The Complete
Sixth Edition
Prescribed Poems and Learning Materials
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P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
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About The English Experience
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PercyOBysshe
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Introduction to the
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Alfred, Lord
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RobertTIBrowning:
“My Last Duchess”
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P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
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I unfamiliar poetry: someAguidelines .....................................................................................228
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SRuth Everson: "Poetry is Dangerous"
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Tatamkhulu Afrika: "Small bird singing in a bush" ..............................................................................................245
Lebogang Mashile: "Desert child" .....................................................................................................................250
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resources the company publishes. You can scan this QR code to launch the
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INTRODUCTION
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the
full
text
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each
of
the
poems
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prescribed
in
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IEB
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syllabus;
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introduction
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to the era in which each poem was written; a biography
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set of stimulating
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'Study hard, for the well is deep, and our brains are shallow.’
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The poems written by Europeans are arranged into sections (eras, time periods or ‘movements’) that illustrate the progres-
N
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sion
TI through the five centuries
N in
TI covered by the syllabus,Nfrom the late Renaissance period
IO of European English poetry
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UNSEEN
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The contexts in whichNthe African poets included in
IOthe syllabus wrote are signifi
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of every poet; an in-depth analysis of each poem and a
RE
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© len-yan (Deviantart)
CONTENTS
We believe that studying poetry rewards us with a broader,
N deeper understanding of ourselves and of the world around us; that
ON
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
set of contextual and intertextual questions.
terms used in the text
NO
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WHAT DO YOU THINK?
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Something
N to which you need to pay
N
IO
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We hope you enjoy
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you have any comments,Squeries or suggestions,
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please do not hesitate to contact us by calling our offices on
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© THE ENGLISH EXPERIENCE 2019
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complete
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attention
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THE
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VICTORIANS
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MODERNISM
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This section has beenAcompletely
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M
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features guidelines on how to prepare for thisNO
section of the final
LATE MODERNISM
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SOUTHERN
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will
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UNSEEN
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Information
TI
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PL
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The Unseen Npoetry section prepares students
for tackling poN
IO
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etry they
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IC
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I
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L that follow. After
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this introduction,
a concise biography
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LorEGlossary
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attention to the major
TI events and influences of theATtime, and some
INTRODUCTION
TO POETRY
Each section begins with an introduction to the periodNthat draws
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
9
THE COMPLETE POETRY RESOURCE
E
PL
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FOREWORD
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READING
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Reading and analysing poetry effectively
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N
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TI the necessary techniques.
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INTRODUCTION
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EC methods and
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theEpoet has succeeded (and soPhave you!).
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• Ask questions
N
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process.
PL Developing and substantiating
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© Keyade (Deviantart)
CONTENTS
INTRODUCTION
TO
ON POETRY
ON
TI
ON
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
An end-stopped line occurs when the sentence or phrase is com-
it is trying to convey too early on, you may run the risk
pleted at the end of the line of verse and is usually indicated by a
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from a gigantic
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of the first, second, third, fourth or fifth line. Read together, on the
Be sure that you are reading
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other hand, the six lines make up one thought. Notice the full stop
IC
CT within
or lack thereof.
PL The ‘sentences’ or ‘pauses’
E
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R
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words or striking images, and draw lines to indicate
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paying special attention
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IO
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at the end of the sixth
ONread these
N line. This indicates that we should
IO
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RENAISSANCE
and chimney smoke
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aloud. This will notLonly
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INTRODUCTION
TO POETRY
ON
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ON
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It is a rare event forTIa person to understand a A
poem
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fully.
A
A
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analyse the poem as soon as
you start reading it. If O
S
S
NO
N
CONTENTS
STEP 1: READ THE POEM
UNSEEN
POETRY
speaker trying to convey?
N
If the poem is particularly
jotNdown a few words or phrases that sumN long, it may help youTtoIOre-read each stanza andIO
ON
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TI subject and theme
marise that stanza.
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T and theme of a poem, Tit Fis important to know something
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AM about its context. SObviously,
AM
When
S
O
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knowing a few facts about the poet — such as when he or she lived — will help with your understanding and appreciation of the poem.
N
ON
© THE ENGLISH EXPERIENCE 2019
S
ACKNOWLEDGEMENTS
O
TI
ON
11
THE COMPLETE POETRY RESOURCE
If you were to publish a poem now, your poem would
N be
ON
O
N
CONTENTS
TI a litbetter understood T
byIOfuture generations if theyAknew
LIC
EC
TI
A
C
tle about you Sas a person: for example, P
when and where
FOREWORD
E
EP
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R
R
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P your beliefs, what the social
you lived,
climate was, what R
OR
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F
FO
S
T and what your personal
T
society expected or frownedOupon
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SA
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philosophies included.
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The same is Ntrue for any poem and poet
N you encounter
O
O
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and so CitTis often very useful to familiarise
yourself with
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INTRODUCTION
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the
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periods
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styles of these eras, asAM
well as any major historical
FOevents
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paper. The date
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belonged,
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SA
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MODERNISM
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views expressed
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AT
adopted
LICin order to tell a particular
LICstory or present a certain
CTviewpoint. Just as authors
CT create characters in novels,
IC
EP
P
E
S of their poems.
R often create characters
poets
REthrough which to tell theEstory
LATE MODERNISM
/ POSTMODERNISM
SOUTHERN
AFRICAN POETRY
R
PL
R
O
TF
M
SA
STEP 3: CLOSE
READING
NO
LE
PL
SE
P
M
SA
R
RE
O
TF
NO
Conducting a close reading of a poem is a skill that you can learn and apply
ON
ON
TI
R
RE
O
TF
NO
N
to any verse. Once
IO you have mastered the technique of recognising particular
TI
CA
N
T
N
O
A
O
poetic devices
IC and the effects createdTIby them, you will be able toTIadapt your
LI
P
PL
EC
C
E
S
approach
RE to suit the text you have
E been asked to analyse. S
LE
PL
P
OR
M
F
First, consider what caught
A your attention (the phrases
AM or words you underT
S
S
T
NO
lined or circled when first reading the poem, perhaps). Why did these particular
NO
features strike you as effective or interesting? Is the poet using a particular
UNSEEN
POETRY
N
O
TI
© lighterheaven (Deviantart)
ACKNOWLEDGEMENTS
12
ON
I
CT
LI
LE
MP
SA
C
SE
N
N
IO
O
poetic
TI Why is the poet trying toNdraw your attenAT device or Figure of Speech?
O
A
C
TI
ICof the poem?
LItion
to this particular aspect
L
C
P
P
SE
S
RE
RE
E
E
R
L
L
R
Once
you
have
dealt
with
the
aspects
of
the
poem
that
proved
most
striking
to
FO
MP
FO
MP
T
A
A
T
you, returnOto the beginning of the poemS and work carefully throughSeach line,
NO
N
taking note of the more subtle poetic devices and Figures of Speech employed
N
by the poet. Again, ask yourself
N each time: why has the
N poet done this?
O
O
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
standing of the poem as a whole. The word ‘red’,
earnest, enthusiastic, excited, fearful, formal, frank, friendly, frus-
clues about the particular emphasis being given
reverent, sarcastic, satirical, scathing, self-pitying, sensationalist,
ence the way in which a poem should be read.
The basics:
N
N
Nit could
IO happy, honest, hopeful, humorous,
IO indifferent, indigtrated, gloomy,
O
T
for example,
could
simply
be
a
colour
or
T
I
I
A
A
O
CT
CT
IC
IC judgmental, light-hearted,CTI
nant,Linformal,
intimate, ironic, irreverent,
E
L
be representative
of anger, passion,
hatred
or
SE
P
S
E malevolent, malicious, Rmelancholic,
EP
SE
mischievous, mocking,
Rlofty,
LE
LE
E
Pdanger.
P
R
PLpensive,
M
ORoptimistic, patient, patronising,
FO negative, nostalgic, objective,
F
M
SA
A
T
T
S
Punctuation or typography may give you further
perplexed, persuasive,
NO
NO pessimistic, reflective, regretful, remorseful,
ON
N by the poet. A word on its own line,
sentimental, serious, sincere, sceptical,
solemn, stiff, straightforward,N
to a IO
word
N
ON
N
O
T
I
O
A
O
T
sympathetic,
thankful,
threatening,
tragic,
urgent, vindictive andAwitty.
TI
I
I
A
Cfor example, is always signifi
T
T
cant
and
the
poet
is
C
C
I
IC
EC
PL
SE
PL
drawing attention toEit.SAgain, always ask: why has
E
E
E
R
R
PL
PL
R
R
M
the poet made
these
particular
decisions?
M
O
O
A
A
F
F
S
S
S
OT READING CHECKLIST NOT
CLOSE
N
Be aware of the speaker’s tone, as this will influN
N
N
IO
O
T
I
Make sure that you
are clear on the following:
A
CT
IC
L
E
• the subject
(what
the
poem
is
about)
P
S
RE literary period)
RE
LE context (poet’s backgroundRand/or
• Pthe
R
M
FO
FO
SA • the speaker
T
T
O
NO
• the tone or attitude N
IO
Remember that ‘tone’
ON
AT and ‘attitude’ are synonyTI
C
I
mous when analysing
poetry and will, usually,
PL
EC be
RE
S
E
indicated
(word
R by the use of particularPLdiction
O
M
choice),
Try to learn
T F punctuation or typography.
SA
O
and memorise as many words describing tone as
possible so thatNyou have a ‘tone vocabulary’ at
•
the theme or message
•
unusual diction (word choice) or punctuation
IOallowing your answers toIObeN more
T
N
your fingertips,
N
A
AT
IOtechnique:
IO
Style T
and
IC
AT
C
T
I
L
C
L
C
C
I
specifi
c.
P
P
E
L
E
S
Semployed
RE
Determine whether the poet has
any of the following EP
RE
E
E
R
R
L
PL
OR
MP techniques:
POPULAR POETICFTECHNIQUES
M
OR
A
A
F
T
S
S or structure (such as a sonnet
T or ode)
• a particular form
NO to remember is that every
An important thing
NO
choice a poet makes is deliberately implemented
N
•N striking or unusual typography (layout of the poem)
O
O
toON
emphasise or enhance Athe
TI meaning of the
N
TI • a specific rhyme scheme
A
TI
IO
C
I
C
T
I
L
poem. Whenever you recognise
a specific featurePL
• a regular rhythmEorCmeter
EP
E
S
R
R
• repetition LorEother forms of emphasis
of a poem, yourRmain concern should be RdeterO
O
P
F poet has chosen to express
mining whyTthe
T F him or
•
metaphors
AM or similes
herself in that way; for example, consider some of
•
Figures of Speech
NO
NO
the possible effects of the following popular poetic
techniques:
LE
ON
I
CT
SE
R
P
M
SA
O
TF
NO
E
PL
M
SA
T
NO
REMEMBER: As well as pointing
out the particular styles or techniques
N
used by the poet, examine
TI what effect they have and
ONhow these fea-
N
N
SE
O
A
C
TI as a whole.
I impact on the meaning of theCpoem
tures enhanceLor
P
E
S
S
RE
E
E
L
L
R
MP
FO
MP
A
A
T
S
S
O
LI
P
RE
N
O
TI
A
C
S
ON
I
CT
ON
© THE ENGLISH EXPERIENCE 2019
FOREWORD
depressed, determined, disdainful, disgusted, disheartened, dramatic,
INTRODUCTION
TO POETRY
NO
THE
RENAISSANCE
FO
THE
ROMANTICS
AM
Tcontext in order to
andS should be considered in
NO
appreciate its impact or affect on your under-
THE
VICTORIANS
RE
E
word in PaLpoem is carefully chosenR by the poet,
MODERNISM
IC
C
that seem unusual
PLEvery
SE or particularly arresting.
LATE MODERNISM
/ POSTMODERNISM
N
IO
N
T
TONE VOCABULARY
A
IO
C
T
I
L
C
EP describe tone can include:SEadmiring, ambivalent,
WordsRthat
LE celebratory, condescend- PLE
R anxious, angry, apologetic, bitter,
amused,
P
O
M
M
Ting,F contemplative, critical, cynical,
SA defensive, defiant, desperate,
SA
SOUTHERN
AFRICAN POETRY
ON
UNSEEN
POETRY
N
I
O
words chosen by the
AT
TI poet, particularly any words
ACKNOWLEDGEMENTS
Remember to consider the connotations of the
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
13
THE COMPLETE POETRY RESOURCE
Alliteration:
FOREWORD
• to link words and ideas by ‘echoing’ the sounds of these words
• to create
ON mood
TI
ON
N
O
TI
INTRODUCTION
TO POETRY
C
SE
Simile:
E
PL
C
SE
R
LE
P
• the similaritiesAbetween
the two things FOR
M
T
compared areSreally striking
NO
• to emphasise certain characteristics
THE
RENAISSANCE
N
O
Metaphor:
TI
CA
N
THE
ROMANTICS
ON
THE
VICTORIANS
OT
R
FO
LE
SE
MODERNISM
LATE MODERNISM
/ POSTMODERNISM
OR
RE
SOUTHERN
AFRICAN POETRY
OR
T
NO
F
LE
F
T
NO
AT
SE
TI
CA
R
RE
O
TF
NO
ON
ON
I
CT
LI
LIC
P
P
M
SA
RE
OR
ON
ON
TI
CA
P
RE
I
CT
SE
SA
EPhas taken away my practices SE
R‘Love
R And filled me with poetry.’ PLE
O
M
F
— Rumi SA
OT
F
OR
ON
MP
TI
CA
LI
I
CT
LE
LI
P
SE
MP
ON
RE
O
TI
C
LE
S
ON
N
O
TI
TI
CA
N
T
T
NO
SA
F
OT
N
IO
R
T
LI
P
T
NO
R
ON
RE
P
expected
NO
SA
I
PL
EP
right attitude
FO and the rest is likely to happen
FOmore easily than
MP
ON
AT
LIC
E the
Poetry is meantRto be enjoyed; approach a poemRwith
C
TI
A
C
R
T
interpret the questions Iproperly
CA
N
LI
P
RE
N work and take the time to ON
There are no short cuts: reviseIO
your
I
L
P
S
M
SA
N
•
M
M
• certain
SA associations or connotations
SA
may be evoked that emphasise or echo
the poet’s meaning or theme
E
PL
T
EC
No statement will be given credit without evidence from the text
T
P
RE
F
N
IO
• to clarify an ideaEC
with an unusual com- EC
S
parison LE S
LE
IO
I
PL
THREE FINAL POINTS
OT TO REMEMBER:
•
O
TI
TI
CA
TI
CA
OR
•
SA
ON
TI
CA
I
L
EP
LE
P
M
I
CT
E
PL
SE
M
SA
N
© Ryky (Deviantart)
CONTENTS
ON
N
ON
I
I
O
T
T
I of something (e.g. ‘whispering
• to echo the T
sound
winds’ mimics the sound
A
A of a whistling wind) ION
C
C
C
I
I
E
CT
PL
Sattention
PL
E
• to draw
to
particular
words
E
E
S
E
R
R
PL
R
LE
R
P
•AMto create mood or atmosphere
O
O
F
M
S
TF
SA
OT
O
N
N
Assonance:
T
NO
OPENING UP TO NEW IDEAS AND WAYS OF SEEING
UNSEEN
POETRY
N
N and taking your time when assessing
In the end, understanding
N poetry has everything toIOdo with being open to newIOideas
ACKNOWLEDGEMENTS
P
make
well-constructedFO
answers that reveal a clearMunderstanding
and are supported
FO
AM unique observations in considered,
MP
AT
IO
R
P
S
LE
R
T
LE
SA
T
NO
by evidence from the text.
NO
N
14
N
T
each work. Taking
made by teachers, Icritics
CA and fellow studentsCTisIOcommendable, but
CT into account pronouncements
LIC
E
L
P
S will reward handsomelyE students who show that they
P
SE and are not afraid to S
every examiner
R
RE have read the poem carefully
LE
ON
SA
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
CONTENTS
ON
I
CT
LI
S
alliteration: the
EP especially at the
E repetition of consonant sounds,
R
L
beginning
of
words
(e.g.
