl. Mrs Higgins returns, dressed for the wedding. Eliza instantly becomes cool and elegant.
mrs higgins. Thecarriageiswaiting,Eliza.Areyouready?liza. Quite.IstheProfessorcoming?mrs higgins. Certainlynot.Hecantbehavehimselfinchurch.
Hemakesremarksoutloudallthetimeontheclergyman’spronunciation.
liza. ThenIshallnotseeyouagain,Professor.Goodbye.[She goes to the door].
* * *
2017LITERATUREEXAM 38
SECTION B – continued
Plays
16. Sam Shepard, Buried Child
Use two or more of the set passages as the basis for a discussion of Buried Child.
1.
dodge:Turnitoff!Turnthedamnthingoff!What’sitdoingon?
[…] dodge sleeps on, undisturbed.)
SamShepard,Buried Child, VintageBooks,2006
pp.40and41
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
shelly:Doyoudomuchdrivingnow?
[…]
tilden:[…]Youprobablywantyourcoatbacknow.IwouldifIwasyou.(shelly stares at the coat but doesn’t move to take it.[…])
SamShepard,Buried Child, VintageBooks,2006
pp.76–79
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
39 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
16. Sam Shepard, Buried Child
3.
halie: Oh,shutup,Bradley!Justshutup!Youdon’tneedyourlegnow!
[…]
dewis: Well,youcanhardlyblameothersfornotfulfillingyourhallucination.
SamShepard,Buried Child, VintageBooks,2006
pp.105and106
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 40
SECTION B – continued
Plays
17. Tennessee Williams, Cat on a Hot Tin Roof
Use two or more of the set passages as the basis for a discussion of Cat on a Hot Tin Roof.
1.
margaret: You’retheonlydrinkin’manIknowthatitneverseemst’putfaton.
[…]
BigDaddyisdyingofcancer...
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.9and10
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
brick: Whocanfacetruth?Canyou?
[…]
[He takes the crutch from Big Daddy’s loose grip and swings out on the gallery leaving the doors open.(…)]
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.67and68
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
41 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Plays
17. Tennessee Williams, Cat on a Hot Tin Roof
3.
big mama: […] Oh,youknowwejustgottoloveeachotheran’stay
[…]
margaret: Gracious! I didn’t know that my littleannouncementwasgoingtoprovokesuchastorm!
TennesseeWilliams,Cat on a Hot Tin Roof, PenguinModernClassics,2009
pp.87and88
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 42
SECTION B – continued
Short stories
18. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories
Use two or more of the set passages as the basis for a discussion of The Diary of a Madman, The Government Inspector and Selected Stories.
1.
How Ivan Ivanovich Quarrelled with Ivan Nikiforovich
However, toputmatters right…Everythingwent to thedevil...
NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,
PenguinClassics,2005
pp.73and74
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Nevsky Prospekt
Thus perished a victim of insane passion… they areconsideredcultured,highlyeducatedmen.
NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,
PenguinClassics,2005
pp.100and101
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
43 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Short stories
18. Nikolay Gogol, The Diary of a Madman, The Government Inspector and Selected Stories
3.
The Carriage
‘Veryfine,veryfine!’…Thecolonel,majorandtheotherofficersthankedhimwithpolitebows.
NikolayGogol,The Diary of a Madman, The Government Inspector and Selected Stories,
PenguinClassics,2005
pp.202and203
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 44
SECTION B – continued
2.
Seizure
Allshecouldthinkof…Thatwastheword.
CateKennedy,Dark Roots, Scribe,2012
pp.110and111
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
Resize
He’ddriventhecarontheirfirstdate…cupsrimmedwithtidemarksofcoffee.
CateKennedy,Dark Roots, Scribe,2012
pp.61and62
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Short stories
19. Cate Kennedy, Dark Roots
Use two or more of the set passages as the basis for a discussion of Dark Roots.
45 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Direct Action
And,lastofall…thelevelsintheacetylenetank.
CateKennedy,Dark Roots, Scribe,2012
pp.134–136
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Short stories
19. Cate Kennedy, Dark Roots
2017LITERATUREEXAM 46
SECTION B – continued
Short stories
20. Annie Proulx, Close Range: Brokeback Mountain and Other Stories
Use two or more of the set passages as the basis for a discussion of Close Range: Brokeback Mountain and Other Stories.
1.
The Half-Skinned Steer
Hisinterestinwomenbegan…Theanthropologistlaughed.
AnnieProulx,Close Range: Brokeback Mountain and Other Stories,HarperPerennial,2006
pp.26and27
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
The Bunchgrass Edge of the World
WhatwasthereforOttaline…anOregoncattledrive).
AnnieProulx,Close Range: Brokeback Mountain and Other Stories,HarperPerennial,2006
pp.140–142
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
47 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Short stories
20. Annie Proulx, Close Range: Brokeback Mountain and Other Stories
3.
A Lonely Coast
All threewomenhadbeenmarried…Mustbecuddlyasapileasticks.”
AnnieProulx,Close Range: Brokeback Mountain and Other Stories,HarperPerennial,2006
p.216
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 48
SECTION B – continued
2.
The Mountain
Theyhadclimbedhardallafternoon…waysaswell.
JulianBarnes,A History of the World in 10½ Chapters, Vintage,2009
pp.162and163
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
The Survivor
She remembered the reindeer…especially the partswedon’tlike.
JulianBarnes,A History of the World in 10½ Chapters, Vintage,2009
pp.83and84
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Other literature
21. Julian Barnes, A History of the World in 10½ Chapters
Use two or more of the set passages as the basis for a discussion of A History of the World in 10½ Chapters.
49 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
Parenthesis
Infourteenhundredandninety-three…Buttheywentandfounditjustthesame.
JulianBarnes,A History of the World in 10½ Chapters, Vintage,2009
pp.241–243
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Other literature
21. Julian Barnes, A History of the World in 10½ Chapters
2017LITERATUREEXAM 50
SECTION B – continued
Other literature
22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood
Use two or more of the set passages as the basis for a discussion of My Father’s Daughter: Memories of an Australian Childhood.
