AQA_2024: A-level English Literature B - Paper 1A Literary Genres: Aspects of Tragedy (Merged Question Paper and Marking Scheme)

AQA_2024: A-level English Literature B - Paper 1A Literary Genres: Aspects of Tragedy (Merged Question Paper and Marking Scheme) A-level ENGLISH LITERATURE B Paper 1A Literary genres: Aspects of tragedy Friday 24 May 2024 Materials For this paper you must have:  an AQA 12-page answer book. Instructions Morning Time allowed: 2 hours 30 minutes  Use black ink or black ball-point pen.  Write the information required on the front of your answer book. The Paper Reference is 7717/1A.  Answer one question from Section A, one question from Section B and one question from Section C.  You may answer on the same Shakespeare play in Sections A and B.  For Section C, you must write about one drama text and one further text, one of which must be written pre-1900.  Do all rough work in your answer book. Cross through any work you do not want to be marked. Information  The marks for questions are shown in brackets.  The maximum mark for this paper is 75.  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 connections across the texts you have studied – explore different interpretations of your texts. For A-Level English Literature B Paper 1A: Literary Genres: Aspects of Tragedy, focus on the following key areas: 1. Key Themes of Tragedy:  The Downfall of the Protagonist: Central to tragedy is the protagonist’s decline due to their flaws or external forces. In Oedipus Rex (Sophocles), Oedipus’s pride leads to his downfall, while in Macbeth (Shakespeare), Macbeth's unchecked ambition drives him to murder and ruin.  Fatal Flaws (Hamartia): Tragic heroes often possess a fatal flaw that leads to their demise. In Hamlet (Shakespeare), Hamlet’s indecision and procrastination delay his revenge, resulting in tragedy for him and those around him.  Fate and Free Will: The conflict between fate and free will is a common theme in tragedy. In Oedipus Rex, the hero tries to defy fate, but it is inevitable. In Macbeth, Macbeth believes he can control his fate but is ultimately destroyed by it.  Suffering and Catharsis: Tragedy often leads to catharsis—emotional release—through the suffering of the protagonist. King Lear (Shakespeare) portrays intense suffering that brings about a tragic resolution and emotional release for the audience.  Moral Lessons and Justice: Tragedies often present moral lessons about human flaws, justice, and the consequences of actions. In Macbeth, the tragedy results in moral retribution for the protagonist's crimes. 2. Key Texts:  Oedipus Rex (Sophocles): Focus on how Oedipus's hubris and attempts to escape his fate lead to his tragic end.  Macbeth (Shakespeare): Analyze Macbeth's ambition and how his moral corruption leads to his downfall.  Hamlet (Shakespeare): Explore Hamlet's tragic flaw—his indecision—and how it results in the destruction of his family and kingdom.  King Lear (Shakespeare): Study Lear’s pride and his mistreatment of others, which lead to his emotional and physical destruction.  Death of a Salesman (Miller): Focus on Willy Loman’s delusions and inability to face reality, resulting in his tragic end. 3. Literary Techniques:  Characterization: Tragedy often develops complex, flawed characters. In Macbeth, Macbeth’s internal conflict and guilt intensify the tragic tension.  Soliloquies: In Shakespeare’s tragedies, soliloquies like Hamlet's "To be or not to be" reveal the inner turmoil of the protagonist.  Dramatic Irony: In Oedipus Rex, the audience knows Oedipus’s fate long before he does, increasing the tragic effect.  Symbolism: Symbols such as the blood in Macbeth or the blindness in King Lear represent themes of guilt, fate, and the loss of power.  Foreshadowing: In Macbeth, the witches' prophecies foreshadow Macbeth’s downfall, creating suspense and inevitability. 4. Exam Strategy:  Compare Tragic Themes: Be prepared to compare how different texts address themes like fate, free will, and moral downfall. For example, compare how Oedipus Rex and Macbeth deal with the hero's struggle against fate.  Analyze Key Passages: Focus on passages that reveal character flaws, such as Hamlet’s soliloquy or Macbeth’s monologues about his ambition.  Character Analysis: Consider how tragic flaws lead to the hero’s downfall. In King Lear, Lear’s pride and failure to see through his daughters’ deception lead to his destruction. 7717/1A IB/G/Jun24/G4007/E3 2 Section A Answer one question in this section. Either 0 1 Othello – William Shakespeare Read the extract below and then answer the question. Explore the significance of this extract in relation to the tragedy of the play as a whole. Remember to include in your answer relevant analysis of Shakespeare’s dramatic methods. DESDEMONA ’Tis meet I should be used so, very meet. How have I been behaved, that he might stick The smallest opinion on my least misuse? Enter Emilia and Iago IAGO What is your pleasure, madam? How is’t with you? DESDEMONA I cannot tell: those that do teach young babes Do it with gentle means and easy tasks: He might have chid me so, for, in good faith, I am a child to chiding. IAGO EMILIA What is the matter, lady? Alas, Iago, my lord hath so bewhored her, Thrown such despite and heavy terms upon her As true heart cannot bear. DESDEMONA Am I that name, Iago? IAGO DESDEMONA What name, fair lady? Such as she said my lord did say I was. EMILIA He called her whore: a beggar in his drink Could not have laid such terms upon his callet. IAGO Why did he so? DESDEMONA I do not know: I am sure I am none such. IAGO Do not weep, do not weep. Alas the day! EMILIA Hath she forsook so many noble matches, Her father, and her country, all her friends, To be called whore? Would it not make one weep? [25 marks] IB/G/Jun24/7717/1A 3 DESDEMONA It is my wretched fortune. IAGO Beshrew him for’t! How comes this trick upon him? DESDEMONA EMILIA Nay, heaven doth know. I will be hanged if some eternal villain, Some busy and insinuating rogue, Some