Free Pearson Edexcel GCSE English Literature (1ET0) Exam Questions and Answers

Macbeth – from Act 4 Scene 1, lines 50 to 80 In this extract, Macbeth meets the witches to ask them about his future. MACBETH I conjure you by that which you profess, Howe’er you come to know it, answer me. Though you untie the winds and let them fight Against the churches, though the yeasty waves Confound and swallow navigation up – Though bladed corn be lodged and trees blown down, Though castles topple on their warders’ heads, Though palaces and pyramids do slope Their heads to their foundations – though the treasure Of nature’s germens tumble all together Even till destruction sicken! – answer me To what I ask you. WITCH 1 Speak. WITCH 2 Demand. WITCH 3 We’ll answer. WITCH 1 Say, if thou’dst rather hear it from our mouths, Or from our masters. MACBETH Call ’em. Let me see ’em. WITCH 1 Pour in sow’s blood, that hath eaten Her nine farrow. Grease, that’s sweaten From the murderer’s gibbet, throw Into the flame. ALL Come, high or low! – Thyself and office deftly show. Thunder. First Apparition – an armoured head – rises above the cauldron. MACBETH Tell me, thou unknown power, – WITCH 1 He knows thy thought. Hear his speech, but say thou nought. APPARITION 1 Macbeth! Macbeth! Macbeth! Beware Macduff! Beware the Thane of Fife! Dismiss me. – Enough. Apparition sinks from sight. MACBETH Whate’er thou art, for thy good caution, thanks: Thou hast harped my fear aright. But one word more – WITCH 1 He will not be commanded. Here’s another, More potent than the first. Thunder. Second Apparition – a bloodstained child – rises. APPARITION 2 Macbeth! Macbeth! Macbeth! – MACBETH Had I three ears, I’d hear thee! APPARITION 2 Be bloody, bold and resolute! Laugh to scorn The power of man – for none of woman born Shall harm Macbeth. Explore how Shakespeare, in this extract, presents the relationship between Macbeth and the witches, together with the apparitions they summoned. Refer closely to the extract in your answer.

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Macbeth – from Act 4 Scene 1, lines 50 to 80 In this extract, Macbeth meets the witches to ask them about his future. MACBETH I conjure you by that which you profess, Howe’er you come to know it, answer me. Though you untie the winds and let them fight Against the churches, though the yeasty waves Confound and swallow navigation up – Though bladed corn be lodged and trees blown down, Though castles topple on their warders’ heads, Though palaces and pyramids do slope Their heads to their foundations – though the treasure Of nature’s germens tumble all together Even till destruction sicken! – answer me To what I ask you. WITCH 1 Speak. WITCH 2 Demand. WITCH 3 We’ll answer. WITCH 1 Say, if thou’dst rather hear it from our mouths, Or from our masters. MACBETH Call ’em. Let me see ’em. WITCH 1 Pour in sow’s blood, that hath eaten Her nine farrow. Grease, that’s sweaten From the murderer’s gibbet, throw Into the flame. ALL Come, high or low! – Thyself and office deftly show. Thunder. First Apparition – an armoured head – rises above the cauldron. MACBETH Tell me, thou unknown power, – WITCH 1 He knows thy thought. Hear his speech, but say thou nought. APPARITION 1 Macbeth! Macbeth! Macbeth! Beware Macduff! Beware the Thane of Fife! Dismiss me. – Enough. Apparition sinks from sight. MACBETH Whate’er thou art, for thy good caution, thanks: Thou hast harped my fear aright. But one word more – WITCH 1 He will not be commanded. Here’s another, More potent than the first. Thunder. Second Apparition – a bloodstained child – rises. APPARITION 2 Macbeth! Macbeth! Macbeth! – MACBETH Had I three ears, I’d hear thee! APPARITION 2 Be bloody, bold and resolute! Laugh to scorn The power of man – for none of woman born Shall harm Macbeth. In this extract, Macbeth tries to control the witches. Explain the importance of control elsewhere in the play. In your answer, you must consider: • how control is shown • reasons for the control within the play. You must refer to the context of the play in your answer.