1.
Speak, Memory
Unlikemymother,whowasverydefinitelypartofafamily,my father stood alone, self-fashioned, aswas appropriateforonesogreat.Heactuallydidhaveafamily,ashewouldadmitunderquestioning,butitwasirrelevanttohim,whichIheardwithawe.Hismotherandfather—IrishCatholic,asIunderstood(inaccurateonbothcounts,asitlaterturnedout,butthatwasmyfather’smythologyofhisfamily),incontrasttomymother’sScottishPresbyterians—werebothdead,andhehadbeenverysadwhenhismotherdied(hedidnotsayanything about his reaction to his father’s death).He hadmanysiblings,buttheonlyoneIknewasachildwasKevin,themiddle brother,whomBrian seemed to regardmore inthelightofacivillibertiescasethanasibling(therehadbeensometroublewhenhewasservinginthearmyinWorldWarII).Brianclaimednottobeabletorememberthenamesofallhissistersand,whenoneofthemgreetedhimbynameonthetram,hethoughtshewasbeingover-familiar(notrecognisingher,owingtohisshortsight)andsnubbedher;thatwasoneofhisfunnystories.Formeasasmallchild,thiswasanotherproofofhisremarkablesingularity. WhenIwasolder,butstillquiteyoung,heusedtotakemeout—intotownonthetram,toconcerts,torestaurants,atleastoncetoaMayDayprocession—andintroducedmeproudlytohisfriends.Doffmusthavecomesometimes,butoftenthetwoofuswentalone.Everyoneknewhim,andhekneweveryone.Inmyeyes,hewastheultimateinsavoir faireandsavoir vivre:Icouldnotimaginehimatadisadvantageoratalosstodealwithasituation.Hewasmyaudience,theonewhocouldbecountedontowatchasIjumpedfromatreebranchandlistenwhenIspoke(notalwaystoobusy,likeMummy),theonewhowassurenotonlytoapplaudbuttodosointelligently(notlikethegreat-aunts,Ishiealwaysexcepted,whooftendidn’tgetthepoint).Mylove,prideandadmirationforhimwerefullyreciprocated; I felt him to be an absolutely reliable sourceof encouragement and approval, and indeed, seeingmyselfthroughhiseyes,hadnothingbutapprovalandadmirationformyself.Itwasimpossibletoimagineabetterfather.
* * *
2.
Now What?
Whatevermyfather thoughtaboutbeingpassedover,hewasextremelysupportiveofmymotherinherfirstmonthsatMonash.Itmademeconsciousagainofallhisgoodqualities:the loyalty and generosity, the instinct to sympathise andsupport, the competence andworldly commonsense.Doffwasvery anxious about the new job, both in its social andintellectualaspects;andBrianwasanassettoher,ashehadbeentomeasafirst-yearuniversitystudent:peopleknewwhohewas,andthatmadeheraninterestingpersontomeet.Shestarted invitingMonash colleagues home for small parties,something almost unthinkableunder the closed-doorpolicywithwhichwehadgrownup.Briandidn’tspoil thepartiesby being drunk, presumably the result of conscious effort,for‘makingyourMonash-peoplepartiessuccessful’wasoneofthefewvirtueshelaterclaimedasahusband.Perhapstheself-restraintwasonly temporary,but it lasted longenoughtolaunchDoffsociallyatMonash.Irememberhimatthoseearlyparties,charmingtothewomen,friendlytothemen,notpatronising,notpompous,alwaysacentreofattention(butinawaythatbroughtDoffintoo),alivelyraconteurandattentivehost.Fleetingly,perhaps,thehusbandshehadthoughtshewasmarryingtwentyyearsearlier. Itwasastonishingtoseethechangeinher.First,shelostalotofweight;thensheboughtclothes,startedusinglipstick,changedherhairstyle.Sheacquiredanewmanner,onewitha good deal of sweetness alongwith thewrywit and anaffectionateand interestedconcern for theyoung tutorssheworkedwith(‘likeamothertous’,theytellme).Shemadefriends,especiallywiththeyoung.Shelearnedtodrive,sinceMonashwashardtoreachbypublictransport,andboughtacar.Nothingcouldstopherrelentlessnegativism,ofcourse,herhabitofpickingawayatanygeneralisationanddeconstructinganyparadigm,butnowitwasdonewithacertainlightness,evenwhimsically.Thatwas ‘justDorothy’, peoplewouldsay indulgently (Dorothy,notDoff,was thenamesheusedatMonash).Likeme,thoughafewyearslater,shehadbeenmiraculouslyliberatedfromthemiseriesofhomeandrecoveredthecapacityofenjoyment.ShefellinlovewithMonash—thestaff,thestudents,theinstitutionanditspolitics,everythingaboutit—andtalkedsomuchabouthercolleaguesthatwecametowinceatthesoundoftheirnames,thoughgratefulfortheirexistence inDoff’s life.Shebecamepassionately interestedinthehistoryshetaught,particularlytheRenaissancecourse.While shewasnever a practising historian, in the sense ofwritingscholarlybooksandarticles,shereadverywidely;greatpilesofPenguinsrosefromthedeskshehadinstalledinthelivingroom.Oneoftheendearingthingsaboutheratthistimewasheraimtolearnallofhumanhistory,thatis,thehistoryofalltimesandplaces,notbecauseshewantedtogeneralise(heavenforbid!)butforthesakeofcompleteness.
* * *
51 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Other literature
22. Sheila Fitzpatrick, My Father’s Daughter: Memories of an Australian Childhood
3.