cogging, cozening slave, to get some office, Have not devised this slander; I’ll be hanged else. IAGO Fie, there is no such man! It is impossible. DESDEMONA If any such there be, heaven pardon him. EMILIA A halter pardon him and hell gnaw his bones! Why should he call her whore? Who keeps her company? What place, what time, what form, what likelihood? The Moor’s abused by some most villainous knave, Some base notorious knave, some scurvy fellow. O heaven, that such companions thou’dst unfold, And put in every honest hand a whip To lash the rascals naked through the world, Even from the east to th’west! IAGO EMILIA Speak within door. O fie upon them! Some such squire he was That turned your wit the seamy side without And made you to suspect me with the Moor. Turn over for the next question (Act 4, Scene 2) IB/G/Jun24/7717/1A Turn over ► 4 or 0 2 King Lear – William Shakespeare Read the extract below and then answer the question. Explore the significance of this extract in relation to the tragedy of the play as a whole. Remember to include in your answer relevant analysis of Shakespeare’s dramatic methods. (Act 1, Scene 3) Enter Gonerill and Oswald, her steward GONERILL Did my father strike my gentleman for chiding of his Fool? OSWARD Ay, madam. GONERILL By day and night he wrongs me; every hour He flashes into one gross crime or other That sets us all at odds. I’ll not endure it! His knights grow riotous, and himself upbraids us On every trifle. When he returns from hunting I will not speak with him. Say I am sick. If you come slack of former services You shall do well; the fault of it I’ll answer. OSWARD He’s coming, madam; I hear him. GONERILL Put on what weary negligence you please, You and your fellows. I’d have it come to question. If he distaste it let him to my sister, Whose mind and mine I know in that are one, Not to be overruled. Idle old man, That still would manage those authorities That he hath given away! Now, by my life, Old fools are babes again, and must be used With checks, as flatteries, when they are seen abused. Remember what I have said. OSWARD GONERILL Well, madam. And let his knights have colder looks among you. What grows of it, no matter. Advise your fellows so. I would breed from hence occasions, and I shall, That I may speak. I’ll write straight to my sister To hold my very course. Prepare for dinner. Exeunt (Act 1, Scene 4) Enter Kent in disguise KENT If but as well I other accents borrow That can my speech diffuse, my good intent May carry through itself to that full issue For which I razed my likeness. Now, banished Kent, [25 marks] IB/G/Jun24/7717/1A 5 If thou canst serve where thou dost stand condemned, So may it come thy master whom thou lovest Shall find thee full of labours. Horns within. Enter Lear and Knights LEAR Let me not stay a jot for dinner! Go, get it ready! Exit First Knight How now? What art thou? KENT A man, sir. LEAR What dost thou profess? What wouldst thou with us? KENT I do profess to be no less than I seem: to serve him truly that will put me in trust, to love him that is honest, to converse with him that is wise and says little, to fear judgement, to fight when I cannot choose, and to eat no fish. LEAR What art thou? KENT A very honest-hearted fellow, and as poor as the King. Turn over for Section B (Act 1, Scenes 3–4) IB/G/Jun24/7717/1A Turn over ► 6 Section B Answer one question in this section. Either 0 3 Othello – William Shakespeare ‘Othello is a tragic lover undone more by the intensity of his love than by the plotting of Iago.’ To what extent do you agree with this view? Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. or 0 4 Othello – William Shakespeare [25 marks] ‘Iago’s ability to adapt his skills to ensnare his various victims is as impressive as it is terrifying.’ To what extent do you agree with this view? Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. [25 marks] or 0 5 King Lear – William Shakespeare ‘In King Lear, Britain is itself a victim: a divided country that is damaged beyond repair.’ To what extent do you agree with this view? Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. or 0 6 King Lear – William Shakespeare Explore the significance of ‘nothing’ to the tragedy of King Lear. [25 marks] Remember to include in your answer relevant comment on Shakespeare’s dramatic methods. [25 marks] IB/G/Jun24/7717/1A 7 Section C Answer one question in this section. In this section you must write about two texts. One text must be a drama text. One text must be written pre-1900. You can write about the following texts: Richard II (pre-1900 drama) Death of a Salesman (drama) Tess of the D’Urbervilles (pre-1900) The Great Gatsby Keats Poetry Selection (pre-1900) Poetry Anthology: Tragedy Either 0 7 ‘In tragic texts, although happiness never lasts, its joy and intensity have enduring value.’ To what extent do you agree with this view in relation to two texts you have studied? Remember to include in your answer relevant comment on the ways the writers have shaped meanings. or [25 marks] 0 8 Explore the significance of friends and friendship to the tragedies of two texts you have studied. Remember to include in your answer relevant comment on the ways the writers have shaped meanings. [25 marks] END OF QUESTIONS IB/G/Jun24/7717/1A 8 There are no questions printed on this page Copyright information For confidentiality purposes, all acknowledgements of third-party copyright material are published in a separate booklet. This booklet is published after each live examination series and is available for free download from . Permission to reproduce all copyright material has been applied for. In some cases, efforts to contact copyright-holders may have been unsuccessful and AQA will be happy to rectify any omissions of acknowledgements. If you have any queries please contact the Copyright Team. Copyright © 2024 AQA and its licensors. All rights reserved. IB/G/Jun24/7717/1A A-level ENGLISH LITERATURE B 7717/1A Paper 1A Literary genres: Aspects of