AQA AS ENGLISH LITERATURE B 7716/1A Paper 1A Literary genres: Drama: Aspects of tragedy Version: 1.0 Final IB/G/Jun23/E8 7716/1A// QUESTION PAPER & MARKING SCHEME/ [MERGED] Marl( scheme June 2023

AQA AS ENGLISH LITERATURE B 7716/1A Paper 1A Literary genres: Drama: Aspects of tragedy Version: 1.0 Final IB/G/Jun23/E8 7716/1A Thursday 18 May 2023 Morning Time allowed: 1 hour 30 minutes Materials For this paper you must have: • an AQA 12-page answer book. Instructions • Use black ink or black ball-point pen. • Write the information required on the front of your answer book. The Paper Reference is 7716/1A. • Do all rough work in your answer book. Cross through any work you do not want to be marked. • You must answer one question from Section A and one question from Section B. Information • The maximum mark for this paper is 50. • The marks for questions are shown in brackets. • You will be marked on your ability to: – use good English – organise information clearly – use specialist vocabulary where appropriate. • In your response you need to: – analyse carefully the writers’ methods – explore the contexts of the texts you are writing about – explore the connections across the texts you have studied – explore different interpretations of your texts. AS ENGLISH LITERATURE B Paper 1A Literary genres: Drama: Aspects of tragedy 2 IB/G/Jun23/7716/1A Section A Answer one question from this section. Either 0 1 Othello – William Shakespeare Explore the significance of aspects of dramatic tragedy in the following passage in relation to the play as a whole. You should consider the following in your answer: • the presentation of Iago’s villainy • Othello’s response to Iago’s manipulation • other relevant aspects of dramatic tragedy. [25 marks] IAGO Cassio’s my worthy friend. My lord, I see you’re moved. OTHELLO No, not much moved. I do not think but Desdemona’s honest. IAGO Long live she so! And long live you to think so! OTHELLO And yet, how nature erring from itself – IAGO Ay, there’s the point: as, to be bold with you, Not to affect many proposèd matches Of her own clime, complexion, and degree, Whereto we see in all things nature tends, Foh! One may smell in such a will most rank, Foul disproportion, thoughts unnatural. But, pardon me, I do not in position Distinctly speak of her, though I may fear Her will, recoiling to her better judgement, May fall to match you with her country forms, And happily repent. OTHELLO Farewell, farewell. If more thou dost perceive, let me know more. Set on thy wife to observe. Leave me, Iago. IAGO (going) My lord, I take my leave. OTHELLO Why did I marry? This honest creature doubtless Sees and knows more, much more than he unfolds. IAGO (returning) My lord, I would I might entreat your honour To scan this thing no farther. Leave it to time. Although ’tis fit that Cassio have his place, 3 IB/G/Jun23/7716/1A Turn over ► For sure he fills it up with great ability, Yet, if you please to hold him off awhile, You shall by that perceive him and his means; Note if your lady strain his entertainment With any strong or vehement importunity – Much will be seen in that. In the meantime, Let me be thought too busy in my fears, As worthy cause I have to fear I am, And hold her free, I do beseech your honour. OTHELLO Fear not my government. IAGO I once more take my leave. Exit OTHELLO This fellow’s of exceeding honesty, And knows all qualities with a learnèd spirit Of human dealings. If I do prove her haggard, Though that her jesses were my dear heart-strings, I’d whistle her off, and let her down the wind To prey at fortune. Haply, for I am black And have not those soft parts of conversation That chamberers have; or for I am declined Into the vale of years – yet that’s not much – She’s gone: I am abused, and my relief Must be to loathe her. O, curse of marriage! That we can call these delicate creatures ours And not their appetites! I had rather be a toad And live upon the vapour of a dungeon Than keep a corner in the thing I love For others’ uses. Yet ’tis the plague of great ones; Prerogatived are they less than the base. ’Tis destiny unshunnable, like death: Even then this forkèd plague is fated to us When we do quicken. Desdemona comes: Enter Desdemona and Emilia If she be false, O, then heaven mocks itself! I’ll not believe’t. (Act 3, Scene 3) Turn over for the next question 4 IB/G/Jun23/7716/1A or 0 2 King Lear – William Shakespeare Explore the significance of aspects of dramatic tragedy in the following passage in relation to the play as a whole. You should consider the following in your answer: • the presentation of Lear • other relevant aspects of dramatic tragedy. [25 marks] GLOUCESTER I know that voice. He falls to his knees LEAR Ha! Gonerill with a white beard! They flattered me like a dog and told me I had the white hairs in my beard ere the black ones were there. To say ‘ay’ and ‘no’ to everything that I said! ‘Ay’ and ‘no’ too was no good divinity. When the rain came to wet me once and the wind to make me chatter; when the thunder would not peace at my bidding; there I found ’em, there I smelt ’em out. Go to, they are not men o’their words. They told me I was everything. ’Tis a lie: I am not agueproof. GLOUCESTER The trick of that voice I do well remember. Is’t not the King? LEAR Ay, every inch a king. When I do stare see how the subject quakes. I pardon that man’s life. What was thy cause? Adultery? Thou shalt not die. Die for adultery? No. The wren goes to’t, and the small gilded fly Does lecher in my sight. Let copulation thrive; for Gloucester’s bastard son Was kinder to his father than my daughters Got ’tween the lawful sheets. To’t, luxury, pell-mell, for I lack soldiers. Behold yon simpering dame Whose face between her forks presages snow, That minces virtue and does shake the head To hear of pleasure’s name – The fitchew nor the soilèd horse goes to’t With a more riotous appetite. Down from the waist they are centaurs, Though women all above; But to the girdle do the gods inherit, Beneath is all the fiends’ – There’s hell, there’s darkness, there is the sulphurous pit – burning, scalding, stench, consumption! Fie, fie, 5 IB/G/Jun23/7716/1A Turn over ► fie! Pah, pah! Give me an ounce of civet; good apothecary, sweeten my imagination. There’s money for thee. He gives flowers (Act 4, Scene 6) Turn over for Section B 6 IB/G/Jun23/7716/1A Section B Answer one question from this section. Either 0 3 Richard II – William Shakespeare Explore the view that ‘at the end of the play, no positives emerge’. Remember to include in your answer relevant comments on Shakespeare’s dramatic methods. [25 marks] or 0 4 Death of a Salesman – Arthur Miller Explore the view that ‘the female characters in the play are victims who deserve our sympathy’. Remember to include in your answer relevant comments on Miller’s dramatic methods. [25 marks] or 0 5 A Streetcar Named Desire – Tennessee Williams Explore the view that ‘there is no greatness in the play – only ordinary people leading ordinary lives’. Remember to include in your answer relevant comments on Williams’ dramatic methods. [25 marks] END OF QUESTIONS 7 IB/G/Jun23/7716/1A There are no questions printed on this page 8 IB/G/Jun23/7716/1A 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. *236a7716/1a* AS ENGLISH LITERATURE B 7716/1A Paper 1A Literary genres: Drama: Aspects of tragedy Mark scheme June 2023 Version: 1.0 Final *236a7716/1a/MS* MARK SCHEME – AS ENGLISH LITERATURE B – 7716/1A – 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 – AS ENGLISH LITERATURE B – 7716/1A – 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. There are marks in each level. Before you apply the mark scheme to a student’s answer read through the answer and annotate it (as instructed) to show the qualities that are being looked for. You can then apply the mark scheme. Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student’s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme