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AKU-EB M
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AGA KHAN UNIVERSITY EXAMINATION BOARD
SECONDARY SCHOOL CERTIFICATE
CLASS IX EXAMINATION
MAY 2016
Literature in English
Time: 3 hours Marks: 75
INSTRUCTIONS Please read the following instructions carefully. 1. Check your name and school information. Sign if it is accurate.
2. RUBRIC. There are THREE sections. Attempt ALL sections. Section I addresses ‘Novels’. It has two parts. Attempt any ONE part from Section I. Section II addresses ‘Short Stories’ and Section III addresses ‘Poetry’. In each section there are Constructed Response Questions and a choice of Extended Response Questions.
3. When answering the questions: Read each question carefully. Use a black pointer to write your answers. DO NOT write your answers in pencil. Use a black pencil for diagrams. DO NOT use coloured pencils. DO NOT use staples, paper clips, glue, correcting fluid or ink erasers. Complete your answer in the allocated space only. DO NOT write outside the answer box. 4. The marks for the questions are shown in brackets ( ).
I agree that this is my name and school. Candidate's signature
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Section I: (Novels) (Total 25 Marks) (ATTEMPT ANY ONE PART FROM SECTION I)
Part A Louisa May Alcott: Little Women Q.1. (Total 10 Marks)
Read the passage carefully and answer the questions that follow:
5
10
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In the cold gray dawn, the sisters lit their lamp and read their chapter with an earnestness never felt before. For now the shadow of a real trouble had come, the little books were full of help and comfort, and as they dressed, they agreed to say goodbye cheerfully and hopefully, and send their mother on her anxious journey unsaddened by tears or complaints from them. Everything seemed very strange when they went down, so dim and still outside, so full of light and bustle within. Breakfast at that early hour seemed odd, and even Hannah's familiar face looked unnatural as she flew about her kitchen with her nightcap on. The big trunk stood ready in the hall, mother's cloak and bonnet lay on the sofa, and mother herself sat trying to eat, but looking so pale and worn with sleeplessness and anxiety that the girls found it very hard to keep their resolution. Meg's eyes kept filling in spite of herself, Jo was obliged to hide her face in the kitchen roller more than once, and the little girls wore a grave, troubled expression, as if sorrow was a new experience to them.
Nobody talked much, but as the time drew very near and they sat waiting for the carriage, Mrs March said to the girls, who were all busied about her, one folding her shawl, another smoothing out the strings of her bonnet, a third putting on her overshoes, and a fourth fastening up her travelling bag...
"Children, I leave you to Hannah's care and Mr Laurence's protection. Hannah is faithfulness itself, and our good neighbour will guard you as if you were his own. I have no fears for you, yet I am anxious that you should take this trouble rightly. Don't grieve and fret when I am gone, or think that you can be idle and comfort yourselves by being idle and trying to forget. Go on with your work as usual, for work is a blessed solace. Hope and keep busy, and whatever happens, remember that you never can be fatherless."
"Yes, mother."
"Meg, dear, be prudent, watch over your sisters, consult Hannah, and in any perplexity, go to Mr Laurence. Be patient, Jo, don't get despondent or do rash things, write to me often, and be my brave girl, ready to help and cheer all. Beth, comfort yourself with your music, and be faithful to the little home duties, and you, Amy, help all you can, be obedient, and keep safe at home."
"We will, mother! We will!"
The rattle of an approaching carriage made them all start and listen. That was the hard minute, but the girls stood it well. No one cried, no one ran away or uttered a lamentation, though their hearts were very heavy as they sent loving messages to Father, remembering, as they spoke that it might be too late to deliver them. They kissed their mother quietly, clung about her tenderly, and tried to wave their hands cheerfully when she drove away.
Laurie and his grandfather came over to see her off, and Mr Brooke looked so strong and sensible and kind that the girls christened him 'Mr Greatheart' on the spot.
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"Goodbye, my darlings! God bless and keep us all!" whispered Mrs March, as she kissed one dear little face after the other, and hurried into the carriage.
As she rolled away, the sun came out, and looking back, she saw it shining on the group at the gate like a good omen. They saw it also, and smiled and waved their hands, and the last thing she beheld as she turned the corner was the four bright faces, and behind them like a bodyguard, old Mr Laurence, faithful Hannah, and devoted Laurie.
"How kind everyone is to us!" she said, turning to find fresh proof of it in the respectful sympathy of the young man's face.
"I don't see how they can help it," returned Mr Brooke, laughing so infectiously that Mrs March could not help smiling. And so the journey began with the good omens of sunshine, smiles, and cheerful words.
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a. Explore the ways in which the excerpt conveys feelings of sadness. (4 Marks)
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b. Describe the personality of Mrs March as revealed through this passage. Mention any THREE personality traits and support them by citing THREE textual evidences. (6 Marks)
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Q.2. (Total 15 Marks)
Compose a response of about 200 words to any ONE of the options a or b.
EITHER
a. ‘Little Women’ by Louisa M. Alcott depicts generosity of characters like Aunt March and Mr Laurence towards the March family. Discuss the ways in which generosity is exhibited by different characters in the novel ‘Little Women’.
OR
b. Why do critics think that the novel ‘Little Women’ by Louisa M. Alcott is ahead of its time?
Analyse any THREE aspects of the novel that you think were progressive or misfit for the 19th century England.
