G2 standalone Literature in English Paper 1 (K228/01) is a 1-hour-40-minute examination worth 50% of the subject grade in Singapore’s 2027 Singapore-Cambridge Secondary Education Certificate (SEC). Candidates answer two questions: one on their studied prose text in Section A, and one on an unseen poem in Section B. Each response carries 25 marks and contributes 25 percentage points to the overall Literature result. In prose, every one of five prescribed works has a choice of one passage-based question and two essays; candidates answer one on their studied work. In unseen poetry, the exam supplies two poems with one question each, and candidates select one. One of the unseen-poem options is a Singapore text each examination year. The separate Drama Paper 2 lasts 90 minutes and accounts for the remaining 50%.

For Punggol families, Paper 1 preparation needs two different reading habits. The set prose requires sustained knowledge of characters, narrative choices, significant scenes and how the writer creates meaning across a complete book or collection. Unseen poetry requires an independent interpretation of a new text, supported by close attention to the speaker, imagery, tone and structure. A pupil who memorises excellent character paragraphs may still struggle with a fresh poem, while an imaginative reader may fail to select accurate evidence from the prose work. Check the child’s actual K228 registration and school-selected book before purchasing revision notes; K231 combined Humanities has a related Literature component but a different overall subject structure.

• Official 2027 SEC G2 standalone Literature in English is syllabus K228; distinct from combined Humanities K231.
• Paper 1: Prose and Unseen Poetry, 1 hour 40 minutes, 50 marks, 50% of standalone Literature.
• Section A: choose one question on the school’s studied prescribed prose work, worth 25 marks/25% overall.
• Each of five prose set texts receives one passage-based question and two essay questions.
• Five prose options: How We Live Now; All the Light We Cannot See; Lord of the Flies; Roll of Thunder, Hear My Cry; The Chrysalids.
• One or two Singapore prose texts are set in the section each examination year.
• Section B: choose one of two unseen poems, each with its own question, worth 25 marks/25%.
• One unseen-poetry question is based on a Singapore text each examination year; no poem is prescribed for advance memorisation.
• Paper 2 is separate Drama: 1 hour 30 minutes, 50 marks, 50%; one passage response and one selected essay on the studied play.
• The two papers take place in separate sittings and require four answers altogether.
• Assessment values relevant interpretations, writer’s choices of form, structure and language, close evidence and coherent response.
• Use actual authorised set texts; abridged editions and screen adaptations cannot replace close reading of the prescribed literary work.

Definition lock: K228 is standalone Literature, not K231

Standalone K228 assesses Prose, Unseen Poetry and Drama across two papers. Combined Humanities K231 pairs Social Studies with a Literature component containing Prose and Unseen Poetry; it does not have the separate K228 Drama paper. The same five prose titles appear in both syllabuses, which can make this distinction easy to overlook. Parents should check the examination code and full subject title rather than assume a book on G2 Literature covers every required part.

G2 is the General 2 level of the individual subject under Full Subject-Based Banding, not a general label for the student’s entire school experience. Some learners find close textual analysis challenging even while enjoying stories. That gap is teachable. The purpose of preparation is to help them build an interpretation from real details in the assigned work and transfer the same discipline to unfamiliar poetry.

Exactly what Paper 1 assesses

Paper 1 lasts one hour forty minutes and carries fifty raw marks, half the standalone subject grade. Section A is set prose and Section B is unseen poetry; the candidate answers one question from each. The two twenty-five-mark answers deserve serious attention. A student cannot submit two prose answers instead of poetry or skip the set text because the poem appears more approachable.

The published scheme does not prescribe a universal number of paragraphs or minute allocation per response. Good preparation includes reading accurately, choosing the appropriate option, planning a coherent argument and completing both answers within the total duration. A teenager who spends most of the sitting polishing a familiar prose essay may lose the chance to demonstrate the unseen-poetry skills also assessed.

Paper 2 makes the full four-answer examination

Standalone K228 has another paper, Drama, lasting one hour thirty minutes and contributing the remaining fifty per cent. Candidates answer one compulsory passage-based question and one essay selected from two on their studied play. Across both papers there are four answers in total, each contributing twenty-five per cent of the subject. The full examination time is three hours ten minutes across separate sittings.

