MERGED QUESTION PAPER> MARK SCHEME>INSERT> 100% GUARANTEE
AS
ENGLISH LITERATURE B
Paper 1B Literary genres: Drama: Aspects of comedy
Thursday 16 May 2024 Morning Time allowed: 1 hour 30 minutes
Materials
For this paper you must have:
• an AQA 12-page answer book.
Instructions
• Use black ink or black ball-point pen.
• Write the information required on the front of your answer book. The Paper Reference is 7716/1B.
• Do all rough work in your answer book. Cross through any work you do not want to be marked.
• You must answer one question from Section A and one question from Section B.
Information
• The maximum mark for this paper is 50.
• The marks for questions are shown in brackets.
• You will be marked on your ability to:
– use good English
– organise information clearly
– use specialist vocabulary where appropriate.
• In your response you need to:
– analyse carefully the writers’ methods
– explore the contexts of the texts you are writing about
– explore the connections across the texts you have studied
– explore different interpretations of your texts.
IB/G/Jun24/G4001/E4 7716/1B
, 2
Section A
Answer one question from this section.
Either
0 1 The Taming of the Shrew – William Shakespeare
Explore the significance of aspects of dramatic comedy in the following passage in
relation to the play as a whole.
You should consider the following in your answer:
• the setting and mood of the banquet
• the roles of the women
• other relevant aspects of dramatic comedy.
[25 marks]
Enter Baptista with Vincentio, Gremio with the
Pedant, Lucentio with Bianca, Petruchio with
Katherina, Hortensio with the Widow; followed by
Tranio, Biondello, and Grumio, with the Servingmen
bringing in a banquet
LUCENTIO
At last, though long, our jarring notes agree,
And time it is when raging war is done
To smile at scapes and perils overblown.
My fair Bianca, bid my father welcome,
While I with self-same kindness welcome thine.
Brother Petruchio, sister Katherina,
And thou, Hortensio, with thy loving widow,
Feast with the best, and welcome to my house.
My banquet is to close our stomachs up
After our great good cheer. Pray you, sit down,
For now we sit to chat as well as eat.
They sit
PETRUCHIO
Nothing but sit and sit, and eat and eat!
BAPTISTA
Padua affords this kindness, son Petruchio.
PETRUCHIO
Padua affords nothing but what is kind.
HORTENSIO
For both our sakes I would that word were true.
PETRUCHIO
Now, for my life, Hortensio fears his widow.
WIDOW
Then never trust me if I be afeard.
PETRUCHIO
You are very sensible, and yet you miss my sense:
I mean Hortensio is afeard of you.
WIDOW
He that is giddy thinks the world turns round.
IB/G/Jun24/7716/1B
, 3
PETRUCHIO
Roundly replied.
KATHERINA Mistress, how mean you that?
WIDOW
Thus I conceive by him.
PETRUCHIO
Conceives by me! How likes Hortensio that?
HORTENSIO
My widow says thus she conceives her tale.
PETRUCHIO
Very well mended. Kiss him for that, good widow.
KATHERINA
‘He that is giddy thinks the world turns round’ –
I pray you tell me what you meant by that.
WIDOW
Your husband, being troubled with a shrew,
Measures my husband’s sorrow by his woe.
And now you know my meaning.
KATHERINA
A very mean meaning.
WIDOW Right, I mean you.
KATHERINA
And I am mean, indeed, respecting you.
PETRUCHIO
To her, Kate!
HORTENSIO
To her, widow!
PETRUCHIO
A hundred marks, my Kate does put her down.
HORTENSIO
That’s my office.
PETRUCHIO
Spoke like an officer – ha’ to thee, lad.
He drinks to Hortensio
BAPTISTA
How likes Gremio these quick-witted folks?
GREMIO
Believe me, sir, they butt together well.
BIANCA
Head and butt! An hasty-witted body
Would say your head and butt were head and horn.
VINCENTIO
Ay, mistress bride, hath that awakened you?
BIANCA
Ay, but not frighted me, therefore I’ll sleep again.
PETRUCHIO
Nay, that you shall not. Since you have begun,
Have at you for a bitter jest or two.
BIANCA
Am I your bird? I mean to shift my bush,
And then pursue me as you draw your bow.
