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Year 11 English Literature Papers 1 and 21
Name: Mentor Group: English Teacher: Assessment objective outline:AO1 Make relevant
points and use relevant quotations
Identify and interpret implicit and explicit information from textsSelect relevant quotations from texts
AO2 Analyse the impact of language and structure
Explain, comment on and analyse how writers use language and structure to achieve effects and influence readers, using relevant subject terminology to support their views
AO3 Link to context, themes and intention
Show understanding of the relationships between texts and the contexts in which they were written.
AO4 Spell and punctuate with accuracy and precision
Spell and punctuate with consistent accuracy, and consistently use vocabulary and sentence structures to achieve effective control of meaning.
English Literature Course OutlinePaper 1: Shakespeare and the 19th Century NovelA [12
marks][12 marks][6 marks][4 marks]
AO1AO2AO3AO4
Starting with this extract, explain how far you think Shakespeare presents (character, theme, etc.) as (adjective).
B [12 marks][12 marks][6 marks]
A01AO2AO3
Starting with this extract, explain how far you think Dickens presents (character, theme, etc.) as (adjective).
Paper 2: Modern Drama, Studied Poetry, Unseen PoetryA [12 AO1 Either
2
marks][12 marks][6 marks][4 marks]
AO2AO3AO4
How does Priestley explore (theme/attitude) in An Inspector Calls?OrHow does Priestley explore (character) in An Inspector Calls
B [12 marks][12 marks][6 marks]
AO1AO2AO3
Compare the ways poets present ideas about (power / conflict) in this poem and other poem from ‘Power and Conflict’.
C [12 marks][20 marks]
AO1AO2
1. In (unseen poem 1), how does the poet present (feeling, character, attitude)?
2. What are the similarities and / or differences between the ways the poets present (attitude, feeling, character) in (unseen poem 1) and (unseen poem 2)?
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• Chiefly concerned with [theme], [author] explores….. through…..
• In a play / novella that deals primarily with [theme], [author] espouses the notion that…
• At its heart, [title] is a play / novella that highlights….
• Through the discussion of [theme] throughout the play / novella, [author] promotes…..
• Challenging a contemporary audience / reader to consider….., [author] presents [theme] as……
• Revolving around the central axis of [theme], the play / novella invites the audience / reader to consider….
• Presenting [theme] as……, [author] prompts the audience / reader to consider the idea that…
• Through his exploration of [theme],
Paper 1 Section A: Macbeth Ambition Loyalty and betrayal
Kingship Good and evil
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More specifically….In particular…..Reading more closely, we see…Through the use of…It is as though…It is almost as if….The reader / audience is invited to…The reader / audience is encouraged to…Literally / metaphorically / symbolically
Supernatural Gender
Paper 1 Section A: Macbeth Lady Macbeth Macbeth
Duncan Witches5
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Topic Detailed Contextual Information Relate to a Specific Quotation/Scene
1) First Performance
Macbeth was first performed in 1606, likely with King James I in the audience. Shakespeare may have wanted to please the King through his play’s representation of the dangers of challenging monarchy.
Which quotations relate to the plotting and aftermath of Macbeth’s assassination of Duncan?
How might the divine right of kings concept inform your interpretation of the intensity with which characters react to Duncan’s death?
2) Historical Inspiration
The play’s characters were inspired by historical sources. The real Macbeth ruled Scotland in the 11th century after killing King Duncan but many other facts were changed considerably. James I also claimed to believe that he was a descendant of Banquo and Fleance.
3) Divine Right of Kings
James I promoted the concept of the divine right of kings throughout his reign: the monarch is appointed by God and, therefore, any opposition to him is sacrilegious. In a speech before parliament James I argued ‘Kings are justly called gods.’ (1609)
4) Gowrie Conspiracy
King James was nearly assassinated in 1600 by the Earl of Gowrie and his brother. The event captivated the public: many pamphlets were published and sermons given on the blasphemy of regicide.
5) Gunpowder Plot
The Gunpowder Plot in 1605 involved Catholics attempting to blow up Parliament and the royal family. Robert Catesby’s involvement shocked King James, who had considered Catesby to be one of his most loyal noblemen. Scholars have speculated that the play’s characterisation of Macbeth may have been partly modelled on him.
6) Equivocation Henry Garnet, also tried and executed for involvement in the Gunpowder Plot, famously promoted equivocation (intentionally unclear communication). During this period of religious persecution, it offered Jesuits a way of giving untruthful responses while under interrogation.
Which minor character mentions the word ‘equivocate’ in Act 2?
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Which other characters repeatedly equivocate through paradoxical half-truths?
7) Supernatural Belief in the supernatural was far more prevalent than it is today. King James I wrote a book on the subject - ‘Daemonologie’ (1596) - in which he called witches ‘detestable slaves of the Devill’ and confidently asserted that ‘such assaultes of Sathan are most certainly practized’.
List the supernatural beings and events that occur in the play.
8) Gender Roles Jacobean society was highly patriarchal. Women were typically regarded as emotionally and intellectually weaker than men, needing a husband to look after them. The man was considered to be the head of a marriage and his family.
At what points does the play challenge traditional notions of femininity and masculinity?
9) Religious Belief
In the previous century the state religion had changed between Mary, Queen of Scots and Elizabeth I. Under James I as both King and Head of the Church, the country remained strictly Protestant. The Jacobean public was generally god-fearing, interpreting religious concepts such as heaven and hell literally. James I also commissioned a new English translation of the Bible in 1604 which is still read to this day.
Which quotations would have been viewed in a more serious manner by a generally Protestant audience?
10) The Tragic Hero
The classical philosopher Aristotle argued that tragic heroes should follow certain conventions. They must be ‘highly renowned’ but have a flaw (hamartia) that leads to a reversal of fortune (peripeteia). Often the flaw is linked to excessive pride
How does Macbeth’s characterisation fit Aristotle’s tragic conventions?
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(hubris). Watching the hero’s tragic fall causes the audience to feel pity and fear (catharsis).
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“Fair is ………………………, and ………………………is fair.”“………………………, hide your ………………………. Let not light see my deep and ………………………desires.”“Look like the ………………………flower but be the ………………………under it.”“Yet I do fear thy nature; It is too full o’ the ………………………of human …………………………”“………………………me here, fill me from the crown to the toe top full of ………………………cruelty.”“I dare do all that may become a ………………………; Who dares do more is none.”“Or art thou but a ………………………of the ………………………, a false creation…”“Macbeth doth ………………………sleep.”“A ………………………water clears us of this deed.”“There’s ………………………in men’s smiles.”“I fear thou play’dst most ……………………… for it.”“O full of ………………………is my mind, dear wife.”“I am in ………………………stepped in so far that… returning were as tedious as go o'er.”“It will have ………………………, they say; ………………………will have ……………………….”“………………………, damn spot! ………………………I say!”“Yet who would have thought the old man to have so much ………………………in him?”“………………………, ………………………, brief candle!”“………………………, and ………………………, and ………………………, creeps in this petty pace…”“It is a tale, told by an ………………………, full of sound and fury, signifying ……………………….”“Despair thy charm…Macduff was from his mother's womb ………………………ripp'd.”“This dead ………………………and his fiend-like ……………………….”
Read the following extract from Act 1, scene 7 of Macbeth and then answer the question that follows.At this point in the play, Macbeth is thinking about the reasons why he should not murder the king, Duncan.
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05
10
15
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MACBETH He’s here in double trust:First, as I am his kinsman and his subject,Strong both against the deed; then, as his host,Who should against his murderer shut the door,Not bear the knife myself. Besides, this DuncanHath borne his faculties so meek, hath beenSo clear in his great office, that his virtuesWill plead like angels, trumpet-tongued, againstThe deep damnation of his taking-off;And pity, like a naked newborn babe,Striding the blast, or heaven’s cherubim, horsedUpon the sightless couriers of the air,Shall blow the horrid deed in every eye,That tears shall drown the wind. I have no spurTo prick the sides of my intent, but onlyVaulting ambition, which o'erleaps itselfAnd falls on th' other.