Maintain distinct revision routines for prose, unseen poems and the chosen drama text. Their shared foundation is literary reasoning, but the material differs. A student may use writer’s language and structure to analyse all three while needing separate familiarity with a novel’s narrative and a play’s stage action. Parents should not assume that strength in one automatically predicts mastery of the others.

The five official set prose works

SEAB prescribes How We Live Now, edited by Yu-Mei Balasingamchow; All the Light We Cannot See by Anthony Doerr; Lord of the Flies by William Golding; Roll of Thunder, Hear My Cry by Mildred D Taylor; and The Chrysalids by John Wyndham. Candidates are not required to learn all five. The school selects the prose work for its programme, and questions are set separately for each of the five options.

Ask the teacher for the precise title and authorised edition before buying study guides. An abridged book, screenplay or screen adaptation can omit exactly the language or structural details that the examination assesses. A film may spark discussion but cannot substitute for the prescribed text. The correct edition and a realistic reading timetable are better investments than a large collection of unrelated summaries.

How We Live Now: respect the anthology form

How We Live Now appears with Yu-Mei Balasingamchow as editor. Students using an edited collection should pay attention to how the particular pieces studied are arranged and interpreted, following their school’s guidance. Different contributors or narrative voices should not be treated automatically as if one author is speaking through every passage. The relevant characters, settings and literary concerns must be connected to the actual work selected for the examination.

Ask the learner which specific piece or scene supports an interpretation and why. If a broad essay claim concerns identity, for example, identify how the chosen literary detail develops that idea. An accurate response is anchored in the text rather than in a general statement about all Singapore writing. The editor’s name is not a substitute for close reading.

All the Light We Cannot See: narrative construction matters

Anthony Doerr’s All the Light We Cannot See appears among the prescribed prose options. Students should understand the assigned text’s narrative perspective, development and significant choices, not merely the major events retold by a summary. A novel is constructed through selection of scenes and language; those decisions shape the reader’s response. The assessment asks for analysis as well as knowledge.

Use the learner’s authorised copy to identify one moment whose presentation matters to a question. What does the narrator show, and what remains outside the characters’ awareness? Then select a short, accurate detail and explain its significance. Long copyrighted passages should not be reproduced online as revision material.

Lord of the Flies: avoid reducing people to labels

William Golding’s Lord of the Flies is a prescribed option. It may invite discussion about leadership, group pressure and responsibility, but a convincing response must demonstrate how particular events and language explore those concerns. A generic sentence that one character is good and another bad usually flattens the work’s complexity. The student’s claim should fit the actual question and relevant scenes.

Choose two moments from the authorised novel that reveal changing relationships or contrasting choices. What details show the change? What might the reader understand that the character does not? This is stronger than memorising one unqualified adjective for every character and inserting it into whichever essay appears.

Roll of Thunder, Hear My Cry: read with context and sensitivity

Mildred D Taylor’s Roll of Thunder, Hear My Cry is on the prescribed list. Where a text deals with injustice or social conflict, students should represent characters’ circumstances accurately and respectfully. Context may clarify the work, but the literary answer still requires attention to the narrative perspective, dialogue and significant choices. A broad moral statement is not analysis of how the writer creates meaning.

Ask the teenager to identify what one selected scene directly presents and how the narrative shapes the reader’s response. Avoid asserting that a character’s experience represents every person in a historical community. Accurate context and evidence help the student avoid both stereotypes and unsupported interpretations.

The Chrysalids: understand the imagined world

John Wyndham’s The Chrysalids also appears on the 2027 prose list. A fictional world can develop questions about belonging, conformity or other concerns through its rules, setting and characters. Students should analyse what the work actually presents rather than treat every speculative event as a literal historical fact or an inevitable prediction. Narrative world-building is part of literary meaning.

Ask the learner to identify one restriction or expectation in the story and explain how it affects a character’s choices. Then connect the detail to a relevant question. If the argument depends only on a general label such as dystopian, it needs further explanation. The student’s own close reading should supply the substance.

Each prose work offers a passage and two essays

For the chosen prose text, K228 Section A presents one passage-based question and two essay questions. The candidate answers only one of these three. The distinction matters because the two formats reward overlapping but differently organised knowledge. The passage option supplies local language to analyse; the essay usually requires selecting moments from across the work. Neither is universally easier.