You are welcome all.
Exeunt Bianca, Katherina, and Widow
(Act 5, Scene 2)
Turn over ►
IB/G/Jun24/7716/1B
, 4
or
0 2 Twelfth Night – William Shakespeare
Explore the significance of aspects of dramatic comedy in the following passage in
relation to the play as a whole.
You should consider the following in your answer:
• the presentation of Viola
• the role of Feste
• other relevant aspects of dramatic comedy.
[25 marks]
Enter at different entrances Viola, and Feste playing
his pipe and tabor
VIOLA Save thee, friend, and thy music. Dost thou live by
thy tabor?
FESTE No, sir, I live by the church.
VIOLA Art thou a Churchman?
FESTE No such matter, sir; I do live by the church. For I
do live at my house, and my house doth stand by the
church.
VIOLA So thou mayst say the king lies by a beggar, if a
beggar dwell near him; or the Church stands by thy
tabor, if thy tabor stand by the church.
FESTE You have said, sir. To see this age! A sentence is
but a cheveril glove to a good wit; how quickly the
wrong side may be turned outward!
VIOLA Nay, that’s certain. They that dally nicely with
words may quickly make them wanton.
FESTE I would therefore my sister had had no name, sir.
VIOLA Why, man?
FESTE Why, sir, her name’s a word, and to dally with that
word might make my sister wanton. But indeed, words
are very rascals, since bonds disgraced them.
VIOLA Thy reason, man?
FESTE Troth, sir, I can yield you none without words, and
words are grown so false, I am loath to prove reason
with them.
VIOLA I warrant thou art a merry fellow, and car’st for
nothing.
FESTE Not so, sir. I do care for something; but in my conscience,
sir, I do not care for you. If that be to care for
nothing, sir, I would it would make you invisible.
VIOLA Art not thou the Lady Olivia’s fool?
FESTE No indeed, sir, the Lady Olivia has no folly. She
will keep no fool, sir, till she be married, and fools are as
like husbands as pilchers are to herrings; the husband’s
the bigger. I am indeed not her fool, but her corrupter
of words.
VIOLA I saw thee late at the Count Orsino’s.
IB/G/Jun24/7716/1B
AS
ENGLISH LITERATURE B
Paper 1B Literary genres: Drama: Aspects of comedy
Thursday 16 May 2024 Morning Time allowed: 1 hour 30 minutes
Materials
For this paper you must have:
• an AQA 12-page answer book.
Instructions
• Use black ink or black ball-point pen.
• Write the information required on the front of your answer book. The Paper Reference is 7716/1B.
• Do all rough work in your answer book. Cross through any work you do not want to be marked.
• You must answer one question from Section A and one question from Section B.
Information
• The maximum mark for this paper is 50.
• The marks for questions are shown in brackets.
• You will be marked on your ability to:
– use good English
– organise information clearly
– use specialist vocabulary where appropriate.
• In your response you need to:
– analyse carefully the writers’ methods
– explore the contexts of the texts you are writing about
– explore the connections across the texts you have studied
– explore different interpretations of your texts.
IB/G/Jun24/G4001/E4 7716/1B
, 2
Section A
Answer one question from this section.
Either
0 1 The Taming of the Shrew – William Shakespeare
Explore the significance of aspects of dramatic comedy in the following passage in
relation to the play as a whole.
You should consider the following in your answer:
• the setting and mood of the banquet
• the roles of the women
• other relevant aspects of dramatic comedy.
[25 marks]
Enter Baptista with Vincentio, Gremio with the
Pedant, Lucentio with Bianca, Petruchio with
Katherina, Hortensio with the Widow; followed by
Tranio, Biondello, and Grumio, with the Servingmen
bringing in a banquet
LUCENTIO
At last, though long, our jarring notes agree,
And time it is when raging war is done
To smile at scapes and perils overblown.
My fair Bianca, bid my father welcome,
While I with self-same kindness welcome thine.
Brother Petruchio, sister Katherina,
And thou, Hortensio, with thy loving widow,
Feast with the best, and welcome to my house.
My banquet is to close our stomachs up
After our great good cheer. Pray you, sit down,
For now we sit to chat as well as eat.
They sit
PETRUCHIO
Nothing but sit and sit, and eat and eat!
