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A-Level · English Literature (unseen prose analysis, styled for combined Literature/Language study)

AE.L4 Literature: Unseen Prose Analysis

AQA 7712/7702 · Calculators not allowed · about 155 minutes

Total Marks

Name: _______________________________ Date: ____ / ____ / ______

Answer ALL questions. Show all your working.

The Tide Line

Source written for Revision Library (original, copyright-free). An extract from an original prose narrative, composed for the purposes of A-level unseen prose analysis. This text is not extracted from, and does not paraphrase, any published or in-copyright novel. Lines are numbered for ease of reference in the questions that follow.

1 I have not been back to Aunt Vera's guesthouse in eleven years, and yet I could still draw the

2 front step from memory: the black iron boot-scraper shaped like a swan, the peeling sign that

3 read VERA'S REST, the smell of vinegar and drying sea-lettuce that clung to the porch no matter

4 how many times she scrubbed it. I was nine the summer my parents sent me to her, and I arrived

5 at Fenwick-on-Sea with a suitcase that would not shut and a private conviction that I had been

6 abandoned.

8 Vera did not fuss over me, which I resented at first and was grateful for later. She put me to

9 work folding towels for the six guest rooms, then said, without looking up from the till, that

10 idle hands made for long summers. She was my mother's older sister, though nobody could have

11 guessed it from the two of them side by side; my mother was soft where Vera was all corners, her

12 voice worn thin by decades of announcing breakfast times to strangers. She wore the same

13 cardigan, grey with a darned elbow, on every day I knew her, and she had a way of standing in

14 doorways with her arms folded that made the whole house seem smaller and more governable than

15 it had any right to be.

17 The guesthouse itself sagged towards the sea like something reaching for water it could never

18 quite touch. Salt had got into the window frames and swollen the paint into blisters; the

19 residents' lounge held a piano nobody played and a stopped clock nobody had mended, its hands

20 fixed forever at twenty to four. I used to think the whole building was simply old and tired, the

21 way old people are tired, until the afternoon I found Vera standing at that piano with the lid

22 raised, one finger resting on a yellowed key she did not press.

24 It happened in the third week. I had come in from the beach, wet to the knees, meaning to fetch

25 a towel, and I stopped in the lounge doorway because something in the set of her shoulders did

26 not belong to the Vera who barked at guests about muddy shoes. She was not playing. She was

27 simply looking at the keys the way you might look at a door you had decided, a long time ago,

28 never to open again. When she noticed me she closed the lid with a soft, final sound, like a book

29 being shut on an unfinished sentence, and said only, 'Go and change out of those wet things

30 before you catch your death.' But her voice had lost its usual flint, and for the rest of that day

31 she moved through the house more slowly, as though carrying something she had not agreed to

32 carry.

34 I did not understand it then. It was only years later, sorting through her papers after the

35 funeral, that I found the certificate from the Fenwick School of Music, dated the year she turned

36 seventeen, and the letter beneath it from a college in London that had never been answered. I

37 understood, too late for it to matter to her, that the guesthouse had not been a choice so much

38 as a substitution, one life quietly folded away to make room for the running of somebody else's

39 breakfasts.

41 What I remember most, though, is not the discovery but the tide line itself, that ragged brown

42 seam of weed and broken shell the sea left along the sand each morning, always in a slightly

43 different place, as though the water itself could not decide where it had meant to stop. Vera

44 used to make me sweep it clear from the guesthouse steps before the first guests came down,

45 grumbling that visitors did not pay good money to look at other people's rubbish. I swept it

46 without asking why the sea kept leaving the same debris in different places, or why a woman who

47 claimed not to care for order spent every morning restoring it. I know now that some people build

48 their whole lives along a line like that: drawn fresh each day, never quite in the place it was the

49 day before, and swept clear before anyone else can see what the tide has left behind.

Refer to the extract as a whole. In each part below, identify one technique the writer uses and briefly explain its effect.