During practice, give the teenager one passage-focused prompt and one broader theme prompt, then ask for a two-point plan for each. Which can be answered with precise evidence? If the passage is unfamiliar, this may still be preferable to a vague essay topic the student cannot develop. Choose by the actual demand and evidence, not a fixed preference for one format.

The passage-based question begins with the extract

A passage-based response should attend closely to the printed words and how they function in that moment. Students sometimes use the extract merely as a cue to write a memorised character essay about events elsewhere in the book. Wider knowledge is valuable when it clarifies the passage, but it should not displace the supplied details. A good answer explains why particular wording, action or narrative perspective matters to the prompt.

Ask the student to identify one relevant phrase in the extract and describe what it suggests. Then connect it to an aspect of the wider text only if useful. If the paragraph contains no actual evidence from the passage, it may be drifting away from the question. Close reading should stay visible.

A prose essay requires evidence across the work

A broader essay may ask how a relationship develops or how the writer presents a concern across the narrative. The candidate needs knowledge of distinct moments, not a single favourite scene. Yet listing chapter after chapter without analysing the writer’s choices creates a plot summary rather than an argument. The essay should select relevant evidence and explain how the parts work together.

Create a three-stage plan with an early moment, a significant development and a later consequence, where appropriate. What does each add to the central interpretation? If all three paragraphs repeat the same claim, refine the structure. Different evidence should advance the argument rather than merely increase the word count.

The question’s wording decides the argument

Paper 1 candidates may arrive with memorised notes about character, theme or setting. Those notes become useful only after the actual question is interpreted. A prompt about a changing relationship cannot be fully answered by a generic essay praising one character. The student’s first task is to identify whether the question concerns an impression, development, contrast or another specific feature.

Ask the teenager to restate the prompt in simpler words and write a direct one-sentence answer before planning paragraphs. Then test whether every planned point advances that answer. This process prevents familiar knowledge from being used irrelevantly and makes the essay easier to follow.

Character analysis should examine choices and contradictions

Fictional characters are not static collections of adjectives. They may make different choices under pressure, misunderstand one another or change their views over time. A strong response identifies the behaviour and how the narrator presents it. A label such as courageous is not meaningful without showing what the character faced and why their action suggests courage within the text.

Choose two authentic moments in which a character behaves differently. Ask whether the change reflects growth, conflict or altered circumstances. Then select concise evidence. The learner should avoid inventing motives the narrative does not establish. Thoughtful interpretation allows complexity while remaining grounded.

Narrative viewpoint: who can know what?

Point of view affects what readers learn and what remains uncertain. A first-person narrator may reveal one character’s inner experience while concealing others’ thinking; a third-person narration can offer different degrees of access. Merely naming the grammatical person is not a full analysis. Students need to explain how the chosen viewpoint influences meaning in the specific passage or work.

Use a short original classroom scene told first by one participant and then by an outside observer. What information changes? Then return to the actual prose text and ask what its narrative perspective makes the reader understand. This bridges terminology and effect without copying the set novel.

Setting can shape decisions, not simply locate action

A setting may create atmosphere, restrict choices or reveal social relationships. Saying a novel is set in a particular place is descriptive; explaining how the place shapes what characters can do begins interpretation. The same location may be experienced differently by different characters, which can be significant to a theme or change in perspective.

Ask what would alter if a scene occurred elsewhere. Would the same conversation or choice be possible? Which textual detail explains the difference? The pupil should make a defensible claim rather than declare every setting symbolic. Specificity is more valuable than a long catalogue of place names.

Theme: move beyond a single abstract word

Words such as friendship, identity, power and courage can name broad themes but do not constitute an essay argument. A stronger claim explains what the work explores about those ideas. Does it reveal a tension, limitation or change? The question and evidence determine which interpretation fits. Students should avoid forcing a preferred universal lesson onto every novel.

Ask the learner to complete a sentence beginning ‘The work explores how…’ and support it with two relevant moments. Then identify a detail that complicates the claim. This develops nuance without encouraging endless uncertainty. A thoughtful essay still offers a clear reading.

Writer’s language choices require effects, not labels

Metaphor, contrast, repetition and other features are useful analytical terms only when connected to meaning. A candidate who writes that the author uses a metaphor to make the story interesting has supplied little explanation. The effect should be specific to the selected wording and narrative context. Often one carefully examined phrase can support more insight than several names of techniques.