‘some
sweet
sounds’)
P
R
metaphor:
unlike objects or
EP a comparison between essentially
SE
Rwithout
E
ideas
an
explicitly
comparative
word
such
as ‘like’ or ‘as’
L
R
apostrophe: a statement or question addressed to an inanimate
object, a concept
N or a non-existent/absent person
something closely associated with it (e.g. the place ‘Hollywood’ is
N to refer to the American film N
regularly used
industry)
LE
P
P
M
O
O
A
F
M
M
S
allusion:
a reference to a familiar
T literary or historical personOorT F meter: the repetition of sound
SA patterns to create a rhythm SA
O
N
N
event, used to make an idea more easily understood
metonymy: the name of one thing is replaced by the name of
O
RE
E
S
ode: an extended lyric
PbyL exalted
OR poem that is characterised
F
M
emotion and a dignifi
ed
style
and
that
is
usually
concerned
with a
A
T
S
single, serious
NOtheme, praising or glorifying an event or individual
O
O
TI
TI
oxymoron: a descriptive
CAphrase that combines two contradictory
CA
LI
R
R
paradox:OaRstatement that appears illogical
OR or contradictory at
F
F
first,Tbut which may actually point to an
T underlying truth
NO
convention: a customary or typical feature of a specific type of
literary work (e.g. all sonnets contain 14 lines)
NO
S
parody: a humorous, mocking imitation of another literary work,
often intended to be playful and respectful of the original work, but
can sometimes beNsarcastic or critical
ON
N
O
couplet: a pair of rhymed
TI lines, often appearing atIOtheN end of a
A
poem or stanza IC
T
TI
IO
A
pastoral: derived
CT from the word ‘pastor’,Lwhich
IC means shepherd;
E
a pastoral
S poem is concerned with a rural
EP or nature-based theme
EC
S in a poem
diction: the
REselection and arrangement ofEwords
R
L
RE
LE
R
P
P
R
O
R
personifi
cation:
giving
an
inanimate
object
or
concept
the
qualiM yet celebrate the life of aAM
F a lyric poem written to grieve
elegy:
FO
FO
SA
S ties of a living thing
T
OTperson who has died
T
NO
NO
pun: a play on words that have similar sounds, but different meanepigraph: a short phrase or quotation at the beginning of a literary
work that servesNto introduce the theme or subject
N of that work
ings
IO
IO
N a four-line stanza
N
quatrain:
ATused to measure the meter of A
foot: a C
unit
aT
poem; one foot is made
IO
IO
I
AT
C
T
T
I
L
C
upP
of two to three syllables
L
C
C
I
rhythm
(meter):
the
recurrent
pattern
of
accents
or
natural
P
E
L
E
RE
EP
RE pattern of meter or rhymeLE S stresses in lines of verseE S
R free verse: poetry without aRregular
R
PL
MP
FO
M
ORmisconduct
satire: a work that
criticises
or ridicules human vices,
A
hyperbole: a Figure T
of Speech in which something is
deliberately
A
F
S
S
T
O
or follies
exaggerated N
NO
iamb: a foot containing an unstressed syllable followed by a
stressed syllable
ON
I
AT
ON
TI
RE
R
internal rhyme:
ORtwo or more words rhyme within
OR a single line of
F
verse
T
TF
NO
NO
irony: when the intended meaning of a statement or comparison is
the exact opposite of what is said
sestet: a stanza or section of a poem that is six lines in length,
Noften used in the sonnet form
O
TI
A
image / imagery: the verbalICrepresentation of a sense impression,
L
LIC
P
a feeling, or idea
P
E
N
simile: a comparison between
ON
IO two unlike things usingTIcomparaT
C
tive words, such asE‘like’, ‘as’ or ‘as though’
EC
S
S
sonnet: a fourteen-line
poem, usually writtenLinEiambic pentameter
LE
MP
MP
subject:
SA what the poem is about; the
SAperson, event or theme that T
forms the focus of the poem
NO
symbol: an object that means or represents something beyond
N
juxtaposition: the placement
of two things (often abstract
IO con- itself
ON
I
T
N
ON
T
I
A
Athe use of a part to symbolise
cepts) near each T
other in order to create a contrast
IO its corresponding
synecdoche:
IC
C
T
C
I
L
L
SE expressing the subjective feelings
EC to refer to a car)
EP or emotions of wholeEP(e.g. the word ‘wheels’ may beSused
lyric: a E
poem
S
R
R
E
E
R
PL
L
L
theMpoet
R
theme: the main idea or message
of a literary work
FO
MP
FO
MP
T
SA
A
A
T
S
S
NO
NO
N
ON
© THE ENGLISH EXPERIENCE 2019
THE
ROMANTICS
LI
terms (e.g. ‘Oh loving
EP hate!’ from Romeo and Juliet
EP)
THE
VICTORIANS
caesura:
an extended or dramaticNpause within a line of verse
N
TI
IO
IO
CA
T
T
C associations that a word orEphrase
C
connotations: the rangeEof
S
suggests, in additionEtoS
the straightforward dictionaryEmeaning;
for
L
L but also
P
P
example, the word
‘discipline’
means
order
and
control,
M
M
has connotations
SA of suffering and pain SA
MODERNISM
ON
THE
RENAISSANCE
onomatopoeia: a word that imitates the sound it describes (e.g.
‘buzz’, ‘meow’)
N
N
tameter
INTRODUCTION
TO POETRY
TI
A
A
O
octave:
IC a stanza or section of aLpoem
TI
IC that is eight lines in length
C
PLand is often used in the sonnetPform
E
E
RE
LE
PL ballad: a short poem with aPrepeated
R
refrain,
that
tells
a
simple
AM intended to be sung FO
story, and which was S
originally
OT
N
blank verse: a line of poetry or prose in unrhymed iambic pen-
PL
O
TI
IO
LATE MODERNISM
/ POSTMODERNISM
N
IO
T sounds in a line of
assonance:
CT the repetition of similarECvowel
poetry
SE (e.g. ‘fleet feet sweep by sleeping
S geese’)
SOUTHERN
AFRICAN POETRY
A
LIC
UNSEEN
POETRY
I
T
EC
FOREWORD
ON
TI
A
C
ACKNOWLEDGEMENTS
N
O
GLOSSARY OF
ONPOETIC TERMS AND FIGURES
TI OF SPEECH
ON
15
THE COMPLETE POETRY RESOURCE
CONTENTS
ANSWERING CONTEXTUAL
POETRY QUESTIONS
N
ON
ON
FOREWORD
O
I
N
TI
AT
A
IOprepared as it
C
C
I
T
I
Answering contextual
poetry
questions
effectively
is
as
much
about
being
methodical
and
PL
SE
PL
EC
Ssome
E
REunderstand poetry. The
is aboutPLmastering
how to read and
of the common E
REfollowing list highlights
R
LE
R
P
PL
M
O
O
F
F
M
M
mistakes
to avoid and offers
suggestions
on
how
to
answer
such
questions
properly.
SA
T
T
SA
SA
NO
NO
I
CT
• Read the questions carefully
INTRODUCTION
TO POETRY
Examiners want to see that you know what the poem is about;Nhowever, many questions are
N based on how the
N
O
N
O
I
I
verse
works,
how
the
poem
has
been
constructed,
for
instance,
and
what
effect
the
poet
has
managed to achieve
O
O
AT
AT
TI
O
TI
C
C
C
C
I
TI
I and that you know exactly
by using certain linguisticEtechniques. Ensure that you
read the questions carefully
L
L
C
SEwhat is being asked before
P
S
P
E
SE
RE
LE
LE attempting to answerRa question.
E
PL
MP
OR
OR
A
F
F
M
• Avoid re-telling
S the ‘story’ of the poem
SA
OT
OT
N
N
Avoid re-telling the ‘story’ of the poem unless you have been asked to paraphrase or summarise it.
P
THE
RENAISSANCE
•ON
Answer in coherent, well-structured sentences
N
ON
N
I
IO
ON
O
T
T
I
I
A
A
T
T
Always answer in C
coherent,
well-structured sentences
and avoid awkwardICconstructions; for example,Cinstead of
E
EisC…’ or ‘Because the man
LI the man is
PLis …’, use ‘It is evidentEP
beginning yourSanswers
with ‘That the man
that
S
E
E
E
R
R
…’ or ‘The
PLman is … therefore …’.PL
R
R
M
M
O
O
A
A
F
S
S
T
TF
S
• Avoid rewriting the question in your answer
O
NO
N
TI
CA
THE
ROMANTICS
It is also important to note that you are not expected to rewrite the question before you answer it. If the question
N
asks: ‘Quote anOadjective
that means “outspoken”’, for example, avoid answering: ‘An adjectiveN that means
I
N
O
N
outspoken isAT
frank’. It is acceptable simply
TI
IO to write the answer: ‘Frank’.
IO
THE
VICTORIANS
A
IC
CT
CT
IC
PL
E
L
E
E
S
P
S
• Take
R note of the mark allocation
E
RE
LE
RE
L
R
P
P
R
O
R
clear indication of the length
F The mark allocation is aAM
AM and depth of answer that
FOis required. A one-word answer
FO
S
T
OT will not suffice for a question
T
worth three marks.S
NO
NO
MODERNISM
• Be aware of ‘double-barrelled’ or multi-layered questions
N
N
O
IOdifferent aspects or sections
Many
of a given question; forNexample, a question may
TIstudents do not answer the
A
ON
AT
I
IO
C
I
AT
C
Lask:
LI
CT
CT
IC
LATE MODERNISM
/ POSTMODERNISM
P
EP in line 1 convey, and how
SE does this emotion change
PL
SEby the end of the poem?EProvide
RE ‘What emotion do theRwords
E
E
R
R
L
R
PL
Oanswer.’
a reason for your
MP
F
M
OR
A
A
F
T
S
S
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NO question requires the student to do three things:
This example
NO
1. State the emotion.
SOUTHERN
AFRICAN POETRY
T
N
IO
N
N
O
O
2. Explain how itAchanges
by the end of the poem.
TI
TI
N
N
A
IO
IO
C
T
T
I
L
C
3. Provide P
a possible reason for the difference.
C
EP
SE
SE
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E
R
• Be prepared
of Figures of Speech
OR to comment on theOeffect
PL
PL
F
M
F
M
T
SA
OT
SA
a Figure of Speech
NIdentifying
OT
NO will be awarded a mark, but you are also expected to discuss how it adds toNthe
LIC
meaning of the poem. Ask yourself the following questions:
UNSEEN
POETRY
• What does the Figure of Speech contribute
to the poem?
ON
ACKNOWLEDGEMENTS
I
ON
I
T
N
ON
T
I
A
A
T it clarify a point?
IO
• Does
IC
C
T
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I
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SEIs it unusual and therefore
PL
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S
•
E
R
R
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OaRpoint or add humour? OR
PL
MP • Does it emphasise
F
A
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F
T
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SA
NO
NO
N
16
ON
SA
M
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
E
PL
S
• Be sincere in your response to the poem N
O
N
ON
I
I
O
N
T
T
Avoid statingTIthat a poem is brilliant or deeply
moving if you do not agree
with this sentiment. You
A
A
IO should engage
C
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C
I
T
I
L response to the verse, instead
with the
SEtext and formulate a genuine
PL of expressing what Syou
ECthink is the expected
EP from a rushed readingRE
E
R
opinion
or
a
view
you
have
gathered
of
a
study
guide
or
website
on
the internet.
L
E
E
L
PL
M
A
S
FOREWORD
S
You are expected to validate your answers with evidence from the text. It is no use saying: ‘This is a really
effective line’ or ‘This simile is the best I have ever read’. To earn marks, you must PROVE the statements and
N
ON
observations
that you have made.
IO
ON
ON
TI
OT
C
LE
OR
RE
ON
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P
OR
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© archanN (Deviantart)
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‘But I, beingTpoor, have only my dreams;
I have spread
NO my dreams under your feet;
Tread softly because you tread on my dreams.’
— William Butler YeatsN
O
© THE ENGLISH EXPERIENCE 2019
T
NO
ON
I
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LE
SE
P
F
N
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TF
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LE
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SA
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PL
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LI
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OR
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TI
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I
CT
SA
N
OR
ON
LE
F
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TI
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SA
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MP
TI
A
C
S
NO
N
O
TI
SE
O
TF
NO
N
LI
R
P
RE
M
SA
THE
VICTORIANS
TI
CA
LI
O
TF
S
ON
R
FO
R
P
RE
MODERNISM
LE
P
AM
S
P
RE
LI
SE
TI
A
C
LATE MODERNISM
/ POSTMODERNISM
LE
P
AM
ON
TI
CA
SOUTHERN
AFRICAN POETRY
CT
C
SE
ON
N
IO
UNSEEN
POETRY
N
O
TI
M
E
PL
SA
S
ACKNOWLEDGEMENTS
ON
TI
CA
THE
RENAISSANCE
I
AT
O
TI
CA
C
CT
C
I
TI
I
E
L
E
L
C
•S Be prepared to offer your
honest
opinion
about
the
issues
the
poem
addresses
P
S
P
SE
E
RE
RE
LE
E
PL
P
R expressed in the poem O
L thought
R your answers should bePwell
You should be familiar
and
M with the range of themes
FO evidence from the poem.
F
M
SA
out, candid, insightful
and well supportedT with
A
T
S
NO
NO
INTRODUCTION
TO POETRY
P
AM
THE
ROMANTICS
MP
OR
OR
F
F
S•A Avoid sweeping, generalised
T
statements OT
NO
N
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
17
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
LI
P
S
R
RE
P
R
ON
I
CT
LI
RE
LE
SE
LE
P
M
P
M
O
O
INTRODUCTION
PERIOD
SA
AM
T F TO THE VICTORIAN
TF
NO
Like the Elizabethan and Jacobean eras, the Victorian era is named
N
IO
LE
after its reigning monarch.
Victoria became N
the queen of Great
ON
O
I
I
Britain in 1837 and
AT reigned until her deathATin 1901. Victoria’s reignIO
ON
I
T
C
SE
LE
P
SA
S
NO
T
EC
IC
IC
T
L
L
is often associated
with strict social
EC
EP
EPconventions, sexual restraint
S
R
INTRODUCTION
TO POETRY
E
PL
ON
TI
A
C
CONTENTS
I
T
EC
ON
TI
CA
S
R
E
R had to be completely
and prudishness.
The legs of O
tables
PL covered,
OR
P
AM
M
T Fexample, to preventOany
T F indecent associationSA
for
with the same
O
N
N
S
FOREWORD
THE VICTORIANS
ON
C
SE
LIC
and
SEaudiences favoured realism.
EP
P
RE
E
R
PL
R
M
O
OR prosperity, positive
It was a period characterised
by peace, economic
A
F
F
S
T
S
OT a strong sense of British
political reformsNand
NOnationalism. Education was
P
AM
S
made more widely available (particularly for girls) and rapid progress was
ON
N
made
and manufacturing.
N in science, medicine,Ocommerce
N
IO Britain also
T
I
A
T
I
overseas considerably.
Despite all
C expanded its territorialECacquisitions
IC
PL
E
L
E
S
P
S
these positive developments,
however, the Victorian
E
Portrait ofRQueen Victoria, the monarch after LE
RE era was also fraughtRE
TI
CA
S
NO
N
The urban population of Britain grew
rapidly during this
period. The Industrial N
ON
I
O
RevolutionATtriggered massive wavesATofI
IC
LItoC the
PL from the countryside
migration
P
E
R
RE
Rcities as people soughtR work
in the
O
F
T At the height of
newly built factories.
NO
ON
ON
I
CT
LE
R
O
TF
F
OT
S
AT
I
CT
SE
MP
LE
SE
P
P
M
SA
SA
R
ON
IO
N
T
from
IO population of BritainCAmoved
Tthe
I
L
the countryside to urban
EP areas. The in-
NO
R cities could not cope R
frastructure ofOthe
O
F
TF
with such
large
OTrapid expansion and a O
N
RE
ON
E
PL
I
CT
SE
M
SA
N
ON
I
CT
LI
P
R
TI
CA
RE
O
TF
the Industrial Revolution, between 1800
and 1851, an estimated 40 per N
cent of
E
PL
SE
M
SA
T
NO
portion of the urban population found
themselves living in overcrowded, unhygienic slums.
N
N of the 20th century
Piccadilly
O Street in central London at theOstart
TI
CA
N
O
TI
I
AT
C
LI
LI
EC
P
LIC
ON
I
CT
MODERNISM
OR
M problems.
with severeAsocial
George Birch (The Premier Photographic View Album of London. (1907) Valentine & Sons, London)
OT
PL
P
AM
THE
VICTORIANS
O
TI
R
whom
FO the era is named.
THE
ROMANTICS
O
LIC
LATE MODERNISM
/ POSTMODERNISM
LE
IO
N
I
O
who emphasised
the imagination
ATand fantasy, VictorianATwriters
TI
I
CT
SOUTHERN
AFRICAN POETRY
Alexander Melville (Schloß Friedenstein, Gotha, Germany)
erned by similarly strict conventions. In
N contrast to the Romantics,
N
ON
UNSEEN
POETRY
ON
TI
CA
THE
RENAISSANCE
part of the human anatomy. The literature of the period was gov-
PL
R
R
LE
E
L
R
P
facilities
to share a single room
FO shantytowns — whereFitOwas common for up to 10Mpeople
AM in the densely-populated
MP —
S
T
A
T
A
S cholera
O
meant that disease spread
particular,
were susceptible toSdeadly diseases like typhoid,
NOrapidly and children, in N
and tuberculosis. High levels of unemployment and rampant crime were also common problems, particularly in London.
N
ON
© THE ENGLISH EXPERIENCE 2019
ACKNOWLEDGEMENTS
S
E
Hunger and
populations put aEP
strain on urban food supplies.
SE The lack of sanitation S
E malnutrition were rife asRincreased
ON
69
THE COMPLETE POETRY RESOURCE
ON
O
N
I rife and children as TI
O
ployers would keepTIwages
meagre. ProstitutionATwas
A
C
C
I
IC
L
E
L
young as fourSyears old were routinely made
P to work to help raise money,
P
FOREWORD
RE
RE
LEodd jobs, such as sweeping
P
performing
chimneys, and even Remployed
R
M
FO
FO
SA very dangerous conditions
T
T
under
in
the
factories
and
mines.
NO
NO
ON
I
CT
LE
SE
LE
P
M
MP
SA
SA
THE VICTORIAN POETS
INTRODUCTION
TO POETRY
N
N
N
IO
IO
ON
O
T
T
I
I
A ecting
A
Tpoets are often viewed asCthe
Victorian
O
T chroniclers of their day,ICrefl
TI
IC
EC
L
E
L
C
th
S
P
S of the era. The 19 century
P
saw major
the
social conditions and concerns
SE
RE
RE
LE
LE
E
Pdevelopments
P
R
in poeticMideals; as a movement, however,
the Victorian
PL
OR
FO
F
M
SA
A
T
T
S
O were the heirs to the
era is often difficult to categorise. VictorianNpoets
NO
(Warner H. (1912) Spitalfields Nippers)
CONTENTS
The abundance of unskilled labourers compounded N
the situation as em-
Romantics, and their works often reflect similar concerns – their subjec-
THE
RENAISSANCE
tive Iexperiences
of the world, for instance – but they tried to avoid the
ON
THE
ROMANTICS
N
N
ON
N
T
I
IO
O
A
O
T
T
I
I
A
Cflorid and indulgent descriptions
A
of
the
Romantics.
T
CT
LIC
EC
LIC
SE
P
S
P
E
E
E
E
R
R
PL
PL
R
Many children worked duringR
times to help supM
M
O
O Victorian
A
plement family incomes,Ftaking
in washing or chopping
A
F
S
S
As with many attempts to classify literature,
the title and definitions of
T an
T
wood to sell as kindling.
