AQA A-level ENGLISH LITERATURE A 7712/1 Paper 1 Love through the ages Version: 1.0 Final IB/H/Jun23/E9 7712/1 Wednesday 24 May 2023 Afternoon Time allowed: 3 hours MaterialsQUESTION PAPER & MARKING SCHEME/ [MERGED] Mark scheme June 2023

AQA A-level ENGLISH LITERATURE A 7712/1 Paper 1 Love through the ages Version: 1.0 Final IB/H/Jun23/E9 7712/1 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 each of the set texts you have studied for 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 7712/1. • In Section A you will answer one question about a Shakespeare play. • In Section B you will answer the one question about unseen poetry. • In Section C you will answer one question about two texts: one poetry text and one prose 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. A-level ENGLISH LITERATURE A Paper 1 Love through the ages 2 IB/H/Jun23/7712/1 Section A: Shakespeare Answer one question in this section. Either 0 1 Othello – William Shakespeare ‘In Othello, the bond between Othello and Iago is stronger than the love between Othello and Desdemona.’ In the light of this view, discuss how Shakespeare presents the relationship between Othello and Iago in this extract and elsewhere in the play. [25 marks] IAGO There are a kind of men so loose of soul That in their sleeps will mutter their affairs: One of this kind is Cassio. In sleep I heard him say: ‘Sweet Desdemona, Let us be wary, let us hide our loves’; And then, sir, would he gripe and wring my hand, Cry ‘O sweet creature!’ and then kiss me hard, As if he plucked up kisses by the roots, That grew upon my lips; then laid his leg Over my thigh, and sighed and kissed, and then Cried ‘Cursèd fate that gave thee to the Moor!’ OTHELLO O monstrous! Monstrous! IAGO Nay, this was but his dream. OTHELLO But this denoted a foregone conclusion. IAGO ’Tis a shrewd doubt, though it be but a dream: And this may help to thicken other proofs That do demonstrate thinly. OTHELLO I’ll tear her all to pieces! IAGO Nay, but be wise: yet we see nothing done, She may be honest yet. Tell me but this: Have you not sometimes seen a handkerchief, Spotted with strawberries, in your wife’s hand? OTHELLO I gave her such a one: ’twas my first gift. IAGO I know not that: but such a handkerchief – I am sure it was your wife’s – did I today See Cassio wipe his beard with. OTHELLO If it be that – IAGO If it be that, or any that was hers, It speaks against her with the other proofs. 3 IB/H/Jun23/7712/1 Turn over ► OTHELLO O, that the slave had forty thousand lives! One is too poor, too weak for my revenge. Now do I see ’tis true. Look here, Iago – All my fond love thus do I blow to heaven: ’Tis gone. Arise, black vengeance, from thy hollow cell! Yield up, O love, thy crown and hearted throne To tyrannous hate! Swell, bosom, with thy fraught, For ’tis of aspics’ tongues! IAGO Yet be content. OTHELLO O, blood, blood, blood! IAGO Patience, I say: your mind perhaps may change. OTHELLO Never, Iago. Like to the Pontic sea, Whose icy current and compulsive course Ne’er feels retiring ebb, but keeps due on To the Propontic and the Hellespont, Even so my bloody thoughts with violent pace Shall ne’er look back, ne’er ebb to humble love, Till that a capable and wide revenge Swallow them up. Now, by yond marble heaven, In the due reverence of a sacred vow I here engage my words. He kneels IAGO Do not rise yet. He kneels Witness you ever-burning lights above, You elements, that clip us round about, Witness that here Iago doth give up The execution of his wit, hands, heart, To wronged Othello’s service. Let him command, And to obey shall be in me remorse, What bloody business ever. They rise OTHELLO I greet thy love, Not with vain thanks, but with acceptance bounteous; And will upon the instant put thee to’t. Within these three days let me hear thee say That Cassio’s not alive. IAGO My friend is dead; ’Tis done at your request. But let her live. OTHELLO Damn her, lewd minx! O, damn her, damn her! Come go with me apart. I will withdraw To furnish me with some swift means of death For the fair devil. Now art thou my Lieutenant. IAGO I am your own for ever. (Act 3, Scene 3) 4 IB/H/Jun23/7712/1 or 0 2 The Taming of the Shrew – William Shakespeare ‘In the literature of love, it is similarities rather than differences between two lovers that cause most conflict.’ In the light of this view, discuss how Shakespeare presents the relationship between Petruchio and Katherina in this extract and elsewhere in the play. [25 marks] PETRUCHIO Gentlemen and friends, I thank you for your pains. I know you think to dine with me today, And have prepared great store of wedding cheer, But so it is, my haste doth call me hence, And therefore here I mean to take my leave. BAPTISTA Is’t possible you will away tonight? PETRUCHIO I must away today before night come. Make it no wonder. If you knew my business, You would entreat me rather go than stay. And, honest company, I thank you all That have beheld me give away myself To this most patient, sweet, and virtuous wife. Dine with my father, drink a health to me, For I must hence, and farewell to you all. TRANIO Let us entreat you stay till after dinner. PETRUCHIO It may not be. GREMIO Let me entreat you. PETRUCHIO It cannot be. KATHERINA Let me entreat you. PETRUCHIO I am content. KATHERINA Are you content to stay? PETRUCHIO I am content you shall entreat me stay – But yet not stay, entreat me how you can. KATHERINA Now if you love me stay. PETRUCHIO Grumio, my horse. GRUMIO Ay, sir, they be ready – the oats have eaten the horses. KATHERINA Nay then, Do what thou canst, I will not go today, No, nor tomorrow – not till I please myself. The door is open, sir, there lies your way, 5 IB/H/Jun23/7712/1 Turn over ► You may be jogging whiles your boots are green. For me, I’ll not be gone till I please myself. ’Tis like you’ll prove a jolly surly groom That take it on you at the first so roundly. PETRUCHIO O Kate, content thee, prithee be not angry. KATHERINA I will be angry – what hast thou to do? Father, be quiet – he shall stay my leisure. GREMIO Ay marry, sir, now it begins to work. KATHERINA Gentlemen, forward to the bridal dinner. I see a woman may be made a fool If she had not a spirit to resist. PETRUCHIO They shall go forward, Kate, at thy command. Obey the bride, you that attend on her. Go to the feast, revel and domineer, Carouse full measure to her maidenhead, Be mad and merry, or go hang yourselves. But for my bonny Kate, she must with me. He seizes her, as though to protect her from the rest of the company, to whom he speaks Nay, look not big, nor stamp, nor stare, nor fret, I will be master of what is mine own. She is my goods, my chattels, she is my house, My household stuff, my field, my barn, My horse, my ox, my ass, my any thing, And here she stands. Touch her whoever dare! I’ll bring mine action on the proudest he That stops my way in Padua. Grumio, Draw forth thy weapon, we are beset with thieves, Rescue thy mistress if thou be a man. Fear not, sweet wench, they shall not touch thee, Kate. I’ll buckler thee against a million. Exeunt Petruchio, Katherina, and Grumio BAPTISTA Nay, let them go, a couple of quiet ones. GREMIO Went they not quickly, I should die with laughing. TRANIO Of all mad matches never was the like. LUCENTIO Mistress, what’s your opinion of your sister? BIANCA That being mad herself, she’s madly mated. GREMIO I warrant him, Petruchio is Kated. (Act 3, Scene 2) 6 IB/H/Jun23/7712/1 or 0 3 Measure for Measure – William Shakespeare ‘In Measure for Measure, the Duke’s strategy is cruel and manipulative. He achieves justice but at the expense of love and compassion.’ In the light of this view, discuss how Shakespeare presents the Duke in this extract and elsewhere in the play. [25 marks] DUKE Good morning to you, fair and gracious daughter. ISABELLA The better, given me by so holy a man. Hath yet the deputy sent my brother’s pardon? DUKE He hath released him, Isabel, from the world. His head is off and sent to Angelo. ISABELLA Nay, but it is not so. DUKE It is no other. Show your wisdom, daughter, In your close patience. ISABELLA O, I will to him and pluck out his eyes! DUKE You shall not be admitted to his sight. ISABELLA Unhappy Claudio! Wretched Isabel! Injurious world! Most damnèd Angelo! DUKE This nor hurts him nor profits you a jot; Forbear it therefore, give your cause to heaven. Mark what I say, which you shall find By every syllable a faithful verity. The Duke comes home tomorrow – nay, dry your eyes – One of our covent, and his confessor, Gives me this instance. Already he hath carried Notice to Escalus and Angelo, Who do prepare to meet him at the gates, There to give up their power. If you can, pace your wisdom In that good path that I