Ask the teenager how a sentence would feel if one word were replaced with a neutral alternative. What implication or emphasis changes? Then articulate that effect in ordinary language before applying the correct literary term. This approach makes technical vocabulary serve reading rather than replace it.

Short accurate quotations support clearer writing

Evidence strengthens a literary interpretation when the detail is relevant and accurately represented. Copying a whole paragraph can consume examination time and obscure the precise word that matters. In public study guides, copyright also limits reproduction of long protected passages. Students should work from their authorised texts and select a small phrase where it supports an analytical point.

Ask the pupil to explain why the quoted words make the argument more convincing. If the paragraph would say exactly the same thing without them, the evidence may be ornamental. A good quotation and explanation belong together rather than sit as disconnected lines.

Avoid treating plot summary as literary analysis

Retelling what happened can show basic comprehension but may not demonstrate how a writer created meaning. The K228 marking descriptors distinguish largely narrative responses from those with close engagement, interpretation and relevant substantiation. Students should not delete all plot information, because the reader may need context. They should use just enough to support the analytical claim.

Take one paragraph that describes a scene. Ask what the writer’s selection, viewpoint or language makes the reader understand about it. Add that explanation and remove unnecessary recounting. This converts knowledge into analysis and is more productive than simply adding more plot facts.

Section B presents two unfamiliar poems

The unseen-poetry section provides a choice of two poems, one question attached to each. Candidates answer one. One option is a Singapore text every examination year. The poems are not prescribed for advance study, so learners cannot prepare by memorising an authorised set poem. They need flexible close reading. Both the text and the question must be considered when deciding which option to attempt.

At home, offer two age-appropriate poems that are genuinely new to the teenager. Ask which poem’s question can be supported by two or three relevant details. Then choose and complete one response. The best choice is not automatically the shorter poem. A compact text can be densely ambiguous, while a longer one may have a clearer movement.

Start an unseen poem with its situation

Many students begin by searching for metaphors before understanding what is happening. A more reliable first reading identifies the apparent speaker, subject, place, objects and any change in events. A poem may be ambiguous, but the reader can usually establish a provisional literal situation. If that basic reading is wrong, later interpretation of tone or imagery may also be unreliable.

Ask the learner to summarise the poem in one plain sentence without naming techniques. Then read again to ask what makes it emotionally or intellectually significant. This moves from orientation to analysis rather than trying to invent a deep interpretation at the first glance.

The speaker is not necessarily the poet

The voice speaking in a poem can be fictional or shaped for a particular dramatic purpose. Students should not assume that every first-person statement is a record of the poet’s private biography. A candidate who invents the writer’s personal circumstances may overreach. The text supplies a voice and images to analyse; any external context must be accurate and relevant.

Use an original line describing someone waiting for a train and ask what it reveals about the speaker, then what it cannot reveal about the actual author. This distinction helps the pupil discuss perspective responsibly without relying on unverified biography.

The turn: notice when the poem changes direction

Some poems shift in feeling, viewpoint, tense or imagery. That change can reveal the complexity of the central concern. Yet not every poem follows a simple journey from sadness to hope. A reader should identify what actually changes and whether the final lines resolve or complicate the opening. The structure and words together support the interpretation.

Ask the teenager to divide a fresh poem into two or three movements and label each with a short phrase. Then explain the relationship. If the poem has no obvious turn, consider repetition or deliberate lack of resolution. The answer should follow the real structure rather than impose a memorised pattern.

Tone: a label requires proof

Words such as wistful, playful, uneasy or resigned can describe tone, but they are not marks-generating adjectives by themselves. Tone emerges from diction, emphasis, context and development. A cheerful phrase may contain irony when the surrounding lines challenge it, and an apparently calm description may reveal tension through what remains unsaid. The correct interpretation depends on the poem.

Choose one plausible tone word and ask for two details that support it. Then consider a line that might complicate that impression. This develops careful close reading, not automatic emotional labelling.

Imagery: describe the association it creates

Imagery can draw on sight, sound, touch or other sensory associations, but its effect is not always simply making a picture vivid. An image might evoke memory, reveal conflict or suggest a relationship between people and place. A student should connect the particular choice to the poem’s concern. Stating that imagery helps the reader imagine something leaves much of the analysis unfinished.

Use an original phrase, ‘the evening folded its shadows into the room’, and ask what associations folding and shadows invite. Then discuss which surrounding lines would support a reading about comfort or concealment. The point is to consider alternatives within textual evidence.

