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IGCSE · Cambridge (CIE) · 0408

Ten-story pathway · analyse a passage in whole-story context

Locate an actual passage within its whole narrative · Distinguish observation, allegation and later correction · Explain local choices without substituting plot summary

Cambridge IGCSE World Literature 0408 · SET-2026-6 / SET-2027-6 / SET-2028-4 / 2025-P3-A / 2025-P3-B / 2028-P3-A / 2028-P3-B
Exam scope and assessment notes

0408 preparation for exam year(s) 2026, 2027, 2028. The assessment changes in 2028; follow the component and selected texts for your year. Original StudyForA teaching and practice for the 2026, 2027 and 2028 Stories of Ourselves Volume 2 Paper 3 option. Read all ten prescribed stories in your centre-selected anthology. Teaching is available for all ten stories: twenty named reading and writing lessons plus four full-selection workshops. Complete reading and independently supported writing are still required. The protected anthology is not reproduced in full. Public-domain texts and selected extracts are primary transcriptions; Wodehouse and Woolf use brief quotations and original commentary with linked complete reading sources. These are not Cambridge examination passages; punctuation and spelling may differ from the anthology. Models do not award Cambridge marks or grades. Other supported interpretations can be valid. Qualified teacher assessment and calibrated full papers remain unfinished. This is not the different 2025 Volume 2 selection or the 2029–2030 Volume 3 selection. Listed stories are not eligible for 2026–2027 coursework, and the revised 2028 coursework requires drama.

Before you begin

  • Confirm your exam year is 2026, 2027 or 2028 and your centre selected this ten-story option. Read the complete story before the analysis and writing lesson. All ten members need preparation; private candidates cannot enter 0408.

Work on paper. Try each question before revealing help, and explain why your method works.

Quick readiness check

What should support a claim about a literary text?

What you will learn

  • Locate an actual passage within its whole narrative
  • Distinguish observation, allegation and later correction
  • Explain local choices without substituting plot summary

Three actual passages · location and method

  • Read the complete story before analysing. Use the linked primary source for any portions not printed here.
  • Write your response before opening the model. Explain the effect of your textual evidence.
  • Bracketed paragraph numbers are navigation aids, not original line numbers. Check quotations against your centre’s anthology.

Original self-check practice, not Cambridge examination passages, marked examination scripts or coursework submissions. Models illustrate an argument; they are not the only valid interpretation. Read all ten selected stories. Teacher judgement and full timed assessment remain unfinished.

Dickens · accusation before later recovery

This passage includes George’s resignation, not the final recovery and new living. The accusation is not established payment.

George Silverman’s Explanation · Chapter Nine · Lady Fareway’s accusation

[1] She set her lips, looked more intently at me than ever, raised her right hand, and smote me hard upon the cheek.

[2] ‘Give me back those papers! give me back those papers!’ She tore them out of my hands, and tossed them on her table. Then seating herself defiantly in her great chair, and folding her arms, she stabbed me to the heart with the unlooked-for reproach, ‘You worldly wretch!’

[3] ‘Worldly?’ I cried. ‘Worldly?’

[4] ‘This, if you please,’—she went on with supreme scorn, pointing me out as if there were some one there to see,—‘this, if you please, is the disinterested scholar, with not a design beyond his books! This, if you please, is the simple creature whom any one could overreach in a bargain! This, if you please, is Mr. Silverman! Not of this world; not he! He has too much simplicity for this world’s cunning. He has too much singleness of purpose to be a match for this world’s double-dealing. What did he give you for it?’

[5] ‘For what? And who?’

[6] ‘How much,’ she asked, bending forward in her great chair, and insultingly tapping the fingers of her right hand on the palm of her left,—‘how much does Mr. Granville Wharton pay you for getting him Adelina’s money? What is the amount of your percentage upon Adelina’s fortune? What were the terms of the agreement that you proposed to this boy when you, the Rev. George Silverman, licensed to marry, engaged to put him in possession of this girl? You made good terms for yourself, whatever they were. He would stand a poor chance against your keenness.’