Option _______________
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(ATTEMPT ANY ONE PART FROM SECTION I) Part B
Kamila Shamsie: In the City by the Sea Q.3. (Total 10 Marks)
Read the passage carefully and answer the questions that follow: 5
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The soldiers in the truck ahead stubbed out their cigarettes and placed rifles at ready. Everyone in the car stopped talking. Omar turned the music down. All the shops were closed here, either in fear or protest or because the shopkeepers lived in nearby section of the city which were under curfew Hasan couldn’t decide which. Pine cones had been spray painted on three shutters, and walls everywhere were sprayed with political slogans: Salman, Baat Maan, Terey hathon mein qoum kee jaan. ‘Salman, Understand, The country’s life is in your hands’. The street was very narrow and there were tyre marks along the pavement. Men milled around a paan-stand the only place of commercial activity — but there were no barefoot children to be seen running down the street, beating rubber tyres with a stick and seeing how fast they could go.
If only the lights would change.
‘You’d think this area would be under curfew,’ Najam muttered, looking around.
All the men at the paan-stand had turned and were staring at the convoy, their lips and teeth stained red with betel-nut juice. One of the men pursed his lips and then spat. An explosion of red arched out of his mouth and splattered on the window by Hasan. Hasan jerked back from his red-rivuleted reflection.
‘Frightened of spit?’ someone on the back jeered.
‘Leave him alone,’ Zehra and Najam said in unison.
‘Relax, Hasan,’ Omar said. ‘They can’t do anything to us.’
The man who had spat started to look familiar to Hasan. And that other man — the one in profile, with the beard — he looked a little like someone Hasan had once seen with Salman Mamoo. The bearded man turned towards Hasan, revealing a scar running from eye to chin. Hasan shivered. No, he certainly hadn’t seen him before. Unless the scar was new. And that man, the one in blue, surely, surely … Hasan was seized with a desire to roll down his tinted window and poke out his head in full view. The men — ACE men, no question of it would see Salman Mamoo’s features just underlying his own, and they would raise their fists in solidarity and remember the days when Salman Haq was nothing more to them than Zafar Haq’s nephew. The lights changed.
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a. What evidences are present in the passage that support the fact that the writer is trying to portray a hostile situation? (5 Marks)
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b. Imagine yourself as Zehra. You have just witnessed the crowd gathered at the paan shop. State your feelings. What should be done in such situations?
(5 Marks)
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Q.4. (Total 15 Marks)
Compose a response of about 200 words to any ONE of the options a or b.
EITHER
a. In Kamila Shamie’s novel, ‘In the City by the Sea’, the protagonist, Hasan, lives a secure life. However, things change when he sees a young boy like himself fall to his death and when his precious uncle is charged with treason and is imprisoned. He continues, however, to rely on his rather unconventional friends of the other world to keep him company.
Discuss the mentioned statements in the light of the novel ‘In the City by the Sea’. Do you think Hasan is an escapist? Do you think the author advocates the idea that escapism and imagination, at times, help us in keeping up with life’s challenges?
OR
b. In her novel, ‘In the City by the Sea’, Kamila Shamsie presents her love for Karachi in various ways. Despite portraying Karachi in all its negativity, the readers notice her love for the city of her birth.
Discuss the mentioned statements by citing evidences from the novel ‘In the City by the Sea’.
Option _______________
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Section II: (Short Stories) (Total 25 Marks) Q.5. (Total 10 Marks)
Answer the following questions from the recommended short stories:
a. Read the excerpt given below.
“We reached the Mississippi state line and soon after we heard a police siren. A police car came up behind us. My father slowed the Cadillac, and then stopped. Two white policemen got out of their car. They eyeballed the Cadillac and told my father to get out.”
Which social issues are indicated in the mentioned lines from ‘The Gold Cadillac’? Explain in the context of the story ‘The Gold Cadillac’ by Mildred D. Taylor. (3 Marks)
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b. i. Explain the significance of the ‘string’ in ‘A Piece of String’ by Guy de Maupassant.
ii. Mention the moral of the story ‘A Piece of String’. (4 Marks)
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c. What was the most important thing Nicholas found in the lumber room in the story, ‘Lumber Room’, by Saki? (3 Marks)
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Q.6. (Total 15 Marks)
Compose a response of about 200 words to any ONE of the options a or b.
EITHER
a. How is the short story, ‘Lumber Room’, by Saki a criticism of adulthood? What message is Saki trying to give his readers about the mindset and conventionalism associated with adult world? Discuss by citing evidences from the story.
OR
b. What is the main theme of the short story, ‘Leaving’, by M S Vassanji? Is this theme relevant to the Tanzanian society only or does it have universal relevance? Explain by giving textual evidences.
Option _______________
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Section III: (Poetry) (Total 25 Marks) Q.7. (Total 10 Marks)
Answer the following questions from the recommended poems.
a. Explain the given lines with reference to the context. (5 Marks)
‘The Moving finger writes; and, having writ, Moves on: nor all thy Piety nor Wit, Shall lure it back to cancel half a Line,
Nor all thy Tears wash out a Word of it.’
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b. Explain the given lines with reference to the context. (5 Marks)
‘My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep
Of easy wind and downy flake.’
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Q.8. (Total 15 Marks)
Compose a response of about 200 words to any ONE of the options a or b.
EITHER
a. If we only have a brief existence in this world, does it really matter what we do and what we don’t do?
Analyse and answer the given question with references to Omar Khayyám’s ‘Rubáiyát’.
OR
b. Explain how the imagery and tone of ‘Solitude’ by Faiz Ahmed Faiz evoke the feeling of loneliness? Support your answer with references from the text.
Option _______________
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