S
NO
NO
era can be misleading. Not all writers in a period will share all (or even
any) of
THE
VICTORIANS
N
N
IOof an era upon it. Rather, identifyN the commonalities and
force the characteristics
Nscepticism about their world
T
IO and society
O
A
O
T
I
I
A
C analysis to describe those Caspects
T of the work that do not CT that had been passedICdown
Iyour
use this part of
from the RefPL
E
L
E
E
P
S
conformRto other works in the same era. E S
E Enlightenment via theRE
ormation and Rthe
L
LE
R
P
P
R
O
F
OR
AM
RomanticFO
poets. Like the Romantics,
the
AM
F
T
S
S
T
O
T
O
O
Victorians were grappling with humanity’s place in the universe as the authorityNof religion continued to beNeroded. Two
MODERNISM
of the key themes
N of poetry during this era were the relationship between religion and science, and the power of nature.
N
O
I
IO
“Dover Beach”
ponders the displacement
of religion by science
N
N as the ‘sea of faith’ is
AT by Matthew Arnold, forTexample,
IO
A
IC
IC
PL
withdrawing
like the tide.
PL
IO
T
EC
AT
T
EC
LIC
LATE MODERNISM
/ POSTMODERNISM
S
S
RE
EP
RE
E
E
RAnother area of focus wasRthe
R
L
L
Industrial Revolution and
its consequences, whichPappeared to be slowing and
stabilising.
MP
FO
M
OR
A
A
F
T
S
S made everyday life more
While the revolution
had brought the benefits of technological change that
comfortable (for
OT
NO
N
those who could afford it), it had also separated English society into two: a wealthy middle and upper class and a larger
N on or close to the streets.
poor population, many of whomOlived
N Arnold, in particular, struggled to reconcile the benefits
SOUTHERN
AFRICAN POETRY
N
O
TI
N
N of
TI half-fed, half-clothed’IOchildren
IOhuman progress with the
A‘festering
mass’
of
‘half-sized,
that roamed theIO
streets
A
Tof
C
I
C
T
T
I
L
L
C
C
P
London.
EP
SE
SE
RE
R
E
E
R
OR poets dealt with thisOtension
PLaway.
PL
F
By contrast,
some
by
choosing
to
look
M
F
M
T
SA
SA
OT
NO
Many Victorian
poets drew fromNclassical
and neoclassical literature and
SPIRITUALLY BANKRUPT? OT
N
UNSEEN
POETRY
mythology, rather than from the realities of urban life; for example, Gerard
N
N
Manley Hopkins drewN on the English epic poemIO“Beowulf” in both the style
IO
AT
IO
T
A
IC
of his poetry and
who became theICBritish
CTits content. Alfred, LordLTennyson,
SE
PL
P
ACKNOWLEDGEMENTS
E
Poet Laureate
RE narrative
LE in 1805, wrote Idylls Rof the King, a series of twelve
OR
MP
OR
F Arthur and the Round Table.
poems
A that retell the story ofTKing
F As the century
S
T
O
O
N writers – most notably,NMatthew
progressed, however, many
Arnold – began
to anticipate the transition to the Modernist movement.
N
70
The Victorian poets inherited a sense of
its stated characteristics. When analysing a work of literature, be careful not to
ON
Gerard Manley Hopkins, the
Victorian poet-priest, commented
ON
that the age in which
TI he lived ‘lacked
C
a spiritualSE
centre’ because the sci-
E
PLc rationalism and
entifi
M
SAthat was flourishing
E
materialismPL
M
undermined
SA
Christian principles.
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
S
ON
O
E
FO
FO
N
N
publish novels and poetry during the
some controversy among the more conservative members of society.
Victorian era. As a result, many female
N
Among the most
famous women writersNwere the Brontë sisters, Anne,
IO
ON
O
T
I
I
A
T
Charlotte
volumes of poetry and
CTand Emily, who producedCseveral
IC novels
T
A
published their
IC works under male pseudo-
PL
SE
between
them. Elizabeth Barrett
E
E Browning and ChristinaE Rossetti also
IO
T
EC
PL
nyms.EGeorge Eliot, for example, was S
the
R
R
L
E
P
R
L
R
penname
used
by
Mary
Ann
Evans,
while
achieved recognition and
M acclaim for their poetry.
FOThese women were
FO
MP
SA
A
T
T
the
three
Brontë
sisters
wrote
under the
S
O
responsible for introducing new voices andNperspectives
to the readingNO
backdrop. George Eliot (Mary Ann Evans) also used her novels to comment on societal issues, for example, the position
N
LI
ON
N
O
TI
CA
TI
CA
O
TI
C
C to the practice of childLIlabour — as this was
The VictorianEPera is also credited with ‘inventing’
childhood — in reaction
SE
P
SE
R
E
E
E
E
R A positive side effect ofR
R to implement compulsory
when Oefforts
PL education for childrenPLgained significant momentum.
R
R
M
M
O
T F efforts was that the children’s
SA
these
publishing industry SflA
ourished for the first timeTinFhistory.
O
NO
GOOD VERSUS
OF GOTHICISM
N EVIL AND THE BACKLASH
N
O
TI
A
C
O
TI
ON
A
The central
theme of many Victorian
IC works is
LI
EP
N
ON
I
CT
PL
O
F
OT
I
CT
AT
LIC
SE The term ‘moral tale’ is derived
SE from the term ‘morality tale’,
EPbut
E
R
L
R
R
O
of the era with more F
modern
works, this theme MP
they have slightly different
in
MPmeanings. Morality tales were
Oallegories
A
A
F
T
S
S
T
O
which good battled evil and won, often commissioned
by the church and
often seems quite
N didactic. In other words,
NO
th
th
good
R and evil. When comparing
RE the literature
R
LE
written during the 15 and 16 centuries. Moral tales are also about moral
Victorian works of literature and art often acted
N
values,
but these values depend on those of the age. The Victorians valued
as N
moral tales, promoting a stern
IO code of ‘corON
I
T
N
O
N
T work and perseverance, for
I
A
of O
Ahard
Trect’
IOinstance, and so the novels T
Ithe era
C
behaviour by ensuring
that
bad
characters
I
C
T
I
L
L
C
C
P
often reward the characters
who display these values.
EP
SE
SE
were always suitably
RE punished and good ones
R
E
E
R
PL
PL
OR
rewarded. FO
M
F
M
T
SA
SA
T
OT
NO
N
A reaction against this strict morality found expression in an artistic genre called the Gothic. Gothic works are often
NO
UNSEEN
POETRY
described as scary ghost stories, but there is more to them than that. While the realistic works of Dickens and Eliot
N
N
IO
N
O
draw a firm boundary
IO between right and wrong,
AT Gothic works often crossTI or question this boundary.NOne example of
T
IO
A
C
I
T
C
IC
this transgression
PL of Emily Brontë’s Wuthering
SE is Heathcliff, the anti-hero
PL Heights, who resorts toC all sorts of trickery to
E
E
R
torment
R spurns him.
PLthe love of his life after she
M
SA
OR
O
F
OT
N
RE
SE
P
M
SA
F
OT
N
N
LE
ON
© THE ENGLISH EXPERIENCE 2019
THE
VICTORIANS
N
O
of women in VictorianTIsociety.
THE
ROMANTICS
N
N
IO
N
ON
N
T
I
IO
O
A
O
T
T
I
I
A
CRISE OF THE ENGLISH
A
NOVEL
T
CT
LIC
EC
LIC
SE
P
S
P
E
E
E
E novel and of the great English
The Victorian Era witnessed
the rise of the English
novelists. Like their R
poet counterparts,
R
PL
PL
R
R
M
M
O
ODickens, for instance,
Victorian novelists
frequently engagedSwith
day. The novels of Charles
A the social problems of the
SA
TF
TF
S
O
O
featured the middle and lower classes and tackled poverty Nand child labour, with the N
grimy streets of London as a
THE
RENAISSANCE
names of Ellis, Currer and Acton Bell.
public, and paved the way for future female writers.
M
E
PL
SA
MODERNISM
PL
LATE MODERNISM
/ POSTMODERNISM
SE
N
authors concealed
IOtheir identities and
SOUTHERN
AFRICAN POETRY
AM
S more and more women
T
century,
writings,
causing
OT began to publish their O
O
TI
C
Though attitudes
SE were gradually
E
Lchange, it was still not con- PLE
beginning to
P
M
AM
sidered
SA‘proper’ for women to writeSand
INTRODUCTION
TO POETRY
RE
E
R
PLeducation and involvement
access to
R in public life increased during
R this
WHAT’S IN A NAME?N
S
ACKNOWLEDGEMENTS
N
I
I
century was the emergence
of the voices of women
IO
AT writers. Before the CAT
T
C
I
LI
EC few women achieved Precognition
Victorian era,Svery
as poets. As their
PL
FOREWORD
Perhaps one of the most significant literary developments
of the 19th
N
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
71
THE COMPLETE POETRY RESOURCE
CONTENTS
ON
N
ON
I
I
O
T
T
Gothic refers
"The Sick Rose"ION
A
A
TI to an artistic style
C
C
C
I
I
CTsick.
that typically
O Rose thouEart
SE combines elements EPL
PL
E
S
E
R
of horror
The invisible
PL with high emotion and ro-R R
LE worm,
R
P
M
O
O
A
F
M
Smance. Gothic works may be Timbued
TF
SAThat flies in the night
O
O
N
N
with a sense of terror or dread and imIn the howling storm:
FOREWORD
pending doom, but will often use this
INTRODUCTION
TO POETRY
O
TI intense love and passion.
TI
and Cexalt
C
E
S
SE
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Although they express
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nostalgia. Both look
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TECHNOLOGICAL DISRUPTION
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inventions of the era that revolutionised
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THE
VICTORIANS
changes — some very negative — brought about by industrialisation
MODERNISM
P
RE
LATE MODERNISM
/ POSTMODERNISM
R
OR
N
IO
CT
LI
RE
LE
ON
SOUTHERN
AFRICAN POETRY
T
P
LI
OR
RE
P
OR
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OT
the
OTtelephone
FO
N
•
the internal combustion engine
•
the gramophone
•
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the electric lightbulb
TI
E
PL
UNSEEN
POETRY
S
ACKNOWLEDGEMENTS
OR
OR
RE
N
NO
ON
I
CT
SE
E
PL
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NO
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the typewriter
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disrupting technological change. Some of the
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E
Ethe
LTennyson’s
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mediaeval
literature,
epitomised
by
famous
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of
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P
FO
AM
AM
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King.
O It is often argued that Sthis longing was the result Sof the many
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TF
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RE
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poets often wrote odes
style during
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IO include:
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the 19th century.
• the camera
EP There was also a revival
SEof interest in classical andE
TI
CA
S
The Victorian eraOwas a time of exciting, rapid,
Shakespeare’s plays were
N regularly performed, and contemporary
O
T
EC
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LI
back to the past with longing, to the Elizabethan age, in particular.
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A
C
E
PL
SA
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CA
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RE
NO
and urbanisation.
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IO
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IO
72
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And
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Gothic tradition:
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TI joy:
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Has found out thy bed
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© NanFe (Deviantart)
gloomy backdrop
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PL
SA
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
S
THE COMPLETE POETRY RESOURCE
ROBERT BROWNING (1812ON— 1889)
CONTENTS
N
IO
S
M
SA
TI
A
C
N
IO Browning’s
I
T
I
Robert
Browning
was
born
in
London,
England
in
1812.
C
PL
PL
SE family of slaveRE
father (also named
RERobert) came from a Ewealthy
L
LE
R
P
P
OR
O
F
M after a brief journey A
owners, but
toMthe
T
T Fhe became an abolitionist
SA
S
O
NO
N in the West Indies. Although he had hoped to pursue a
plantations
T
EC
E
PL
ON
TI
CA
FOREWORD
career in the arts, Robert’s father became a bank clerk to support
N
O
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E
L
MP
A
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CA
N
O
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TI
mother was aLIconcert
pianist who passed
LI on her appreciationCof
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SE
EP
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music toRher son.
OR
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© Field Talfourd
INTRODUCTION
TO POETRY
PL
SE
N
O
his wife and children
IO living. Browning’s
TI and made a comfortable
N
O
TI
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RE
LE
MP
O
TF
F
OT
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SE
THE
RENAISSANCE
THE
ROMANTICS
An abolitionist was someone who opposed the slave trade and actively
ON
I
campaigned
N
ONthe term is sometimes usedIOtoN
N for it to be abolished. Today,
T
I
O
A
O
T
Browning
attended
school
briefl
y,
before
I
Adeath penalty and, likewise, fights
C
ATfor it
T
TI a person who is against the
describe
C
C
C
C
I
I
being educated at home
SE by his father and
PL
SEto be abolished.
PL
E
E
E
E
R
R
PLfather was well read and PL
private tutors. M
His
R
M
OR
O
A
A
F
S a substantial personal library.
S
T
had amassed
TF
S
O
NO
N
Since his own ambitions of becoming an
artist had been quashed,
N Robert Senior
THE
VICTORIANS
IT'S ALL GREEK TO ME
N
IO
N
N English translation of “TheTIliad”
T
IO by Homer,
O
A
O
After
reading
Alexander
Pope’s
encouraged Browning’s
literary
and
artistic
I
I
A
T
T
IC
CGreek
IC
PL
EC
L
Browning taught himself
in order to be able to read
the
original text.
E
interests. Browning
enjoyed learning S
lanE
S
EP
R
E
E
R
L
RE
L
R
guages
and mastered four as aMP
teenager:
P
R
O
R
M
A
FO
FO
T F Greek, Italian and SLatin.
SA
T
O
French,
He also
T
NO
NO
studied Greek at the University of London for two semesters.
MODERNISM
ON
LI
LATE MODERNISM
/ POSTMODERNISM
R
P
RE
ON
TI
A
C
I
A dramatic monologue PisL a poem in
RE
which an imagined speaker
R addresses a silent
O
F reader. It is considered
listener, usually not the
OT
N the verse usually has a theatridramatic because
E
R
PLa series of poems that would
PL introduce Browning asR a poet and
Min
M
A
FO
S
SA
T
O
as a man. It was heavily criticised, however, and
N he abandoned the
project. Some scholars argue that these reviews dissuaded Brown-
N
an audience. It is a monologue because
IO only one
SOUTHERN
AFRICAN POETRY
ON
TI character speaks.
L
E
S
P first
S
sion”.
initially planned as Ethe
E It was a dramatic monologue
E
cal quality and is designed to be read aloud to
N
ing from
IO writing about personalNtopics; he would choose to write
T
CA
O
AT
ON
Iinstead.
TI
about
for most of his career
T
IC historical figures andCevents
L
C
EP
SE
SE
RE
R
E
E
ORSIGNS
PL
PL
OR
F
PROMISING
M
F
M
T
SA
SA
T
OT
NO
N
Despite this initial challenge, Browning seemed to have a promising literary career ahead of him when he publishedNO
his
I
PL
UNSEEN
POETRY
next work, “Paracelsus”, two years later. Perhaps staying
N true to a decision not to write about personal topics, Browning
N
O
I
N
O
based this poem on
TI who had lived in the 16thNcentury.
IOthe life of a Swiss physician
AT and alchemist, Paracelsus,
ACKNOWLEDGEMENTS
O
A
TI
CT
IC
LIC
E
L
C
P
S shy and socially awkward
BrowningEwas
EP but the modest success
SE of “Paracelsus” helped S
RE to the point of being a Rrecluse,
L
E
R
P poet to gain access O
LE
R
the M
young
to London’s literary circle.OBrowning
wrote a total of three
PL plays, none of whichPwas
F
A
M
F
M
T
S
SA can be ignored in many
SAtypes of
successful. One of the most
of a dramatic plot, which
OT
NO glaring issues was theNabsence
poem and which is not an issue when recounting the lives of historical figures, but is essential in drama.
N
88
Browning’s firstN published poem was a homage to the Romantic
N
IO
IO a Fragment of a ConfesAT
T
poet Percy
Bysshe
Shelley
titled
“Pauline,
T
C
C
IC
TI
CA
ON
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
S
E must be a traveller […] Knowledge
circumstances at
R
RE
LE is experience.’ He died inRmysterious
P
R
M in 1541.
the White Horse Inn in A
Salzburg
FO
FO
S
T
T
NO
NO
ON
N
IO
S
SE
CRITICAL DISASTER,
ROMANTIC SUCCESS
E
E
PL
PL
R
M
M
In 1840, Browning
published “Sordello”,
a narrative poem that FO
A
SA
S
T
tells the story of a 13th-century Italian bard who is also mentioned
NO
briefly in Dante’s “The Divine Comedy”. Browning used the poem
N
LI
P
RE
TI
A
C
LI
P
RE
ELIZABETH BARRETT
BROWNING
OR
F
T
Elizabeth Barrett O
Browning
was a well-known
S
N
poet in her own right. She was known for writing
poetry that considered current issues and events
N
O of a poet and his place
to consider the obligations
N in society. The
TI
O
N
of
TI child labour
IOthe time, including a poem about
O
TI
CA
ON
TI
CA
A
poem was a P
critical
LI disaster, however. Some
C critics commented ECTand two poems in support ofLthe
IC abolitionist moveE
E
S
P
S
R was too dense, with too
that theRpoem
ment, but one of her most
RE famous poems “How Do
LE many literary allusions that
LE
MP
obscured, rather than illuminated,
its meaning. Even Tennyson
SA
SA
OT
OR
I Love Thee?” F
(Sonnet 43) is a declaration of love
F
T
T
O husband:
made toNher
commented that he understood nothing except the first and last
lines.
NO
‘How do I love thee? Let me count the ways.
N
IO
ON
I
T
N
T
A and 1845, BrowningApublished a series of eight
BetweenC1841
IO
I
C
T
I
L
L
C
P
pamphlets
under the title Bells
initially
EP and Pomegranates. HeSE
RE
R
Rintended the series to include
LE publisher
only his plays, but Phis
OR
M
F
T some of his poems, too.
advised him to include
SAOne unexpected
NO
I love thee to the depthNand breadth and height
O
TI
My soul can reach,
EC […]’
P
S
R
M
SA
the classic children’s story, whichN Browning only included Nto fill
O
N
IO
TI
IO space.
