Insert
The source that follows is:
- Source A: 20th-century prose fiction
- Women in Love by D. H. Lawrence
An extract from a work first published in 1920.
This extract is from a D. H. Lawrence novel set in the industrial Midlands, contrasting Wragby Hall and Tevershall village as Connie (Lady Chatterley) and her disabled husband Clifford face an impassable class divide, exposing mutual resentment, social distance, and their own emotional detachment.
Source A
1 There was no communication between Wragby Hall and Tevershall village, none. No caps were touched, no curtseys bobbed. The colliers merely stared; the tradesmen lifted their caps to Connie as to an acquaintance, and nodded awkwardly to Clifford; that was all. Gulf impassable, and a quiet sort of resentment on either side. At first Connie suffered from the steady drizzle of
6 resentment that came from the village. Then she hardened herself to it, and it became a sort of tonic, something to live up to. It was not that she and Clifford were unpopular, they merely belonged to another species altogether from the colliers. Gulf impassable, breach indescribable, such as is perhaps non-existent south of the Trent. But in the Midlands and the industrial North
11 gulf impassable, across which no communication could take place. You stick to your side, I'll stick to mine! A strange denial of the common pulse of humanity. Yet the village sympathised with Clifford and Connie in the abstract. In the
16 flesh it was--You leave me alone!--on either side. The rector was a nice man of about sixty, full of his duty, and reduced, personally, almost to a nonentity by the silent--You leave me alone!--of the village. The miners' wives were nearly all Methodists. The miners were
21 nothing. But even so much official uniform as the clergyman wore was enough to obscure entirely the fact that he was a man like any other man. No, he was Mester Ashby, a sort of automatic preaching and praying concern. This stubborn, instinctive--We think ourselves as good as you, if you are
26 Lady Chatterley!--puzzled and baffled Connie at first extremely. The curious, suspicious, false amiability with which the miners' wives met her overtures; the curiously offensive tinge of--Oh dear me! I am somebody now, with Lady Chatterley talking to me! But she needn't think I'm not as good as her for all that!--which she always heard twanging in the women's half-fawning voices, was
31 impossible. There was no getting past it. It was hopelessly and offensively nonconformist. Clifford left them alone, and she learnt to do the same: she just went by without looking at them, and they stared as if she were a walking wax figure.
36 When he had to deal with them, Clifford was rather haughty and contemptuous; one could no longer afford to be friendly. In fact he was altogether rather supercilious and contemptuous of anyone not in his own class. He stood his ground, without any attempt at conciliation. And he was neither liked nor disliked by the people: he was just part of things, like the pit-bank and
41 Wragby itself. But Clifford was really extremely shy and self-conscious now he was lamed. He hated seeing anyone except just the personal servants. For he had to sit in a wheeled chair or a sort of bath-chair. Nevertheless he was just as carefully
46 dressed as ever, by his expensive tailors, and he wore the careful Bond Street neckties just as before, and from the top he looked just as smart and impressive as ever. He had never been one of the modern lady-like young men: rather bucolic even, with his ruddy face and broad shoulders. But his very quiet, hesitating voice, and his eyes, at the same time bold and frightened,
51 assured and uncertain, revealed his nature. His manner was often offensively supercilious, and then again modest and self-effacing, almost tremulous. Connie and he were attached to one another, in the aloof modern way. He was much too hurt in himself, the great shock of his maiming, to be easy and
56 flippant. He was a hurt thing. And as such Connie stuck to him passionately. But she could not help feeling how little connection he really had with people. The miners were, in a sense, his own men; but he saw them as objects rather than men, parts of the pit rather than parts of life, crude raw
61 phenomena rather than human beings along with him. He was in some way afraid of them, he could not bear to have them look at him now he was lame. And their queer, crude life seemed as unnatural as that of hedgehogs. He was remotely interested; but like a man looking down a microscope, or up a
66 telescope. He was not in touch. He was not in actual touch with anybody, save, traditionally, with Wragby, and, through the close bond of family defence, with Emma. Beyond this nothing really touched him. Connie felt that she herself didn't really, not really touch him; perhaps there was nothing to get at ultimately; just a negation of human contact.
