Cambridge IGCSE Literature 0475

These 200 Cambridge IGCSE Literature in English 0475 words help you analyse poetry, prose and drama and explain a supported personal response. Each entry gives a meaning and a natural usage example.

Cambridge IGCSE 0475 requires Paper 1 Poetry and Prose. In 2026–2027, check the additional components entered by your school. From 2028, examined candidates take open-text Paper 1 and Paper 2, with Drama and Unseen in Paper 2. A coursework route remains available where offered.

The 200-word list

1–20 From passage detail to personal response · 21–40 Narrative and dramatic choices · 41–60 Patterns, themes and tensions · 61–80 Poetry and literary structure · 81–100 Explaining rhetorical choices · 101–120 Explaining what a choice does · 121–140 Taking a position · 141–160 Using evidence and reasoning · 161–180 Connecting ideas · 181–200 Sound and movement

Exam requirements · Worked response · Worked analysis · Fencing Method · Practice and FAQs · Ten focused practice drills

1–20 From passage detail to personal response

passage — a section of writing chosen for close attention. trace a change within the passage.
set — assigned for study in a course or exam. compare moments in the set novel.
discursive — developing a subject through sustained discussion. a discursive essay on the protagonist.
speaker — the voice that speaks in a poem or other text. the speaker reconsiders an earlier belief.
recipient — the person to whom a message is directed. the recipient of the letter remains unnamed.
locate — identify where a detail appears in a work. locate the pause before the reply.
patterning — the arrangement or recurrence of features across a text. sound patterning in the final stanza.
staging — the presentation of action on a stage. staging draws attention to a doorway.
entrance — the arrival of a character onstage. the entrance interrupts the argument.
exit — the departure of a character from a scene. the exit leaves the question unanswered.
gesture — a movement that carries a meaning or reaction. a gesture of reluctance.
tempo — the speed at which action, language or rhythm moves. the tempo slows after the question.
restraint — deliberate holding back of expression or action. restraint makes the grief indirect.
implication — a meaning suggested by a detail or statement. consider the implication of the final silence.
omission — something left out. the omission of the answer prolongs uncertainty.
revelation — the disclosure of something previously hidden or unknown. a late revelation changes the reader’s view.
poise — controlled balance or composure. the speaker’s apparent poise breaks down.
tension — pressure created by opposing forces, possibilities or feelings. tension between sympathy and suspicion.
resonance — an effect or association that continues beyond the immediate moment. the ending gives the image new resonance.
immediacy — a feeling of closeness to a moment or experience. the present tense creates immediacy.

21–40 Narrative and dramatic choices

narrator — the voice that tells a story. an unreliable narrator.
focalisation — the perspective through which events are perceived. focalisation through a child.
perspective — the position or experience from which events are understood. a shift in perspective.
omniscient — able to report knowledge beyond any single character’s view. an omniscient narrative voice.
unreliable — giving an account whose accuracy the reader has reason to question. an unreliable account of the quarrel.
interiority — a character’s inner life as the text presents it. interiority revealed through memory.
monologue — an extended speech by one person. the monologue exposes doubt.
soliloquy — a dramatic speech that reveals a character’s private thoughts. a soliloquy before the decision.
aside — a remark conventionally unheard by some characters onstage. an aside lets the audience share the secret.
dialogue — spoken exchange between characters. clipped dialogue signals hostility.
stagecraft — the choices through which a play is presented on stage. stagecraft makes the distance visible.
blocking — the positioning and movement of performers. the blocking keeps the characters apart.
exposition — the presentation of background information. exposition establishes the family conflict.
foreshadowing — a detail that anticipates something later in the work. foreshadowing makes the ending feel prepared.
flashback — a move to an event earlier than the current narrative moment. a flashback revises the reader’s impression.
pacing — the management of speed and emphasis across a work. slower pacing gives weight to the choice.
ellipsis — an omission of material, sometimes including an interval of time. a narrative ellipsis skips the journey.
retrospection — a backward look from a later moment. retrospection changes the meaning of the incident.
protagonist — the main character whose actions or experience drive the work. a protagonist divided by duty.
foil — a character whose contrast brings another character’s qualities into focus. a confident friend acts as a foil.

