0002.2 ENGLISH FIRST LANGUAGE HG (PRIMARY …wcedmis.pgwc.gov.za/wcedmis/webadmin.wwdoc_process.process...‘blues for district six’ Abdullah Ibrahim ... 2.8 Quote from the poem

TIME: 3 HOURS MARKS: 100

Write on the cover of your answer book, after the word, ‘Subject’:

ENGLISH FIRST LANGUAGE HIGHER GRADE (PRIMARY LANGUAGE) (PAPER 2)

0002.2 ENGLISH FIRST LANGUAGE HG (PRIMARY LANGUAGE) (PAPER 2) NOVEMBER 2006

SENIOR CERTIFICATE EXAMINATION: 2006

This question paper consists of 17 pages.

WCED: SENIOR CERTIFICATE EXAMINATION/N'2006 ENGLISH FIRST LANGUAGE HG/P2

(PRIMARY LANGUAGE) (0002.2)

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INSTRUCTIONS

CHOICE OF QUESTIONS

1. This question paper consists of 3 sections.

2. Section A (Poetry): Question 1 is compulsory.

Choose any two of Questions 2, 3, 4 and 5.

3. Answer a further two questions, one from each of Sections B and C; i.e. do not answer more than one question per book.

4. In answering Sections B and C, you may not do two essays or two contextuals. Choose either the contextual from Section B and an essay from Section C or the essay from Section B and a contextual from Section C. So if you choose either Question 6 or Question 8, you must choose Question 11. But if you choose either Question 7 or Question 9, you must choose Queston 10.

5. Once the requirements of a section have been satisfied, any extra answers to questions from that section will not be marked.

Note: ARRANGEMENT OF ANSWERS: Begin each section on a new page. Do not write headings for your answers. Write only the question numbers. SUGGESTED LENGTH OF ESSAY ANSWERS: 400 to 550 words; i.e. approximately two pages of average-sized handwriting. LENGTH OF CONTEXTUAL ANSWERS: Aim at conciseness and relevance. Be guided by the mark allocation. Answer in your own words as far as possible, except when actually quoting. PRESENTATION: Accuracy in grammar, spelling and punctuation, as well as neat presentation, will count in your favour. PERSONAL JUDGEMENT: Do not hesitate to give your personal judgement frankly. The examiners will assess your answers on the competence with which they are expressed and the understanding of the texts which they reveal.



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SECTION A: POETRY

Answer Question 1 and any two other questions from this section.

UNSEEN POEM QUESTION 1 (COMPULSORY) ‘blues for district six’ Abdullah Ibrahim

early one new year’s morning when the emerald bay waved its clear waters against the noisy dockyard a restless south easter skipped over slumbering lion’s head danced up hanover street tenured a bawdy banjo 5 strung an ancient cello bridged a host of guitars tambourined through a dingy alley into a scented cobwebbed room and crackled the sixth sensed district 10 into a blazing swamp fire of satin sound

early one new year’s morning when the moaning bay mourned its murky water against the deserted dockyard a bloodthirsty south easter roared over hungry lion’s head and ghosted its way up hanover street 15 empty forlorn

and cobwebbed with gloom 1.1 How do ‘emerald bay’ and ‘clear waters’ (line 2) contribute to the mood of the first paragraph? [2] 1.2 How do ‘noisy dockyard’ (line 2) and ‘restless south easter’ (line 3) further contribute to the mood? [2] 1.3 What does the word ‘bawdy’ (line 5) suggest? [2] 1.4 Why do you think the poet used words such as ‘ancient’ (line 6); ‘dingy’ (line 8) and and ‘cobwebbed’ (line 9)? [2] 1.5 What is suggested by the words ‘moaning’ and ‘murky’ in line 13? [2]

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Robin Malan (ed): WORLDSCAPES (Answer two further questions from this section.) QUESTION 2

‘The world is too much with us’ William Wordsworth

The world is too much with us; late and soon, Getting and spending, we lay waste our powers: Little we see in Nature that is ours; We have given our hearts away, a sordid boon! This Sea that bares her bosom to the moon; 5 The winds that will be howling at all hours, And are up-gathered now like sleeping flowers; For this, for everything, we are out of tune; It moves us not. – Great God! I’d rather be A Pagan suckled in a creed outworn; 10 So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathèd horn.

