Mark Scheme (Results)
Summer 2023
Pearson Edexcel Level 3 GCE
in English Literature(9ET0)
Paper 3: PoetryEdexcel and BTEC Qualifications
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Summer 2023
Question Paper Log Number P72848RA
Publications Code 9ET0_03_2306_MS
All the material in this publication is copyright
© Pearson Education Ltd 2023General Marking Guidance
• All candidates must receive the same treatment. Examiners must mark
the last candidate in exactly the same way as they mark the first.
• Mark schemes should be applied positively. Candidates must be
rewarded for what they have shown they can do rather than penal- ised
for omissions.
• Examiners should mark according to the mark scheme - not according to their perception of where the grade boundaries may lie.
• All the marks on the mark scheme are designed to be awarded. Examiners should always award full marks if deserved, i.e. if the an- swer
matches the mark scheme. Examiners should also be pre- pared to award
zero marks if the candidate’s response is not wor- thy of credit according
to the mark scheme.
• Where some judgement is required, mark schemes will provide the
principles by which marks will be awarded and exemplifica- tion/indicative
content will not be exhaustive.
• When examiners are in doubt regarding the application of the mark
scheme to a candidate’s response, a senior examiner must be consulted before a mark is given.
• Crossed out work should be marked unless the candidate has re- placed it
with an alternative response.
Marking guidance - specific
The marking grids have been designed to assess student work holistically. The grids
identify which Assessment Objective is being targeted by each bullet point within the
level descriptors. One bullet point is linked to one Assessment Objective, however
please note that the number of bullet points in the level descriptor does not
directly correlate to the number of marks in the level descriptor.
When deciding how to reward an answer, examiners should consult both the
indicative content and the associated marking grid(s). When using a levels-based
mark scheme, the ‘best fit’ approach should be used: Examiners should first decide
which descriptor most closely matches the answer and place it in that level.• examiners should first decide which descriptor most closely matches the answer
and place it in that level
• the mark awarded within the level will be decided based on the quality of
the answer and will be modified according to how securely all bullet points
are displayed at that level
• in cases of uneven performance, the points above will still apply. Candidates
will be placed in the level that best describes their answer according to
each of the Assessment Objectives described in the level. Marks will be
awarded towards the top or bottom of that level depending on how they
have evidenced each of the descriptor bullet points
• examiners of Advanced GCE English should remember that all Assessment Objectives within a level are equally weighted. They must consider this when making their judgements
• the mark grid identifies which Assessment Objective is being targeted by each
bullet point within the level descriptors
• indicative content is exactly that – they are factual points that candidates are likely to use to construct their answer. It is possible for an answer to be
constructed without mentioning some or all of these points, as long as they
provide alterna- tive responses to the indicative content that fulfils the
requirements of the ques- tion. It is the examiner’s responsibility to apply their
professional judgement to the candidate’s response in determining if the
answer fulfils the requirements of the question.Question
number
Indicative content
1 Candidates may refer to the following in their answers:
• comparison of the settings in which the poets explore thoughts and
feelings evoked by places, e.g. by Capildeo through the closure of the
‘inessential park’; for Burnside in the way history intrudes on a family
visit to the beach
• comparison of the ways in which the poets develop their explorations,
e.g. Capildeo’s listing of what is hidden, e.g. ‘Cigs, wasteful pansies’ or
denied, e.g. ‘The wrong romances will not fall’; Burnside’s introspection
as he observes the scene before him
• ways in which threats to security are presented, e.g. Burnside’s mention
of ‘war planes’; Capildeo’s reference to ‘escape/from beatings’
• ways in which the structure of the poems reflects the nature of the poets’
thoughts and feelings, e.g. Burnside’s longer form with constantly varying
line lengths to express the hesitant, unfolding nature of his thoughtprocess; Capildeo’s shorter lines, focused mainly on what is denied
• comparison of language choices, e.g. Capildeo’s use of ‘no place’, ‘not’,
‘only’, reflecting what is no longer possible or is considered ‘inessential’;
Burnside’s mixture of the physical detail, e.g. ‘that gasoline smell’, ‘snail
shells’ and the abstract, e.g. ‘fear’, ‘the irredeemable’
• how the poets conclude their explorations, e.g. Burnside’s reflection of
the tension between fear and ‘the irredeemable’ in the image of the kite;
how Capildeo moves on from repetition of the opening line to contrasting
the ‘visible, unusable/park’ with the ‘imagined bridge’ as a way to ‘things
invisible’.
These are suggestions only. Reward any valid alternative response.
2 Candidates may refer to the following in their answers:
• comparison of the ways in which transformations are presented, e.g.
Feaver’s opening statement that ‘Bringing a gun into a house/changes it’;
how Capildeo lists what is lost through the closure of the park
• comparison of ways in which the poets develop the transformations, e.g.
how Capildeo includes both physical features no longer visible, e.g.
‘gratuitous/marigolds’ and the human impact, e.g. ‘no place to lose the
words/of crazymakers’; how Feaver’s gun moves from ‘something
dead/itself… casting a grey shadow’ to something that ‘brings the house
alive’
• comparison of point of view, e.g. the voice in Feaver’s poem is first ‘you’
and finally, when the house is ‘alive’, an excited ‘I’; Capildeo’s
introduction of ‘you’, whose ‘inward silence’ must now grow ‘indoors’
• comparison of language choices, e.g. Feaver describes how
‘creatures/that have run and flown’ become ‘fur and feathers’; effect of
Capildeo’s repetition of ‘the inessential park’ alongside the ways in which
it has been a refuge for the ‘homeless’ or those ‘craving escape/from
beatings’
• structural comparisons, e.g. ways in which Feaver varies stanza and line
length for emphasis; effect of Capildeo's short lines and use of line breaks
for emphasis, e.g. ‘grow/your inward silence’
• comparison of ways in which the poems end, e.g. Feaver’s introduction of
the mythical ‘King of Death’; Capildeo’s transition to an ‘imagined’ place;
the enigmatic final line, echoing the title.
These are suggestions only. Reward any valid alternative response.
Section APlease refer to the Specific Marking Guidance on page 3 when applying this marking
grid.
AO1 = bullet point 1 AO2 = bullet point 2 AO4 = bullet point 3
Level Mark Descriptor (AO1, AO2, AO4)
0 No rewardable material.
Level 1 1–6 Descriptive
• Makes little reference to texts with limited organisation of ideas.
Limited use of appropriate concepts and terminology with frequent
errors and lapses of expression.
• Uses a narrative or descriptive approach that shows limited
knowledg [Show Less]