41–60 Patterns, themes and tensions

motif — a recurring element that gains significance across a work. a motif of unfinished letters.
symbol — an element that carries meanings beyond its immediate role. the locked door becomes a symbol of exclusion.
theme — a recurring concern or idea developed through a work. a theme of divided loyalty.
ambiguity — the possibility of more than one defensible meaning. ambiguity about the speaker’s motive.
ambivalence — mixed or competing feelings about a subject. ambivalence towards returning home.
alienation — a condition of feeling separated from other people or society. the character’s growing alienation.
belonging — a feeling or condition of being accepted as part of a group. a conditional sense of belonging.
agency — the ability to make choices and act. the ending restores some agency.
constraint — a condition that limits available action. financial constraint shapes the decision.
hierarchy — an arrangement in which people or things have different ranks. a hierarchy maintained through silence.
conformity — action that follows accepted expectations. pressure towards conformity.
defiance — open resistance to a rule or expectation. a brief act of defiance.
complicity — involvement in another person’s wrongdoing. silence suggests complicity.
estrangement — a state of growing distant from someone or something. estrangement between siblings.
disillusionment — loss of a belief or hope after encountering contrary experience. a moment of disillusionment.
repression — the suppression of feelings, memories or action. the repression of anger.
reversal — a change to an opposite direction, fortune or position. a reversal in the final scene.
recognition — a moment of identification or understanding. recognition comes after the decision.
resolution — a settling or conclusion of a conflict or pattern. an uneasy resolution.
continuity — a connection or pattern that persists across change. continuity beneath the apparent break.

61–80 Poetry and literary structure

stanza — a group of lines that forms a unit in a poem. a shift in the final stanza.
enjambment — the continuation of a sentence or phrase across a line break. enjambment delays the object of the verb.
caesura — a strong pause within a line of verse. a caesura interrupts the speaker’s thought.
volta — a turn in a poem’s argument or feeling. the volta introduces doubt.
meter — a patterned arrangement of stresses or other units in verse. a change in meter disrupts the rhythm.
cadence — the rhythmic movement of spoken or written language. a slowing cadence at the close.
rhyme — a correspondence of sounds, commonly at line endings. an unexpected rhyme links two images.
assonance — repetition of similar vowel sounds in nearby words. assonance in low and home.
alliteration — repetition of initial sounds in nearby words. alliteration gives the opening a sharp rhythm.
sibilance — repetition of hissing consonant sounds. sibilance in the description of the wind.
apostrophe — a direct address to an absent person, abstraction or object. an apostrophe to the sea.
lineation — the arrangement of a poem into lines. the lineation delays a key detail.
elegy — a poem of mourning or serious reflection, often after a death. an elegy for a lost friend.
lyric — a poem that often focuses on a speaker’s feeling or perception. a lyric about remembered childhood.
end-stopped — having a grammatical pause or completion at the line ending. an end-stopped line closes the thought.
couplet — a pair of successive lines of verse that forms a unit. the concluding couplet offers a qualification.
refrain — a line or phrase repeated at intervals. the refrain acquires a different meaning.
sonnet — a fourteen-line poem associated with several formal traditions. the sonnet turns from claim to doubt.
scansion — analysis of a verse line’s metrical pattern. scansion reveals a disrupted stress pattern.
prosody — the patterns of rhythm and sound in language or verse. prosody shapes the pace of the poem.