2.1 In line 1 the poet used the word ‘world’. What is he referring to? [2]

2.2 What is meant by the phrase ‘late and soon’ (line 1)? [1]

2.3 What does ‘getting and spending’ (line 2) suggest? [2]

2.4 In line 2 the speaker says, ‘we lay waste our powers’. What ‘powers’ is he referring to? [2] 2.5 In what tone do you feel line 4 is spoken? [1] 2.6 ‘This sea … out of tune’ (line 5 – 8). What message is the speaker conveying to us? [2] 2.7 Why would the speaker rather be a ‘Pagan’ (line 10)? [2] 2.8 Quote from the poem the single word that most explicitly tells us that the speaker is depressed by the state of his society. [1] 2.9 Triton (line 14) was a sea god, half man and half fish or dolphin.

Suggest why the speaker refers to him. [2] /15/



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QUESTION 3

‘God’s grandeur’ Gerard Manley Hopkins

The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod; 5 And all is seared with trade; bleared, smeared with toil; And wears man’s smudge and shares man’s smell: the soil Is bare now, nor can foot feel, being shod. And for all this, nature is never spent; There lives the dearest freshness deep down things; 10 And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs – Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings.

3.1 What characteristic of divine power is suggested by the word ‘charged’ (line 1)? [2]

3.2 The speaker says God’s grandeur will ‘flame out’ (line 2). What is suggested by this fire imagery? [3] 3.3 Why does the speaker ask, ‘Why do men then now not reck his rod’ (line 4)? [2]

3.4 What is the purpose of the repetition in line 5? [2] 3.5 Why is ‘the soil … bare now’ (lines 7 and 8)? [2]

3.6 Explain in your own words the positive note that starts the sestet (in line 9). [2] 3.7 In the last line of the poem why does the speaker use the interjection, 'ah!'? [2] / 15 /



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QUESTION 4

‘Walking away’ C. Day Lewis for Sean

It is eighteen years ago, almost to the day – A sunny day with the leaves just turning, The touch-lines new-ruled – since I watched you play Your first game of football, then, like a satellite Wrenched from its orbit, go drifting away 5 Behind a scatter of boys. I can see You walking away from me towards the school With the pathos of a half fledged thing set free Into a wilderness, the gait of one Who finds no path where the path should be. 10 That hesitant figure, eddying away Like a winged seed loosened from its parent stem, Has something I never quite grasp to convey About nature’s give-and-take – the small, the scorching Ordeals which fire one’s irresolute clay. 15 I have had worse partings, but none that so Gnaws at my mind still. Perhaps it is roughly Saying what God alone could perfectly show – How selfhood begins with a walking away, And love is proved in the letting go. 20

4.1 The title of this poem suggests a change/development from one state of being to

another. Explain how this can be applicable to both son and father. Please note: your answer should have two parts, one about the son and the other about the father. Leave a line between these two parts. (2+2) [4]

4.2 Why do you think the title of this poem is ‘Walking away’ rather than, for example, ‘ He walked away’ or ‘To walk away’? [2]

4.3 Explain how, ‘like a satellite wrenched from its orbit, go drifting away’

(lines 4 and 5) strongly suggests the father’s fears. [4]

4.4 ‘go drifting away’ (line 5) is completed in the first line of the second stanza: ‘Behind a scatter of boys’. Suggest a reason for this statement being completed in the second stanza. [2]

4.5 Which word in stanza 2 suggests that the father believes that adulthood might

prove harsh for his son? [1]

