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EXAMINERS: 1. Prof. R. Frenkel i

Dr BM. Grogan
Prof. K. Scherzinger
Mr T. Tsehloarqe
2. Dr J.V. Starfield  - 



1. There are no compulsory questions in this paper.

2. Answer three (3) of the following four questions.

3. Each answer should be approximately three to four (3-4) pages in length.

4. Please answer each question in a separate answer book, and write the number of

the question on the front of the answer book.

ENG2At1/2AA2 June Examination 2015

TENNESSEE WILLIAMS, A Streetcar Named Desire

With reference to the following extract from A Streetcar Named Desire, write an essay that
explores the relationship between Stanley Kowalski and Blanche DuBois. Your essay should

contextualise the passage and might discuss the following:

1. Stanley's reasons for being angry with Blanche and the motivation for Blanches

2. The way in which Stanley's use of language differs from Blanches and what this
suggests about their characters; and

3. The significance of the stage directions.

STANLEY: Stell, its gonna be all right after she goes and after youve had the baby.
it's gonna be all right between you and me the way that it was. You remember
that way that it was? Them nights we had together? God, honey, its gonna be
sweet when we can make noise in the night the way that we used to and get the
coloured lights going with nobody's sister behind the curtains to hear us!

Their upstairs neighbours are heard in bellowing laughter at something. STANLEY

Steve an Eunice...

STELLA: Come on back in. [She returns to the kitchen and starts lighting the candies on
the white cake] Blanche?

BLANCHE: Yes. [She returns from the bedroom to the table in the kitchen] Oh,
those pretty, pretty little candles! Oh, dorrt burn them, Stella.

STELLA: I certainly will.
STANLEY comes back in.

BLANCHE: You ought to save them for babys birthdays. Oh, l hope candles are
going to glow in his life and l hope that his eyes are going to be like candles, like
two blue candles lighted in a white cake!

STANLEY [sitting down]: What poetry!

BLANCHE: His Auntie knows candles aren't safe, that candles burn out in little boys
and girls eyes, or wind blows them out and after that happens, electric light
bulbs go on and you see too plainly  [She pauses reective/y for a moment]


ENG2A11l2AA2 June Examination 2015

STANLEY: Goddamn, it's hot in here with the steam from the bathroom.

BLANCHE: I've said I was sorry three times. [The piano fades out] I take hot baths
for my nerves. Hydro-therapy, they call it. You healthy Poiack, without a nerve in
your body, of course you don't know what anxiety feels like!

STANLEY: l am not a Polack. People from Poland are Poles, not Polacks. But what
l am is a one hundred per cent. American, born and raised in the greatest
country on earth and proud as hell of it, so don't ever call me a Polack. [...]
Sister Blanche, I've got a little birthday remembrance for you. [.. .]

BLANCHE: Why, why - Why, it's a -

STANLEY: Ticket! Back to Laurel! On the Greyhound! Tuesday!

The Varsouviana music steals in soiy and continues playing. STELLA rises abruptly
and turns her back. BLANCHE tries to smile. Then she tries to laugh. Then she gives

both up and springs from the table and runs into the next room. She clutches her throat
and then runs into the bathroom. Coughing, gagging sounds are heard.

(Scene 8)
ATHOL F UGARD, Boesman and Lena

Write an essay in which you discuss Fugard's characterisation of Lena. Your essay should
include close reference to the passage below, from the beginning of Act One.

LENA. Let's have dop rst. l'm feeling the cold. Please, Boesman!

[Without another look at her he walks off. Lena gets stify to her legs and starts to make a fire.
A box is positioned to shield it from the wind, then the bundle of rewood untied, the wood itself
broken into pieces, a piece of paper to get it started, etc.]

LENA. Walk off our legs for this! Piece of bread and black tea. No butter not even for

[A thought crosses her mind. She straightens up, thinks hard for a few seconds, then shakes
her head]

No. [She looks around] Maybe he's right. What's the difference. I'm here now.

Here! After a long life that's a thin slice. No jam on that one. Or kondens melk! There's
soeterigheid for you. Maybe if we get lots of prawns 

[Another thought  She thinks hard ...]

it was after Redhouse. Collecting prickly pears. Then they found our place here in the bush.
Loop, Hotnot! So Hotnot loops  to Swartkops. Here. The last time. l was right!


ENG2A11l2AA2 June Examination 2015

No, we ran! The boer had a gun. When he showed us the bullets Boesman dropped his tin and
went down that road like a rabbit 

[Laughing  her hands to her backside in an imitation of the scene]
 Moenie skiet, baasl

Me too, but the other way. Where did I find him  looking at the mud, the hell-in because we
lost all our things again. Just our clothes, and each other. Never lose that. Run your legs off
the other way but at the end of it Boesman is waiting. How the hell does that happen?

Redhouse  Swartkops! I was right. He must laugh at himself.

[Back to her chores.]

And then? Somewhere else! Ja, of course. One of them. Veeplaas. Or Missionvale. Maybe
Bethelsdorp. Lena knows them all.


But which one  that time?

[She straightens up and looks around]

Which way ...?

[Moving around, trying to orientate herself physically]


It's coming! Korstenl Empties, and the dog. Hondl How was it now? Redhouse  Swartkops 
\/eeplaas - Korsten. Then this morning the bulldozers  and then 

[Pause.] Here! I've got there!

[She is very happy.] Here, sister. You ran that last bit. Bundle and all.

Remember the times I used to sing for us? Da  da  da 
BOESMAN. What's the matter with you?

LENA. Feeling fine, darling. I'm warm. You know why? I've been running. You should have
seen rne! I'm not as old as I thought. All the way from Redhouse 

[The rest of her sentence is lost in laughter at the expression on his face]
 and now I'm here. With you.
Da  da  da 

ENG2A11i2AA2 June Examination 2015

Eskia Mphahlele, Mrs Plum

Using the passage below as a starting point, discuss how the figure of a naive yet perceptive
narrator is used in Mphahleles "Mrs Plum" to highlight the spoken and unspoken

misunderstandings between Mrs Plum and Karabo.

In the first year Mrs Plum wanted me to eat at table with her. It was very hard, one
because I was not used to eating at table with a fork and knife, two because I heard of
no other kitchen worker who was handled like this. I was afraid. Afraid of everybody, of
Madam's guests ifthey found me doing this. Madam said I must not be silly. I must
show that African servants can also eat at table. Number three, I could not eat some of
the things I loved very much: mealie-meal porridge with sour milk or morogo, stamped
mealies mixed with butter beans, sour porridge for breakfast and other things. Also,
except for morning porridge, our food is nice when you eat with the hand. So nice that
it does not stop in the mouth or throat to greet anyone before it passes smoothly down.


PHASWANE MPE, Welcome To Our Hillbrow

In Welcome To Our Hillbrow, Mpe uses the neighbourhood of Hillbrow almost as if it is a
character in the novel. Discuss what Hillbrow represents in the novel and comment on the

literary devices that Mpe uses to convey his ideas about Hillbrow to the reader.

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