81–100 Explaining rhetorical choices

diction — word choice considered for its effects. the diction of a legal notice.
syntax — the arrangement of words and phrases within sentences. shorten the syntax.
connotation — a feeling or association a word carries beyond its literal meaning. the connotations of the word home.
denotation — a word’s direct or literal meaning. the denotation of the word vessel.
juxtaposition — placing details near each other so readers notice a relationship or difference. a juxtaposition of two settings.
parallelism — repetition of a similar grammatical pattern. parallelism across three clauses.
anaphora — repetition at the start of successive clauses or sentences. anaphora built around we remember.
antithesis — the balanced placement of opposed ideas. antithesis between promises and results.
analogy — a comparison used to explain a relationship. an analogy to a crowded classroom.
metaphor — a comparison that describes one thing as another. a metaphor of a locked door.
allusion — an indirect reference to something the audience may recognise. an allusion to a founding document.
imagery — language that evokes sensory impressions. imagery of heat and dust.
understatement — deliberately making something seem less important or intense. use understatement to soften criticism.
hyperbole — deliberate exaggeration for emphasis or effect. a deliberate instance of hyperbole.
irony — a meaningful gap between what is stated or expected and what occurs or is meant. the irony of an empty welcome sign.
satire — criticism that exposes faults through ridicule, irony or humour. use satire to expose hypocrisy.
repetition — deliberate recurrence of a sound, word or structure. repetition of the opening phrase.
imperative — a grammatical form used to direct someone to act. an imperative directed at the board.
euphemism — a milder expression substituted for a blunt or uncomfortable one. a euphemism for job cuts.
amplify — make a feature, implication or message stronger or more noticeable. amplify a feeling of urgency.

101–120 Explaining what a choice does

frame — presents an issue through a particular lens. frame the decision as a question of access.
foreground — draws attention to a selected feature or concern. foreground the cost to families.
normalize — presents something as ordinary or expected. normalize asking for help.
legitimize — makes an action or viewpoint seem rightful or acceptable. legitimize a local objection.
humanize — makes a person or group recognisable through individual feelings or experiences. humanize a group through one person’s story.
personalize — connects a general idea to a person’s circumstances. personalize the cost of the proposal.
challenge — calls an existing idea or expectation into question. challenge the audience’s assumptions.
invite — encourages the audience to consider or adopt a response. invite readers to reconsider.
reassure — reduces an audience’s concern or uncertainty. reassure hesitant voters.
pressure — pushes someone towards a choice through expectation or consequence. pressure officials to explain.
unsettle — disturbs an audience’s confidence in an existing belief. unsettle a familiar narrative.
unify — brings different people or ideas into a common group. unify the audience around a goal.
polarize — pushes people or positions further apart. polarize the debate.
exclude — leaves a group or possibility outside the discussion. exclude an alternative viewpoint.
implicate — suggests someone shares responsibility or is involved. implicate officials in the decision.
recast — presents a familiar issue in a new way. recast a delay as a choice.
establish — builds a position, pattern or perception that later choices rely on. establish a shared concern.
sharpen — make a distinction, point or feeling more pronounced. sharpen the contrast between cases.
deflect — moves attention away from a question or criticism. deflect criticism of the proposal.
culminate — reaches a final stage or most important point. culminate in a call to act.

121–140 Taking a position

claim — a statement you want the reader to accept. make a claim.
stance — your position on a question. take a clear stance.
thesis — the central position or interpretation your response develops. support the thesis.
premise — an idea the argument starts from. question the premise.
assumption — something treated as true without being established. test the assumption.
assert — state a position firmly. assert that access matters.
argue — give reasons in support of a position. argue for a trial.
maintain — continue to hold or defend a view. maintain that the policy is fair.
contend — put forward a position that can be challenged. contend that the proposal is workable.
justify — give sufficient reasons for a decision or judgement. justify the expense.
advocate — publicly support an action or change. advocate for reform.
defend — answer criticism of a view or choice. defend a decision.
qualify — limit a statement so it applies only where warranted. qualify the conclusion.
concede — acknowledge a valid point made by the other side. concede that costs may rise.
rebut — answer an opposing claim with reasoning or evidence. rebut the objection.
counterargument — a reasoned objection to a position. address a counterargument.
reservation — a concern that makes agreement incomplete. express a reservation.
distinguish — show what makes two things different. distinguish cost from value.
criteria — standards used to judge something. agree on the criteria.
verdict — a final judgement reached after consideration. reach a verdict.

