Insert
The source that follows is:
- Source A: 20th-century prose fiction
- Bliss by Katherine Mansfield
An extract from a work first published in 1918.
This extract is taken from Katherine Mansfield’s Bliss (1918). As a dinner party ends, Bertha Young experiences a sudden awakening of desire; amid light conversation and the pear tree’s stillness, the mood shifts into a charged uncertainty.
Source A
1 At those last words something strange and almost terrifying darted into Bertha’s mind. And this something blind and smiling whispered to her: “Soon these people will go. The house will be quiet—quiet. The lights will be out. And you and he will be alone together in the dark room—the warm bed. . . .”
6 She jumped up from her chair and ran over to the piano. “What a pity someone does not play!” she cried. “What a pity somebody does not play.”
11 For the first time in her life Bertha Young desired her husband. Oh, she’d loved him—she’d been in love with him, of course, in every other way, but just not in that way. And, equally, of course, she’d
16 understood that he was different. They’d discussed it so often. It had worried her dreadfully at first to find that she was so cold, but after a time it had not seemed to
21 matter. They were so frank with each other—such good pals. That was the best of being modern. But now—ardently! ardently! The word ached in her ardent body! Was this
26 what that feeling of bliss had been leading up to? But then then—— “My dear,” said Mrs. Norman Knight, “you know our shame. We are the victims of
31 time and train. We live in Hampstead. It’s been so nice.” “I’ll come with you into the hall,” said Bertha. “I loved having you. But you must not miss the last train. That’s so awful, isn’t it?”
36 “Have a whisky, Knight, before you go?” called Harry. “No, thanks, old chap.”
41 Bertha squeezed his hand for that as she shook it. “Good night, good-bye,” she cried from the top step, feeling that this self of hers was taking leave of them for ever.
46 When she got back into the drawing-room the others were on the move. “. . . Then you can come part of the way in my taxi.”
51 “I shall be so thankful not to have to face another drive alone after my dreadful experience.” “You can get a taxi at the rank just at the end of the street. You
56 won’t have to walk more than a few yards.” “That’s a comfort. I’ll go and put on my coat.”
61 Miss Fulton moved towards the hall and Bertha was following when Harry almost pushed past. “Let me help you.”
66 Bertha knew that he was repenting his rudeness—she let him go. What a boy he was in some ways—so impulsive—so—simple.
71 And Eddie and she were left by the fire. “I wonder if you have seen Bilks’ new poem called Table d’Hôte,” said Eddie softly. “It’s so wonderful. In the last Anthology. Have
76 you got a copy? I’d so like to show it to you. It begins with an incredibly beautiful line: ‘Why Must it Always be Tomato Soup?’”
81 “Yes,” said Bertha. And she moved noiselessly to a table opposite the drawing- room door and Eddie glided noiselessly after her. She picked up the little book and gave it to him; they had not made a sound.
86 While he looked it up she turned her head towards the hall. And she saw . . . Harry with Miss Fulton’s coat in his arms and Miss Fulton with her back turned
91 to him and her head bent. He tossed the coat away, put his hands on her shoulders and turned her violently to him. His lips said: “I adore you,” and Miss Fulton laid her moonbeam fingers on his
96 cheeks and smiled her sleepy smile. Harry’s nostrils quivered; his lips curled back in a hideous grin while he whispered: “To-morrow,” and with her eyelids Miss Fulton said: “Yes.”
101 “Here it is,” said Eddie. “‘Why Must it Always be Tomato Soup?’ It’s so deeply true, don’t you feel? Tomato soup is so dreadfully eternal.” “If you prefer,” said Harry’s voice, very loud, from the hall, “I can
106 phone you a cab to come to the door.” “Oh, no. It’s not necessary,” said Miss Fulton, and she came up to Bertha and
111 gave her the slender fingers to hold. “Good-bye. Thank you so much.” “Good-bye,” said Bertha.
116 Miss Fulton held her hand a moment longer. “Your lovely pear tree!” she murmured.
121 And then she was gone, with Eddie following, like the black cat following the grey cat. “I’ll shut up shop,” said Harry, extravagantly cool and collected.
126 “Your lovely pear tree—pear tree—pear tree!” Bertha simply ran over to the long windows.
131 “Oh, what is going to happen now?” she cried. But the pear tree was as lovely as ever and as full of flower and as still.
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 According to the whisper in Bertha's mind, what will happen next?
- The house will become quiet and dark, and Bertha will be alone with another person
- The gathering will grow livelier, with brighter lights and music
- Bertha will step outside for air while the house remains brightly lit
[1 mark]
1.2 What will be quiet—quiet?
- the house
- the dark room
- the warm bed
[1 mark]
1.3 According to the whisper in Bertha’s mind, what is expected to happen in the house soon?
- The house will fall silent and be left in darkness
- Music will begin and the windows will be opened to the night air
- Servants will arrive to brighten the rooms and serve another course
[1 mark]
1.4 What is described as dark?
- the room
- the house
- the bed
[1 mark]
Question 2
Look in detail at this extract, from lines 6 to 10 of the source:
6 She jumped up from her chair and ran over to the piano. “What a pity someone does not play!” she cried. “What a pity somebody does not play.”
How does the writer use language here to show Bertha’s sudden change in feelings? 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 end of a story.
How has the writer structured the text to create a sense of disorientation?
You could write about:
- how disorientation intensifies by the end of 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 86 to the end.
In this part of the source, Bertha’s happiness is destroyed in the moment she sees her husband with Miss Fulton. The writer suggests that Bertha’s feelings of love and bliss were based on a complete fantasy.
To what extent do you agree and/or disagree with this statement?
In your response, you could:
- consider your impressions of Bertha's discovery about Harry and Miss Fulton
- comment on the methods the writer uses to portray Bertha's devastation and disillusionment
- support your response with references to the text.
[20 marks]
Question 5
A publisher of walking guides is creating a new online section for creative pieces.
Choose one of the options below for your entry.
-
Option A: Describe a secluded cove from your imagination. You may choose to use the picture provided for ideas:
-
Option B: Write the opening of a story about getting lost and then finding the way.
(24 marks for content and organisation, 16 marks for technical accuracy)
[40 marks]