BAPTISTA
Padua affords this kindness, son Petruchio.
PETRUCHIO
Padua affords nothing but what is kind.
HORTENSIO
For both our sakes I would that word were true.
PETRUCHIO
Now, for my life, Hortensio fears his widow.
WIDOW
Then never trust me if I be afeard.
PETRUCHIO
You are very sensible, and yet you miss my sense:
I mean Hortensio is afeard of you.
WIDOW
He that is giddy thinks the world turns round.
IB/G/Jun24/7716/1B
, 3
PETRUCHIO
Roundly replied.
KATHERINA Mistress, how mean you that?
WIDOW
Thus I conceive by him.
PETRUCHIO
Conceives by me! How likes Hortensio that?
HORTENSIO
My widow says thus she conceives her tale.
PETRUCHIO
Very well mended. Kiss him for that, good widow.
KATHERINA
‘He that is giddy thinks the world turns round’ –
I pray you tell me what you meant by that.
WIDOW
Your husband, being troubled with a shrew,
Measures my husband’s sorrow by his woe.
And now you know my meaning.
KATHERINA
A very mean meaning.
WIDOW Right, I mean you.
KATHERINA
And I am mean, indeed, respecting you.
PETRUCHIO
To her, Kate!
HORTENSIO
To her, widow!
PETRUCHIO
A hundred marks, my Kate does put her down.
HORTENSIO
That’s my office.
PETRUCHIO
Spoke like an officer – ha’ to thee, lad.
He drinks to Hortensio
BAPTISTA
How likes Gremio these quick-witted folks?
GREMIO
Believe me, sir, they butt together well.
BIANCA
Head and butt! An hasty-witted body
Would say your head and butt were head and horn.
VINCENTIO
Ay, mistress bride, hath that awakened you?
BIANCA
Ay, but not frighted me, therefore I’ll sleep again.
PETRUCHIO
Nay, that you shall not. Since you have begun,
Have at you for a bitter jest or two.
BIANCA
Am I your bird? I mean to shift my bush,
And then pursue me as you draw your bow.
You are welcome all.
Exeunt Bianca, Katherina, and Widow
(Act 5, Scene 2)
Turn over ►
IB/G/Jun24/7716/1B
, 4
or
0 2 Twelfth Night – William Shakespeare
Explore the significance of aspects of dramatic comedy in the following passage in
relation to the play as a whole.
You should consider the following in your answer:
• the presentation of Viola
• the role of Feste
• other relevant aspects of dramatic comedy.
[25 marks]
Enter at different entrances Viola, and Feste playing
his pipe and tabor
VIOLA Save thee, friend, and thy music. Dost thou live by
thy tabor?
FESTE No, sir, I live by the church.
VIOLA Art thou a Churchman?
FESTE No such matter, sir; I do live by the church. For I
do live at my house, and my house doth stand by the
church.
VIOLA So thou mayst say the king lies by a beggar, if a
beggar dwell near him; or the Church stands by thy
tabor, if thy tabor stand by the church.
FESTE You have said, sir. To see this age! A sentence is
but a cheveril glove to a good wit; how quickly the
wrong side may be turned outward!
VIOLA Nay, that’s certain. They that dally nicely with
words may quickly make them wanton.
FESTE I would therefore my sister had had no name, sir.
VIOLA Why, man?
FESTE Why, sir, her name’s a word, and to dally with that
word might make my sister wanton. But indeed, words
are very rascals, since bonds disgraced them.
VIOLA Thy reason, man?
FESTE Troth, sir, I can yield you none without words, and
words are grown so false, I am loath to prove reason
with them.
VIOLA I warrant thou art a merry fellow, and car’st for
nothing.
FESTE Not so, sir. I do care for something; but in my conscience,
sir, I do not care for you. If that be to care for
nothing, sir, I would it would make you invisible.
VIOLA Art not thou the Lady Olivia’s fool?
FESTE No indeed, sir, the Lady Olivia has no folly. She
will keep no fool, sir, till she be married, and fools are as
like husbands as pilchers are to herrings; the husband’s
the bigger. I am indeed not her fool, but her corrupter
of words.
VIOLA I saw thee late at the Count Orsino’s.
IB/G/Jun24/7716/1B