4.6 The poem’s message is contained in the last line. What is it? Use your own words. [2]

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QUESTION 5

‘the night train’ Fhazel Johennesse there is no comfort here in this third class coach on this green resisting seat i twitch and glance around – there are few too few travellers 5 on the night train crossing my legs and flicking my cigarette i turn to stare through the window into the darkness outside 10 (or is it my reflection i stare at) and glance impatiently at the wrong stations we stop at out i must get out of here soon 15 for in this coach there is a smell which haunts me not the smell of stale man but the whispering nagging smell of fear

5.1 What race do you think the passenger is classified as? Provide a suitable reason for your answer. [3] 5.2 Why does the speaker emphasize that there are ‘too few’ (line 5) travellers on the train? [2] 5.3 The personal pronoun ‘i’ (lines 4, 8, 11 and 15) is not written as a capital letter.

Bearing in mind the theme of the poem, suggest a plausible reason for this. [2] 5.4 Why do you think the word ‘out’ (line 14) is printed in italics? [2]

5.5 The speaker uses the word ‘haunts’ (line 17) instead of synonyms such as ‘bothers’ or ‘stays with’. What does this suggest about the type of fear he is experiencing? [2] 5.6 On a figurative level, what might the train journey be an example of ? [2] 5.7 What is it that the speaker fears? [2]

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SECTION B: SHAKESPEARE’S DRAMA

Answer one question from this section on either Othello or Hamlet. QUESTION 6: OTHELLO CONTEXTUAL From Act 3, Scene 3. IAGO She did deceive her father, marrying you, 210 And when she seem’d to shake, and fear your looks, She loved them most. OTHELLO And so she did. IAGO Why, go to then! She that so young could give out such a seeming, To seal her father’s eyes up close as oak – He thought ’twas witchcraft … but I am much to blame; 215 I humbly do beseech you of your pardon For too much loving you. OTHELLO

I am bound to thee for ever. IAGO I see this hath a little dash’d your spirits. OTHELLO Not a jot, not a jot. IAGO I’faith, I fear it has. I hope you will consider what is spoke 220 Comes from my love. But I do see you’re moved. I am to pray you not to strain my speech To grosser issues nor to larger reach Than to suspicion. OTHELLO I will not. IAGO Should you do so, my lord, 225 My speech should fall into such vile success As my thoughts aimed not at. Cassio’s my trusty friend. My lord, I see you’re moved. OTHELLO No, not much moved. I do not think but Desdemona’s honest. IAGO Long live she so! and long live you to think so! 230 OTHELLO And yet how nature, erring from itself –



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IAGO Ay, there’s the point: as, to be bold with you,

Not to affect many proposed matches Of her own clime, complexion and degree, Whereto we see, in all things, nature tends. 235 Fie! We may smell in such a will most rank Foul disproportion, thoughts unnatural. But, pardon me, I do not in position Distinctly speak of her, though I may fear Her will, recoiling to her better judgement, 240 May fall to match you with her country forms, And happily repent. OTHELLO Farewell, farewell. If more thou dost perceive, let me know more. Set on thy wife to observe. Leave me, Iago. IAGO (Going) My lord, I take my leave. 245 OTHELLO Why did I marry? This honest creature doubtless Sees and know more, much more, than he unfolds. IAGO (Returning) My lord, I would I might entreat your honour To scan this thing no farther. Leave it to time; Although ‘tis fit that Cassio have his place, 250 For sure he fills it up with great ability, Yet if you please to hold him off a while You shall by that perceive him, and his means; Note if your lady strain his entertainment With any stronger or vehement importunity, 255 Much will be seen in that. In the meantime, Let me be thought too busy in my fears (As worthy cause I have to fear I am) And hold her free, I do beseech your honour. OTHELLO Fear not my government. IAGO