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The Tempest – from Act 1 Scene 2, lines 1 to 33 In this extract, Miranda is concerned about a ship struggling in a storm. MIRANDA If by your Art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin’s cheek, Dashes the fire out. O, I have suffered With those that I saw suffer! A brave vessel, Who had, no doubt, some noble creature in her, Dashed all to pieces! O, the cry did knock Against my very heart! Poor souls, they perished! Had I been any god of power, I would Have sunk the sea within the earth, or ere It should the good ship so have swallowed, and The fraughting souls within her. PROSPERO Be collected. No more amazement. Tell your piteous heart There’s no harm done. MIRANDA O, woe the day! PROSPERO No harm. I have done nothing but in care of thee – Of thee, my dear one; thee, my daughter – who Art ignorant of what thou art; nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father. MIRANDA More to know Did never meddle with my thoughts. PROSPERO ‘Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. – So. (He lays down his magic cloak.) Lie there, my Art. Wipe thou thine eyes. Have comfort. The direful spectacle of the wreck, which touched The very virtue of compassion in thee, I have with such provision in mine Art So safely ordered that there is no soul – No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard’st cry, which thou saw’st sink. Sit down; For thou must now know farther. Explore how Shakespeare presents Miranda’s reactions to the storm in this extract. Refer closely to the extract in your answer.

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The Tempest – from Act 1 Scene 2, lines 1 to 33 In this extract, Miranda is concerned about a ship struggling in a storm. MIRANDA If by your Art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin’s cheek, Dashes the fire out. O, I have suffered With those that I saw suffer! A brave vessel, Who had, no doubt, some noble creature in her, Dashed all to pieces! O, the cry did knock Against my very heart! Poor souls, they perished! Had I been any god of power, I would Have sunk the sea within the earth, or ere It should the good ship so have swallowed, and The fraughting souls within her. PROSPERO Be collected. No more amazement. Tell your piteous heart There’s no harm done. MIRANDA O, woe the day! PROSPERO No harm. I have done nothing but in care of thee – Of thee, my dear one; thee, my daughter – who Art ignorant of what thou art; nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father. MIRANDA More to know Did never meddle with my thoughts. PROSPERO ‘Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. – So. (He lays down his magic cloak.) Lie there, my Art. Wipe thou thine eyes. Have comfort. The direful spectacle of the wreck, which touched The very virtue of compassion in thee, I have with such provision in mine Art So safely ordered that there is no soul – No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard’st cry, which thou saw’st sink. Sit down; For thou must now know farther. In this extract, Prospero lays down his magic cloak. Explain the importance of magic elsewhere in the play. In your answer, you must consider: • how magic is used • why magic is used within the play. You must refer to the context of the play in your answer.

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Romeo and Juliet – from Act 3 Scene 1, lines 33 to 62 In this extract, Mercutio confronts Tybalt. BENVOLIO By my head, here come the Capulets! MERCUTIO By my heel, I care not. TYBALT (To his men) Follow me close, for I will speak to them. (To Mercutio and Benvolio) Gentlemen, good e’en: a word with one of you. MERCUTIO And but one word with one of us? Couple it with something. Make it a word and a blow. TYBALT You shall find me apt enough to that, sir, an you will give me occasion. MERCUTIO Could you not take some occasion without giving? TYBALT Mercutio, thou consortest with Romeo – MERCUTIO Consort? What, dost thou make us minstrels? And thou make minstrels of us, look to hear nothing but discords. Here’s my fiddlestick! (Moving his hand to his sword) – Here’s that shall make you dance. Zounds, consort! BENVOLIO We talk here in the public haunt of men! Either withdraw unto some private place, Or reason coldly of your grievances, Or else depart. Here, all eyes gaze on us. MERCUTIO Men’s eyes were made to look, and let them gaze. I will not budge for no man’s pleasure, I. Enter Romeo TYBALT Well, peace be with you, sir. Here comes my man. MERCUTIO But I’ll be hanged, sir, if he wear your livery. Marry, go before to field, he’ll be your follower – Your worship in that sense may call him ‘man’. TYBALT Romeo, the love I bear thee can afford No better term than this: thou art a villain. ROMEO Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage To such a greeting. Villain am I none. Therefore, farewell. I see thou know’st me not. Explore how Shakespeare presents the relationship between Tybalt and Mercutio in this extract. Refer closely to the extract in your answer.

