SACAI MAY: ENGLISH HL P2 | 2024

EXAMINATION JUNE EXAMINATION

GRADE 12

DATE 27 May 2024

SUBJECT ENGLISH HOME LANGUAGE

PAPER 2

MARK TOTAL 80

DURATION (HOURS) 2½

NUMBER OF PAGES 55

THIS QUESTION PAPER CONSISTS OF 55 PAGES

INSTRUCTIONS AND INFORMATION

1. Read these instructions carefully before you begin to answer the questions.

2. Do not attempt to read the entire question paper. Consult the table of contents on
page 2 - 4 and mark the number of questions set on texts you have studied this year.
Thereafter, read these questions and choose the ones you wish to answer.

3. This question paper consists of THREE sections:

• SECTION A: Poetry (30 marks)

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• SECTION B: Novel (25 marks)
• SECTION C: Drama (25 marks)

4. Answer FIVE QUESTIONS in all: THREE in Section A, ONE in Section B and ONE
in Section C as follows:

SECTION A: POETRY
Prescribed poetry – Answer two questions. Unseen poetry – Compulsory question.

SECTION B: NOVEL
Answer ONE question.

SECTION C: DRAMA
Answer ONE question.

5. CHOICE OF ANSWERS FOR SECTIONS B (NOVEL) AND C (DRAMA)

• Answer questions ONLY on the Novel and the Drama that you have studied.
• Answer ONE ESSAY QUESTION AND ONE CONTEXTUAL QUESTION.
If you answer the essay question in Section B, you must answer the contextual
question in Section C. If you answer the contextual question in Section B, you must
answer the essay question in Section C.
• Use the checklist to assist you.

6. LENGTH OF ANSWERS
• Essay questions on Poetry should be answered in 250 – 300 words.
• Essay questions on the Novel and Drama sections should be answered in
400 – 450 words.
• The length of answers of contextual questions should be determined by
the mark allocation.
• Candidates should aim for conciseness and relevance.

7. Follow the instructions at the beginning of each section carefully.

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8. Number your answers correctly according to the numbering system used in this
question paper.

9. Start EACH section on a NEW page.

10. Suggested time management:

• SECTION A: approximately 40 minutes.
• SECTION B: approximately 55 minutes.
• SECTION C: approximately 55 minutes.

11. Write neatly and legibly

IMPORTANT NOTE TO CANDIDATES:

The following Paper 2 has specifically been structured to accommodate all Literature
selections for the 2024 transition period.

You must answer ONLY the Literature you have studied in class.

TABLE OF CONTENTS
Read through the following table of contents and choose the questions you wish to answer.

SECTION A: POETRY
Section A Poetry, you will do either the 2023 or 2024 selection of poetry
depending on the poetry covered by your school. You should omit the
collection of poetry which you did not study this year.

PRESCRIBED POETRY 2023

Answer any TWO of the following four questions:

Question 1: ‘Childhood in Heidelberg’ Essay question 10 Pages 8 - 9

Question 2: ‘To My Father Who Died’ Contextual question 10 Pages 10 - 11

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Question 3: ‘In an Artist’s Studio’ Contextual question 10 Pages 12 - 13

Question 4: ‘The Weary Blues’ Contextual question 10 Pages 13 - 14

OR

PRESCRIBED POETRY 2024

Answer any TWO of the following four questions:

Question 1: ‘Sonnet 130’ Essay question 10 Page 15

Question 2: ‘Solitude’ Contextual question 10 Pages 16 - 17

Question 3: ‘Vultures’ Contextual question 10 Pages 17 - 19

Question 4: ‘The Morning Sun is Shining Contextual question 10 Pages 20 - 21

AND
UNSEEN POEM: Compulsory

Question 5: ‘Pigeons’ Contextual question 10 Pages 22 - 23

AND
SECTION B: NOVEL

Section B Novel, you will answer only on the NOVEL covered by your school. You should
omit the other NOVELS which you did not study this year.

Answer any ONE of the following two questions based on the NOVEL you have studied this
year.

Question 6: Diamond Boy Essay question 25 Page 24

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Question 7: Diamond Boy Contextual question 25 Pages 24 - 27

Question 8: The Picture of Dorian Gray Essay question 25 Page 28

Question 9: The Picture of Dorian Gray Contextual question 25 Pages 29 - 31

Question 10: The Theory of Flight Essay question 25 Page 32

Question 11: The Theory of Flight Contextual question 25 Pages 33 - 36

Question 12: The Swim Team Essay question 25 Page 37

Question 13: The Swim Team Contextual question 25 Pages 37 - 40

*NOTE:
In SECTIONS B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer TWO essays or TWO contextual questions.

AND

SECTION C: DRAMA

Section C Drama, you will answer only on the DRAMA covered by your school.
You should omit the other DRAMAS which you did not study this year.

Answer any ONE of the following two questions based on the DRAMA you have studied this
year.
Question 14: Pygmalion Essay question 25 Page 41

Question 15: Pygmalion Contextual question 25 Pages 41 - 44

Question 16: Hamlet Essay question 25 Page 45

Question 17: Hamlet Contextual question 25 Pages 45 - 49

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Question 18: District 6 and other plays Essay question 25 Page 50

Nongeni, the Rhino and the Cannibal

Question 19: District 6 and other plays Contextual question 25 Pages 51 - 55

District 6

*NOTE:
In SECTIONS B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer TWO essays or TWO contextual questions.

CHECKLIST

Use this checklist to ensure that you have answered the correct number of questions.

Section Content Question No. No. of questions Tick

answered
🗸

A Poetry: Prescribed Poetry 1-4 2

A Poetry: Unseen Poetry 5 1

B Novel: (Essay or Contextual) 6 - 13 1

C Drama:(Essay or Contextual) 14 - 19 1

NOTE:
In SECTIONS B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer TWO essays or TWO contextual questions.

SECTION A: POETRY
PRESCRIBED POETRY 2023
Answer any TWO of the following questions.

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QUESTION 1: POETRY – ESSAY QUESTION
Read the poem below and then answer the questions that follow.

Childhood in Heidelberg – Andries Walter Oliphant

1 I was born in a house where ancestors 2

were suspended from the walls.
3 On hot afternoons
4 they would descend and walk silently through
5 the cool passages
6 of the dark house, slowly
7 as if strolling through a womb.

8 The roof is a vantage point for birds and pigeons.

9 On the stoep in
10 an ancient folding chair my name-sake sits.
11 there is a giant gumtree
12 at the gate in which the sun sets.
13 The stars are candles
14 which my grandmother has lit.