(a)Identify one technique used in lines 1 to 6 to establish the narrator's retrospective viewpoint, and briefly explain its effect.(2)

(b)Identify one technique used in lines 8 to 15 to characterise Vera through physical description, and briefly explain its effect.(2)

(c)Identify one technique used in lines 17 to 22 to create a sense of decline in the description of the guesthouse, and briefly explain its effect.(2)

(d)Identify one technique used in lines 41 to 49 to extend the tide-line image into a comment on Vera's life, and briefly explain its effect.(2)

(Total for Question 1 is 8 marks)

Re-read lines 1 to 6. Explore how the writer uses narrative viewpoint and retrospective structure to shape the reader's early understanding of the narrator and of Vera.

(a)Explore how the writer uses narrative viewpoint and retrospective structure to shape the reader's early understanding of the narrator and of Vera in lines 1 to 6.(10)

(Total for Question 2 is 10 marks)

Re-read lines 8 to 15. Explore how the writer presents Vera's character, considering both direct and indirect methods of characterisation.

(a)Explore how the writer presents Vera's character in lines 8 to 15, considering both direct and indirect methods of characterisation.(10)

(Total for Question 3 is 10 marks)

Re-read lines 24 to 32. Analyse how the writer creates a shift in mood and pace in this section, considering structure, dialogue and narrative viewpoint.

(a)Analyse how the writer creates a shift in mood and pace in lines 24 to 32, considering structure, dialogue and narrative viewpoint.(12)

(Total for Question 4 is 12 marks)

Explore the significance of the piano and its closed lid as a symbol across the extract as a whole.

(a)Explore the significance of the piano and its closed lid as a symbol across the extract as a whole.(10)

(Total for Question 5 is 10 marks)

Explore the structural significance of placing the revelation about Vera's past in lines 34 to 39, rather than earlier in the extract, immediately after the piano scene.

(a)Explore the structural significance of placing the revelation about Vera's past in lines 34 to 39, rather than earlier in the extract, immediately after the piano scene.(10)

(Total for Question 6 is 10 marks)

Using your knowledge of the social and historical opportunities available to women in twentieth-century Britain, explain how the extract reflects this context, referring closely to lines 34 to 39.

(a)Using your knowledge of the social and historical opportunities available to women in twentieth-century Britain, explain how the extract reflects this context, referring closely to lines 34 to 39.(8)

(Total for Question 7 is 8 marks)

Analyse the writer's use of the extended tide-line metaphor in lines 41 to 49, and its relationship to ideas about identity developed elsewhere in the extract.

(a)Analyse the writer's use of the extended tide-line metaphor in lines 41 to 49, and its relationship to ideas about identity developed elsewhere in the extract.(12)

(Total for Question 8 is 12 marks)

Explore the significance of the title 'The Tide Line' in relation to the extract as a whole.

(a)Explore the significance of the title 'The Tide Line' in relation to the extract as a whole.(10)

(Total for Question 9 is 10 marks)

Explore how the writer creates a shift in tone between the description of Vera in lines 8 to 15 and the closing reflection on her life in lines 41 to 49.

(a)Explore how the writer creates a shift in tone between the description of Vera in lines 8 to 15 and the closing reflection on her life in lines 41 to 49.(10)

(Total for Question 10 is 10 marks)

Two readers have offered contrasting responses to Vera: one describes her as 'a woman defined by quiet self-sacrifice', the other as 'a woman who chose control over connection'. Evaluate these two interpretations, using close reference to the writer's methods.

(a)Evaluate the two interpretations of Vera, 'a woman defined by quiet self-sacrifice' versus 'a woman who chose control over connection', using close reference to the writer's methods.(15)

(Total for Question 11 is 15 marks)

'In this extract, the writer suggests that the choices people make for others often come at the cost of the life they might have chosen for themselves.' Using your knowledge of the whole extract, evaluate this view.

(a)'In this extract, the writer suggests that the choices people make for others often come at the cost of the life they might have chosen for themselves.' Using your knowledge of the whole extract, evaluate this view.(25)

(Total for Question 12 is 25 marks)