[7] Bewildered, horrified, stunned by this cruel perversion, I could not speak. But I trust that I looked innocent, being so.

[8] ‘Listen to me, shrewd hypocrite,’ said my lady, whose anger increased as she gave it utterance; ‘attend to my words, you cunning schemer, who have carried this plot through with such a practised double face that I have never suspected you. I had my projects for my daughter; projects for family connection; projects for fortune. You have thwarted them, and overreached me; but I am not one to be thwarted and overreached without retaliation. Do you mean to hold this living another month?’

[9] ‘Do you deem it possible, Lady Fareway, that I can hold it another hour, under your injurious words?’

[10] ‘Is it resigned, then?’

[11] ‘It was mentally resigned, my lady, some minutes ago.’

[12] Don’t equivocate, sir. Is it resigned?’

[13] ‘Unconditionally and entirely; and I would that I had never, never come near it!’

[14] ‘A cordial response from me to that wish, Mr. Silverman! But take this with you, sir. If you had not resigned it, I would have had you deprived of it. And though you have resigned it, you will not get quit of me as easily as you think for. I will pursue you with this story. I will make this nefarious conspiracy of yours, for money, known. You have made money by it, but you have at the same time made an enemy by it. You will take good care that the money sticks to you; I will take good care that the enemy sticks to you.’

  1. 1. How does the passage make George vulnerable to an allegation, and how does its position qualify your response?

    Compare after trying

    The allegation turns his management of others’ marriage into a mercenary transaction. His desire to reject that account makes complete resignation appear the necessary answer. The force of his response is shaped by the earlier fear of being thought worldly, so the passage is more than a detached dispute about money.

    The later support and new living prevent this episode from being treated as the end of his life. That context qualifies despair without removing the local pressure. An analysis should explain the particular charges and responses in the printed passage, while retaining their status as allegations rather than proved payment.

    Why this response fits

    • Connect the local response to the established inward fear.
    • Retain later recovery and do not endorse the allegation as fact.

Doyle · an empty room and an unconfirmed explanation

Holmes initially infers that the father removed Alice. Mrs Toller’s later account establishes an earlier escape with Fowler.

The Copper Beeches · the empty room and a mistaken inference

[1] It was an old rickety door and gave at once before our united strength. Together we rushed into the room. It was empty. There was no furniture save a little pallet bed, a small table, and a basketful of linen. The skylight above was open, and the prisoner gone.

[2] “There has been some villainy here,” said Holmes; “this beauty has guessed Miss Hunter’s intentions and has carried his victim off.”

[3] “But how?”

[4] “Through the skylight. We shall soon see how he managed it.” He swung himself up onto the roof. “Ah, yes,” he cried, “here’s the end of a long light ladder against the eaves. That is how he did it.”

[5] “But it is impossible,” said Miss Hunter; “the ladder was not there when the Rucastles went away.”

[6] “He has come back and done it. I tell you that he is a clever and dangerous man. I should not be very much surprised if this were he whose step I hear now upon the stair. I think, Watson, that it would be as well for you to have your pistol ready.”

[7] The words were hardly out of his mouth before a man appeared at the door of the room, a very fat and burly man, with a heavy stick in his hand. Miss Hunter screamed and shrunk against the wall at the sight of him, but Sherlock Holmes sprang forward and confronted him.

[8] “You villain!” said he, “where’s your daughter?”

[9] The fat man cast his eyes round, and then up at the open skylight.

[10] “It is for me to ask you that,” he shrieked, “you thieves! Spies and thieves! I have caught you, have I? You are in my power. I’ll serve you!” He turned and clattered down the stairs as hard as he could go.

[11] “He’s gone for the dog!” cried Miss Hunter.

[12] “I have my revolver,” said I.

  1. 1. How does the discovery create suspense, and why should its first explanation remain provisional?

