Home gardens can transform ‘hungry’ homes

The Doll House contrasts the controlled, idealized world of a dollhouse with the messy reality of real life, touching on themes like control, domestic life, gender roles, and the illusion of perfection. The title is ambiguous, referring both to the literal dollhouse and to restrictive domestic life, especially regarding gender roles. It also symbolizes fragility and the imperfection behind appearances. Words like "miniature," "furnishings," and "figurines" highlight the fragile, artificial nature of the dollhouse, emphasizing control and confinement, suggesting the illusion of perfection. The poem evokes childhood memories, using the dollhouse as a metaphor for an idealized, unchanging world, contrasting with the complex nature of adulthood. It explores growing up, showing how kids mimic adults without realizing how even small actions shape their future. The dollhouse world is interrupted by children's imaginations, symbolizing life’s balance between control and unpredictability. The unchanging clock symbolizes how childhood feels frozen in time, while real life continues to shape memories. Imagery like “cherry pie baked in a bottle cap” and “shiny turkey hollow to the tap” emphasizes the artificiality of the dollhouse, contrasting it with the complexities of real life. The dollhouse represents childhood—innocent yet limiting, seemingly in order but fragile and fake. Personification of the dolls and clock shows the passage of time and how childhood play gives the illusion of control. The repetitive structure reflects the cyclical nature of childhood play, with actions like putting dolls back in bed or needing disruptions in the story. Enjambment creates flow, reflecting the continuity of childhood memories and experiences. The poem is in free verse, expressing themes and emotions naturally, but it includes some rhyming elements like "shapes/capes," "years/smears," "dime/time," "pass/glass," and "bed/said," though it lacks a regular rhyme scheme. Caesura (pauses in lines) creates reflective moments, like in “Now it is time to go to sleep, we spoke, / Parroting the talk of older folk.” The back-and-forth between the structured dollhouse world and the kids' chaotic imaginations reflects the tension between needing structure and seeking action, mirroring life's unpredictability. The playful tone, with phrases like "Now it is time to go to sleep," shows childhood innocence while hinting at how small actions can have long-lasting impacts. The poem is nostalgic, recalling childhood memories of playing with the dollhouse and highlighting their importance as the speaker reflects on them. The poem uses imagery like "little-beds," "tin-foil looking glass," and "mismatched chairs" to evoke the dollhouse’s artificiality.  Metaphors like "forgotten shapes" symbolize lost memories, while personification brings the dolls to life, making them "awoke, alarmed." Onomatopoeia, such as "tap," enhances the sensory experience.  The dollhouse symbolizes childhood innocence, and the "low-wattage sun" represents time’s passage. The mood is contemplative and nostalgic, with vivid language reflecting on childhood memories. These are suggestions only. Accept any valid alternative responses.

 EITHER 

"Compare the ways in which the writers of your two chosen texts explore the impact of the past and memory in evoking a sense of fear."

 In your answer, you must consider relevant contextual factors. 

 (Total for Question 8 = 30 marks)

