Read this extract, and then answer the question that follows it: Ben: Yes, my dear. But I've only a few minutes – Willy: No! Boys! Boys! [Young Biff and Happy appear.] Listen to this. This is your Uncle Ben, a great man! Tell my boys, Ben! Ben: Why boys, when I was seventeen I walked into the jungle, and when I was twenty-one I walked out. [He laughs.] And by God I was rich. 5 Willy: [to the boys] You see what I been talking about? The greatest things can happen! Ben: [glancing at his watch] I have an appointment in Ketchikan Tuesday week. 10 Willy: No, Ben! Please tell about Dad. I want my boys to hear. I want them to know the kind of stock they spring from. All I remember is a man with a big beard, and I was in Mamma's lap, sitting around a fire, and some kind of high music. Ben: His flute. He played the flute. Willy: Sure, the flute, that's right! [New music is heard, a high, rollicking tune.] 15 Ben: Father was a very great and a very wild-hearted man. We would start in Boston, and he'd toss the whole family into the wagon, and then he'd drive the team right across the country; through Ohio, and Indiana, Michigan, Illinois, and all the Western states. And we'd stop in the towns and sell the flutes that he'd made on the way. Great inventor, Father. With one gadget he made more in a week than a man like you could make in a lifetime. 20 Willy: That's just the way I'm bringing them up, Ben – rugged, well liked, all-around. 25 Ben: Yeah? [To Biff] Hit that, boy – hard as you can. [He pounds his stomach.] Biff: Oh, no, sir! Ben: [taking boxing stance] Come on, get to me! [He laughs.] 30 Willy: Go to it, Biff! Go ahead, show him! Biff: Okay! [He cocks his fists and starts in.] Linda: [to Willy] Why must he fight, dear? Ben: [sparring with Biff] Good boy! Good boy! Willy: How's that, Ben, heh? 35 Happy: Give him the left, Biff! Linda: Why are you fighting? Ben: Good boy! [Suddenly comes in, trips Biff, and stands over him, the point of his umbrella poised over Biff's eye.] Linda: Look out, Biff! 40 Biff: Gee! Ben: [patting Biff's knee] Never fight fair with a stranger, boy. You'll never get out of the jungle that way. [Taking Linda's hand and bowing] It was an honour and a pleasure to meet you, Linda. Linda: [withdrawing her hand coldly, frightened] Have a nice – trip. Ben: [to Willy] And good luck with your – what do you do? Willy: Selling. 45 Ben: Yes. Well ... [He raises his hand in farewell to all.] Willy: No, Ben, I don't want you to think ... [He takes Ben's arm to show him.] It's Brooklyn, I know, but we hunt too. Ben: Really, now. 50 Willy: Oh, sure, there's snakes and rabbits and – that's why I moved out here. Why, Biff can fell any one of these trees in no time! Boys! Go right over to where they're building the apartment house and get some sand. We're gonna rebuild the entire front stoop right now! Watch this, Ben! 55 Biff: Yes, sir! On the double, Hap! Happy: [as he and Biff run off] I lost weight, Pop, you notice? [Charley enters in knickers, even before the boys are gone.] Charley: Listen, if they steal any more from that building the watchman'll 60 put the cops on them! Linda: [to Willy] Don't let Biff ... [Ben laughs lustily.] Willy: You shoulda seen the lumber they brought home last week. At least a dozen six-by-tens worth all kinds a money. 65 Charley: Listen, if that watchman – Willy: I gave them hell, understand. But I got a couple of fearless characters there. Charley: Willy, the jails are full of fearless characters. Ben: [clapping Willy on the back, with a laugh at Charley] And the stock exchange, friend! 70
- How does Miller dramatically reveal Willy's values and delusions at this moment in the play?[25]
Mark scheme
Marking points from the official mark scheme (May/June 2012). The mark or mark type is shown in brackets.
- [23-25] Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality and flair. They show complete and sustained engagement with both text and task.
- [20-22] Sustains a perceptive, convincing and relevant personal response
- [20-22] shows a clear critical understanding of the text
- [20-22] responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task)
- [20-22] integrates much well-selected reference to the text
- [17-19] Makes a well-developed, detailed and relevant personal response
- [17-19] shows a clear understanding of the text and some of its deeper implications
- [17-19] makes a developed response to the way the writer achieves her/his effects (sustaining an appropriate voice in an empathic task)
- [17-19] supports with careful and relevant reference to the text
- [14-16] Makes a reasonably developed relevant personal response
- [14-16] shows understanding of the text and some of its deeper implications
- [14-16] makes some response to the way the writer uses language (using suitable features of expression in an empathic task)
- [14-16] shows some thoroughness in the use of supporting evidence from the text
- [11-13] Begins to develop a relevant personal response
- [11-13] shows some understanding of meaning
- [11-13] makes a little reference to the language of the text (beginning to assume a voice in an empathic task)
- [11-13] uses some supporting textual detail
- [8-10] Attempts to communicate a basic personal response to the task
- [8-10] makes some relevant comments
- [8-10] shows a basic understanding of surface meaning of the text (of character in an empathic task)
- [8-10] makes a little supporting reference to the text
- [5-7] Some evidence of simple personal response
- [5-7] makes a few straightforward comments
- [5-7] shows a few signs of understanding the surface meaning of the text (of character in an empathic task)
- [5-7] makes a little reference to the text
- [2-4] Limited attempt to respond
- [2-4] shows some limited understanding of simple/literal meaning
- [0-1] No answer/Insufficient to meet the criteria for Band 8.
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