GCSE English Literature
Revision Pack
CONTENTS:
TOP TIPS:
Tips for how to answer essay questions for English Literature
Unit 1 – Exploring Modern Texts
Of Mice and Men
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
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Plot overview
Notes & Analysis
Guide to Writing an Essay
Essay questions and mark schemes
Model Essay
An Inspector Calls
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Plot overview
Notes
Guide to Writing an Essay
Essay questions and mark schemes
Model Essay
Unit 2 – Poetry Across Time
AQA Poetry
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
Conflict
o Notes
o Essay Questions and mark schemes
Relationships
o Notes
o Essay questions and mark schemes
TOP TIPS:
P – Point
E - Evidence
T - Technique
A - Analysis
L - Link
Things to remember:
1. Always BEGIN with TECHNIQUES (Writer‟s craft)
2. Focus on MINIMUM 3. MAXIMUM 4 techniques
3. For best marks, in introduction, refer to:
a. Name of author
b. 3 techniques used
c. Overall effect of these techniques
4. Do NOT narrate or summarise the story!!!
5. Always use an appropriate QUOTE to back up your point
Unit 1 - Exploring Modern Texts (40%)
In this unit candidates will study two modern texts, one of which will be based on exploring different
cultures. Modern in this context is defined as post - 1945.
Candidates will be expected to consider:
•
•
•
Ideas, themes and issues
Characterisation
Settings
These must be underpinned by understanding the writers' language and techniques.
Assessment Objectives (AOs)
All specifications in English Literature must require candidates to demonstrate their ability to:
AO1
respond to texts critically and imaginatively; select and evaluate relevant textual detail to illustrate and
support interpretations
AO2
explain how language, structure and form contribute to writers‟ presentation of ideas, themes and
settings
AO4
relate texts to their social, cultural and historical contexts; explain how texts have been influential and
significant to self and other readers in different contexts and at different times
Unit 1 - Exploring Modern Texts (40%)
Section A (20%): - AN INSPECTOR CALLS
Skills targeted:
AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to
illustrate and support interpretations
AO2 Explain how language, structure and form contribute to writers‟ presentation of ideas,
themes and settings.
Section B (20%): - OF MICE AND MEN (America)
Skills targeted:
AO1 Respond to texts critically and imaginatively; select and evaluate relevant textual detail to
illustrate and support interpretations.
AO2 Explain how language, structure and form contribute to writers’ presentation of ideas,
themes and settings.
AO4 Relate texts to their social, cultural and historical contexts; explain how texts have been
influential and significant to self and other readers in different contexts and at different times.
AN INSPECTOR CALLS
SECTION A – Modern Drama
PLOT OVERVIEW
Act 1
The Birling family is celebrating the engagement of Sheila to Gerald Croft, the son of Lord
and Lady Croft, who comes from „an old country family – the landed people‟. Arthur Birling
is in a good mood and makes a number of speeches, giving his views about the state of the
world, technology and industrial relations. One of his main themes is about everyone being
responsible for themselves; he doesn‟t believe that anyone has a responsibility to others apart
from his family.
His speech is interrupted by the sound of a door bell. Inspector Goole is announced and
enters the dining room where the family are gathered. He informs them of the death of a
young woman who has committed suicide by drinking disinfectant. It emerges that Birling
had sacked the girl, Eva Smith, two years earlier, after she had been one of the ring-leaders in
a strike and demanding higher wages.
Sheila Birling is also connected to the girl, having had her sacked from her new job at
Milwards. She is horrified by what she did and is genuinely remorseful.
The inspector seems to know the details of the family‟s involvement before they speak and
when he tells them that girl changed her name to Daisy Renton, Gerald‟s reaction tells them
us that he, too, knew the girl. When they are temporarily left alone, Sheila warns Gerald not
to try to hide anything from the inspector.
By the end of the first act, the audience is expecting the inspector to reveal further
connections with members of the Birling family.
Act 2
Although Gerald tries to get Sheila to leave the room, she insists on staying; Gerald admits to
having had an affair with Eva Smith, the girl who h knew as Daisy Renton, the previous
summer. Sheila is hurt and disappointed in Gerald who had told her he was busy at the works
at that time. After Gerald broke off the affair, Eva/Daisy had left Brumley for a few months.
After Sheila has returned her engagement ring to him, Gerald goes out, appearing genuinely
affected by the new of the girl‟s death.
Despite Sheila‟s repeated warnings, Mrs. Birling tries to intimidate the inspector, believing
that she could have no possible connection to the girl. When the inspector reminds her of the
pregnant girl she turned away from the charity organisation she chaired, Mrs. Birling
concedes but justifies her actions, claiming that the girl deserved it as she had lied to her
about her name - calling herself Mrs. Birling. She also claims that she refused the girl‟s
story about the father of the baby offering to help her with stolen money. She retains her
stern, judgemental position and insists that the father of the baby is the only guilty party and
should be held responsible for the girl‟s death.
During this exchange, Eric (the son of Arthur and Sybil Birling) who has, until now, been
out, enters the house and the audience realise that he is, in fact, the father of the baby.
Act 3
Eric immediately realises that they are all aware of his connection with Eva Smith, and he
narrates his story. He verifies that he did, indeed, offer to help Eva Smith and the baby by
stealing money from his father‟s business.
Following this, the inspector makes his final monologue about the need for social
responsibility. This dialogue is in complete contrast to that of Arthur Birling‟s at the start and
the two characters are, thus, placed in direct opposition to each other.
During this time, Gerald has been out and he now re-enters with the news that there is no
Inspector by the name of Goole on the force and that he is, in fact, an imposter. At this news,
Arthur and Sybil are relieved and talk about how all of this can be forgotten. However, a
change has come over Sheila and Birling who try to convince their parents that regardless of
whether or not Inspector Goole is a real inspector, they cannot deny what they have all done,
and therefore, need to amend their ways.
The play ends with a phone call from the police station which informs them that an inspector
is on his way to question them about the death of a young girl.
NOTES & ANALYSIS:
Context
Inspector Calls is set in 1912
An Inspector Calls was written in 1945
The First World War would start in two
years.
The Second World War ended in Europe on 8 May
1945. People were recovering from nearly six
years of warfare, danger and uncertainty.
There were strong distinctions between Class distinctions had been greatly reduced as a
the upper and lower classes.
result of two world wars.
Women were subservient to men. All a As a result of the wars, women had earned a more
well off woman could do was to get
valued place in society.
married; a poor woman was seen as cheap
labour.
The ruling classes saw no need to change There was a great desire for social change.
the status quo.
Immediately after The Second World War,
Clement Attlee's Labour Party won a landslide
victory over Winston Churchill and the
Conservatives.
Dramatic Devices:
There are 7 main devices –
1)
2)
3)
4)
5)
6)
The Dramatic irony with Arthur Birling (p8)
Timing of the door bell (p10)
Photo of Eva Smith
The revelation that Eva Smith was pregnant (p45)
The swapping of the order of interrogation – Mrs. Birling & Eric
The Inspector‟s speech at the end (p56)
The timing of the phone (p72)
Devices used to create tension in Inspector Calls:
Dramatic irony
Action in 1 room
Inspector‟s divisive methods
Use of imperatives / orders by Inspector
The timing of the door bell
The timing of the final phone call
Symbols
The use of one room
The door-bell
Lighting
Eva Smith
Author Surrogate
Sheila‟s ring
Sheila and Eric
The Inspector
Arthur & Sybil Birling
Complete the following chart:
Symbols in AN INSPECTOR CALLS
Theme
One room
The door &
door bell
Light
Author
surrogate
Sheila‟s ring
Eva Smith
Sheila & Eric
Arthur & Sybil
Inspector Goole
Textual Ref.
Characters
Interpretation & perceptive insight
Page
ref.
Themes
Socialism VS Capitalism
Social responsibility
Power
Change VS Status quo
Dichotomy/Juxtaposition
Themes in AN INSPECTOR CALLS
Theme
Socialism VS
Capitalism
Responsibility
Dichotomy &
juxtaposition of:
class & age
Change VS Status
quo
Power
Textual Ref.
Characters
Interpretation & perceptive
insight
Page
ref.
Character Analysis
Who / what does she represent?
What role does she play at start?
What role does she play at the end?
What is the significance of her changing role?
What does she represent in society?
How does each member of the Birling family use her to
justify their actions?
Does it matter if she is dead or not?
What is her significance in the text?
What does he represent in society?
What role does she play at start?
What role does she play at the end?
What is the significance of her changing role?
What does he represent in society?
How is Arthur Birling‟s role significant to the play?
How is dramatic irony important in understanding his
character?
Adjectives to describe his character
What does she represent in society?
How is Sybil Birling‟s role significant to the play?
What is the significance of Inspector Goole
interrogating Sybil Birling before Eric?
Adjectives to describe her character
Who/what does he represent in society?
How is Inspector Goole‟s role significant to the play?
What is significant about Inspector Goole‟s name?
What techniques gives Inspector Goole power over the
members of the Birling family?
What devices does the Inspector use to interrogate
members of the Birling family?
Structuring an Essay
Introduction:
Thesis statement, including:
 Name of writer
 Name 3 techniques (maximum 4)
 Explain overall effect of the techniques
PETAL
Paragraph 1:
 Choose 1st technique
 Use quote to support your point
 Detailed analysis of effect
Paragraph 2:
 Choose 2nd technique
 Use quote to support your point
 Detailed analysis of effect
Paragraph 3:
 Choose 3rd technique
 Use quote to support your point
 Detailed analysis of effect
Conclusion:
Say something new or pose a question which will linger on the mind of the
reader.
Essay Questions and Mark Scheme:
Foundation Questions:
1F Mark Scheme Template: Section A
Skills content:
Students demonstrate:
. 6.1 Considered/qualified response to task
. 6.2 Considered/qualified response to text
Mark
Band 6
26-30
marks
. 6.3 Details linked to interpretation
. 6.4 Appreciation/consideration of writer’s uses of language and/or form and/or structure
and effect on readers/audience
. 6.5 Thoughtful consideration of ideas/themes Information is presented in a way which assists with communication of meaning. Syntax and
spelling are generally accurate.
Students demonstrate:
. 5.1 Sustained response to task
. 5.2 Sustained response to text
Mark
Band 5
21-25
marks
. 5.3 Effective use of details to support interpretation
. 5.4 Explanation of effects of writer’s uses of language and/or structure and/or form
. 5.5 Understanding of themes/ideas/ feelings/attitudes
Information is usually presented in a way which assists with communication of meaning.
Syntax and spelling are generally accurate.
Students demonstrate:
. 4.1 Explained response to task
Mark
Band 4
16-20
marks
. 4.2 Explained response to text
. 4.3 Details used to support a range of comments
. 4.4 Identification of effect(s) of writer’s choices of language and/or form and/or structure
. 4.5 Awareness of ideas/themes/feelings/attitudes Information is presented in a way which is generally clear. Syntax and spelling have some
degree of accuracy.
Students demonstrate:
. 3.1 Supported response to task
. 3.2 Supported response to text
Mark
Band 3
11-15
marks
. 3.3 Comment(s)on detail(s)
. 3.4 Awareness of writer making choice(s) of language and/or structure and/or form
. 3.5 Generalisations about ideas/themes/feelings/attitudes
Despite lapses, information is presented in a way which is usually clear. Syntax and spelling
have some degree of accuracy, although there are likely to be frequent errors.
Students demonstrate:
. 2.1 Some clear response to task
. 2.2 Some clear response to text
Mark
Band 2
6-10
marks
. 2.3 Range of details used
. 2.4 Simple identification of method(s)
. 2.5 Some range of explicit meanings given Syntax and spelling are sufficiently clear to convey meaning.
Students demonstrate:
. 1.1 Simple response to task
. 1.2 Simple response to text
Mark
Band 1
1-5
marks
. 1.3 Reference to some details
. 1.4 Reference to writer’s methods
. 1.5 Simple comment on meaning(s) Despite frequent lapses in syntax and spelling, meaning can be derived.
0 marks
Nothing worthy of credit
(January 2011)
1. How does Priestley present Eric in An Inspector Calls?
Write about:
•
what Eric says and does
•
how other characters respond to him
•
the methods Priestley uses to present Eric.
