Insert
The source that follows is:
- Source A: 20th-century prose fiction
- The Hammer of God by G. K. Chesterton
An extract from a work first published in 1910.
This extract is from a Father Brown story by G. K. Chesterton, where the unassuming priest explains to a suspected criminal the subtle tests he set to confirm his suspicions, highlighting his worldly knowledge from hearing confessions and his belief in reason.
Source A
1 “Left it behind?” repeated Flambeau, and for the first time there was another note in his voice beside his triumph. “Well, it was like this,” said the little priest, speaking in the same unaffected way. “I went back to that sweet-shop and asked if I’d left a
6 parcel, and gave them a particular address if it turned up. Well, I knew I hadn’t; but when I went away again I did. So, instead of running after me with that valuable parcel, they have sent it flying to a friend of mine in Westminster.” Then he added rather sadly: “I learnt that, too, from a poor fellow in Hartlepool. He used to do it with handbags he stole at railway
11 stations, but he’s in a monastery now. Oh, one gets to know, you know,” he added, rubbing his head again with the same sort of desperate apology. “We can’t help being priests. People come and tell us these things.” Flambeau tore a brown-paper parcel out of his inner pocket and rent it in
16 pieces. There was nothing but paper and sticks of lead inside it. He sprang to his feet with a gigantic gesture, and cried: “I don’t believe you. I don’t believe a bumpkin like you could manage all that. I believe you’ve still got the stuff on you, and if you don’t give it up
21 --why, we’re all alone, and I’ll take it by force!” “No,” said Father Brown simply, and stood up also, “you won’t take it by force. First, because I really haven’t still got it. And, second, because we are not alone.”
26 “Behind that tree,” said Father Brown, pointing, “are two strong policemen and the greatest detective alive. How did they come here, do you ask? Why, I brought them, of course! How did I do it? Why, I’ll tell you if you like! Lord bless you, we have to know twenty such things when we work among the criminal
31 classes! Well, I wasn’t sure you were a thief, and it would never do to make a scandal against one of our own clergy. So I just tested you to see if anything would make you show yourself. A man generally makes a small scene if he finds salt in his coffee; if he doesn’t, he has some reason for keeping quiet. I changed the salt and sugar, and you kept quiet. A man generally objects if his
36 bill is three times too big. If he pays it, he has some motive for passing unnoticed. I altered your bill, and you paid it.” The world seemed waiting for Flambeau to leap like a tiger. But he was held back as by a spell; he was stunned with the utmost curiosity.
41 “Well,” went on Father Brown, with lumbering lucidity, “as you wouldn’t leave any tracks for the police, of course somebody had to. At every place we went to, I took care to do something that would get us talked about for the rest of the day. I didn’t do much harm--a splashed wall, spilt apples, a broken
46 window; but I saved the cross, as the cross will always be saved. It is at Westminster by now. I rather wonder you didn’t stop it with the Donkey’s Whistle.” “With the what?” asked Flambeau.
51 “I’m glad you’ve never heard of it,” said the priest, making a face. “It’s a foul thing. I’m sure you’re too good a man for a Whistler. I couldn’t have countered it even with the Spots myself; I’m not strong enough in the legs.”
56 “What on earth are you talking about?” asked the other. “Well, I did think you’d know the Spots,” said Father Brown, agreeably surprised. “Oh, you can’t have gone so very wrong yet!”
61 “How in blazes do you know all these horrors?” cried Flambeau. The shadow of a smile crossed the round, simple face of his clerical opponent. “Oh, by being a celibate simpleton, I suppose,” he said. “Has it never struck
66 you that a man who does next to nothing but hear men’s real sins is not likely to be wholly unaware of human evil? But, as a matter of fact, another part of my trade, too, made me sure you weren’t a priest.” “What?” asked the thief, almost gaping.
71 “You attacked reason,” said Father Brown. “It’s bad theology.” And even as he turned away to collect his property, the three policemen came out from under the twilight trees. Flambeau was an artist and a sportsman. He
76 stepped back and swept Valentin a great bow. “Do not bow to me, mon ami,” said Valentin with silver clearness. “Let us both bow to our master.”
81 And they both stood an instant uncovered while the little Essex priest blinked about for his umbrella.
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.
These questions refer to an extract in which Father Brown confronts Flambeau and reveals how he protected a precious cross.
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 Why did the little priest go back to the sweet-shop?
- To ask whether the little priest had left something behind at the shop
- To buy sweets before continuing the journey
- To meet Flambeau at the shop as previously arranged
[1 mark]
1.2 Which place did the little priest say he returned to?
- The sweet-shop
- The church
- The police station
[1 mark]
1.3 The little priest was speaking in what kind of tone at this point in the conversation?
- in an unchanged, unaffected manner
- in a newly triumphant tone
- in a hesitant, uncertain manner
[1 mark]
1.4 What change is described in Flambeau's voice, and how does the little priest speak as the explanation begins?
- Flambeau's voice reveals more than triumph, and the little priest keeps the same manner.
- Flambeau falls silent and hesitant, and the little priest becomes agitated and accusatory.
- Flambeau bursts into laughter, and the little priest refuses to say more.
[1 mark]
Question 2
Look in detail at this extract, from lines 6 to 20 of the source:
6 parcel, and gave them a particular address if it turned up. Well, I knew I hadn’t; but when I went away again I did. So, instead of running after me with that valuable parcel, they have sent it flying to a friend of mine in Westminster.” Then he added rather sadly: “I learnt that, too, from a poor fellow in Hartlepool. He used to do it with handbags he stole at railway
11 stations, but he’s in a monastery now. Oh, one gets to know, you know,” he added, rubbing his head again with the same sort of desperate apology. “We can’t help being priests. People come and tell us these things.” Flambeau tore a brown-paper parcel out of his inner pocket and rent it in
16 pieces. There was nothing but paper and sticks of lead inside it. He sprang to his feet with a gigantic gesture, and cried: “I don’t believe you. I don’t believe a bumpkin like you could manage all that. I believe you’ve still got the stuff on you, and if you don’t give it up
How does the writer use language here to present Father Brown’s plan and his manner of speaking? 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 awe?
You could write about:
- how awe 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 21 to the end.
In this part of the source, the moment Father Brown looks for his umbrella could be seen as funny rather than dramatic. The writer suggests that despite his clever victory, he is still just an ordinary, slightly clumsy man.
To what extent do you agree and/or disagree with this statement?
In your response, you could:
- consider your impressions of Father Brown as a clever but ordinary man
- comment on the methods the writer uses to suggest Father Brown's ordinary character
- support your response with references to the text.
[20 marks]
Question 5
Your school is contributing to a community archive about surviving extreme weather.
Choose one of the options below for your entry.
-
Option A: Describe the quiet aftermath of a powerful storm from your imagination. You may choose to use the picture provided for ideas:
-
Option B: Write the opening of a story about a surprising discovery made during the clean-up.
(24 marks for content and organisation, 16 marks for technical accuracy)
[40 marks]