AT
Tempty
CA
NO
ON
P
P
Another poet namedRE
Elizabeth Barrett was so impressed
by BrownRE
OR
R
E
PL
RE
O
TF
ON
I
CT
LIC
AT
LIC
LATE MODERNISM
/ POSTMODERNISM
E
PL
success was a narrative poem titled “The Pied Piper”, based on
LI
I
CT
SE
ing’s work that
she mentioned him in one
FOof her own poems. AfterAM
TF
T
S
O
N to thank her, they began
he wrote
NOcorresponding and met four
E
PL
SE
M
SA
T
NO
N
love letters, but Barrett’s
IO possessive
N father was a domineering,
N
O
T
TI
Ahad
A
C
man and disapproved
of
the
match.
Elizabeth
serious
health
I
C
C
I
PL
SE father and daughter had
PL
E
E
problems
and
formed
a
mutually
coE
R
R
R
PL
R
O
M
O
dependent
relationship.
TF
SA
TF
O
O
N
N
O
TI
ON
© THE ENGLISH EXPERIENCE 2019
UNSEEN
POETRY
months later. They began courting and exchanged hundreds of
N
RE
OR
ON
I
CT
LE
SE
P
M
SA
M
E
PL
SA
ON
(Wikimedia Commons)
MP
FO
THE
ROMANTICS
CT
EC
M
SA
THE
VICTORIANS
N
O
TI
S
MODERNISM
ON
TI
CA
E
PL
T
EC
SOUTHERN
AFRICAN POETRY
PL
IO
I
PL
EP
THE
RENAISSANCE
A
T
S
ACKNOWLEDGEMENTS
T
IC them. A doctor
ers,
wandering tribes, old robbers, and
EC
ECsuch outlaws and take lessonsLfrom
TI
CA
© Clef-en-Or (Deviantart)
N
O
N must seek out old wives, gipsies,
ties do not
doctor
TI sorcerIOteach all things,’ he wrote, ‘so aIO
S
SA
FOREWORD
N
LE
P
M
INTRODUCTION
TO POETRY
For a decade, Paracelsus wandered through almost every country in Europe. ‘The universi-
CONTENTS
ON
N
ON
I
I
O
N
T
T
I
ABombastus von Hohenheim) was
ParacelsusT(Philippus
Aureolus Theophrastus
Aa
IO
C
C
C
I
T
I
L
E
L
famous S
German-Swiss
physician and alchemist
EC
EP who established the roleREofPchemistry
S
E
R
L
in medicine
Paracelsus attended universities
across
LE
R
P
MP and the foundations ofFchemotherapy.
OR
O
A
M
SAustria and Germany, but was disappointed
with them all and famously
T F wondered how ‘the
SA
OT
O
N
N
high colleges managed to produce so many high asses’.
89
THE COMPLETE POETRY RESOURCE
CONTENTS
Despite her father’s condemnation, the couple married
N in secret the next year and then fled to Italy on the advice of
ON
O
N
I
I at the time as ElizabethN was a famous
O have been a scandalous
Elizabeth’s doctor. ItTIwould
AT and wildly romantic elopement
AT
O
IC
C
TI
IC
C
and popular poet.
her and she
PL been happy together until
SE The couple appear to have
PL Elizabeth’s frail health Eovercame
RE
E
E
L later. The couple hadRone son, in 1849, whom theyRnicknamed ‘Pen’.
died 15 Pyears
R
M
SA
O
TF
FOREWORD
T
NO
FO
NO
LOSS AND REMEMBRANCE
E
PL
S
LE
P
M
M
SA
Browning did not write much poetry during his marriage and his wife N
O
ON
ON
TI
A
TI better known poet — she
was theCfar
the
TI was even considered for
C
SA
ON
TI
CA
INTRODUCTION
TO POETRY
I
LI
EC
SofE Poet Laureate. Browning’s
P
S
PL
post
only
serious
publication
during
this
E
E
E
E
R
R
L
Ptime
PLpoems titled Men and Women
R
R
was a collection ofM51
in 1855.
O
O
F
F
SA
OTBrowning, making it NOT
The final poem in the collection is narratedNby
IO
E
PL
T
EC
S
M
SA
the only exception to his declaration that he would write on objective
N
T
CA
ON
TI
CA
When his wife died in 1861,
CT with their
EC Browning returned to ELondon
TI
A
C
THE
ROMANTICS
LI
LI
P‘Grow
P
old along with me! / The best
is yet to be, /
E
E
E his attention to editingLEand publishing a colson, where he turned
R
The last of life, for which the fiR
PL
P
R
R rst was made:’
M
M
("Rabbi Ben Ezra" byORobert Browning)
O
A
lection of his
late
wife’s
poems,
titled
Last
Poems.
Then,
in
1863,
A
F
S
S
T
TF
S
O
O
N
he republished some of his earlier works, as well as some minor new poems. His first real
N publication since Men and
S
S
Women was titled Dramatis Personae, which was published in 1864 and sold reasonably well.
ON
TI
CA
THE
VICTORIANS
I
RENOWN AND
PL RESPECT
RE
N
LE
ON
N
O
TI
C
SE
O
TI
C
In 1868,
OR Browning cemented his Preputation as a poet
LE
MP
M
F
SA which some histori- SA
byTpublishing The Ring and Book,
O
SE
TI
CA
LI
THE DARK TOWER
OR
P
RE
One of Browning's more
T Ffamous
MODERNISM
poems is titled “Childe Roland to
books and describes
N a well-known RomanNmurder trial
the Dark Tower Came”. Published
OR
RE
F
T
NO
NO
ans describe as his greatest work. It consists of twelve
LATE MODERNISM
/ POSTMODERNISM
O
in Browning's
collection Men and
IO
TI in 1698. The dramatic
N
N
that tookCA
place
O
AT monologue is
I
IO
I
AT
C
Women,
it describes the knight
T
T
I
L
C
L
C
C
I
P
Pvictim, a young woman SE Roland’s journey to the Dark
toldEfrom the perspective of the
PL
SETower
R
E
RE
E
E
Rmarried to a sadistic nobleman
R
L
L
who murders her and
through a barren andPdesolate plain.
OR
MP
F
M
OR
A
A
F
T
S
her parents whenOshe tries to leave him.
S in Browning's colIt was published
OT
N
N
lection Men and Women. Browning’s
Beginning in 1871, Browning published a number of
poem is cited as the primary influ-
SOUTHERN
AFRICAN POETRY
N
narrative
poems, as well as shorter
IO lyrics and elegies. IONence of author Stephen King’s
N
T
N The
O
I
A
AT
TAs
IO
C
he still refused to write
on
personal
topics,
some
I
C
T
I
L
Dark Tower series. King’s famous
PL
P
of these poems were
RE based on classical texts,
RE such
OR
R
as “Aristophanes’
Apology”, which wasFOpublished in
F
OT
OT
ON
I
CT
EC
S
‘gunslinger’ Eprotagonist,
Roland,
PL
takes his
M name from the poem; the
A
UNSEEN
POETRY
S and destination of the DarkS
setting
with Certain People of Importance in Their Day, which
Tower also appear in the novels, as
N
was published in 1887.
In it, Browning conducts
IO
T
ON
I
A
imaginary interviews
with notable philosophers
and
CT
LIC
do the characters N
of Cuthbert and
IO
Giles. The novel
AT series was adapted
E
PL
T
NO
An artist’s impression
of the N
eponymous
Dark
IOTower.
ACKNOWLEDGEMENTS
E
LICin 2017, also titled The ECT
as a movie
P
S
P
S
historicalLEfigures. Browning died two
RE years later in
RETower, starring Idris Elba Land
Dark
E
R
P
R
M Italy while visiting a friend,
Venice,
FO and was buried in FO Matthew McConaughey. MP
T
SA
T
SA
NO
Westminster Abbey.
NO
ON
SE
AM
1875. N
One of Browning’s final works
N was Parleyings
N
90
ON
N
IO
O
TI
© AnoraAlia (Deviantart)
THE
RENAISSANCE
N
topics
IOexclusively.
SA
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ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
E
PL
S
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
Worked busily a day, and there she stands.
O5 N
Will’t please
I said
N you sit and look at her? N
O
TI
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‘Frà
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S
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The
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N
N
IO ask me, if they durst, TIO
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And seemed as they would
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How such a glance
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Her husband’s presence only, called that spot
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© THE ENGLISH EXPERIENCE 2019
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35
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IO She thanked men,—good;
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Would draw from her alike the approving speech,
This sort of trifling? Even had you skill
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Sir, ’twas all one! My favour atNher breast,
25
N
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AT in the West,
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IO
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The bough of cherries
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Broke in the
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TF
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She rode with round the terrace—all
and each
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My
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With anybody’s gift. Who’d
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N
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up that spot of joy. She
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I
C
T
I
L
L
C
P
EP… too soon made glad, SE
REA heart … how shall I say?
R
E
R
PL
ORshe liked whate’er
M
Too easily impressed;
F
SA
OT
N
She looked on, and her looks went everywhere.
E
PL
S
NO
Half-flush that dies along her throat’; such stuff
T
EC
P
RE
O
TF
15
Was courtesy,
enough
N she thought, and cause N
TI
A
C
LI
NO
SE
S
ON
TI
CA
P
RE
T
EC
M
O
TF
LE
E
PL
SA
LI
Of joy into the Duchess’
N cheek: perhaps
O
N
TI
A
IO
Frà Pandolf chanced
to say ‘Her mantle laps
C
T
I
PL
EC
E
S
Over my
R lady’s wrist too much,’ LorE‘Paint
R
O
MPthe faint
F never hope to reproduce
Must
A
T
S
O
IO
I
PL
E
R
countenance,
LE
PL Strangers like you thatPpictured
R
M
O
The depth and passion
SA of its earnest glance,T F
NO
TI
CA
SA
ON
TI
CA
I
L
EP
CONTENTS
SA
FOREWORD
NO
LE
P
M
MP
INTRODUCTION
TO POETRY
T
That piece a wonder, now:
O Frà Pandolf’s hands
N
R
FO
THE
RENAISSANCE
O
TF
SE
THE
ROMANTICS
M
SA
LE
THE
VICTORIANS
P
RE
LATE MODERNISM
/ POSTMODERNISM
EP
S
E
R
Looking
PL as if she were alive. I call
R
ON
I
CT
1 LI
MODERNISM
That’s my last
LI
ECDuchess painted on the wall,
TI
A
C
UNSEEN
POETRY
T
ON
TI
CA
SOUTHERN
AFRICAN POETRY
ON
N
IO
S
ACKNOWLEDGEMENTS
“MY LAST DUCHESS”
ON
91
THE COMPLETE POETRY RESOURCE
In speech—(which I have not)—to make your willN
N
CONTENTS
N
O
IO
TI
IO an one, and say ‘Just this
Quite clear to such
AT
A
T
C
I
IC
EC
PL
PL
Or that E
in S
you disgusts me; here you
miss,
E
E
R
R
PL
R
R
M
O
O
Or there exceed the mark’—and
if she let
SA
TF
TF
O
O
N
N
Herself be lessoned so, nor plainly set
40
FOREWORD
Her wits to yours, forsooth, and made excuse,
N
N
E
expression
PL
M
SA durst (line 11): dared
N
IO27): branch
bough T
(line
A
T
45 NO
OR
RE meddlesome
F
E
PL
T
EC
S
M
A
trifling (line 35):S
pettiness
lessoned (line 40): taught
THE
RENAISSANCE
THE
ROMANTICS
N
(line 41): in truth, truly
Oforsooth
ON
TI
A
IC
munificence (line 49):LgenerosP
E
ity
R
R
O
warrant
T F(line 50): guarantee
S
O
N
TI
CA
LI
R
P
RE
O
TF
NO 50
Is ample warrant that no just pretence
IO
IC
L cious (line 27): intrusive,
Poffi
Then all smiles stopped together. There she stands
I
N
N
TAs
if alive. Will’t please you
IO rise? We’ll meet
IO
CA
T
T
C
EC
The company below,
SEthen. I repeat,
S
E
E
PL master’s known munificence
PL
The Count M
your
M
SA
SA
SA
Of mine for dowry will be disallowed;
N
IC
THE
VICTORIANS
L
C
At starting,
EP is my object. Nay, we’ll go
SE
R
ON
N
TI
O
TI
C
LE
LE
Together
tho’,
OR down, sir! Notice Neptune,
MP
SE
LI
MP
F
SA a rarity,
OT Taming a sea-horse, thought
SA
TI
CA
T
NO
55
OR
P
RE
F
RE
OR
F
T
NO
MODERNISM
Which Claus of Innsbruck cast in bronze for me.
ON
ON
TI
A
C
I
PL
ANALYSIS
RE
LATE MODERNISM
/ POSTMODERNISM
R
OR
ON
ON
I
CT
LI
P
RE
TI
CA
LE
AT
I
CT
SE
LE
P
SE
P
P
R
“My Last Duchess”
AMwritten by Robert Browning.
AM The
T Fis a dramatic monologue
S
O
LIC
RE
O
TF
S
NO
poem was firstN published in 1842 in the third instalment of a series of eight
pamphlets that Browning published between 1841 and 1845 titled Bells and
N
N
SOUTHERN
AFRICAN POETRY
O
Pomegranates.
The speaker
who reveals himself
IO
TI of the monologue is ‘a Duke’,
N
ON
TI
CA
T
CA
ON
O
I
to be a jealous husband
his wife, the ‘Duchess’
LI and implies that he murdered
LI
CT of
EP
P
R
the title, on theRsuspicion
that she was cheating
on him.
RE
O
F
OT
OR
F
OT
SE
M
SA
WHONIS THE DUCHESS? N
E
PL
I
CT
E
PL
SE
M
SA
UNSEEN
POETRY
Underneath the title in the original edition was the Nword ‘Ferrara’, which, according to
N
O
I
N
IO
historians, suggests
monologue was the
IO that the speaker of the dramatic
AT
ATfifth Duke of
T
NO
(North Carolina Museum of Art)
INTRODUCTION
TO POETRY
C
LI
EC no doubt,
SE to stoop. Oh, sir, she S
P
Never
smiled,
E
RE
LE
PL
P
R
Whene’er I passedAher;
M but who passed without
FO
S
T
O
Much the same smile? This grew; I gaveNcommands;
LE
P
M
mantle (line 16): cloak
TI
CA
O
Though his fair Adaughter’s
self, as I avowedON
TI
ACKNOWLEDGEMENTS
N
T
IOde' Medici, generally
Lucrezia
IC
C
T
C
I
L
L she was only
C to be the Duke’s wife
Ferrara, Alfonso
SE II d’Este. The Duke married
Pwhen
Ebelieved
EP his first wife, Lucrezia,
E
S
S
in “My Last Duchess”. Portrait
E
R
R
14 andPLhe was 25. Lucrezia was aRmember of the influentialRde Medici family and it is LE painted by Agnolo Bronzino LE
M
FO
in 1560.
MP
FOshe was only 17, allegedly
MP
T
SA
A
A
believed
that he married her
for
her
dowry.
She
died
when
T
S
S
NO
NO
after being poisoned by the Duke, who married the daughter of Emperor Ferdinand I soon after.
N
92
CT
countenance
SE (line 7): face or
ON
O
O
—E’en
TI then would be some stooping,
TI and I choose
ON
GLOSSARYION
ON
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
“My Last Duchess” can also be read as a commentary on the values of Renaissance society (the Duke of Ferrara lived
N
A
O
I
IC considered to be the mark
noblemen
works of art, which Lwas
EC of the time, the Duke collects
EC
LI of an erudite and civilised
CT
EP
ON
E
LI
E
S
is the title character
E in a famous French folk tale. HeE isSa rich nobleman
L
L
with a stringMofPbeautiful wives who have disappeared
mysteriously. In
MP
SA
SA
R
P
RE
LI
R
O
TF
come with curiosity, she lets
N herself into the room and finds the corpses
O
ON
N
TI
C
S
NO
keys to the castle, telling her she can go into any room except one. Over-
I
N
of Bluebeard’s missing
that she
AT wives. When he returns andOdiscovers
LI room, he threatens to kill her for
has been inPthe
C her disobedience, but,
O
TI
C
SE
SE
before he can, he is murdered by her brothers.
E
E
L
L
R
MP
FO
MP
A
A
The notoriety of the tale is such
that
the
Merriam-Webster
dictionary
T
S
S
O
RE
P
RE
O
TF
the tale, he leaves to conduct business and gives his newest wife theO
N
TI
A
C
TI
CA
LI
T
NO
defines the word ‘Bluebeard’ as ‘a man who marries and kills one wife
OR
P
RE
F
F
T
NO
after another’ and the verb ‘bluebearding’ has even emerged as a way to
N
N
O seduction and abandonment
describe aTIman's
IO of a series of women.
A
IC
PL
R
R
THE NARRATIVEFO
T
NO
RE
ON
ON
I
CT
LI
P
RE
T
CA
LE
I
CT
SE
MP
LE
SE
AT
LIC
P
P
M
SA
SA
RE
OR
R
RE
O
TF
The monologue begins nostalgically, with the Duke remarking that the painting is so realistic thatNitOis as if his late wife
is still alive. Although the reader may at first mistake this for an expression of romantic love, it quickly becomes clear
N
N
IO
N
O
that
or his love for his deceased
N
N
TI as a work of art, not its content
IO the Duke is commentingTon the value of the painting
CA
T
IO
A
IO
T
LI painting is ‘a wonder’ (line
wife. He remarks that P
the
since
LIC3) and that the artist (whom
CT we can assume is wellCknown,
EP
E
R him by name) worked hard
R to produce it.
the Duke is identifying
R
E
PL
SE
E
PL
SE
R
FO
M
FO
M
T
T
The DukeOthen invites his guest to sit
with him and appreciate the
SApainting. Instead of usingSAthe pronoun ‘it’ to refer toT
O
N
N
NO
the painting, he uses the pronoun ‘her’. This pronoun reinforces the sense that the Duke is unable to distinguish between
the value of the painting as a work of art and the Duchess
as a person.
