Cambridge IGCSE™

LITERATURE IN ENGLISH 0475/22

Paper 2 Drama February/March 2023

1 hour 30 minutes

You must answer on the enclosed answer booklet.

* 2 2 1 8 2 3 0 8 8 2 *

You will need: Answer booklet (enclosed)

INSTRUCTIONS
● Answer two questions.
● Your answers must be on two different set texts.
● You must answer one (a) passage-based question and one (b) essay question.
● Follow the instructions on the front cover of the answer booklet. If you need additional answer paper,
ask the invigilator for a continuation booklet.

INFORMATION
● The total mark for this paper is 50.
● All questions are worth equal marks.

This document has 12 pages. Any blank pages are indicated.

DC (RCL (DF)) 313442/1

© UCLES 2023 [Turn over
 2

LYNN NOTTAGE: Crumbs from the Table of Joy

Remember to support your ideas with details from the writing.

Either 1 (a) Read this passage, and then answer the question that follows it:

Godfrey: We on different roads, Lily.

Lily: Where are you going?
[She moves closer to GODFREY. GERTE reenters.]
Remember back in Pensacola before —
Gerte: Are you all right, darling? 5
Godfrey [To LILY]: I keep telling you, I ain’t that man. You insult my wife,
you insult me. All ’cause you got these big ideas about race
and the world and we don’t fit your picture.
Ernestine: Daddy, not now. You’re —
Godfrey [Snaps]: And now you got my children taking up your lead. 10
Lily: You say that with such contempt for me. I’m getting tired of you
constantly berating me with your sanctified notions. I’m sorry
for what happened to you and Gerte, but I will never apologize
for who I am. And every day in this apartment you make me
and the gals feel like we got to. You’d have these children 15
buried along with Sandra. Shucks, I let a memory carry me this
far, but even that memory done run out of fuel. Where is my
apology? GODFREY? Where is my apology for all the wrongs
done to me? [Brushes past GERTE and exits out the front
door.] 20
Ernestine: Sister! Sister!
[She starts after LILY; GODFREY catches her arm.]
Don’t let her go. Daddy, you have no cause to treat Sister that
way. She … she … You gonna let her go, you know where
she’s gonna go. 25
Godfrey: What can I do? Ernestine. [Reluctantly takes out his notepad]
Gerte?
[GERTE lifts the rag from over GODFREY’s eye.]
Gerte: I’m sorry, I don’t know what to do. [To ERNESTINE] Lily need
not be a barrier. She is so full of ideas, but you must decide 30
how you feel about me. [Takes a deep breath] And I don’t see
why she is here anyway? Has anyone thought about how that
makes me feel? … Well?
Ernestine: She’s blood.
Godfrey: She’s my wife’s sister. 35
Gerte: I am your wife.
Godfrey: What? You want me ask her to leave? You’re asking me to
cast off everything that came before.
Gerte: I have.
[GODFREY jots something down on his pad.] 40
Godfrey: I’ll make a note to speak to her later.
Gerte: STOP! You’ve assembled lists that run miles and miles. There’s
© UCLES 2023 0475/22/F/M/23
 3

an entire closet crowded with paper and scribbles of things you

need to know, things you want to do, questions that must be
answered. It would take three lifetimes to get through all of it. 45
[She retrieves boxes of lists hidden beneath the furniture. She
rips up the individual pieces of paper.]
Godfrey: What the … the devil are you doing?
Gerte: If you’d pay attention to the world around you, you wouldn’t
have so many questions to ask. 50
[GODFREY tries to stop GERTE; they struggle wildly.
She throws the papers into the air like a shower of confetti.
GODFREY scrambles to retrieve the pieces of torn paper. In
the midst of the struggle, they recognize the absurdity and
begin to laugh as they throw the papers in air. ERNESTINE 55
revels in the shower of paper.]
Ernestine [To audience]: And upstairs, Mrs Levy watches television, too
loud for this time of night, laughing.
[Laughter fills the stage. GERTE kisses GODFREY’s wound.]
[To audience] Showered in my father’s uncertainty, no more 60
questions unanswered.
[Suddenly, blue, flickering light engulfs GODFREY and GERTE,
who kiss passionately, like film stars. A swell of music.]
[To audience] We’d recovered my father from Divine only to
lose him to passion. The kiss. The transforming kiss that could 65
solve all of their problems. Their kiss, a movie-time solution.
Gerte: Now make a decision!