Metaphor and simile: explain the relationship

A metaphor or simile compares or relates things, but an answer must identify what qualities are being brought together and why that matters. A student who merely circles ‘like’ has found a possible device but not explained its purpose. Some comparisons are unsettling, others reassuring or ironic. Context determines the effect.

Provide the original phrase ‘the empty corridor was a long unanswered question’ and ask how a corridor can be understood as unresolved uncertainty. Then change the surrounding fictional context and reconsider the reading. This teaches flexible interpretation rather than a universal metaphor dictionary.

Sound patterns should serve the argument

Rhyme, alliteration, rhythm and repetition can influence pace, emphasis and expectations. Not every poem rhymes, and a repeated sound does not always make a line cheerful or musical. Students should select features that are significant for the question and connect them to actual words and patterns. A long list of sound terms can obscure the poem’s message.

Read a short original stanza aloud and ask where repetition feels insistent or where a change interrupts expectation. Then write one sentence explaining the effect on meaning. If the pattern has no clear relationship to the prompt, another feature may be more relevant.

Enjambment and punctuation: follow the grammar

Enjambment occurs when sense continues across a line break without a full syntactic stop. A pause inside a line can also affect rhythm and emphasis. Students sometimes read every line ending as a period and misinterpret the sentence. Other times they claim all enjambment creates speed without considering what particular word is delayed or stressed.

Ask the pupil to read an original passage twice, first pausing at each line and then following the syntax. What difference does the actual arrangement create? A good analysis explains that specific experience rather than attach a fixed effect to the name of the technique.

Stanzas help organise poetic movement

Stanza divisions can signal shifts in images, argument or viewpoint, or establish a repeated formal pattern. Counting stanzas alone does not explain their significance. A poem might revisit the same scene with a changed emotional meaning, or contrast what the speaker remembers with what is visible now. The response should examine how the parts relate.

Summarise each stanza in one phrase, then ask how the later part changes the reader’s understanding of the earlier one. If no clear change occurs, consider why repetition or suspension might matter. This connects structure to interpretation.

The ending need not provide a neat moral

Some poems close with an image, question or unresolved tension. Students who force a moral lesson onto every ending can misrepresent the text. A strong response may explain what remains uncertain and why the final detail matters to the poem’s concerns. Ambiguity is not the absence of meaning; it can be part of how the poem invites thought.

Compare the final lines with the opening and ask what the reader now knows or feels differently. Which word or structural detail supports the interpretation? A considered answer can acknowledge more than one possible reading while arguing for the one best supported by evidence.

Original three-line poem for safe practice

Here is an original teaching poem, not an SEC examination extract: ‘The last train slipped behind the rain. / On the platform, one folded map / kept all the roads I did not take.’ The literal situation involves a departure and a map, while the imagery may invite reflection on missed choices. That interpretation is plausible but not the only possibility. The poem does not establish a real travel event or a particular author’s biography.

Ask the teenager how the folded map contributes to the sense of unrealised paths. Then consider whether the rain and departing train deepen the impression. A strong answer selects specific phrases and explains their relationship. The exercise demonstrates interpretation without reproducing a copyrighted work.

Personal response must remain anchored in the text

The official assessment objectives include a sensitive, informed personal response. This does not mean a candidate can replace interpretation with an unrelated diary entry. Personal engagement appears when a reader notices a meaningful feature and explains its effect thoughtfully. A claim such as ‘this makes me sad’ should identify what in the poem invites that reaction and whether the work offers a more complex view.

Ask the student to turn one emotional response into a reasoned statement supported by an image or phrase. Then consider a different plausible reading. The learner remains free to develop a personal interpretation, but that freedom is grounded in the words on the page.

Twenty-five-mark bands reward focused reasoning

The K228 marking descriptors distinguish more competent set-text answers through focus, understanding of concerns, developed evidence and awareness of writer’s choices. Unseen-poetry bands similarly value close engagement, analysis, coherent expression and relevant substantiation. Higher scores are not awarded simply for a larger number of quotations or difficult vocabulary. An answer that recites a model irrelevant to the question can remain weak despite polished sentences.

Use a school-marked paragraph to ask whether the interpretation is clearly stated and evidenced. If it only paraphrases the text, add analysis. If it names techniques without meaning, explain their effect. If it is insightful but drifts from the question, revise focus. These targeted improvements are more useful than guessing a national mark at home.