15 Every morning father wakes to find a man

16 with a hole in his head
17 sleeping in the drift sand
18 of the furrow which runs
19 along the creosoted split-pole fence.
20 I go in search of the orchestra of crickets.

21 In the kitchen mother cries as she turns

22 the toast on the black plates
23 of the Welcome Dover. When

24 father packed my pigeons into boxes,

25 I ended up with Rover and the cats

26 on the back of a truck

27 with all the household goods.

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28 I thought, if this is part of life, it’s fun.

29 At the end of the truck’s journey through

30 the sky, we arrived

31 in a toy town of match-box houses 32

lined up like tombstones in a graveyard.
33 At once, I understood why mother cried.

In the poem "Childhood in Heidelberg" the speaker is describing the world as he saw
it as a child.

With reference to imagery, form, and diction contrast the stark differences between
the speaker’s experience as a child in the past and as an adult in the present.

Your response should be a well-constructed poetry essay of 250 - 300 words. (1

- 1½ pages)
[10]

OR

QUESTION 2: POETRY – CONTEXTUAL QUESTION

Read the poem below and then answer the question that follows.

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To My Father Who Died - Dawn Garisch

1 On shimmering beaches you come to me

2 and sit in the caves of my sockets,
3 taking a long look out along the wash
4 to where the sea breathes white and ash

5 seasoned with fish and salt.

6 You are oblivious to views, cliffs
7 and gulls in flight, unless they relate 8 to where to cast, where to
meditate.

9 Your eyes skim and skip, scanning

10 the churned water and the lure within
11 wanting to plunge into the rip where fish disperse 12 like coins
scattered, catching light.

13 Your sperm immersed, scattered,

14 pearled within my mother’s cavern,
15 fastened on her blood muscle 16 some
limpet days; then came the third daughter,

17 sea child, washed up like diviner’s shells

18 and other flotsam fragments on your shores,
19 fine lines cast by receding tides
20 upon your palms, now ash to the wind.

21 That place, that interface where the fish emerge

22 you have entered. I sit a while and watch
23 the surface play and try to understand
24 what moved you. I only see the view.

2.1 Identify and explain the figure of speech in line 2. (3)

…and sit in the caves of my sockets,

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2.2 Refer to lines 6 - 8. (2)

You are oblivious to views, cliffs … to where to cast, where to meditate.

Explain in your own words what the speaker’s thoughts in these lines reveal
about her father’s connection to the ocean.

2.3 Account for the speaker’s use of diction in Stanza 4 as she reflects on her
connection to her father. (2)

2.4 Refer to Stanza 6.

Critically discuss how this stanza reinforces the theme of the poem. (3)
[10]

OR

QUESTION 3: POETRY – CONTEXTUAL QUESTION

Read the poem below and then answer the question that follows.

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In an Artist's Studio – Christina Rossetti

1 One face looks out from all his canvases,

2 One selfsame figure sits or walks or leans: 3 We found her
hidden just behind those screens, 4 That mirror gave back all her
loveliness.
5 A queen in opal or in ruby dress,
6 A nameless girl in freshest summer-greens,
7 A saint, an angel — every canvas means
8 The same one meaning, neither more or less.
9 He feeds upon her face by day and night,
10 And she with true kind eyes looks back on him, 11 Fair as the
moon and joyful as the light:
12 Not wan with waiting, not with sorrow dim;
13 Not as she is, but was when hope shone bright;
14 Not as she is, but as she fills his dream

3.1 Account for the use of Anaphora in the opening lines of the poem and explain
how the poet has used this to reinforce the theme of the poem.
Substantiate your answer. (3)

3.2 Refer to line 11.

Fair as the moon and joyful as the light:

(2)
Highlight the stark contrast between these two similes and the lines that follow.

3.3 Refer to line 9.

He feeds upon her face by day and night,

(2) Discuss the effectiveness of the imagery in this line.

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3.4 Critically discuss how the poet’s use of structure reinforces the central idea of
(3) the poem.
[10]

OR
QUESTION 4: POETRY – CONTEXTUAL QUESTION
Read the poem below and then answer the question that follows.

The Weary Blues – Langston Hughes

1 Droning a drowsy syncopated tune, 2

Rocking back and forth to a mellow croon, 3
I heard a Negro play.
4 Down on Lenox Avenue the other night
5 By the pale dull pallor of an old gas light 6
He did a lazy sway. . .
7 He did a lazy sway. . .
8 To the tune o’ those Weary Blues.
9 With his ebony hands on each ivory key
10 He made that poor piano moan with melody.
11 O Blues!
12 Swaying to and fro on his rickety stool
13 He played that sad raggy tune like a musical fool.
14 Sweet Blues!
15 Coming from a black man’s soul.
16 O Blues!
17 In a deep song voice with a melancholy tone
18 I heard that Negro sing, that old piano moan—
19 “Ain’t got nobody in all this world,
20 Ain’t got nobody but ma self.
21 I’s gwine to quit ma frownin’
22 And put ma troubles on the shelf.”

23 Thump, thump, thump, went his foot on the floor.

24 He played a few chords then he sang some more—

25 “I got the Weary Blues

26 And I can’t be satisfied.

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27 Got the Weary Blues
28 And can’t be satisfied—
29 I ain’t happy no mo’
30 And I wish that I had died.” 31
And far into the night he crooned that tune.
32 The stars went out and so did the moon.
33 The singer stopped playing and went to bed
34 While the Weary Blues echoed through his head.
35 He slept like a rock or a man that’s dead.

4.1 Discuss the suitability of the title with reference to the tone of the poem. (3)

4.2 Refer to lines 8 - 10.

To the tune o’ those Weary Blues.

With his ebony hands on each ivory key
He made that poor piano moan with melody.

Explain the significance of ‘ebony’ and ‘ivory’ in these lines. (2)

4.3 Refer to lines 10 - 12.

He made that poor piano moan with melody.

O Blues!
Swaying to and fro on his rickety stool

Critically comment on how the imagery of the piano conveys the message of
oppression and suffering. (2)

4.4 Refer to line 32.

The stars went out and so did the moon.

Discuss the symbolism in this line. (3)

[10]

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OR
SECTION A: POETRY
PRESCRIBED POETRY 2024
Answer any TWO of the following questions.

QUESTION 1: POETRY – ESSAY QUESTION

Read the poem below and then answer the questions that follow.

Sonnet 130 – William Shakespeare

1 My mistress' eyes are nothing like the sun;

2 Coral is far more red than her lips' red;
3 If snow be white, why then her breasts are dun; 4 If hairs be wires,
black wires grow on her head.
5 I have seen roses damasked, red and white,
6 But no such roses see I in her cheeks; 7 And in
some perfumes is there more delight
8 Than in the breath that from my mistress reeks.
9 I love to hear her speak, yet well I know
10 That music hath a far more pleasing sound;
11 I grant I never saw a goddess go;
12 My mistress, when she walks, treads on the ground.
13 And yet, by heaven, I think my love as rare 14 As any she belied
with false compare.