I once more take my leave. 260 OTHELLO This fellow’s of exceeding honesty, And knows all qualities, with a learned spirit, Of human dealings. If I do prove her haggard, Though that her jesses were my dear heart-strings, I’d whistle her off and let her down the wind 265 To prey at fortune. Haply, for I am black And have not those soft parts of conversation That chamberers have, or for I am declined Into the vale of years (yet that’s not much ), She’s gone, I am abused, and my relief 270 Must be to loathe her. O, curse of marriage, That we can call these delicate creatures ours



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And not their appetites! I had rather be a toad

And live upon the vapour of a dungeon Than keep a corner in the thing I love 275

For others’ uses. Yet ’tis the plague of great ones: Prerogatived are they less than the base. ’Tis destiny unshunnable, like death. Even then this forked plague is fated to us When we do quicken. Look where she comes: 280 Re-enter DESDEMONA and EMILIA

If she be false, O, then heaven mocks itself! I’ll not believe’t.

DESDEMONA How now, my dear Othello!

Your dinner, and the generous islanders By you invited, do attend your presence. OTHELLO I am to blame. 285 DESDEMONA

Why is your speech so faint? Are you not well? OTHELLO I have a pain upon my forehead, here. DESDEMONA Faith, that’s with watching ,’twill away again. Let me but bind it hard, within this hour It will be well again. OTHELLO

Your napkin is too little. 290 She drops her handkerchief. Let it alone. Come, I’ll go in with you. DESDEMONA I am very sorry that you are not well. Othello and Desdemona off. 6.1 In line 210, Iago says: ‘She did deceive her father, marrying you.’

What seed is Iago planting in Othello’s mind? [2] 6.2 What does Iago plant in Othello’s mind when he says that 'when [Desdemona] seemed to shake, and fear your looks,/she loved them most’ (lines 211 and 212)? [2] 6.3 What is Iago’s purpose in telling Othello he (Iago) is ‘much to blame’ (line 215)? [5]

6.4 In line 227, Iago says: ‘Cassio’s my trusty friend.’ Why does he say this? [3]

6.5 How does Iago reinforce the idea that Othello is an outsider?

Refer to two details from the extract. Use your own words. [2]

6.6 ‘This fellow’s of exceeding honesty’ (line 261). Do you believe Othello has no choice but to believe Iago to be honest? Provide two reasons to substantiate your answer. [3]



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6.7 Why do you think Othello claims quite easily that he will set Desdemona free (line 265: ‘I’d whistle her off’)? [3]

6.8 In lines 266 to 269, Othello reveals much about his insecurities. In your own words, say what they are. [3] 6.9 ‘Yet ’tis the plague of great ones’ (line276). What plague is Othello referring to? [1]

6.10 Why do you think Desdemona does not pick up her handkerchief? [2] 6.11 Suggest two reasons why Othello, at this point, does not explicitly confront his

wife about the alleged affair? (2+2) [4]

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OR QUESTION 7: OTHELLO ESSAY For an Elizabethan audience, a Moor is ‘lecherous, violent,

jealous, servile* and crude’. (M Morgan, in A preface to Shakespeare's Tragedies, 1991)

Does our play support the idea that blacks are inferior to whites for the listed reasons? * 'Servile' means 'excessively wanting to please others; having the mentality of a slave or a servant'. [NOTE: you should pay attention to all of the words in bold print.]

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OR QUESTION 8: HAMLET CONTEXTUAL From Act 1, Scene 1. BERNARDO Welcome Horatio, welcome good Marcellus. 20 HORATIO What, has this thing appeared again to-night? BERNARDO I have seen nothing. MARCELLUS Horatio says ’tis but our fantasy, And will not let belief take hold of him Touching this dreaded sight twice seen of us. 25 Therefore I have entreated him along With us to watch the minutes of this night, That if again this apparition come,

He may approve our eyes and speak to it.



