Read this extract, and then answer the question that follows it: Ferdinand: Where should this music be? I'th' air or th'earth? Ariel: It sounds no more; and sure it waits upon Some god o'th' island. Sitting on a bank, Weeping again the King my father's wreck, This music crept by me upon the waters, Allaying both their fury and my passion With its sweet air. Thence I have followed it- Or it hath drawn me rather. But 'tis gone. No, it begins again. 5 Song Full fathom five thy father lies. Of his bones are coral made; Those are pearls that were his eyes; Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: 10 [within] Ding dong. Spirits: Ariel: Hark, now I hear them. Spirits: [within] Ding-dong bell. [etc.] 20 Ferdinand: The ditty does remember my drowned father. This is no mortal business, nor no sound That the earth owes. [Music] I hear it now above me. 25 Prospero: [to MIRANDA] The fringèd curtains of thine eye advance, And say what thou seest yon. Miranda: What is't? A spirit? Lord, how it looks about! Believe me, sir, 30 It carries a brave form. But 'tis a spirit. Prospero: No, wench, it eats and sleeps, and hath such senses As we have, such. This gallant which thou seest Was in the wreck, and but he's something stained With grief, that's beauty's canker, thou mightst call him 35 A goodly person. He hath lost his fellows, And strays about to find 'em. Miranda: I might call him A thing divine, for nothing natural I ever saw so noble. 40 Prospero: [aside] It goes on, I see, As my soul prompts it. [To ARIEL] Spirit, fine spirit, I'll free thee Within two days for this. Ferdinand: [aside] Most sure the goddess On whom these airs attend. [To MIRANDA] Vouchsafe my prayer 45 May know if you remain upon this island, And that you will some good instruction give How I may bear me here. I Do last pronounce, is—O you wonder- If you be maid or no? 50 Miranda: No wonder, sir; But certainly a maid. Ferdinand: My language? Heavens! I am the best of them that speak this speech, Were I but where 'tis spoken. 55 Prospero: How? The best? What wert thou, if the King of Naples heard thee? Ferdinand: A single thing, as I am now that wonders To hear thee speak of Naples. He does hear me, And that he does I weep. Myself am Naples, Who with mine eyes, never since at ebb, beheld The King my father wrecked. 60 Miranda: Alack, for mercy! Ferdinand: Yes, faith, and all his lords, the Duke of Milan And his brave son being twain. 65 Prospero: [aside] The Duke of Milan And his more braver daughter could control thee, If now 'twere fit to do't. At the first sight They have changed eyes.—Delicate Ariel, I'll set thee free for this. [To FERDINAND] A word, good sir. I fear you have done yourself some wrong. A word. 70 [from Act 1 Scene 2] Explore the ways in which Shakespeare makes this such a dramatic and moving moment in the play.
- Explore the ways in which Shakespeare makes this such a dramatic and moving moment in the play.[25]
Mark scheme
Marking points from the official mark scheme (May/June 2014). The mark or mark type is shown in brackets.
- [AO1] show detailed knowledge of the content of literary texts
- [AO2] understand the meanings of literary texts and their context, and explore texts beyond surface meaning to show deeper awareness of ideas and attitudes
- [AO3] recognise and appreciate ways in which writers use language, structure, and form to create and shape meanings and effects
- [AO4] communicate a sensitive and informed personal response
- [25-23] (Band 1) Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality and flair. They show sustained engagement with both text and task.
- [22-20] (Band 2) Sustains a perceptive, convincing and relevant personal response; shows a clear critical understanding of the text; responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task); integrates much well-selected reference to the text.
- [19-17] (Band 3) Makes a well-developed, detailed and relevant personal response; shows a clear understanding of the text and some of its deeper implications; makes a developed response to the way the writer achieves her/his effects (sustaining an appropriate voice in an empathic task); supports with careful and relevant reference to the text.
- [16-14] (Band 4) Makes a reasonably developed relevant personal response; shows understanding of the text and some of its deeper implications; makes some response to the way the writer uses language (using suitable features of expression in an empathic task); shows some thoroughness in the use of supporting evidence from the text.
- [13-11] (Band 5) Begins to develop a relevant personal response; shows some understanding of meaning; makes a little reference to the language of the text (beginning to assume a voice in an empathic task); uses some supporting textual detail.
- [10-8] (Band 6) Attempts to communicate a basic personal response to the task; makes some relevant comments; shows a basic understanding of surface meaning of the text (of character in an empathic task); makes a little supporting reference to the text.
- [7-5] (Band 7) Some evidence of simple personal response; makes a few straightforward comments; shows a few signs of understanding the surface meaning of the text (of character in an empathic task); makes a little reference to the text.
- [4-2] (Band 8) Limited attempt to respond; shows some limited understanding of simple/literal meaning.
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