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

AQA_2024: AS English Literature B - Paper 1A Literary Genres: Drama: Aspects of Tragedy. (Merged Question Paper and Marking Scheme) AS ENGLISH LITERATURE B Paper 1A Literary genres: Drama: Aspects of tragedy Thursday 16 May 2024 Materials For this paper you must have:  an AQA 12-page answer book. Instructions Morning Time allowed: 1 hour 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 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. For AS English Literature B Paper 1A: Literary Genres: Drama: 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, often due to a tragic flaw or external forces. In Macbeth (Shakespeare), Macbeth’s unchecked ambition leads to his tragic end, while in A View from the Bridge (Miller), Eddie’s obsession with honor results in his downfall.  Fatal Flaws (Hamartia): Many tragic heroes possess flaws that lead to their demise. In Oedipus Rex (Sophocles), Oedipus’s hubris and determination to defy fate cause his tragic end. In Death of a Salesman (Miller), Willy Loman’s inability to confront reality and his obsession with success leads to his destruction.  Fate vs Free Will: Tragedy often explores the tension between fate and personal choice. In Oedipus Rex, Oedipus’s fate is sealed despite his efforts to avoid it. In Macbeth, Macbeth’s actions propel him toward his doom, raising questions about free will versus destiny.  Suffering and Catharsis: Tragedy elicits emotions of pity and fear. In A View from the Bridge, Eddie’s tragic end elicits both pity and a sense of inevitable justice. In Macbeth, the suffering of the hero and his downfall provide catharsis for the audience.  Justice and Revenge: Many tragedies involve themes of justice, revenge, and moral retribution. In The Duchess of Malfi (Webster), the Duchess’s tragic death is a result of her brothers’ quest for revenge. 2. Key Texts:  Macbeth (Shakespeare): Analyze how Macbeth’s ambition, encouraged by Lady Macbeth and the witches, leads him to commit murder and ultimately self-destruction.  Death of a Salesman (Miller): Study Willy Loman’s obsession with the American Dream and his tragic inability to accept reality, leading to his death.  A View from the Bridge (Miller): Examine Eddie’s internal conflict, his sense of honor, and his tragic flaw, which leads to his eventual demise.  The Duchess of Malfi (Webster): Explore themes of power, corruption, and revenge, focusing on the Duchess’s defiance and tragic fate. 3. Literary Techniques:  Characterization: Focus on the development of the tragic hero, especially their flaws. In Macbeth, Macbeth’s initial nobility turns to tyrannical ambition, while in Death of a Salesman, Willy Loman’s delusions about success shape his tragic journey.  Dramatic Irony: In tragedies like Oedipus Rex, the audience knows the hero’s fate, which heightens the tragedy. In A View from the Bridge, the audience understands Eddie’s actions before he does, increasing the tragic tension.  Foreshadowing: In Macbeth, the witches’ prophecies foreshadow Macbeth’s eventual downfall, while in Death of a Salesman, Willy’s psychological decline is foreshadowed through his conversations with his deceased brother, Ben. 4. Exam Strategy:  Compare Tragic Elements: Practice comparing how different texts explore key themes, such as fate, revenge, and the downfall of the tragic hero.  Focus on Key Passages: Analyze significant scenes that highlight the protagonist’s fatal flaw or turning point, like Macbeth’s soliloquy on ambition or Eddie’s confrontation with Marco. This overview should help you focus your revision on the essential elements of tragedy, ensuring you are prepared for your exam. 7716/1A IB/G/Jun24/G4001/E4 2 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  the interaction between Othello and Desdemona  other relevant aspects of dramatic tragedy. IAGO (aside) He takes her by the palm. Ay, well said, whisper. With as little a web as this will I ensnare as great a fly as Cassio. Ay, smile upon her, do. I will gyve thee in thine own courtship. You say true, ’tis so indeed. If such tricks as these strip you out of your lieutenantry, it had been better you had not kissed your three fingers so oft, which now again you are most apt to play the sir in. Very good: well