Here are a few suggestions to strengthen your response: - Be more explicit about linking your evidence to the question - explain how each example shows Osborne possessing the qualities needed for a good commander. - Consider including a brief overview of Stanhope's shortcomings as the current commander to further support the argument that Osborne would be better suited. - Discuss other moments that reveal Osborne's leadership abilities, like keeping a level head under pressure during the German attack. - Tie your analysis back to Hardy's statement at the end to fully answer the question. You've provided good evidence but could directly state whether Sherriff convinces the audience that Hardy is right or not based on your evidence. Overall this

1. Success Tips
Successful candidates had clearly been encouraged to see
their text as a play script, to visualise the action, to keep all
the onstage characters in mind and to consider the impact
on a theatre audience, and the benefits of watching or
being involved in a live performance and of classroom
based drama activities like role-play, hot-seating and the
presentation of key scenes, were strikingly evident in many
answers. Strong responses to the drama of particular
moments often declared themselves in a keen awareness
of the contribution of all the onstage characters and even
the significance of a particular character’s silence:
Osborne’s presence throughout Stanhope’s embarrassingly
aggressive seizing of Raleigh’s letter (Journey’s
End, Question 10)

2. Successful candidates:
• see the texts as scripts for performance and
themselves as members of an audience
• see the stage directions as part of the dramatic action
of the scene and visualise this onstage action and all
the onstage characters
• pay explicit attention to the wording of the question
and balance attention to each strand of the question
• construct purposeful opening paragraphs which focus
specifically on a particular question about a particular
play
• select and integrate brief quotations to support and
amplify their ideas
• avoid formulaic approaches and trust their own direct
personal response.

3. Less successful candidates:
• see the texts as pieces of writing only and themselves as
readers
• see the stage directions merely as a pieces of tacked-on
written communication and ignore the onstage action
• start with a pre-packaged introduction which is unhelpfully
generalised, biographical or listlike and says nothing
specific about the play or the question
• lose the focus of the question and import prepared
material which has very little direct relevance, or misread
the question entirely and write about the wrong character
or wrong moment
• become bogged down in feature-logging and detached
from the dramatic action
• work through a pre-digested agenda without fully engaging
the question or the play, and without expressing a personal
response.

4. Extract-based Questions
Successful candidates:
• devote at least two-thirds of answers to discussing, quoting from and
commenting on the extract itself but still convey understanding of the
whole-play context
• start by returning to their text to locate the extract in the context of the
whole play
• establish the dramatic context for the characters and the audience quickly
and economically in the opening paragraph
• ground their whole-play reflections firmly in the detail of the extract pay
close attention to the way the dramatic action evolves throughout the
extract.
Less successful candidates:
• produce generalised answers with little attention to the printed
passage, or approach the extract as if it is an “unseen” exercise and give
little sense of the rest of the play
• produce a sweeping opening paragraph with an all-purpose list of
headings and largely ignore the question
• rarely quote from the extract or copy out huge chunks unaccompanied by
any attempt at commentary
• miss the reference to “this moment” in the question and as a result
answer the question on the play as a whole with little reference to the
printed extract.

5. Journey’s End
QUESTION
Read Act 2 Scene 2 (page 54) from Hibbert’s
line “I’ve a perfect right to go sick if I want
to” to Stanhope’s line (page 56) “stay
here, old chap – and see it through...”.
Explore the ways in which Sherriff makes this
such a dramatic and significant moment in
the play. [40]

6. Explore the ways in which Sherriff makes this such a
dramatic and significant moment in the play.
NOTES ON THE TASK: It is to be hoped that most candidates will be able
to respond to the dramatic nature of the action (the striking, the stick-
snapping, the threatened use of the revolver…) and the intensity of the
feelings in this scene. There are many dramatic features to choose from
and so it is important to be receptive to a variety of ideas and not to
expect exhaustive treatment. Strong answers are likely to declare
themselves in their awareness of the dramatic context for this
confrontation (the news that Stanhope must break to Osborne and
Raleigh about the raid, his growing impatience with Hibbert’s perceived
cowardice…), in their attention to Sherriff’s portrayal of Hibbert’s
desperation (his willingness to be shot on the spot rather than face the
terror of the trenches, for instance) and of Stanhope’s steely
determination, apparent ruthlessness and final compassion. The
strongest answers might well declare themselves in their detailed
attention to the effect of the dramatic language, the threats, the
counting…and in their willingness to explore the “significant” strand of
the question explicitly. Developed understanding of what Sherriff reveals
here not only about Hibbert and the stresses of trench warfare but also
about Stanhope’s astonishing bravery, sense of duty, fellow-feeling and
leadership…should be highly rewarded.