    Compare after trying

    The approach promises a discovery, but the absence of the expected person makes the space a source of uncertainty. The dialogue answers that uncertainty with an explanation tied to the feared father, intensifying the sense that the investigation has arrived too late.

    Later testimony changes the apparent failure into evidence of an escape already achieved. This does not undo the scene’s immediate suspense: it exposes the limits of the explanation available there. A response should distinguish the discovery itself from the inferred cause, rather than make Holmes the successful rescuer or treat his first account as final.

    Why this response fits

    • Use the room, discovery and dialogue rather than a detective-story label alone.
    • Keep the escape before the investigators’ arrival and its disclosure afterwards.

James · a death and the limits of witness

The final sequence belongs to the inner account. The inquest’s result is murder by an unknown attacker, and the helpers do not publicly disclose the crown episode.

A Warning to the Curious · pursuit, death and the inquest

[1] Long said he saw Paxton some distance ahead, running and waving his stick, as if he wanted to signal to people who were on ahead of him. I couldn’t be sure: one of these sea-mists was coming up very quickly from the south. There was someone, that’s all I could say. And there were tracks on the sand as of someone running who wore shoes; and there were other tracks made before those--for the shoes sometimes trod in them and interfered with them--of someone not in shoes. Oh, of course, it’s only my word you’ve got to take for all this: Long’s dead. We’d no time or means to make sketches or take casts, and the next tide washed everything away. All we could do was to notice these marks as we hurried on. But there they were over and over again, and we had no doubt whatever that what we saw was the track of a bare foot, and one that showed more bones than flesh.

[2] The notion of Paxton running after--after anything like this, and supposing it to be the friends he was looking for, was very dreadful to us. You can guess what we fancied: how the thing he was following might stop suddenly and turn round on him, and what sort of face it would show, half-seen at first in the mist--which all the while was getting thicker and thicker. And as I ran on wondering how the poor wretch could have been lured into mistaking that other thing for us, I remembered his saying, “He has some power over your eyes.” And then I wondered what the end would be, for I had no hope now that the end could be averted, and--well, there is no need to tell all the dismal and horrid thoughts that flitted through my head as we ran on into the mist. It was uncanny, too, that the sun should still be bright in the sky and we could see nothing. We could only tell that we were now past the houses and had reached that gap there is between them and the old martello tower. When you are past the tower, you know, there is nothing but shingle for a long way--not a house, not a human creature, just that spit of land, or rather shingle, with the river on your right and the sea on your left.

[3] But just before that, just by the martello tower, you remember there is the old battery, close to the sea. I believe there are only a few blocks of concrete left now: the rest has all been washed away, but at this time there was a lot more, though the place was a ruin. Well, when we got there, we clambered to the top as quick as we could to take breath and look over the shingle in front if by chance the mist would let us see anything. But a moment’s rest we must have. We had run a mile at least. Nothing whatever was visible ahead of us, and we were just turning by common consent to get down and run hopelessly on, when we heard what I can only call a laugh: and if you can understand what I mean by a breathless, a lungless laugh, you have it; but I don’t suppose you can. It came from below, and swerved away into the mist. That was enough. We bent over the wall. Paxton was there at the bottom.

[4] You don’t need to be told that he was dead. His tracks showed that he had run along the side of the battery, had turned sharp round the corner of it, and, small doubt of it, must have dashed straight into the open arms of someone who was waiting there. His mouth was full of sand and stones, and his teeth and jaws were broken to bits. I only glanced once at his face.

[5] At the same moment, just as we were scrambling down from the battery to get to the body, we heard a shout, and saw a man running down the bank of the martello tower. He was the caretaker stationed there, and his keen old eyes had managed to descry through the mist that something was wrong. He had seen Paxton fall, and had seen us a moment after, running up--fortunate this, for otherwise we could hardly have escaped suspicion of being concerned in the dreadful business. Had he, we asked, caught sight of anybody attacking our friend? He could not be sure.