N
IO
ON
I
T
N
ON
T
I
A
A
T to praise the artist’s skill
IOdepth and passion
The Duke continues
specifically ‘[t]he
ICin depicting his late wife’sICexpression,
T
C
L
C
SEglance’ (line 8). He interjects,
PL
Eeveryone
EP however, with the self-aggrandising
E
of its earnest
comment
that
who has seen S
S
E
R
R
L
E
E
R
P
L
R
Othe Duchess’s expression,
P courage to ask him aboutPLthe
M
O but that no one has hadMthe
theApainting
has wondered about
F
F
M
T
S
T
SA
SA
reason for it. He uses the
NOword ‘durst’ (line 11), which
NO implies that his guests are usually intimidated by him and his
social status. The Duke also assumes that this is his current guest’s question, even though the other person doesn’t
seem to have said anything.
N
ON
© THE ENGLISH EXPERIENCE 2019
THE
VICTORIANS
The Duke in the poem has
C been compared with Bluebeard.
CTBluebeard
ON
TI
CA
MODERNISM
N
IO
LATE MODERNISM
/ POSTMODERNISM
N
O
TI
© Gustave Doré (Wikimedia Commons)
ONBLUEBEARD
TI
CA
THE
RENAISSANCE
S
P
SE
R
however, Browning’s
this assumption by revealing
that he values his E
collection
RE
LE
LE depiction of the DukeR inverts
Pgentleman;
P
PL
M and by implying that FheO is capable of murder. FOR
M
of art for superficial reasons
SA
A
T
T
S
NO
NO
SOUTHERN
AFRICAN POETRY
S
INTRODUCTION
TO POETRY
T
CA
UNSEEN
POETRY
TI
ACKNOWLEDGEMENTS
TI
THE
ROMANTICS
N
in the sixteenth
IO that was popular duringIOthat period. Like many
ON century) and a counterOtoN the notion of the ‘ideal Tman’
FOREWORD
N
N
IO
IO
T
T
A second marriage. The Ispeaker
ON is hosting
T the death of the Duke’sICfiArst wife and before the Duke’s
The poem is set after
C
C
T
I
L
SE of the family of the woman
PLtheir match. Historical sources
EC suggest that the
a representative
EP he is courting to discuss
E
S
E
R
R
L
LE representative, the Duke
LE
R Ferdinand I. To impressPthis
P
MP
representative
was Nikolaus Madruz,
OR a representative of Emperor
O
A
F
F
M
M
S
T
SA
SA
OT of his late wife.
shows him his extensive art
NOcollection, stopping at theNportrait
N
IO
CONTENTS
SETTING AND SUBTEXT
ON
93
THE COMPLETE POETRY RESOURCE
Much like the beginning of the monologue, the Duke’s
N comments begin innocently and quickly become more sinister.
ON
O
N
CONTENTS
N to be her
The Duke attributes
the Duchess’s expressionAT
inI the painting to her flirtatiousness
(or what he perceives
TI
IO
A
T
IO
C
C
C
I
T
I
C 14–15), was not
flirtatiousness).
PL with ‘that spot / Of joy
SEHe explains that her expression,
PL[in] the Duchess’ cheek’E(lines
RE
E
E
S
R
E
E
PL to her ‘husband’s presence
a response
R only’ (line 14), but to the
R compliments of the painter.
PL These compliments were
PL
FO
FO
FOREWORD
N
M
M
SA
N
INTRODUCTION
TO POETRY
Portrait of Amalia de Llano by Federico de Madrazo y Kuntz (1853).
(Prado Museum, Madrid)
AM
S ‘courtesy’, but the DukeTalleges that the Duchess perceived
mere
them as more. SA
O
OT
The Duke finally gets to the heart of his insinuations,
N
N
IO
IO
O
O
T
T
I
I
A
A
T made glad’ (lines 21–22)
O
… too Csoon
CT and ‘She
IC
TI
IC
E
L
E
L
C
S
P
S I know not how’
P
thanked
men … / SomehowE …
SE
E
RE
RE
L
E
PL
P
R
PL
(lines 31–32). He is accusing
M his late wife of being
OR
FO
F
M
SA
A
T
T
S
flirtatious and perhaps even promiscuous, although,
NO
NO
complaining euphemistically
that ‘She had
N
N / A heart
so far, the only evidence he can provide is this
THE
RENAISSANCE
N
painting.
responded to
IO He alleges that the Duchess
N
N
ON
N
I
IO
O
O
T
T
I
I
A
A
Tsame way as she did to CT
his ‘favour’ (line 25) in the
IC
EC
LIC
E
S
P
S
PLjoy into the
the sun setting or E
another admirer presentingEher
‘Sir, ’twas not / Her husband’s
presence only, called that spot E
/ Of
E
R 13-15).
R
Duchess’ cheek;’R(lines
PL
PL
R
with a branchAM
of cherries.
M
O
O
A
F
S
S
TF
S
OT
O
N
N the Duchess was a kind,
Instead of strengthening the Duke’s argument, these lines weaken it by suggesting that
T
CA
THE
ROMANTICS
thoughtful and perhaps naïve person who appreciated the small things in life. By contrast, the Duke shows himself
N
N
O
N
O flirtatious
to be, at the least,Anarcissistic
and jealous. It Obecomes
clear that the Duchess’s
true crime was not Ibeing
N
TI
T
I
IO
A
C
T
T
I
or promiscuous,
PL but treating the Duke the
ECsame way that she treated
LICthe Duke’s sense of
EC everyone else. It offended
THE
VICTORIANS
E
S
P
S
R
E
superiority
REgift’ (lines 32–34).
LE name / With anybody’s
R that his wife ‘ranked / My
PL gift of a nine-hundred-years-old
MP
FO
AM
T next two lines suggests Sthat
SA of how ludiThe
the Duke has some sense
O
T
NO
crous his suspicions appear to be, as he asks rhetorically ‘Who’d stoop
F
N
plot that theIO
characters do not. This ad-
CT
AT
LATE MODERNISM
/ POSTMODERNISM
IC
ditionalEknowledge alters the significance
PL
S
E
R
E
E
Rpossesses to communicate
R
PL is so offensive,
PLand meaning of the character'sR dialogue
OR why the Duchess’s behaviour
M
F
M
O
T
SA
SA and actions for the audience.
TF
although the dramatic
O
NO irony is that he doesn’t recognise that this sugN
gests that the problem lies with him and not her.
ON
SOUTHERN
AFRICAN POETRY
N
IO
T
ON
TI
CA
LI
OR
P
RE
OR
F
OT
E
UNSEEN
POETRY
claims Iare
ONbeneath him as he chooses ‘[n]ever to
ACKNOWLEDGEMENTS
OR
RE
R
O
TF
F
OT
ON
AT
I
PL
S
PL
there would be grovelling and apologies, which he
TI
CA
EC
PL
about her failings
Mno way to educate the Duchess
M
SA
T
because she would make an excuse. He fancies
NO
SA
ON
N
E
S
S
ticulate
E his problem, but he explains
E that there was
R
N
O
TI
M
SA
L
EP
F
OT
N
E
PL
The moment of Nself-awareness is short-lived. Not
N
O
IO to arTI Duke not have the verbal
only does C
the
skills
T
C
TI
CA
I
I
stoop’
straw,
LIC (line 43). The last E
CT it seems, was the
P
S
S
RE Duchess’s smiles, which
E he repeats she gave out
E
freely.
‘She had / A heart...how shallN
I say?...too soon made glad, / Too easily
NO
impressed; she liked whate’er / She looked on, and her looks went everywhere.’
(lines 21-24).
N
94
T
NO
audience knows something about the
N
O
AT
that to Iblame
would be petty and
CA the Duchess for herICwarmth
TI beneath
L
L
C
P
him.
that it would take more
EP
SE skill than he
RE He continues, self-deprecatingly,
Venus of Urbino by Tiziano Vecelli (1534). (The Uffizi Gallery, Florence)
MODERNISM
IO
F
RE
OR
Dramatic irony occurs when the
to blame / This
N This question recognises
ONsort of trifling?’ (lines 34–35).
TI
OR
ON
PL
L
P
AM
M
SA
S
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
CONTENTS
SE
LE
P
M
MP
SA
FOREWORD
SA
although it could also mean that the Duke sent his wayward wife to a
convent; however, the fact that the Duke is now looking for a new wife
N
N
IO
ONit more likely that he murdered
T
(which isTaIOfew lines further on) makes
I
A
T
IC
C
SE
R
RE
LE
P
R
R
Another clue that theADuke
M has murdered his wife
FO is that, instead of FO
S
T
T
O even silently, the Duke
taking a moment to grieve for the loss of hisNwife,
NO
PL
E
IO
I
PL
L
EP
E
PL
T
EC
S
M
SA
© “Roman School, 16th Century”
C
her. SE
ON
TI
CA
ends his diatribe by repeating the sentiment from the opening of the
N
poem:
IO‘There she stands / As ifNalive’ (lines 46–47). This suggests, once
N
ON
N
I
IO
O
O
T
T
I
I
A
A
Tno difference between the
Tvalue of a person
again, that the Duke sees
IC
EC
LIC
EC
S
P
S
PL
and the value of aEpainting — even when that
person
is
his
wife.
He
E
E
E
R
R
PL
PLhis guest to stand so that
R
‘I gave commands; / ThenRall smiles stopped
M
continues without
any
more
emotion,
asking
M
O
O
A
A
F
together.’ (lines 45–46)
S
S
T
TF
S
O
they can meet the rest of his guests.
NO
N
T
CA
The reader only learns who the Duke’s guest is in the next few lines, which makes his descriptions of his late wife and
N
INTRODUCTION
TO POETRY
LE
THE
RENAISSANCE
RE
REthese
LEDuke had the Duchess Rmurdered.
P
is that the
When asked about
R
M
FO
FO
SA Browning himself said Tthat
T
lines,
this
is
the
most
likely
interpretation,
NO
NO
ON
I
CT
THE
ROMANTICS
The meaning of the poem hinges on the next two lines.
N In response to
O
N
ON
I
I
O
T
the Duchess’s behaviour,
the
Duke
‘gave
commands;
/
Then
all
smiles
T
I
A
A
CT
IC
IC
L
E
L
stopped together’
S (lines 45–46). The mostPcommon reading of these lines
P
N
T
CA
LI discuss the Duke’s marriage
C
who is visitingPto
his financial interests
EC proposal. He doesn’t Edisguise
LI in the match, as he
P
S
last wife murdered.
F
T
NO
OR
RE
F
BROWNING'S VILLAINS
In the final three
the Duke points out
N
ON lines of the dramatic monologue,
Many of Browning’s other poems
he again mentions by name). Beginning and ending the monologue like
which was a relatively new discipline at
this reinforces how superficial the
ONDuke is, since there isn’t aNdifference,
the time.
I
IO
also feature villains
N who commit evil T
AT work of art in his collection:
ON god
AT
O
anotherIC
prized
a statue of the Roman
I
I
C
acts. “Porphyria's
Lover”, for instance, isICA
L
LI
CT
CT
P
P
E
E
E
ofRthe sea, Neptune ‘[t]amingEa sea-horse’ (line 55). Much
S as he did at
PL
S
a dramatic
monologue in which a EmurR
E
E
Rthe beginning of the monologue,
R
L
L
the Duke explains that
OR
MP the value of this AMPderer explains how he murdered
F
ORhis lover.
A
F
T
S
T in psychology,
work is that it isN‘aO rarity’ (line 55) created by a renowned artist (whom S
Browning was interested
NO
O
TI
N
ON
N
TI
A
A
two
artworks.
TinI his mind, between these
IO
IO
C
I
C
T
T
I
L
L
C
C
P
P
Einsinuates
SE his wife, but then moves
SE on to more
REare anticlimactic: the Duke
These last few lines
that he has murdered
R
E
E
R
L
Osuch
PL without a sense
ORand admiring the statueMofPNeptune. This leaves theMreader
F
trivial matters,
as
greeting
his
guests
F
T
T
SA
SA
T
NOor resolution, only suspicions
NO regarding what really happened to the Duchess.
of closure
NO
ON
STRUCTURE AND
N RHYTHM
TI
CA
ON
TI
CA
N
IO
I
T
C
I
L
The structure
of speech, which lends
SEof the poem mimics the rhythm
PLthis dramatic monologueSEaCsense of authenticity. It S
EP
E
E
R
R
L one stanza of 56 lines,Rwith the rhyme scheme AABBCCDDEE. It is also writtenLEin iambic pentameter. LE
comprises
MP
OR
FO
A
MP
F
MP
T
S
A
A
T
S
In addition, the lines of N
theO poem ramble, with thoughts
often introduced mid-sentence,
in much the sameSway that
NO
O
TI
ordinary speech does. A number of lines are enjambed; for example, line two runs on into line three with no punctuation
N
ON
© THE ENGLISH EXPERIENCE 2019
MODERNISM
T
NO
O
OR
RE
LATE MODERNISM
/ POSTMODERNISM
S
talks about
LE cence’ (line 49) and Pthe
LEdowry
R the Count’s ‘known munifi
P
O
M
M
involved.
T F This cements the reader’s
SA suspicions that the Duke
SA has had his
SOUTHERN
AFRICAN POETRY
RE
UNSEEN
POETRY
C
TI
ACKNOWLEDGEMENTS
TI
THE
VICTORIANS
O The Duke is entertaining
this painting more A
chilling.
(believed to be Emperor
N
TI
IO Ferdinand I)
ON a representative of a O‘Count’
ON
95
THE COMPLETE POETRY RESOURCE
ON
O
N
I
I
also contains a number
IO of interjections, such as
AT‘I know not how’ in lineCAT
T
C
I
EC
LI
32, which areSpunctuated
with dashes and
PL ellipses. This replicatesPthe
ON
I
CT
FOREWORD
RE
RE
LE of speech.
flow andPpattern
R
R
M
FO
FO
SA
T
T
O
The flow of the Duke’s speech
as he exNO suggests his smooth Nurbanity
LE
SE
LE
P
M
MP
SA
SA
INTRODUCTION
TO POETRY
THE
RENAISSANCE
Man with a Glove by Tiziano Vecelli (1520) (Louvre Museum, Paris)
CONTENTS
to stop the flow of meaning, again, much like a conversation.
The poem
N
plains his eminently reasonable objections to his wife’s ‘misbehaviour’
N
(her flirtatiousness
and insistence on treating
others as equals andOher
N
N
N
O
TI
TI
IOdelity). It also underscores
IO his preoccupation with Ahimself,
A
T
T
apparent
infi
C
C
LIC
LIC
SE status and his sense SofEsuperiority.
P
P
hisE social
RE
RE
LE
PL
P
R
R
M
FO
FO
SA
T
T
THEMES OF OBJECTIFICATION AND
NO CONTROL
NO
IO
E
PL
T
EC
S
M
SA
One of the themes of the poem is objectification which means that a
N
ON
O
person
or posN
TI has been treated asIOa Nmere object that can beOowned
I
CA
T
T
sessed. In the poem, theEC
Duchess has literally become
EC an object: a paintS
ON
TI
CA
TI
A
C
THE
ROMANTICS
I
LI‘She thanked men—good; but thanked
PL /
E
Somehow...I know not how...as
R if she ranked /
R
My gift of a nine hundred
years
O old name / With
anybody’s gift. Who’dFstoop to blame / This sort of
T
trifling?’ (lines 31-35)
NO
P
Eand displayed by the Duke.
E This is implicit from the RE
ing, which is owned
L
L
P
MP clearly distinguish between
OR
AMpoem, where the Duke doesn’t
first line of S
the
A
F
S
T
NOasks his
the Duchess’s person and the painting of her. In line 5, he even
S
S
guest to ‘sit and look at her’.
ON
TI
CA
N
ON
N
O
TI
THE
VICTORIANS
TI
CA
O
TI
I
I
PL
EC
EC
E
S
PLfeelings, opinions, auS
Objectifi
cation is the act of treating
a person like an object — forEexample, as a tool or a toy — without
E
R
E
R
L
RE
L
R
P
P
R
O
R
tonomy
or
rights
of
his
or
her
own.
It
denies
the
person
his
or
her
subjective,
emotional
and
psychological
experiences,
perceptions
and
M
F
AM
FO
FO
SA
OT responses. Objectification is considered
T
‘dehumanising’ becauseSit strips a person of his or her O
fullT‘humanness’ — his or her complexity,
N
NO
independence and dignity. It weakens empathy and enables people to mistreat and harm each other more easily.
LATE MODERNISM
/ POSTMODERNISM
dia encourages people to objectify themselves and each other. Social media may
SOUTHERN
AFRICAN POETRY
encourage people to objectify themselves
N by reducing themselves toN a series of
IO
N
O
T
N
O
TI each other
Acan also encourage people to Aobjectify
TI curated images. Social media
IO
C
I
C
T
I
Lto an impersonal, disconnectedL audience of ‘likes’ and
and reduce other people
P
EC
EP
E
S
R
R
‘follows’ that isRused to achieve personal satisfaction.
LE
R
O
P
O
F
M
T
TF
SA
O
NO
N
ON
I
CT
E
PL
SE
© Allen Jones (Tate Gallery, London)
MODERNISM
N
T
N
N
A
AT parts and to being an objectTIofOsexual
women,
body
IO
IC which reduces a woman to her
AT
C
T
I
L
C
L
C
C
I
P
P
as a person in her own right, sheSisEdevalued and
PL
SE
REdesire. Rather than being viewed
E
RE
E
E
R perceived as an object to be
R
L
cation.