141–160 Using evidence and reasoning

evidence — information that helps establish a claim. draw on evidence.
example — a specific case that makes a general point clearer. give a concrete example.
illustrate — make an idea clearer through a case or detail. illustrate the difficulty.
demonstrate — show how or why something is true. demonstrate a connection.
substantiate — support a claim with convincing information. substantiate the allegation.
corroborate — provide independent support for an existing account. corroborate the witness’s account.
infer — draw a conclusion from available clues. infer a motive from the wording.
imply — suggest a meaning without saying it directly. imply that change is possible.
interpret — explain what something means in context. interpret a figure in context.
analyse — examine how parts work together. analyse the writer’s choices.
evaluate — judge the strength, quality or value of something. evaluate the proposal.
plausible — reasonable enough to believe given what is known. a plausible explanation.
credible — worthy of belief or trust. a credible source.
relevant — directly connected to the issue being considered. relevant to the question.
sufficient — enough for the purpose or conclusion at hand. sufficient for a limited trial.
representative — typical enough to reflect a larger group. a representative sample.
anecdote — a brief account of a particular incident. open with an anecdote.
limitation — something that restricts what a method or claim can establish. acknowledge a limitation.
contradict — state or show something incompatible with another claim. contradict the earlier finding.
synthesise — combine ideas from separate sources into a new account. synthesise competing accounts.

161–180 Connecting ideas

whereas — introduces a clause that contrasts with another. whereas the first option costs less.
although — introduces a fact that qualifies the main statement. although demand may rise.
however — signals a contrast or change in direction. however, costs remain uncertain.
nevertheless — signals that a point still holds despite a difficulty. nevertheless, the trial could go ahead.
conversely — introduces a contrasting relationship in the reverse direction. conversely, lower demand can free capacity.
similarly — points out a meaningful likeness. similarly, smaller groups need space.
likewise — shows that a similar point applies elsewhere. likewise, evening users need lighting.
consequently — introduces a result of what came before. consequently, the queue grew.
therefore — introduces a conclusion or result that follows. therefore, a trial is justified.
furthermore — adds a supporting point. furthermore, the existing room is free.
specifically — narrows the discussion to a precise detail. specifically, the plan would add two sessions.
instead — signals a replacement or different choice. instead, use the current building.
alternatively — introduces another option. alternatively, change the timetable.
otherwise — indicates what happens under different conditions. book early, otherwise places may fill.
provided — introduces a condition when used with a following clause. provided that staffing is adequate.
despite — introduces something that fails to prevent the main outcome. despite the delay.
unlike — marks a difference between two things. unlike the previous scheme.
respectively — matches items with values in the same stated order. costs were $5 and $8, respectively.
overall — signals a judgement about the whole picture. overall, the benefits are modest.
ultimately — identifies what matters after other factors are considered. ultimately, the decision depends on demand.