7. Band Mark AO4 AO2 QWC
1 40-35 •sophisticated critical perception •sensitive understanding of the •text is legible
in response to and interpretation significance and effects of •spelling, punctuation and
of text writers’ choices of language, grammar are accurate and
 cogent and precise evaluation of structure and form assured
well-selected detail from the text •meaning is very clearly
communicated
2 32-28 •clear and well-developed critical •clear, critical understanding of •text is legible
response to the text the effects of writers’ choices •spelling, punctuation and
•clear evaluation of relevant from of language, structure and grammar are accurate
the text form •meaning is very clearly
communicated
3 27-21 •a developed personal response •good overall understanding •text is legible
to the text that writers’ choices of •spelling, punctuation and
•use of appropriate support from language, structure and form grammar are mainly accurate
detail of the text contribute to meaning/effect •meaning is clearly
communicated
4 20-14 •reasonably organised response •understanding of some •text is legible
to text features of language, structure •some errors in spelling,
•use of some relevant support and/or form punctuation and grammar
from the text •meaning is clearly
communicated for most of the
answer
Below 4 13-0 •some straightforward comments •a little response to features of •text is mostly legible
on the text language, structure and/or •frequent errors in spelling,
•use of a little support from the form punctuation and grammar
text •communication of meaning is
sometimes hindered

8. CandidatetoA sent home before the
In this scene from Journey’s End, Hibbert is trying get
German attack which Stanhope says will happen on Thursday. Hibbert says he has
neuralgia. He thinks he can report sick and expects to leave: “I’ve got all my stuff
packed”. Stanhope knows that Hibbert is pretending to be ill and is determined that
Hibbert stays “and do your job”.
The scene is very dramatic. In a way I think that Stanhope understands what
Hibbert is feeling, because Stanhope really feels the same way. Stanhope drinks a
lot so he doesn’t give in to the fear. Stanhope is a good leader as in this scene he
makes sure that Hibbert doesn’t leave the trenches. He does this by threatening to
shoot Hibbert. He gives Hibbert a choice. If Hibbert tries to leave, Stanhope will
“have you shot --- for deserting”. To be shot by a firing-squad is “a hell of a
disgrace”. Or, if Hibbert tries to leave the dug-out, Stanhope will shoot him
“between the eyes” and say his revolver went off accidentally while he was
cleaning it. Really Hibbert has no choice. He will be killed by a firing squad or by
Stanhope. Either way he will be dead.
It is very dramatic because Hibbert is so determined to leave the dug-out that he is
prepared to let Stanhope shoot him. He tries to get round Stanhope who is
blocking the steps out of the dug-out and when he can’t get past because
Stanhope “turns and thrusts him roughly back” he tries to physically attack
Stanhope with his walking-stick. This shows how much he wants to leave the
trenches because he could be shot for hitting a superior officer. Stanhope shows
respect for Hibbert as he says “I won’t have you shot for that”. He is giving Hibbert
a chance to choose between staying with his fellow-officers or being shot for
cowardice.
This scene is very dramatic because it shows how much Stanhope cares about the
men he leads and how important it is for men to do their duty in the war.

9. Candidate B
This is a very dramatic and significant moment in the play. It shows the pressure that the officers are
under. Hibbert claims he has neuralgia and “shall die of this pain” if he is sent down the line, but
Stanhope knows that Hibbert is pretending to be sick so he can escape the big German attack expected
on Thursday. Osborne has described Stanhope as “the best company commander we’ve got” and in
this scene Stanhope shows that he is.
Stanhope understands the pressure the officers are under. As he tells Hibbert later, “I hate and loathe it
all” so he drinks to escape. Hibbert is trying physically to escape. The way Stanhope stops him is very
dramatic. He is in control of the situation. When Hibbert goes into the dug-out, Stanhope “walks slowly
towards the steps … takes out his revolver, and stands casually examining it”. Hibbert is in a panic. The
stage directions show that he speaks “hysterically”, “pleadingly”, “in a whisper” “hoarsely” and “bursts
into a high-pitched laugh”.
Stanhope gives Hibbert a choice. He can stay in the trenches, or be shot for deserting. To save him from
the disgrace of being shot by a firing–squad for deserting, Stanhope will shoot him himself “I’m fiddling
with my revolver, d’you see? --- cleaning it --- and it’s going off by accident … it’s going to shoot you
between the eyes”. Sherriff makes the scene dramatic because Hibbert is so afraid of the trenches that
he chooses to be shot by Stanhope; “I swear I’ll never go into those trenches again. Shoot!”. The scene
is made more dramatic as Stanhope starts to count down the seconds before he pulls the trigger and
the audience is on the edge of its seat to see if he will pull the trigger or not. When Stanhope puts his
revolver back in its holster, places his hands on Hibbert’s shoulders and says he admires his courage “I
liked the way you stuck that”, it’s almost an anti-climax. But it isn’t really as Stanhope like “the best
company commander” he is has given Hibbert the courage to stay “and see it through”. So he has
saved Hibbert from disgrace and given his company a better chance by keeping Hibbert in the
trenches.
Sherriff makes this a very dramatic scene and shows that Stanhope is a good psychologist. He gets
what he wants even though it hurts him. When Hibbert “breaks down and cries” Stanhope “turns
away” because he understands Hibbert’s fear and what is likely to happen to them when the German
attack begins.