Afterword
TheyplayedBeethoven’s‘Eroica’atmyfather’sfuneral.Itwasappropriate;hewasaBeethovenman.Andheroic,iflookedatfromtherightangle.Myproblemwasthat,aftertheendofchildhood,Inevercouldgettheangleright.Ordidn’twantto. That’spresumablywhyIhavevirtuallynomemoryofthetributespaidtomyfatherathisTestimonialDinnerin1964.Goodspeechesweremadeatthatdinner,thoughIdon’tseemtohaveheardthem;hisfriendsandadmirersmanagedtocapturealikenesswhileatthesametimeshowinghim,asthegenredemands,inthebestpossiblelight.BillCookoftheRationalistSocietycalledhim:
a rare man who has always been prepared to argue in a cause which he holds to be right and humane, without regard to his own profit… He has appointed himself a kind of Ombudsman (unpaid) for the protection of rights under common law… He has always refused to obey the unwritten law: thou shalt do as thou art told and not ask why… Some might question whether a government of Brian Fitzpatricks would be in the national interest. But a democracy without at least one would be a poorer place…
Well,that’sfairenough,touseafavouritephraseofBrian’s.ButLaborSenatorSamCohenwasright,too,toquestionwhetheronecouldspeakevenhypotheticallyofagovernment,oranyothercollectiveentity,ofBrianFitzpatrick’s:‘youdon’ttalkabout“peoplelikeBrianFitzpatrick”…Hewas“suigeneris”…’Therewasa lotof talkat thedinneraboutBrian tiltinghislance,animagethatforsomereasonmakesmethinkofamedievalknightonarockinghorse.Still,themetaphordidneatlycombineBrian’sfondnessforpoliticalandintellectualcombatandhisoccupationalstatusasafreelancer:‘Hemightbecalledafreelance,buthislanceisnotforsale…’(BillCookagain),andSamCohenaddedthat:
he has never tilted his lance in a personal sense, and that’s a reason you are all here tonight, people of so many different views—because none of you have ever had a bitter personal encounter with Brian; in conducting his public activities he is devoid of bitterness and hate.
Tobesure,therewassomehyperbole.Oneofthespeakersathisfuneral(forsomereasonreportedinthesameissueofThe RationalistastheTestimonialDinner)spokeofhimturninghis backnot only on the pampered andprotectedworld ofacademiabutalsoon the‘glitteringprizes’of journalisminorder‘toputhisgreat talentsat theserviceof thepoor, theweak,thesuffering—victimsofinjusticewhohadno-onetodefendthemortorighttheirwrongs’,whichseemstoglossover thequestionofwho turned their backsonwhom.Butthedinnerspeakersdidn’tentirelyignorethenegative:ClemChristesen,theeditorofMeanjin,managedtosqueezeinanAudenquotationtotheeffectthatapersonmightbe‘wrongandattimesabsurd’butstill,likeBrian,anexemplarofurbanity,tolerance,compassionandcourage.‘His influenceuponmehasbeengreaterthananyotherman’s’,saidClem,asignificant
tributefromonewholikedtheinfluencetrajectorytogotheotherway;headdedsternlythatmostpeoplepresentwouldhavetoagreethat‘BrianFitzpatrickhasbeenyourteacher[hemeantamoralteacher],too’.Aconsciencefortherestofus,othersechoed.ThinkwhatyouwillofFitzpatrick,saidHaroldHolt, a representativeof theRightwhoon thispoint foundhimselfinagreementwiththeLeftistmajority,youcouldn’tdoubthismotives,orthathefoughtnotforhimselfbutforthecommongoodasheconceivedit.
* * *
2017LITERATUREEXAM 52
SECTION B – continued
Other literature
23. WEH Stanner, The Dreaming & Other Essays
Use two or more of the set passages as the basis for a discussion of The Dreaming & Other Essays.
1.
The Aborigines (1938)
Asitis,theoldtribesmenofNewSouthWalesandVictoriamightaswellhavebeenshadowsmovinginthetreesoftheeighteenthcenturyforall the imprint theyhave leftbehind.Will history be content to record their disappearance, andleaveitatthat? TheAustralianpointofviewabout it isshapeless.Thereareafewvestigialregretsappearinghereandthereinamassofsolidindifference.Implicitly,perhaps,thismaymeanthatthelossoftheprimitivetribesisheld,afterall,tobeheavilyoutweighed by the gain of thewealthy democracywhichhas replaced them; and it is true that there are nownearly7,000,000whiteAustraliansandamateriallyrichcivilisationwhere formerly therewere 300,000StoneAgeAboriginesand awilderness.Thematerial and social achievements ofthe150yearssince1788haveindeedbeenunparalleled.Itisalsotruethatweembracefutilitybypiouslywishingthattheliberal regretsof todayhadbeenoperativeyesterday.Then,acquisitivenessandeagernessforprogressdrunkorsoberwerethedrivingincentivestocolonialeffort,andlaissez-fairewasstillthegoldenruleonfrontiersaswellasincities.MostoftheconquestofAustralia,andthusmostoftheobliterationofthetribes, tookplacebetween1830and1890,theperiodinwhich economicexpansionism, landhunger andpioneeringwereat theirstrongest. InsuchaperiodnothingwhichwasthenpoliticallypracticablecouldhavebeendonetoisolatethesimpleAustraliantribes.Theywentdownlikeninepins,andmadenomarkontheground. TherearefewsignsthatthelifeanddeathofthetribeshavemadeanymarkatallonAustralia;thethought,culture,eventhe literatureof thedominion, have scarcelybeen affected.Thenativetragedydoesnotyetserveasthemotifofdramatic,literaryorartisticworkofanyconsequence.Therearenoepicsonthelastofthetribes.Therearenonationalmonumentstoavanishingpeople,yetthereisamonumenttoamythicalDogonaTucker-BoxninemilesfromGundagai.Therearenotevenagreatmanywriterscommercialisingthedisappearanceofaquaintandatleasttourist-worthyrace.Spuriousboomerangsarestillmadefortourists,andothersonlyslightlylessspuriousforinnocentswhovisittheencampmentatLaPerouse,butmostoftheseartifactsaresoinferiorthateventouristspassthemby.EachyearinthegoldenwinterofnorthAustraliamotor-touristparties are visiting someof themore accessibleAboriginalcamps,buttheyseelittleandtakeawayless.
