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GCSE English Language · Eduqas style · Component 1 Section A style
How the writer makes the captain mysterious (Treasure Island)
AO210 marks · about 15 minutes

Read the final paragraph of the extract, from "And indeed bad as his clothes were" to "And that was all we could learn of our guest." How does the writer show that the captain is a mysterious figure in these lines? You must refer to the language used in the text to support your answer, using relevant subject terminology. [10 marks]

Read the extract, then write below it.
I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand-barrow--a tall, strong, heavy, nut-brown man, his tarry pigtail falling over the shoulder of his soiled blue coat, his hands ragged and scarred, with black, broken nails, and the sabre cut across one cheek, a dirty, livid white. I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards: “Fifteen men on the dead man’s chest-- Yo-ho-ho, and a bottle of rum!” in the high, old tottering voice that seemed to have been tuned and broken at the capstan bars. Then he rapped on the door with a bit of stick like a handspike that he carried, and when my father appeared, called roughly for a glass of rum. This, when it was brought to him, he drank slowly, like a connoisseur, lingering on the taste and still looking about him at the cliffs and up at our signboard. “This is a handy cove,” says he at length; “and a pleasant sittyated grog-shop. Much company, mate?” My father told him no, very little company, the more was the pity. “Well, then,” said he, “this is the berth for me. Here you, matey,” he cried to the man who trundled the barrow; “bring up alongside and help up my chest. I’ll stay here a bit,” he continued. “I’m a plain man; rum and bacon and eggs is what I want, and that head up there for to watch ships off. What you mought call me? You mought call me captain. Oh, I see what you’re at--there”; and he threw down three or four gold pieces on the threshold. “You can tell me when I’ve worked through that,” says he, looking as fierce as a commander. And indeed bad as his clothes were and coarsely as he spoke, he had none of the appearance of a man who sailed before the mast, but seemed like a mate or skipper accustomed to be obeyed or to strike. The man who came with the barrow told us the mail had set him down the morning before at the Royal George, that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence. And that was all we could learn of our guest.
Source: Robert Louis Stevenson, Treasure Island (1883). Public domain.
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How this is marked

AO2 (published assessment objective): Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views (English). For Geography: demonstrate geographical understanding of concepts and how they are used in relation to places, environments and processes, and the interrelationships between places, environments and processes. For History: explain and analyse historical events and periods studied using second-order historical concepts.

Assessed against AO2 using Revision Robin's own level descriptors below. These are not the exam board's mark scheme. Every quotation in the feedback is checked against your answer and the extract before you see it, and a teacher's mark overrides ours.

Level 4 · 9 to 10Perceptive, detailed analysis. Explains precisely how specific word choices, techniques or structural features shape the reader's response; quotations are apt and well chosen; terminology is accurate and sharpens the point rather than decorating it.
Level 3 · 6 to 8Clear, relevant explanation of effects. Quotations are relevant and mostly well chosen; terminology is accurate; the answer explains effect rather than only naming features.
Level 2 · 3 to 5Some understanding of effects. Attempts to comment on effect, often in general terms; some relevant quotation; terminology sometimes used, sometimes inaccurately.
Level 1 · 1 to 2Simple awareness. Mostly paraphrase or retelling; little or no quotation; features named without explanation of effect.