Mark scheme · AE.L4 Literature: Unseen Prose Analysis

Question 1

(a) B1 Identifies a valid technique with accurate textual reference, e.g. the time marker 'in eleven years' (line 1), or the claim to detailed recall 'I could still draw the front step from memory' (lines 1 to 2) (oe)
(a) B1 Gives a plausible, text-supported comment on effect, e.g. signals that events are filtered through adult hindsight rather than told as they happened (oe)
(a) Answer: The time marker 'in eleven years' (line 1) and the claim to be able to 'draw the front step from memory' (lines 1 to 2) establish a retrospective adult narrator looking back on childhood, signalling that the account is shaped by hindsight rather than told in the moment.
(b) B1 Identifies a valid technique, e.g. the repeated cardigan 'grey with a darned elbow' (lines 12 to 13), or the physical posture 'standing in doorways with her arms folded' (lines 13 to 14) (oe)
(b) B1 Gives a plausible comment on effect, e.g. suggests thrift and unchanging habit, or watchful authority (oe)
(b) Answer: The repeated, darned cardigan (lines 12 to 13) characterises Vera as thrifty and fixed in her habits, suggesting a life lived without indulgence or much change.
(c) B1 Identifies a valid technique, e.g. personification ('sagged towards the sea', line 17), or the cluster of decay details (swollen paint, unplayed piano, stopped clock, lines 18 to 20) (oe)
(c) B1 Gives a plausible comment on effect, e.g. presents the building as tired and in slow, ongoing deterioration (oe)
(c) Answer: The personification of the guesthouse as 'sagged towards the sea' (line 17) presents the building as tired and in slow decline, reinforced by the cluster of decay details that follow (lines 18 to 20).
(d) B1 Identifies a valid technique, e.g. the extended metaphor of the tide line, or the generalising shift to 'some people' (line 47) (oe)
(d) B1 Gives a plausible comment on effect, e.g. broadens Vera's private situation into a wider comment on how people manage what is unresolved in their lives (oe)
(d) Answer: The shift from 'Vera' to 'some people' (line 47) extends the tide-line metaphor from Vera's specific situation into a wider, generalised comment on how people conceal what is unresolved in their lives.

Question 2

(a) L4 (9-10): Assured, perceptive analysis of viewpoint and retrospective structure, with well-selected, precise textual detail; consistently coherent, well-expressed argument using appropriate terminology.
(a) L3 (7-8): Clear, sustained analysis of viewpoint and/or retrospective structure, supported by apt textual detail; generally coherent expression with appropriate terminology.
(a) L2 (4-6): Some relevant comment on viewpoint or structure, with reasonable but sometimes generalised textual support; expression mostly clear.
(a) L1 (1-3): Limited or descriptive comment, with little clear link to viewpoint or structure; basic or narrative-retelling approach.
(a) L0 (0): Nothing worthy of credit.

Question 3

(a) L4 (9-10): Assured, perceptive exploration of both direct and indirect characterisation, with precise, well-integrated textual detail; fluent, accurate expression.
(a) L3 (7-8): Clear exploration of characterisation methods, supported by well-chosen textual detail; generally accurate expression.
(a) L2 (4-6): Some valid comment on characterisation, with reasonable but occasionally general textual support.
(a) L1 (1-3): Limited, descriptive or narrative comment with minimal analytical engagement.
(a) L0 (0): Nothing worthy of credit.

Question 4

(a) L4 (10-12): Discriminating analysis of the shift in mood and pace, integrating structure, dialogue and viewpoint with precise, well-selected textual detail throughout; assured, controlled expression.
(a) L3 (7-9): Clear, sustained analysis of the shift, supported by apt detail from more than one of structure, dialogue or viewpoint; generally accurate expression.
(a) L2 (4-6): Some relevant analysis of the shift, though coverage may be partial or one-sided; reasonable expression.
(a) L1 (1-3): Limited or largely descriptive comment on the scene, with little sense of shift or development.
(a) L0 (0): Nothing worthy of credit.

Question 5

(a) L4 (9-10): Perceptive, wide-ranging exploration of the piano's symbolic development across the extract, with precise textual support throughout; assured expression.
(a) L3 (7-8): Clear exploration of the piano as symbol, supported by relevant detail from more than one part of the extract.
(a) L2 (4-6): Some valid comment on the symbol, though support may be limited to a single moment in the text.
(a) L1 (1-3): Limited, largely literal comment on the piano with little exploration of significance.
(a) L0 (0): Nothing worthy of credit.