PL
OR used to achieve sexual gratifi
MP
F
M
OR
A
A
F
T
S
T
O cation’ has emerged recently to describe how social me- S
The term ‘selfiN
e-objectifi
NO
One of the Imost
O common forms of objectifiIcation
ON is the sexual objectification of
M
SA
OT
N
The reader’s first clue to the themes of objectification and control is in lines 9 to 10, when the Duke explains that there
UNSEEN
POETRY
N drawn back by him: ‘none
is a curtain in front of the painting that is only ever
puts by / The curtain I have drawn for
IO
N
ON
I
T
O
T
I
you, but I’. This physical
barrier could be a Imetaphor
for the Duke’s desire
ONwas still alive, a
A to control his wife while Ishe
T
CA
EC
LIC
L
T
P
S
P
EC
desire which
E was constantly frustrated.EFrom this perspective, theEDuke was only able to gainS this control by murdering S
R
ACKNOWLEDGEMENTS
L
R
P he celebrates in this monologue.
her, M
which
FO
SA
T
NO
N
96
T
NO
R
FO
R
LE
E
L
MP
P
AM
SA
S
ON
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
By retelling the Duchess’s story in the form of a dramatic
N monologue recited entirely by the Duke, the poet is suggesting
ON
O
N
I
I
that the Duchess isTobjectifi
ed so much that she
IO
ATis literally and metaphorically
AT voiceless — she has no
ONvoice to tell her
IC
C
TI
IC
own story or to
In addition, we do not
Duke’s guest and can
PL
SEdefend herself and her character.
PLhear the responses of theEC
RE
E
E
S
R
L reactions to the monologue
E to his host’s authority;LE
only inferPhis
R from the Duke’s responses
R to him, but he seems PtoLdefer
P
AM
FO
FO
M
M
S has suspicions about theTDuchess’s death, he doesn’t
A
if he
SAin the
O
OT appear to express them,S which makes him complicit
N
Nit
The theme ofNobjectification is extendedNby framing the poem so that
IO
O
O
T
I
I
T ends with the Duke describing
begins C
and
two works of art in Ihis
CAcollecCT
ON
TI
CA
I
E
L
Sthe
SE and a bronze statue ofEPNeptune.
PL
tion:
painting of the Duchess
The
E
E
E
R
R
PL
PL
R
subject of the statue isAM
a patriarchal male figure Fdominating
the natural
OR
O
S
T
TF
O
O
world, which encourages the reader to interpret
the
Duchess’s
story
as
a
N
N
FOREWORD
N
IO
E
PL
T
EC
INTRODUCTION
TO POETRY
Duke’s deceit.
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
S
M
SA
IO
ON
I
T
N
N
T
A
The poem
for the role of art inIO
society.
In the RenaissanceIOcontext
of the poem, art A
isT
A
IC can also be read as a metaphor
C
T
T
I
L
C
L
C
C
I
P
P wife is presented in theSpainting
E
E
used
late
as beautiful, even Sthough,
according to the Duke,
PL she
RE to maintain a façade. His
E
RE
E
E
Rwas immoral. The paintingRdisguises
R
L poem is down to interpretation.
this immorality.PInL addition, the meaning ofPthe
The
O
M
F
M
OR
A
A
F
T
S
Duke doesn’t say Oanything incriminating; he only insinuates that his wife Swas a flirt and she died. This
also represents
OT
N
N
the nature of all art, including poetry: the meaning is open to the interpretation of the reader or audience.
ON
T
ON
TI
CA
N
IO
LI
QUESTIONS
EP
1.
OR
R
RE
ON
ON
I
CT
LI
P
R
TI
CA
E
PL
I
CT
SE
E
PL
SE
O first two lines of the poem,
Using the
F correct symbols, rewrite Fthe
M indicating stressed symbols
M („), unstressed
OT
symbols
(†) and feet (|).
N
OT
N
SA
SA
(3)T
NO
__________________________________________________________________________________
N
IO
N
ON
I
T
N
O
T
I
__________________________________________________________________________________
A
A
T
IO
IC
C
T
C
I
L
SE
PL
EC
EP
E
S
__________________________________________________________________________________
S
E
R
R
L
E
E
R
P
L
L
R
M
FO
MP
FO
MP
T
SA __________________________________________________________________________________
A
A
T
S
S
NO
NO
__________________________________________________________________________________
N
ON
© THE ENGLISH EXPERIENCE 2019
THE
ROMANTICS
THE
VICTORIANS
MODERNISM
THE ROLE OF
N ART
LATE MODERNISM
/ POSTMODERNISM
A bronze statue of Neptune, the name that the
N
ancient Romans gave to the Greek god of the sea
N
IO women were still objectifi
and earthquakes, Poseidon.
N
emphasises that Victorian
ed
—
they
had
few
N
T
IO
O
A
O
T
I
I
A
T
IC
Ccontrolled
CTtheir husbands until theLlaw
IC changed in 1882.
rights and married
or ‘subsumed’Eby
PL women were still legally
E
E
S
P
S
R objectification could beLseen
E as an insidious form LofE domestic
This type
of
violence because
REit prevented women fromRE
R
P
P
R
FOindependent and from leaving
OR
AM abusive relationships.
AM
FO
being
F
T
S
S
T
O
T
NO
NO
SOUTHERN
AFRICAN POETRY
© Veronese Design
the genders that still persisted in Browning’s lifetime. This interpretation
UNSEEN
POETRY
N
ON
N
I
IO
O
O
T
T
I
I
A
A
T
T one should have
Duke as the statue, evenCthough
the painting of a loved
IC
E
LIC
EC
S
P
S
PL
greater sentimentalEvalue.
E
E
E
R
R
PL
PL
R
R
M
M
O
O
A
A
F
A contemporary
feminist reading of the
S
S poem argues that thereT is an
TF
S
O
O
N
N
implicit threatened violence in the poem that reflects the divide between
T
CA
ACKNOWLEDGEMENTS
also Isuggests
that the painting Nof the Duchess has the same value to the
ON
THE
RENAISSANCE
similar story of patriarchal values and male domination. This comparison
ON
97
THE COMPLETE POETRY RESOURCE
__________________________________________________________________________________
N
N
IO
IO
N
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T
A
A
T
__________________________________________________________________________________
IO
C
C
C
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SE
PL
EC
EP
E
S
E
R
__________________________________________________________________________________
R
L
LE
LE
R
P
P
MP
OR
O
A
F
M
M
S
T
TF
SA
SA
O
NO
N
CONTENTS
N
IO
FOREWORD
2.
Based on your answer to the previous question, identify the type of meter used in these lines, and comment on its
effect onNthe verse.
INTRODUCTION
TO POETRY
PL
E
ON
N
O
TI
O
TI
ON
TI
CA
TI
CA
(2)
O
I
C
__________________________________________________________________________________
LI
EC
LI
CT
SE
E
EP
S
EP
R
SE
R
__________________________________________________________________________________
PL
R
LE
R
P
FO
AM
T
S
__________________________________________________________________________________
N
NO
M
O
SA
F
OT
THE
RENAISSANCE
__________________________________________________________________________________
THE
ROMANTICS
N
N
IO
N
ON
N
T
I
IO
O
A
O
T
__________________________________________________________________________________
T
I
I
A
C
A
T
T
EC
LIC
EC
LIC
S
P
S
P
__________________________________________________________________________________
E
E
E
E
R
R
PL
PL
R
R
M
M
O
O
A
A
F
S
S
T
TF
S
O
NO
N
3.
Provide a synonym for the word ‘earnest’ (line 8).
(1)
N
__________________________________________________________________________________
IO
N
ON
THE
VICTORIANS
N
I
AT
IO
IO
AT
C
T
T
I
C
L
C
C
I
__________________________________________________________________________________
P
SE
PL
SE
E
RE
E
E
R
L
RE
L
R
P
__________________________________________________________________________________
P
R
O
R
M
F
M
FO
FO
SA
SA
T
OT __________________________________________________________________________________
T
NO
NO
MODERNISM
LATE MODERNISM
/ POSTMODERNISM
N
IO
ON
I
T
N
T
A misconduct is the Duchess
A accused by the speaker,
ON her husband does AT
4. OfIC
what
IOand to what transgressionTIagainst
C
T
I
L
L
C
IC
P
EC
behaviour
led?
EP
SE
PL (2)
S
RE the speaker imply this R
E
E
E
R
R
PL
PL
R
OR
M
__________________________________________________________________________________
F
M
O
T
SA
SA
TF
O
NO
N
__________________________________________________________________________________
SOUTHERN
AFRICAN POETRY
N
IO
T
UNSEEN
POETRY
5.
__________________________________________________________________________________
N
ON
I
O
N
N
TI
AT
A
IO
IO
C
I
C
T
__________________________________________________________________________________
T
I
L
L
C
C
P
EP
SE
SE
RE
R
E
E
__________________________________________________________________________________
OR
PL
PL
OR
F
M
F
M
T
T
SA
SA
__________________________________________________________________________________
T
NO
NO
NO
ON
N
I
O
Describe theIcharacter
of the speaker, drawing
ON
TI to support your answer.ON
AT on evidence from theAtext
T
EC
IC
PL
LIC
I
CT
(6)
S
__________________________________________________________________________________
EP
SE
S
E
RE
ACKNOWLEDGEMENTS
R
E
R
PL
LE
R
O
PL
P
M
O
F
A
__________________________________________________________________________________
M
F
M
T
S
SA
SA
OT
NO
N
__________________________________________________________________________________
N
98
ON
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
N
IO
IO
N
T
T
A
A
T
__________________________________________________________________________________
IO
C
C
C
I
T
I
L
SE
PL
EC
EP
E
S
E
R
__________________________________________________________________________________
R
L
LE
LE
R
P
P
MP
OR
O
A
F
M
M
S __________________________________________________________________________________
T
TF
SA
SA
O
NO
N
N
IO
__________________________________________________________________________________
N
N
O
__________________________________________________________________________________
IO
ON
ON
TI
AT
O
CA
C
C
C
I
TI
I
E
L
E
L
C
S__________________________________________________________________________________
P
S
P
SE
E
RE
RE
LE
E
PL
P
R
PL
__________________________________________________________________________________
M
OR
FO
F
M
SA
A
T
T
S
NO
NO
__________________________________________________________________________________
TI
FOREWORD
__________________________________________________________________________________
N
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
N
I
AT
IO
IO
AT
C
T
T
I
C
L
C
C
I
__________________________________________________________________________________
P
SE
PL
SE
E
RE
E
E
R
L
RE
L
R
P
__________________________________________________________________________________
P
R
O
R
M
F
M
FO
FO
SA
SA
T
OT __________________________________________________________________________________
T
NO
NO
__________________________________________________________________________________
N
IO
ON
I
T
N
N
T
A
A
__________________________________________________________________________________
IO
IO
IC
AT
C
T
T
I
L
C
L
C
C
I
P
P
SE
PL
SE
RE __________________________________________________________________________________
E
RE
E
E
R
R
PL
PL
OR
M
F
M
OR
A
A
F
__________________________________________________________________________________
T
S
S
T
NO
NO
N
N
O
7. N What does the Duke mean
IO ‘as if she ranked / My gift
TI when he observes that itTwas
N of a nine-hundred-years-old
O
N
I
A
O
A
T
I
IofO his late
C
name / With anybody’s
T
IC does this remark suggest
LI gift’ (lines 32-34), andLwhat
CT about his values and those
C
P
wife?
OR
P
RE
OR
F
RE
E
PL
SE
M
E
PL
SE
(2)
M
__________________________________________________________________________________
TF
SA
OT
SA
NO
N
T
NO
THE
RENAISSANCE
THE
ROMANTICS
THE
VICTORIANS
N
__________________________________________________________________________________
IO
N
ON
MODERNISM
(3)
LATE MODERNISM
/ POSTMODERNISM
the way its usage conveys or changes the intention of the speaker.
SOUTHERN
AFRICAN POETRY
N
O__________________________________________________________________________________
N
ON
N
I
IO
ON
O
T
T
I
I
A
A
T
__________________________________________________________________________________
CT
LIC
EC
LIC
SE
P
S
P
E
E
E
E
R
R
PL
PL
R
R
M
M
O
O
A
A
F
F and comment on
S the punctuation used in lines
S 22 and 32. Explain its purpose
T
6. Identify
in the context of the
Tpoem,
S
O
NO
N
TI
CA
INTRODUCTION
TO POETRY
TI
N
A
AT
IO
IC
C
T
C
I
L
__________________________________________________________________________________
SE
PL
EC
EP
E
S
S
E
R
R
L
E
E
R
P
L
L
R
M__________________________________________________________________________________
FO
MP
FO
MP
T
SA
A
A
T
S
S
NO
NO
__________________________________________________________________________________
O
TI
N
ON
© THE ENGLISH EXPERIENCE 2019
ACKNOWLEDGEMENTS
N
N
O
__________________________________________________________________________________
N
IO
TI
UNSEEN
POETRY
__________________________________________________________________________________
ON
99
THE COMPLETE POETRY RESOURCE
8.
CONTENTS
Why might it be considered ironic that the Duke Nchoose ‘[n]ever to stoop’ (line 43) and let his wife know her
ON
O
N
TI
CA
O
behaviour wasTIupsetting
him?
EC
TI
A
C
LI
ON
(1)
I
CT
LI
P
S
__________________________________________________________________________________
EP
SE
E
RE
FOREWORD
R
PL
R
LE
LE
R
P
P
M
O
O
A
F
M
M
S __________________________________________________________________________________
T
TF
SA
SA
O
NO
N
__________________________________________________________________________________
__________________________________________________________________________________
N
N
ON
N
O
O
I
CT
I
CT
INTRODUCTION
TO POETRY
SE
TI
CA
I
L
EP
SE
O
TI
CA
I
PL
S
R‘I gave commands; / Then all
REsmiles stopped together.EThere
LE In your own words, explain
LE the meaning of the lines
P9.
P
R
L
R
AM
FO
FO made by the Duke are Aambiguous
MP
T
she stands / AsSif alive.’ (lines 45 – 47), commenting
on
how
these
remarks
in
T
S
NO
NO
the context of the poem.
IO
T
EC
(6)
THE
RENAISSANCE
THE
ROMANTICS
N
O__________________________________________________________________________________
N
ON
N
I
IO
ON
O
T
T
I
I
A
A
T
CT
__________________________________________________________________________________
LIC
EC
LIC
SE
P
S
P
E
E
E
E
R
R
PL
__________________________________________________________________________________
PL
R
R
M
M
O
O
A
A
F
S
S
T
TF
S
O
__________________________________________________________________________________
NO
N
TI
CA
__________________________________________________________________________________
THE
VICTORIANS
N
N
IO
N
N
T
IO
O
A
O
T
__________________________________________________________________________________
I
I
A
IC
CT
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PL
E
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P
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__________________________________________________________________________________
R
E
RE
LE
RE
L
R
P
P
R
O
R
M
F
M
FO
FO
SA
SA
T
OT __________________________________________________________________________________
T
NO
NO
__________________________________________________________________________________
MODERNISM
N
N
O
__________________________________________________________________________________
IO
TI
N
LATE MODERNISM
/ POSTMODERNISM
N
A
AT
IO
IO
IC
AT
C
T
T
I
L
C
L
C
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I
__________________________________________________________________________________
P
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PL
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__________________________________________________________________________________
PL
OR
MP
F
M
OR
A
A
F
T
S
S
T
NO
__________________________________________________________________________________
NO
SOUTHERN
AFRICAN POETRY
N
N
IO
N
IO
T
N
O
N (4)
T
I
A
A
T10. Paraphrase lines 49-53.
IO
IO
C
I
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P
EP
SE
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__________________________________________________________________________________
R
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OR
PL
PL
OR
F
M
F
M
T
__________________________________________________________________________________
T
SA
SA
T
NO
NO
NO
__________________________________________________________________________________
UNSEEN
POETRY
N
N
O
__________________________________________________________________________________
N
IO
TI
ACKNOWLEDGEMENTS
N
A
AT
IO
IC
C
T
C
I
L
__________________________________________________________________________________
SE
PL
EC
EP
E
S
S
E
R
R
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R
P
L
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FO
MP
FO
MP
T
SA
A
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S
S
NO
NO
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O
TI
__________________________________________________________________________________
N
N
100
O
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
N
IO
IO
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A
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__________________________________________________________________________________
IO
C
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EP
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P
P
MP
OR
O
A
F
M
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T
TofFthe poem?
11.S How does the poet useOframing
to develop the theme
SA
SA (2)
O
N
N
N
IO
__________________________________________________________________________________
N
N
O
__________________________________________________________________________________
IO
ON
ON
TI
AT
O
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C
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S__________________________________________________________________________________
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S
P
SE
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RE
RE
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P
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__________________________________________________________________________________
M
OR
FO
F
M
SA
A
T
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S
NO
NO
__________________________________________________________________________________
TI
justified the Duke’s response to his late wife’s behaviour. Quote from both poems to substantiate your response. (8)
ON
F
ON
AT
SE
R
RE
O
TF
NO
While she, too gentle even to
N force
N
O
IO
TI
N
T
A
A
His penitence
by kind replies,
10
IO
C
I
C
T
I
PL
PL
EC
E
S
Waits by, expecting
RE his remorse,
R
LE
R
OR
P
O
F
M
T With pardon in her pitying
T Feyes;
SA
O
NO
N
And if he once, by shame oppress’d,
ON
I
CT
E
PL
SE
M
SA
T
NO
N
IO
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ON
I
T
N
O
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I
A
She leans and
A15
T weeps against his breast,
IO
IC
C
T
C
I
L
SEAnd seems to think the E
PL
EC
sinP was hers;
E
S
E
R
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PL
Olife,
PL
MAnd
OR
whilst his love has any
F
A
M
F
S
T
SA
OT
O
N
N
Or any eye to see her charms,
N
ON
© THE ENGLISH EXPERIENCE 2019
UNSEEN
POETRY
A comfortable word confers,
At any time, she’s still his wife,
THE
RENAISSANCE
P
P
M
SA
LIC
LATE MODERNISM
/ POSTMODERNISM
LE
Another, not from her, but him;
T
F
T
NO
I
CT
5
RE
OR
SOUTHERN
AFRICAN POETRY
T
NO
OR
P
RE
MODERNISM
LI
Of his condoled necessities
N casts her best, she flings
N herself.