In Sonnet 130, Shakespeare uses structure, diction, and imagery to deliver a

powerful commentary on love.

Considering the statement above, critically discuss how Shakespeare employed these
poetic devices to deliver his message.
Your response should be a well-constructed poetry essay of 250 - 300 words. (1
- 1½ pages)
[10]

OR

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QUESTION 2: POETRY – CONTEXTUAL QUESTION

Read the poem below and then answer the question that follows.

Solitude – Ella Wheeler Wilcox

1 Laugh, and the world laughs with you;

2 Weep, and you weep alone;
3 For the sad old earth must borrow its mirth, 4
But has trouble enough of its own.
5 Sing, and the hills will answer;
6 Sigh, it is lost on the air;
7 The echoes bound to a joyful sound, 8 But
shrink from voicing care.

9 Rejoice, and men will seek you;

10 Grieve, and they turn and go;
11 They want full measure of all your
pleasure, 12 But they do not need your woe.
13 Be glad, and your friends are many;
14 Be sad, and you lose them all,—
15 There are none to decline your nectared
wine, 16 But alone you must drink life’s gall.

17 Feast, and your halls are crowded; 18

Fast, and the world goes by.
19 Succeed and give, and it helps you live, 20
But no man can help you die.
22 There is room in the halls of
pleasure
23 For a large and lordly train, 24 But
one by one we must all file on
25 Through the narrow aisles of pain.

2.1 Identify and explain the figure of speech in line 1.

Laugh, and the world laughs with you; (2)

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2.2 Refer to lines 15 -16.

There are none to decline your… must drink life’s gall.

(3)
Discuss the metaphor used in these lines.

2.3 Account for the speaker’s use of opposites throughout the poem. (2)

2.4 Refer to Stanza 3.

Critically discuss how this stanza reinforces the message of the poem. (3)
[10]

OR
QUESTION 3: POETRY – CONTEXTUAL QUESTION
Read the poem below and then answer the question that follows.

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Vultures – Chinua Achebe

1 In the greyness
2 and drizzle of one despondent
3 dawn unstirred by harbingers
4 of sunbreak a vulture
5 perching high on broken
6 bones of a dead tree
7 nestled close to his
8 mate his smooth
9 bashed-in head, a pebble
10 on a stem rooted in
11 a dump of gross
12 feathers, inclined affectionately
13 to hers. Yesterday they picked
14 the eyes of a swollen
15 corpse in a water-logged
16 trench and ate the
17 things in its bowel. Full

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18 gorged they chose their roost

19 keeping the hollowed remnant
20 in easy range of cold 21 telescopic eyes...
22. Strange
23. indeed how love in other
24 ways so particular
25 will pick a corner
26 in that charnel-house
27 tidy it and coil up there, perhaps
28 even fall asleep - her face 29 turned to the wall!
30 ...Thus the Commandant at Belsen
31 Camp going home for
32 the day with fumes of
33 human roast clinging
34 rebelliously to his hairy
35 nostrils will stop
36 at the wayside sweet-shop
37 and pick up a chocolate
38 for his tender offspring 39 waiting at home for Daddy’s 40 return...
41 Praise bounteous
42 providence if you will
43 that grants even an ogre
44 a tiny glow-worm
45 tenderness encapsulated
46 in icy caverns of a cruel
47 heart or else despair
48 for in the very germ
49 of that kindred love is
50 lodged the perpetuity 51 of evil.

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3.1 Examine lines 5 - 11.

perching high on broken… dump of gross

Evaluate how the use of diction contributes to the tone and mood in these
(3) lines.

3.2 Explain the extended metaphor of the poem. (2)

3.3 Refer to lines 37 - 40.

and pick up a chocolate … return...

Discuss the irony in these lines. (2)

3.4 Refer to line 41 - 51.

Praise bounteous/providence … perpetuity/of evil

Critically discuss how the poet uses these lines to convey his message of

hope and despair. Substantiate your response by referring to imagery and/or

(3) diction.
[10]

OR

QUESTION 4: POETRY – CONTEXTUAL QUESTION

Read the poem below and then answer the question that follows.

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The Morning Sun is Shining – Olive Schreiner

1 The morning sun is shining on

2 The green, green willow tree, 3
And sends a golden sunbeam 4 To
dance upon my knee.
5 The fountain bubbles merrily, 6
The yellow locusts spring,
7 Of life and light and sunshine
8 The happy brown birds sing
9 The earth is clothed with beauty,
10 The air is filled with song,
11 The yellow thorn trees load the wind 12
With odours sweet and strong.
13 There is a hand I never touch
14 And a face I never see;
15 Now what is sunshine, what is song, 16
Now what is light to me?

4.1 Refer to lines 1 - 4.

The morning sun is shining on … To dance upon my knee

Identify the figure of speech used in these lines and explain its effectiveness. (3)

4.2 Account for the two distinct uses of anaphora at the beginning and end of the
poem. Substantiate your answer. (2)

4.3 Refer to line 16.

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Now what is light to me?

Explain why the poet made use of a rhetorical question at the end of the poem. (2)

4.4 Critically discuss the shift in tone that occurs in the poem. (3)
[10]

AND

QUESTION 5: UNSEEN POETRY – COMPULSORY QUESTION

Read the poem below and then answer the question that follows.

Pigeons – Richard Kell

1 They paddle with staccato feet

2 In powder-pools of sunlight,
3 Small blue busybodies
4 Strutting like fat gentlemen
5 With hands clasped
6 Under their swallowtail coats;
7 And, as they stump about,
8 Their heads like tiny hammers
9 Tap at imaginary nails
10 In non-existent walls.
11 Elusive ghosts of sunshine
12 Slither down the green gloss
13 Of their necks in an instant, and are gone.

14 Summer hangs drugged from sky to earth

15 In limpid fathoms of silence:
16 Only warm dark dimples of sound
17 Slide like slow bubbles
18 From the contented throats.

19 Raise a casual hand -

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20 With one quick gust 21
They fountain into air.

5.1 Discuss the use of enjambment in the first stanza and explain its effectiveness.
(2)

5.2 Refer to line 4.

Strutting like fat gentlemen

Discuss the impression of the pigeons that the imagery creates in these lines. (2)

5.3 Refer to lines 8 – 10.

Their heads like tiny hammers

Tap at imaginary nails In
non-existent walls.