[6] We sent him off for help, and stayed by the dead man till they came with the stretcher. It was then that we traced out how he had come, on the narrow fringe of sand under the battery wall. The rest was shingle, and it was hopelessly impossible to tell whither the other had gone.

[7] What were we to say at the inquest? It was a duty, we felt, not to give up, there and then, the secret of the crown, to be published in every paper. I don’t know how much you would have told; but what we did agree upon was this: to say that we had only made acquaintance with Paxton the day before, and that he had told us he was under some apprehension of danger at the hands of a man called William Ager. Also that we had seen some other tracks besides Paxton’s when we followed him along the beach. But of course by that time everything was gone from the sands.

[8] No one had any knowledge, fortunately, of any William Ager living in the district. The evidence of the man at the martello tower freed us from all suspicion. All that could be done was to return a verdict of wilful murder by some person or persons unknown.

[9] Paxton was so totally without connections that all the enquiries that were subsequently made ended in a No Thoroughfare. And I have never been at Seaburgh, or even near it, since.

  1. 1. How does the final sequence combine a definite consequence with uncertainty about its cause?

    Compare after trying

    Paxton’s body gives the pursuit a terrible consequence that cannot be dismissed as merely an anxious impression. Yet witness, tracks and changing tide do not provide a securely identified attacker. The narrative keeps the loss concrete while limiting what ordinary observation can establish.

    The helpers’ withheld account of the crown and the inquest’s unknown murderer create a gap between the reader’s larger sequence and public knowledge. A supernatural reading draws force from that sequence, but the formal result does not prove a ghost. The framing voices make the story troubling through the relation between experience, testimony and their limits.

    Why this response fits

    • Preserve the actual death alongside the uncertain identification.
    • Distinguish reader inference, witness and official result.

Locate before interpreting

Read the passage first and identify who speaks, what has just happened and what is still unknown. The revised 2028 prose extract response explicitly requires whole-text context; this is also useful preparation for the earlier route. Context can be concise. In Dickens, an accusation and resignation precede later support. In Doyle, an empty room appears before testimony that corrects the first explanation. In James, the final accounts distinguish an actual death from certainty about its attacker. These positions prevent the local episode from becoming a false ending or a false proof.

Make local detail do the work

Choose wording, a reply, a pause, a framing statement or a shift in knowledge that contributes to the requested effect. Explain its relation to another detail and to the passage’s movement. A sentence saying that a passage is dramatic needs evidence of how pressure develops. A list of narrator, irony and dialogue leaves the analysis unfinished unless it explains their specific uses. Whole-story context should sharpen the account of the printed material, rather than displace it with a memorised biography or plot.

Revisit initial interpretations

A passage can contain a plausible explanation that the later story revises. Give that explanation its proper owner and timing: Holmes’s inference is not a narrator’s final finding; a charge against George is not proof of payment; an inquest’s unknown attacker is not an official ghost identification. The three actual public passages below support original close-reading practice with contexts supplied. They are not Cambridge examination extracts or calibrated papers. Complete anthology reading remains necessary for the other parts of each work and the remaining selected stories.

Sources for this lesson

Pause and explain

Does an accusation in a passage automatically become an established fact?

Put the idea to work

Worked example

How should an empty-room answer use Mrs Toller’s later testimony?

Show the worked solution
  1. Describe the inference the empty room prompts at that point.
  2. Explain how the later escape account revises it.
  3. Keep the local discovery and its dialogue central to the analysis.

Answer Later context qualifies the passage’s apparent explanation rather than erases its suspense or replaces analysis of the scene.

Try a topic test

Choose Easy, Normal or Difficult. Save your answers and open worked review after finishing.

Test this topic →

From guided practice to a new situation

Write your answer and reasoning first. Use a hint only if you are stuck. The model solution is for self-checking; your written work is not automatically marked.

1 · Guided

Place Dickens’s accusation passage without making it the final outcome.

Give me a hint

Keep both the local consequence and later recovery.

Compare my reasoning
  1. The charge pressures George into resignation.
  2. Support and a new living follow later.