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Romeo and Juliet – from Act 3 Scene 1, lines 33 to 62 In this extract, Mercutio confronts Tybalt. BENVOLIO By my head, here come the Capulets! MERCUTIO By my heel, I care not. TYBALT (To his men) Follow me close, for I will speak to them. (To Mercutio and Benvolio) Gentlemen, good e’en: a word with one of you. MERCUTIO And but one word with one of us? Couple it with something. Make it a word and a blow. TYBALT You shall find me apt enough to that, sir, an you will give me occasion. MERCUTIO Could you not take some occasion without giving? TYBALT Mercutio, thou consortest with Romeo – MERCUTIO Consort? What, dost thou make us minstrels? And thou make minstrels of us, look to hear nothing but discords. Here’s my fiddlestick! (Moving his hand to his sword) – Here’s that shall make you dance. Zounds, consort! BENVOLIO We talk here in the public haunt of men! Either withdraw unto some private place, Or reason coldly of your grievances, Or else depart. Here, all eyes gaze on us. MERCUTIO Men’s eyes were made to look, and let them gaze. I will not budge for no man’s pleasure, I. Enter Romeo TYBALT Well, peace be with you, sir. Here comes my man. MERCUTIO But I’ll be hanged, sir, if he wear your livery. Marry, go before to field, he’ll be your follower – Your worship in that sense may call him ‘man’. TYBALT Romeo, the love I bear thee can afford No better term than this: thou art a villain. ROMEO Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage To such a greeting. Villain am I none. Therefore, farewell. I see thou know’st me not. In this extract, Tybalt wants to protect the Capulet family honour. Explain the importance of family honour elsewhere in the play. In your answer, you must consider: • how family honour is presented • the effects family honour has within the play. You must refer to the context of the play in your answer.

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Much Ado About Nothing – from Act 2 Scene 2, lines 1 to 34 In this extract, Borachio suggests a way to stop Claudio marrying Hero. DON JOHN It is so: the Count Claudio shall marry the daughter of Leonato. BORACHIO Yea, my lord, but I can cross it. DON JOHN Any bar, any cross, any impediment will be medicinable to me. I am sick in displeasure to him, and whatsoever comes athwart his affection ranges evenly with mine. How canst thou cross this marriage? BORACHIO Not honestly, my lord, but so covertly that no dishonesty shall appear in me. DON JOHN Show me briefly how. BORACHIO I think I told your lordship a year since how much I am in the favour of Margaret, the waiting-gentlewoman to Hero. DON JOHN I remember. BORACHIO I can, at any unseasonable instant of the night, appoint her to look out at her lady’s chamber-window. DON JOHN What life is in that, to be the death of this marriage? BORACHIO The poison of that lies in you to temper. Go you to the Prince your brother. Spare not to tell him that he hath wronged his honour in marrying the renowned Claudio – whose estimation do you mightily hold up – to a contaminated stale, such a one as Hero. DON JOHN What proof shall I make of that? BORACHIO Proof enough to misuse the Prince, to vex Claudio, to undo Hero and kill Leonato. Look you for any other issue? DON JOHN Only to despite them I will endeavour anything. BORACHIO Go, then: find me a meet hour to draw Don Pedro and the Count Claudio alone. Tell them that you know that Hero loves me. Intend a kind of zeal both to the Prince and Claudio – as in love of your brother’s honour, who hath made this match, and his friend’s reputation, who is thus like to be cozened with the semblance of a maid – that you have discovered thus. Explore how Shakespeare presents the character of Borachio in this extract. Refer closely to the extract in your answer.