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HORATIO Tush, tush, ’twill not appear. BERNARDO Sit down awhile, 30

And let us once again assail your ears, That are so fortified against our story, What we have two nights seen. HORATIO Well, sit we down, And let us hear Bernardo speak of this. BERNARDO Last night of all, 35 When yon same star that’s westward from the pole Had made his course to illume that part of heaven Where now it burns, Marcellus and myself, The bell then beating one …

Enter Ghost MARCELLUS Peace, break thee off. Look where it comes again! 40 BERNARDO In the same figure like the king that’s dead. MARCELLUS Thou art a scholar; speak to it, Horatio. BERNARDO Looks it not like the king? Mark it, Horatio. HORATIO Most like, it harrows me with fear and wonder. BERNARDO It would be spoke to. MARCELLUS Question it, Horatio. 45 HORATIO What art thou that usurp’st this time of night, Together with that fair and warlike form In which the majesty of buried Denmark Did sometimes march? By heaven I charge thee speak. MARCELLUS It is offended. BERNARDO See, it stalks away. 50 HORATIO Stay! speak, speak! I charge thee speak!

The Ghost vanishes MARCELLUS ’Tis gone and will not answer



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BERNARDO How now Horatio? You tremble and look pale!

Is not this something more than fantasy? What think you on’t? 55 HORATIO Before my God, I might not this believe Without the sensible and true avouch Of mine own eyes. MARCELLUS Is it not like the king? HORATIO As thou art to thyself. Such was the very armour he had on. 60 When he the ambitious Norway combated. So frowned he once, when in an angry parle He smote the sledded Polacks on the ice. ’Tis strange. MARCELLUS Thus twice before, and jump at this dead hour, 65 With martial stalk hath he gone by our watch. HORATIO In what particular thought to work I know not, But in the gross and scope of mine opinion, This bodes some strange eruption to our state. MARCELLUS Good now sit down, and tell me he that knows, 70 Why this same strict and most observant watch So nightly toils the subject of the land, And why such daily cast of brazen cannon And foreign mart for implements of war, Why such impress of shipwrights, whose sore task 75 Does not divide the Sunday from the week. What might be toward that this sweaty haste Doth make the night joint-labourer with the day? Who is’t that can inform me? 8.1 ‘What, has this thing appeared again tonight?’ (line 21). What do you think the tone of this line is? Justify your response. (1+2) [3] 8.2 In line 29 Marcellus says he wants Horatio to ‘speak to it’. Later in the extract he tells

Horatio, ‘Thou art a scholar; speak to it’ (line 42). Why does Marcellus insist that Horatio be the one to speak to the Ghost? [2] 8.3 Bernardo says the ghost is, ‘In the same figure like the king that’s dead’ (line 41). Why is he not certain it is the ghost of the dead king? [4]



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8.4 In response to Bernardo’s, ‘Looks it not like the king? Mark it, Horatio’ (line 43), Horatio says, 'it harrows* me with fear and wonder' (line 44). Explain Horatio’s response by focusing on the highlighted words. *A harrow is an implement used to turn over (plough) land for farming. [4] 8.5 Why does Bernardo say, ‘It would be spoke to’ (first part of line 45)? [2]

8.6 Why is it ironic that Horatio accuses the Ghost of being a usurper in line 46 : ‘What art thou that usurp’st this time of night’? [2] 8.7 In line 49 Horatio says: 'By heaven I charge thee speak.' Explain Horatio’s request by focusing on the highlighted word. [2] 8.8 The Ghost appears to be dressed for battle or war: he has a ‘warlike form’ (line 47)

and wears ‘armour’ (line 60). What does this suggest? Provide two separate points. (2+2) [4]

8.9 What does Horatio imply when he says, ‘This bodes some strange eruption to our state’

(line 69)? [2]

8.10 From line 70 to line 79, Marcellus queries Denmark’s preparation for a war. 8.10.1 On the literal level, what is the reason for this preparation? (2) 8.10.2 On the figurative level, what could this preparation be seen as? (3) [5]

/30/ OR QUESTION 9: HAMLET ESSAY

Hamlet is a wimp.* Do you agree? Substantiate your answer.