Starting with this moment in the play, how do you think that Shakespeare presents the idea of ambition in Macbeth
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Write about: What Macbeth says at this point in the play
[30 marks]AO4 [4 marks]
Read the following extract from Act 5 Scene 3 of Macbeth and then answer the question that follows.At this point in the play Macbeth is under siege from the English army.
MACBETHBring me no more reports; let them fly all:Till Birnam wood remove to Dunsinane,I cannot taint with fear. What's the boy Malcolm?Was he not born of woman? The spirits that knowAll mortal consequences have pronounced me thus:'Fear not, Macbeth; no man that's born of womanShall e'er have power upon thee.' Then fly, false thanes,And mingle with the English epicures:The mind I sway by and the heart I bearShall never sag with doubt nor shake with fear.
Enter a ServantThe devil damn thee black, thou cream-faced loon!Where got'st thou that goose look?
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Starting with this speech, explain how far you think Shakespeare presents Macbeth as a hero.Write about:
How Shakespeare presents Macbeth is this speech. How Shakespeare presents Macbeth in the play as a whole.
[30 marks]AO4 [4 marks]
Read the following extract from Act 1 Scene 5 of Macbeth and then answer the question that follows.At this point in the play Lady Macbeth is awaiting the arrival of King Duncan at her home.
LADY MACBETHThe raven himself is hoarse That croaks the fatal entrance of Duncan
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Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood, Stop up th’access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between Th’ effect and it. Come to my woman’s breasts, And take my milk for gall, you murd’ring ministers, Wherever in your sightless substances You wait on nature’s mischief. Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark, To cry ‘Hold, hold!’
Starting with this speech, explain how far you think Shakespeare presents Lady Macbeth as the driving force for the murder of King Duncan.Write about:
How Shakespeare presents Lady Macbeth is this speech. How Shakespeare presents Lady Macbeth in the play as a whole.
[30 marks]AO4 [4 marks]
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Read the following extract from Act 1 Scene 7 of Macbeth and then answer the question that follows.At this point in the play Macbeth is debating if he should kill King Duncan.
MACBETHIf it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease success: that but this blow Might be the be-all and the end-all, here, But here upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredience of our poisoned chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself.
Starting with this speech, explain how far you think Macbeth is presented as a character who abandons his sense of right and wrong.15
Write about: How Shakespeare presents Macbeth is this speech. How Shakespeare presents Macbeth in the play as a whole.
[30 marks]AO4 [4 marks]
Read the following extract frin Act 1, Scene 3 Macbeth and then answer the question that follows.
BANQUOYou should be women,and yet your beards forbid me to interpretThat you are so.MACBETHSpeak, if you can: what are you?1st WITCHAll hail Macbeth! Hail to thee, Thane of Glamis.2nd WITCHAll hail Macbeth! Hail to thee, Thane of Cawdor.3rd WITCH
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All hail Macbeth that shalt be King hereafter!BANQUOGood sir, why do you start, and seem to fearThings that do sound so fair? I’th’name of truthAre ye fantastical, or that indeedWhich outwardly ye show? My noble partnerYou greet with present grace and great prediction OF noble having and of royal hopeThat he seems rapt withal. To me you speak not.If you can look into the seeds of timeAnd say which grain will grow and which will not,Speak then to me, who neither beg nor fearYour favours nor your hate
Starting with this extract, explain how Shakespeare explores the supernatural.Write about:
This extract The play as a whole.
[30 marks]AO4 [4 marks]
Read the following extract from Act 1 Scene 7 of Macbeth and then answer the question that follows.
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LADY MACBETHWhen you durst do it, then you were a man.And to be more than what you were, you would be so much more the man. Nor time, nor placeDid then adhere, and yet you would make both.They have made themselves and that their fitness nowDoes unmake you. I have given suck and know How tender ‘tis to love the babe that milks me:I would, while it was smiling in my face,Have plucked my nipple from his boneless gumsAnd dashed the brains out, had I so sworn As you have done on this.
Starting with this speech, explain how Shakespeare presents the idea of masculinity in this extract and elsewhere in the play.Write about:
This extract The play as a whole.
[30 marks]AO4 [4 marks]
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Read the following extract from Act 5 Scene 5 of Macbeth and then answer the question that follows.
MACBETHShe should have died hereafter.There would have been a time for such a word.Tomorrow, and tomorrow, and tomorrow,Creeps in this petty pace from day to dayTo the last syllable of recorded time,And all our yesterdays have lighted foolsThe way to dusty death. Out, out, brief candle!Life’s but a walking shadow, a poor playerThat struts and frets his hour upon the stageAnd then is heard no more. It is a taleTold by an idiot, full of sound and fury,Signifying nothing.
Starting with this speech, explain how far Shakespeare presents Macbeth as a powerful character.19
Write about: This extract The play as a whole.
[30 marks]AO4 [4 marks]
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Paper 1 Section B: A Christmas Carol Stave 1: Marley’s Ghost
Quotation Technique/Key Word/Symbol/Imagery
Possible Analysis Themes Links to other scenes and context
‘Old Marley was as dead as a door-nail.’
Simile
‘Oh! But he was a tight-fisted hand at the grindstone. Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous old sinner!’
List of verbs
Semantic field of greed
‘No warmth could warm, no wintry weather chill him. No wind that blew was bitterer than he’
Comparison to weather
‘Are there no prisons?’ asked Scrooge.‘If they would rather die,’ said Scrooge, ‘they had better do it, and
Language of business and economics
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decrease the surplus population.’“I wear the chain I forged in life," replied the Ghost. "I made it link by link, and yard by yard; I girded it on of my own free will, and of my own free will I wore it. Is its pattern strange to you?”
Symbol of chain
Repetition of ‘free will’
‘Hard and sharp as flint’‘solitary as an oyster.’
Simile
‘A merry Christmas, uncle! God save you!’ cried a cheerful voice. 'Bah!' said Scrooge, 'Humbug!'
Juxtaposition
“every idiot who goes about with ‘Merry Christmas’ on his lips, should be boiled with his own pudding, and buried with a stake of holly through his heart.”
Language of Christmas
‘Darkness is cheap, and Scrooge liked it.’
Language of money
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“Mankind was my business. The common welfare was my business”
Repetition of ‘business’
“Mark me! In life my spirit never roved beyond the narrow limits of our money-changing hole!”
Description of business as adjective ‘narrow’ and metaphor ‘hole’
Stave 2: The First of the Three SpiritsQuotation Technique/Key
Word/Symbol/Imagery
Possible Analysis Themes Links to other scenes and context
‘It was a strange figure-like a child: yet not so like a child as like an old man’
Juxtaposition or paradox
‘from the crown of its head there sprung a bright clear jet of light’
Symbol of light
“A solitary child, neglected by his friends, is left there still.” Scrooge said he knew it. And he sobbed.’
Short sentences
Adjective ‘solitary’
“Our contract is an old one. It was
Language of business and love
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made when we were both poor and content to be so…You are changed.”‘Scrooge had acted like a man out of his wits. His heart and soul were in the scene, and with his former self. He corroborated everything, remembered everything, enjoyed everything, and underwent the strangest agitation.’
Repetition of ‘everything’
Simile
“A small matter,” said the Ghost, “to make these silly folks so full of gratitude.”“Small!” echoed Scrooge.
Repetition of ‘small’
“What Idol has displaced you?” he rejoined.
“A golden one.”
Reference to ‘golden’ ‘idol’
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“No more!” cried Scrooge. “No more. I don’t wish to see it. Show me no more!”
Repetition of ‘no more’
“I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you. Have I not?”
Capitalisation of ‘Gain’
“Quite alone in the world, I do believe.”
Reference to ‘alone’
Stave 3: The Second of the Three SpiritsQuotation Technique/Key
Word/Symbol/Imagery
Possible Analysis Themes Links to other scenes and context
‘there sat a jolly Giant, glorious to see, who bore a glowing torch’
Symbol of light
Positive lexis: ‘jolly,’ ‘glorious’
‘The sight of these poor revellers
Reference to ‘poor revellers’- oxymoron?
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appeared to interest the Spirit very much…sprinkled incense on their dinners from his torch.’'God bless us every one!'
Pronoun ‘us’
“I’ll drink his health for your sake and the Day’s,” said Mrs. Cratchit, “not for his. Long life to him!”