10. Examiner’s Commentary
Candidate A
This response shows some understanding of what is
dramatic about the extract, seeing the conflict between
Stanhope and Hibbert, and something of the physical
conflict. It also shows some understanding of Stanhope. It
misses out important parts of the extract, such as
Stanhope’s counting down of the seconds and Hibbert’s
choosing to be shot rather than go back into the trenches. A
middle band response.
Candidate B
This response looks closely at what is dramatic about this
moment, selects material to support the interpretation and
looks at language, especially of the stage directions to show
how Sherriff presents his view of the pressures men are
under in time of war. A higher response.

11. Another Question
• How does Sherriff make the difference
between Hibbert and Stanhope so dramatic?
Remember to support your ideas with details
from the play.

12. Plan
Hibbert Stanhope
STRUCTURE
• Role: shows the effect war • Role: Leader, protagonist
had on men – cowardice • Coping: Hides fear through
THEME
• Coping: faking neuralgia drinking
• Personality: • Personality:
LANGUAGE Forceful, dedicated, leader,
selfish, weak, coward, lacks
confidence brave, persuasive
• Joined because he had to • Joined out of duty

13. The Perfect Explain
Take each of these points with evidence and complete the EXPLAIN. Use the bank of
analytical phrases to help you.
ANALYTICAL
Point Evidence PHRASES
Difference in the way the Stanhope: There were only two ways of breaking the Sherriff’s use of ...
men cope with war. strain. One was pretending I was ill – and going home;
the other was this (he holds up his glass) The audience is
lead to feel...
Hibbert: This neuralgia of mine... I’m afraid I can’t stick it
any longer. This shows...
Stanhope: I couldn’t bear being fully conscious all the The use of X
time - Implies...
They are portrayed as very Hibbert: Stanhope! I’ve tried like hell... Every sound up
different men. there makes me all – cold and sick. Audience
Theme
Stanhope: If you went - and left Osborne and Trotter Language
and Raleigh and all those men up there to do your work Form/Structure
– could you ever look a man straight in the face again –
in all your life?
Don’t forget the question asks about the DRAMA created by these contrasts

14. Another Question
Hardy tells Osborne: “You, Osborne, you ought to be
commanding this company.” How far does Sherriff’s
portrayal of Osborne convince you that Hardy is right
about him?
• What are the key words in this question?
• What characteristics should a commander possess?
• What qualities are we shown in Osborne that convince
us he would make a good commander?
• What qualities is the current commander lacking?
• What are we shown to be lacking in Osborne’s
character that would impede his fulfilling this position?
1. Supportive (Language)
2. Role model (whole play/ stage directions)
3. Lacking ... Whereas Stanhope ...

15. The play is set in WW1 on the frontline where a good commander would have been vital for
the survival of a company in the trenches. A commander needed to display the qualities of:
support for the men, strength, tactical thinking, calmness, fairness and be able to act as a
role model for the younger officers. Sherriff’s portrayal of Osborne’s character certainly
shows that he possesses many of the qualities of a commander.
As Hardy’s line suggests, Osborne is a character who is portrayed as being respected by the
men. The main reason for this, as the audience is shown throughout, is Osborne’s
supportive nature. At the end of the opening scene, the job of which is to allow Sherriff to
establish characters and relationships, Osborne and Stanhope’s relationship is revealed to
the audience. Osborne is portrayed as being defensive and supportive of Stanhope as a
commanding officer and a friend. Sherriff shows Osborne putting Stanhope to bed as
Stanhope has drunk too much, “Come along, Old chap. You come and lie down here.”
Sherriff’s use of language portrays Osborne as gentle and supportive of Stanhope. He
addresses Stanhope kindly, regardless of Stanhope’s rather aggressive manner towards him.
“Old Chap” suggests a friendliness – as a commanding officer he should be addressed as
‘Sir’. Sherriff establishes an almost father/son relationship. Osborne’s use of imperatives,
“come and lie down” is like a parent leading a child firmly. In front of the other men
Osborne and Stanhope are commander and officer, but alone on stage they are more like
friends or even parent and child. Another example of Osborne’s supportive nature is in Act 3
Scene 1 as he attempts calm Rayleigh as they prepare for the raid. “...now let’s forget all
about it for – (he looks at his watch) – for six minutes.” Sherriff portrays Osborne in the role
of mentor to Rayleigh, here trying to take the nervous boy’s mind off the impending attack.
And later in the same scene when this fails Osborne resorts to his method of escape,
children’s poetry “The time has come, the Walrus said, to talk of many things...” This method
of distraction seems to work much better and Osborne manages to distract Rayleigh for the
next few minutes. Sherriff’s portrayal of Osborne as a character who cares enough to try to
support Rayleigh, is a feature which, as an audience, we find convincingly supportive of
Hardy’s claim that Osborne would make a good commander.