181–200 Sound and movement

murmur — a low continuous sound or quiet voice. a murmur behind the door.
rattle — make a series of short hard knocks. windows rattle in the wind.
clatter — make a loud, irregular succession of hard sounds. trays clatter onto the floor.
scrape — rub a surface with a harsh sound or movement. chairs scrape across tiles.
creak — make a prolonged strained sound under pressure. a stair creaks underfoot.
hiss — produce a long sound like escaping air. steam hisses from a valve.
crackle — make a rapid succession of small sharp sounds. dry leaves crackle.
reverberate — continue sounding through repeated echoes. footsteps reverberate in the stairwell.
muffle — make a sound quieter or less distinct. a scarf muffles her voice.
shrill — high and piercing in sound. a shrill whistle.
shudder — shake suddenly and strongly. the old lift shudders.
lurch — move with a sudden uneven motion. the bus lurches forward.
stagger — move unsteadily as though about to fall. stagger under the weight.
swerve — turn suddenly away from a previous direction. swerve to avoid a cyclist.
veer — change direction or course. veer towards the wall.
surge — move suddenly and powerfully forward. a crowd surges towards the exit.
trickle — flow slowly in a narrow stream or a few drops. water trickles down the drainpipe.
seep — pass slowly through a small opening or porous material. rain seeps under the door.
drift — move slowly without an obvious driving effort. smoke drifts above the roofs.
recede — move back or become less strong or noticeable. the lights recede into the distance.

What 0475 requires in your exam year

For 2026–2027, Paper 1 Poetry and Prose asks for one answer from each section. Candidates entered for Paper 2 Drama answer one passage-based question and one essay question. Paper 3 is the open-text drama paper in the applicable route, while Paper 4 is Unseen. Confirm your route with your school.

For 2028–2030, all candidates take the 1 hour 30 minute open-text Paper 1. They answer one poetry question and one prose essay question. Candidates on the examined route also take open-text Paper 2, which lasts two hours and asks for one Drama answer and one Unseen answer. Where available, Component 3 Coursework is the alternative to Paper 2. Check the year-specific rules for permitted copies and annotations.

Cambridge International 0475 syllabus page and updates · Cambridge guidance on passage-based and essay questions · 0475 syllabus for 2028–2030 · Cambridge guidance on open-text materials

Word list · Worked response

A worked response to an invented passage

Practice passage. The conductor stood beside the train door with one hand on the rail. He called the departure once. After everyone had turned away, he called it again, more quietly. How does the writing make the departure feel uncertain?

The first call appears to be a routine announcement. The detail that everyone has already turned away changes the force of the second. A quieter call is less likely to make people return, so its repetition begins to feel like hesitation rather than an attempt to be heard. The hand on the rail puts the conductor at the point of departure while his voice seems reluctant to end the moment.

The answer uses a precise sequence. It does not need to name an emotion the passage never states. You could develop a different reading if you can explain why the movement and repeated announcement support it.

Word list · Exam requirements · Worked analysis

Move from a passage to a whole-work essay

A passage-based response can work closely through a series of changes in the printed material. A whole-work essay asks you to select moments from across the text. If the question concerns growing uncertainty, choose an early moment where the character feels secure, a turning point that changes what they know and a later action that tests how they respond.

For the revised 2028–2030 Paper 1 prose section, practise finding moments across the whole text. Use permitted copies as a way to check exact wording and locate evidence. Build the argument first so that you know what detail you are looking for. An open text is most useful when you already know the work’s movement.

Word list · Worked response · Fencing Method

How to fence a 0475 analysis word

1. Base. The repetition creates tension. 2. Detail. The second departure call creates tension. 3. Tone. The quieter repetition makes the announcement sound hesitant. 4. Logic. Because everyone has already turned away, the quieter call seems less like an instruction and more like reluctance to leave. 5. Transfer. A repeated invitation in a play can sound less welcoming after a guest refuses to answer.

Practise the difference between omission and revelation. A passage may withhold why a character leaves and reveal the reason later. Explain what the reader can infer before and after the change. The words become useful when you can identify what each choice does to the reader’s knowledge.

The eduKate Fencing Method for Vocabulary

Word list · Worked analysis · Practice and FAQs

Timed practice and FAQs

Is 0475 open text? That depends on the exam year and component. For 2026–2027, Paper 3 is open text. The revised 2028–2030 Paper 1 and Paper 2 are both open text. Is unseen analysis still assessed? It is part of revised Paper 2 on the examined route. Does Paper 1 prose still offer a passage question from 2028? Cambridge specifies prose essay questions.