Scrooge was the Ogre of the family.’
Metaphor
‘…nobody said or thought it was at all a small pudding for a large family. It would have been flat heresy to do so.’
Adjective ‘small’
‘rather a disagreeable animal, a savage animal, an animal that growled and grunted
Comparison to an animal
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sometimes’
‘he begged like a boy to be allowed to stay’
Simile
“Spirit! Are they yours?”
“They are Man’s,” said the Spirit, looking down upon them. “And they cling to me, appealing from their fathers. This boy is Ignorance. This girl is Want. Beware them both”
Verbs ‘cling’ and ‘appealing’
Reference to ‘Ignorance’ and ‘Want’
“Have they no refuge or resource?” cried Scrooge.
“Are there no prisons?” said the Spirit, turning on him for the last time with his own words. “Are there no workhouses?”
Repetition
Stave 4: The Third of the Three Spirits
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Quotation Technique/Key Word/Symbol/Imagery
Possible Analysis Themes Links to other scenes and context
‘The Phantom slowly, gravely, silently approached….the very air through which this Spirit moved it seemed to scatter gloom and mystery’
Triplets
Semantic field of fear
“I fear you more than any spectre I have seen. But as I know your purpose is to do me good, and as I hope to live to be another man from what I was.”
Change in lexis- ‘good’ and ‘hope’ contrasted with ‘fear’
“…a wicked old screw,” pursued the woman, “why wasn't he natural in his lifetime?”
Metaphor
Rhetorical question
‘…could see nothing but a spectral hand and one great heap of black’
Semantic field of fear
‘He frightened every one away from him when he was alive, to profit us when he was dead!’
Juxtaposition
Language of business
‘Quiet. Very quiet. The noisy little Cratchits were as still as statues
Simile
Short sentences28
in one corner’
Stave 5: The End Of ItQuotation Technique/Key
Word/Symbol/Imagery
Possible Analysis Themes Links to other scenes and context
“I will live in the Past, the Present, and the Future!” Scrooge repeated, as he scrambled out of bed.’
Verb ‘scrambled’
‘He had never dreamed that any walk – that anything – could give him so much happiness.’
Reference to ‘happiness’
‘I am about to raise your salary!'
Scrooge’s humour
‘Scrooge was better than his word . . . . He became as good a friend, as good a master, as good a man as the good old City knew, or any other good old city, town, or borough in the good old world.’
Repetition of ‘good’
“I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. I am as
Simile
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giddy as a drunken man”‘…it was a splendid laugh, a most illustrious laugh. The father of a long, long line of brilliant laughs!’
Repetition of ‘laugh’
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Scrooge:Stave 1:
A hand at the grindstoneBah! Are there no Decrease the populationIt’s not my
Stave 2:
A boy
Stave 3
me Tiny Tim will live
Stave 4
me I may sponge away the writing on this I will Christmas in my heart
Stave 5
I’ll your salary Bob party, games.
The Cratchits:
Stave 1:
The clerk’s fire was so much comforter
Stave 3:
Oh what a pudding!God bless every one!Brave in No one said or it was too a pudding for such a familyIt would have been to do soI’ll give you Mr Scrooge, the of the
Stave 4:
My little, child! My child!
Stave 5:
Scrooge was a second to Tiny Tim
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Fred:His eyes voiceChristmas is a good time; a kind, , , timeFellow- to the grave
Marley’s Ghost:Marley was to with. I wear the chain I in lifeI made it by and by Mankind was my
Ghost of Christmas Past:Like a Like an manA tunic of the whiteScrooge seized the and pressed it down upon his head.He could not the light
Ghost of Christmas Present: giant torchHis breast was
Turning on him with his wordsThis boy is , the girl is .Is it a or a ?Yellow, meagre, , scowling .
Ghost of Christmas Yet to Come:Slowly, , approachedDeep garment
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Family Supernatural
Religion Social responsibility
Christmas Forgiveness and redemption
“Scrooge! A ………………………, wrenching, grasping, scraping, ………………………, covetous old sinner!”34
“No ………………………could ………………………, no wintry weather ………………………him.”“Hard and sharp as ………………………… solitary as an ……………………….”“…that he was all in a ………………………; his face was ruddy and handsome; his eyes ……………………….”“Are there no ………………………?” “…decrease the surplus population.”“Mankind was my ………………………. The common welfare was my ………………………; charity, mercy, forbearance, and benevolence were all my business”“From the crown of its head there sprung a bright clear jet of ……………………….”"Your lip is ………………………," said the Ghost. "And what is that upon your cheek?"“A ………………………child, neglected by his friends, is left there still.”“He corroborated ………………………, remembered ………………………, enjoyed ………………………, and underwent the strangest agitation.”“What ………………………has displaced you?” he rejoined. “A ………………………one.”“There sat a jolly ………………………, glorious to see, who bore a ………………………torch.”“They are Man’s…This boy is ………………………. This girl is ………………………. Beware them both”“Are there no ………………………? … Are there no ………………………?”“The Phantom slowly, ………………………, ………………………approached…”“Quiet. Very quiet. The noisy little Cratchits were as still as statues in one corner.”“The only emotion that the Ghost could show him, caused by the event, was one of ……………………….”“I will live in the ………………………, the ………………………, and the ………………………!” “I am not the ………………………I was.”“I am about to raise your ………………………!”35
“I am as light as a ………………………, I am as happy as an ………………………, I am as merry as a ………………………”'God bless ……………………, Every ……………………!'Fred Marley’s Ghost
Scrooge Tiny Tim
The Cratchits Ghost of Christmas Past
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Ghost of Christmas Present Ghost of Christmas Yet to Come
Preface Belle
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Brief Biography of Charles DickensBorn to a naval clerk, Dickens moved with his family to London at age 10. When his father was briefly imprisoned for debt, Charles worked long days at a warehouse. His experience of financial hardship and impoverishment greatly influenced the content of his stories, and his ambition. He left school at age 15, but read voraciously and acquired extensive knowledge through jobs as a law clerk, court reporter, and journalist. As a novelist, Dickens was successful from the start, with the publication of The Pickwick Papers in 1836, and quickly became the most famous writer in Victorian England for his unforgettable characters, comic ingenuity, and biting social critique. He also enjoyed huge popularity in America where he made several reading tours. He worked tirelessly, producing a magazine Household Words (later All the Year Round) and cranking out still-famous novels including Oliver Twist, Bleak House, Great Expectations, David Copperfield and A Christmas Carol. Dickens had ten children with his wife Catherine Hogarth, but their marriage was never happy and Catherine left him after Dickens had an affair with the actress Ellen Ternan. Dickens died in 1870 and is buried in Poets' Corner of Westminster Abbey.Historical Context of A Christmas CarolThe impoverished state of London in Dickens’ lifetime is a big influence of the story. The British Government introduced the Poor Law Amendment Act in the year 1834, known as the New Poor Law, which led to the establishment of workhouses, one of Dickens’ most detested social constructions. Dickens was highly sympathetic to the effects of Industrial Capitalism on children especially. The story actually began as an idea for a political pamphlet, to draw attention to the plight of the poor.
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Charles Dickens: A Christmas Carol
Read the following extract from Stave 5 and then answer the question that follow.
In this extract, Scrooge has left his house to experience Christmas morning.
Starting with this extract, how does Dickens present the themes of generosity and goodwill?
Write about:
how Dickens presents generosity and goodwill in this extract how Dickens presents generosity and goodwill in the novella as a whole.