(30marks)
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however ,
include some of the following:
AO1
•
•
•
•
AO2
•
what he says and does - foolish and young
his relationships with his family – how they respond to him and how he responds to
them
his growth through the play
his reaction to the Inspector
his journey through the play – how he is introduced and what his last lines in the play
are
• the language he uses
• changes in his attitude
the differences between him and his parents
2. Write about the differences between Sheila and Sybil Birling in the play
An Inspector Calls.
You should write about:
•
what they say and do
•
their different attitudes
•
the methods Priestley uses to present Sheila and Sybil Birling.
(30 marks)
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however ,
include some of the following:
AO1
•
•
•
•
AO2
•
•
•
•
differences between children and parents – what both characters say and do
their behaviour and attitudes – compare and contrast
attitudes to Eva Smith and Inspector Goole
speed with which they understand the enormity of the situation
language used by the different characters
the play form as a dramatic device to manipulate the characters and audience – is this
seen through the characters?
the differences in the journeys of the characters through the play
scene directions to help the audience learn about the characters
Higher Questions:
Unit 1H Mark Scheme Template: Section A
Skills content:
Students demonstrate:
. 6.1 Insightful exploratory response to task
. 6.2 Insightful exploratory response to text
Mark Band 6
26-30 marks
. 6.3 Close analysis of detail to support interpretation
. 6.4 Evaluation of the writer’s uses of language and/or structure and/or form and
effects on readers/audience
. 6.5 Convincing/imaginative interpretation of ideas/themes Information is presented clearly and accurately. Writing is fluent and focused. Syntax
and spelling are used with a high degree of accuracy.
Students demonstrate:
Mark Band 5
21-25 marks
. 5.1 Exploratory response to task
. 5.2 Exploratory response to text
. 5.3 Analytical use of details to support interpretation
. 5.4 Analysis of writer’s uses of language and/or structure and/or form and effects
on readers/audience
. 5.5 Exploration of ideas/themes Structure and style are used effectively to render meaning clear. Syntax and spelling
are used with a high degree of accuracy.
Students demonstrate:
. 4.1 Considered/qualified response to task
. 4.2 Considered/qualified response to text
Mark Band 4
16-20 marks
. 4.3 Details linked to interpretation
. 4.4 Appreciation/consideration of writer’s uses of language and/or form and/or
structure and effect on readers/audience
. 4.5 Thoughtful consideration of ideas/themes Information is presented in a way which assists with communication of meaning.
Syntax and spelling are generally accurate.
Students demonstrate:
. 3.1 Sustained response to task
. 3.2 Sustained response to text
Mark Band 3
11-15 marks
. 3.3 Effective use of details to support interpretation
. 3.4 Explanation of effects of writer’s uses of language and/or form and/or structure
and effects on readers/audience
. 3.5 Understanding of ideas/themes/feelings/attitudes Information is usually presented in a way which assists with communication of
meaning. Syntax and spelling are generally accurate.
Students demonstrate:
. 2.1 Explained response to task
. 2.2 Explained response to text
. 2.3 Details used to support a range of comments
Mark Band 2
6-10 marks
. 2.4 Identification of effect(s) of writer’s choices of language and/or form and/or
structure
. 2.5 Awareness of ideas/themes/feelings/attitudes Information is presented in a way which is generally clear. Syntax and spelling have
some degree of accuracy.
Students demonstrate:
Mark Band 1
1-5 marks
1.1 Supported response to task
1.2 Supported response to text
1.3 Comment(s)on detail(s)
1.4 Awareness of writer making choice(s) of language and/or structure and/or form
1.5 Generalisations about ideas/themes/feelings/attitudes
Despite lapses, information is presented in a way which is usually clear. Syntax and
spelling have some degree of accuracy, although there are likely to be frequent
errors.
0 marks
Nothing worthy of credit
(January 2011)
Question 1
How does Priestley show that tension is at the heart of the Birling family?
(30 marks)
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however,
include some of the following:
AO1
•
the lack of understanding between the generations – Mr Birling does not understand
his children
•
sibling squabbles
•
lack of compassion and differing views/beliefs brought out by the Inspector
•
the characters are outspoken and do not consider each other
•
the impact of the Inspector takes the shroud off the niceties within the family
AO2
•
the play form allows tension to be created through the staging and scene directions –
the use of subdued lighting at the beginning to create a relaxed atmosphere could in
fact be shrouding the true feelings at the table especially as the language hints at
tension
•
the use of cliff hangers especially used to show Sheila and Gerald‟s relationship and
problems (it will be assumed by students that as they are engaged he is considered
part of the family)
•
the dialogue between the characters is a clear indication of tension, e.g. Birling and
Eric.
•
the children still being treated as „little children‟, seen through the language
Question 2
Priestley criticises the selfishness of people like the Birlings. What methods
does he use to present this selfishness?
(30 marks)
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however ,
include some of the following:
AO1
•
the lack of understanding from Birling of the working class
•
Sheila having no regard for other people as seen in the incident at Milwards
•
Eric stealing money to, sort out his problem‟
•
Sybil – having a position in society and not using it correctly
•
social satire of the wealthy class and their lack of appreciation for others
AO2
•
dramatic irony – to humiliate those similar to Birling – shows their self-obsession and
that their assuredness is misplaced
•
the fact the play is set in 1912 and written in 1945/6 – satirises his society and those in
it like Birling who have not learnt from past mistakes
•
creating a chain of events to show that one action can have many consequences
•
through the dialogue of the characters – Priestley is able to highlight their faults
•
through the Inspector‟s tone and style of questioning – mouthpiece for Priestley?
Model Essay:
How does Priestley use the Inspector to voice his message on Social Responsibility?
Indeed, it may be said that An Inspector Calls is a play more centred on themes and ideas than one
driven by plot. Hence, Priestley uses a number of devices throughout the text to convey his ideas
about social responsibility - juxtaposition being perhaps one of the more significant strategies
employed by Priestley to highlight his ideas about the community and social responsibility. Thus,
when Mr Birling – a stereotypical construct of Aristocratic English society – presents his monologue
about the „unsinkable Titanic‟ and the „scaremongers making a fuss about nothing‟, the audience are
immediately made aware of his ignorance and self-inflated, pompous attitude, thus casting doubt over
his capitalist ideas about „mind[ing] his own business‟. This, then, is in direct contrast to the
Inspector‟s message on socialism, further highlighted by the clever timing of the doorbell which is
designed not only to unnerve the audience and the characters, but to create a conflict between Mr
Birling and the Inspector.
This conflict between the Inspector and Arthur Birling serves as a powerful dichotomy of ideas –
between capitalism and socialism – and is thus amply exploited by Priestley to highlight both the way
things were in British society during the Pre-World War 1 era, and the immense need for change.
This juxtaposition and power play, thus, add strength to the ideas presented by Priestley. The use of
the Inspector as author surrogate gives further credence to the socialist ideal and is enforced through
Priestley‟s clever crafting of characters; Birling who is set up as a sanctimonious, arrogant, yet
ignorant fool is juxtaposed by the Inspector – a modest, yet informed individual who represents the
common people; Mrs Birling who is clearly disliked by Priestley himself, is portrayed as an
egotistical, uncaring and self-important person whose manner is repugnant not only to Priestley, but
also to the audience whose views of her affects, in turn, their views on the selfish policies which she
represents. The contrast between the characters of Mr and Mrs Birling to that of Sheila and Eric also
help to highlight the gradual change affecting pre-World War 1 society which led to a demand for
better working conditions for the working classes, and a smudging of those lines which, until then, so
uncompromisingly defined the social classes. Accordingly, the younger generation – represented by
the characters of Eric and Sheila – portray societal shifts towards greater equality and, subsequently,
become author surrogates to some extent, joining forces with the Inspector to give further weight to
Priestley‟s socialist ideal.
The conflict between the Inspector and Mr Birling are sustained not only by the use of dramatic irony
to create a negative impression of Birling and a lack credibility which impacts on the audience‟
perception of his values, but through his shaping of the Inspector‟s character who, despite his muted
and inferior appearance, is revealed to be the most authoritative voice in the play; the almost
transcendent, god-like voice given to the Inspector by Priestley, which carries forward this vital
message about society, individuals and the need for human understanding and compassion, though
ignored by the two older members of the family, finds root in the hearts of the younger members– the
generation who will, in time, be responsible for shaping a new society, and thus, those who matter
most. This authority stems not only from his role of Inspector, but through his persistent use of
Socratic questioning which is merciless and unforgiving towards the other characters despite their
social superiority. Moreover, Priestley‟s perpetual use of the word „authority‟ to describe the
Inspector‟s manner, tone and register, along with his frequent referral to the Inspector‟s „cutting in‟ of
other‟s speech, immediately gives him a power denied to the other characters, consequently, allowing
Priestley to voice his ideas more vociferously through the Inspector‟s mouth. This interruption of
speech, accompanied by the interruption of Birling‟s speech by the doorbell, further increases the
power given to the Inspector. This very blatant and biased shaping of character and plot highlights
once again the central focus of the play as one of theme rather than narrative.
******************
Comment [XB1]:
5.1 Exploratory response to task
5.2 Exploratory response to text
Comment [XB2]:
6.1 Insightful exploratory response to
task
6.2 Insightful exploratory response to
text
6.4 Evaluation of the writer’s uses of
language and/or structure and/or form
and effects
6.5 Convincing/imaginative
interpretation of ideas/themes
Comment [XB3]:
5.1 Exploratory response to task
5.2 Exploratory response to text
Comment [XB4]:
5.1 Exploratory response to task
5.2 Exploratory response to text
Comment [XB5]:
5.1 Exploratory response to task
5.2 Exploratory response to text
Comment [XB6]:
6.1 Insightful exploratory response to
task
6.2 Insightful exploratory response to
text
6.5 Convincing/imaginative
interpretation of ideas/themes
Comment [XB7]:
6.1 Insightful exploratory response to
task
6.2 Insightful exploratory response to
text
6.5 Convincing/imaginative
interpretation of ideas/themes
Comment [XB8]:
6.1 Insightful exploratory response to
task
6.2 Insightful exploratory response to
text
6.3 Close analysis of detail to support
interpretation
6.4 Evaluation of the writer’s uses of
language and/or structure and/or form
and effects on readers/audience
6.5 Convincing/imaginative
interpretation of ideas/themes
OF MICE AND MEN
SECTION B - Exploring cultures
PLOT OVERVIEW
Section 1
Description of a riverbed in rural California, a beautiful, wooded area at the base of “golden
foothill slopes.” A path runs to the river, used by boys going swimming and riffraff coming
down from the highway. Two men walk along the path. The first, George, is small, wiry, and
sharp-featured, while his companion, Lennie, is large and awkward. They are both dressed in
denim, farmhand attire.
As they reach a clearing, Lennie stops to drink from the river, and George warns him not to
drink too much or he will get sick, as he did the night before. As their conversation continues,
it becomes clear that the larger man has a mild mental disability, and that his companion
looks out for his safety.
George decides that they will stay in the clearing for the night. At Lennie‟s request, George
tells Lennie about their DREAM of a ranch of their own and their rabbits – which Lennie is
particularly interested in. We learn, briefly, of the events in Weed and George tells Lennie
that if something were to go wrong, he should come here, hide in the brush and wait for
George.
Section 2
Lennie and George arrive at the ranch and meet with Candy and the boss. They also meet
Curley for the first time. After Curley leaves, Candy explains that Curley loves beating up big
guys, “kind of like he‟s mad at ‟em because he ain‟t a big guy.” George already feels that
there is potential for trouble here.
They meet Curley‟s wife, a pretty, heavily made-up woman with a nasal voice, appears.
Lennie is immediately fascinated by her. George immediately recognises trouble. This is
reinforced by the fact that she is wearing red – the same colour the lady was wearing in Weed
and the source of Lennie‟s trouble there.
Slim is also introduced. His description is the complete opposite of Curley‟s wife. Steinbeck
clearly signals to the reader his personal feelings about the different characters.
