Missing ones

 

Explore how the writer presents the relationship between the lion-keeper and the lion in this poem. In your answer, you should consider the writer’s: • descriptive skills • choice of language • use of form and structure. Support your answer with examples from the poem.

Explore how the writer presents the relationship between the lion-keeper and the lion in this poem. In your answer, you should consider the writer’s: • descriptive skills • choice of language • use of form and structure. Support your answer with examples from the poem. AO2 – Analyse the language, form and structure used by a writer to create meanings and effects. (20 marks) The writer’s descriptive skills: The lion-keeper’s emotional closeness to the lion is tenderly conveyed. He is someone "Who could stroke his head", suggesting familiarity, trust, and long-term bonding. The description of “rough glowing fur” evokes a deep sensory connection, blending texture with a warm, almost reverent glow. The lion-keeper’s dedication is shown through small details: he “cut it up small to feed him / since his teeth were gone”, emphasizing care in the face of decline. The physical and emotional comfort they provided each other during wartime is movingly described: “curled close to him, wrapped in his warmth, / his pungent scent, as the bombs fell”, highlighting the lion as a source of solace. The final stanzas poignantly contrast memory with grief: the lion “asleep so often / but never like this” shows the emotional shock of death despite expectations. The poem closes on a note of deep loss, showing the man’s disorientation in a world without the lion: “to be an old man in a city / without a lion.” The phrase reflects loneliness and disconnection. The poem becomes a mirror reflecting the reader's own encounters with grief, fostering empathy and connection as they vicariously experience the Lion-keeper's journey through the labyrinth of emotions. The writer’s choice of language: Repetition of “Who…” at the start of most stanzas creates a reverent, almost liturgical tone, as if recalling acts of devotion. The phrase “deepest purr in the world” is rich in sound and emotion, suggesting a profound, unique connection. Use of metaphor: the lion becomes a symbol of love, constancy, and emotional sanctuary. The gentle verb “plunge” in “plunge fingers / into rough glowing fur” suggests complete immersion in intimacy and trust. The use of “moth-eaten” to describe the zoo subtly indicates the wear and decay of time and place, adding to the sense of fragility. The oxymoronic “peacefully… in the course of nature” contrasts with the keeper’s personal devastation, suggesting how grief often defies rational acceptance. The final line—“without a lion”—uses stark simplicity to underscore profound emotional emptiness. The poem's title, "Bereavement," immediately sets a sorrowful tone, encapsulating the state of profound grief over the loss of a loved one. The lion-keeper's unwavering dedication, even after his pay ceases, emphasizes the sincerity of his care, transcending conventional human-animal relationships. The writer’s use of form and structure: The poem is composed in free verse, with irregular line lengths and stanza breaks, echoing the fragmented and personal nature of memory and grief. The six stanzas each begin with “Who”, giving the poem a repetitive, elegiac structure, like a list of cherished recollections or a eulogy. The use of enjambment (e.g., “Who could stroke his head, who knew / how it felt to plunge fingers…”) enhances the flow of memory and mirrors the continuous stream of affection. The poem builds gradually from practical care to emotional interdependence, then to profound grief, showing an arc of life, death, and mourning. The structure emphasizes the lion’s importance in the keeper’s identity, culminating in a loss that strips him of meaning—“no way to let go / of love.” The final short stanza contains no further “Who…” and shifts to “but who knows…”, marking a turning point from recollection to the painful present, underscoring emotional rupture. The use of enjambment throughout the poem adds a layer of complexity to the emotional landscape, allowing readers to navigate the ebb and flow of the Lion-keeper's inner turmoil. General Notes for Examiners: Be open to a range of interpretations supported by relevant evidence. Stronger responses will connect language and structure directly to the emotional impact and the central relationship. Descriptive, analytical, and evaluative comments should be rewarded, particularly when they explore multiple layers of meaning or effects on the reader.

4 Explore how childhood innocence is presented in the early chapters of To Kill a Mockingbird.

You must consider the context of the novel in your answer.

(Total for Question 4 = 40 marks)