* * *
2.
Continuity and Change among the Aborigines
Indeedifonetriedtoinventtwostylesoflife,asunlikeeachother as could be,while still following the ruleswhich arenecessaryifpeoplearetolivetogetheratall,onemightwellendupwithsomethingliketheAboriginalandtheEuropeantraditions. Wherewehavegonemostseriouslywrongisintwothings.We imagine thatwhen theseAboriginal traditions breakdown,astheywidelyhave,onlyscrapssurviveandsurvivefortuitously.Theothermistakeistoimaginethatthewaytochangethiskindofcontinuityisbytherationaldemonstrations. ItwouldbehelpfultostopthinkingoftheAboriginesasa‘primitive’people.Theyareahighlyspecialisedpeopleandacontemporarypeople.TheirmodesoflifeandthoughthavebeenelaboratedoveratleastaslongaperiodoftimeasweordinarilythinkofascomposingEuropean‘history’.Unlessweseeboththeircontemporaneityandtheirspecialisation,wesetupafalsemodel,akindof‘genetic’modelinwhichtheyaredepictedas‘simple’or‘earlier’or‘moreprimitive’thanourselves.Theimageisofpeoplelyingsomewherealongauniformlinearserialsequencewithus.Accordingtothismodel,wethushaveonlyto‘teach’or‘show’AborigineswheretheymadetheirmistakesandtheywillquicklybecomeEuropeansinoutlook,organisationandcustom.Allwehavetodoisinstructtheminthemanifestvirtuesofourstyleoflifeand,withoutunduestrain,theywillfollow.Thisisafantasy.Itperishesonasinglefactoflife.Theyhaveto‘unlearn’beingAborigines,inmind,bodyandestate.Theproblemsof ‘unlearning’arevisible in a thousandmiserable encampments around thecontinent.Thesecampsinpartmirrorourself-centredness.InparttheymirroralsotheAborigines’inabilitytoworkmiracles.Considertheoutcomeifweweretotrytoconvertthemodernpriceeconomytothemedievalprincipleofthe‘justprice’.YetthisprincipleisclosertomodernprinciplesthananyofourculturalprinciplesaretothoseoftheAborigines.TheirrapidassimilationtoEuropeanculturewillbepossibleonlybyakindofbrain-washing.
* * *
53 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Other literature
23. WEH Stanner, The Dreaming & Other Essays
3.
Aborigines and Australian Society
LetmetrytosumupwhatIhavebeensaying.Intheoldendays all the dynamic things—that is, the changing, active,movingthings—oftheworld,eventhingswithonlyapotentialforchange,activityandmovement,seemtohavefascinatedtheAborigines: themotions of the planets, comets andshootingstars;thetidesandthewinds;thunderandlightning;thewhirlwindsandbushfires;thesilentgrowthofplants,thechangeof theseasons—andofcourse thegrowthofhumanbeings.Allwerebroughtupandgivenrecognitionandplaceinaninterestingphilosophyoflife.Boyhoodwasastageonalonger,dynamicpathoflife,notjustfrombirthtodeath,butfrombeforebirthtoafterdeath.Thebodywentalongpartofthispath.Thesoulorspiritwentoverthewholeofit.Otherpeoplehaddutiestoyouallthewayalongit.Beforebirththeyhelpedyourspiritfindamother.Afterdeaththeyhelpedyourspirittoreturntotheworldofinvisiblespirits.Inlifetheyhelpedyoutomanhoodandtoallthehigherstagesofattainmentandrespect.Initiationwasmeanttocreateinaboyanunderstandingofallthis,andtomakehimseethathehadaneedofothersbutcouldalsocountonthemand,correspondingly,haddutiestowardsthem. Itwouldmiss thewhole point tomake toomuchof theparticular customs bywhich thiswas done.The grown-upmenusedshock,fear,terror,privation,isolation,andmysteryinthecustoms,buttheyusedthemwithcareanddiscretion,asmaterialsofteaching.Buttheyalsousedthemostspectaculartheatricals, and the best art,music, singing anddancingofwhichtheywerecapable,interspersedwithjollityandhumour.Therewasalways,unfailingly,someone—astrongguardian,afriend,aswellasateacher—whowastheretogiveaboysupportandprotection.Whenitwasallover,andonlythen,aboycouldstandupproudlyinanewstatus. Thecallingoftheboys,whentheyweretakenawaytobeinitiated,‘creaturesofthewilds’,wasawayofsaying:‘manistrulymanonlywithinthecompanionshipandthesocietyofhisfellows.Withoutthem,heisnothuman.’ Allthatisnowgoneorgoing.Missionsandgovernmentsdidnotcareforitandsawnovalueinit.Theythoughttheycoulddobetterbyreligiousinstructionandeducationinourstyle.Itwouldbehardnowtosayonwhichsortofnotionofpeople,cultureandsocietytheybasedtheirtheories.Theywere theorists, though theymighthavedenied it.But theycouldnotfindawayofmakingourreligionandeducationpartofAboriginalwaysofthinkingandliving,andtheydeepenedtheirowninstructional—andtheAborigines’learning—troublesbyrefusingtoteachliteracyinthenativelanguagesorusethemforteachingpurposes.Thecustodiansoftheoldtradition,seeingtheirwisdom, teachingand language thusdishonoured,andsometimesridiculedbytheirownyoungunderourteaching,retaliated.Theywithheldknowledgeandwisdomtheywouldordinarilyhavefeltunderdutytopassontotheyoung.The‘lostgeneration’ofwhichIspeakareproductsofthatprocess,andof thepallid,unstructured, imperceptivesequel thatwecondoneandperhapsevenapprove.
* * *
2017LITERATUREEXAM 54
SECTION B – continued
2.