[30 marks]
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He had not gone far, when coming on towards him, he beheld the portly gentleman, who had walked into his counting-house the day before, and said, ‘Scrooge and Marley’s, I believe?’ It sent a pang across his heart to think how this old gentleman would look upon him when they met; but he knew what path lay straight before him, and he took it.‘My dear sir,’ said Scrooge, quickening his pace, and taking the old gentleman by both his hands, ‘How do you do? I hope you succeeded yesterday. It was very kind of you. A merry Christmas to you, sir!’‘Mr Scrooge?’‘Yes,’ said Scrooge. ‘That is my name, and I fear it may not be pleasant to you. Allow me to ask your pardon. And will you have the goodness —’ Here Scrooge whispered in his ear.‘Lord bless me!’ cried the gentleman, as if his breath were taken away. ‘My dear Mr. Scrooge, are you serious?’‘If you please,’ said Scrooge. ‘Not a farthing less. A great many back-payments are included in it, I assure you. Will you do me that favour?’‘My dear sir,’ said the other, shaking hands with him. ‘I don’t know what to say to such munifi —’‘Don’t say anything, please,’ retorted Scrooge. ‘Come and see me. Will you come and see me?’‘I will!’ cried the old gentleman. And it was clear he meant to do it.‘Thank ‘ee,’ said Scrooge. ‘I am much obliged to you. I thank you fifty times. Bless you!’He went to church, and walked about the streets, and watched the people hurrying to and fro, and patted children on the head, and questioned beggars, and looked down into the kitchens of houses, and up to the windows; and found that everything could yield him pleasure.
Charles Dickens: A Christmas Carol
Read the following extract from Stave 2 and then answer the question that follows.
In this extract, Scrooge is watching his former self as an apprentice for his previous employer, Mr. Fezziwig. Accompanied by the ghost of Christmas Past, he observes the celebrations and becomes caught up in the excitement.
Starting with this extract, how does Dickens explore the idea of abundance?
Write about:
how Dickens presents abundance in this extract how Dickens presents abundance in the novella as a whole.
[30 marks]
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There were more dances, and there were forfeits, and more dances, and there was cake, and there was negus, and there was a great piece of Cold Roast, and there was a great piece of Cold Boiled, and there were mince-pies, and plenty of beer. But the great effect of the evening came after the Roast and Boiled, when the fiddler (an artful dog, mind! The sort of man who knew his business better than you or I could have told it him!) struck up ‘Sir Roger de Coverley’. Then old Fezziwig stood out to dance with Mrs. Fezziwig. Top couple, too; with a good stiff piece of work cut out for them; three or four and twenty pair of partners; people who were not to be trifled with; people who would dance, and had no notion of walking.But if they had been twice as many — ah, four times — old Fezziwig would have been a match for them, and so would Mrs. Fezziwig. As to her, she was worthy to be his partner in every sense of the term. If that’s not high praise, tell me higher, and I’ll use it. A positive light appeared to issue from Fezziwig’s calves. They shone in every part of the dance like moons. You couldn’t have predicted, at any given time, what would become of them next. And when old Fezziwig and Mrs. Fezziwig had gone all through the dance; advance and retire, both hands to your partner, bow and curtsy, corkscrew, thread-the-needle, and back
Charles Dickens: A Christmas Carol
Read the following extract from Stave 1 and then answer the question that follows.
In this extract, Scrooge is visited by two men collecting money for the poor.
Starting with this extract, how does Dickens explore the idea of social responsibility?41
“At this festive season of the year, Mr. Scrooge,” said the gentleman, taking up a pen, “it is more than usually desirable that we should make some slight provision for the Poor and Destitute, who suffer greatly at the present time. Many thousands are in want of common necessaries; hundreds of thousands are in want of common comforts, sir.” “Are there no prisons?” asked Scrooge. “Plenty of prisons,” said the gentleman, laying down the pen again. “And the Union workhouses?” demanded Scrooge. “Are they still in operation?” “They are. Still,” returned the gentleman, “I wish I could say they were not.” “The Treadmill and the Poor Law are in full vigour, then?” said Scrooge. “Both very busy, sir.” “Oh! I was afraid, from what you said at first, that something had occurred to stop them in their useful course,” said Scrooge. “I’m very glad to hear it.” “Under the impression that they scarcely furnish Christian cheer of mind or body to the multitude,” returned the gentleman, “a few of us are endeavouring to raise a fund to buy the Poor some meat and drink and means of warmth. We choose this time, because it is a time, of all others, when Want is keenly felt, and Abundance rejoices. What shall I put you down for?” “Nothing!” Scrooge replied. “You wish to be anonymous?” “I wish to be left alone,” said Scrooge. “Since you ask me what I wish,
Write about:
how Dickens presents social responsibility in this extract how Dickens presents social responsibility in the novella as a whole.
[30 marks]
Charles Dickens: A Christmas Carol
Read the following extract from Stave 1 and then answer the question that follows.
Starting with this extract, how does Dickens show the contrast between positivity and negativity?
42
Once upon a time – of all the good days in the year, on Christmas Eve – old Scrooge sat busy in his counting-house. It was cold, bleak, biting weather; foggy withal: and he could hear the people in the court outside, go wheezing up and down, beating their hands upon their breasts, and stamping their feet upon the pavement-stones to warm them. The city clocks had only just gone three, but it was quite dark already: it had not been light all day: and candles were flaring in the windows of the neighbouring offices, like ruddy smears upon the palpable brown air. The fog came pouring in at every chink and keyhole, and was so dense without, that although the court was the narrowest, the houses opposite were mere phantoms. To see the dingy cloud come drooping down, obscuring everything, one might have thought that Nature lived hard by, and was brewing on a large scale. The door to Scrooge’s counting-house was open that he might keep his eye upon his clerk, who in a dismal little cell beyond, a sort of tank, was copying letters. Scrooge had a very small fire, but the clerk’s fire was so very much smaller that it looked like one coal. But he couldn’t replenish it, for Scrooge kept the coal-box in his own room; and so surely as the clerk came in with the shovel, the master predicted that it would be necessary for them to part. Wherefore the clerk put on his white comforter, and tried to warm himself at the candle; in which effort, not being a man of strong imagination, he failed. ‘A merry Christmas, uncle! God save you!’ cried a cheerful voice. It was the voice of Scrooge’s nephew, who came upon him so quickly that this was the first intimation he had of his
Write about:
how Dickens presents positivity and negativity in this extract how Dickens presents positivity and negativity in the novella as a whole.
[30 marks]
Charles Dickens: A Christmas Carol
Read the following extract and then answer the question that follows.
Starting with this extract, how does Dickens present the Cratchit family?
Write about:
43
Then up rose Mrs Cratchit, Cratchit's wife, dressed out but poorly in a twice-turned gown, but brave in ribbons, which are cheap and make a goodly show for sixpence; and she laid the cloth, assisted by Belinda Cratchit, second of her daughters, also brave in ribbons; while Master Peter Cratchit plunged a fork into the saucepan of potatoes, and getting the corners of his monstrous shirt collar (Bob's private property, conferred upon his son and heir in honour of the day) into his mouth, rejoiced to find himself so gallantly attired, and yearned to show his linen in the fashionable Parks. And now two smaller Cratchits, boy and girl, came tearing in, screaming that outside the baker's they had smelt the goose, and known it for their own; and basking in luxurious thoughts of sage and onion, these young Cratchits danced about the table, and exalted Master Peter Cratchit to the skies, while he (not proud, although his collars nearly choked him) blew
how Dickens presents the Cratchits in this extract how Dickens presents the Cratchits in the novella as a whole.
[30 marks]
Charles Dickens: A Christmas Carol
Read the following extract and then answer the question that follows.
44
They were a boy and a girl. Yellow, meagre, ragged, scowling, wolfish; but prostrate, too, in their humility. Where graceful youth should have filled their features out, and touched them with its freshest tints, a stale and shrivelled hand, like that of age, had pinched, and twisted them, and pulled them into shreds. Where angels might have sat enthroned, devils lurked, and glared out menacing. No change, no degradation, no perversion of humanity, in any grade, through all the mysteries of wonderful creation, has monsters half so horrible and dread. Scrooge started back, appalled. Having them shown to him in this way, he tried to say they were fine children, but the words choked themselves, rather than be parties to a lie of such enormous magnitude. "Spirit, are they yours?" Scrooge could say no more. "They are Man's," said the Spirit, looking down upon them. "And they cling to me, appealing from their fathers. This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it!" cried the Spirit, stretching out its hand towards the city. "Slander those who tell it ye. Admit it for your factious purposes, and make it worse. And abide the end."
Starting with this extract, how does Dickens present poverty and need?
Write about:
how Dickens presents poverty and need in this extract how Dickens presents poverty and need in the novella as a whole.
[30 marks]
Charles Dickens: A Christmas Carol
Read the following extract and then answer the question that follows.