* wimp informal ● n. weak and cowardly person (South African Concise Oxford Dictionary; 2002)

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SECTION C: ACHEBE’S NOVEL QUESTION 10: THINGS FALL APART CONTEXTUAL

For three years Ikemefuna lived in Okonkwo’s household and the elders of Umuofia seemed to have forgotten about him. He grew rapidly like a yam tendril in the rainy season, and was full of the sap of life. He had become wholly absorbed into his new family. He was like an elder brother to Nwoye, and from the very first seemed to have kindled a new fire in the younger boy. He made 5 him feel grown-up; and they no longer spent the evenings in mother’s hut while she cooked, but now sat with Okonkwo in his obi, or watched him as he tapped his palm tree for the evening wine. Nothing pleased Nwoye now more than to be sent for by his mother or another of his father’s wives to do one of those difficult and masculine tasks in the home, like splitting wood, or pounding food. On receiv- 10 ing such a message through a younger brother or sister, Nwoye would feign annoy- ance and grumble aloud about women and their troubles. Okonkwo was inwardly pleased at his son’s development, and he knew it was due to Ikemefuna. He wanted Nwoye to grow into a tough young man capable of ruling his father’s household when he was dead and gone to join the ancestors. He 15 wanted him to be a prosperous man, having enough in his barn to feed the ancestors with regular sacrifices. And so he was always happy when he heard him grumbling about women. That showed that in time he would be able to control his women-folk. No matter how prosperous a man was, if he was unable to rule his women and his children (and especially his women) he was not really a man. He was like the man 20 in the song who had ten and one wives and not enough soup for his foo-foo. So Okonkwo encouraged the boys to sit with him in his obi, and he told them stories of the land – masculine stories of violence and bloodshed. Nwoye knew that it was right to be masculine and to be violent, but somehow he still preferred the stories that his mother used to tell, and which she no doubt still told to her younger children – 25 stories of the tortoise and his wily ways, and of the bird eneke-nti-oba who challenged the whole world to a wrestling contest and was finally thrown by the cat. He remembered the story she often told of the quarrel between Earth and Sky long ago, and how Sky withheld rain for seven years, until crops withered and the dead could not be buried because the hoes broke on the stony Earth. At last Vulture was sent to plead with Sky, 30 and to soften his heart with a song of the suffering of the sons of men. Whenever Nwoye’s mother sang this song he felt carried away to the distant scene in the sky where Vulture, Earth’s emissary, sang for mercy. At last Sky was moved to pity, and he gave to Vulture rain wrapped in leaves of coco-yam. But as he flew home his long talon pierced the leaves and the rain fell as it had never fallen before. And so heavily did it 35 rain on Vulture that he did not return to deliver his message but flew to a distant land, from where he had espied a fire. And when he got there he found it was a man making a sacrifice. He warmed himself in the fire and ate the entrails. That was the kind of story that Nwoye loved. But he now knew that they were for foolish women and children, and he knew that his father wanted him to be a man. 40 And so he feigned that he no longer cared for women’s stories. And when he did this he saw that his father was pleased, and no longer rebuked him or beat him. So Nwoye and Ikemefuna would listen to Okonkwo’s stories about tribal wars or how, years ago,