Questions
Instructions
- Answer all questions.
- Use black ink or black ball point pen.
- Fill in the boxes on this page.
- You must answer the questions in the spaces provided.
- Do not write outside the box around each page or on blank pages.
- Do all rough work in this book. Cross through any work you do not want to be marked.
- You must refer to the insert booklet provided.
- You must not use a dictionary.
Information
- The marks for questions are shown in brackets.
- Time allowed: 1 hour 45 minutes
- The maximum mark for this paper is 80.
- There are 40 marks for Section A and 40 marks for Section B.
- You are reminded of the need for good English and clear presentation in your answers.
- You will be assessed on the quality of your reading in Section A.
- You will be assessed on the quality of your writing in Section B.
Advice
- You are advised to spend about 15 minutes reading through the source and all five questions you have to answer.
- You should make sure you leave sufficient time to check your answers.
Section A: Reading
Answer all questions in this section. You are advised to spend about 45 minutes on this section.
Question 1
Read again the first part of the source, from lines 1 to 5.
Answer all parts of this question.
Choose one answer for each question.
1.1 What is said about communication between Wragby Hall and Tevershall village?
- There was no communication between them.
- There was occasional communication between them.
- There was frequent communication between them.
[1 mark]
1.2 What did the colliers do?
- They merely stared.
- They touched their caps.
- They bobbed curtseys.
[1 mark]
1.3 How did the tradesmen greet Connie?
- They lifted their caps to Connie.
- They ignored Connie completely.
- They bowed to Connie formally.
[1 mark]
1.4 How did the tradesmen respond to Clifford?
- They nodded awkwardly to Clifford.
- They shook Clifford's hand firmly.
- They saluted Clifford smartly.
[1 mark]
Question 2
Look in detail at this extract, from lines 6 to 15 of the source:
6 resentment that came from the village. Then she hardened herself to it, and it became a sort of tonic, something to live up to. It was not that she and Clifford were unpopular, they merely belonged to another species altogether from the colliers. Gulf impassable, breach indescribable, such as is perhaps non-existent south of the Trent. But in the Midlands and the industrial North
11 gulf impassable, across which no communication could take place. You stick to your side, I'll stick to mine! A strange denial of the common pulse of humanity. Yet the village sympathised with Clifford and Connie in the abstract. In the
How does the writer use language here to present the divide between Connie and Clifford and the villagers? You could include the writer's choice of:
- words and phrases
- language features and techniques
- sentence forms.
[8 marks]
Question 3
You now need to think about the structure of the source as a whole. This text is from the start of a novel.
How has the writer structured the text to create a sense of isolation?
You could write about:
- how isolation deepens throughout the source
- how the writer uses structure to create an effect
- the writer's use of any other structural features, such as changes in mood, tone or perspective.
[8 marks]
Question 4
For this question focus on the second part of the source, from line 41 to the end.
In this part of the source, Clifford seems arrogant and superior in the way he treats the miners. The writer suggests this is just a way to hide the fact he is actually very shy and frightened because of his injury.
To what extent do you agree and/or disagree with this statement?
In your response, you could:
- consider your impressions of Clifford
- comment on the methods the writer uses to suggest his arrogance and fear
- support your response with references to the text.
[20 marks]
Question 5
A local theatre is collecting short, atmospheric pieces to print in its show programmes.
Choose one of the options below for your entry.
-
Option A: Describe a theatre's prop store from your imagination. You may choose to use the picture provided for ideas:
-
Option B: Write the opening of a story about something that goes wrong during a performance.
(24 marks for content and organisation, 16 marks for technical accuracy)
[40 marks]