OR

Candidates may include the following in their answers:  In Wuthering Heights, Heathcliff is consumed by memories of abuse and rejection, which drive his obsession with revenge, creating a deep fear of feeling powerless. Similarly, in Mrs Dalloway, Clarissa is haunted by her past choices, especially her relationships and lost opportunities, leading to a fear of aging and death. In Mrs Dalloway, Septimus experiences hallucinations tied to his trauma from World War I. His memories of the war overwhelm him, causing a constant fear of death. In Wuthering Heights, Lockwood’s encounter with Catherine’s ghost and the creepy atmosphere at Wuthering Heights evoke fear through supernatural visions, showing how past traumas continue to haunt the present. Clarissa’s fear in Mrs Dalloway is more internal, coming from her thoughts about time, missed chances, and the inevitable approach of death. On the other hand, fear in Wuthering Heights often shows up externally, with supernatural events like Catherine’s ghost, reflecting the characters’ inability to escape their past emotional pain and trauma. The Gothic elements in Wuthering Heights, like the haunted atmosphere and Catherine’s ghost, create fear connected to the supernatural and past trauma. In contrast, Mrs Dalloway, as a Modernist novel, focuses on psychological depth, using fragmented narration to explore fear around memory, identity, and the passing of time. In Wuthering Heights, the trauma from the past gets passed down through generations, amplifying the fear that the past will keep affecting the future. Heathcliff’s need for revenge and his love for Catherine make this cycle of fear never-ending. In Mrs Dalloway, Septimus’ experience of war shows how traumatic memories shape a person’s present and make them fear being trapped by the past. The setting of Wuthering Heights itself reinforces fear. The mansion at the start of the novel represents past suffering, emphasizing the hold the past has on the characters. In Mrs Dalloway, the shifting narrative between characters' inner thoughts creates a sense of psychological fear, with Clarissa and Septimus both grappling with the impact of their memories. Wuthering Heights looks at the fear created by societal changes, especially through Heathcliff’s trauma and outsider status. His fear goes beyond personal relationships, critiquing the social structures of the time. Similarly, Mrs Dalloway explores the fear caused by societal changes, particularly the aftermath of the First World War, leaving lasting psychological scars that shape the characters’ fears and anxieties. These are suggestions only. Accept any valid alternative responses.

MARK SCHEME 

2. "Compare how the writers of Wuthering Heights and Mrs Dalloway present male characters asserting power and control."

In Wuthering Heights, Brontë presents Heathcliff as a character whose power stems from his obsessive love for Catherine and his determination to rise from oppression. His control over others is manifested in both physical cruelty and emotional manipulation, particularly with Isabella and Hareton. This portrayal of Heathcliff contrasts with Hindley, who also asserts power but through abuse and oppression, demonstrating the destructive nature of power. Hindley’s control over Heathcliff emphasizes the way power can be abused to maintain dominance, but it ultimately results in suffering and a cycle of revenge. Similarly, in Mrs Dalloway, Richard Dalloway wields his power through his high social status as a Member of Parliament. However, unlike Heathcliff, Richard's power is more superficial, reflecting his societal position rather than inner strength or determination. While Heathcliff rises from a disadvantaged background through willpower, Richard’s power is tied to his status, which, although influential, does not grant him true emotional or personal strength. This difference is further illustrated by Sir William Bradshaw, a character who, like Heathcliff, uses his authority—this time in psychiatry—to dominate and control others, specifically Septimus. While Heathcliff uses fear and cruelty to exert control, Bradshaw uses his medical expertise, showing how power can be wielded destructively through various forms of authority. When comparing how these characters demonstrate their strength, the abuse of power in Wuthering Heights is starkly different from the strength demonstrated by Richard Dalloway in Mrs Dalloway. Hindley’s mistreatment of Heathcliff shows how power can be wielded for destructive ends, whereas Richard’s strength, while evident in his commitment to social reform, ultimately remains linked to his societal position rather than any intrinsic personal strength. In contrast to Heathcliff’s rise from adversity, Richard’s status does not provide him with the inner strength to resolve his own personal insecurities, highlighting how social power does not equate to emotional or psychological resilience. Narratively, Brontë and Woolf both use distinctive techniques to explore power dynamics. Brontë’s use of multiple narrators and a non-linear timeline in Wuthering Heights gives readers various perspectives on the shifting power structures within the novel. This method allows for a nuanced exploration of how characters like Heathcliff manipulate others, creating a complex view of power. On the other hand, Woolf’s stream-of-consciousness technique in Mrs Dalloway delves into the inner lives of her characters, particularly Richard and Septimus, exposing their internal struggles to assert power and conform to social expectations. Woolf’s approach allows readers to understand how Richard’s external authority masks deeper personal conflicts, contrasting with Heathcliff’s more external, physical dominance. Contextually, Wuthering Heights was published in 1847, a time when Victorian patriarchal values were entrenched in society. The male characters in the novel, particularly Heathcliff and Hindley, embody the oppressive masculinity of the era, using power over women and others to maintain control. In contrast, Mrs Dalloway, set in 1923 after World War I, reflects a society in transition, where traditional gender roles and male dominance were increasingly questioned. The character of Richard Dalloway represents a type of male authority that is fragile, as post-war shifts in gender dynamics empower women like Clarissa to assert more control over their lives. Richard’s power, while still rooted in his social status, seems outdated in the face of these changing norms. For modern readers, Wuthering Heights may present Heathcliff and other powerful male characters as products of Victorian patriarchy, critiquing the toxic masculinity they represent. In contrast, Richard Dalloway in Mrs Dalloway might be seen as part of a critique of the waning dominance of men in the post-WWI period, where traditional male power structures began to lose their grip, and women began to assert more autonomy. The contrasting portrayals of male power in these two novels reflect their respective historical contexts, with Brontë critiquing the entrenched patriarchal systems of the 19th century and Woolf questioning the evolving nature of male authority in the early 20th century. Thus, both Wuthering Heights and Mrs Dalloway explore the themes of power and control through male characters, but they do so within different societal and historical frameworks. Heathcliff’s power arises from a personal, obsessive drive, while Richard’s power is more socially constructed and tied to his position in society. Both novels ultimately challenge the notion that power alone equates to true strength, showing that characters who assert control often mask deeper vulnerabilities.  Brontë focuses on the destructive effects of patriarchal power in a Victorian context, while Woolf examines the fragility and changes in male authority in the aftermath of World War I. Both novels reveal how power is often a façade that masks vulnerabilities, with male characters asserting control over others, yet struggling with their own internal conflicts and societal expectations.