would wish it go, And you shall have your bosom on this wretch, Grace of the Duke, revenges to your heart, And general honour. ISABELLA I am directed by you. DUKE This letter then to Friar Peter give. ’Tis that he sent me of the Duke’s return. Say, by this token, I desire his company 7 IB/H/Jun23/7712/1 Turn over ► At Mariana’s house tonight. Her cause and yours I’ll perfect him withal, and he shall bring you Before the Duke; and to the head of Angelo Accuse him home and home. For my poor self, I am combinèd by a sacred vow And shall be absent. Wend you with this letter. Command these fretting waters from your eyes With a light heart. Trust not my holy order If I pervert your course. Who’s here? Enter Lucio LUCIO Good even. Friar, where’s the provost? DUKE Not within, sir. LUCIO O pretty Isabella, I am pale at mine heart to see thine eyes so red. Thou must be patient. I am fain to dine and sup with water and bran. I dare not for my head fill my belly; one fruitful meal would set me to’t. But they say the Duke will be here tomorrow. By my troth, Isabel, I loved thy brother. If the old fantastical Duke of dark corners had been at home, he had lived. Exit Isabella DUKE Sir, the Duke is marvellous little beholding to your reports, but the best is, he lives not in them. LUCIO Friar, thou knowest not the Duke so well as I do. He’s a better woodman than thou tak’st him for. DUKE Well, you’ll answer this one day. Fare ye well. LUCIO Nay, tarry, I’ll go along with thee. I can tell thee pretty tales of the Duke. DUKE You have told me too many of him already, sir, if they be true; if not true, none were enough. LUCIO I was once before him for getting a wench with child. DUKE Did you such a thing? LUCIO Yes, marry, did I, but I was fain to forswear it. They would else have married me to the rotten medlar. DUKE Sir, your company is fairer than honest. Rest you well. (Act 4, Scene 3) Turn over for the next question 8 IB/H/Jun23/7712/1 or 0 4 The Winter’s Tale – William Shakespeare ‘In the literature of love, marriage is seen as essential to personal happiness and the social order.’ In the light of this view, discuss how Shakespeare presents ideas about marriage in this extract and elsewhere in the play. [25 marks] PAULINA You are one of those Would have him wed again. DION If you would not so, You pity not the state, nor the remembrance Of his most sovereign name; consider little What dangers by his highness’ fail of issue May drop upon his kingdom and devour Incertain lookers-on. What were more holy Than to rejoice the former queen is well? What holier than, for royalty’s repair, For present comfort and for future good, To bless the bed of majesty again With a sweet fellow to’t? PAULINA There is none worthy, Respecting her that’s gone. Besides the gods Will have fulfilled their secret purposes: For has not the divine Apollo said, Is’t not the tenor of his oracle, That King Leontes shall not have an heir Till his lost child be found? Which that it shall Is all as monstrous to our human reason As my Antigonus to break his grave And come again to me; who, on my life, Did perish with the infant. ’Tis your counsel My lord should to the heavens be contrary, Oppose against their wills. (To Leontes) Care not for issue. The crown will find an heir. Great Alexander Left his to th’worthiest; so his successor Was like to be the best. LEONTES Good Paulina, Who hast the memory of Hermione, I know, in honour, O that ever I Had squared me to thy counsel! Then even now I might have looked upon my queen’s full eyes, Have taken treasure from her lips – PAULINA And left them More rich for what they yielded. LEONTES Thou speak’st truth. No more such wives, therefore no wife: one worse, And better used, would make her sainted spirit 9 IB/H/Jun23/7712/1 Turn over ► Again possess her corpse, and on this stage, Where we offenders move, appear soul-vexed, And begin, ‘Why to me?’ PAULINA Had she such power, She had just cause. LEONTES She had, and would incense me To murder her I married. PAULINA I should so. Were I the ghost that walked, I’d bid you mark Her eye, and tell me for what dull part in’t You chose her; then I’d shriek, that even your ears Should rift to hear me; and the words that followed Should be ‘Remember mine.’ LEONTES Stars, stars, And all eyes else dead coals! Fear thou no wife; I’ll have no wife, Paulina. PAULINA Will you swear Never to marry but by my free leave? LEONTES Never, Paulina, so be blest my spirit! PAULINA Then, good my lords, bear witness to his oath. CLEOMENES You tempt him over-much. PAULINA Unless another, As like Hermione as is her picture, Affront his eye. CLEOMENES Good madam – PAULINA I have done. Yet if my lord will marry – if you will, sir, No remedy, but you will – give me the office To choose you a queen: she shall not be so young As was your former, but she shall be such As, walked your first queen’s ghost, it should take joy To see her in your arms. LEONTES My true Paulina, We shall not marry till thou bid’st us. PAULINA That Shall be when your first queen’s again in breath; Never till then. (Act 5, Scene 1) Turn over for Section B 10 IB/H/Jun23/7712/1 Section B: Unseen Poetry Answer the following question. 0 5 Compare and contrast the significance of separation in the following love poems. [25 marks] Pershore Station, or A Liverish Journey First Class The train at Pershore station was waiting that Sunday night Gas light on the platform, in my carriage electric light, Gas light on frosty evergreens, electric on Empire wood, The Victorian world and the present in a moment’s neighbourhood. There was no one about but a conscript who was saying good-bye to his love On the windy weedy platform with the sprinkled stars above When sudden the waiting stillness shook with the ancient spells Of an older world than all our worlds in the sound of the Pershore bells. They were ringing them down for Evensong in the lighted abbey near, Sounds which had poured through apple boughs for seven centuries here. With Guilt, Remorse, Eternity the void within me fills And I thought of her left behind me in the Herefordshire hills. I remembered her defencelessness as I made my heart a stone Till she wove her self-protection round and left me on my own. And plunged in a deep self pity I dreamed of another wife And lusted for freckled faces and lived a separate life. One word would have made her love me, one word would have made her turn But the word I never murmured and now I am left to burn. Evesham, Oxford and London. The carriage is new and smart. I am cushioned and soft and heated with a deadweight in my heart. John Betjeman (1906–1984) Somewhere Along the Line You met me to apologise, you were saying as we waited in the drizzle for the slow train. When it focused in we said goodbye and we kissed and from the window you were caught; teary and fixed. You ran across the wooden bridge, I knew you would, to get down on the other platform and to wave, but as you did the eastbound Leeds train flickered past and ran you like a movie through its window-frames. I keep those animated moments of you as our catalogue of changes rushed and chances missed. Simon Armitage (b. 1963) 11 IB/H/Jun23/7712/1 Section C: Comparing Texts Answer one question in this section. Either 0 6 Compare how the authors of two texts you have studied present ideas about the compatibility of lovers. You must write about at least two poems in your answer as well as the prose text you have studied. [25 marks] or 0 7 Compare how the authors of two texts you have studied present conflict between lovers. You must write about at least two poems in your answer as well as the prose text you have studied. [25 marks] END OF QUESTIONS 12 IB/H/Jun23/7712/1 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 © 2023 AQA and its licensors. All rights reserved. *236a7712/1* A-level ENGLISH LITERATURE A 7712/1 Paper 1 Love through the ages Mark scheme June 2023 Version: 1.0 Final *236A7712/1/MS* MARK SCHEME – A-LEVEL ENGLISH LITERATURE A – 7712/1 – JUNE 2023 2 Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students’ responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students’ scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Examiner. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students’ reactions to a particular paper. Assumptions about future mark schemes on the basis of one year’s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from Copyright information AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre. Copyright © 2023 AQA and its licensors. All rights reserved. MARK SCHEME – A-LEVEL ENGLISH LITERATURE A – 7712/1 – JUNE 2023 3 Level of response marking instructions Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance for the level. The