AQA A-level ENGLISH LANGUAGE AND LITERATURE 7707/1 Paper 1 Telling Stories Version: 1.0 Final IB/G/Jun23/E8 7707/1 Wednesday 24 May 2023 QUESTION PAPER & MARKING SCHEME/ [MERGED] Mark scheme June 2023

AQA A-level ENGLISH LANGUAGE AND LITERATURE 7707/1 Paper 1 Telling Stories Version: 1.0 Final IB/G/Jun23/E8 7707/1 Wednesday 24 May 2023 Afternoon Time allowed: 3 hours Materials For this paper you must have: • an AQA 12-page answer book • a copy of the set texts you have studied for Section B and Section C. These texts must not be annotated and must not contain additional notes or materials. Instructions • Use black ink or black ball-point pen. • Write the information required on the front of your answer book. The Paper Reference is 7707/1. • There are three sections: Section A: Remembered Places Section B: Imagined Worlds Section C: Poetic Voices • Answer three questions in total: the question in Section A, one question from Section B and one question from Section C. • Do all rough work in your answer book. Cross through any work you do not want to be marked. Information • The maximum mark for this paper is 100. • The marks for questions are shown in brackets. • There are 40 marks for the question in Section A, 35 marks for the question in Section B and 25 marks for the question in Section C. • You will be marked on your ability to: – use good English – organise information clearly – use specialist vocabulary where appropriate. Advice It is recommended that you spend 70 minutes on Section A, 60 minutes on Section B and 50 minutes on Section C. A-level ENGLISH LANGUAGE AND LITERATURE Paper 1 Telling Stories 2 IB/G/Jun23/7707/1 Read Text A and Text B printed below and on pages 3 and 4. Text A is an extract from Foreign Correspondent: Paris in the Sixties by Peter Lennon. Text B is an extract from Visiting Paris by Mike and Sophia. 0 1 Compare and contrast how the writer of Text A and the speakers of Text B express their ideas about their first experiences in Paris. You should refer to both texts in your answer. [40 marks] Text A Peter Lennon was an Irish journalist who moved to Paris and covered events from there for The Guardian newspaper throughout the 1960s. Foreign Correspondent: Paris in the Sixties is his account of leaving Ireland for Paris, and his reflections on his time there. 5 10 15 20 25 I was surprised to discover that the Eiffel Tower was on the Left Bank and not straddling the Champs-Élysées, as I had somehow imagined. I did not like the dryness of the Tuileries nor its rigid design. I missed the lusciousness of our parks. I was fascinated by Americans in Paris. They sat, family groups, in cafés in a sort of trance. They seemed to be guarding their Americanism like something precious: as if on one level it had to be put on display and on another they were afraid it might be snatched from them by the foreigners. Nationalities were gloriously identifiable in those days before international homogenization of dress. As they wandered from monument to museum I noticed they had a curious disinclination to listen to one another: the women commented on everything with a deadly, calculating enthusiasm; the men bestowed a laconic benediction in ball-game Americanese on a Mona Lisa, a Champs or a fillet steak. Living an underfed over-excited existence, disorientated by the absence of any familiar smugness, almost afraid amongst such strangeness, I wanted to convey to someone a sense of what I was experiencing. Jokey postcards home were not enough after the first two weeks, so I wrote, my first literary letters, to Jack White. I announced grandly that I was learning something about Paris and about Europeans and ‘because I now have something to set up as a comparison I am beginning to understand certain things about Dublin and the Irish’. It has been said [I wrote solemnly] that Paris does not belong to the French but to the world. That is true in the sense that the world has Section A Remembered Places Answer Question 1 in this section. 3 IB/G/Jun23/7707/1 Turn over ► 30 35 40 moved in and claimed it, like a public claiming a national theatre. Because of this, Paris, which is the stage, and the Parisians, who are the actors, have inevitably absorbed something from their possessive public – their vulgarity, their notion of what Paris should be. Paris knows what is expected of it and can be depended on to produce the trivial, vicious, depraved, dramatic or beautiful things which its public demands. But it also has genuine splendour, a splendour of artistic and intellectual achievement so much greater than the bizarre displays of tourist ‘art’ and antics everyone is familiar with. The real life of Paris is outside all this, among the genuine artists, the students and scholars and the French families living a regular, normal, slightly prudish life. It is the genuine animation, the sense of ‘life’ which leaves the deepest impression on me. I have lived in Ireland all my life reading about ‘life’, now for the first time I see ‘life’, cosmopolitan people playing the great game of life. Turn over for Text B 4 IB/G/Jun23/7707/1 Text B This text is part of a set of multi-speaker and one-speaker discourse involving three speakers, Isabelle, Mike and Sophia, talking about their memories of visiting or living in Paris. All three are students at a university in the East Midlands. Mike and Sophia were born in the UK. The transcript was recorded in 2013. 