UNIT 4: Shakespeare and Pre-1900 Poetry

Hamlet 

EITHER

"Guilt drives the tragic events of Hamlet." In the light of this statement, explore the ways in which Shakespeare presents the impact of guilt on the fate of key characters.

In your answer, you must consider relevant contextual factors.

The ghost showing up sets the whole guilt theme in motion, telling Hamlet to avenge his father’s death, making Hamlet feel guilty. Claudius feels guilty about murdering his brother and struggles with it in a soliloquy. Directors can show his guilt by making him look physically distressed. Gertrude feels guilty for marrying Claudius, possibly even for her role in her husband’s death. This can be shown through her facial expressions and voice when talking to Hamlet.  Hamlet accidentally kills Polonius, which fills him with guilt and frustration. His emotional breakdown shows his guilt. Ophelia’s death, tied to her grief and Hamlet’s actions, shows how unchecked guilt can have tragic effects. Laertes also feels guilty for Polonius’s death and ends up dying in a duel with Hamlet. Their shared guilt leads them to this tragic end. Hamlet sends Rosencrantz and Guildenstern to their deaths, showing the cold consequences of guilt and revenge mixed together. Shakespeare uses powerful imagery to show guilt. Claudius describes his guilt as a "canker" eating him up. Hamlet also speaks of his guilt in a way that contrasts with his violent actions. Directors might use dim lighting to highlight Claudius’s guilt when he prays alone. Hamlet’s soliloquies can be staged with him alone on stage to show his inner conflict. Hamlet’s soliloquies, like "To be or not to be," show his internal battle with guilt. Directors can show this contrast with Hamlet’s later impulsive actions. The play doesn’t follow a straight timeline, and guilt affects the characters' actions, delaying or changing things. The rising tension due to guilt builds to the tragic end.  The play twists the usual revenge tragedy by showing Hamlet delay his revenge because of his guilt, making the play more about guilt than straightforward revenge. A Marxist view links guilt to power struggles in Hamlet. Claudius’s guilt weakens his rule and leads to his downfall, while Hamlet’s guilt over inaction and violence drives his self-destruction, showing guilt as a force within authority and revenge. As a tragedy, Hamlet shows guilt leading to inevitable death. Claudius’s paranoia fuels a cycle of killings, while Hamlet’s guilt over his failures drives him to the fatal duel, making guilt central to the play’s tragic structure. In Elizabethan times, the 'Great Chain of Being' linked a king’s murder to cosmic disorder. Claudius’s guilt reflects this disruption, and the ensuing chaos—including Hamlet’s downfall—suggests divine punishment for his crime. "In Renaissance thought, personal responsibility and morality shape Hamlet's guilt. His reflections on life and death, especially in his soliloquies, highlight his struggle with revenge. His guilt over inaction delays his vengeance, and later, guilt from killing Polonius drives his emotional turmoil and reckless behavior, leading to his downfall." Religious ideas about sin and punishment influence the characters’ guilt. Claudius can’t fully repent, showing the difficulty of true redemption. The father-son relationships in the play are central to the guilt theme. Hamlet’s delay contrasts with Laertes’s immediate desire for revenge, exploring duty and guilt in these relationships. Claudius’s guilt is obvious—he knows what he did and regrets it, but he can’t truly repent. Hamlet’s guilt is more complicated because of his indecision and philosophical thinking about revenge. Ophelia’s guilt isn’t clear because she’s caught up in Hamlet’s actions and her father’s death. Gertrude’s guilt is more about survival and her role in the royal family, making it less obvious. Looking at the play through the lens of politics and divine right, Claudius’s guilt makes sense because his regicide (killing of the king) messes up the natural order. Hamlet’s guilt could be seen as stemming from subconscious issues, like his complex feelings about his mother marrying Claudius. A feminist view might look at how Gertrude and Ophelia deal with guilt. Ophelia could be seen as a victim of the men around her, and Gertrude’s guilt is tied to her role as a woman in a patriarchal society. A Marxist view might say that the characters’ guilt reflects the power structures of their society, where those at the top often have their actions driven by guilt and revenge. The play’s genre of tragedy focuses on how guilt leads to inevitable death. The characters’ guilt drives them to tragic ends. The candidate’s own critical position in relation to the question.     These are suggestions only. Accept any valid alternative responses.

"Ophelia’s tragic end highlights the consequences of women’s subjugation in a patriarchal world." In the light of this statement, explore how Shakespeare presents Ophelia’s downfall as a reflection of the mistreatment of women.

In your answer, you must consider relevant contextual factors.