The passage intensifies accusation and self-denial within a life that continues beyond it.

Look for these in your work

  • Locate the sequence
  • Qualify the apparent ending
2 · Independent

Why does Doyle’s later explanation not make the empty-room scene pointless?

Give me a hint

Consider the reader’s knowledge at each stage.

Compare my reasoning
  1. The discovery creates uncertainty and a mistaken inference.
  2. Later testimony forces reconsideration of that inference.

The scene organises suspense through incomplete knowledge, and the later correction changes its meaning.

Look for these in your work

  • Explain the initial effect
  • Explain the revision
3 · Transfer

A James answer says the inquest proves a ghost murdered Paxton. Revise it.

Give me a hint

Distinguish the formal result from the narrative’s implication.

Compare my reasoning
  1. The body and killing are reported.
  2. The attacker remains unknown in the inquest result.

The narrative supports a supernatural interpretation, while its formal investigation does not identify a ghost.

Look for these in your work

  • Keep the actual death
  • Limit the official finding

Common mistakes

  • Do not replace local analysis with the entire plot.
  • Distinguish a later correction from knowledge available within the passage.
Recall without your notes

What can you explain now?

Does an accusation in a passage automatically become an established fact?

Compare with the explanation

No; identify its speaker, evidence and treatment later in the story.

Narrative position and later evidence can change the force of a claim.

After trying it yourself, choose your next review. This is your self-assessment.

Your review choice appears on Today. Sign in to sync it across devices.

Make it stick

Does an accusation in a passage automatically become an established fact?

If you needed the solution, close it and solve the problem again from a blank page. A correct answer is stronger when you can explain the reason for each step.