kissed, an excellent courtesy! ’Tis so indeed. Yet again your fingers to your lips? Would they were clyster-pipes for your sake! Trumpet (Aloud) The Moor! I know his trumpet. CASSIO DESDEMONA Let’s meet him and receive him. CASSIO Enter Othello and attendants OTHELLO O, my fair warrior! DESDEMONA OTHELLO My dear Othello! ’Tis truly so. Lo, where he comes! It gives me wonder great as my content To see you here before me. O, my soul’s joy! If after every tempest come such calms, May the winds blow till they have wakened death, And let the labouring bark climb hills of seas, Olympus-high, and duck again as low As hell’s from heaven. If it were now to die, ’Twere now to be most happy; for I fear My soul hath her content so absolute That not another comfort like to this Succeeds in unknown fate. [25 marks] IB/G/Jun24/7716/1A 3 DESDEMONA The heavens forbid But that our loves and comforts should increase, Even as our days do grow. OTHELLO Amen to that, sweet Powers! I cannot speak enough of this content; It stops me here; it is too much of joy. They kiss And this, and this the greatest discords be That e’er our hearts shall make. IAGO (aside) O, you are well tuned now! But I’ll set down the pegs that make this music, As honest as I am. OTHELLO Come, let’s to the castle. News, friends; our wars are done; the Turks are drowned. How does my old acquaintance of this isle? Honey, you shall be well desired in Cyprus: I have found great love amongst them. O my sweet, I prattle out of fashion and I dote In mine own comforts. I prithee, good Iago, Go to the bay and disembark my coffers; Bring thou the Master to the citadel; He is a good one, and his worthiness Does challenge much respect. Come, Desdemona, Once more well met at Cyprus! Exeunt all except Iago and Roderigo Turn over for the next question (Act 2, Scene 1) IB/G/Jun24/7716/1A Turn over ► 4 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  the ways the Fool responds to Lear  other relevant aspects of dramatic tragedy. Storm still. Enter Lear and the Fool LEAR Blow, winds, and crack your cheeks! Rage! Blow! You cataracts and hurricanoes, spout Till you have drenched our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-curriers of oak-cleaving thunderbolts, Singe my white head! And thou all-shaking thunder, Strike flat the thick rotundity o’the world, Crack Nature’s moulds, all germens spill at once That makes ingrateful man! FOOL O nuncle, court holy-water in a dry house is better than this rain-water out o’door. Good nuncle, in; ask thy daughters’ blessing. Here’s a night pities neither wise men nor fools. LEAR Rumble thy bellyful! Spit, fire! Spout, rain! Nor rain, wind, thunder, fire are my daughters. I tax not you, you elements, with unkindness; I never gave you kingdom, called you children. You owe me no subscription; then let fall Your horrible pleasure. Here I stand, your slave, A poor, infirm, weak, and despised old man. But yet I call you servile ministers, That will with two pernicious daughters join Your high-engendered battles ’gainst a head So old and white as this. O, ho! ’Tis foul! FOOL He that has a house to put’s head in has a good head- piece: The cod-piece that will house Before the head has any, The head and he shall louse; So beggars marry many. The man that makes his toe What he his heart should make, Shall of a corn cry woe, And turn his sleep to wake. [25 marks] IB/G/Jun24/7716/1A 5 For there was never yet fair woman but she made mouths in a glass. Enter Kent LEAR No, I will be the pattern of all patience. I will say nothing. KENT Who’s there? FOOL Marry, here’s grace and a cod-piece – that’s a wise man and a fool. (Act 3, Scene 2) Turn over for Section B Turn over ► IB/G/Jun24/7716/1A 6 Section B Answer one question from this section. Either 0 3 Richard II – William Shakespeare Explore the view that ‘Richard is a proud and shallow tragic protagonist’. 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 significance of dreams to the tragedy of Death of a Salesman. 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 ‘Stanley is a cruel brute – a villain with no redeeming features’. Remember to include in your answer relevant comments on Williams’ dramatic methods. [25 marks] END OF QUESTIONS IB/G/Jun24/7716/1A 7 There are no questions printed on this page