Ophelia is dominated by the men in her life—her father, Polonius, her brother, Laertes, and Hamlet. Polonius and Laertes dictate her behavior, advising her on how to behave toward Hamlet. Laertes warns Ophelia that Hamlet may not be sincere, telling her to "stay away from him" , while Polonius instructs her to "read on this book" and avoid Hamlet’s advances. Hamlet himself mocks and mistreats her, telling her "get thee to a nunnery", reflecting how Ophelia is constantly controlled by the men around her. Ophelia’s passivity is evident throughout the play. She obeys her father’s commands, such as when she says, "I will obey, my lord" , and does not challenge the authority of the men around her. Her compliance with their wishes—whether in relation to her romantic life or Hamlet’s demands—shows her lack of control over her fate. This passivity contributes to her emotional collapse, mirroring the fatal consequences of a society that restricts women’s agency. Ophelia is used as a tool by the men around her, particularly Polonius and the king, who manipulate her to spy on Hamlet. Polonius instructs her to "go to him" and "read the letter" from Hamlet , dismissing her feelings for him. Her emotions and desires are disregarded, reinforcing the patriarchal notion that women exist to serve the interests of men. This exploitation highlights the broader societal expectation of women's subjugation in a patriarchal system. Hamlet’s cruel treatment of Ophelia, especially when he tells her to "get thee to a nunnery" (3.1), exemplifies her devaluation. His mocking behavior suggests that women’s worth is tied to male perceptions, and Ophelia’s worth is diminished by the men around her. This mistreatment reflects the emotional cruelty that women often faced in a patriarchal society, contributing directly to her emotional breakdown. Ophelia’s madness can be interpreted as a response to the emotional repression and societal expectations placed on her. In her madness, Ophelia briefly asserts herself by presenting flowers to the men, symbolizing her deeper understanding of their true nature. She distributes flowers to Laertes, Gertrude, and Claudius, saying, "There's rosemary, that's for remembrance; pray, love, remember" (4.5), which can be seen as a way of expressing her pain and turmoil. This fleeting assertiveness highlights how women’s voices were stifled in patriarchal society until they could no longer conform.  Ophelia’s relationship with her brother Laertes highlights the gender double standard of the time. Laertes is free to indulge in vice while Ophelia must maintain her purity. Laertes tells Ophelia to "keep your chaste treasure" (1.3) and warns her that Hamlet is not sincere. This reflects the strict moral expectations placed on women in Elizabethan society, where women were held to far harsher standards than men. Ophelia’s purity is constantly under scrutiny, particularly by Hamlet, whose harsh treatment of her reflects the societal pressure on women to uphold ideals of chastity and virtue. Hamlet tells her, "get thee to a nunnery," a command rooted in the expectation that women maintain their chastity (3.1). This scrutiny contributes to Ophelia’s internal struggle and eventual breakdown, demonstrating the damaging effects of controlling female sexuality. Ophelia’s relationship with Polonius and Laertes reflects the patriarchal family structure, where women’s desires and emotions are subordinated to male authority. Polonius controls her romantic life, using her to spy on Hamlet, and dismisses her feelings for him, telling her, "You do not understand yourself so clearly as you think" (1.3). This reinforces the idea of women’s subjugation, where their autonomy is disregarded in favor of male authority. The Church in Elizabethan society reinforced the idea of women’s inferiority, emphasizing obedience and submission. Ophelia’s forced compliance with the wishes of her father and Hamlet reflects the religious and societal norms of the time, where women’s purity and innocence were prioritized over their individuality and desires.  