Starting with this extract, explore how Dickens presents Scrooge’s attitude to money.
45
For again Scrooge saw himself. He was older now; a man in the prime of life. His face had not the harsh and rigid lines of later years; but it had begun to wear the signs of care and avarice. There was an eager, greedy, restless motion in the eye, which showed the passion that had taken root, and where the shadow of the growing tree would fall. He was not alone, but sat by the side of a fair young girl in a mourning-dress: in whose eyes there were tears, which sparkled in the light that shone out of the Ghost of Christmas Past. "It matters little," she said, softly. "To you, very little. Another idol has displaced me; and if it can cheer and comfort you in time to come, as I would have tried to do, I have no just cause to grieve." "What Idol has displaced you?" he rejoined. "A golden one." "This is the even-handed dealing of the world!" he said. "There is nothing on which it is so hard as poverty; and there is nothing it professes to condemn with such severity as the pursuit of wealth!" "You fear the world too much," she answered, gently. "All your other hopes have merged into the hope of being beyond the chance of its sordid reproach. I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you. Have I not?" "What then?" he retorted. "Even if I have grown so much wiser, what then? I am not changed towards you." She shook her head.
Write about:
how Dickens presents Scrooge’s attitude to money in this extract how Dickens presents Scrooge’s attitude to money in the novella as a whole.
[30 marks]
Paper 2 Section A: An Inspector Calls
Gender Generations
Social responsibility Class
Mrs Birling Mr Birling
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Inspector Goole Sheila Birling
Eric Birling Gerald Croft
Eva Smith Dramatic irony
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“A man has to look after ………………………..”“Practical man of ………………………..”“Can’t even take a ………………………..”“Girls of that ……………………….”“Half ………………………., half ………………………..”“He ……………………….. Of course he ………………………..”“Very ………………………. with life”“Men have ………………………. as well as ………………………..”“We’re respectable ………………………., not ………………………..”“Burnt her ………………………. ………………………., of course”“We are ………………………. for each other.”“Fire and ………………………. and ……………………….”“We are members of one ………………………..”“She was ………………………. and a good ………………………..”“We’re respectable ………………………., not ……………………….”“………………………., absolutely ……………………….”“a chain of ……………………….”“Massiveness, solidity and ……………………….”“He’s giving us the rope so that we’ll ………………………. ourselves.”“Used her as if she was an ………………………., a ………………………. not a person.”“Her husband’s social ……………………….”
1.‘I’m talking as a hard-headed, practical man of ‘
2.‘They will be taught it in fire and blood and ‘
3.About fifty, a rather cold woman and her husband’s social
4. ‘A man has to look after .’5.‘We are members of one .’6.‘She only had to blame’7.‘I say the girl’s dead and we all helped to
her.’8.Very pleased with life and rather . 9.‘But these girls aren’t cheap - they’re
.’10. Half , half .11. ‘We’re respectable citizens and not .’ 12. ‘She was young and ‘ 13. ‘Men have as well as privileges’.14. ‘There are and and
of Eva Smiths and John Smiths’15. ‘But how do you know it’s the same ?’ 16. ‘I liked her – she was .’17. ‘The Titanic… is , absolutely
.’ 18. ‘A of events.’19. ‘Burnt her out, of course.’20. The lighting should be and intimate21. Until the arrives, and then it
should be brighter and harder.22. We hear the ring of a front door
bell.49
Mr BirlingQuotation Analysis1.“a man has to look after himself”
2.”hard-headed practical man of business”
3.”they can’t even take a joke”
Mrs BirlingQuotation Analysis1.“her husband’s social superior”
2.”girls of that class” / “girls of that sort” / “a girl in her position”
3.”I accept no blame at all”
Eric BirlingQuotation Analysis1.“half shy, half assertive”
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2.”I just had to laugh”
3.”I agree with Sheila”
Sheila BirlingQuotation Analysis1.“very pleased with life”
2.”he knows. Of course he knows”
3.”she looks at them reflectively”
Gerald CroftQuotation Analysis1.“we’re respectable citizens, not criminals”
2.”you couldn’t have done anything else”
3.”Everything’s alright now.. Sheila… what about this ring?”
51
Eva SmithQuotation Analysis1.“burnt her inside out, of course”
2.”an animal, a thing, not a person”
3.”Eva Smiths and John Smiths”
Inspector GooleQuotation Analysis1.“massiveness, solidity and purposefulness”
2.”Public men have responsibilities as well as privileges”
3.”The young ones…. are the most impressionable”
Social responsibility Quotation Analysis1.”We’re all in it” (Sheila)
2.”you mustn’t try to build up 52
a kind of wall” (Sheila)
3.”we have to share our guilt” (Inspector Goole)
Criticism of capitalism Quotation Analysis1.”We don’t live alone” (Inspector Goole)
2.”millions and millions and millions of Eva Smiths and John Smiths” (Inspector Goole)
3.”They will be taught it in fire and blood and anguish” (Inspector Goole)
Cause and effect Quotation Analysis1.”a chain of events” (Inspector Goole)
2.”He’s giving us the rope – so that we’ll hang ourselves” (Sheila)
3.”We all helped to kill her” (Sheila)
Dramatic irony Quotation Analysis1.”unsinkable” (Mr Birling)
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2.”war is inevitable… fiddlesticks” (Mr Birling)
Gender Quotation Analysis1.”is it the one you wanted me to have?” (Sheila to Gerald)
2.”pretty and a good sport” (Eric about Eva)“young and pretty” (Gerald about Eva)3. “you think young women ought to be protected against unpleasant and disturbing things?”
Exam questions: How and why does Sheila change in An Inspector Calls? How does Priestley explore responsibility in An Inspector Calls? How does Priestley explore ideas about class in An Inspector Calls? How is the Inspector presented in An Inspector Calls? How does Priestley present gender inequality in An Inspector Calls? How is the difference between younger and older generations
explored in An Inspector Calls? How and why does Priestly present Mr Birling as a stubborn
character in An Inspector Calls? How does Priestley use Eric to explore ideas about childhood? How does Priestley use Gerald to explore ideas about class? How does Priestley present individualism in An Inspector Calls? In An Inspector Calls, the Inspector says ‘We are members of one
body’. How does Priestley explore ideas about collectivism in the play?
Do you think Mrs Birling is an important character in An Inspector Calls?
What is the importance of the staging of An Inspector Calls
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Paper 2 Section B: Power and Conflict PoetryThe Charge of the Light Brigade,Alfred Lord Tennyson 1854
Exposure, Wilfred Owen 1917
Bayonet Charge, Ted Hughes 1957
War Photographer, Carol Ann Duffy 1985
Kamikaze, Beatrice Garland 2007
Remains, Simon Armitage 2008
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Poppies, Jessie Weir 2009 London, William Blake 1794
Extract from ‘The Prelude’, William Wordsworth 1798
Ozymandias, Percy Bysshe Shelley 1818
My Last Duchess, Robert Browning 1842
Storm on the Island, Seamus Heaney 1966
The Emigrée, Carol Rumens Tissue, Imtiaz Dharker 200656
1993
Checking Out Me History, John Agard, 2007
57
Conflict PoetryPoem Ye
arTechniques Quotations Context
The Charge of the Light BrigadeAlfred Lord Tennyson
1854
Anaphora “half a league” “theirs but to do and die”
Crimean War
Dactylic dimeter “jaws of death / mouth of hell”
“shot and shell” Battle of Balaclava
Personification “noble six hundred” “when can their glory fade?”