Critically comment on the effectiveness of the simile used. (3)

5.4 With close reference to the poem. Comment on how the speaker’s tone
reinforces the central idea of the poem. (3)
[10] TOTAL SECTION A: [30]

AND

SECTION B: NOVEL – DIAMOND BOY

Answer any ONE of the following two questions:

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NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

QUESTION 6: NOVEL - ESSAY QUESTION

Come, Patson. We must leave this terrible place – the eye will take nothing more from us.
(Chapter 25)

The effect of loss serves as an important theme that touches the lives of many of the
characters in the novel.

In a well-constructed essay of 400 – 450 words (2 - 2 ½ pages) critically discuss the theme of
loss by making close reference to events and characters in the novel.
[25]

OR

QUESTION 7: NOVEL – CONTEXTUAL QUESTIONS

Read the extracts below and answer the questions that follow.

EXTRACT 1
How did you get here, Patson? 1
Sometimes the simple questions are the hardest to answer.
My tongue lies like a chisel in my mouth; my eyes are leaden. I swim from a place 5
of no feeling, moving steadily upward into a world of sensation. To the dark,
throbbing pain that lives in my leg. My old companion has not left me in this new
place; it waits for me as I drift to the surface, sharpening its teeth.

“Patson, how did you get here?”

Is it the voice of my father? I feel his hand resting on my arm. My father, who talks

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till your head spins. Until, when you are exhausted from the journey of his words,
you get the answer you need. Like a small cut diamond, sparkling with clarity. 10 But
here, in this room, there are too many shades of white. The bed is too high off the floor,
the sheets starch-stiff, the pillows too big.
Even so, I am grateful to be alive.
I rest my head against the oversized pillow and turn to the window. The enormous
flat-topped mountain looms over the city. A huge cloud rides the faraway cliffs, 15 racing
down the grey rock faces as if driven by an invisible force.

Where’s Jesus? I mumble. And Grace? I must look to Grace. I struggle to rise but I
am too weak. My head is heavy. My body pressed into the bed.

Can’t it be easier, Baba? Isn’t there a shortcut I can take?

You have to tell everything, my son. You have to tell it all. The story makes you who 20 you
are.
(Prologue)

7.1 Place the extract into context. (3)

7.2 Refer to lines 4 - 6.

To the dark, throbbing pain that lives in my leg. My old companion has not
left me in this new place; it waits for me as I drift to the surface, sharpening
its teeth.

With your knowledge of the novel, explain why Patson is in so much pain. (3)

7.3 Refer to line 10.

Like a small cut diamond, sparkling with clarity.

Using this simile, discuss the relationship between Patson and his father. (3)

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7.4 Refer to line 13.

Even so, I am grateful to be alive.

Discuss how this line contributes to the events that led Patson to this
moment. (3)
[12]

AND
EXTRACT 2
Dear Baba and Amai, 1

I never understood the meaning of the dream I had the night you came to me, Amai.

I don’t know if dreams are meant to be significant, or even if one should pay them

any attention.

And so, after talking with Boubacar and Grace about the diamonds and what they 5
mean and what we should do with them, we decided they were gifts from you.

I had to work up a lot of courage before I was able to phone Sheena. I told her the

truth. About everything. It was a long phone call and by the end, we were laughing.

I invited her to Cape Town for the December holidays. I hope they come.

Baba, this story I have told is who I am today. But when I finally came to this page -
10 the very last page of the diary you gave me in the shed – I found a message.
The words were scribbled in the bottom right-hand corner, waiting for me. And it seems
only right that they be the final words of my diary.

I love you both, my parents.

Patson
15
Yah, half prince, I know you are going to make it. Even though it looks bad now,

you’re going to be alright. Did I ever lie to you? No. So, believe, Patson! And it will

be good again because the Geez are in the Knees. That’s all I’m saying and

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somebody as “bright” as you should know what I’m talking about. You are my best

friend, Patson, always will be, till the day I die.

20
(Chapter 34)

7.5 Discuss the effectiveness of the author’s use of italics in this extract. (3)

7.6 With reference to how the novel ends, do you think Patson is capable of
taking on a responsible role in Grace’s life? (3)

7.7 Explain the significance of diary entries in the context of the novel. (3)

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7.8 Refer to line 2.

I never understood the meaning of the dream I had the night you came to me,
Amai.

Based on your knowledge of the novel as a whole, analyse the significance of

dreams. (4)
[13] [25]

TOTAL SECTION B: [25]

OR

SECTION B: NOVEL – THE PICTURE OF DORIAN GRAY

Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

QUESTION 8: NOVEL - ESSAY QUESTION

The relationships between Dorian Gray, Lord Henry Wotton and Basil Hallward lead
to the corruption and demise of Dorian Gray.

In a well-constructed essay of 400 - 450 words (2 – 2 ½ pages), evaluate the validity of this
statement, providing evidence to support your view.

[25]

OR

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QUESTION 9: NOVEL – CONTEXTUAL QUESTIONS

Read the extracts below and answer the questions that follow.

EXTRACT 1
"Then why won't you exhibit his portrait?" asked Lord Henry.
"Because, without intending it, I have put into it some expression of all this curious
artistic idolatry, of which, of course, I have never cared to speak to him. He knows
nothing about it.”
[…]
"An artist should create beautiful things, but should put nothing of his own life into 5
them. We live in an age when men treat art as if it were meant to be a form of
autobiography. We have lost the abstract sense of beauty. Some day I will show the
world what it is; and for that reason the world shall never see my portrait of Dorian
Gray."
"I think you are wrong, Basil, but I won't argue with you. It is only the intellectually 10
lost who ever argue. Tell me, is Dorian Gray very fond of you?" The painter
considered for a few moments. "He likes me," he answered after a pause; "I know he
likes me. Of course I flatter him dreadfully. I find a strange pleasure in saying things
to him that I know I shall be sorry for having said. As a rule, he is charming to me, and
we sit in the studio and talk of a thousand 15 things. Now and then, however, he is
horribly thoughtless, and seems to take a real delight in giving me pain. Then I
feel, Harry, that I have given away my whole soul to some one who treats it as if it
were a flower to put in his coat, a bit of decoration to charm his vanity, an ornament for
a summer's day.”

(Chapter 1)

9.1 Place the extract into context. (3)

9.2 Refer to lines 2 - 4.

“Because, without intending it, … He knows nothing about it.”

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Explain how Basil's idolisation of Dorian influences Dorian's transformation. (3)

9.3 Refer to lines 5 - 7.

"An artist should create beautiful things, but should put nothing of his own life
into them. We live in an age when men treat art as if it were meant to be a
form of autobiography.”