(from Act 2, Scene 3)

How does Nottage make this moment in the play so powerful?

Or 1 (b) Explore the ways in which Nottage makes Ermina such a memorable character.

© UCLES 2023 0475/22/F/M/23 [Turn over

 4

R C SHERRIFF: Journey’s End

Remember to support your ideas with details from the writing.

Either 2 (a) Read this passage, and then answer the question that follows it:

Stanhope: Why didn’t you come down to supper when I told you to?
Raleigh: I – I wasn’t hungry. I had rather a headache. It’s cooler up
there.
Stanhope: You insulted Trotter and Hibbert by not coming. You realize
that, I suppose? 5
Raleigh: I didn’t mean to do anything like that.
Stanhope: Well, you did. You know now – don’t you?
[RALEIGH makes no reply. He is trying to understand why
STANHOPE’s temper has risen to a trembling fury. STANHOPE
can scarcely control his voice.] 10
Stanhope [loudly]: I say – you know now, don’t you?
Raleigh: Yes, I’m sorry.
Stanhope: My officers work together. I’ll have no damn prigs.
Raleigh: I’ll speak to Trotter and Hibbert. I didn’t realize –
[STANHOPE raises his cigar. His hand trembles so violently 15
that he can scarcely take the cigar between his teeth. RALEIGH
looks at STANHOPE, fascinated and horrified.]
Stanhope: What are you looking at?
Raleigh [lowering his head]: Nothing.
Stanhope: Anything – funny about me? 20
Raleigh: No. [After a moment’s silence, RALEIGH speaks in a low,
halting voice.] I’m awfully sorry, Dennis, if – if I annoyed you by
coming to your company.
Stanhope: What on earth are you talking about? What do you mean?
Raleigh: You resent my being here. 25
Stanhope: Resent you being here?
Raleigh: Ever since I came –
Stanhope: I don’t know what you mean. I resent you being a damn fool,
that’s all. [There is a pause.] Better eat your dinner before it’s
cold. 30
Raleigh: I’m not hungry, thanks.
Stanhope: Oh, for God’s sake, sit down and eat it like a man!
Raleigh: I can’t eat it, thanks.
Stanhope [shouting]: Are you going to eat your dinner?
Raleigh: Good God! Don’t you understand? How can I sit down and eat 35
that – when – [his voice is nearly breaking] – when Osborne’s
– lying – out there –
[STANHOPE rises slowly. His eyes are wide and staring; he is
fighting for breath, and his words come brokenly.]
Stanhope: My God! You bloody little swine! You think I don’t care – you 40
think you’re the only soul that cares!
© UCLES 2023 0475/22/F/M/23
 5

Raleigh: And yet you can sit there and drink champagne – and smoke
cigars –
Stanhope: The one man I could trust – my best friend – the one man I
could talk to as man to man – who understood everything – 45
and you think I don’t care –
Raleigh: But how can you when –?
Stanhope: To forget, you little fool – to forget! D’you understand? To
forget! You think there’s no limit to what a man can bear? [He
turns quickly from RALEIGH and goes to the dark corner by 50
OSBORNE’s bed. He stands with his face towards the wall, his
shoulders heaving as he fights for breath.]
Raleigh: I’m awfully sorry, Dennis. I – I didn’t understand.
[STANHOPE makes no reply.]
You don’t know how – I – 55
Stanhope: Go away, please – leave me alone.
Raleigh: Can’t I –
[STANHOPE turns wildly upon RALEIGH.]
Stanhope: Oh, get out! For God’s sake, get out!
[RALEIGH goes away into his dugout, and STANHOPE is 60
alone. The Very lights rise and fall outside, softly breaking the
darkness with their glow – sometimes steel-blue, sometimes
grey. Through the night there comes the impatient grumble of
gunfire that never dies away.]