Miscommunication
Metaphor “someone had blundered” “honour the light brigade”
Poet Laureate = patriotism / propaganda
ExposureWilfred Owen
1917
Jarring metre “But nothing happens” “knive us” Nihilism – the pointlessness of existenceAssonance “sudden successive flights
of bullets”“war lasts, rain soaks and clouds sad stormy”
Owen’s personal experience of the First World War
Repetition “streak the silence” “all their eyes are ice” Owen hospitalised in 1917 with ‘shell shock’ (PTSD)
Refrain “merciless iced east winds” “snow dazed” Owen was an outspoken critic of the war
Bayonet Charge
Ted Hughes
1957
Enjambment “raw-seamed hot khaki” “shot-slashed furrows” Hughes’ father was a WWI veteranSemantic fields of war and nature
“bullets smacking the belly out of the air”
“King, honour, human dignity etcetera dropped like luxuries”
Hughes’ poems often explore nature
Third person “cold clockwork of the stars”
“sweating like molten iron”
Anonymous soldier
Juxtaposition “patriotic tear” “yellow hare” Describes the experience of ‘going over-the-top’
War Photograp
herCarol Ann
Duffy
1985
Religious imagery “spools of suffering” “Rural England.” Duffy’s friendship with a war photographerRegular rhyme scheme
“ordered rows” “ordinary pain” Belfast, Beirut, Phnom Penh – sites of conflict
Regular stanza length
“tremble” “half-formed ghost” The media is reductive
Juxtaposition “nightmare heat” “a hundred” “five or six”
Desensitisation
KamikazeBeatrice Garland
2007
Italics for direct speech
“one-way journey” “like a huge flag” Cultural appropriation
Colour imagery “powerful incantations” “as though he no longer existed”
Kamikaze = suicide attacks made by Japanese WWII soldiers
Range of speakers “like bunting on a green-blue translucent sea”
“chattered and laughed”
Extreme patriotism
Metaphor and “fishes flashing silver” “better way to die” Rejection and isolation 58
simile
RemainsSimon
Armitage 200
8
Short clauses “probably armed” “his bloody life” Poem based on Armitage’s 2007 film The Not Dead
Enjambment “possibly not” “in my bloody hands” Based on interviews with veteran soldiersColloquialism “rips through his life” “drink and the drugs” “Desert sand” = Gulf WarHalf rhyme + four beat rhythm = ironic jollity
“tosses his guts” “end of story, except not really”
First-person narrative mirrors interview style
PoppiesJane Weir
2009
Ambiguous voice “individual war graves” “flattened, rolled, turned into felt”
Commissioned by Carol Ann Duffy
Dramatic monologue
“blockade of yellow bias binding”
“like a treasure chest” Refers to Armistice Sunday, which commemorates WWI
Symbolism “sellotape bandaged” “tucks, darts, pleats” Weir experiences ‘The Troubles’ in IrelandIrregular structure “steeling the softening of
my face” “the dove pulled freely”
Alludes to contemporary wars in Afghanistan and Iraq
Power PoetryPoem Ye
arTechniques Quotations Context
LondonWilliam Blake
1794
Anaphora “charter’d street” “charter’d Thames”
“blackning Church” From ‘Songs of Innocence and Experience”
Metaphor “marks of weakness / woe” “hapless Soldiers sigh” Blake was a Romantic poetJuxtaposition “in every cry” “youthful Harlots curse” Industrial Revolution Iambic rhythm “mind-forg’d manacles” “blights with plagues the Marriage
hearse”Oppression and individual freedom
Extract from ‘The Prelude’
William Wordsworth
1798
Simile “straight I unloosed her chain”
“like a swan” The sublime and enlightenment
Personification “small circles glittering idly in the moon”
“a huge peak, black and huge”
Romantic ideals of the power of nature
Enjambment “with an unswerving line, I fixed my view”
“upreared its head” Autobiographical poem – Lake DistrictIambic pentameter
“she was an elfin pinnace” “huge and mighty forms that do not live like living men” Spiritual growth and development
Ozymandias
Percy Bysshe Shelley
1818
Sonnet form “vast and trunkless” “King of Kings” Romantic poetryIambic pentameter
“half sunk a shattered visage lies”
“Look on my Works, ye Mighty”
Sympathising with the French Revolution
Oxymoron “wrinkled lip and sneer of cold command”
“Nothing beside remains” Criticism of absolute powerIrony “stamped on these lifeless
things”“lone and level” Ancient Egypt
My Last 184 Dramatic “looking as if she were “daylight / cherries / white Browning moved to England due to his 59
DuchessRobert
Browning 2
monologue alive” mule” overprotective fatherOne speaker “if they durst” “nine-hundred-years-old
name”Rhyming couplets “spot of joy” “I gave commands” Based on Duke Alonso of FerraraEnjambment “too soon made glad / too easily
impressed”“all smiled stopped together”
Set in Ferrara, 1564
Storm on the Island
Seamus Heaney
1966
Assonance “we are prepared” “exploding comfortably” Much of Heaney’s poetry is about farm life
Enjambment “it blows full / Blast” “spits like a tame cat” The poem is an extended metaphor for the Troubles in Ireland: conflict between Unionists and the Nationalists
Pronouns “leaves and branches can raise a chorus in a gale”
“we are bombarded by the empty air”
Extended metaphor
“it is a huge nothing that we fear”
The Emigrée
Carol Rumens
1993
Repetition of ‘they’
“sunlight-clear” “like a hollow doll” About a female emigrant
First person perspective
“bright, filled paperweight” “It tastes of sunlight” Fear of tyranny
Simile “sick with tyrants” “comb” / “love” Corruption, dictatorship and violenceMetaphor “white streets” / “white
plane”“my shadow falls as evidence of sunlight” Sense of identity and belonging
TissueImtiaz
Dharker200
6
Extended metaphor
“lets the light shine through”
“a sigh, a shift” Dharker was born in Pakistan but grew up in Scotland
Modal verbs “age or touching” “borderlines” / “brick” / “block”
Much of her poetry deals with cultural identity
Repetition “stroked and turned transparent”
“the sun shines through” Industrialisation and urbanisation
Enjambment “I might feel their drift” “turned into your skin” Permanence and transience
Checking Out
Me HistoryJohn Agard
2007
Non-standard English
“dem tell me” “fire-woman” Criticism of Eurocentrism in teaching
Repeated quatrain
“blind me to me own identity”
“a healing star” Non-standard phonetic spelling to reflect his own dialect
Lack of punctuation
“bandage up me eye with me own history”
“a yellow sunrise”
Enjambment “beacon” “I carving out me identity” Agard was born in Guyana in the Caribbean
60
Power ConflictPower of authorities Conflict between nations
Power of men over women Internal conflict
Power of art The impact of conflict
Power of time Attitudes of civilians to conflict
Power misused Conflict between man and nature
Power of nature Memory of conflict
Power taken away Conflict between past and present
Power of the past Conflict between authorities
Power of politics Conflict between politics and people
Power of humans The pain of conflict
Power of weapons The morality of conflict
Power of money Conflict between cultures
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How do poets explore conflict with nature in Storm on the Island and Exposure?
How do poets explore the memory of conflict in Remains and War Photographer?
How do poets explore ideas about the experience of conflict in Remains and Exposure?
How do poets explore ideas about internal conflict in The Emigrée and Checking Out Me History?
How do poets explore ideas about the power of location in The Emigrée and London?
How do poets look at the power of authorities in London and Ozymandias?
How do poets look at conflict in war in Charge of the Light Brigade and Bayonet Charge?
How do poets look at the power of men in My Last Duchess and Ozymandias?
How do poets explore powerlessness in London and Storm on the Island?
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How do poets explore ideas about the pain of conflict in Poppies and War Photographer?
Assessment Objective 2: Analyse language, form and structure used by a writer to create meanings and effects, using relevant subject terminology.
How can I include terminology in my answer?What is terminology?
Terminology is the set of words we use to describe language and structure in English.
To get marks for use of terminology you must accurately choose the part of your quote that is the most relevant and define what word class
or device is being used.Using terminology helps you to ‘zoom in’ because you identify the part
Can you put ‘the’ in front of it?
Is it a person, place or thing?
Can you pluralise it with an ‘s’ on the end?
= a noun
Can you put ‘could’ in front of it?
Can you add ‘ing’ to the end?
Can you put ‘I’, ‘we’, ‘she’ in front of it?
Is it something you do or are?
= a verb
Can you touch it? = concrete nounIf not = abstract noun
Can you add ‘er’ to the end?
Can it follow ‘seems’? Is it describing a
person, place or thing?= an adjective
Does it end in ‘ly’? Is it describing a verb? Is it describing an
adjective (e.g. really exciting)?