Section 3
At the end of the workday, Slim and George return to the bunkhouse. Slim has agreed to give
one of the pups to Lennie, and George thanks him for his kindness, insisting that Lennie is
“dumb as hell,” but is neither crazy nor mean. Slim appreciates George‟s friendship with
Lennie, saying that it is a welcome change in a world where no one ever “seems to give a
damn about nobody.” George confides in Slim and ends up telling him the story of what
happened in Weed. We are told that his tone takes on the tone of a confession, giving Slim a
God-like nature.
Carlson insists that Candy‟s dog is put down on the grounds that she is old and makes the
place smell. Candy is reluctant, but when Slim does not respond, he gives in. Carlson
reassures Candy that the dog won‟t feel a thing, and that he will shoot her in the back of the
head. Slim suggests that he take a shovel.
There are a few long moments of silence.
Lennie asks George to tell him again about their dream. They forget that Candy is still in the
room. When he has finished, Candy turns and asks George if he can join the dream and
informs them that he has the money to back up their dream. For the first time, the dream
seems to become a real possibility.
Section 4
Crooks is introduced in detail with 1 ½ pages of description of his room, his belongings and
his physical appearance.
Lennie wanders into Crooks‟ room and begins to talk. At first, Crooks seems displeased and
tells Lennie to leave. He eventually asks him to come and sit and takes pleasuring in torturing
Lennie by telling him that George might not return. When Lennie becomes aggressive,
George backs off.
Soon Candy also comes in. He and Lennie begin to talk about their shared dream and Crooks
becomes drawn into this, asking if he, too, can join them, even without pay.
However, this is short-lived as Curlely‟s wife arrives and after insulting each of the three
men, Crooks becomes angry and asks her to leave. Consequently, Curley‟s wife flares up and
threatens to have Crooks lynched if he doesn‟t be quiet.
Section 5
It is Sunday afternoon and Lennie is alone in the barn, sitting in the hay and stroking the dead
body of his puppy. He talks to himself, asking the animal why it died: “You ain‟t so little as
mice. I didn‟t bounce you hard.” Worrying that George will be angry and will not let him
raise the rabbits on their farm, he starts to bury it in the hay. He decides to tell George that he
found it dead but then realizes that George will see through this lie. Frustrated, he curses the
dog for dying and hurls it across the room. Soon, though, Lennie retrieves the puppy, strokes
it again, and reasons that perhaps George won‟t care, since the puppy meant nothing to
George.
As he talks to himself, Curley‟s wife enters and sits beside him. He hastily hides the puppy
and tells her that George ordered him not to speak to her. She reassures him that it is safe for
him to talk to her, pointing out that the other men are occupied with a horseshoe tournament
outside and will not interrupt them. She then complains about her loneliness and the cold
treatment she gets from the ranch-hands. She tells Lennie about her dreams of living a
different life. She reveals that her mother denied her the opportunity to join a traveling show
when she was fifteen and then, years later, a talent scout spotted her and promised to take her
to Hollywood to become a movie star. When nothing came of it, she decided to marry Curley,
whom she dislikes.
Lennie continues to talk about his rabbits, and she asks him why he likes animals so much.
Lennie replies that he likes to touch soft things with his fingers. She admits that she likes the
same thing, and offers to let him stroke her hair. She warns him not to “muss it,” but he
quickly becomes excited and holds on too tight, frightening her. When she cries out, Lennie
panics and clamps his strong hands over her mouth to silence her. The more she struggles, the
tighter his grip becomes, and he shakes her until her body goes limp. Lennie has broken her
neck.
Lennie recalls George‟s advice to „hide in the brush‟ if anything goes wrong, and quickly
runs away. Candy discovers the body of Curley‟s wife and tells George. George tells Candy
to give him a few minutes and then to let the others know as if he has just discovered the
body.
Curley appears unmoved by the death of his wife, his only concern - to „get that bastard‟
Lennie.
Section 6
The men look for Lennie. George finds Lennie before the others in the brush. Lennie is sitting
by the pool, talking to himself about the „bad thing‟ he has done. He hallucinates a giant
rabbit with the voice of his aunt Clara which tells him off.
George sits down besides Lennie and reassures him that he is not angry with him and that he
never was and, on Lennie‟s request, relates their dream one last time. He raises the gun
(which he has stolen from Carlson) to the back of Lennie‟s head and pulls the trigger. Lennie
dies instantly. The others hear the shot and come to the brush.
The story ends with Slim leading George towards the road, and towards his new life.
NOTES & ANALYSIS:
Page references for characters
Character analysis of:
C's wife - 49, 53-54, 109-112, 129
Crooks - 98-116
George – 19-35, 42-43, 65-69
Lennie – 19-35, 51-55, 75, 82-86, 140-148
Slim – 55-60, 65-75, 81, 133, 148-149
Candy – 39-41, 48-49, 71-76, 80, 86-89, 110-114, 132, 135, 136
The Boss – 42-43
Context
Set in 1930s America, during the Great Depression. Factors affecting the population at the
time were:
The collapse of the stock market
Droughts
Both had enormous impact on the lives of ordinary people. This led to a lot of people
migrating, in search of work – a new class of people – migrant or itinerant workers
Inevitability is also shown through foreshadowing:
Other themes
Prejudice & discrimination:
*
*
*Rabbits at start run away when G&L arrive –
foreshadows that their dream will also escape.
Other symbolism
*
*The start & end of the novel – they start with the pool
and the leaves and the snake. At the end, the snake is eaten
by the heron. Two layers of meaning – no development;
and the Garden of Eden scenario which leads to exile and
punishment.
*
*
*
*Weed & red dress – foreshadows that things will go
*
wrong here too.
*
*
Poverty resulting from the depression and drought
led to movement which in turn led to loneliness
and an inability to form long-term relationships.
*Animals dying, including Candy’s dog.
This is why George and Lennie’s relationship
was viewed with so much suspicion and
surprise.
(Wall Street crash)
The Great Depression
The loneliness and poverty led to dreams as
a form of escape – an escape from reality.
This also allowed for a sense of hope in some
of them as, as long as there was a dream,
there was a possibility.
& Drought
“
The hopelessness of their situation is established
through the title which reiterates the idea of fate and
the inevitability that life is never the way we hope
or plan.
*
*
*
*
Elements of Naturalism
*
This inevitability is further enforced through
the use of cycles:
*
*
*
*…
*
*
*
*
*
*
Complete the following chart
Symbolism
Symbols
Beginning
and ending
/the routine
of the
workers
Context
Cyclical nature
of the novel and
the characters‟
lives.
Interpretation
Inevitability of people‟s lives/ fate is not in our hands / The title of
the book helps to reinforce this idea. Though this may be interpreted
as being rather depressing, it may also be perceived as being realistic
– as Steinbeck, being a naturalist writer, attempted to portray things
cynically, while retaining a degree of reality in his depiction.
Animals
Death of the
animals
The animals which die get bigger each time – foreshadowing the
eventual death of Lennie?
Foreshadows Lennie‟s death / Foreshadows the destruction of the
American Dream /
Represents Lennie‟s character & physical abilities. Takes away his
humanity perhaps to include him in the animal cycle (ironic
representation).
Perhaps by dehumanising the most humane character in the book,
Steinbeck is attempting to draw a connection between humans and
animals – as the name of the novel suggests – to show that there is
ultimately no difference between the two, their fate is the same.
Description of
Lennie - Bear,
horse, bull
Rabbits and
farm animals
Settings
Pool
Represent the dream / the fact that they are never in contact with a
rabbit, that they are not on the ranch, may suggest that the dream is
not realistic. At the beginning of the book, the rabbits at the pool
run away when Lennie and George arrive – they are always chasing
the dream perhaps, but never catch up?
At the beginning of the novel, Lennie is shown carrying a dead
mouse in his pocket. Perhaps this is Steinbeck‟s way of linking the
mouse to the man – as in the title, and by portraying the mouse as
being dead, perhaps this suggests that the dream is dead from the
start.
Reader‟s expectations are built – they know that there will be trouble
and that the book is likely to end by the pool because of George‟s
words to Lennie. Moreover, this Garden of Eden like description at
the start also suggests that it can only get worse from here – as with
the „Fall‟.
Natural setting
(heavenly)
The natural setting is represented almost in a heavenly manner. This
is also where the snake appears – as with the garden of Eden. The
serpent in Eden introduced temptation and destroyed the dream. He
represented evil but the „natural‟ or the „natural man‟. (Steinbeck is
a naturalist writer).
Soledad
Soledad in Spanish means loneliness!
This is significant to the characters in the novel.
Weed
Might represent G&L‟s life journey – they are forever being
„weeded‟ out. The negative connotations at the beginning of the
novel suggest that they are moving away from the bad to something
better. However, the place they are moving to no better (called
Soledad). Or perhaps it could suggest that their lives will always be
negative, going from bad to worse.
In the creation story, it is Eve who eats the apple and destroys man‟s
dream or their ability to live in happiness. This is also the role of
Curley‟s wife in the novel. However, Eve‟s role in the creation story
was crucial as it was her action which paved the way for man to be
born and for reality to be established. For this to happen, the dream
of Eden had to be taken away. In the same way, Curley‟s wife‟s
actions destroy their dream and allow reality and fate to take over in
George‟s life.
The pool is also significant as it is Lennie‟s final resting place – it is
a place of peace and beauty.
Red first appears in Ketchup at the beginning of chapter 1.
Lennnie‟s liking for red is established here and later continued in
Curley‟s wife who is immediately established as a catalyst for
danger. Red – link to the forbidden apple? Again the source of
broken dreams.
Shadow in association with Curley‟s wife – again a sign that she is a
catalyst for trouble. All the negative things happen in shadow or
darkness – the death of Curley‟s wife, the killing of Candy‟s dog.
Curley‟s wife replaces light with shadow.
Crook‟s room is lit by a meagre yellow light. It‟s dim. Perhaps
shows loneliness, bitterness and lack of hope. When he joins the
dream, it is only momentary, and for that moment, there is a
glimmer of hope, but this soon fades.
Crooks is seen rubbing ointment on his back at the start. When they
leave, he is doing the same – inevitability and perpetual nature of
life. Fate!
Curley‟s
wife
Colour,
light and
shadow
Crooks
Cream
The dream
He is a symbol of isolation and discrimination, as is Curley‟s wife.
He gives up his job for the dream and for companionship – shows
perhaps the power or significance of the dream.
The thickness of the cream may suggest the unrealistic nature of the
dream.
Cycles
Themes
Cycles & inevitability
Power
Dreams / The American Dream
Discrimination
*Racism
*Sexism
*Ageism
Foreshadowing
Complete the following chart:
Themes in OF MICE & MEN
Theme
Cycles &
inevitability
Power
Dreams / The
American Dream
Discrimination:
Racism
Sexism
Ageism
Foreshadowing
Textual Ref.
Characters
Interpretation & perceptive
insight
Page
ref.
Character Analysis
What is significant about her lack of a name?
What is significant about her being the only woman on
the ranch?
What is significant about the colour red with relation to
Curley‟s wife?
How does Steinbeck portray her as an outsider?
What names are used in reference to Curley‟s wife and
how is this relevant?
What is significant about Steinbeck‟s description of
Slim?
What role does Slim play in the text?
How is Steinbeck‟s description of Slim significant when
compared to the description of Curley‟s wife?
Where does Slim appear in the hierarchy on the ranch?
How much power does he have, and over whom?
Where does Curley appear in the hierarchy on the ranch?
What is significant about the way he dresses?
How much power does Curley have and over whom?
What is the relevance of Curley‟s height?
What is significant about Steinbeck‟s description of
George compared to Lennie‟s?
How would you describe George‟s relationship with
Lennie, and to what extent does George need Lennie?
What do you understand to be George‟s motivation for
killing Lennie at the end?
What might Lennie‟s death mean for George?
What is significant about Steinbeck‟s description of
Lennie compared to George?
How would you describe Lennie‟s relationship with
George?
Why does Steinbeck compare Lennie to animals? And
how might this be ironic?
How may Lennie be symbolic to the story?
What is significant about his lack of a name?
What is significant about her being the only black man
on the ranch?
What is significant about Steinbeck‟s description of
Crook‟s room and posessions?
