Insert
The source that follows is:
- Source A: 19th-century prose fiction
- The Mill on the Floss by George Eliot
An extract from a work first published in 1860.
This extract is from George Eliot’s The Mill on the Floss (1860), where the river Floss, St Ogg’s and Dorlcote Mill are described, establishing the rural-industrial setting and reflective first-person voice as a child watches the mill-wheel, creating mood through vivid landscape, sound and movement.
Source A
1 A wide plain, where the broadening Floss hurries on between its green banks to the sea, and the loving tide, rushing to meet it, checks its passage with an impetuous embrace. On this mighty tide the black
6 ships—laden with the fresh- scented fir-planks, with rounded sacks of oil-bearing seed, or with the dark glitter of coal—are borne along to the town of St Ogg’s, which shows its aged,
11 fluted red roofs and the broad gables of its wharves between the low wooded hill and the river-brink, tingeing the water with a soft purple hue under the transient glance of this February sun. Far away on each hand stretch
16 the rich pastures, and the patches of dark earth made ready for the seed of broad- leaved green crops, or touched already with the tint of the tender-bladed
21 autumn-sown corn. There is a remnant still of last year’s golden clusters of beehive-ricks rising at intervals beyond the hedgerows; and everywhere the hedgerows are studded with trees; the
26 distant ships seem to be lifting their masts and stretching their red-brown sails close among the branches of the spreading ash. Just by the red-roofed town the tributary Ripple flows with a
31 lively current into the Floss. How lovely the little river is, with its dark changing wavelets! It seems to me like a living companion while I wander along the bank, and listen to its low, placid voice, as to the voice of one
36 who is deaf and loving. I remember those large dipping willows. I remember the stone bridge.
41 And this is Dorlcote Mill. I must stand a minute or two here on the bridge and look at it, though the clouds are threatening, and it is far on in the afternoon. Even in this leafless time of departing February
46 it is pleasant to look at,—perhaps the chill, damp season adds a charm to the trimly kept, comfortable dwelling-house, as old as the elms and chestnuts that shelter it
51 from the northern blast. The stream is brimful now, and lies high in this little withy plantation, and half drowns the grassy fringe of the croft in front of the house. As I look
56 at the full stream, the vivid grass, the delicate bright-green powder softening the outline of the great trunks and branches that gleam from under the bare purple boughs, I am in love with
61 moistness, and envy the white ducks that are dipping their heads far into the water here among the withes, unmindful of the awkward appearance they make in the drier
66 world above. The rush of the water and the booming of the mill bring a dreamy deafness, which seems to heighten the peacefulness of the scene. They
71 are like a great curtain of sound, shutting one out from the world beyond. And now there is the thunder of the huge covered wagon coming home with sacks of grain. That honest
76 wagoner is thinking of his dinner, getting sadly dry in the oven at this late hour; but he will not touch it till he has fed his horses,—the strong, submissive,
81 meek-eyed beasts, who, I fancy, are looking mild reproach at him from between their blinkers, that he should crack his whip at them in that awful manner as if they needed that hint! See how they stretch their shoulders
86 up the slope toward the bridge, with all the more energy because they are so near home. Look at their grand shaggy feet that seem to grasp the firm earth, at the patient strength of their necks,
91 bowed under the heavy collar, at the mighty muscles of their struggling haunches! I should like well to hear them neigh over their hardly-earned feed of corn, and see them, with their moist
96 necks freed from the harness, dipping their eager nostrils into the muddy pond. Now they are on the bridge, and down they go again at a swifter pace, and
101 the arch of the covered wagon disappears at the turning behind the trees. Now I can turn my eyes toward the mill again, and watch the unresting wheel
106 sending out its diamond jets of water. That little girl is watching it too; she has been standing on just the same spot at the edge of the water ever since I paused on the bridge. And that queer
111 white cur with the brown ear seems to be leaping and barking in ineffectual remonstrance with the wheel; perhaps he is jealous because his playfellow in the beaver bonnet is so rapt
116 in its movement. It is time the little playfellow went in, I think; and there is a very bright fire to tempt her: the red light shines out under the deepening gray of
121 the sky. It is time, too, for me to leave off resting my arms on the cold stone of this bridge....
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 Which landscape is mentioned first?
- a wide plain
- a narrow valley
- a high plateau
[1 mark]
1.2 According to the narrator, how does the tide affect the Floss at the meeting of tide and river?
- The tide holds back the Floss, slowing the river's progress towards the sea.
- The tide drives the Floss forward, speeding the river's progress towards the sea.
- The tide leaves the Floss unaffected, and the river continues at the same pace.
[1 mark]
1.3 According to the description, how does the tide affect the river Floss at the point of meeting?
- The tide rushes to meet the river Floss and slows the river Floss's passage.
- The tide withdraws from the river Floss and allows an uninterrupted flow.
- The tide forces the river Floss back over the plain and floods the banks.
[1 mark]
1.4 What does the tide do to the river's passage?
- checks it
- speeds it
- diverts it
[1 mark]
Question 2
Look in detail at this extract, from lines 66 to 75 of the source:
66 world above. The rush of the water and the booming of the mill bring a dreamy deafness, which seems to heighten the peacefulness of the scene. They
71 are like a great curtain of sound, shutting one out from the world beyond. And now there is the thunder of the huge covered wagon coming home with sacks of grain. That honest
How does the writer use language here to describe the sounds and movement around the mill? 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 extract is from the beginning of a novel.
How has the writer structured the text to create a sense of tranquility?
You could write about:
- how tranquility deepens from beginning to end
- 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, the writer focuses on the horses as they pull the heavy wagon up the slope. The writer suggests that although they are incredibly powerful, they are also gentle and patient animals that deserve our sympathy.
To what extent do you agree and/or disagree with this statement?
In your response, you could:
- consider your impressions of the horses
- comment on the methods the writer uses to suggest sympathy for the horses
- support your response with references to the text.
[20 marks]
Question 5
For History Week at your school, the English department is inviting creative pieces set around food in another era.
Choose one of the options below for your entry.
-
Option A: Write a description of a Tudor feast hall from your imagination. You may choose to use the picture provided for ideas:
-
Option B: Write the opening of a story about a secret told over supper.
(24 marks for content and organisation, 16 marks for technical accuracy)
[40 marks]