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Much Ado About Nothing – from Act 2 Scene 2, lines 1 to 34 In this extract, Borachio suggests a way to stop Claudio marrying Hero. DON JOHN It is so: the Count Claudio shall marry the daughter of Leonato. BORACHIO Yea, my lord, but I can cross it. DON JOHN Any bar, any cross, any impediment will be medicinable to me. I am sick in displeasure to him, and whatsoever comes athwart his affection ranges evenly with mine. How canst thou cross this marriage? BORACHIO Not honestly, my lord, but so covertly that no dishonesty shall appear in me. DON JOHN Show me briefly how. BORACHIO I think I told your lordship a year since how much I am in the favour of Margaret, the waiting-gentlewoman to Hero. DON JOHN I remember. BORACHIO I can, at any unseasonable instant of the night, appoint her to look out at her lady’s chamber-window. DON JOHN What life is in that, to be the death of this marriage? BORACHIO The poison of that lies in you to temper. Go you to the Prince your brother. Spare not to tell him that he hath wronged his honour in marrying the renowned Claudio – whose estimation do you mightily hold up – to a contaminated stale, such a one as Hero. DON JOHN What proof shall I make of that? BORACHIO Proof enough to misuse the Prince, to vex Claudio, to undo Hero and kill Leonato. Look you for any other issue? DON JOHN Only to despite them I will endeavour anything. BORACHIO Go, then: find me a meet hour to draw Don Pedro and the Count Claudio alone. Tell them that you know that Hero loves me. Intend a kind of zeal both to the Prince and Claudio – as in love of your brother’s honour, who hath made this match, and his friend’s reputation, who is thus like to be cozened with the semblance of a maid – that you have discovered thus. In this extract, Borachio tells Don John that they could deceive Claudio. Explain the importance of deceit elsewhere in the play. In your answer, you must consider: • how deceit is shown • the effects deceit has within the play. You must refer to the context of the play in your answer.

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Twelfth Night – from Act 4 Scene 2, lines 21 to 50 In this extract, Feste visits Malvolio in his darkened prison and pretends to be Sir Topas. MALVOLIO (Calling from within) Who calls there? FESTE Sir Topas the curate, who comes to visit Malvolio the lunatic. MALVOLIO Sir Topas, Sir Topas, good Sir Topas, go to my lady. FESTE Out, hyperbolical fiend! How vexest thou this man! Talkest thou nothing but of ladies? SIR TOBY Well said, Master Parson. MALVOLIO Sir Topas, never was a man thus wronged. Good Sir Topas, do not think I am mad; they have laid me here in hideous darkness. FESTE Fie, thou dishonest Satan! I call thee by the most modest terms; for I am one of those gentle ones that will use the devil himself with courtesy. Sayest thou that house is dark? MALVOLIO As hell, Sir Topas. FESTE Why, it hath bay windows transparent as barricadoes, and the clerestories toward the south-north are as lustrous as ebony; and yet complainest thou of obstruction? MALVOLIO I am not mad, Sir Topas. I say to you, this house is dark. FESTE Madman, thou errest; I say there is no darkness but ignorance, in which thou art more puzzled than the Egyptians in their fog. MALVOLIO I say this house is as dark as ignorance, though ignorance were as dark as hell; and I say there was never man thus abused. I am no more mad than you are; make the trial of it in any constant question. Explore how Shakespeare presents the relationship between Malvolio and Feste in this extract. Refer closely to the extract in your answer.

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Twelfth Night – from Act 4 Scene 2, lines 21 to 50 In this extract, Feste visits Malvolio in his darkened prison and pretends to be Sir Topas. MALVOLIO (Calling from within) Who calls there? FESTE Sir Topas the curate, who comes to visit Malvolio the lunatic. MALVOLIO Sir Topas, Sir Topas, good Sir Topas, go to my lady. FESTE Out, hyperbolical fiend! How vexest thou this man! Talkest thou nothing but of ladies? SIR TOBY Well said, Master Parson. MALVOLIO Sir Topas, never was a man thus wronged. Good Sir Topas, do not think I am mad; they have laid me here in hideous darkness. FESTE Fie, thou dishonest Satan! I call thee by the most modest terms; for I am one of those gentle ones that will use the devil himself with courtesy. Sayest thou that house is dark? MALVOLIO As hell, Sir Topas. FESTE Why, it hath bay windows transparent as barricadoes, and the clerestories toward the south-north are as lustrous as ebony; and yet complainest thou of obstruction? MALVOLIO I am not mad, Sir Topas. I say to you, this house is dark. FESTE Madman, thou errest; I say there is no darkness but ignorance, in which thou art more puzzled than the Egyptians in their fog. MALVOLIO I say this house is as dark as ignorance, though ignorance were as dark as hell; and I say there was never man thus abused. I am no more mad than you are; make the trial of it in any constant question. In this extract, Feste is confusing Malvolio by pretending to be Sir Topas. Explain the importance of confusion elsewhere in the play. In your answer, you must consider: • how confusion is presented • the effects confusion has within the play. You must refer to the context of the play in your answer.

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