How does Steinbeck portray him as an outsider?
What is significant about the fact that Crooks taunts
Lennie?
Structuring an Essay
Introduction:
Thesis statement, including:
 Name of writer
 Name 3 techniques (maximum 4)
 Explain overall effect of the techniques
PETAL
Paragraph 1:
 Choose 1st technique
 Use quote to support your point
 Detailed analysis of effect
Paragraph 2:
 Choose 2nd technique
 Use quote to support your point
 Detailed analysis of effect
Paragraph 3:
 Choose 3rd technique
 Use quote to support your point
 Detailed analysis of effect
Conclusion:
Say something new or pose a question which will linger on the mind of the
reader.
Essay Questions and Mark Scheme:
Foundation Questions:
1F Mark Scheme Template: Section B
Skills Content:
In response to the task, students demonstrate:
. 6.1 Thoughtful consideration of ideas/themes
. 6.2 Details linked to interpretation
Mark Band 6
26-30 marks
. 6.3 Appreciation/consideration of writer’s uses of language and/or form and/or
structure and effect on readers
. 6.4 Considered/qualified response to context(s)
. 6.5 Thoughtful selection and consideration of details to support response to
context(s)
Information is presented in a way which assists with communication of meaning.
Syntax and spelling are generally accurate.
In response to the task, students demonstrate:
. 5.1 Sustained understanding of ideas/themes/feelings/attitudes
. 5.2 Effective use of details to support interpretation
Mark Band 5
21-25 marks
. 5.3 Explanation of effects of writer’s uses of language and/or structure and/or form
. 5.4 Sustained response to context(s)
. 5.5 Selection of effective details to support response to context(s)
Information is usually presented in a way which assists with communication of
meaning. Syntax and spelling are generally accurate.
In response to the task, students demonstrate:
. 4.1 Explained response to ideas/themes/feelings/attitudes
Mark Band 4
16-20 marks
. 4.2 Details used to support a range of comments
. 4.3 Identification of effect(s) of writer’s choices of language and/or form and/or
structure
. 4.4 Explained response to context(s)
. 4.5 Selection of a range of details to support response to context(s)
Information is presented in a way which is generally clear. Syntax and spelling have
some degree of accuracy.
In response to the task, students demonstrate:
. 3.1 Supported response to ideas/themes/feelings/attitudes
. 3.2 Comment(s)on detail(s)
Mark Band 3
11-15 marks
. 3.3 Awareness of writer making choice(s) of language and/or structure and/or form
. 3.4 Supported response to context(s)
. 3.5 Details used to support response to context
Despite lapses, information is presented in a way which is usually clear. Syntax and
spelling have some degree of accuracy, although there are likely to be frequent errors.
In response to the task, students demonstrate:
. 2.1 Some clear responses given
. 2.2 Range of details used
Mark Band 2
6-10 marks
. 2.3 Simple identification of method(s)
. 2.4 Some clear response to context(s)
. 2.5 Range of details relating to context used
Syntax and spelling are sufficiently clear to convey meaning.
In response to the task, students demonstrate:
. 1.1 Simple comment or response to text
. 1.2 Reference to some details
Mark Band 1
1-5 marks
. 1.3 Reference to writer’s methods
. 1.4 Reference to context(s)
. 1.5 Some details relating to context used
Despite frequent lapses in syntax and spelling, meaning can be derived.
0 marks
Nothing worthy of credit
(January 2011)
1. (a) How does the writer use details in this passage to present Candy?
and then Part (b)
(b) How do other characters treat Candy in the novel and what does this
show you about the society in which he lives?
In Part (b) write about:
• what the other characters say and do to Candy
• what society was like at this time.
The old man was reassured. He had drawn a derogatory statement from George. He felt safe now, and he
spoke more confidently. „Wait‟ll you see Curley‟s wife.‟ George cut the cards again and put out a
solitaire lay, slowly and deliberately.
„Purty?‟ he asked casually.
„Yeah. Purty ... but ––‟
George studied his cards. „But what?‟
„Well – she got the eye.‟
„Yeah? Married two weeks and got the eye? Maybe that‟s why Curley‟s pants is
full of ants.‟
„I seen her give Slim the eye. Slim‟s a jerkline skinner. Hell of a nice fella. Slim don‟t need to wear no
high-heeled boots on a grain team. I seen her give Slim the eye. Curley never seen it. An‟ I seen her give
Carlson the eye.‟
George pretended a lack of interest. „Looks like we was gonna have fun.‟
The swamper stood up from his box. „Know what I think?‟ George did not answer.
„Well, I think Curley‟s married ... a tart.‟
„He ain‟t the first,‟ said George. „There‟s plenty done that.‟
The old man moved toward the door, and his ancient dog lifted his head and peered about, and then got
painfully to his feet to follow. „I gotta be settin‟ out the wash basins for the guys. The teams‟ll be in
before long. You guys gonna buck barley?‟
„Yeah.‟
„You won‟t tell Curley nothing I said?‟
„Hell no.‟
„Well, you look her over, mister. You see if she ain‟t a tart.‟ He stepped out the door into the brilliant
sunshine.
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however,
include some of the following:
AO1
•
•
•
•
AO2
•
•
•
•
AO4
•
•
•
Doesn‟t think much of Curley‟s wife
lacks confidence and also is lonely – he appears to want to please as if that will secure
him a friend
likes to gossip and thinks he understands all the characters
what the other characters say and do
judgmental language – either positive or negative.
“tart” – clearly shows viewpoint of women
suggestive language – trying to entice George into the gossip
childlike – as if that is what he has been lowered to!
shows another form of discrimination in society at the time
segregation of society – theme of loneliness and isolation
roles and work in society
(January 2012)
2. (a) What do you learn about Curley’s wife from the details in the
passage?
and then Part (b)
(b) How do other characters treat Curley’s wife in the novel? What does
this tell you about attitudes towards women in the society in which she
lives?
In part (b) write about:
• what the other characters say and do to Curley‟s wife
• the methods Steinbeck uses to show attitudes towards women.
Both men glanced up, for the rectangle of sunshine in the doorway was cut off. A girl
was standing there looking in. She had full, rouged lips and wide-spaced eyes, heavily made
up. Her fingernails were red. Her hair hung in little rolled clusters, like sausages. She wore a
cotton house dress and red mules, on the insteps of which were little bouquets of red ostrich
feathers. „I‟m lookin‟ for Curley,‟ she said. Her voice had a nasal, brittle quality.
George looked away from her and then back. „He was in here a minute ago, but he
went.‟
„Oh!‟ She put her hands behind her back and leaned against the door frame so that
her body was thrown forward. „You‟re the new fellas that just come, ain‟t ya?‟
„Yeah.‟
Lennie‟s eyes moved down over her body, and though she did not seem to be looking at
Lennie she bridled a little. She looked at her fingernails. „Sometimes Curley‟s in here‟, she
explained.
George said brusquely, „Well he ain‟t now.‟
„If he ain‟t, I guess I better look some place else,‟ she said playfully.
Lennie watched her, fascinated. George said, „If I see him, I‟ll pass the word you was
looking for him.‟
She smiled archly and twitched her body. „Nobody can‟t blame a person for lookin‟,‟she said.
There were footsteps behind her, going by. She turned her head.
„Hi, Slim,‟ she said.
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however ,
include some of the following:
AO1
•
•
•
•
AO2
•
•
•
•
AO4
•
she likes to „flirt‟ with the men and is confident and able to talk to them
she is lonely
she takes pride in her appearance
how the men react to her
description of her wearing „red‟ connotes danger / tart
the language used by her
the language used by the men when talking about her – „tart‟, „jail-bait‟
the manipulation of the reader by Steinbeck – choice of words used by others about
her e.g. Candy‟s attitude
women‟s place in society – she is the only woman on the ranch, doesn‟t have work
and is ignored by the men or seen as a „trouble maker‟
Higher Questions:
Unit 1H Mark Scheme Template: Section B
Skills Content:
Students demonstrate:
6.1 Insightful exploratory interpretation of ideas/themes
6.2 Close analysis of detail to support interpretation
Mark
Band 6
26-30
marks
6.3 Evaluation of the writer’s uses of language and/or structure and/or form and effects on
readers
6.4 Insightful exploratory response to context(s)
6.5 Insightful exploration of a range of telling detail to support response to context(s)
Information is presented clearly and accurately. Writing is fluent and focused. Syntax and
spelling are used with a high degree of accuracy.
Students demonstrate:
. 5.1 Exploratory interpretation of ideas/themes
. 5.2 Analytical use of details to support interpretation
Mark
Band 5
21-25
marks
. 5.3 Analysis of writer’s uses of language and/or structure and/or form and effects on
readers
. 5.4 Exploratory response to context(s)
. 5.5 Exploration of a range of telling detail to support response to context(s)
Structure and style are used effectively to render meaning clear. Syntax and spelling are
used with a high degree of accuracy.
Students demonstrate:
. 4.1 Thoughtful consideration of ideas/themes
. 4.2 Details linked to interpretation
Mark
Band 4
16-20
marks
. 4.3 Appreciation/consideration of writer’s uses of language and/or form and/or structure
and effect on readers
. 4.4 Considered/qualified response to context(s)
. 4.5 Thoughtful selection and consideration of details to support response to context(s)
Information is presented in a way which assists with communication of meaning. Syntax
and spelling are generally accurate.
Students demonstrate:
Mark
Band 3
11-15
marks
3.1 Sustained understanding of themes/ideas/feelings/attitudes
3.2 Effective use of details to support interpretation
3.3 Explanation of effects of writer’s uses of language and/or form and/or structure
3.4 Sustained response to context(s)
3.5 Selection of effective details to support response to context(s)
Information is usually presented in a way which assists with communication of meaning.
Syntax and spelling are generally accurate.
Students demonstrate:
. 2.1 Explained response to ideas/themes/feelings/attitudes
. 2.2 Details used to support a range of comments
Mark
Band 2
6-10
marks
. 2.3 Identification of effect(s) of writer’s choices of language and/or form and/or structure
. 2.4 Explained response to context(s)
. 2.5 Selection of a range of details to support response to context(s)
Information is presented in a way which is generally clear. Syntax and spelling have some
degree of accuracy.
Students demonstrate:
1.1 Supported response to ideas/themes/feelings/attitudes
1.2 Comment(s)on detail(s)
Mark
Band 1
1-5
marks
1.3 Awareness of writer making choice(s) of language and/or structure and/or form
1.4 Supported response to context(s)
1.5 Details used to support response to context(s)
Despite lapses, information is presented in a way which is usually clear. Syntax and spelling
have some degree of accuracy, although there are likely to be frequent errors.
0
marks
Nothing worthy of credit
(January 2011)
1(a) What methods does Steinbeck use in this passage to present Candy?
and then Part (b)
(b) How do you think Steinbeck uses the character of Candy in the novel as
a whole to convey important ideas about society at that time?
(30 marks)
The old man was reassured. He had drawn a derogatory statement from George. He felt safe now, and
he spoke more confidently. „Wait‟ll you see Curley‟s wife.‟ George cut the cards again and put out a
solitaire lay, slowly and deliberately.
„Purty?‟ he asked casually.
„Yeah. Purty ... but ––‟
George studied his cards. „But what?‟
„Well – she got the eye.‟
„Yeah? Married two weeks and got the eye? Maybe that‟s why Curley‟s pants is
full of ants.‟
„I seen her give Slim the eye. Slim‟s a jerkline skinner. Hell of a nice fella. Slim don‟t need to wear
no high-heeled boots on a grain team. I seen her give Slim the eye. Curley never seen it. An‟ I seen
her give Carlson the eye.‟
George pretended a lack of interest. „Looks like we was gonna have fun.‟
The swamper stood up from his box. „Know what I think?‟ George did not answer.
„Well, I think Curley‟s married ... a tart.‟
„He ain‟t the first,‟ said George. „There‟s plenty done that.‟
The old man moved toward the door, and his ancient dog lifted his head and peered about, and then
got painfully to his feet to follow. „I gotta be settin‟ out the wash basins for the guys. The teams‟ll be
in before long. You guys gonna buck barley?‟
„Yeah.‟
„You won‟t tell Curley nothing I said?‟
„Hell no.‟
„Well, you look her over, mister. You see if she ain‟t a tart.‟ He stepped out the door into the brilliant
sunshine.