Candide,seeinganeditionofMilton,askedhimifhedidnotconsiderthatauthortobeagreatman.‘Who?’saidPococuranté,‘thatbarbarianwhowroteaninterminablecommentaryonthefirstchapterofGenesisintenbooksofcrabbedverse?ThatcrudeimitatoroftheGreeks,whodistortstheCreationstoryand,whereMosesshowstheEternalBeingproducingtheworldthroughtheWord,hastheMessiahpullingalargecompassoutofsomecelestialcupboardinordertotakemeasurementsforhiswork?YouaskmetoadmirethemanwhoruinedthehellandSatanofTasso’sinvention;whohasLuciferappearvariouslydisguisedasatoadorapygmy,andhashimrehashthesamearguments a hundred times, and showshimquibbling overpointsoftheology;whotakesliterallyAriosto’sbitofcomedyabouttheinventionoffirearms,andhasthedevilsfiringoffcannoninheaven?NeitherInoranyotherItalianhasevertakenpleasure in this sad extravaganza.ThemarriageofSin andDeath,andtheadderstowhichSingivesbirth,mustnauseateanymanofremotelydelicatetaste,andhislongdescriptionofahospitalcouldonlyinterestagrave-digger.Thisobscure,bizarreanddisgustingpoemwasspurnedatbirth;Iamonlyjudgingitasitwasjudgedinitsowncountrybyitscontemporaries.Anyway,IsaywhatI think,andIcare littlewhetherothersthinklikeme.’CandidewasdistressedbythisspeechforheadmiredHomer,andhadsomelikingforMilton.‘Alas!’hesaidtoMartinunderhisbreath,‘IratherfearthisgentlemanwillhavenothingbutcontemptforourGermanpoets.’–‘Nogreatharminthat,’saidMartin.–‘Butwhatasuperiorbeing,thisPococuranté,’murmuredCandideagain,‘whatagenius!Thereisnopleasinghim.’ Having thus inspected the library, theywent down intothegarden.Candidepraiseditsmanybeauties.‘Itisallintheworstpossibletaste,’saidtheowner.‘Fulloftriflingconceitswhereveryouturn.AsfromtomorrowIamhavinganotheronelaidoutonanoblerplan.’ When our two curious visitors had taken leave ofHisExcellency,Candide turned toMartin: ‘Now then,youwillagreethathereisthehappiestofmen,forheissuperiortoallhepossesses.’–‘Don’tyousee,’saidMartin,‘thatheisdisgustedbyallhepossesses?Platosaidlongagothatthebeststomachsarenot those that refuseeverydish.’– ‘But,’ saidCandide,‘isn’tthereapleasureinbeingcritical,indiscoveringfaultswhereothermenthinktheyseeexcellences?’–‘Whichistosay,’counteredMartin,‘thatthereispleasuretobehadinnottakingpleasure?’–‘Oh,whateveryoulike!’saidCandide.‘Inwhichcasenooneishappybutme,whenIseeMademoiselleCunégonde again.’ – ‘One always doeswell to hope,’ saidMartin.
* * *
1.
During thewhole voyage they discussed endlessly thephilosophyofpoorPangloss.‘Wearegoingtoanotherworld,’saidCandide.‘Nodoubtitmustbetherethatalliswell.Foryouhavetoadmit,thereisreasontoblenchatsomeofwhatgoesoninourworld,whetherphysicallyormorally.’–‘Iloveyouwithallmyheart,’Cunégondesaid,‘butmymindisstillreelingfromwhatIhaveseen,fromwhatIhavesuffered.’–‘Allwillbewell,’Candidereplied.‘TheseaofthisnewworldisalreadysuperiortoourEuropeanseas;itiscalmer,itstradewindsmoreconstant.Nodoubtaboutit,theNewWorldisthebestofallpossibleworlds.’–‘Godwilling!’saidCunégonde.‘ButIhavebeensohorriblyunhappyinmyworldsofar,thatmyheartisalmostsealedagainsthope.’–‘Youtwodonothingbutcomplain,’saidtheoldwoman,‘butyouhavesufferednothinglikemymisfortunes,Icanassureyou!’Cunégondewasonthevergeoflaughter,findingitverydrollofthisgoodcreaturetoclaimtobetwiceasunfortunatethanherself.‘Alas,mygoodwoman,’shesaidtoher,‘unlessyouhavebeenrapedbytwoBulgars,beenstabbedtwiceinthestomach,hadtwocastlesdemolished,hadthethroatsoftwomothersandtwofathersslitbeforeyourveryeyes,andwatchedtwoloversbeingfloggedinanauto-da-fé,Ireallycannotseethatyouhavetheadvantageoverme;towhichImightaddthatIwasbornabaroness,withseventy-twoquarterings tomycoatofarms,andhavebeenput towork in a scullery.’ – ‘Mydear young lady,’ repliedtheoldwoman,‘youknownothingofmybirth;andwereItoshowyoumybottomyouwouldnottalkasyoudo,andwouldsuspendyourjudgement.’ThisspeecharouseddeepcuriosityinthemindsofCunégondeandCandide;andtheoldwomancontinuedasfollows.
* * *
Other literature
24. Voltaire, Candide, or Optimism
Use two or more of the set passages as the basis for a discussion of Candide, or Optimism.