Analyse the irony in these lines. Substantiate your answer. (3)

9.4 Refer to lines 11 - 13.

“Tell me, is Dorian Gray very fond of you?"/ The painter considered for a few
moments. "He likes me," he answered after a pause; "

Discuss how these lines reveal insight regarding the theme of hedonism. (3)
[12]

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AND
EXTRACT 2
An exclamation of horror broke from the painter's lips as he saw in the dim 1 light
the hideous face on the canvas grinning at him. There was something in its
expression that filled him with disgust and loathing. Good heavens! it was Dorian Gray's
own face that he was looking at! The horror, whatever it was, had not yet entirely
spoiled that marvellous beauty. There was still some gold in the thinning hair 5 and some
scarlet on the sensual mouth. The sodden eyes had kept something of the loveliness
of their blue, the noble curves had not yet completely passed away from chiselled
nostrils and from plastic throat. Yes, it was Dorian himself. But who had done it? He
seemed to recognize his own brushwork, and the frame was his own design. The
idea was monstrous, yet he felt afraid. He seized the lighted 10 candle, and held it to the
picture. In the lefthand corner was his own name, traced in long letters of bright
vermilion.
[…]
The young man was leaning against the mantelshelf, watching him with that strange
expression that one sees on the faces of those who are absorbed in a play when
some great artist is acting. There was neither real sorrow in it nor real joy. 15 There was
simply the passion of the spectator, with perhaps a flicker of triumph in his eyes.
(Chapter 13)

9.5 Refer to lines 1 - 2.

An exclamation of horror broke from the painter's lips as he saw in the dim
light the hideous face on the canvas grinning at him.

Comment on the reason behind the artist’s horror. (3)

9.6 Refer to line 12.

In the lefthand corner was his own name

Discuss the relevance of his name being traced on the portrait. (3)

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9.7 Analyse and contrast the character of Dorian in this chapter with the Dorian we
met in Chapter 2. (3)

9.8 Refer to lines 16 - 18.

There was neither real sorrow in it nor real joy. There was simply the passion of
the spectator, with perhaps a flicker of triumph in his eyes.

Based on your knowledge of the novel as a whole, is Dorian justified in his

contempt toward Basil? Justify your response. (4)
[13] [25]

TOTAL SECTION B: [25]

OR

SECTION B: NOVEL – THE THEORY OF FLIGHT

Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

QUESTION 10: NOVEL - ESSAY QUESTION

"It's amazing how often fiction applies to real life. Stories are like mirrors, taking what we
know about the world and reflecting truths and ideas of freedom through the tales of the
characters." – Zachary Totahmay (2015)

Argue to what extent Ndlovu's, The Theory of Flight, reflects truths that mirror life and present
ideas of freedom through the tales of the characters.

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Your response should take the form of a well-constructed essay of 400 – 450 words (2
– 2½ pages).
[25]

OR

QUESTION 11: NOVEL – CONTEXTUAL QUESTIONS

Read the extracts below and answer the questions that follow.

EXTRACT 1
She had looked up at him. 1
“You’re Jesus aren’t you?”
“Yes,” he had said, hesitating slightly.
“You don’t look like Jesus.”
“I know.” 5
“Why they call you Jesus then?”
“I think it is because of the long hair and the beard.”
“And the kind eyes.”
He had smiled down at her. She had smiled up at him.
“Maybe you should cut your hair and shave off your beard.” 10
“Maybe I should.”
“Maybe you are afraid that people will stop calling you Jesus if you do.”
[…]
He had smiled down at her. She had smiled up at him.
“You will remember me”- that was Golide Gumede had foretold. Vida looked at the
15
gap between Imogen’s front teeth and he did remember. He remembered the feel of
the sway of the elephant grass tingle in his fingertips… the presence of something that
filled him with a sense of wonder… a heralding.
And then Vida noticed Genie’s blood blooming on the quilt and at that very moment he
wanted no other meaning for his life but to save her.

(Book 1 Part IV – Teleology: Vida)

11.1 Place the extract into context. (3)

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11.2 Refer to line 9.

He had smiled down at her. She had smiled up at him.

Discuss the significance of their meeting.

(3)

11.3 Refer to lines 14 - 15.

“You will remember me”- that was Golide Gumede had foretold.
Vida looked at the gap between Imogen’s front teeth and he did remember.

Examine the relevance of Vida remembering this moment in his past and how it
relates to Imogen. (3)

11.4 Refer to lines 18 - 19.

And then Vida noticed Genie’s blood blooming on the quilt and at that very moment
he wanted no other meaning for his life but to save her.

Analyse the significance of Vida breaking the rule of non-interference. Verify

your answer. (3)

[12]

AND

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EXTRACT 2
By the time the procession arrives at the Victoria Falls and stands at the banks of 1
the mighty Zambezi River, a new dawn is breaking. They all stand there watching
the sun do what it has always done – rise from the east, full of promise. 5
A man, a very tall man with glasses, wearing a cap and a loose shirt that declares
him to be a very rare thing nowadays – a tourist – stands a respectable distance from 10
the motley group. He is aware that they are waiting for something to happen,
perhaps some traditional African ritual that he will luckily be able to capture on the 15

expensive - looking camera that dangles hopefully on his chest. The man blinks
once. Twice. Thrice.
“Krystle?” The man says, hesitantly, obviously not wanting to disturb their peace.
Krystle turns around and blinks at him.
[…]
“Aha!” he says triumphantly, as he retrieves something from his back pocket. It is a
postcard of the Victoria Falls. On the back, in Genie’s handwriting, are the words,
“Remember, there will be a time of the swimming elephants.”
“How? How could she have known?” Krystle asks. Her hands trembling.
Xander blinks at her.

[…]
And that is when they appear with formidable grace. Majestic. A herd of elephants,
raising dust beautifully in the early morning savannah sunlight. The bull at the head
of the herd raises his trunk and trumpets terrifically. All the elephants come to a 20
gradual standstill on one side of the Victoria Falls. And then the elephant dives in
close to where the waters plunge over the edge. 25
[…]
There is freedom…beauty even, in that kind of knowledge…It is the kind of
knowledge that finally quiets you. It is the kind of knowledge that allows you to fly.
You have to experience it for yourself.
Overhead an aeroplane flies; its silver wings flash in the golden sky.

(Book 2 Part II – Revelations: The Real Revolutionaries)

11.5 Refer to line 4.

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A man, a very tall man with glasses,

Explain who this man is and how he came to be at Victoria Falls. (3)

11.6 Refer to line 14.

“Remember, there will be a time of the swimming elephants.”