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however ,
include some of the following:
AO1
•
•
•
•
•
AO2
•
•
•
•
AO4
•
•
•
old
knows a lot about people on the ranch/a gossip
Doesn‟t think highly of Curley‟s wife – possibly link to gender and society
lacks confidence and also is lonely – he appears to want to please as if that will secure
him a friend
is a warm and welcoming character to George and Lennie
Candy is important to the novel – he is a pivotal character as he introduces all the
characters on the ranch to George and Lennie and the reader
he is the first character we meet after George and Lennie
“tart‟ – clearly shows viewpoint of women
dialect
shows another form of discrimination in society at the time
segregation of society – theme of loneliness and isolation
roles and work in society
(January 2012)
2 (a) How does Steinbeck use details in this passage to present the
bunkhouse and its inhabitants?
and then Part (b)
In the rest of the novel, how does Steinbeck present the lives of ranch
workers at that time?
(30 marks)
The bunk house was a long, rectangular building. Inside, the walls were whitewashed
and the floor unpainted. In three walls there were small, square windows, and in the fourth, a solid
door with a wooden latch. Against the walls were eight bunks, five of them made up with blankets
and the other three showing their burlap ticking. Over each bunk there was nailed an apple box with
the opening forward so that it made two shelves for the personal belongings of the occupant of the
bunk. And these shelves were loaded with little articles, soap and talcum powder, razors and those
Western magazines ranch men love to read and scoff at and secretly believe. And there were
medicines on the shelves, and little vials, combs; and from nails on the box sides, a few neckties. Near
one wall there was a black cast-iron stove, its stove-pipe going straight up through the ceiling. In the
middle of the room stood a big square table littered with playing cards, and around it were grouped
boxes for the players to sit on.
At about ten o‟clock in the morning the sun threw a bright dust-laden bar through one
of the side windows, and in and out of the beam flies shot like rushing stars. The wooden latch raised.
The door opened and a tall, stoop-shouldered old man came in. He was dressed in blue jeans and he
carried a big push-broom in his left hand. Behind him came George, and behind George, Lennie.
„The boss was expectin‟ you last night,‟ the old man said. „He was sore as hell when
you wasn‟t here to go out this morning.‟ He pointed with his right arm, and out of the sleeve came a
round stick-like wrist, but no hand. „You can have them two beds there,‟ he said, indicating two bunks
near the stove.
George stepped over and threw his blankets down on the burlap sack of straw that was a mattress. He
looked into the box shelf and then picked a small yellow can from it. „Say. What the hell‟s this?‟
„I don‟t know,‟ said the old man.
„Says “positively kills lice, roaches, and other scourges”. What the hell kind of bed you giving us,
anyways. We don‟t want no pants rabbits.‟
Mark Scheme:
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might, however ,
include some of the following:
AO1
•
•
•
•
AO2
•
•
•
•
•
AO4
•
•
Sparse nature of bunkhouse / only had necessities /sense of impermanence
Activities of the inhabitants – Western magazines / playing cards
Details about Candy, George and Lennie
Loneliness, isolation and transient nature of their lives
How the impersonal, harsh – almost formal – nature of the bunkhouse is created, e.g.
„rectangular‟, „square‟, „straight up‟, „boxes‟
Significance of the word „littered‟ in contrast with the ordered nature of the rest of the
bunkhouse
The „sameness‟ of each bunk and each man‟s possessions
Lives of ranch workers presented through different characters
The structure of the novel reflecting the ranch workers‟ lives
Backdrop of the Great Depression and the American Dream – fear of being „canned‟
and being kept going by an unattainable dream
Some ranch workers subject to prejudice and discrimination
Model Essay:
How does Steinbeck present the character of Crooks? How does this impact on our
understanding of 1930s America?
Crooks, as with Curley‟s wife, is portrayed by Steinbeck as an outsider – a “weak” character
who is not only lonely, but isolated; aware of his own isolation, Crooks both accepts and
actively compounds this through his own behaviour and understanding of the context in
which he lives – a society which is prejudiced, discriminatory and unforgiving towards him
and those like him.
The racial prejudice which Steinbeck presents in the novel is further enforced by the lone
character of Crooks – this solitary figure helps to convey the message that it is not only
Crooks who is alone, but others like him fill solitary positions in white American society; as
strength is said to be found in number, this solitariness of Crooks suggests the extent of his
weakness, not only on the ranch, but in society at large. This isolation is reflected through
the use of space and positioning in the novel – his “aloof” nature, and his desire to “keep his
distance” and for “other people to keep theirs”, is clearly visible as Steinbeck retains a
physical distance between Crooks and the other characters in the book. Hence, the bunkhouse
is out of bounds for Crooks; rather he belongs, in the eyes of those on the ranch, in the stable
– his only company being the horses. This is, in itself, suggestive of the prejudice that filled
the hearts of white American society. Thus, in the social hierarchy which prevailed on the
ranch – the ranch being a microcosm of 1930‟s America – Crooks belonged on or just above
the level of the horses. This is again reinforced through the description of his room where
Steinbeck informs the reader of the apple box which contained “a range of medicines, both
for himself and for the horses”.
Despite being a northern negro, and growing up with neighbouring white children, Crooks‟
awareness of his limitations has left him in a state of hopelessness. In this regard, he is
inevitably a “permanent fixture” on the ranch, and with little hope of escape or pleasure. It is
in this light that Steinbeck first gives him hope in the dream presented by Lennie and Candy,
and then withdraws it through the spiteful and conscious words of Curley‟s wife – “well, you
keep your place then, Nigger.” The defeat voiced through the words, “‟member what I said
about hoein….jus‟ forget it, I didn‟ mean it. Jus‟ foolin”, makes clear the lack of social
mobility for black people at that time and, with it, their lack of power and forced selfeffacement. Indeed, it is understandable why Crooks is portrayed, by Steinbeck, as having a
crooked back; unlike Candy‟s disability which allows him to retain an upright position,
Crooks is forced to bend down – no doubt symbolic of his humble rank amidst his white
counterparts, even those with physical and mental disabilities. In addition to this, his name –
a derivation of the word „crook‟ - is reflective of the perceptions held by many white
Americans towards their black neighbours – ironically, this perception was anything but
neighbourly. Thus, in the very seed of his character, lies Crooks‟ weakness; an under-dog and
failure, he is unable to challenge the fate which society has decreed for him.
The effect of this is unequivocally presented by Steinbeck through the physical description of
Crooks – his “pain-tightened lips”; “deep black wrinkles”, and deep-set eyes are indicative of
Comment [XB9]:
Comment [XB10]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
Comment [XB11]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.3 Evaluation of the writer’s uses of
language and/or structure and/or form
and effects on readers
Comment [XB12]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.2 Close analysis of detail to support
interpretation
.6.4 Insightful exploratory response to
context(s)
.6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
Comment [XB13]: .
6.1 Insightful exploratory interpretation
of ideas/themes
6.2 Close analysis of detail to support
interpretation
Comment [XB14]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.2 Close analysis of detail to support
interpretation
.6.3 Evaluation of the writer’s uses of
language and/or structure and/or form
and effects on readers
.6.4 Insightful exploratory response to
context(s)
.6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
Comment [XB15]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.2 Close analysis of detail to support
interpretation
.6.3 Evaluation of the writer’s uses of
language and/or structure and/or form
and effects on readers
Comment [XB16]:
6.4 Insightful exploratory response to
context(s)
6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
both the emotional pain which he has undergone, and the social muteness that this has
caused. Indeed, though he may have a copy of the California civil code, it appears that the
only justice he can demand from others is his right to his own space - “he kept his distance,
and demanded that other people kept theirs”. Moreover, the meticulous and extensive focus
on the state of his possessions – “mauled”, “split”, “broken” and “drippy” suggest both the
state of his life and his dreams. Indeed, like his “used books”, perhaps he too, has been used.
Comment [XB17]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.2 Close analysis of detail to support
interpretation
.6.3 Evaluation of the writer’s uses of
language and/or structure and/or form
and effects on readers
.6.4 Insightful exploratory response to
context(s)
This portrayal of Crooks is similar to that of Curley‟s wife who – like him – has been used,
isolated, and emasculated and, who also leaves a trail of bitterness behind her. The bitterness
of both characters is articulated through their words to Lennie – unsurprisingly, the weakest
character to inhabit the bunkhouse. Both Crooks and Curley‟s wife demand, in their own
way, for some recognition of their injustice – “S‟pose you didn‟t have nobody…s‟pose you
couldn‟t go into the bunk house….” Curley‟s wife‟s monologue to Lennie presents a similar
tone and sense of frustration – “Ain‟t I got a right to talk to nobody?” Their words echo that
of Steinbeck‟s and make clear to the reader their feelings about their social isolation and an
emphatic awareness of their own weakness. Steinbeck‟s use of Lennie in these chapters to act
as the sounding board is extremely revealing – the idea that these characters turn to Lennie,
who is as helpless as themselves, highlights the inevitability and extent of their defeat.
Indeed, they are unable to approach even Slim – the “prince of the ranch” with his god-like
authority - to empathise with their situation. Perhaps there is a suggestion here that the
stubbornly engrained perceptions and stereotypes of 1930‟s America were beyond even the
faculty of God.
Comment [XB18]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.2 Close analysis of detail to support
interpretation
Thus, Steinbeck‟s message looks beyond the concepts of racial or gender prejudice, to the
concept of the „lone man‟ and the inevitable fate which he must encounter in a society which
puts little trust in the one; hence, he weaves a theme of powerlessness and suppression –
embodied through the character of Crooks, along with Curley‟s wife - which, when
juxtaposed with that of Curley, further highlights the sense of hopelessness and inevitability
which is so prevalent in the pages of this book.
*****************************
Band 5 – Insightful exploratory response to task; insightful exploratory response to text; close
analysis of detail to support interpretation; evaluation of the writer’s uses of language and/or structure
and/or form and effects on readers/audience; convincing/imaginative interpretation of ideas/themes
Information is presented clearly and accurately.
Writing is fluent and focused. Syntax and spelling are used with a high degree of accuracy.
***********************
Comment [XB19]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
Comment [XB20]: .
. 6.1 Insightful exploratory interpretation
of ideas/themes
.6.2 Close analysis of detail to support
interpretation
.6.4 Insightful exploratory response to
context(s)
6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
Comment [XB21]: .
. 6.4 Insightful exploratory response to
context(s)
6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
Comment [XB22]: .
.6.1 Insightful exploratory interpretation
of ideas/themes
.6.4 Insightful exploratory response to
context(s)
.6.5 Insightful exploration of a range of
telling detail to support response to
context(s)
Unit 2 – Poetry Across Time (40%)
External examination
35% of the total GCSE marks
1 hour 15
mins
54 marks
Section A: Poetry cluster from the
Anthology
23% of the total GCSE marks
45 mins
36 marks
Section B: Responding to an unseen poem
30 mins
12% of the total GCSE marks
18 marks
Assessment Objectives (AOs)
Assessment Objectives (AOs)
All specifications in English Literature must require students to demonstrate their
ability to:
AO1
respond to texts critically and imaginatively; select and evaluate relevant textual detail
to illustrate and support interpretations
AO2
explain how language, structure and form contribute to writers‟ presentation of ideas,
themes and settings
AO3
make comparisons and explain links between texts, evaluating writers‟ different ways
of expressing meaning and achieving effects
Comparative Poetry
Conflict / Relationships
SECTION A – AQA Comparative Poetry
Conflict
NOTES & ANALYSIS:
Poetry TECHNIQUES & their EFFECTS
Techniques
Lists
Definition
A series of
things written
together in
sequence, with
or without
commas.
General Effects
To increase pace and excitement.
Example
Blessing –
“…butts in, with pots,
brass, copper, aluminium,
plastic buckets, frantic
hands…”
Belfast Confetti –
“Nuts, bolts, nails, carkeys.”
Oxymoron
Juxtaposition
Alliteration
Two contrasting
words placed
side by side to
produce an
incongruous
effect or
contradiction.