55 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
‘Youmusthaveavastandmagnificentestate,’saidCandidetotheTurk.–‘Ihavebuttwentyacres,’repliedtheTurk.‘Icultivatethemwithmychildren;ourworkkeepsatbaythethreegreatevils:boredom,vice,andnecessity.’ Backonhis little farm,Candide reflecteddeeply on thewords of theTurk.He said toPangloss andMartin: ‘Thatworthyoldmanseemstohavecreatedforhimselfanexistencefarpreferabletothatofthesixkingswithwhomwehadthehonourofdining.’–‘Rankandtitles,’saidPangloss,‘areoftendangerous,asallthephilosophersagree:witnessEglon,KingoftheMoabites,whowasassassinatedbyEhud;Absalomwashangedbyhishairandstabbedintheheartwiththreespears;KingNadab,sonofJeroboam,waskilledbyBaasha;KingElahbyZimri;JehorambyJehu;AthaliahbyJehoiada;andtheKingsJehoiakim,JehoiachinandZedekiahwereallsoldintocaptivity.AndyouwillrecallinwhatmannerdeathcameforCroesus,Astyages,Darius,Dionysius ofSyracuse, Pyrrhus, Perseus,Hannibal,Jugurtha,Ariovistus,Caesar,Pompey,Nero,Otho,Vitellius,Domitian,RichardIIofEngland,EdwardII,HenryVI,RichardIII,MaryStuartandCharlesI,nottomentionthethreeHenrisofFranceandtheEmperorHenryIV.Andyoumustalsoknow...’–‘AllIknow,’saidCandide,‘isthatwemustcultivateourgarden.’–‘Youareright,’saidPangloss,‘forwhenmanwasplacedinthegardenofEden,hewasputthereut operaretur eum,sothathemightwork:whichprovesthatmanwasnotbornforrest.’–‘Letussettoworkandstopprovingthings,’saidMartin,‘forthatistheonlywaytomakelifebearable.’ Thelittlesocietyallenteredintothislaudableplan;eachbegantoexercisehistalents.Thesmallfarmyieldedagreatdeal.True,Cunégondewasstillveryugly,butshebecameanexcellentpastry-chef;Paquetteembroidered;theoldwomantook care of the laundry. Everyonemade himself useful,includingBrotherGirofleo,whowasafirst-ratecarpenterandevenbecamequitegoodcompany.SometimesPanglosswouldsaytoCandide:‘Alleventsformachaininthis,thebestofallpossibleworlds.Afterall,hadyounotbeenexpelledfromabeautifulcastlewithgreatkickstothebehindfortheloveofMademoiselleCunégonde,andhadyounotbeenturnedovertotheInquisition,andhadyounotroamedAmericaonfoot,andhadyounotruntheBaronthroughwithafinethrustofyoursword,andhadyounotlostallyoursheepfromthegoodlandofEldorado,youwouldnotbesittingherenoweatingcandiedcitronandpistachios.’–‘Thatiswellsaid,’repliedCandide,‘butwemustcultivateourgarden.’
* * *
Other literature
24. Voltaire, Candide, or Optimism
2017LITERATUREEXAM 56
SECTION B – continued
Poetry
25. Robert Browning, Selected Poems
Use two or more of the set passages as the basis for a discussion of the poetry of Robert Browning.
1.
The Bishop Orders His Tomb at Saint Praxed’s Church
Rome,15—
Vanity,saiththepreacher,vanity!Drawroundmybed:isAnselmkeepingback?Nephews–sonsmine…ahGod,Iknownot!Well–She,menwouldhavetobeyourmotheronce,OldGandolfenviedme,sofairshewas!What’sdoneisdone,andsheisdeadbeside,Deadlongago,andIamBishopsince,Andasshediedsomustwedieourselves,Andthenceyemayperceivetheworld’sadream.Life,howandwhatisit?AshereIlieInthisstate-chamber,dyingbydegrees,Hoursandlonghoursinthedeadnight,Iask‘DoIlive,amIdead?’Peace,peaceseemsall.SaintPraxed’severwasthechurchforpeace;Andso,aboutthistombofmine.IfoughtWithtoothandnailtosavemyniche,yeknow:–OldGandolfcozenedme,despitemycare;ShrewdwasthatsnatchfromoutthecornerSouthHegracedhiscarrionwith,Godcursethesame!YetstillmynicheisnotsocrampedbutthenceOneseesthepulpito’theepistle-side,Andsomewhatofthechoir,thosesilentseats,AndupintotheairydomewhereliveTheangels,andasunbeam’ssuretolurk:AndIshallfillmyslabofbasaltthere,And’neathmytabernacletakemyrest,Withthoseninecolumnsroundme,twoandtwo,TheoddoneatmyfeetwhereAnselmstands:Peach-blossommarbleall,therare,theripeAsfresh-pouredredwineofamightypulse.–OldGandolfwithhispaltryonion-stone,PutmewhereImaylookathim!Truepeach,Rosyandflawless:howIearnedtheprize!
* * *
2.
Love Among the Ruins
IWherethequiet-colouredendofeveningsmiles, MilesandmilesOnthesolitarypastureswhereoursheep Half-asleepTinklehomewardthroughthetwilight,strayorstop Astheycrop–Wasthesiteonceofacitygreatandgay, (Sotheysay)Ofourcountry’sverycapital,itsprince AgessinceHeldhiscourtin,gatheredcouncils,wieldingfar Peaceorwar.
IINow,–thecountrydoesnotevenboastatree, Asyousee,Todistinguishslopesofverdure,certainrills FromthehillsIntersectandgiveanameto,(elsetheyrun Intoone)Wherethedomedanddaringpalaceshotitsspires UplikefiresO’erthehundred-gatedcircuitofawall Boundingall,Madeofmarble,menmightmarchonnorbepressed, Twelveabreast.
IIIAndsuchplentyandperfection,see,ofgrass Neverwas!Suchacarpetas,thissummer-time,o’erspreads AndembedsEveryvestigeofthecity,guessedalone, Stockorstone–Whereamultitudeofmenbreathedjoyandwoe Longago;Lustofgloryprickedtheirheartsup,dreadofshame Struckthemtame;Andthatgloryandthatshamealike,thegold Boughtandsold.
IVNow,–thesinglelittleturretthatremains Ontheplains,Bythecaperover-rooted,bythegourd Overscored,Whilethepatchinghouseleek’sheadofblossomwinks Throughthechinks–Marksthebasementwhenceatowerinancienttime Sprangsublime,Andaburningring,allround,thechariotstraced Astheyraced,Andthemonarchandhisminionsandhisdames Viewedthegames.