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he had stalked his victim, overpowered him and obtained his first human head. And as he told them of the past they sat in darkness or the dim glow of logs, waiting for the 45 women to finish their cooking. When they finished, each brought her bowl of foo-foo and bowl of soup to her husband. An oil lamp was lit and Okonkwo tasted from each bowl, and then passed two shares to Nwoye and Ikemefuna. In this way the moons and the seasons passed. And then the locusts came. It had not happened for many a long year. The elders said locusts came once in a gener- 50 ation, reappeared every year for seven years and then disappeared for another lifetime. They went back to their caves in a distant land, where they were guarded by a race of stunted men. And then after another lifetime these men opened the caves again and the locusts came to Umuofia. They came in the cold harmattan season after the harvests had been gathered, 55 and ate up all the wild grass in the fields. Okonkwo and the two boys were working on the red outer walls of the compound. This was one of the lighter tasks of the after-harvest season. A new cover of thick palm branches and palm leaves was set on the walls to protect them from the next rainy season. Okonkwo worked on the outside of the wall and the boys worked from 60 within. There were little holes from one side to the other in the upper levels of the wall, and through these Okonkwo passed the rope, or tie-tie, to the boys and they passed it round the wooden stays and then back to him; and in this way the cover was strengthened on the wall. The women had gone to the bush to collect firewood, and the little children to 65 visit their playmates in the neighbouring compounds. The harmattan was in the air and seemed to distil a hazy feeling of sleep on the world. Okonkwo and the boys worked in complete silence, which was only broken when a new palm frond was lifted on to the wall or when a busy hen moved dry leaves about in her ceaseless search for food. And then quite suddenly a shadow fell on the world, and the sun seemed hidden 70 behind a thick cloud. Okonkwo looked up from his work and wondered if it was going to rain at such an unlikely time of the year. But almost immediately a shout of joy broke out in all directions, and Umuofia, which had dozed in the noon-day haze, broke into life and activity. 10.1 What is ironic about Ikemefuna’s being described as growing ‘full of the sap of life’ (line 3 )? [2] 10.2 Explain why it is appropriate that Ikemefuna’s growth is compared to that of a yam (lines 2–3)? [3] 10.3 Why would Ikemefuna have kindled a ‘new fire’ (line 5) in Nwoye? [2]

10.4 Why would Nwoye be pleased to ‘do … difficult and masculine tasks’ (lines 9–10)? [1]

10.5 'Okonkwo was inwardly pleased at his son’s development' (line 13). Why would Okonkwo not outwardly show how pleased he was at his son’s development? [2] 10.6 In the light of what happens later, what is ironic about Okonkwo’s being happy about

Ikemefuna’s influence on Nwoye? [3]



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10.7 What is the main reason for Okonkwo’s wanting his son ‘to be a prosperous

man’ (line 16)? [2] 10.8 What is the main reason for Okonkwo's being ‘happy when he heard him grumbling

about women’ (lines 17–18)? [2] 10.9 ‘Nwoye knew that it was right to be masculine and to be violent’ (lines 23–24).

Why does he have this viewpoint? [2] 10.10 ‘He still preferred the stories that his mother used to tell’ (lines 24–25) What later developments are anticipated by Nwoye’s preference for his mother’s stories? Provide two different points. (2+2) [4] 10.11 Why would Okonkwo not like the stories Nwoye’s mother told? [1] 10.12 What could the reinforcing of the walls of the compound be symbolic of? [1]

10.13 ‘And then quite suddenly a shadow fell on the world’ (line 70) 10.13.1 What is this ‘shadow’ literally? (1) 10.13.2 What other ‘shadows’ will fall over Okonkwo’s life? Provide two separate answers. (2) [3] 10.14 ‘a shout of joy broke out in all directions’ (lines 72–73) What are the people joyous about? [2]

/30/ OR QUESTION 11: THINGS FALL APART ESSAY

Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world.

from WB Yeats: ‘The Second Coming’ This is the source of the title of Achebe’s novel. Discuss the novel in terms of the idea that ‘the centre cannot hold’.

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0002.2 ENGLISH FIRST LANGUAGE HG (PRIMARY …wcedmis.pgwc.gov.za/wcedmis/webadmin.wwdoc_process.process...‘blues for district six’ Abdullah Ibrahim ... 2.8 Quote from the poem