Ultimately, Ophelia’s tragic end—her madness and death—serves as a critique of the patriarchal system that suppresses women’s voices and autonomy. Shakespeare presents her downfall not only as a personal tragedy but also as a reflection of the destructive consequences of a society that demands women’s subjugation and denies them agency. Ophelia’s death, caused by drowning, symbolizes her complete emotional and social collapse as a result of being denied the right to control her own life.

SECTION B: Pre-1900 Poetry

Read the poem Sonnet on the Sea by John Keats on page 8 of the Source Booklet. 

Explore the ways in which a sense of escape from the stresses of modern life is presented in this poem and one other poem from your prescribed list.

 In your answer, you must consider relevant contextual factors. 

 (Total for Question 11 = 25 marks) 

The reference to “uproar rude” and “cloying melody”: This ties directly to the question by highlighting the emotional exhaustion caused by modern life. It discusses the overwhelming distractions of the industrial revolution and frames nature, particularly the sea, as a necessary escape. The sea providing physical and mental rejuvenation: This point fits perfectly with the exploration of escape from the stresses of modern life. The sea acts as a therapeutic retreat, offering peace and clarity. The sea’s connection to ancient mythology and nature’s rhythms: This point helps explore how the sea serves as a space for reflection and mental release, an escape into imagination and myth, which contrasts with the routine of modern life. The sestet with imperatives: The reference to the imperative language in the poem provides insight into how the speaker invites the reader to escape into the sea. The change in rhyme and structure effectively reflects the contrast between the chaos of modern life and the peace of nature. Onomatopoeia and sound contrasts: This is a strong point that emphasizes how the sounds of the sea contrast with the noise of modern life. This sensory escape is vital in portraying nature as a refuge from overstimulation. The sea's “gentle temper” offering calm: This further illustrates the contrast between the sea’s tranquility and the chaos of urban life, reinforcing its role as a peaceful retreat. The sea’s “whisperings” and “shadowy sound”: This point delves deeper into the sensory experience of nature, providing a direct escape from the sensory overload of industrialized society. The sea's connection to mythology and hypnotic power: This highlights the sea as a mental escape from the superficiality of industrialized life, aligning with the idea of nature being a sanctuary for deeper connection and reflection. The sea as a cure for weariness: This reflects the idea that the sea provides physical relief from the stresses of modern life, reinforcing the therapeutic nature of nature. Keats' use of Ancient Greek mythology: This further enriches the point about the sea offering an escape into mystery and imagination, grounding it in the Romantic tradition of finding solace in nature. The Romantic preoccupation with nature: This context ties into how Keats, as a Romantic poet, explores nature's restorative powers as an antidote to the stresses of modern existence. Contexts of relevance: These contextual insights, including the historical, biographical, and critical aspects, enhance the exploration of how the sea in Sonnet on the Sea offers an escape from the stresses of modern life. An appropriate choice of poem to accompany Sonnet on the Sea might be John Keat’s Ode to a Nightingale,  Shelley’s Ode to the West Wind,  Wordsworth’s Lines Composed a Few Miles Above Tintern Abbey. These are suggestions only. Accept any valid alternative responses.