5 10 15 20 25 30 35 40 Sophia: what kind of tourists did you see there Mike: what do you mean Sophia: from (.) er (.) from all countries (.) yeah Mike: everywhere (2) absolutely (.) there are so many different people in Paris Sophia: yeah Mike: you never know who you’re going to see Sophia: but I’ve always felt like you can tell (.) which people are actually Parisian and which are tourists Mike: yeah Sophia: usually cause they’ve got like (.) erm (.) camera around their necks Mike: yeah (.) selfie stick Sophia: yeah ((laughs)) selfie sticks I saw those Mike: I love those Sophia: that’s brilliant (.) but I always thought like (.) Parisians stand out (.) they (.) they dress so smartly and chic Mike: yeah (.) you can tell (1) and it’s like (.) there’s a lot of different languages that you hear (.) going round as well (.) like Sophia: In Paris (.) yeah (.) yeah (.) Mike: yeah (.) there’s a lot of people you don’t understand Sophia: yeah Mike: I mean like there’s (.) the majority of people (.) don’t really (.) aren’t really speaking English when you’re there (.) I find Sophia: yeah (.) yeah (.) true (1) what was your impression of erm (.) the Paris (.) Parisian waiters Mike: erm (.) like I find them a little bit rude sometimes Sophia: did you Mike: yeah (.) like sometimes (.) when they know that you’re English Sophia: hmm Mike: if you say (.) sometimes they’ll (.) realise that you’re English (.) and they’ll start trying to speak to you in English (.) and then if you try to speak to them sometimes in French (.) they don’t like it Sophia: oh really Mike: yeah Sophia: cause I (.) I thought (.) I always thought that if you (.) tried to speak French to them that they (.) they’d appreciate it much more than you’d be like (.) hey (1) speak English Mike: I (.) yeah (.) I feel like sometimes (.) you get looked down at because of your accent (.) if your accent isn’t it Sophia: oh really Mike: yeah (.) that’s what I felt anyway when I was in Paris Key (.) indicates a pause of less than a second (2) indicates a longer pause (number of seconds indicated) Bold indicates stressed syllables or words ((italics)) indicates contextual or additional information 5 IB/G/Jun23/7707/1 Turn over ► Section B Imagined Worlds Answer one question in this section. Frankenstein – Mary Shelley Either 0 2 Read the extract printed below. This is from the section of the novel where Justine has been convicted of the murder of William and is visited in prison by Victor and Elizabeth. Explore the significance of characters’ feelings about guilt in the novel. You should consider: • the presentation of characters’ feelings about guilt in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] 5 10 15 20 25 ‘In these last moments I feel the sincerest gratitude towards those who think of me with kindness. How sweet is the affection of others to such a wretch as I am! It removes more than half my misfortune; and I feel as if I could die in peace, now that my innocence is acknowledged by you, dear lady, and your cousin.’ Thus the poor sufferer tried to comfort others and herself. She indeed gained the resignation she desired. But I, the true murderer, felt the never-dying worm alive in my bosom, which allowed of no hope or consolation. Elizabeth also wept, and was unhappy; but hers also was the misery of innocence, which, like a cloud that passes over the fair moon, for a while hides, but cannot tarnish its brightness. Anguish and despair had penetrated into the core of my heart; I bore a hell within me, which nothing could extinguish. We staid several hours with Justine; and it was with great difficulty that Elizabeth could tear herself away. ‘I wish,’ cried she, ‘that I were to die with you; I cannot live in this world of misery.’ Justine assumed an air of cheerfulness, while she with difficulty repressed her bitter tears. She embraced Elizabeth, and said, in a voice of half-suppressed emotion, ‘Farewell, sweet lady, dearest Elizabeth, my beloved and only friend; may heaven in its bounty bless and preserve you; may this be the last misfortune that you will ever suffer. Live, and be happy, and make others so.’ As we returned, Elizabeth said, ‘You know not, my dear Victor, how much I am relieved, now that I trust in the innocence of this unfortunate girl. I never could again have known peace, if I had been deceived in my reliance on her. For the moment that I did believe her guilty, I felt an anguish that I could not have long sustained. Now my heart is lightened. The innocent suffers; but she whom I thought amiable and good has not betrayed the trust I reposed in her, and I am consoled.’ Amiable cousin! such were your thoughts, mild and gentle as your own dear eyes and voice. But I — I was a wretch, and none ever conceived of the misery that I then endured. Turn over for the next question 6 IB/G/Jun23/7707/1 or 0 3 Read the extract printed below. This is from the section of the novel where Victor has just destroyed the partner he was making for the creature. Explore the significance of the relationship between Victor and the creature in the novel. You should consider: • the presentation of the relationship between Victor and the creature in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] 5 10 15 20 25 Presently I heard the sound of footsteps along the passage; the door opened, and the wretch whom I dreaded appeared. Shutting the door, he approached me, and said, in a smothered voice — ‘You have destroyed the work which you began; what is it that you intend? Do you dare to break your promise? I have endured toil and misery: I left Switzerland with you; I crept along the shores of the Rhine, among its willow islands, and over the summits of its hills. I have dwelt many months in the heaths of England, and among the deserts of Scotland. I have endured incalculable fatigue, and cold, and hunger; do you dare destroy my hopes?’ ‘Begone! I do break my promise; never will I create another like yourself, equal in deformity and wickedness.’ ‘Slave, I before reasoned with you, but you have proved yourself unworthy of my condescension. Remember that I have power; you believe yourself miserable, but I can make you so wretched that the light of day will be hateful to you. You are my creator, but I am your master; — obey!’ ‘The hour of my weakness is past, and the period of your power is arrived. Your threats cannot move me to do an act of wickedness; but they confirm me in a resolution of not creating you a companion in vice. Shall I, in cool blood, set loose upon the earth a daemon, whose delight is in death and wretchedness. Begone! I am firm, and your words will only exasperate my rage.’ The monster saw my determination in my face, and gnashed his teeth in the impotence of anger. ‘Shall each man,’ cried he, ‘find a wife for his bosom, and each beast have his mate, and I be alone? I had feelings of affection, and they were requited by detestation and scorn. Man, you may hate; but beware! Your hours will pass in dread and misery, and soon the bolt will fall which must ravish from you your happiness for ever. Are you to be happy, while I grovel in the intensity of my wretchedness? You can blast my other passions; but revenge remains — revenge, henceforth dearer than light or food! I may die; but first you, my tyrant and tormentor, shall curse the sun that gazes on your misery.’ 7 IB/G/Jun23/7707/1 Turn over ► Dracula – Bram Stoker Either 0 4 Read the extract printed below. This is from the section of the novel where Jonathan Harker first arrives in Transylvania. Explore the significance of Transylvania as a location in the novel. You should consider: • the presentation of Transylvania in the extract below and at different points in the novel • the use of fantasy elements in constructing a fictional world. [35 marks] 5 10 15 20 Beyond the green swelling hills of the Mittel Land rose mighty slopes of forest up to the lofty steeps of the Carpathians themselves. Right and left of us they towered, with the afternoon sun falling full upon them and bringing out all the glorious colours of this beautiful range, deep blue and purple in the shadows of the peaks, green and brown where grass and rock mingled, and an endless perspective of jagged rock and pointed crags, till these were themselves lost in the distance, where the snowy peaks rose grandly. Here and there seemed mighty rifts in the mountains, through which, as the sun began to sink, we saw now and again the white gleam of falling water. One of my companions touched my arm as we swept round the base of a hill and opened up the lofty, snow-covered peak of a mountain, which seemed, as we wound on our serpentine way, to be right before us: – ‘Look! Isten szek!’ – ‘God’s seat!’ – and he crossed himself reverently. As we wound on our endless way, and the sun sank lower and lower behind us, the shadows of the evening began to creep round us. This was emphasized by the fact that the snowy mountain-top still held the sunset, and seemed to glow out with a delicate cool pink. Here and there we passed Cszeks and Slovaks, all in picturesque attire, but I noticed that goitre was painfully prevalent. By the roadside were many crosses, and as we swept by, my companions all crossed themselves. Here and there was a peasant man or woman kneeling before a shrine, who did not even turn round as we approached, but seemed in the self-surrender of devotion to have neither eyes nor ears for the outer world. There were many things new to me: for instance, hay-ricks in the trees, and here and there very beautiful masses of weeping birch, their white stems shining like sil