Analyse the significance of this line with reference to Genie’s message to

Krystle. (3)

11.7 Examine the relevance that even in death Genie is doing things on her own
terms. (3)

11.8 Critically discuss how the closing paragraph reinforces the significance of the
novel’s title. Substantiate your answer. (4)
[13] [25]
TOTAL SECTION B: [25]

OR

SECTION B: NOVEL – THE SWIM TEAM

Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

© SACAI COPYRIGHT ~ 35 ~
 SACAI MAY: ENGLISH HL P2 | 2024
QUESTION 12: NOVEL - ESSAY QUESTION

In "The Swim Team," Khethiwe grapples with a lack of belonging, yet ultimately discovers
her place in the world by the novel's conclusion.

Critically discuss the statement, by making close reference to events and characters in the
novel.

Your response should take the form of a well-constructed essay of 400 – 450 words (2
– 2½ pages).
[25]

OR

QUESTION 13: NOVEL – CONTEXTUAL QUESTIONS

Read the extracts below and answer the questions that follow.

EXTRACT 1
There are three boarding houses at St Anne’s: Veritas, Libertas and Aequitas. Each
house is situated at the bottom of the school grounds and has its own flower garden
and a large statue symbolising the name of the house (Truth, Freedom, Justice). I’m in
Libertas and our statue is of a slave woman with broken shackles, her arms lifted high
in the air. Her eyes are haunting, almost as though the fight for freedom has come at a
terrible cost.
1
[…]
Back home, the word “silence” does not exist. Outside the flats, there ’s usually some
drunk guy, angry at the world, swearing loudly at the unfairness of the universe and a 5
homeless lunatic cackling at nothing.

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[…]
I never really knew what I was missing until I came here. People would think I’m 10 strange
if I told them that I didn’t know what silence – real silence – was until I arrived here and
lay in this hard bed with its starched white sheets and listened in amazement on the first
night.
[…]
The St Anne’s Academy for Girls in Johannesburg is a world apart. It is one of the
most affluent and respected schools in the country – any girl who comes here is lucky. 15
[…]
The school has everything. Sports fields that stretch far and wide, one after the other,
lawns greener than any Instagram filter could ever fake.
[…]
There are two rose gardens and a meditation garden with statues and fountains, and you
can hardly believe it’s in the same city as Yeoville (and a ten-minute drive away).
Undeniably, it is a beautiful school. It is also my way out of poverty. Well, their 20
sparkling Olympic-sized pool is.
(Chapter 2)

13.1 Place the extract into context. (3)

13.2 Refer to lines 1 - 3.

Back home, the word “silence” does not exist. … homeless lunatic cackling at
nothing.

Identify and explain a central theme in the novel, showcased through the
juxtaposition of the Libertas dormitory and Khethiwe's residence in Yeoville. (3)

13.3 Analyse the relevance of the statue in Khetewi’s boarding house. (3)

13.4 In the context of the novel as a whole, critically discuss the effectiveness of the names
of the three boarding houses at St Anne’s. Substantiate your answer. (3)

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[12]

AND

EXTRACT 2
I do not tell him about Aidan. In this version of my life, he does not exist. 1
[...]
I don’t even know why I do this.
[...]
Pierre listened and made the appropriate comments and facial expressions at the
right moments. My bum feels numb from sitting on the hard concrete and I shift
again, trying to get comfortable. 5
Pierre strokes his jaw for a moment. He breathes out. “Damn, Khethiwe.” “Tell me about
it. How’s your life been? Eventful as mine?” I want to lighten the atmosphere.
Speaking about my experience has brought a heavy veil of depression over me.
[...]
In a way, it feels good to speak to someone about all of it, but in other ways, it only 10
makes the reality that much more tangible.
[...]
He shakes his head. “You know, you might not even realise it, but I know a little bit
about how you feel, being an outsider.”
I laugh but he doesn’t join in. “You? Pierre, you are like the coolest, most popular
person I know. You will never be an outsider.” 15

“I’m serious, Khethiwe,” he says and there’s a dull tinge to his voice. “I am a
foreigner in a country that despises foreigners. My skin is too dark, my accent is too
French. Do you know the comments I’ve received from people simply because I am
not South African? [...]
Imagine! Telling a whole sixteen-year-old, one who doesn’t work, that I’ve stolen 20
jobs. He said it to the whole class and the teacher didn’t even really reprimand him. I’m
treated like I don’t belong here.”
(Chapter 27)

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13.5 Refer to line 1.

I do not tell him about Aidan. In this version of my life, he does not exist.,

Explain Khetiwe’s reasons for not discussing Aidan with Pierre. (3)

13.6 Examine how this chapter focuses on Khethiwe’s search for belonging and
inclusion. Justify your response. (3)

13.7 Refer to lines 16 - 19.

I am a foreigner in a country that despises foreigners. My skin is too dark, my

accent is too French. Do you know the comments I’ve received from people
simply because I am not South African?

Discuss how Pierre’s experience of xenophobia illustrates the theme of

prejudice. (3)

13.8 Khethiwe experiences relief upon returning home and senses acceptance from
her old friends. Chapter 27 represents the calm preceding a significant
upheaval. Analyse how the forthcoming events will mark a crucial turning
point in Khethiwe's journey. Substantiate your answer. (4)

[13] [25]
TOTAL SECTION B: [25]

AND

SECTION C: DRAMA – PYGMALION

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Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

QUESTION 14: DRAMA – ESSAY QUESTION

The treatment of both Eliza and her father, Alfred Doolittle, by other characters is shaped by
the social and gender norms of the time.

In a well-constructed essay of 400 - 450 words (2 - 2 ½ pages), examine the validity of the
given statement.

OR
QUESTION 15: DRAMA – CONTEXTUAL QUESTIONS
Read the extracts below and answer the questions that follow.

EXTRACT 1

THE NOTE TAKER:

[explosively] Woman: cease this detestable boohooing instantly; or else seek the
shelter of some other place of worship.

THE FLOWER GIRL:

[with feeble defiance] I've a right to be here if I like, same as you.

THE NOTE TAKER:

A woman who utters such depressing and disgusting sounds has no right to be
anywhere--no right to live. Remember that you are a human being with a soul
and the divine gift of articulate speech: that your native language is the
language of Shakespeare and Milton and The Bible; and don't sit there
crooning like a bilious pigeon. 1

THE FLOWER GIRL: 5

[quite overwhelmed, and looking up at him in mingled wonder and deprecation
without daring to raise her head] Ah--ah--ah--ow--ow--oo!