OShe
IO
N
T
A yokes
IO
How
I often flings for nought, and
C
T
I
L
C
P
PL
Eicicle
SE
RE
Her
heart
to
an
or
whim,
R
E
R
PL
OR
M
F
Whose each impatient
word provokes
T
SA
NO
TI
CA
SA
M
E
PL
S
ACKNOWLEDGEMENTS
N
N
IO
IO
T
T
I
“THE ANGEL
IN
THE
HOUSE”
—
COVENTRY
PATMORE
PL
EC
EC
E
S
S
R
Man
1
LEto please
LE
R must be pleased; but him
P
P
O
M
F
M
Is woman’s pleasure;
SA down the gulf
SA
OT
THE
VICTORIANS
ON
TI
CA
TI
A
C
THE
ROMANTICS
N
O__________________________________________________________________________________
N
ON
N
I
IO
ON
O
T
T
I
I
A
A
T
CT
LIC
EC
LIC
SE
P
S
P
E
E
E
12. Consider the
12 years
R by Coventry Patmore. Published
R
LE “The Angel in the House”
PLfollowing extract from thePpoem
R
R
M
M
O
O
A
after “My
poem proved extremely
SA Last Duchess” in 1854,SPatmore’s
T F popular for its description
T F of the behaviour to S
O
O
N
N by Patmore would have
which a Victorian wife should aspire. Consider how the feminine
spousal ideal portrayed
INTRODUCTION
TO POETRY
TI
TI
CA
N
IO
FOREWORD
__________________________________________________________________________________
N
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
101
THE COMPLETE POETRY RESOURCE
Dearly devoted to his arms;
CONTENTS
ON
She loves with
TIlove that cannot tire;
EC
20
N
O
TI
CA
LI
FOREWORD
N
ON
I
CT
LI
P
SAnd when, ah woe, she loves
P
RE alone,
RE
M
ORsprings higher,
OR
Through
passionate duty love
F
F
SA
T
T
NO taller round a stone. NO
As grass grows
E
PL
ON
TI
A
C
LE
SE
SA
SA
ON
N
LE
P
M
MP
ON
I
I
O
O
__________________________________________________________________________________
AT
AT
TI
O
TI
INTRODUCTION
TO POETRY
C
C
IC
TI
IC
L
E
L
C
SE
P
S
P
SE
E __________________________________________________________________________________
RE
RE
LE
E
PL
P
R
PL
M
OR
FO
F
M
__________________________________________________________________________________
SA
A
T
T
S
NO
NO
__________________________________________________________________________________
THE
RENAISSANCE
THE
ROMANTICS
N
O__________________________________________________________________________________
N
ON
N
I
IO
ON
O
T
T
I
I
A
A
T
CT
__________________________________________________________________________________
LIC
EC
LIC
SE
P
S
P
E
E
E
E
R
R
PL
__________________________________________________________________________________
PL
R
R
M
M
O
O
A
A
F
S
S
T
TF
S
O
__________________________________________________________________________________
NO
N
TI
CA
__________________________________________________________________________________
THE
VICTORIANS
N
N
IO
N
N
T
IO
O
A
O
T
__________________________________________________________________________________
I
I
A
IC
CT
CT
IC
PL
E
L
E
E
S
P
S
__________________________________________________________________________________
R
E
RE
LE
RE
L
R
P
P
R
O
R
M
F
M
FO
FO
SA
SA
T
OT __________________________________________________________________________________
T
NO
NO
__________________________________________________________________________________
MODERNISM
N
N
O
__________________________________________________________________________________
IO
TI
N
LATE MODERNISM
/ POSTMODERNISM
N
A
AT
IO
IO
IC
AT
C
T
T
I
L
C
L
C
C
I
__________________________________________________________________________________
P
P
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PL
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__________________________________________________________________________________
PL
OR
MP
F
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__________________________________________________________________________________
NO
SOUTHERN
AFRICAN POETRY
N
IO
__________________________________________________________________________________
N
ON
O
T
LI
P
T
NO
OR
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TI
CA
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NO
UNSEEN
POETRY
S
ACKNOWLEDGEMENTS
OR
OR
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NO
ON
LE
SE
P
ON
[40]
I
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M
SA
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PL
SA
LI
P
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PL
EC
ON
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SA
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N
102
E
PL
TI
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N
M
SA
RE
F
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TI
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PL
ON
I
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LI
P
OR
TI
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M
E
PL
SA
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
S
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
I
T
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LI
P
S
E
PL
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ON
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A
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P
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ON
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P
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MP
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O
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INTRODUCTION
SA
T F TO MODERNISM
TF
NO
CONTENTS
ON
TI
CA
SA
NO
SA
FOREWORD
MODERNISM
ON
Artistic expression in the 20th century was dominated by what is known as the Modernist movement. The
use of the term ‘modern’ can be confusing. Today, we use the N
term modern to describeNanything that was
N
IO
N
IO
O
created T
inIO
the last couple of decades,
we are describing
AT
AT a particular artisticIO
TI but when we talk of Modernism,
IC
IC
T
T
Although it is considered a relatively recent
NOmovement in art and NO
literature, many critics believe Modernism to be the pinnacle of
R
FO
R
LE
INTRODUCTION
TO POETRY
R
P
AM
S
THE
RENAISSANCE
DEFINED BY WHAT IT IS NOT?
ON
N to debate the exact defini-N
Scholars continue
artistic
They argue that its roots
I expression in Western history.
O
N lie in
O
ON
AT
O
TI
TI it
I
I
tion of A
Modernism,
but broadly agree A
that
Cthe
T
questioning of religionCTand humanity’s place in the
universe
that
C
I
EC
LIC phiisPaL style or movement in art, literature,
SE
S
P
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E
began during the LRenaissance,
and
that
it
was
then
further
develE
E
R
R
P
PL
R losophy and architectureOthat
R rejects classical
M
M
O
oped and refiAned by the rationality of the
Enlightenment period, theF
A
F experiments with new
S
or traditional forms T
and
S
T
O
excesses of Romanticism and the realism of the Victorian era.NO
From
N expression.
methods of artistic
S
this perspective, they argue it is the culmination of 300 years of
L
Modernist artists
EC of the
EP recognised that the turn
C
S
R
LEof a ‘modern
20 century
R marked the beginning
P
O
AM idea and wanted
T F They were excited by Sthis
age’.
O
th
O
TI
LE
SE
LI
MP
SA
T
NO
to reflect the new age in which they were living
by interrogatingNartistic rules and conventions
N and
IO
O
I
then reinventing
AT them. The Cubist deconstructions
AT
C
I
C
I
L
of Pablo
for instance,
PL
EP Picasso and Georges Braque,
TI
CA
OR
P
RE
F
ON
AT
I
CT
SE
R
RE
E
Rillustrate how artists were
L
OR taking the conventions
MP
F
A
T
of painting and O
twisting
them into exciting Snew
N
LE
SE
P
M
SA
R
O
TF
ON
T
I
Early Modernist
poets were often preoccupied
EC
PL
S
MP
T F on breaking with
SAabout society. Their work focused
O
the past and rejecting outmoded
literary traditions
N
SE
M
SA
E
PL
OR
RE
LE
OT
SE
P
M
SA
F
OT
N
ON
© THE ENGLISH EXPERIENCE 2019
E
PL
M
SA
and forms.
N
SE
M
SA
P
E
E
with Lobjectivity
and making intellectualRstatements
OR
ON
I
CT
N
Painted in 1923, On White II is widely considered as one of the greatest
masterpieces by the Russian painter Wassily Kandinsky, who is credited with
the first fully abstract painting.
The use of white colour is said to represent life
and all of the opportunities
ONthat are available, and the use ofNblack colour inside
I
the white represents
ATdeath and how all of those opportunities
IO can be taken
C
I
away in an instant.
L
CT
TI
CA
N
REJECTING
IOSUBJECTIVITY
ON
I
CT
E
PL
RE
NO
N
O
IOintellectuals include Sigmund
AT Freud, who revolu- ATI
Tist
C
I
LIC
PL
P
E
tionised the way weR think about the mind, and
REKarl
R
R
O
Marx, who suggested
a radically new structure
for
FO
TF
T
O
politicsNand society.
NO
LIC
P
shapes.
N
Modernism
wasn’t limited to art.
IOImportant ModernN
F
T
NO
ON
I
CT
RE
OR
UNSEEN
POETRY
I
ON
N
O
TI
CA
(Museum of Modern Art, Paris).
N
cultural developmentTinitiated
by the Renaissance.
IO
N
THE
ROMANTICS
T
R
FO
THE
VICTORIANS
Pconsidered ‘the modernPage’.
M
SA
S
MODERNISM
LE
LATE MODERNISM
/ POSTMODERNISM
LE
SOUTHERN
AFRICAN POETRY
C
S
ACKNOWLEDGEMENTS
C
E
L
E is associated with the
L
th
andSphilosophical
movementSthat
EC is
EP turn of the 20 century
EPand the beginning of what
ON
103
THE COMPLETE POETRY RESOURCE
LITERARY PIONEERS
CONTENTS
FOREWORD
N
N
IO
IO
N
T
T
A
A
T “Make it new” in 1934,ICin
Ezra Pound’s callCto
IO
C
T
I
C
PL as
SE same name, is often Ecited
PL presented a slightly different
Echaracter
his book ofE the
E
Modernism
on opposite
S
R
R
L
E
P
R
L
LE
R
P
M the spirit of Modernist
sides
of the Atlantic Ocean. In Britain,
the literary movement was P
embodying
Oliterature. The
O
A
F
M
M
S
T
T F exemplified by novelists andSApoets
SA
best
who reflected on the political
O
rejection of traditional forms
NO and an emphasis
N
N
IO
and social changes of the ‘modern age’. In America, it represented the
on innovation and experimentation were the
idea of a totally new, ‘modern society’. This notion was more easily
INTRODUCTION
TO POETRY
N
N
IO
assimilatedTinIO
America because it was still aTrelatively
young country,
O
O
I
I
A
A
T
O
Tone of the
the movement.
Pound proved to be
C
C
C
C
I
I years before. Modernism hasCTI
having
gained independence a mere 200
E
L
E
L
S
P
S of Modernism,
P
E
most
E come to be considered the
Sto
E influential founding fathers
Rsince
REfirst authentic artistic movement
LE
E
PL
P
PL
M major literary figures FOR develop on that continent.
and was a mentor to other
OR
F
M
SA
A
T
T
S
O
of the day, including TS Eliot, James JoyceNand
NO
driving forcesNbehind the poets and novelists
N of
Ernest Hemingway.
THE
RENAISSANCE
ON
TI
CA
N
N
N
O
The term Modernism
brings together a number
IO
TI
N
IO
O
TI
THE
ROMANTICS
A
AT
T
C
C
C
C
I
I
of
disparate
sub-movements
from
around
the
The Scream is the
popular name given to a composition
E created
L
SE
PL
S
P
E
E
E
E
by Norwegian
R from the free forms of R
globe,
the American Beat
PL artist Edvard Munch. PaintedPinL 1893, the agonised
R
R
M
M
O
O
face in theApainting has become an most iconic
image, seen as symon gender and
S
SA
T F poets to the radical Operspectives
TF
S
O
bolising the anxiety of modern man. Discussing the inspiration behind
N
N Bloomsbury Group.
sexuality of Britain’s
the painting, Munch recalled that he had been out for a walk at sunset
when suddenly the setting
ON sunlight turned the clouds ‘a blood red’ and
THE
VICTORIANS
I
N
AT scream passing through nature'.
he sensed an ‘infi
nite
IO
C
T
I
PL
EC
E
S
R
LE
R
P
O
M
F
SA
OT
The Beat poets were a group of writers who
ON
N
O societal norms and Aembraced
TI
rejected
experiTI
C
C
I
L
SE mental countercultures. PNotable members of this
RE
E
E
R
group of writers were
R Jack Kerouac, author
Rof
O
O
F
On the Road
TF
OTand Doctor Sax, and Allen Ginsberg,
L
MP
SA
NO
N
whose famous poems include “Howl”, “America”
MODERNISM
ON
ON
TI
A
C
I
PL
LATE MODERNISM
/ POSTMODERNISM
R
R
RE
SOUTHERN
AFRICAN POETRY
T
NO
of Mrs Dalloway and To The Lighthouse, and EM
I
AT
C
LI
TI
CA
I
PL
T
NO
OR
UNSEEN
POETRY
ACKNOWLEDGEMENTS
M
SA
E
PL
Forster, who wrote
N the classic Howard’s End.
N
IO
IO
T
T
C
C factor beIn many
respects, the main unifying
SE
SE
E
E
these diverse sub-movements
(apart from
L
Ptween
PL
M
M
A
was the will
SA the timing of their Sdevelopment)
T
NO
of the writers to express themselves and their
worlds in new and innovative ways.
N
ON
O
TI
A
C
ON
I
PL
S
OR
F
OT
OR
RE
TI
CA
LE
SE
P
M
SA
F
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N
ON
I
CT
LI
P
RE
N
N
104
RE
F
TI
EC
R
L
P the area of London in which
nameAM
from
OR they all
F
S
OT Woolf, author
lived. The group included NVirginia
ON
P
R
FO
SE
S
ON
RE
T
A
The Bloomsbury CGroup
TI was a close-knit circle
IC
L
E
P
S
of progressive
E writers and thinkers thatE got its
P
AM
NO
ON
ON
I
CT
LE
O
TF
TI
and “A Supermarket in California”.
ON
LI
P
RE
TI
CA
ON
M
E
PL
SA
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
S
T
NO
— Jack Kerouac, On the Road
ON
TI
CA
ON
OR
F
ON
I
SHATTERED BY WAR
CT
I
CT
RE
E
PL
S
M
SA
Pablo Picasso’s Les Demoiselles d’Avignon
(“The Young Ladies of Avignon”) caused a huge
controversy when it was created in 1907, due
to the experimental
N nature of its composition. ON
Critics have
IO since hailed it as re-inventing theTIart
T
A
of painting.
A
IC
LIC
P
E
R and Samuel Beckett, R
Many ModernistPwriters
were heavily influLE in Europe, such as PWilliam
LE Butler Yeats, JamesRJoyce
R
M
M
O
O
A
A
F
F
enced by the
S political turmoil in the early
S years of the 1900s, created
T by war, revolutions and
Timperialism.
S
O
NO
N
SE
L
EP
SE
N
R
ON
N
O
TI
C
LE
LE
tion Fand
OR led to a shift in the way
MPnot only artists,
A
T
S world. The previous
O
but all citizens, understood the
SE
LI
MP
SA
T
NO
religious and political structural frameworks, which
had providedIO
anNillusion of stability, were shattered
N
IO
T
ern
EP lay behind these
RE world were exploring what
R
R
illusions.
R
MP
O
TF
SA
NO
(Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain)
LE
ON
N
IO
T
P
LI
OR
RE
F
OT
P
OR
SA
N
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E
PL
ON
TI
CA
N
O
TI
ON
I
PL
ON
I
CT
I
CT
SE
M
F
OT
N
S
TI
CA
E
PL
SE
M
SA
ON
TI
CA
LI
AT
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E
SEBlinded by tear gas, British soldiers S
hold on to each other as they line up E
forP
E
R
treatment during the Battle of Estaires,
10 April 1918.
L
MP
OR
A
F
S
T
NO
LI
RE
F
I
CT
ON
TI
CA
T
NO
RE
OR
ON
I
CT
LI
PL
OR
P
RE
F
ON
T
A
by the war,
IC and the artists and writers
CA of the West-
TI
CA
T
NO
ON
I
CT
P
SE
S
RE
RE
E
E
R
L
L
R
Guernica
is
a
famous
anti-war
painting
by
Pablo
Picasso
depicting
the
suffering
of
people
and
animals
wrenched
by
violence
and
chaos.
Prominent
in
the
O
M
M7.5Pmetres long and 3.5 metres high.
FOflames. The original painting is over
and
MP
T Fscreaming women, dismemberment
SAcomposition are a gored horse, aObull,
A
A
T
S
S
N
NO
E
PL
N
ON
© THE ENGLISH EXPERIENCE 2019
CONTENTS
FOREWORD
LATE MODERNISM
/ POSTMODERNISM
IO
AT
wars’ was the culmination
of almost 200 years
IO of
IC
L
CT
P
E
instability that
E had begun with the French
S Revolu-
© Thomas Keith Aitken (Imperial War Museum, London)
The key event of this time period was, of course,
World War One (1914-1918).
This ‘war to end all
N
INTRODUCTION
TO POETRY
F
T
NO
goes “Awww!”’
R
T
EC
THE
RENAISSANCE
OR
IO
I
PL
THE
ROMANTICS
I
L
EP
ON
TI
CA
THE
VICTORIANS
TI
CA
MODERNISM
O
TI
roman
C candles exploding like spiders
C
E
S
SE
E across the stars and in the middle
E you see
L
L
P the blue centerlight pop P
M and everybody
SA
SOUTHERN
AFRICAN POETRY
ON
N
O
TI
SA
UNSEEN
POETRY
but burn, burn,
N burn, like fabulous yellow
LE
P
M
ACKNOWLEDGEMENTS
never yawn or say a commonplace thing,
Jack Kerouac by Tom Palumbo circa 1956(Wikimedia)
ON
N
ON
I
I
O
N
T
T
I
AONES
THE ONLY T
PEOPLE
FOR ME ARE THE MAD
A
IO
C
C
C
I
T
I
‘The only
SEpeople for me are the mad EPL
PL
EC
E
S
E
R
R
L
ones,Pthe ones who are mad to live, mad
LE
R
P
M
OR
O
A
F
M
Sto talk, mad to be saved, desirous
of eveTF
SA
OT
O
N
N
rything at the same time, the ones who
(Museum of Modern Art, New York City) (Wikimedia Commons)
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
105
THE COMPLETE POETRY RESOURCE
CONTENTS
EMILY DICKINSON (1830 —
1886)
ON
ON
TI
N
A
IOAmherst in the
C
I
T
I
Emily
Dickinson
was
born
in
1830
in
a
town
called
C
PL
PL
SEthe second of three
RE
American state of
REMassachusetts. She was
LE
LE
R
P
P
OR
O
F
children. Her
AMworked at the law fiSrm
AMthat
T
T F father was a lawyer Sand
O
NO
N had founded. Soon after Emily was born, her father
his father
I
T
EC
S
E
PL
M
SA
FOREWORD
moved into politics, first locally and then serving one term in the
N
O
TI
C
E
PL
SE
P
FO
M
N
Although the mission of the school was described simply as ‘morality,
piety, and religion’, the curriculum focused
N on the sciences and allowed
ON
ON
O
N
I
I
O
for someTIfreedom
in the students’ choice
AT of reading matter. Dickinson’s
AT
TI
C
LE
FO
N
SE
SE
R
E
Unusually
received extensive
R for women of the time, Dickinson
R
PLschooling,
A
OfiTrst attending a local school
OT called Amherst AcademyS for seven years.