THE CURTAIN FALLS 65

(from Act 3, Scene 2)

How does Sherriff make this such an intense ending to the scene?

Or 2 (b) In what ways does Sherriff portray Trotter as a likeable character?

© UCLES 2023 0475/22/F/M/23 [Turn over

 6

WOLE SOYINKA: Death and the King’s Horseman

Remember to support your ideas with details from the writing.

Either 3 (a) Read this passage, and then answer the question that follows it:

Resident: Make your report man.

Content removed due to copyright restrictions.

© UCLES 2023 0475/22/F/M/23

 Content removed due to copyright restrictions.

Poor Simon …

(from Scene 4)

How does Soyinka make this such a revealing moment in the play?

Or 3 (b) In what ways does Soyinka make Elesin’s enjoyment of life so dramatically compelling?

© UCLES 2023 0475/22/F/M/23 [Turn over

 8

WILLIAM SHAKESPEARE: Twelfth Night

Remember to support your ideas with details from the writing.

Either 4 (a) Read this passage, and then answer the question that follows it:

[Enter ANTONIO and SEBASTIAN.]

Antonio: Will you stay no longer; nor will you not that I go with you?
Sebastian: By your patience, no. My stars shine darkly over me; the
malignancy of my fate might perhaps distemper yours;
therefore I shall crave of you your leave that I may bear my 5
evils alone. It were a bad recompense for your love to lay any
of them on you.
Antonio: Let me yet know of you whither you are bound.
Sebastian: No, sooth, sir; my determinate voyage is mere extravagancy.
But I perceive in you so excellent a touch of modesty that you 10
will not extort from me what I am willing to keep in; therefore
it charges me in manners the rather to express myself. You
must know of me then, Antonio, my name is Sebastian, which
I call’d Roderigo; my father was that Sebastian of Messaline
whom I know you have heard of. He left behind him myself 15
and a sister, both born in an hour; if the heavens had been
pleas’d, would we had so ended! But you, sir, alter’d that; for
some hour before you took me from the breach of the sea was
my sister drown’d.
Antonio: Alas the day! 20
Sebastian: A lady, sir, though it was said she much resembled me, was
yet of many accounted beautiful; but though I could not with
such estimable wonder overfar believe that, yet thus far I will
boldly publish her: she bore a mind that envy could not but call
fair. She is drown’d already, sir, with salt water, though I seem 25
to drown her remembrance again with more.
Antonio: Pardon me, sir, your bad entertainment.
Sebastian: O good Antonio, forgive me your trouble.
Antonio: If you will not murder me for my love, let me be your servant.
Sebastian: If you will not undo what you have done – that is, kill him whom 30
you have recover’d – desire it not. Fare ye well at once; my
bosom is full of kindness, and I am yet so near the manners
of my mother that, upon the least occasion more, mine eyes
will tell tales of me. I am bound to the Count Orsino’s court.
Farewell. 35
[Exit.
Antonio: The gentleness of all the gods go with thee!
I have many enemies in Orsino’s court,
Else would I very shortly see thee there.
But come what may, I do adore thee so 40
That danger shall seem sport, and I will go.
[Exit.

(from Act 2, Scene 1)

© UCLES 2023 0475/22/F/M/23

 9

How does Shakespeare make this introduction to Antonio and Sebastian so intriguing?

Or 4 (b) Explore how Shakespeare amusingly portrays the relationship between Sir Toby Belch
and Sir Andrew Aguecheek.

© UCLES 2023 0475/22/F/M/23 [Turn over

 10

WILLIAM SHAKESPEARE: Othello

Remember to support your ideas with details from the writing.