10

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THE NOTE TAKER:

[whipping out his book] Heavens! what a sound! [He writes; then holds out the 15
book and reads, reproducing her vowels exactly] Ah--ah--ah--ow--ow-- ow--
oo! 20

THE FLOWER GIRL: 25

[tickled by the performance, and laughing in spite of herself] Garn! (Act 1)

THE NOTE TAKER:

You see this creature with her kerbstone English: the English that will keep
her in the gutter to the end of her days. Well, sir, in three months I could pass
that girl off as a duchess at an ambassador's garden party. I could even get
her a place as lady's maid or shop assistant, which requires better English.
That's the sort of thing I do for commercial millionaires. And on the profits of it
I do genuine scientific work in phonetics, and a little as a poet on Miltonic
lines.

THE GENTLEMAN:
I am myself a student of Indian dialects; and--

THE NOTE TAKER:

[eagerly] Are you? Do you know Colonel Pickering, the author of Spoken
Sanscrit?

THE GENTLEMAN:
I am Colonel Pickering. Who are you?

15.1 All the characters run for shelter under the portico. Discuss the relevance of why the
author chose to put all different classes “under one roof” in the beginning of
the play. (3)

15.2 Refer to lines 4 - 5.

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A woman who utters such depressing and disgusting sounds has no right to be
anywhere--no right to live.

Based on the observations made in the first two Acts give an outline of Higgins’
character. (3)

15.3 Refer to lines 15 - 16.

You see this creature with her kerbstone English: the English that will keep her
in the gutter to the end of her days.

Discuss how these lines reflect the inequalities of the Victorian Era in terms of
education. (3)

15.4 Colonel Pickering is an important male figure in the play. From what you have read in
the first 2 Acts, in what way is he different from Higgins? (3)

[12]

AND
EXTRACT 2

HIGGINS
[furious] Hand them over. [She puts them into his hands]. If these belonged to me
instead of to the jeweler, I'd ram them down your ungrateful throat. [He perfunctorily
thrusts them into his pockets, unconsciously decorating himself with the protruding
ends of the chains].
1

LIZA 5
[taking a ring off] This ring isn't the jeweler's: it's the one you bought me in Brighton. I
don't want it now. [Higgins dashes the ring violently into the fireplace, and turns on her
so threateningly that she crouches over the piano with her hands over her face, and
exclaims] Don't you hit me.

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HIGGINS
Hit you! You infamous creature, how dare you accuse me of such a thing? It is you who 10
have hit me. You have wounded me to the heart.

LIZA
[thrilling with hidden joy] I'm glad. I've got a little of my own back, anyhow.
(Act 4)

15.5 Place the extract in context. (3)

15.6 Refer to line 11.

I'm glad. I've got a little of my own back, anyhow.

Based on your knowledge of the play as a whole, discuss what Eliza means by

this.
(3)

15.7 Taking Eliza’s concerns in this Act into account, comment on the irony of Eliza
being made into an upper-class lady. (3)

15.8 By taking the entire play into account comment on George Bernard Shaw’s
intention in the choice of the title.
(4)
[13] [25] TOTAL SECTION C: [25]

OR

SECTION C: DRAMA – HAMLET

© SACAI COPYRIGHT ~ 43 ~
 SACAI MAY: ENGLISH HL P2 | 2024
Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

QUESTION 16: DRAMA – ESSAY QUESTION

In Shakespeare's "Hamlet," the main character, Hamlet, is constantly preoccupied with the
idea of death, which is a major theme in the play.

Explore Hamlet's thoughts on death. Then, assess how the deaths of two characters either
align with or contradict his views.

Your essay should be 400 - 450 words long (about 2 - 2 ½ pages).

[25]

OR
QUESTION 17: DRAMA – CONTEXTUAL QUESTIONS
Read the extracts below and answer the questions that follow.

EXTRACT 1

QUEEN GERTRUDE
Good Hamlet, cast thy nighted colour off, And 1
let thine eye look like a friend on Denmark.
Do not for ever with thy vailed lids 5
Seek for thy noble father in the dust:
Thou know'st 'tis common; all that lives must die,
Passing through nature to eternity.

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HAMLET
Ay, madam, it is common.

QUEEN GERTRUDE
If it be,
10
Why seems it so particular with thee?

HAMLET
Seems, madam! nay it is; I know not 'seems.'
'Tis not alone my inky cloak, good mother,
15
Nor customary suits of solemn black,
Nor windy suspiration of forced breath,
No, nor the fruitful river in the eye,
Nor the dejected 'havior of the visage,
Together with all forms, moods, shapes of grief,
20
That can denote me truly: these indeed seem,
(Act 1 Scene 2)
For they are actions that a man might play:
But I have that within which passeth show;
These but the trappings and the suits of woe..

17.1 Place this extract in context. (3)

17.2 Refer to lines 5 - 6.

all that lives must die, Passing through nature to eternity

Examine how the Queen’s words introduce the theme of death in the play. (3)

17.3 Refer to lines 13 - 17.

Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the
dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can
denote me truly...

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Discuss what Hamlet is referring to in these lines. (3)

17.4 Analyse the irony and foreshadowing in Act 1 Scene 2. Substantiate your answer. (3)

[12]

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AND
EXTRACT 2

HAMLET
(to GERTRUDE) Madam, how like you this play?

GERTRUDE
The lady protests too much, methinks.

HAMLET
O, but she'll keep her word.

CLAUDIUS
Have you heard the argument? Is there no offence
in't?

HAMLET
No, no, they do but jest, poison in jest. No offence
i'th' world.

CLAUDIUS
What do you call the play?

HAMLET
The Mousetrap. Marry, how? Tropically. This play is the
image of a murder done in Vienna. Gonzago is the
Duke's name, his wife Baptista. You shall see anon. 'Tis
1
a knavish piece of work; but what o' that? Your
majesty, and we that have free souls, it touches us not.
5
Let the galled jade wince, our withers are unwrung.

10

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Enter PLAYER LUCIANUS 15

This is one Lucianus, nephew to the King.
20
HAMLET
(To LUCIANUS) 25
Begin, murderer. Pox, leave thy damnable faces and
begin. Come: 'the croaking raven doth bellow for revenge'. 30

PLAYER LUCIANUS 35
Thoughts black, hands apt, drugs fit, and
time agreeing,
Confederate season, else no creature seeing;
Thou mixture rank of midnight weeds collected,
With Hecate's ban thrice blasted, thrice infected,
Thy natural magic and dire property
On wholesome life usurp immediately.
He pours the poison in the PLAYER KING'S ear

HAMLET
He poisons him i'th' garden for's estate. His
name's Gonzago. The story is extant, and writ in choice
Italian. You shall see anon how the murderer gets the love
of Gonzago's wife.

OPHELIA
The King rises.

HAMLET
What, frighted with false fire?

GERTRUDE
(to CLAUDIUS) How fares my lord?