= an adverbI, me, my, mine, myself, we, us, our
You, your, yours, yourself,
He, his, she, her, hers, it, its, they, them,
Consider whether the pronoun is:
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I, me, my, mine, myself, we, us, our
You, your, yours, yourself,
He, his, she, her, hers, it, its, they, them,
Consider whether the pronoun is:
Does it join two clauses together? = a conjunctione.g. for, and, nor, but, or, yet, so, when, because, although, whereas
A = indefinite article
The = definite article
‘cold command’
Repetition of the same sound at the start of words
= alliteration
(see ‘Poppies’)
Poetry with no obvious rhyming pattern = free
verse‘a rich jewel in an Ethiope’s ear’
Two ideas placed near to each other to create a contrast
= juxtaposition
‘they’ll soon be asking for the earth’
Exaggerated statements = hyperbole
‘flattened, rolled, turned into felt’
Rule of three; a series of three words or phrases = tricolon
‘the crisp air laughed’
Giving human features to non-human objects or things
= personification
‘we must not build a wall’
Stating that something is something that it literally is not
= metaphor
‘In every.. In every’
Repeating a word or phrase at the start of a sentence
= anaphora
‘If love be rough with you be rough with love’
Repeating words in the reverse order =
antimetabole
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LondonWilliam Blake1794
I wander thro' each street,Near where the charter'd does flow. And mark in every face I meetMarks of , marks of . In every of every Man,In every infant’s of fear,In every voice: in every ban,The mind-forg'd I hear:
How the chimney-sweepers cryEvery church appalls, And the hapless Soldiers Runs in down walls But most through midnight I hearHow the youthful harlot’s the new-born infant’s tear And blights with the marriage hearse
‘cold command’
Repetition of the same sound at the start of words
= alliteration
(see ‘Poppies’)
Poetry with no obvious rhyming pattern = free
verse‘a rich jewel in an Ethiope’s ear’
Two ideas placed near to each other to create a contrast
= juxtaposition
‘they’ll soon be asking for the earth’
Exaggerated statements = hyperbole
‘flattened, rolled, turned into felt’
Rule of three; a series of three words or phrases = tricolon
‘the crisp air laughed’
Giving human features to non-human objects or things
= personification
‘we must not build a wall’
Stating that something is something that it literally is not
= metaphor
‘In every.. In every’
Repeating a word or phrase at the start of a sentence
= anaphora
‘If love be rough with you be rough with love’
Repeating words in the reverse order =
antimetabole
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ExposureWilfred Owen1918
Our brains ache, in the iced east winds that us...Wearied we keep awake because the night is silent...Low drooping flares confuse our memory of the salient...Worried by silence, sentries , curious, nervous,But happens.
Watching, we hear the mad gusts ing on the wire.Like twitching agonies of men among its brambles.Northward incessantly, the flickering gunnery rumbles,Far off, like a dull of some other war.What are we doing here?
The poignant misery of dawn begins to grow... only know war lasts, rain soaks, and clouds sag stormy.Dawn massing in the east her army once more in ranks on shivering ranks of gray,But happens.
Sudden successive flights of streak the silence.Less deadly than the air that shudders black with ,With sidelong flowing flakes that flock, pause and renew,We watch them wandering up and down the wind's nonchalance, nothing happens.
Pale flakes with lingering stealth come for our faces -We cringe in holes, back on forgotten dreams, and stare, snow-dazed,
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Deep into grassier ditches. So we drowse, sun-dozed,Littered with blossoms trickling where the blackbird fusses.Is it that we are ?
The ÉmigréeCarol Rumens1993
There once was a country… I left it as a childbut my memory of it is -clearfor it seems I never saw it in that Novemberwhich, I am told, comes to the mildest city.The worst news I receive of it cannot breakmy original view, the bright, filled .It may be at , it may be sick with tyrants,but I am by an impression of sunlight.
The streets of that city, the graceful slopesglow even clearer as time rolls its and the frontiers rise between us, close like waves.That child’s vocabulary I carried herelike a hollow , opens and spills a grammar.Soon I shall have every coloured molecule of it.It may by now be a lie, banned by the statebut I can’t get it off my tongue. It tastes of .
I have no passport, there’s no way back at allbut my city comes to me in its own plane.It lies down in front of me, docile as paper;I comb its hair and its shining eyes.My city takes me dancing through the cityof walls. They me of absence, they circle me. accuse me of being dark in their free city. city hides behind me. They mutter death,and my falls as evidence of .
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OzymandiasPercy Bysshe Shelley1818
I met a from an landWho said: "Two and legs of stoneStand in the . Near them, on the sand,Half sunk, a visage lies, whose frown,And lip, and sneer of c c ,Tell that its sculptor well those passions readWhich yet survive, on these lifeless things,The hand that mocked them and the heart that fed:And on the pedestal these words appear:'My name is Ozymandias, king of :Look on my , ye , and despair!' beside remains. Round the decayOf that wreck, and bareThe lone and sands stretch far away.”
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War PhotographerCarol Ann Duffy1985
In his he is alone with of suffering set out in ordered . The only light is and softly glows, as though this were a church and he a priest preparing to intone a Mass. Belfast. Beirut. Phnom Penh. All flesh is . He has a job to do. Solutions in trays beneath his hands, which did not then though seem to now. Rural England. Home again to pain which simple weather can dispel, to fields which don’t explode beneath the feet of running children in a heat.
Something is happening. A features faintly start to before his eyes, a half-formed . He remembers the cries of this man’s wife, how he sought approval without words to do what someone must and how the blood into foreign dust. A agonies in black and white from which his editor will pick out or six for Sunday’s supplement. The reader’s eyeballs prick with tears between the bath and pre-lunch beers. From the he stares impassively at where he earns his living and they do not care.
Language Structure and form
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First person Refrain
Third person Enjambment
Alliteration Rhyming couplets
Consonance Metre
Simile Stanza
Metaphor Caesura
Imperatives Punctuation
Imagery Dramatic monologue
Individual words Rhyme scheme
Personification Rhetorical question
Hyperbole Dactylic dimeter
Narrative voice Sonnet
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How do poets present ideas about conflict of identity in ‘Checking Out Me History’ and one other poem from ‘Power and Conflict’?Plan: Compare ‘Checking Out Me History’ and ‘London’
Introduction Structure of poems Imposing ideas of identity onto society Permanence of damage caused by conflict of identity
Both poets offer the reader a sense of conflict between the current state of identity and what they would like it to be. Agard in ‘Checking Out Me History’ criticises the imposition of a Eurocentric, white cultural identity onto his own knowledge of his personal history by comparing the fame of white figures of history with the unknown nature of figures that he identifies with such as ‘Mary Seacole’. This perhaps reflects his own experience of his personal culture being marginalised. In ‘London’, Blake offers a criticism of the conflict between the identity of the government and authorities and the identity of the vulnerable in society. He does this by showing the reader the ‘cry’ of the ‘infant’ and the ‘blood’ of the ‘soldiers’.
Structurally, the poems express the idea of conflict of identity very differently. Agard uses a free verse, irregular structure to Furthermore the use of the italics in the poem serves to .
Blake in ‘London’ uses a strict rhyme scheme and rhythm throughout in order to demonstrate .
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Both poets are concerned with the way authorities impose identities onto society. Agard expresses this through his repetition of ‘dem tell me’. Specifically, .
Blake in ‘London’ shows the negative impact of authorities imposing their identity onto society when he creates the image of a ‘chartered street’ and a ‘chartered Thames’. Here we see that .
To highlight the deep damage that can be done by a conflict of identity, Agard uses the metaphor ‘bandage up me eye with me own history’, highlighting the idea that He goes on to show that the conflict can be resolves when he says ‘I carving out me identity’. Here the use of the verb ‘carving’ shows .
Blake also is concerned with the permanence of damage caused by a conflict of identity. In ‘London’, Blake also seems to hint at the permanent damage done when peoples’ identities are harmed by authorities when he refers to ‘marks of weakness, marks of woe’
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.