 Songs of Innocence: Holy Thursday 

Read the poem ‘Songs of Experience: Holy Thursday by John Keats on the Source Booklet. Explore the ways in which hypocrisy of institutions is presented in this poem and one other poem from your prescribed list.

In your answer, you must consider relevant contextual factors.  The children are described as having "innocent faces clean" and wearing colorful clothing. This imagery symbolizes purity and innocence, but it contrasts sharply with their hidden suffering and exploitation, critiquing how institutions focus on outward appearances instead of addressing systemic issues like poverty. Blake metaphorically refers to the children as "flowers of London town," symbolizing innocence and fragility. However, this metaphor is ironic because it masks the children's real suffering. They are treated as symbols of innocence rather than being helped in a meaningful way, emphasizing the superficial nature of institutional charity. The "grey-headed beadles" (representing the Church and state) carry wands "white as snow," symbolizing purity and moral authority. The whiteness of the wands is a façade, representing a superficial purity that does not translate into genuine care or action to alleviate the children's suffering. This highlights the ineffectiveness of institutions in addressing real poverty. The children are reduced to spectacles, paraded in a procession, which is compared to the flowing of the Thames. This metaphor creates an image of grandeur and collective power but is superficial, emphasizing how institutions focus on appearance rather than genuinely addressing the children’s suffering. The public display of charity through the children's procession is a form of self-congratulation for the institutions involved. It masks the reality that they do little to address the root causes of poverty. The performative ceremony contrasts with the children's actual impoverished lives, exposing the hypocrisy of the institutions. The children's song is described as "like a mighty wind," evoking powerful, divine imagery. However, this powerful image contrasts with the reality of their suffering, highlighting the disconnection between the spiritual focus of the ceremony and the earthly suffering of the children. The line "Then cherish pity, lest you drive an angel from your door" calls for genuine compassion. Blake critiques the hypocrisy of institutions that only offer a public show of charity without addressing the true needs of the children. The "angel" symbolizes the innocence of the children and the moral consequences of ignoring their plight. contexts of relevance might include historical or theoretical details relating to religion, poetic conventions of the period and social injustice; and biographical details about the poet; reference may also be made to a variety of critical opinions and interpretations of the text. Blake critiques institutional hypocrisy during the Industrial Revolution and focuses on economic inequality and exploitation. As a Romantic, rejects industrialization, emphasizes social justice. Critiques Church and state for exploiting the vulnerable. Blake’s mystical views condemn the Church of England for prioritizing wealth over spiritual care, while exposes Church’s neglect of true Christian values. Holy Thursday highlights child exploitation and institutional failure to address poverty. An appropriate choice of poem to accompany Holy Thursday might be Blake’s  Songs of Experience: London or  Shelley’s Ode to the West Wind , Coleridge’s The Rime of the Ancient Mariner or Shelley’s The Question.

FULL POEM A.E. Stallings