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POLONIUS
Give o'er the play.

CLAUDIUS
Give me some light. Away.
(Act 3 Scene 2)

17.5 Refer to lines 4 - 5.

Have you heard the argument? Is there no offence

in't?

Explain the significance of Claudius's question in the context of the scene. (3)

17.6 Refer to line 9.

“The Mousetrap. Marry, how? Tropically.”

Analyse the significance of the play "The Mousetrap". (3)

17.7 Refer to Line 37.

Give me some light. Away.

Analyse the relevance of these lines in the context of the play as a whole (3)

17.8 Refer to lines 21 - 28.

Thoughts black, hands apt, drugs fit,/ …He pours the poison in the PLAYER
KING'S ear.

Critically examine the themes present in these lines. Justify your answer. (4)

[13] [25]

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TOTAL SECTION C: [25]

OR

SECTION C: DRAMA – DISTRICT 6 and OTHER PLAYS

Answer any ONE of the following two questions:

NOTE:
In Sections B and C, ONE of the questions answered must either be an ESSAY or a
CONTEXTUAL question. You may NOT answer two essays or two contextual questions.

QUESTION 18: DRAMA – ESSAY QUESTION (NONGENI, THE RHINO AND THE
CANNIBAL)

Michael Williams has masterfully used Physical Theatre to examine the rawness of Africa;
its culture, traditions and majestic wildlife. (Anonymous)

By referring to at least 3 characters, analyse how Michael Williams’ play uses the simplicity
of African storytelling and Physical Theatre to give impactful insight into the effects of cultural
traditions and colonisation in Africa.
Your essay should be 400 - 450 words. (2 - 2 ½ pages)

[25]

OR

QUESTION 19: DRAMA – CONTEXTUAL QUESTIONS (DISTRICT 6)

Read the extracts below and answer the questions that follow.

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EXTRACT 1
On the stoep of the District Six house where CASSIEM lives. CASSIEM and SANDY 1
are looking at some of the photographs that SANDY has taken of the carnival.
5
SANDY
So? What do you think? 10

CASSIEM
Yussus, these are great. I didn't know you were so talented.

SANDY
Thank you.

CASSIEM
No, 'strue. These photos are so good, man. Every picture, you can jus' see the energy
of the ouens. It feels like you're there. In Hanover Street. At the track. I mean, I've never
seen pictures of the klopse like this.

SANDY
Well, I'm going to have a great portfolio, thanks to you.

CASSIEM
You'd swear that the person who took these has always lived in District Six.

SANDY
Well, you're the reason for that. I saw it all through your eyes.

CASSIEM
Ag, I just took you places. It was your eyes that saw these things. Your eyes that made
me look at my world as if I'd never seen it before. Your beautiful eyes. (Pause)

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What time does the ship leave?

SANDY
Tomorrow at eleven. The Pendennis Castle. Quay number three. Will you be there? 15
Wave me goodbye?

CASSIEM
If you promise to throw me a streamer.

SANDY
You should come to London, you know. Get out of this crazy place. I don't know how you
can put up with this shit. There's no future for you here.

CASSIEM
Easy for you to say. 20

SANDY
No, I mean it. Come to London. (Pause) I'm going to you. More than you'll ever know.

CASSIEM
Well, here's something to remember me by. (He takes a little box out of his pocket.
SANDY opens it. Inside is a gold chain with a tiger's eye pendant. He leans forward and
clasps it around her neck.) A little bit of Africa to keep close to your heart.
She leans forward and kisses him. 25

SANDY
Cassiem, you will always be in my heart.
He looks into her eyes then kisses her back. They embrace passionately. CASSIEM pulls
away and looks about to see if anyone has seen them. He doesn't notice NINES standing in
the shadows.

CASSIEM
Wait. Not out here. We'd better go inside. 30

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(Act 2 Scene 3)

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19.1 Place the extract in context. (3)

19.2 Refer to lines 6 - 8.

No, 'strue. These photos are so good, man. Every picture, you can jus' see the
energy of the ouens. It feels like you're there. In Hanover Street. At the track. I
mean, I've never seen pictures of the klopse like this.

Based on your knowledge of the play as a whole, discuss the relevance of the
Kaapse Klopse. (3)

19.3 Refer to line 11.

Well, you're the reason for that. I saw it all through your eyes.

Explain the relevance of this line by analysing the irony behind it. (3)

19.4 Refer to line 30.

Wait. Not out here. We'd better go inside.

Critically discuss the reason why they need to be careful and go inside. (3)

[12]

AND

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EXTRACT 2
1
NINES
Dat's for me to know an' for you to guess. (DAMAKA arrives tapping his cane down the
Seven Steps. He pushes his way through NINES and the SEXY BOYS.) Ek sê, Damaka.
Switch aan jou indicators. You walk like an accident trying hard to happen. […]

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NINES
Hoekom is jy so omgekrap? Kom hiesa. Sit op jou boks (NINES removes the box.
DAMAKA almost falls.) Naai, hysie blind 'ie. Hy speel blind. 5

DAMAKA
For you everything is a joke. But one day you won't be laughing so loudly anymore.
[…]
You got eyes but you don't use them. You got ears but you don't hear.

NINES
What you been smoking old man?

DAMAKA
Things are changing, Nines – faster than you can imagine.

NINES
I told you before. Ek raakie involved met politics 'ie. 10

DAMAKA
But politics, Nines, will become involved with you. I might be blind, but I still know what's
happening around me. The world is changing, my boy, but you can't see it.

NINES
Hulle kan ma' kom met al hulle laws. Hie', in District Six, is ekkie lô!

DAMAKA
Ja, Nines. You take me for a guy. Think I'm talking nonsense. But one day, when this is all
gone, kneel down there by the Seven Steps. And listen, my boy. Listen to the stones. 15
Listen with your heart, Nines. Because when people forget, the stones will remember. And one
day there will be nothing but the stones.

NINES
Naai, ou top. Jy's lekker mal. We've always lived here.
District Six belongs to us!

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(Act 1 Scene 4)

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19.5 Refer to line 3.

You walk like an accident trying hard to happen.

Discuss the relevance of foreshadowing in this line. (3)

19.6 Explain the relevance of the roles of Nines and the Sexy Boys in the play. (3)

19.7 This extract highlights the idiom of ‘the blind leading the blind’.
Analyse this statement with reference to the play as a whole. (3)

19.8 ‘Cassiem can be seen as a traitor in many ways throughout the play.’

Critically discuss the extent to which you agree with this statement. Substantiate
your answer. (4)
[13] [25]
TOTAL SECTION C: [25]

GRAND TOTAL: [80]

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