One hundred minutes: balance familiar and unfamiliar work

Paper 1 lasts one hundred minutes for two twenty-five-mark answers. No official requirement gives a fixed minute split, but the candidate should protect enough time for both. A familiar prose essay can tempt a learner into excessive length, while an unseen poem can tempt endless rereading without a planned argument. Both difficulties reduce completion. Practice should make the student’s timing decisions visible.

Record the time used to choose a question, outline evidence, write and check. If the learner loses time because they cannot select among two poems, practise quick two-point plans. If the prose answer repeatedly becomes plot summary, improve focus before increasing speed. Efficiency follows understanding.

An error log for the prose section

Set-prose weaknesses can include misremembered events, unsupported character claims, the wrong question choice, insufficient passage analysis or excessive plot retelling. These are different errors, so the next lesson should not simply be ‘read more’. Identify the first break between question, claim, evidence and explanation. The student may already know enough content but need help organising it.

Choose one marked paragraph and ask which phrase from the text genuinely supports its conclusion. Then practise the same analytical operation using a different scene from the assigned work. Returning to a fresh example demonstrates transfer, whereas copying a polished correction may only improve the original answer.

An error log for unseen poetry

Unseen-poetry weaknesses can include incorrect literal understanding, unsupported tone labels, technique naming without effect, missed structural movement or irrelevant commentary. A total mark cannot reveal which dominates. A learner may be an enthusiastic interpreter but overlook what the question actually asks; another may understand the words but hesitate to develop any idea.

After an unfamiliar poem attempt, select one failure and practise it with a different short poem. If the learner can independently connect a precise image to a supported claim, progress is visible. Avoid making the child memorise a complete teacher-written interpretation, because the exam will supply a new poem.

Punggol as a reading context, not a predicted poem

Familiar experiences of Punggol’s library, housing areas and waterway can help pupils recognise themes of place, change or belonging in literature. But an unseen Singapore poem need not mention Punggol, and the nationality of a writer does not establish one fixed meaning. Reading a poem about a city requires attention to the particular voice and imagery rather than an automatic assumption about every Singaporean’s experience.

Use an original photograph or memory as a starting point for a short student-written poem, then compare how changing one detail alters the effect. This is creative enrichment, not an official examination prediction. It can help students appreciate that writers make deliberate selections when constructing a literary scene.

A twelve-week K228 Paper 1 preparation sequence

Weeks one and two establish a baseline with one prescribed-prose response and one unfamiliar poem. Weeks three and four strengthen narrative knowledge and accurate evidence selection. Weeks five and six focus on viewpoint, character development and how language creates meaning. Weeks seven and eight practise unseen-poetry speaker, imagery, tone and structural changes. Short retrieval from earlier areas should continue each week.

Weeks nine and ten practise choosing prose formats and unseen poems, and building coherent arguments with concise quotations. Weeks eleven and twelve combine both sections under realistic Paper 1 timing while maintaining separate Drama revision for Paper 2. Compare new independent work with the first attempt. Can the child answer an unfamiliar prompt with specific evidence without copying a model?

What a three-student Literature tutorial should accomplish

A matched group of three can compare interpretations of one poem or passage and challenge unsupported claims. One student may notice an important narrative contrast, another a precise word and a third a structural shift. The teacher can model how evidence supports interpretation, then require each student to write independently. Group size helps only when everyone receives useful feedback.

Ask whether a provider uses the actual K228 structure, the school’s selected prose work and fresh unseen poems. A course based entirely on memorised character essays may fail to develop adaptable reading. Some teenagers benefit sufficiently from school lessons and regular independent reading; others need focused help with one specific analytical skill.

School choices, official sources and the next useful step

Parents can research Edgefield Secondary, Greendale Secondary, Punggol Secondary and Yusof Ishak Secondary through current school publications and MOE SchoolFinder. Ask whether standalone K228 is offered, which prose and drama texts the cohort studies and how close reading is taught. A syllabus available nationally does not mean every school offers every set text or the elective to every child.

The definitive source is SEAB’s 2027 G2 syllabus directory and the official K228 Literature syllabus. For the separate assessed play read G2 Literature Drama Paper 2; for combined Humanities see K231 prescribed prose. This week, confirm the actual studied prose title and correct one passage paragraph and one fresh-poem inference.