To convey a sense of confusion or
ambivalence.
Havisham –
Two contrasting
ideas placed
together.
To convey contrast for clarity of meaning.
Nothing‟s Changed -
The repetition of
the same
consonant
sound.
To create a sound or an atmosphere.
“Beloved sweetheart
bastard.”
“up-market hautecuisine” of the “whites
only inn” and “bunny
chows” of the “working
man’s café”.
Nothing‟s Changed –
“…trouser cuffs, cans,
trodden on, crunch…”
Salome –
“…feel better for tea, dry
toast, no butter…”
Sibilance
Rhetorical
questions
Hissing sound
characterised by
the alliteration
of the „s‟ sound.
To create a hissing sound to create
atmosphere or the sound of the
sea/breeze/waves.
Island Man –
A question
asked solely to
produce an
effect, and not to
elicit a reply.
To convey a sense of helplessness, or
confidence depending on the scenario; to
provoke the reader to think about the
context.
Out of the Blue –
“…sound of blue surf”
“Does anyone see a soul
worth saving?”
Belfast Confetti –
“My name? Where am I
coming from? Where am I
going?”
Onomatopoeia
Personification
A word that
actually sounds
like the noise it
is trying to
recreate.
To recreate a sound and atmosphere
through an illusion of reality.
Havisham –
To give human
characteristics to
an inanimate
object
To humanise an object – give it a sense of
life or being.
Mametz Wood –
„…a red balloon bursting
in my face. Bang.”
“The earth stands
sentinel”.
Charge of the light
brigade –
“The jaws of death…the
mouth of hell”.
Colour
References to a
colour or
different colours
are sometimes
used in poem.
The use of colour can be used to express
emotion or to paint a picture of the context
or situation.
Come on, Come Back –
“…black as her mind.”
Presents from my aunts in
Pakistan –
“they sent me a salwar
kameez, peacock blue,
and another glistening
like an orange split
open.”
Short sentences
Metaphor
1, 2, or 3 word
sentences.
Short sentences are often used for impact
or shock. They are primarily effective at
the start of poems, or when used in
between long sentences.
Havisham –
A figure of
speech when the
qualities of one
Metaphors help create a more powerful
picture of what is being described. This
The Yellow Palm –
“Spinster.”
“I saw a cruise missile, a
object are
applied to
another literally.
often helps to make a piece more emotive.
slow and silver caravan,
on its slow and silver
mile…”
Belfast Confetti –
“…raining exclamation
marks…”
Simile
A figure of
speech when an
object is likened
or compared to
something else.
Similes help create a more powerful
picture of what is being described. This
often helps to make a piece more emotive.
Bayonet Charge –
“Dropped like luxuries in
a yelling alarm.”
Mametz Wood –
“…like a wound working
a foreign body to the
surface of the skin.”
Rhyme
When a part of a
word (generally
the last part) has
the same sound
as another word.
Rhyme is often used to create a positive,
song-like feel. However, this can also be
used in poems with a serious subject
matter to create a sense of irony. Rhyme
can be internal too.
Salome –
“…her innocent clatter,
Of cups and plates,
Her clearing of
clutter…”
Enjambment
The running on
of the thought
from one line,
couplet, or
stanza to the
next without a
syntactical
break.
Enjambment can be used for a variety of
reasons – sometimes it is to create an
unnatural pause to allow the reader time to
think about what is being said. Sometimes
it is in order to break up ideas or to create
a dichotomy of thought.
Havisham –
Sometimes, it is to create a sense of ongoing dialogue. If there is no enjambment
a line or verse is described as end-stopped.
“Appalling
“…who did this
to me?”
Out of the Blue –
that others like me
should be windmilling…”
Caesura
A break,
especially a
sense pause,
usually near the
middle of a
verse.
To create a sense of pause, for thought, for
assimilation of ideas, to portray context.
Mametz Wood – “…they
were told to walk, not
run”
Complete the following chart
Conflict Poetry – Techniques & Effects
Flag
Technique
Evidence
List
The last line of each stanza
Personification
“that brings a nation to its
knees”
Rhyme & Metre
“breeze”, “knees”
Repetition
“it‟s just a piece of cloth”
Short sentences
“it‟s just a piece of cloth”
Rhetorical
questions
“What‟s that fluttering in
the breeze?”
Imperative verbs
“Ask for a flag”
Out of the Blue
Colour
“White cotton shirt”
List
“shaking crumbs”;
“pegging out washing”
Personification
“The heat behind me is
bullying, driving.”
Enjambment
“appalling
That others like me
Should be…”
Rhyme/Metre
“Waving…saving”
Repetition
“waving, waving”
Short sentence
“But tiring, tiring.”
Rhetorical
Question
“Do you see a soul worth
saving?”
Mametz Wood
Analysis
Colour
“Breaking blue in white”
List
“shoulder blade, relic of a
finger, bird‟s egg of a
skull”
Enjambment
“of what happened
Like a wound working..”
Structure
1st part – about the present
2nd part – about the
soldier‟s past
Caesura
“Farmers found them” -
Negative diction
“blown”; “absent”;
“macabre”
The Yellow Palm
Colour
“Blood splattered on the
walls of the golden
mosque”
Juxtaposition
“golden mosque” / “blood
on the walls”.
Imagery
“A slow and silver caravan
on its slow and silver mile”
Enjambment
“Two blind beggars
And into their hands…”
Rhyme /Metre
“Pass…glass”
The Right Word
Colour
“shadows”
List
“terrorist…freedom
fighter…hostile
militant…”
Juxtaposition
“is a terrorist…the child
steps in...”
Repetition
“Outside” “door”
Short sentences
“Outside your door”
Rhetorical
question
“Who‟s that lurking in the
shadows?”
At the Border
Colour
“The autumn soil”;
“muddy homeland”
Juxtaposition
1st part – refers to the other
land (the one they are
leaving)
2nd part – refers to their
land (the land they are
crossing into).
Extended
metaphor
“chain of mountains”
Enjambement
“Continued
Divided”
Repetition
“mountain chain”
Caesura
“We grabbed a drink”-
Belfast Confetti
Sound
“rapid fire”; “stuttering”
List
“Nuts, bolts, nails, carkeys”
Extended
metaphor
References to punctuation
Enjambment
“but it kept
Stuttering.”
Short sentences
“My name?”
Caesura
“I know this labyrinth so
well – Balaklava…”
Rhetorical
questions
“Who am I?” / “Where am
I going?”
Poppies
Colour
The red of the poppies
List
“Flattened, rolled, turned
into felt.”
Metaphor
“You were away,
intoxicated”; “all my
words flattened….turned
into felt”.
Enjambment
“graze my nose
Across the tip…”
Futility
Colour
“Sun”
Juxtaposition
“Cold” / “Warm”
Personification
“The kind old sun will
know”
Enjambment
“Sunbeams toil
To break earth‟s sleep at
all?”
Rhyme /Metre
“Snow…now…Know”
Ceasura
“Think how it wakes the
seeds” –
“-O what made fatuous…”
Rhetorical
question
“Was it for this the clay
grew tall?”
The Charge of
the Light Brigade
Sound
“Volleyd and thunder‟d”
List
“Canon to the left of then,
canon to the right of them”
Juxtaposition
Juxtaposition of negative
& positive sides of war –
“Shatter‟d and
sunder‟d…Glory…noble”
Personification
“The mouth of hell” /
“The jaws of death”
Enjambment
“Into the valley of Death
Rode the six hundred.”
Rhyme / Metre
“Theirs not to make reply,
Theirs not to reason why.”
Repetition /
“Canon to the right of
anaphora
them..”
“Into the mouth of…into
the jaws of…”
“Half a league, half a
league, half a league...”
Short sentences
“Rode the six hundred”.
Caesura
“All the world wonder‟d:”
Rhetorical
Question
“When can their glory
fade?”
Imperative verbs
“Honour the charge they
made”
Bayonet Charge
Sound
“Dazzled with rifle fire”
“Crackling air”
Colour
“Green hedge”
“Flame”
Metaphor
“Cold clockwork of the
stars…”
Simile
“numb as a smashed arm” /
Dropped like luxuries”
Personification”
“smacked the belly out of
the air”
Enjambment
“…hearing
Bullets smacking…” (line
4)
Caesura
“running – raw”
“Out of the air” -
Rhetorical
Question
“Was he the hand pointing
that second?”
The Falling
Leaves
Sound
“No wind whirled them
whistling to the sky”
Colour
“Brown”; “clay”; “snow”;
“sky”
Extended
metaphor
“falling like snow on the
Flemish clay”
Rhyme /Metre
“Lay…clay”
Repetition
“snowflakes”
Short sentences
“But thickly, silently.”
Alliteration
“When no wind whirled
…whistling…”
Come on, Come
Back
Colour
“White moonlight”; “Black
as her mind”
Juxtaposition
“Black” / “white”
Short sentences
“Come on, come back”
Repetition
“Come on, come back”
Metaphor /
“The pipe‟s wild notes”
Simile/
“As black as her mind”
Personification
“icy-amorous embrace”
Rhetorical
questions
Next to of course
God, America, I
List
“by gee, by gosh, by gum”
Enjambment
“Beautiful”
Short sentences
“He spoke.”
Rhetorical
question
“Then shall the voice of
liberty be mute?”
Structure
1 whole uninterrupted
stanza, then a second verse
of 1 stanza, punctuated
Rhyme / Metre
“worry…gory”
Hawk Roosting
List
“foot…feather”
Personification
“It took the whole of
Creation…”
Enjambment
“…took the whole of
Creation
To produce my…”
Alliteration
“Be gee, by gosh, by gum”
Diction
“Be gee, by gosh, by gum”
Comparing Conflict Poetry
Exploring Techniques
Poem
Diction
Sound
(onomato
poeia /
alliteratio
n
Colour
List
Juxtaposit
ion/
oxymoron
Imagery
Enjambm
ent
Structure
/ Layout
Rhyme/
Repetitio
n
Metre
(metapho
r/
Simile /
personific
ation
Flag
Imperati
ve verbs
Personific
ation
Out of the
Blue
Imperati
ve verbs
Imagery
Mametz
Wood
Negative
diction –
shocking
The
Yellow
Palm
Juxtapos
ition of
positive
&
negative
diction
The Right
Word
All about
words –
vocabula
ry
carefully
selected
for
effect
At the
Border
Personific
ation
Past &
present
Juxtaposit
ion
Metaphor
/
personific
ation
Shadow
Reference
to colour
Anaphora
Juxtaposit
ion
Dichotom
y of the 2
lands –
poem in 2
halves
Belfast
Confetti
Extended
Metaphor
Poppies
Metaphor
Short
sentences
RQ
Futility
The
Charge LB
Bayonet
Charge
Cold /
warm
Juxtapos
ition of
negative
&
positive
diction;
imperati
ve verbs
Personific
ation of
the sun
Personific
ation of
death &
hell
Metaphor
Repetitio
n&
anaphora
Relationships
Poetry – Relationships cluster summary
Poem
Summary
Themes
Feelings
Links to…
Key quotes
„The
Manhunt‟
by Simon
Armitage
- The narrator is the wife of
a soldier who has come
home from war with
serious gunshot wounds.
- Pain and
suffering.
- Caring
„Nettles‟ the suffering
of a loved
one
-„the parachute silk of his
punctured lung‟
- It is more difficult to see
and understand his mental
scars and the problems
these cause.
„Hour‟ by
Carol Ann
Duffy
- Describes and hour spent
between the narrator and
her lover.
- Strong
belief in
love
- The poet personifies time
as love‟s enemy.
- Love
against
time.
- Love almost manages to
make time stand still.
„In Paris
with You‟
by James
Fenton
- Time (the
father will
not be able
to protect
his son as
he grows
up).
-The narrator is upset about
love – he‟s split up with
someone and sees himself
as a victim.
-He‟s gone to Paris with
someone else, but still
seems unhappy.
- He doesn‟t want to go out
in the city – he‟d rather
stay in the hotel room.
- Fairy tale
love does
not last.
- Negative
emotions
resulting
from a
break-up.
- Being
hurt by
love.