How do poets present ideas about the power of humans in ‘Bayonet Charge’ and one other poem from ‘Power and Conflict’?Plan: Compare ‘Exposure’ and ‘Bayonet Charge’
Introduction Sound Patriotism Nature
Both poets offer the reader a vivid image of the experience of conflict. Owen writes from a personal experience of war, involving the reader in his description through the use of the collective first person pronoun ‘we’. Hughes did not himself see combat but seems to have been heavily influenced by his father’s experience of war. Writing using the third person pronoun ‘he’ provides the reader with some separation from the action just like Hughes himself had; we see the experience through an omniscient narrator.
Both Hughes and Owen portray the sounds of war as frightening and shocking. Owen begins with an image of ‘silence’, speaking of ‘curious’, ‘nervous’ soldiers. In the fourth stanza this is broken by ‘sudden successive flights of bullets’. Specifically, here .
Hughes also talking about the sound of bullets in conflict, describing them as ‘smacking the belly out of the air’. However, he begins with this loud shocking sound and ends with the image of a ‘silent’ ‘yellow hare’. In particular, the
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.
In ‘Bayonet Charge’, Hughes undermines and criticises the patriotism attached to conflict, stating that in the reality of war ‘king, honour, human dignity, etcetera dropped like luxuries in a yelling alarm’ .
Owen also undermines images of patriotic bravery through his use of anaphora, repeating ‘but nothing happens’ at the end of three stanzas. Here we see .
Hughes repeats the image of a ‘green hedge’ at the start and end of the poem to . He also creates a vivid image of the impact of conflict on nature, describing the ‘shot-slashed furrows’. . However throughout ‘Exposure’, Owen portrays nature as itself an enemy, participating in the conflict. The reader is introduced at the start to the ‘merciless iced east winds that knife us’. Here we see
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.
How do poets present ideas about the power of identity in ‘Kamikaze’ and one other poem from ‘Power and Conflict’?Plan: Compare ‘Kamikaze’ and ‘The Emigrée’
Introduction Speaker of the poem Power of positive memory Ending with the powerlessness of identity
Both poets describe identity as formed by the past and affected by the present. Rumens in ‘The Emigrée’, by using a first person perspective, describes the protagonist’s positive memory of their home of origin, suggesting that it has made a permanent, positive and important ‘impression’ on them. Garland in ‘Kamikaze’ uses multiple narrative voices in her description of a pilot’s failure to fulfil his mission due to his positive, nostalgic memories of his childhood by the sea. Neither poets had personal experiences of the specific identities they describe but both end their poems with a sense of the powerlessness of individual identity. In ‘The Emigrée’, Rumens emphasises the threat of an unidentified ‘they’ and mentions the protagonist’s ‘shadow’ and in ‘Kamikaze’, Garland ends with the verb ‘die’ to emphasise the dramatic negative effect the pilot’s decision had.
Rumens in ‘The Emigrée’ gives the protagonist’s identity importance through the use of the definite article ‘the’ in the title. This . Furthermore, use of the first person narrative voice .
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Conversely in ‘Kamikaze’, the identity of the pilot is told initially through an omniscient narrator, who has access to what his daughter ‘thought’ about her father’s memories of his childhood. This creates the sense that . Italics in the poem are used by Garland to .
Both poets are concerned with the way memories of the past can inform identity. Rumens uses a metaphor to describe the memory as a ‘bright, filled paperweight’. Specifically, here . Her memory of her language ‘tastes of sunlight’ . Garland in ‘Kamikaze’ emphasises the nostalgic positivity of the pilot’s memory in the simile ‘little boats strung out like bunting’ . However, there is a hint at the difficulties to come when he remembers the ‘turbulent inrush’ of the sea, which may represent .
To highlight the idea that an identity created by past memories can be powerless, Rumens ends ‘The Emigrée’ using asyndetic listing of the abuse the speaker suffers in the present. Using the third person collective pronoun ‘they’ emphasises Furthermore, ending with ‘my shadow falls as evidence of sunlight’ demonstrates
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.Garland is also concerned with the way a personal identity can be weakened by others. After failing to complete his mission, the pilot’s daughter ‘said, he must have wondered which had been the better way to die.’ In other words, . Here the use of the modal verb ‘must’ . Ending with the verb ‘die’ highlights .
How do poets present ideas about the power of humans in ‘My Last Duchess’ and one other poem from ‘Power and Conflict’?Plan: Compare ‘My Last Duchess’ and ‘Ozymandias’
Introduction Speaker of the poem and structure Permanence of power Power of nature
Both poets describe the power of an arrogant and seemingly cruel ruler and are concerned with the use of humans’ power. Shelley’s overall message in ‘Ozymandias’ is that the power of humans is transient, expressed through multiple narrative voices and the description of the overwhelming power of nature and time. Browning in ‘My Last Duchess’ demonstrates to the reader the malevolence that can be present within rulers through the form of a dramatic monologue and the speaker’s language of superiority.
Shelley in ‘Ozymandias’ sets up the ruler’s importance through the title, which . Furthermore, use of multiple narrative voices . Caesurae are used throughout the one-stanza poem to .
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There is only one narrative voice in ‘My Last Duchess’, which The form of the dramatic monologue highlights . Furthermore, the use of strict rhyming couplets throughout the poem demonstrates .
Both poets are concerned with permanence of power. Shelley makes Ozymandias seem like a ruler ignorant of the transience of his power by contrasting Ozymandias’ use of imperatives ‘look’ and ‘despair’ with the image of a ‘colossal wreck’ in ‘boundless’ and ‘bare’ surroundings. Specifically, here the . Browning in ‘My Last Duchess’ emphasises the apparent permanence of the Duke’s power when he says ‘I gave commands; then all smiles stopped together’. Here the use of . Furthermore, when the Duke says ‘I choose never to stoop’ we see that .
In ‘Ozymandias’ the power of nature is highlighted by the ‘shattered visage’ and ‘lifeless things’. Specifically, the
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. Ozymandias’ pride in his ‘works’ is juxtaposed with the ‘lone’ sands .Through the use of the simile ‘looking as if she were alive’ at the start and ‘as if alive’ towards the end of the poem, Shelley could be suggesting that . Furthermore, Shelley highlights the superiority that humans can consider they have over others. The Duke refers to the Count’s daughter as ‘my object’ . Thus we see that the power of nature .
How do poets present ideas about the impact of conflict in ‘Poppies’ and one other poem from ‘Power and Conflict’?Plan: Compare ‘Poppies’ and ‘War Photographer’
Introduction Speaker of the poem and structure Loneliness created by conflict Emotional impact of conflict
Both poets describe the deeply scarring emotional effect of conflict on individuals. Whilst Weir chooses the perspective of a mother sending her son to war, Duffy’s protagonist is a photographer who is impacted by his experiences of conflict and recalls these back at home. Whilst Duffy’s strict rhyme scheme and regular stanzas reflects the oppressive repetition of suffering, in ‘Poppies’ the structure is irregular and there is no rhyme scheme; the use of free verse emphasises the freedom she aspires to have from worry and fear.
In ‘War Photographer’ the protagonist is introduced in the title, which . The use of third person narration creates a sense of . Furthermore, the strict rhyme scheme and stanza length
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emphasises .
Conversely, Weir in Poppies provides a first person narrative perspective in order to . In contrast to the ordered nature of the ‘individual war graves’, the poem is written in free verse with enjambment used throughout to highlight .
War Photographer opens with phrase ‘In his darkroom he is finally alone’. Here the possessive third person pronoun ‘his’ highlights . Furthermore, the use of the adverb ‘finally’ emphasises .
In ‘Poppies’ the loneliness of the speaker is expressed through the use of images of birds. The ‘dove’ pulling ‘freely against the sky’ represents . She ‘released a song bird from its cage’, perhaps mirroring her desire to . Reference to ‘you’ in the poem creates the sense that .
The deep emotional impact created by the experience of conflict is highlighted in ‘War Photographer’ through the image of fields that ‘explode’ in a ‘nightmare heat’.
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. Furthermore, the ‘half-formed ghost’ that emerges as the photograph develops .
In ‘Poppies’, Weir expresses the emotional impact of conflict by demonstrating the repression of the speaker’s emotions. She ‘steeled the softening’ of her face. Here the . Furthermore, the speaker expresses what she ‘wanted’ to do and ‘resisted’ doing. The image of the speaker’s emotions being ‘turned into felt’ highlights the idea that .