Either 5 (a) Read this passage, and then answer the question that follows it:

Iago: No, he must die. Be ’t so. I hear him coming.

[Enter CASSIO.]
Roderigo: I know his gait, ’tis he. Villain, thou diest!
[Thrusts at CASSIO.
Cassio: That thrust had been mine enemy indeed 5
But that my coat is better than thou know’st.
I will make proof of thine.
[Draws, and wounds RODERIGO.
Roderigo: O, I am slain!
[IAGO stabs CASSIO from behind in the leg, and exit. 10
Cassio: I am maim’d for ever. Help, ho! murder! murder!
[Falls.
[Enter OTHELLO at a distance.]
Othello: The voice of Cassio. Iago keeps his word.
Roderigo: O, villain that I am! 15
Othello: It is even so.
Cassio: O, help, ho! light! a surgeon!
Othello: ’Tis he. O brave Iago, honest and just,
That hast such noble sense of thy friend’s wrong!
Thou teachest me – minion, your dear lies dead, 20
And your unblest fate hies. Strumpet, I come.
Forth of my heart those charms, thine eyes, are blotted;
Thy bed, lust-stain’d, shall with lust’s blood be spotted.
[Exit.
[Enter LODOVICO and GRATIANO at a distance.] 25
Cassio: What, ho! No watch? No passage? Murder! murder!
Gratiano: ’Tis some mischance; the voice is very direful.
Cassio: O, help!
Lodovico: Hark!
Roderigo: O wretched villain! 30
Lodovico: Two or three groan.’Tis heavy night;
These may be counterfeits; let’s think’t unsafe
To come in to the cry without more help.
Roderigo: Nobody come? Then shall I bleed to death.
[Re-enter IAGO with a light.] 35
Lodovico: Hark!
Gratiano: Here’s one comes in his shirt, with light and weapons.
Iago: Who’s there? Whose noise is this that cries on murder?
Lodovico: We do not know.
Iago: Did not you hear a cry? 40
© UCLES 2023 0475/22/F/M/23
 11

Cassio: Here, here! For heaven’s sake, help me!

Iago: What’s the matter?
Gratiano: This is Othello’s ancient, as I take it.
Lodovico: The same indeed; a very valiant fellow.
Iago: What are you here that cry so grievously? 45
Cassio: Iago? O, I am spoil’d, undone by villains!
Give me some help.
Iago: O me, Lieutenant! What villains have done this?
Cassio: I think that one of them is hereabout,
And cannot make away. 50
Iago: O treacherous villains! –
[To LODOVICO and GRATIANO] What are you
there? Come in, and give some help.
Roderigo: O, help me there!
Cassio: That’s one of them. 55
Iago: O murd’rous slave! O villain!
[Stabs RODERIGO.
Roderigo: O damn’d lago! O inhuman dog!

(from Act 5, Scene 1)

How does Shakespeare make this such a shocking moment in the play?

Or 5 (b) How far does Shakespeare encourage you to sympathise with Othello?

© UCLES 2023 0475/22/F/M/23

 12

BLANK PAGE

Permission to reproduce items where third-party owned material protected by copyright is included has been sought and cleared where possible. Every
reasonable effort has been made by the publisher (UCLES) to trace copyright holders, but if any items requiring clearance have unwittingly been included, the
publisher will be pleased to make amends at the earliest possible opportunity.

To avoid the issue of disclosure of answer-related information to candidates, all copyright acknowledgements are reproduced online in the Cambridge
Assessment International Education Copyright Acknowledgements Booklet. This is produced for each series of examinations and is freely available to download
at www.cambridgeinternational.org after the live examination series.

Cambridge Assessment International Education is part of Cambridge Assessment. Cambridge Assessment is the brand name of the University of Cambridge
Local Examinations Syndicate (UCLES), which is a department of the University of Cambridge.

© UCLES 2023 0475/22/F/M/23