- Patience
- „I picture the scan,/the foetus
of metal‟
- Pain
„Praise
Song‟ –
relationship
between
parent and
child
Cherishing
the
moment.
- „To His
Coy
Mistress‟ –
time as the
enemy of
love
- Physical
pleasure.
-„Sonnet
116‟ – time
and love,
personificati
on
- Self pity
- Bitterness
-„To His
Coy
Mistress‟ –
narrator as
seducer;
humour
- „a sweating unexploded
mine/buried deep in his mind‟
- „I come close‟
- „Love‟s time‟s beggar‟
- „For thousands of seconds,
we kiss‟
-„Now. Time hates love,‟
-„Love spins gold, gold, gold
from straw‟
-„I get tearful when I‟ve
downed a drink or two‟
-„I‟m a hostage‟
- Humour
- Lust
-„Sister
Maude‟ –
anger
-„Don‟t talk to me of love‟
-„all points south‟
„Quickdraw‟
– being hurt
by someone
„Quickdraw
‟ by Carol
Ann Duffy
-The poem compares phone
calls and texts in a
relationship to a gun fight
in a western movie.
-The narrator always seems
to come off worst, and is
left hurt.
- Attitudes
towards
love.
- Being
hurt by
love.
-What „finishes her off‟
isn‟t cruelty, but text
message kisses, which hit
her like bullets.
- Hurt
Expectatio
n
- Tension
-„The
Farmer‟s
Bride‟ and
„In Paris
with You‟ –
hurt by love.
-„like guns, slung from the
pockets of my hips‟
-„The
Manhunt‟ –
communicati
on.
-„the silver bullets of your
kiss‟
-„your voice a pellet/in my
ear‟
-„high noon, calamity, hard
liquor/In the old Last Chance
saloon‟
„Ghazal‟ by
Mimi
Khalvati
-The narrator is talking
about intense feeling of
love.
- Attitudes
towards
love
-In each stanza, she creates
a new message to portray
love through imagery.
- Lust
- Love
poetry (the
ghazal
structure)
- Intense
love
Playfulnes
s
-The narrator remembers a
moment from childhood
when he and his older
brother had to look after
their younger brother.
- Family
relationshi
ps
-They are fed up with him,
but excited to be out on
their own.
- Sibling
relationshi
ps
-They send their younger
brother home to get the bus
fare, then run off, leaving
him behind.
„iron fist in the velvet glove‟
-„charmer, use your charm,
weave a spell and subdue me‟
-„don‟t hand/on my lips‟
- Pleasure
„Brothers‟
by Andrew
Forster
„The
Farmer‟s
Bride‟ and
„Nettles‟ and
„Hour‟ –
natural
imagery
Frustration
- Guilt
- Freedom
- Regret
-„To His
Coy
Mistress‟
and „Hour‟ lust
-„Nettles‟ –
reflecting on
a childhood
incident as
an adult
-„Sister
Maude‟ – an
unhappy
event in a
sibling
relationship
-„I‟ll be twice the me‟
„Saddled with you‟
-„spouting six-year old views‟
-„we must stroll‟
-„unable to close the distance‟
„Praise
Song for
my Mother‟
by Grace
Nichols
-The mum in the poet was
the whole world to her
child.
-The narrator compares her
mum to water and food –
vital for life.
- Parental
love
- Gratitude
-„Nettles‟ –
parent child
relationships
-„deep and bold and
fathoming‟
- Joy
- Being
prepared
for life
-Also compares her mum to
moon and the sun (both
masculine and feminine
role in her life).
- Praise
-„You were water to me‟
-„Ghazal‟ –
natural
imagery
-„replenishing replenishing‟
-„Go to your wide futures‟
„Sonnet
116‟ by
William
Shakespear
e
-Shakespeare is writing
about how constant true
love is.
-True love doesn‟t change
when circumstances
change.
-„He says that if what he
says isn‟t true, then he
never wrote anything and
nobody has ever been in
love. Since we know he
did write and people have
loved, he‟s saying his
words are true.
„To His
Coy
Mistress‟
by Andrew
Marvell
-The narrator is telling the
woman that he loves that
she shouldn‟t play hard to
get – there isn‟t time.
-The poem is structured
into a three part argument the first part explaining
how much he would
worship her and what they
would do together if there
was time.
-The second part describes
how there is not time and
shows what will happen
when they grow old.
-The third part declares that
they must live for the
moment , make the most of
their youth.
- Attitudes
towards
love
- Devotion
Constancy
- True love
is not
fickle and
does not
change
over time
- The
passage of
time
- True love
Impatience
- Urgency
-„To His
Coy
Mistress‟ –
the effects of
ageing on
love
-„The
Manhunt‟ –
constancy
and true love
-„Sonnet
116‟ – the
effects of
time and
death
- Death
- Physical
desire
-„edge of doom‟
-„it is the star to every
wand‟ring bark‟
-„Admit impediments‟
-„Deserts of vast eternity‟
-„My vegetable love should
grow‟
- Seduction
Reluctance
„Time‟s fool‟
-„Hour‟ and
„In Paris
with You‟ –
lust and
physical
love
-„A grave‟s a fine and pleasant
place‟
-„Now‟
-„like amorous birds of prey‟
„The
Farmer‟s
Bride‟ by
Charlotte
Mew
-The farmer has been
married for 3 years, but his
bride is still frightened of
him.
- Unhappy
love
- Desire
-He tells the story of how
the relationship went
wrong.
- Fear
-He finds her rejection
almost unbearable. By the
end he seems to be
struggling to resist taking
her by force.
„Sister
Maude‟ by
Christina
Rossetti
-The poem‟s narrator has
kept her boyfriend a secret
from her parents but her
sister has told them about
him.
-The narrator is angry with
her sister for this and her
boyfriend‟s death.
-The narrator is also jealous
that her boyfriend may
have desired her sister.
„Nettles‟ by
Vernon
Scannell
-The narrator‟s son has
fallen in a bed of nettles
and is badly stung
-His father comforts him,
then cuts down the nettles.
However, they grow back
two weeks later
- Intense
emotions
- Betrayal
- Jealousy
- Family
relationshi
ps
- Anger
-„Hour‟ and
„In Paris
with You‟ –
love seen as
an intense
experience
-„To His
Coy
Mistress‟ –
frustrated
narrator
-„Sonnet
116‟ –
intense
feelings
-„Brothers‟ –
family
relationships
- Sibling
relationshi
ps
- Feelings
about
loved ones
- Family
relationshi
ps
- Anger
-Larkin wrote this poem the
day after the birth of his
friend‟s daughter.
-Priorities
-He takes the fairy tale idea
of giving out wishes to a
new born, but his wish is
-Family
relationshi
-„Born
Yesterday‟ –
the hopes
and fears
that adults
have for
children
-„Straight and slight as a
young larch tree‟
-„poor maid‟
-„her hair, her hair‟
-„comeliest corpse‟
-„Cold he lies, as cold as
stone/ With his clotted curls‟
-„shall get no sleep/ Either
early or late‟
Tenderness
- Scorn
-„regiment of spite‟
-„those green spears‟
-„blisters beaded‟
Tenderness
Helplessne
ss
-The poet uses an extended
military metaphor to
express the threat from the
nettles
-„Shy as a leveret, swift as he‟
-„Bide you with death and sin‟
- Revenge
-The story shows how
parents can‟t always protect
their children from pain
„Born
Yesterday‟
by Philip
Larkin
Frustration
-„Sister
Maude‟ –
anger;
family
relationships
-„Sonnet
116‟ – the
idea that
beauty is not
necessary
for real
-„that fierce parade‟
-„Tightly-folded bud‟
-„May you be ordinary‟
not for great beauty or
exciting things – he wishes
for practical, useful talents
which he knows will help
her most to be happy (as
Larkin knows how hard it
is to be happy).
ps
love/happine
ss
- Realism
„Not ugly, not good-looking‟
-Happiness
- Cynicism
-Surviving
life
-„Nettles‟ –
an adult‟s
hopes and
concerns for
a child
-„Hour‟ – the
fairy tale is
not
important
for love –
the simple
things count
far more
-„skilled,/Vigilant,flexible,/
Unemphasised,enthralled/Catc
hing of happiness‟
Structuring a comparative essay
Introduction:
Thesis statement, including:
 Names of writers
 Name 3 techniques (maximum 4)
 Explain overall effect of the techniques
PETAL
Paragraph 1:




Choose 1st technique in poem 1
Use quote to support your point
Detailed analysis of effect
Compare with poem 2, stating technique, providing quote and exploring
effect on reader / writer‟s attitudes.
Paragraph 2:




Choose 2nd technique
Use quote to support your point
Detailed analysis of effect
Compare with poem 2, stating technique, providing quote and exploring
effect on reader / writer‟s attitudes.
Paragraph 3:




Choose 3rd technique
Use quote to support your point
Detailed analysis of effect
Compare with poem 2, stating technique, providing quote and exploring
effect on reader / writer‟s attitudes
Conclusion:
Say something new or pose a question which will linger on the mind of the
reader.
Opening Sentence of a comparative poetry essay
Comparison
Writer‟s attitude
Both Nothing’s Changed and Not my business deal with the issue of inequality – a
powerful recurring theme in many of the poems form Different Cultures – highlighting
the prejudices which immobilise a society and its people, through the use of a number
of literary techniques, both structural and linguistic - juxtaposition being one of the
main devices employed, such as in the case of Nothing‟s Changed which categorically
outlines the differences between the “up-market haute cuisine” of the “white‟s only inn” and
the
“bunny chows” of the “working man‟s café”.
Personal interpretation
Writer‟s craft
Embedded quotes
Essay Questions and Mark Scheme:
Foundation Questions:
2F Mark Scheme Template: Section A
Mark Band 6
31-36 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, candidates demonstrate:
6.1 considered/qualified response to text
6.2 details linked to interpretation
6.3 appreciation/consideration of writers‟ uses of language and/or structure and/or form and
effects on readers
6.4 thoughtful consideration of ideas/themes
6.5 developed comparison in terms of ideas/themes and/or technique
6.6 thoughtful selection and consideration of material for comparison
Mark Band 5
25-30 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, candidates demonstrate:
5.1 sustained response to elements of text
5.2 effective use of details to support interpretation
5.3 explanation of effect(s) of writers‟ uses of language and/or structure and/or form and effects
on readers
5.4 understanding of ideas/themes /feelings/attitudes
5.5 sustained focus on similarities/differences in terms of ideas/themes and/or technique
5.6 selection of material for a range of comparisons
Mark Band 4
19-24 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, candidates demonstrate:
4.1 explained response to element(s) of text
4.2 details used to support a range of comments
4.3 identification of effect(s) of writers‟ choices of language and/or structure and/or form
intended/achieved
4.4 awareness of ideas/themes/feelings/attitudes
4.5 structured comments on similarities/differences in terms of ideas/themes and/or technique
4.6 selection of material to support structured comparative comment
Mark Band 3
13-18 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, candidates demonstrate:
3.1 supported response to text
3.2 comment(s) on details
3.3 awareness of writer making choice(s) of language and/or structure and/or form
3.4 generalisation(s) about ideas/themes/feelings/attitudes
3.5 some comments comparing ideas/themes and/or technique
3.6 selection of some details for comparison
Mark Band 2
7-12 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, candidates demonstrate:
2.1 some clear responses
2.2 range of details used
2.3 simple identification of method(s)
2.4 some range of explicit meanings given
2.5 simple linkage in terms of idea(s)/theme(s) and/or technique
2.6 selection of material for comparison
Mark Band 1
1-6 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
Candidates demonstrate:
1.1 simple response(s)
1.2 familiarity with text/reference to some details
1.3 reference to writers‟ method(s)
1.4 simple comment on meaning(s)
1.5 linkage, perhaps implicit, re idea or theme or method
1.6 selection of appropriate poem to compare
0 marks
Nothing worthy of credit
(January 2013)
Conflict
1) Compare how the poets present someone being damaged by war in
‘Bayonet Charge’ and one other poem from ‘Conflict’.
(36 marks)
Remember to compare:
*what the damage in the poems is like
*how the poets present the damage by the ways they write.