Question 4: Explore how childhood innocence is presented in the early chapters of To Kill a Mockingbird. (Total 40 marks: AO1 – 20, AO4 – 20) AO1 (20 marks) Understanding of the text, use of references, ability to explore character and theme Scout is the narrator but recalls events from a child’s perspective, showing her innocence and misunderstandings (e.g., not understanding why school feels disappointing despite high expectations). The Radley house becomes a symbol of mystery and childhood imagination; Scout, Jem and Dill create dramatic stories around Boo Radley despite knowing very little: “inside the house lived a malevolent phantom”. Dill’s imaginative storytelling and emotional reactions (e.g., his desire to marry Scout and his crying at the trial later) highlight childlike ideals of love and justice. The children play the ‘Radley game’, reenacting neighbourhood myths without realising the implications of spying on a reclusive adult. Scout struggles with social norms, such as why her teacher (Miss Caroline) disapproves of her ability to read — this reveals a gap between childlike logic and adult rules. Innocent assumptions about class and poverty are evident when Scout tries to explain why Walter Cunningham won’t take lunch money — she’s reprimanded for her honesty. Scout’s voice is often humorous and literal; she doesn’t grasp sarcasm or euphemism, e.g., “I never deliberately learned to read but somehow I had been wallowing illicitly in the daily papers”. Their games and curiosity reflect how children try to make sense of a complex adult world through imagination, not prejudice. Atticus allows Scout to “climb into another person’s skin and walk around in it”, but it’s clear she is still learning how. AO4 (20 marks) Contextual understanding: 1930s Southern USA, societal expectations, racism, gender roles In the context of 1930s Alabama, children were expected to be obedient and follow clear gender roles — Scout’s tomboy behaviour contrasts with this. Education was highly structured, yet Scout’s natural intelligence challenges the formal system; this reveals flaws in social institutions. Racial segregation is visible but not fully understood by the children, showing how prejudice is learned, not innate. Dill’s loneliness (being passed between relatives) reflects changing family structures and the emotional cost on children. Boo Radley’s story reflects society’s fear of difference — but the children’s initial fear is based on gossip, not experience. Scout’s innocence allows Harper Lee to present a critical lens on adult hypocrisy, such as when Scout is confused about why she’s punished for explaining Walter’s situation truthfully. The children’s lack of understanding of racial and class divisions highlights the learned nature of social inequality. Maycomb’s slow, tradition-bound lifestyle means children are more exposed to adult conversations and values, often too early.

Question 4: Childhood Innocence

AO1 — Textual Evidence Examples

• Scout’s innocent voice and literal thinking:
  “Until I feared I would lose it, I never loved to read. One does not love breathing.” (Chapter 2) — shows Scout’s childlike honesty and simple worldview.
  
  

• The Radley house as a focus of childish imagination:
  “Inside the house lived a malevolent phantom.” (Chapter 1) — shows how children mythologize Boo Radley.
  
  

• Dill’s imaginative nature:
  Dill’s plan to “give Boo Radley a note” (Chapter 4) and his emotional response to the injustice in the trial later illustrate childhood innocence and idealism.
  
  

• Scout struggles with school rules and expectations:
  “Miss Caroline, he’s a Cunningham.” (Chapter 2) — Scout tries to explain Walter Cunningham’s situation, but the teacher reprimands her.
  
  

• The Radley game and children’s curiosity:
  “We would sometimes play ‘Boo Radley.’” (Chapter 5) — shows innocent play that masks deeper fears.
  
  

• Scout’s naïve understanding of class:
  When Scout invites Walter Cunningham for lunch, Aunt Alexandra disapproves: “he — is — trash.” (Chapter 13)
  
  

• Atticus’s teaching about empathy:
  “You never really understand a person until you consider things from his point of view… until you climb inside of his skin and walk around in it.” (Chapter 3)
  
  

• Scout’s tomboy nature and innocence:
  “I was far too old and too big for such childish things, and the sooner I learned to hold my tongue the better off everybody would be.” (Chapter 9) — Scout beginning to understand social pressures.
  
  

• Innocent misunderstandings about family and social roles:
  “Calpurnia always won.” (Chapter 1) — highlights how Scout navigates her role as a child and the authority figures around her.
  
  

AO4 — Contextual Evidence

• Gender expectations (tomboy vs lady):
  Aunt Alexandra’s arrival in Chapter 13 introduces the pressure on Scout to be more ladylike.
  
  

• Class and social hierarchy:
  Aunt Alexandra’s concern that Scout and Jem associate with the right people (Chapter 13).
  
  

• Racial context:
  Early chapters mention Calpurnia’s role and the segregation in Maycomb society (e.g., Calpurnia’s church visit in later chapters, but hinted earlier).
  
  

• Education system:
  Scout’s negative experience at school (Chapter 2) shows the limitations of formal education and social conformity.

Question 5: ‘Maycomb was an old town, but it was a tired old town when I first knew it.’ Explore how Harper Lee presents the setting of Maycomb in the early part of the novel.

(Total 40 marks: AO1 – 20, AO4 – 20)

5. ‘Maycomb County had recently been told that it had nothing to fear but fear itself.’

Explore how Harper Lee uses the setting of Maycomb to reflect the attitudes and values of society in the early part of To Kill a Mockingbird..