Choose a poem from your studied set and mark one turn in its voice. Then practise with an unseen paragraph where a movement or gesture changes the mood. In both exercises, write one clear interpretation and explain how two connected details support it.

End your review by checking the wording of the question. If it asks how the writing makes a moment moving, explain what gives the moment emotional force. If it asks what makes a character memorable, identify a choice that shapes how readers remember the character.

Word list · Fencing Method

Ten focused practice drills

1. Locate the exact point at which the passage changes. A new sound, gesture or reply may alter the scene. Describe what the reader knew before it and what becomes possible to infer afterward.

2. Trace who controls information. A narrator might tell readers about an event before a character learns of it. A stage direction may allow the audience to see something another character misses. Explain how that gap affects suspense.

3. Record two appearances of a recurring image in a studied work. Note what happens around each. In a whole-text answer, use both to explain development. A second example should tell the reader something the first cannot.

4. Practise reading a poem by following the sentence before naming its sound features. Identify where a pause or change in rhythm affects the voice. Then describe how the change supports your personal response to the poem.

5. Name a writing choice and connect it to the reader’s experience. If a character speaks quietly after repeating a demand, explain what the change might suggest. The effect should follow from details in the passage.

6. Plan a whole-work essay using three moments. Give each one a different role, such as establishing a pattern, disturbing it or revealing a consequence. Check whether all three help answer the same question.

7. In an unseen response, use short details that you can analyse closely. Select a word, a point of change and a pattern. Decide whether the evidence supports one reading or leaves room for more than one.

8. Use a connector only after identifying the relationship. Whereas can compare the early and late stages of a character’s attitude. Consequently can link a decision to an outcome if the text supports the link.

9. For prose, try mapping how an object or movement changes through a scene. A character may grasp a rail, release it or remain still. Describe which action comes at the turning point and what it makes visible.

10. Give a personal response a reason. If you find a moment moving, explain what the passage reveals or withholds and why that choice matters. A precise response shows how the writing led you to your interpretation.

Practice an unseen response and a whole-work plan

Use an original prose opening for practice. The ticket lay on the counter all morning. When the station clock stopped, Mara folded the ticket into a smaller square and put it in her pocket. Consider how the writing makes a routine object feel important.

The length of time the ticket remains untouched makes the later movement significant. The stopped clock interrupts a routine way of judging when to act. Folding the ticket into a smaller square narrows the scene to a quiet physical choice. Putting it away can suggest a decision, while leaving the reader to infer whether Mara has accepted a delay or changed her plans.

Now build a whole-work plan around the same kind of question using a text you have studied. Find an early moment that establishes the object’s ordinary role, a later moment when its meaning changes and a final moment that tests that change. The examples may be far apart. Explain the connection rather than giving the reader a plot summary between them.

Make open-text practice purposeful

If you are following the 2028–2030 examined route, practise locating evidence in a permitted copy without spending a paragraph’s worth of time searching. Start with the claim and a remembered scene. Then use the book to check exact wording, the order of events or a nearby detail you can analyse.

For drama, read a short exchange once as dialogue and once as stage action. Where would the performers stand? Which line changes what the audience knows? What happens during a pause? Those questions help you choose a detail that explains how the scene works as performance.

For poetry, explain an effect in ordinary words before naming a feature. A return to the same phrase might sound reassuring early and doubtful later. Check what has happened between the two appearances. That reasoning makes the word refrain useful in the paragraph.

Next reading

Cambridge International AS & A Level English Language (9093) · Singapore–Cambridge H1 General Paper (8881) · AQA GCSE English Literature (8702)

Cambridge AS English General Paper 8021 essay vocabulary · IB English A: Literature essay vocabulary · Back to the 200-word list

Top 200 Vocabulary Word List for Cambridge IGCSE Literature in English (0475) | Essay Writing