Question 6

(a) L4 (9-10): Perceptive, well-developed exploration of the structural delay, precisely linking it to the extract's wider treatment of memory and understanding; fluent, controlled expression.
(a) L3 (7-8): Clear exploration of the effect of the delay, supported by relevant textual detail; generally coherent expression.
(a) L2 (4-6): Some valid comment on the delay, with reasonable but occasionally general support.
(a) L1 (1-3): Limited or narrative-based comment with little structural awareness.
(a) L0 (0): Nothing worthy of credit.

Question 7

(a) L4 (7-8): Detailed, well-integrated explanation of context, clearly and precisely linked to textual evidence; assured expression.
(a) L3 (5-6): Clear explanation of relevant context, linked to the text with reasonable precision.
(a) L2 (3-4): Some relevant contextual comment, though the link to the text may be general or under-developed.
(a) L1 (1-2): Limited or largely unsupported contextual comment, with minimal reference to the extract.
(a) L0 (0): Nothing worthy of credit.

Question 8

(a) L4 (10-12): Discriminating analysis of the extended metaphor, integrating close, wide-ranging textual detail with a clear line of argument connecting it to identity elsewhere in the extract; assured, controlled expression.
(a) L3 (7-9): Clear, sustained analysis of the metaphor, supported by apt detail, with some connection to identity elsewhere in the extract; generally accurate expression.
(a) L2 (4-6): Some relevant analysis of the metaphor, though connection to the wider extract may be underdeveloped; reasonable expression.
(a) L1 (1-3): Limited or largely descriptive comment on the tide line, with little analytical development.
(a) L0 (0): Nothing worthy of credit.

Question 9

(a) L4 (9-10): Perceptive, wide-ranging exploration of the title's symbolic significance across the extract, with precise textual support; assured expression.
(a) L3 (7-8): Clear exploration of the title's significance, supported by relevant detail from more than one part of the extract.
(a) L2 (4-6): Some valid comment on the title, though support may be limited to a single moment in the text.
(a) L1 (1-3): Limited, largely literal comment on the title with little exploration of significance.
(a) L0 (0): Nothing worthy of credit.

Question 10

(a) L4 (9-10): Assured, precise exploration of the tonal shift, drawing pointed contrasts between the two sections, with sophisticated, well-controlled expression.
(a) L3 (7-8): Clear exploration of the tonal shift, with relevant contrasting detail from both sections; coherent expression.
(a) L2 (4-6): Some relevant comment on tone, though contrast between the two sections may be under-developed or one-sided.
(a) L1 (1-3): Limited, largely descriptive comment on tone with little sense of shift or contrast.
(a) L0 (0): Nothing worthy of credit.

Question 11

(a) L5 (13-15): Discriminating, independent evaluation of both interpretations, weighing them against precise textual evidence to form a convincing, well-substantiated personal judgement; assured expression.
(a) L4 (10-12): Clear, well-supported evaluation of both interpretations, reaching a reasoned personal judgement; controlled expression.
(a) L3 (7-9): Sound engagement with both interpretations, with relevant textual support, though evaluation may be more developed for one reading than the other.
(a) L2 (4-6): Some relevant comment on the interpretations, with reasonable but occasionally generalised textual support; limited independent judgement.
(a) L1 (1-3): Limited or largely descriptive response, restating the interpretations with minimal evaluation or textual support.
(a) L0 (0): Nothing worthy of credit.

Question 12

(a) L6 (22-25): Sophisticated, discriminating evaluation of the statement, sustaining a conceptualised, critically aware argument that integrates language, structure and context with precise, wide-ranging textual support; sophisticated, assured expression throughout.
(a) L5 (18-21): Assured, well-developed evaluation of the statement, integrating language/structure and context, with well-selected textual detail; fluent, controlled expression.
(a) L4 (14-17): Clear, sustained evaluation with relevant use of language, structure and/or context, supported by apt textual detail; generally coherent expression.
(a) L3 (10-13): Reasonable engagement with the statement, with some relevant textual and contextual support, though development may be uneven.
(a) L2 (6-9): Some relevant comment on the statement, with generalised or partial support; limited independent evaluation.
(a) L1 (1-5): Limited, largely descriptive or narrative response with minimal evaluative engagement with the statement.
(a) L0 (0): Nothing worthy of credit.

Literature: Unseen Prose Analysis - Worksheets, Questions and Revision