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following:
AO1
– sweating , running, stumbling
- sense of questioning why he is there
– time standing still
– overcome by terror – all rational thought deserting him
AO2
of alliteration and sibilance
AO3
Some features of the poem chosen compared to:
maged & touched by war in The Yellow Palm, The Right Word
2) Compare how the poets present thoughts about those who have died
in ‘Poppies’ and one other poem from ‘Conflict’.
(36 marks)
Remember to compare:
* what the thoughts are
*how the poets present these thoughts by the ways they write.
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following:
AO1
Narrative memory of soldier leaving to go to war
- clothing
AO2
– mother‟s point of view
AO3
Some features of the poem chosen compared to:
Relationships
1) Compare how the poets present difficulties in a relationship in ‘The
Manhunt’ and in one other poem from Relationships.
Remember to compare:
what the difficulties in the relationships are
how the poets present these difficulties by the ways they write.
(36 marks)
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following:
AO1
AO2
Use of free verse and enjambment
AO3
Some features of the poem chosen compared to:
t re relationship breakdown in Brothers
2) Compare how the poets present feelings for a person in ‘Born
Yesterday’ and in one other poem from Relationships.
Remember to compare:
ys they write.
(36 marks)
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following:
AO1
tiveness
AO2:
AO3:
in Sonnet 43,Sonnet 116, Ghazal, Praise Song
Higher Questions:
2H Mark Scheme Template: Section A
Mark Band
6
31-36 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, students demonstrate:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support interpretation
6.3 evaluation of writers‟ uses of language and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of ideas/themes
6.5 evaluative comparison of ideas and/or meanings and/or techniques
6.6 evaluative selection of a range of telling details into comparison
Mark Band
5
25-30 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, students demonstrate:
5.1 exploratory response to text
5.2 analytical use of detail to support interpretation
5.3 analysis of writers‟ uses of language and/or structure and/or form and effects on readers
5.4 exploration of ideas/themes
5.5 analytical comparison of ideas and/or meanings and/or techniques
5.6 selection of a range of telling details as the basis for comparison
Mark Band
4
19-24 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, students demonstrate:
4.1 considered/qualified response to text
4.2 details linked to interpretation
4.3 appreciation/consideration of writers‟ uses of language and/or structure and/or form and
effects on readers
4.4 thoughtful consideration of ideas/themes
4.5 developed comparison of ideas and/or meanings and/or techniques
4.6 thoughtful selection and consideration of material for comparison
Mark Band
3
13-18 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
In response to the task, students demonstrate:
3.1 sustained response to elements of text
3.2 effective use of details to support interpretation
3.3 explanation of effect(s) of writers‟ uses of language and/or structure and/or form and
effects on readers
3.4 understanding of ideas/themes/feelings/attitudes
3.5 sustained focus on similarities/differences in ideas and/or meanings and/or techniques
Mark Band
2
7-12 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
Mark Band
1
1-6 marks
(A01)
(A01)
(A02)
(A02)
(A03)
(A03)
0 marks
3.6 selection of material for a range of comparison
In response to the task, students demonstrate:
2.1 explained response to element(s) of text
2.2 details used to support a range of comments
2.3 identification of effect(s) of writer‟s choices of language and/or structure and/or form
intended/achieved
2.4 awareness of ideas/themes/feelings/attitudes
2.5 structured comments on similarities/differences in ideas and/or meanings and/or
techniques
2.6 selection of material to support structured comparative comment
In response to the task, students demonstrate:
1.1 supported response to text
1.2 comment(s) on detail(s)
1.3 awareness of writer making choice(s) of language and/or structure and/or form
1.4 generalisation(s) about ideas/themes/feelings/attitudes
1.5 some comments comparing ideas and/or meanings and/or techniques
1.6 selection of some details for comparison
Nothing worthy of credit
(January 2013)
1) Compare the ways poets show how conflict and war affect
feelings about a place in ‘At the Border,1979’ (page 39) and in
one other poem from Conflict.
(36 marks)
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following
A01
the more permanent reality of the land itself
d the adults
A02
direct speech
se of structural features including caesura, enjambment
A03
Some features of the poem chosen dealt with and compared to „At The Border, 1979‟, such
as:
n feelings about homes in e.g. „The Yellow Palm‟ or
„Belfast Confetti‟
in, e.g. Futility‟ or „Mametz Wood‟
2)
Compare the methods poets use to present their points of view in
‘next to of course god america I’ (page 48) and in one other poem
from Conflict.
(36 marks)
Indicative content
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following
A01
patriotism and war
A02
tructural features such as use of sonnet form and punctuation for particular effect
A03
Some features of the poem chosen dealt with and compared to „next to of course god
america I‟, such as:
ht Word‟ or „At the Border, 1979‟
Relationships
1) Compare the methods poets use to explore ideas about time in „Hour‟
(page 51) and in one other poem from Relationships.
(36 marks)
Examiners are encouraged to reward any valid interpretations. Answers might, however,
include some of the following
:
A01
A02
me and half-rhyme
A03
Some features of the poem chosen dealt with and compared to „Hour‟, such as:
ith You‟
2)
Compare the methods poets use to present difficult relationships in
‘The Farmer’s Bride’ and in one other poem from Relationships.
(36 marks)
Examiners are encouraged to reward any valid interpretations. Answers might,
however, include some of the following:
A01
A02
n monologue
syntax in final stanza
loquial language
A03
Some features of the poem chosen dealt with and compared to „The Farmer‟s Bride‟, such as:
ery to present relationships in „Ghazal‟ or „Praise Song for My Mother‟
Model Essay:
Comment [MAB23]:
6.5 evaluative comparison of ideas and/or
meanings and/or techniques
In what way do Nothing’s Changed and one other poem deal with the concept of inequality?
Both Nothing’s Changed and Not my business deal with the issue of inequality – a powerful recurring
theme in many of the poems form Different Cultures – highlighting the prejudices which immobilise a
society and its people, through the use of a number of literary techniques, both structural and
linguistic - juxtaposition being one of the main devices employed.
Contrast between black and white, rich and poor and the powerful and powerless are made transparent
in Nothing’s Changed which explores the implications of a divided society at the time of the apartheid
in South Africa. Though the poem draws light on the plight of the blacks on whose land the whites
“squat”, it does so from a biased perspective – here all whites appear to be responsible for the
inequality between the two groups. Not My Business, on the other hand, though dealing with the same
concept, does not expose the dichotomy that exists between the rich and poor, but that of the powerful
and powerless. It takes a very negative view of the controlling ruling class and the exploitative
authority of the government and their abuse of their own people. This is one point of difference
between the two poems – where one poem explores the abuse of power of one community over
another, the latter explores the issues which exist in one society and their mistreatment of their own
people.
The juxtaposition between the black and white communities is made clear by the use of language and
imagery in Nothing’s Changed. Between the “linen falls”, “single rose” and “upmarket hautecuisine” of the “whites only inn” and the “plastic tables top” and “bunny chows” of the black man‟s
café is a vast gulf inequality – inequality which gives rise to the feelings expressed by the poet in
stanza two – “the soft labouring of my lungs, and the hot, white, inwards turning anger of my eyes”.
The ambivalent use of the verb “squat” and the alliteration in stanza three “name flaring like a flag”
make clear the sense of injustice felt by the writer, the latter suggesting an unashamed boastfulness
not apt for a respectable element of society. Not My Business, on the contrary, employs irony rather
than direct expression of feeling in order to portray the injustice inflicted on the helpless and
powerless. The apparent indifference felt by the writer “as long as they don‟t take the yam from my
savouring mouth” subtly draws attention to the need for change in society‟s views of the individual
and of the ordinary „man‟ – they are, after all, those who keep society operating.
The juxtaposition between the two classes is further enhanced, in Nothing‟s Changed, by the use of
the symbolic glass panel of the white only restaurant – it cuts off not only a segment of society,
ironically, those who rightfully belong, but also the writer himself, while the restaurant itself rests
amongst “incipient Port Jackson trees” and “grass and weeds”. Thus, the personal voice of Africa is
very pronounced here and throughout the poem. While the imagery of the Port Jackson trees and
grass and weeds are representative of the land and of the indigenous population, the glass symbolises
the alien nature of the whites only restaurant and the hatred it brews amongst those outcast. Hence,
the physical imagery employed in the poem further helps to underline the extensive difference
between the two classes of society – a class system created, as in Not My Business, by an abusive
regime, or in Nothing’s Changed by the ruling and upper classes – those with the power and privilege
to establish both order and chaos and to rouse both respect and hatred.
Comment [MAB24]:
6.1 insightful exploratory response to text
6.5 evaluative comparison of ideas and/or
meanings and/or techniques
Comment [MAB25]: 6.
1 insightful exploratory response to text
6.4 convincing/imaginative interpretation of
ideas/themes
Comment [MAB26]:
6.2 close analysis of detail to support
interpretation
Comment [MAB27]:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support
interpretation
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Comment [MAB28]:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support
interpretation
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Comment [MAB29]:
6.1 insightful exploratory response to text
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Comment [MAB30]:
6.1 insightful exploratory response to text
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Comment [MAB31]:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support
interpretation
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Africa‟s fierce and unequivocal expression of hostility – “hands burn for a stone, a bomb”- is in stark
contrast to the apparent laid-back stoicism of Osundare‟s Not My Business. Though both perhaps are
just as effective in communicating the prevalent injustice and inequality amongst their societies, this
is yet another point of difference between the two poems.
In Not My Business, the use of repetition -“what business is it of mine, as long as they don‟t take the
yam from my savouring mouth”, is comparable to that of a chorus from a song, and again reinforces
the writer‟s view of the unjust society of which he is part; through a simple refrain he cunningly
condemns not only the corruption of the government, but also that of the individuals which make up
the society. The climactic end of the refrain following the third stanza draws the reader to an
expected and predictable conclusion. Though probing, he is discreet in his method as he encourages
the reader to consider their own actions in a similar context. Though no such technique is used in
Nothing’s Changed, structure is nonetheless an important factor in both poems as contrast is
expressed not only linguistically, but also visually portrayed through form and layout. Thus in
Nothing‟s Changed, the two juxtaposing stanzas appear in succession, exposing the depth of
indifference existing in the two communities – though physically side by side, the distance between
them is unbridgeable. Hence, the despondency and disappointment felt by the writer as expressed,
firstly in the title, and subsequently throughout the rest of the poem.
It is interesting to note that both poems use reference to food – the “haute-cuisine” of the whites only
restaurant compared to the “bunny chows” of the black man‟s café in Nohting’s Changed, and the
repeated reference to “yam” in Not My Business. This acts not only as a symbol of the differing
lifestyles identified in the former poem, but perhaps also to highlight the manipulative nature of a
tyrannical regime and the inevitable corruption of the working classes. Though this appears to draw
an extremely grim, dystopian view of society, Osundare nonetheless guides the reader to consider an
alternative viewpoint – one which focuses on the possibility for change and redemption through
questioning ourselves and the choices we make.
If this truly is the case, it can be argued that whereas one poem is more thought-provoking and
philosophical in nature, the other is a person‟s impassioned response to the treatment of himself and
his people; a bitter declaration of his own powerlessness to change all that is wrong in his society.
*****************
Comment [MAB32]:
6.5 evaluative comparison of ideas and/or
meanings and/or techniques
Comment [MAB33]:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support
interpretation
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Comment [MAB34]:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support
interpretation
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Comment [MAB35]:
6.1 insightful exploratory response to text
6.2 close analysis of detail to support
interpretation
6.3 evaluation of writers‟ uses of language
and/or structure and/or form and effects on
readers
6.4 convincing/imaginative interpretation of
ideas/themes
6.6 evaluative selection of a range of telling
details into comparison
Unseen Poetry
SECTION B – AQA
This is the NON – COMPARATIVE part. You will be given
one poem to read and then about 25 minutes to write about in
detail. The poem will be about something straightforward.
Remember, as with the AQA poems, you will have to write
about TECHNIQUES, i.e. WRITER‟S CRAFT, and CLOSE
ANALYSIS is just as valid in this section as with the other.
The mark scheme for this is the same as the one for the AQA
poetry.