VAndIknow,whilethusthequiet-colouredeve SmilestoleaveTotheirfolding,allourmany-tinklingfleece Insuchpeace,Andtheslopesandrillsinundistinguishedgrey Meltaway–Thatagirlwitheagereyesandyellowhair WaitsmethereIntheturretwhencethecharioteerscaughtsoul Forthegoal,Whenthekinglooked,whereshelooksnow,breathless,dumb TillIcome.
* * *
57 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
25. Robert Browning, Selected Poems
3.
Youth and Art
VIYoulounged,likeaboyoftheSouth, Capandblouse–nay,abitofbeardtoo;Oryougotit,rubbingyourmouth Withfingerstheclayadheredto.
VIIAndI–soonmanagedtofind Weakpointsintheflower-fencefacing,Wasforcedtoputupablind Andbesafeinmycorset-lacing.
VIIINoharm!Itwasnotmyfault Ifyouneverturnedyoureye’stailupAsIshookuponEin alt, Orranthechromaticscaleup:
IXForspringbadethesparrowspair, Andtheboysandgirlsgaveguesses,Andstallsinourstreetlookedrare Withbulrushandwatercresses.
XWhydidnotyoupinchaflower Inapelletofclayandflingit?WhydidnotIputapower Ofthanksinalook,orsingit?
XIIdidlook,sharpasalynx, (Andyetthememoryrankles)Whenmodelsarrived,someminx Trippedup-stairs,sheandherankles.
XIIButIthinkIgaveyouasgood! ‘Thatforeignfellow,–whocanknowHowshepays,inaplayfulmood, Forhistuningherthatpiano?’
XIIICouldyousayso,andneversay ‘Supposewejoinhandsandfortunes,AndIfetchherfromovertheway, Her,piano,andlongtunesandshorttunes?’
XIVNo,no:youwouldnotberash, NorIrasherandsomethingover:You’vetosettleyetGibson’shash, AndGrisiyetlivesinclover.
XVButyoumeetthePrinceattheBoard, I’mqueenmyselfatbals-paré,I’vemarriedaricholdlord, Andyou’redubbedknightandanR.A.
XVIEachlifeunfulfilled,yousee; Ithangsstill,patchyandscrappy:Wehavenotsigheddeep,laughedfree, Starved,feasted,despaired,–beenhappy.
XVIIAndnobodycallsyouadunce, Andpeoplesupposemeclever:Thiscouldbuthavehappenedonce, Andwemissedit,lostitforever.
* * *
2017LITERATUREEXAM 58
SECTION B – continued
2.
Parsed into Colors
Leung Ping-Kwan
Postcards of Old Hong Kong
Thepictureswesentoffhavebeentouchedup
…
howdowepaintourselves?
TranslatedfromtheChinesebyMarthaP.Y.Cheung
TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry
from the Middle East, Asia, and Beyond, WWNorton&Company,2008
pp.70and71
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
Use two or more of the set passages as the basis for a discussion of the poetry set from this text.
1.
In the Grasp of Childhood Fields
Luis Cabalquinto
Depths of Field
Iwalksomehundredpacesfromtheoldhouse
…
inthegraspofchildhoodfields,I’llmissnothing.
TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry
from the Middle East, Asia, and Beyond, WWNorton&Company,2008
pp.47and48
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
59 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
26. Tina Chang, Nathalie Handal and Ravi Shankar (eds), Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond
3.
Parsed into Colors
Gregory Djanikian
The Boy Who Had Eleven Toes
ItwasasignofGod’sbounty,
…
Theheel,suddenly,aprofusionoffeathers.
TinaChang,NathalieHandalandRaviShankar(eds),Language for a New Century: Contemporary Poetry
from the Middle East, Asia, and Beyond, WWNorton&Company,2008
pp.76and77
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 60
SECTION B – continued
2.
Eutychus
Thefirstdayoftheweekhespoketothem
…
Andspringtolifeagain,likeEutychus.
RosemaryDobson,Collected, UniversityofQueenslandPress,2012
pp.137and138
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
1.
The Mirror
Jan Vermeer Speaks
Timethatisalwaysgonestaysstill
…
Areblindedinitsblazeoflight.
RosemaryDobson,Collected, UniversityofQueenslandPress,2012
p.82
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
27. Rosemary Dobson, Collected
Use two or more of the set passages as the basis for a discussion of the poetry of Rosemary Dobson.
61 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
3.
The Almond-tree in the King James Version
White,yes,palewiththepallorofoldtimbers,
…
ItisallinthetwelfthchapterofEcclesiastes.
RosemaryDobson,Collected, UniversityofQueenslandPress,2012
p.249
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
27. Rosemary Dobson, Collected
2017LITERATUREEXAM 62
SECTION B – continued
2.
The Strand at Lough Beg
in memory of Colum McCartney
…
Greenscapularstowearoveryourshroud.
SeamusHeaney,Opened Ground: Poems 1966–1996,FaberandFaber,2005
pp.152and153
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
Poetry
28. Seamus Heaney, Opened Ground: Poems 1966–1996
Use two or more of the set passages as the basis for a discussion of the poetry of Seamus Heaney.
1.
Requiem for the Croppies
Thepocketsofourgreatcoatsfullofbarley–
…
AndinAugustthebarleygrewupoutofthegrave.
SeamusHeaney,Opened Ground: Poems 1966–1996,FaberandFaber,2005
p.22
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
63 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
28. Seamus Heaney, Opened Ground: Poems 1966–1996
3.
A Transgression
Theteacherletsomebigboysoutattwo
…
Andtheirknowledgethatlovedonwithoutado.
(1994)
SeamusHeaney,Opened Ground: Poems 1966–1996,FaberandFaber,2005
p.393
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 64
SECTION B – continued
Poetry
29. Wisława Szymborska, Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska
Use two or more of the set passages as the basis for a discussion of the poetry of Wisława Szymborska.