(Total for Question 5 = 40 marks)

AO1 (20 marks) Understanding of setting, use of quotation and analysis of language/structure The description of Maycomb in Chapter 1 sets a sleepy, unchanging atmosphere: “Maycomb was an old town, but it was a tired old town”. Lee uses sensory details — the heat, red dust, slow-moving people — to present Maycomb as stifling and monotonous. The courthouse and jail are central physical and symbolic features, reinforcing ideas of justice and injustice. Scout’s narrative voice uses vivid, childlike imagery to present Maycomb: e.g., “Men’s stiff collars wilted by nine in the morning”. The town is close-knit and judgmental, with everyone knowing each other’s business — gossip plays a big role. Radley house setting adds mystery and foreboding; the children’s fear stems partly from how the house is physically described. The Finch house is seen as relatively progressive and open, contrasting with other settings in the town. Lee’s use of first-person retrospective narration allows readers to see Maycomb both through a child’s eyes and an adult’s reflection. The slow pace of life in Maycomb reflects the resistance to social change, which ties into later events like Tom Robinson’s trial. AO4 (20 marks) Understanding of context: Southern traditions, racial/class divisions, Depression-era society Maycomb reflects small-town Alabama life during the Great Depression — people are poor, proud, and conservative. The slow pace and traditionalism reflect the South’s resistance to change; this helps explain reactions to Atticus defending Tom Robinson. Clear social hierarchies exist — e.g., Finch family seen as upper-class, Cunninghams as poor but respectable, Ewells as disgraceful — all shaped by land and heritage. Gender roles are strongly defined; women host teas and are expected to behave like ladies (shown later in missionary teas). Racial segregation and systemic prejudice are ingrained in the town’s structures and physical divisions — the black church is separate; the courthouse seating reflects racial hierarchy. Maycomb’s setting embodies the tension between outward politeness and deep-rooted injustice. The town serves as a microcosm of the wider South, allowing Lee to critique its values and resistance to moral progress.

Question 5: Maycomb as Setting

AO1 — Textual Evidence Examples

• Opening description of Maycomb:
  “Maycomb was an old town, but it was a tired old town when I first knew it.” (Chapter 1)
  
  

• The heat and dust:
  “Men’s stiff collars wilted by nine in the morning.” (Chapter 1) — physical environment shapes atmosphere.
  
  

• The courthouse and social gathering place:
  While the trial is later, the courthouse is introduced early as a significant place.
  
  

• Neighborhood life and gossip:
  “You never really understand a person until you climb inside of his skin...” (Chapter 3) — shows close-knit community pressures.
  
  

• Radley house as mysterious, gloomy setting:
  “The house was low, was once white with a deep front porch and green shutters...” (Chapter 1) — detailed setting creates an eerie atmosphere.
  
  

• Finch family home:
  Described as comfortable and open, representing a different social standing (Chapter 1).
  
  

• Slow pace of life:
  “People moved slowly then. They ambled across the square...” (Chapter 1)
  
  

AO4 — Contextual Evidence

• Great Depression background:
  References to the Cunningham family’s poverty and inability to pay back loans (Chapter 2).
  
  

• Southern social hierarchy:
  Finch family’s status as “old money” landowners vs Cunninghams and Ewells (Chapter 2 and 3).
  
  

• Racial segregation:
  The existence of separate churches (Calpurnia’s church mentioned in Chapter 12) highlights segregation.
  
  

• Tradition and resistance to change:
  Aunt Alexandra’s views on family heritage and social standing (Chapter 13).
  
  

In what ways is fear of Boo Radley presented in the novel? You must consider the context of the novel in your answer. in the exact style you requested: (AO1) • The children’s fear of Boo Radley is shown through their vivid and exaggerated imagination, calling him a “malevolent phantom.” • Scout describes Boo as having “scar across his face” and yellow eyes, creating a fearful image. • Jem and Dill’s stories about Boo include rumors that he “dined on raw squirrels and any cats he could catch,” fueling superstition. • The children dare each other to approach the Radley house, but their fear keeps them cautious and reluctant. • The narrative presents Boo from the children’s perspective, showing how fear is mixed with curiosity and misunderstanding. • Scout’s narrative tone conveys a sense of mystery and childhood innocence that heightens the fear of the unknown. • The gifts left in the knothole of the tree reveal Boo’s kindness, which challenges the initial fearful impression. • The nighttime episode where the children try to peek into the Radley house builds tension and highlights the impact of fear. • Miss Maudie offers a more rational and kinder view of Boo, which contrasts with the children’s fearful ideas. (AO4) • Fear of Boo Radley is shaped by the Southern Gothic tradition, where eerie and mysterious characters reflect social anxieties and decay. • The setting of Maycomb, a small 1930s Southern town, is prone to gossip and superstition, which magnifies fear of the unknown. • Childhood innocence and imagination influence the children’s exaggerated and fearful view of Boo. • The fear represents the social isolation of those who are different or misunderstood in a racially and socially segregated community. • Boo Radley symbolizes the “other” in Southern society, reflecting wider themes of prejudice and fear of difference. • The novel explores how social context and culture create myths and superstitions around people who don’t conform to societal norms.