Paper 1 and 2 have very similar questions, relating to language, structure and agreeing with statements. We will look in more detail at how to approach these but as a guide. Here are some tips for analysing the extracts for both.

What stands out in terms of language?

What stands out structurally?

How are we supposed to feel as readers?

Let's do an example together…

From this so far, we can infer that this is a story about social class as it involves a man "Sir Michael Audley" who is evidently rich and hopes that the woman he is in love with, "Lucy", loves him back, not based on his money.

"Darkening countryside" - pathetic fallacy, sets an unsettling tone which could foreshadow something negative later in the extract "Twighlight" reinforces the pathetic fallacy, suggesting a time of transition as twilight is when it is not fully dark yet, but also no longer light. This could mirror some possible uncertainty in the extract, perhaps in relation to Lucy's feelings or intentions

"fell on her knees" - perhaps suggests some desperation

"No, Lucy; no, no!" he cried, vehemently, "not here, not here!"

"Yes, here, here," she said, the strange passion which agitated her making her voice sound shrill and piercing—not loud, but preternaturally distinct; "here and nowhere else. How good you are—how noble and how generous! Love you! Why, there are women a hundred times my superiors in beauty and in goodness who might love you dearly; but you ask too much of me! Remember what my life has been; only remember that! From my very babyhood I have never seen anything but poverty. My father was a gentleman: clever, accomplished, handsome—but poor—and what a pitiful wretch poverty made of him! My mother—But do not let me speak of her. Poverty—poverty, trials, vexations, humiliations, deprivations. You cannot tell; you, who are among those for whom life is so smooth and easy, you can never guess what is endured by such as we. Do not ask too much of me, then. I cannot be disinterested; I cannot be blind to the advantages of such an alliance. I cannot, I cannot!"

Beyond her agitation and her passionate vehemence, there is an undefined something in her manner which fills the baronet with a vague alarm. She is still on the ground at his feet, crouching rather than kneeling, her thin white dress clinging about her, her pale hair streaming over her shoulders, her great blue eyes glittering in the dusk, and her hands clutching at the black ribbon about her throat, as if it had been strangling her. "Don't ask too much of me," she kept repeating; "I have been selfish from my babyhood."

"Lucy—Lucy, speak plainly. Do you dislike me?"

"Dislike you? No—no!"

"But is there any one else whom you love?"

She laughed aloud at his question. "I do not love any one in the world," she answered.

He was glad of her reply; and yet that and the strange laugh jarred upon his feelings. He was silent for some moments, and then said, with a kind of effort:

"Well, Lucy, I will not ask too much of you. I dare say I am a romantic old fool; but if you do not dislike me, and if you do not love any one else, I see no reason why we should not make a very happy couple. Is it a bargain, Lucy?"

"Yes."

The baronet lifted her in his arms and kissed her once upon the forehead, then quietly bidding her good-night, he walked straight out of the house.

He walked straight out of the house, this foolish old man, because there was some strong emotion at work in his breast—neither joy nor triumph, but something almost akin to disappointment—some stifled and unsatisfied longing which lay heavy and dull at his heart, as if he had carried a corpse in his bosom. He carried the corpse of that hope which had died at the sound of Lucy's words. All the doubts and fears and timid aspirations were ended now. He must be contented, like other men of his age, to be married for his fortune and his position.

Lucy Graham went slowly up the stairs to her little room at the top of the house. She placed her dim candle on the chest of drawers, and seated herself on the edge of the white bed, still and white as the draperies hanging around her.

"No more dependence, no more drudgery, no more humiliations," she said; "every trace of the old life melted away—every clew to identity buried and forgotten—except these, except these."

She had never taken her left hand from the black ribbon at her throat. She drew it from her bosom, as she spoke, and looked at the object attached to it.

It was neither a locket, a miniature, nor a cross; it was a ring wrapped in an oblong piece of paper—the paper partly written, partly printed, yellow with age, and crumpled with much folding.