1.
Atlantis
Didtheyexistornot.Onanislandornot.Wasitanoceanornotthatswallowedthemupornot.
Didsomeonehavesomeonetolove?Didsomeonehavesomeonetofightwith?Dideverythinghappenornothingthereornotthere?
Therestoodsevencities.Butarewesureofthat?Theywishedtostandforever.Wherethenistheproof?
Theydidnotinventgunpowder,no.Theydidinventit,yes.
Hypothetical.Dubious.Unimmortalized.Unextractedfromair,fromfire,fromwater,fromearth.
Uncontainedinstoneorinadropofrain.Unableseriouslytoposeforacautionarytale.
Ameteorfell.No,notameteor.Avolcanoerupted.No,notavolcano.Someoneyelledsomething.No,noonedid.
OnthisplusminusAtlantis.
* * *
2.
Travel Elegy
Allisminebutnothingowned,nothingownedformemory,andmineonlywhileIlook.
Nosoonerrememberedthanuncertainarethegoddessesoftheirheads.
OfthetownofSamokovonlyrainandnothingbuttherain.
ParisfromLouvretofingernailiscoveredwithafilm.
OfBoulevardSaint-Martinthestepsremainandleadintoextinction.
NothingmorethanabridgeandahalfinbridgeyLeningrad.
PoorUppsalawiththemiteofagreatcathedral.
ThehaplessdancerofSofia,abodywithoutaface.
Separate—hisfacewithouteyes,separate—hiseyeswithoutpupils,separate—thepupilsofacat.
TheCaucasianeaglesoarsoverareconstructionofacanyon,theimpuregoldofasunandfakestones.
Allisminebutnothingowned,nothingownedformemory,andmineonlywhileIlook.
Innumerable,infinite,yetindividualtotheveryfilament,thegrainofsand,thedropofwater—landscapes.
Iwon’tretainonebladeofgrassinsharpcontour.
Greetingandfarewellinasingleglance.
Forexcessandforlackasinglemovementoftheneck.
* * *
65 2017LITERATUREEXAM
SECTION B – continuedTURN OVER
Poetry
29. Wisława Szymborska, Sounds, Feelings, Thoughts: Seventy Poems by Wisława Szymborska
3.
Psalm
Oh,howporousaretheboundariesofman-madestates!Hownumerousthecloudsthatfloatunpunishedoverthem,hownumerousthedesertsandsthatshiftfromlandtoland,hownumerousthemountainpebblesthatgorollingintoalien
domainsprovocativelyhopping!
MustIhereenumeratehowbirdfliesafterbird,orhowitjustnowlightsupontheloweredbarrier?Beitbutasparrow—itstailisnowabroad,thoughitsbeakisstillathome.Moreover—whatafidget!
FrominsectsnumberlessI’llmentionjusttheant,whichbetweentheleftandrightbootoftheborderguardtothequestion:fromwheretowhere?—disclaimsallresponse.
Oh,toseeallthischaosallatonceindetail,oneverycontinent!Forisitnottheprivetontheoppositebankthatsmugglesitsumpteenthleafacrosstheriver?Forwho,ifnotthecuttlefish,brazenlylong-armed,violatesthesacredsphereofterritorialwaters?
Ingeneralcanonetalkofanykindoforderifeventhestarscannotbesoarrangedforeachtoknowwhichshinesforwhom?
Andaddtothis,thereprehensiblespreadofthefog!Andthebillowingofthedustoverallthesteppe’sexpanse,asifitwerenotcutinhalfatall!Andtheechoingofvoicesalongtheobligingwavesofair,ofsummoningsquealingsandsuggestivegurgles!
Onlythatwhichishumancanbetrulyalien.Therestisallmixedforests,theburrowingofmoles,andwind.
* * *
2017LITERATUREEXAM 66
SECTION B – continued
Poetry
30. Chris Wallace-Crabbe, New and Selected Poems
Use two or more of the set passages as the basis for a discussion of the poetry of Chris Wallace-Crabbe.
1.
Sacred Ridges above Diamond Creek
for Les Murray
Iwanttomakesomekindofgestureofalienresponse,
…
butIlaydownmyarms.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
pp.109and110
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2.
Reality
Alostboyinanotherbody
…
letyougo.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
p.139
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
67 2017LITERATUREEXAM
END OF SECTION BTURN OVER
Poetry
30. Chris Wallace-Crabbe, New and Selected Poems
3.
At the Clothesline
WhatI’dthoughtafallenshirt
…
Arainbowringaroundthemoon.
ChrisWallace-Crabbe,New and Selected Poems, Carcanet,2013
p.179
Duetocopyrightrestrictions,theVCAAisunabletoreproducethefullpassagewhenthisexaminationispublishedontheVCAAwebsite.Instead,theopeningandclosingwordsofthepassagehavebeenprovided.
2017LITERATUREEXAM 68
Assessment criteriaSectionAwillbeassessedagainstthefollowingcriteria:• developmentofaninformed,relevantandplausibleinterpretationofthetext• understandingandanalysisofthetext,demonstratedthroughtheuseoftextualevidence• analysisandevaluationoftheviewsandvaluesforegroundedinthetopicandunderlyingoneliterary
perspectiveofthetext,andawarenessofhowtheseviewsandvaluesrelatetothetext• expressive,fluentandcoherentuseoflanguageanddevelopmentofideas
SectionBwillbeassessedagainstthefollowingcriteria:• understandingofthetext,demonstratedinarelevantandplausibleinterpretation• abilitytowriteexpressivelyandcoherentlytopresentaninterpretation• understandingofhowviewsandvaluesmaybesuggestedinthetext• analysisofhowkeypassagesand/ormomentsinthetextcontributetoaninterpretation• analysisofthefeaturesofthetextandhowtheycontributetoaninterpretation• analysisandclosereadingoftextualdetailstosupportacoherentanddetailedinterpretationofthetext
END OF TASK BOOK