Keep learning World Literature

Course scope and assessment

238 original lessons provide 714 guided, independent and transfer tasks, plus 431 reading-tracker and long-response prompts. Twenty skill and route entries, three year-specific Cherry Orchard entries, two Anowa entries, three Crocodiles entries, one 2027 Little Foxes entry, two year-specific Volume 1 poetry entries, one historical 2025 Volume 2 poetry entry and three year-specific Volume 2 story entries link teaching. Anowa has ten lessons through the Prologue and all three phases, with thirty staged tasks and ten original developed responses. Complete primary reading locators support analysis of the contested community frame, partnership, enslavement, the children, remembered dream, separation and ending. The protected play is linked rather than reproduced; editorial BECE material is not reused. Both eligible 2025–2026 Anowa rows link the whole-play pathway. Twenty-eight lessons teach the Author’s Note and all six country chapters of In the Sea There Are Crocodiles, with eighty-four staged tasks and sixty original developed responses. Four workshops teach passage analysis, whole-book argument, layered voice and retrieval/revision. All three complete 2025–2027 book entries link the whole-book pathway; the existing supplemental route remains available without adding another counted requirement. The public reflowed reading is linked rather than reproduced, with edition limits explicit. Twenty-two Little Foxes lessons teach all three acts for 2027, with sixty-six staged tasks and forty-eight original developed responses. Hospitality, silenced voices, the mill, financial negotiation, the proposed marriage, Horace’s return and refusal, the bonds, Birdie’s disclosure, withheld help, the final bargain and Alexandra’s decision are taught through actual stage directions and dialogue locators. Four workshops develop passage analysis, whole-play argument, stagecraft and corrective retrieval. SET-2027-2 links the full sequence; the existing supplemental route remains available without inflating counted requirements. The protected acting script is linked rather than reproduced; exact centre-edition wording and revisions must be checked. The Cherry Orchard has an 18-lesson whole-text sequence with five actual Julius West excerpts and three argument models. The 2026–2027 poetry option has teaching for all fourteen members, three complete public-domain poems and close-reading, comparison and retrieval workshops. Twenty-four lessons teach all ten 2026–2028 Stories of Ourselves Volume 2 members, with named reading and writing sequences and evidence, passage-context, essay and ten-member retrieval workshops. Two complete public-domain narratives, nineteen actual prose extracts and Katie’s complete twenty-line poem within Besant’s prose story support close reading and whole-story writing. The Shrinking Shoe follows the original 1895 prose and its five sections; the embedded poem is not a Paper 2 set poem. All three eligible ten-story selection rows link the complete pathway. Wodehouse and Woolf use brief quotations and original commentary with complete reading sources; their full texts are not reproduced here. Twelve lessons teach twelve compulsory 2028–2030 Volume 3 poems, with thirty-six staged tasks and twenty-four developed-response prompts. The Dutt and Kingsley excerpts and Cissoko’s exact translation still need verified reading and teaching; full-selection workshops remain unfinished, so all three complete poetry rows remain unlinked. Fourteen lessons teach seven 2029–2030 Volume 3 stories with thirty-five developed-response prompts. Twelve actual older primary excerpts support four stories; Achebe, Desai and Danticat use original commentary with complete primary reading links rather than reproducing their protected texts. A separate partial-member pathway supports The Necklace, The Model Millionaire, Sultana’s Dream, The Interlopers, The Sacrificial Egg, Sale and New York Day Women without linking either complete ten-story row. The three other members and full-selection workshops remain unfinished. Read the full centre-selected works and protected anthology; check edition differences, including Weissenhorn’s older Necklace translation. The historical 2025 poetry pathway teaches all fourteen members through eighteen lessons, fifty-four staged tasks and fifty-one developed-response models. Three complete public-domain poems remain printed with line breaks; eleven protected poems use complete primary reading links and original commentary. Four workshops teach close analysis, whole-poem argument, preparation comparisons and specific retrieval of all fourteen members. The complete SET-2025-5 option links this sequence; the historical supplemental route remains without increasing counted requirements. Archival Cambridge and WJEC papers supply primary poems, not reused questions or later-year assessment rules. Centre-edition differences remain explicit. Forty-six lessons provide original teaching and practice for nine historical 2025 story members: The Doll’s House, The Gold Watch, A Visit, A Walk to the Jetty, In the Mountains, Mrs. Sen’s, Promenade, The Plantation and The Paper Menagerie. Together they provide one hundred and thirty-eight staged tasks and one hundred and one developed-response models. A Visit uses complete primary reading visually checked across printed pages 306–310. Promenade follows the complete seven-page narrative on printed pages 416–422; its four lessons trace bodily control, wordless meetings, the interrupted circuit and changed final walk. Mrs. Sen’s has six lessons through the complete story, with eighteen staged tasks and thirteen developed-response models. Teaching follows the collection scan from its unnumbered opening through printed p.135, with food, letters, recordings, separate journeys and the changed final care arrangement. The Plantation has five lessons, fifteen staged tasks and eleven developed-response models through all four numbered sections, visually checked against printed pages 423–429 through the final dawn bird-call. In the Mountains has seven lessons, twenty-one staged tasks and fifteen developed-response models through the final invitation to eat. The complete publisher transcription supports scene-based reading; automated-text errors and subscription access remain explicit, and original printed pages were not visually verified. A Walk to the Jetty has seven lessons, twenty-one staged tasks and fifteen developed-response models through the complete six-page retype’s final berth. Reader annotations and the appended question are separate; the complete publisher version has wording differences, so exact quotations require the approved edition. The centre edition remains required for exact quotations. The protected stories are linked, not reproduced. The partial member pathway is supplemental; Words and full-selection workshops remain unfinished, so SET-2025-6 stays unlinked. Fifteen year-specific prescribed-work entries remain unfinished; complete centre-selected coursework reading also needs substantive text-specific teaching. The 51-entry map is a StudyForA preparation map, not official numbered syllabus sections or a percentage of student mastery. Written practice is self-checked and is not officially marked. Full timed papers and qualified literature-teacher assessment remain unfinished. Fictional exercises are labelled separately from actual excerpts; alternative well-supported readings can be valid. Centre-authenticated coursework and Cambridge moderation are separate from self-check practice.

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