ON
TI
CA
EP
RE
M
SA
N
IC
C
IC
favourite
geology and Latin.PLShe was also
PL
SE subjects included philosophy,
RE
RE
E
her life.
PLinterested in botany and Rwas an avid gardener throughout
M
O
OR
A
F
F
S
T
T
NO
NO
P
AM
THE
ROMANTICS
S
S
INTELLECTUAL AND DOMESTIC MATTERS
When Dickinson was I16,
ON she began attending NMount Holyoke Female N
T
O
A
Seminary a few
Although religiousTIO
TI
LICkilometres away from CAmherst.
P
ON
EC
E
LI
THE
VICTORIANS
E
S also included a number
S of
instructionRfeatured
heavily, the curriculum
E
E
PLnatural history and astronomy.
PL Other
OR
scientifi
c disciplines such as botany,
M
F
M
T
SA
SA
O
subjects offered at the school were the languages (predominantly English
TI
CA
T
NO
OR
P
RE
F
T
NO
OR
RE
F
MODERNISM
and Latin), history, algebra and philosophy, as well as music.
ON
N
IO accounts indicate thatNDickTI Holyoke after only a year.TSome
Dickinson Aleft
LATE MODERNISM
/ POSTMODERNISM
N
A
IO
IO
IC
AT
C
T
T
I
L
C
L
C
insonP was homesick and missed
her
family,
while
in
a
letter
to
a
friend,
C
I
P
SE
PL
SE
RE
E
RE because her father asked
E
E
her
to
come
Rshe noted that she left school
R
L
L
R
MP then for women to AMP
FO
OR
A
home and attend toTdomestic
matters. It was common
F
S
S
T
O
NO
attend school forNonly two or three years, as they were expected to focus
on running a household. Another source
argues that Dickinson didn’t find
N
N
O
SOUTHERN
AFRICAN POETRY
I
N
IO most of the
the
as she had already Tread
IO curriculum stimulating enough,
AT
T
IC
OR
RE
TF
T
NO
NO
R
FO
UNSEEN
POETRY
© AsheryW (Deviantart)
ACKNOWLEDGEMENTS
LE
R
E
L
MP
E
L
MP
RELATIONSHIPS
A
SA AND SOCIAL CONNECTION
S
OT
first inNher youth and the secondN when she was in her forties); however,
IO
O
TI
T
NO
R
FO
P
RE
IO
T she was not interestedIOinNthe life of a wife
AT stated more than onceAthat
Cshe
LI
C
MP
SA
L
EP
Emily Dickinson, around the age of 18 years old,
circa 1848.
was captured using the
N This image
first
process, known as daguerreoOphotographic
ON
I
Ttype, and Emily would have had to sitCstill
TI for 10
C
SE minutes while the image formed.SE
Although Dickinson never married, she received at least two proposalsN(the
N
SE
A
IC
books on the reading list.
PL
© Yale University, Connecticut
THE
RENAISSANCE
© superlautir (Deviantart)
INTRODUCTION
TO POETRY
E
PL
SE
N
O
United States Congress.
Little is known ofIODickinson’s mother,
TI
A
AT
IO
IC devoted to her studies.
except that she
LICwas an academic andLwas
CT
N
O
TI
C
LIC
T
C
P
and mother, and sheEhated
domestic chores. She
SEcraved connections with S
R
E
LE
R connections, to her mind,
others, but theOideal
PL were intellectual. WhilePshe
AM
TF
M
S and became a recluse,SA
increasingly
she corO avoided social obligations
N
responded for years with several editors and publishers that she admired,
N
106
ON
TI
A
C
seeking their advice about
N her poetry.
O
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
couple built aShouse next door to the Dickinson
famP
E
EP
E
R
R
L
ily home.P As a girl, Susan had alsoRattended Amherst
O
OR
AM
F
F
S
T same time as Dickin- OT
Academy (although not at the
NO
N
CONTENTS
ON
I
CT
LI
LE
SE
LE
P
M
MP
SA
SA
Dickinson valued Gilbert’s opinions on her poetry, once
N
ON
N
O of Shakewriting inTaIOletter that ‘[w]ith the exception
TI
C
C
speare,
SE you have told me of more
SEknowledge than any
ON
TI
CA
TI
CA
I
L
EP
LE living. To say that sincerely
LE is strange praise’. R R
Pone
P
M
FO
SA
T
NO
IO
I
PL
OR
RE
F
E
PL
T
EC
S
M
SA
T again
‘That it will neverOcome
N
Is what makes life so sweet.’
CURIOSITY AND PRIVACY
© BeatrizMartinVidal (Deviantart)
son), and she was a teacher before marrying Austin.
N
Dickinson
which were written between 1858
and 1865. Most of these
N
IO wrote 1 800 poems Nin total, more than half of N
ON
T
I
IO
O
A
O
T
T
I
I
A
Cwere written in handmadeCnotebooks
A
that
she
didn’t
share
with
anyone,
although
she
shared
250
of
her
poems
with
her
T
T
C
C
EC
E
LI
LI
S 100 with an editor named
S Thomas Wentworth Higginson,
P and publish
sister-in-law and another
who would help toEedit
EP
E
E
L
R
L
FOREWORD
LIC
EC
TI
A
C
INTRODUCTION
TO POETRY
O
N
I
O
Gilbert, who became
AT The
TI one of her closest friends.
THE
RENAISSANCE
In 1856, her brother Austin married Susan Huntington
N
R
SA
S
her permission.
TF
F
T
NO
NO
S
Dickinson continued to read widely on her own and was influenced by a number of poets. There is a sense of curiosity
N
THE
ROMANTICS
P
R was still alive, but anonymously
her poems after
and not with
MP were published whileOshe
OR
AM she died. Several of her poems
N
O
in many of her poems,
writing as primarily a way to
N record her observations and
TI suggesting that she saw N
IO to study her
IO
P
S
O
OR
SA
R
O
TF
F
OT
NO
N
N
ON
I
T
N
T
A
A
IO
life
IC to the point that she didn’t leave
C
T
I
L
L
C
P
EPdecSE
REher family property for the lastRtwo
E
R ades of her life. She wasRso reluctant
PL
O
M
F
T house that she is
to face visitors toOthe
SA
N
known to have spoken to them through
Dickinson
IO withdrew from social
ON
AT
I
CT
LE
SE
P
P
M
SA
LIC
R
RE
O
TF
NO
N
C
O
TI
LE
MP
SA
SE
ON
I
CT
E
PL
M
SA
SE
© James Golden (federaltwist.blogspot.com)
doors. When her father died in 1874, his
N
N
IO
Nfuneral was conducted in the hall
of the
IO
T
N
O
T
I
A
A
T family home and Dickinson
IO
C
I
C
chose
to
T
I
PL
PL
EC
E
S
listen to the service
REfrom the privacy of
R
R
LE
R
Oabove.
P
her bedroom
O
F
M
T
TF
SA
O
NO
N
T
NO
N
IO
ON
I
T
N
T
A
A
IOherself and which
The
in which Emily ensconced
ICDickinson family home in Amherst,IMassachusetts,
C
T
L
C in the upper left
P she refused to leave during the lastP20L years of her life. Her bedroom is pictured
E of the small woods and path towardSherE brother's house. This
RE corner and, from it, she had a Rview
E would take her niece Maggie LE S
R
L
small
landscape
and
path
were
most
of
Emily’s
world.
She
sometimes
R
P
FO
to her room, lock the door,
FO and say to her, ‘This is freedom’.AM
MP
T
A
T
S
S
NO
NO
N
ON
© THE ENGLISH EXPERIENCE 2019
MODERNISM
understanding
their meaning.SA
TF
LATE MODERNISM
/ POSTMODERNISM
O
MP
SOUTHERN
AFRICAN POETRY
S
MP
UNSEEN
POETRY
E
R wait to share it with someone.
E of her poems also have
and sheRcan’t
Having said that,Lmany
REa keen wit that is vital toRE
LE
THE
VICTORIANS
AT
ACKNOWLEDGEMENTS
IO
CA
T
LI a magnifying glass. In Esome
CT of these poems, there
subject, as if P
with
IC made a discovery
ECis the sense that she hasLjust
ON
107
THE COMPLETE POETRY RESOURCE
POSTHUMOUS POPULARITY
FOREWORD
SA
that she was romantically involved with someone, but no one knows who
N
this was or why
it ended. After 1865, she
rarely
N became a recluse andTIO
ON
O
I
I
T began to deteriorate. ICA
even accepted
visitors. Her health C
also
CT
INTRODUCTION
TO POETRY
SE
ON
TI
CA
IO
T
EC
I
PL
L
EP
SE
S
R and Dickinson
RE
LE father and mother died,
LinE1874 and 1875 respectively,
E
PHer
P
R
L
R
P
M
FO
died more than a decade
illness. Her po- FO “To make a prairie” (1755) AM
SA later, in 1886, after a Tprotracted
T
S
NOdiscovered after her death.
NO
etry notebooks, described as ‘fascicles’, were
THE
RENAISSANCE
A selection of these poems was published in 1890, although they were heavily edited. They were immediately popular,
ON
N
N
I
N complete edition of herTpoetry
selling
IO was published in 1955.
IO
AT out a number of timesOinNthe first two years. The fiOrst
TI
C
E
PL
I
EC
S
E
PL
AT
A
T
EC
LIC
P
S
RE
THE
ROMANTICS
S
S
The wind begun to rock the grass
THE
VICTORIANS
I
N
AT at the earth—
IO
He flung a menace
C
T
I
PL
EC
E
S
R at the sky.
A menace
LE
R
P
O
M
F
SA
OT The leaves unhooked themselves
from trees—
N
O
TI
C
E
SE
L
MP
SA
5
N
IO
T
A
menace (lines
IC3 and 4): a threat
L
P
RE(line 6): surprised,
RE
started
R
R
FOstartled
FO
T
T
NO livid (line 12): bluish, leaden
NO in
GLOSSARY
MODERNISM
colour
N
O scoop itself like hands IO
The dustTIdid
T
LATE MODERNISM
/ POSTMODERNISM
A
A
LIC
And
throw away the road. PLIC
P
RE
RE
R
R
The wagons quickened
FO on the streets,
T
O
The thunder Nhurried slow—
S
NO
1
With threatening tunes
ON and low—
N
R
RE
O
TF
T
NO
LIC
P
OR
“THE WIND
BEGUN TO
AM
AM ROCK THEFGRASS”
And started all abroad;
ON
N
quartering
IO (line 20): dividing into
I
CT
LE
MP
SA
AT
CT parts (i.e. shattered the bodyLIC
four
SE
EP
E of the tree)
R
L
MP
OR
A
F
S
T
NO
SE
10
The lightning showed a yellow beak
SOUTHERN
AFRICAN POETRY
N
N
IO
N
IO
T
N
O
And
then
a
livid
claw.
T
I
A
A
T
IO
C
I
C
T
I
L
PL
EC
EP
E
S
R
The birds putRup the bars to nests—
R
LE
R
O
P
O
F
M
The cattle
T fled to barns—
TF
SA
O
NO
N
There came one drop of giant rain
ON
I
CT
E
PL
SE
M
SA
T
NO
15
UNSEEN
POETRY
ON
And then as if the hands
ON
TI
CA
N
O
TI
ACKNOWLEDGEMENTS
C
LI
That held
SEthe dams had parted holdEP
E
R
ThePLwaters wrecked the sky,OR
M
T Fhouse—
SABut overlooked my father's
O
N
Just quartering a tree—
OR
ON
I
CT
LI
P
RE
TI
CA
LE
SE
P
M
SA
F
OT
N
ON
E
PL
M
SA
20
N
108
LE
P
M
© Faryn Hughes
CONTENTS
N
N
IO
IO
N
T
T
A
A
T of Dickinson’s private orIC
Little more is known
intellectual
life. Although she
IO
C
C
T
I
L
L
SE preferring them to face-to-face
Pwith
EC
wrote manyEletters,
interactions, even
EP
E
S
R
R
L
LE
R to be
P
MP friends, very few letters
her closest
ORsurvive and those that FdoOseem
A
F
M
S
SA
OTthe letters that she sentNOtoTfriends suggest
intentionally cryptic. SomeNof
N
IO
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
S
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
CONTENTS
The main
E difference between
S
the two
LEversions of this poem is that
LE
P
M
MP
FOREWORD
SAthe first stanza of “The wind begun
SA
T
N This poem is also known
NO as “Poem 796”.
first editors of her poems.
There are two versions of this poem, however; this version was sent to
N
Thomas Wentworth
Higginson, whileNDickinson sent the otherIOversion
ON
O
T
I
I
A
T
to her sister-in
law. The secondCversion
is known as “The
CT
ICwind begun
L
E
SE
P
S
to
RE
LEknead the grass” or “Poem
LE 824”.
to knead the grass” compares the
wind to a woman pounding dough
N
to make bread:
IO
AT
IO
C begun to knead the grass T
‘The
LIwind
C
INTRODUCTION
TO POETRY
P
E
REAs women do a dough— E S
L
OR
OR He flung a hand full at M
thePplain—
Fstanzas
F
The poem consists of
of four lines each.
SA20 lines, divided into five
A
T
T
S
O
A hand full at the sky.’
NO of
There is no rhyme scheme, but like manyNof Dickinson’s poems, most
the stanzas
N consist of three lines of eight syllables each and one line of six
O
I
N choice of words
syllables.
This structure allows
the poet some flexibility inOher
ON
AT
C
TI
and imagery, while retaining
EC a sense of unity and rhythm.
EC
E
PL
M
PUNCTUATION
SA
ON
S
LE
S
P
AM
R
TI
CA
LI
P
RE
R
F
poetry,
OTmany of the nouns are
NO
N
When reading any poem by Emily Dickinson, pay attention to the use of punctuation and diction. Dickinson’s
poems are often deceptively simple, and their
ON
I
N
N
themes are often developed
by these two elements.
AT
IO
IO
LIC
CT
CT
P
E
E
E
S to rock the grass” are made
S up of
The first three
R stanzas of “The windLbegun
E
E
L
R
P
P
O
one Fcomplete
sentence each andMend with a full stop, with dashes
used at the
A
AM
T
S
S
O
end of certain lines to form or create a transition from one image of movement
to the next. These stanzas describe the approach of the storm.
N
LI
USE OF CAPITAL
EP LETTERS
In some editions
OR of Dickinson’s
O
TF
S
ON
TI
A
C
S
capitalised, even when they don’t
denote proper nouns. The poet’s
N
original manuscriptsIOuse capital
T
CA
letters liberally,
LI but this style was
P
E by the first editors of the
editedRout
NO
poems
OR
TF
ginson
(Thomas Wentworth HigOR
F
T
and Mabel LoomisOTodd).
N
RE
In 1998, Dickinson’s poems were
N
published for the first time with the
O fifth stanzas, the animals
In the fourthTIand
arrives
IO seek shelter as the storm
N
A
original
ON
AT
I
IOcapitalisations.
C
I
AT
C
T
T
I
and itsL power is unleashed. These
two
stanzas
together
form
one
complete
C
L
C
C
I
P
P
E
E
Sthe
PL
RE
final line of the E S
E
REonly with dashes — even
E
Rthought and are punctuated
R
L
PL
ORa full stop. This use of punctuation
poem ends in a dash,Fnot
in the final twoMparagraphs
creates a flurried
MP
ORrhythm that
A
A
F
T
S
S
T
suggests the progress
NO and intensity of the storm.
NO
Other than these full stops and dashes, the poem uses only two other punctuation marks: a semicolon at the end of
N
N
IOof line 15. The semicolonIOmarks
N6 and a comma at the end
line
the transition fromNthe leaves being blown around
by
T
O
T
I
A
A
ON
T
IO
I
C
I
C
T
T
I
L blown from the road. It slows
the wind to the dust being
the pace of the poemCto suggest that the storm isC still building
PL
EP
E
SE
SE of how the
R
up. The comma R
is used in the final stanza Rto Rmove attention from the Lpeak
E of the storm to the description
E
L
P
FO is untouched by the storm,
MP
FO as if it was intentionally
speaker’s home
saved. This shift in punctuation
suggests that the
T
A
AM
T
S
O
S
T
O
N
N to these lines.
reader should pay special attention
NO
The final line of the poem also ends with a dash, instead
of a full stop. This ending is consistent with the use of dashes
N
ON
I
N
Othe
I
T
Ncould also imply
O which represent the movement
elsewhere in the poem,
and
the
progress
of
storm. This final dash
T
I
A
A
T
IO
IC
C
T
C
I
L
L before she is quite fiEnished.
C
that the speaker
Perhaps she has
SE is surprised and breaks
Pstorm
EPoff her description of the
E
S
S
E
R
R
Lsay, but she is distracted by
E house intentionally, even
E
more to
how the storm has seemed
to avoid destroying her father’s
R
P
L
L
R
O
M
O
MP
MP
T F to the house.
SA it destroys the treeOnext
though
A
A
TF
S
S
NO
N
Whatever the reason for this final dash, the reader is left to fill in the blanks and decide for themselves what has happened, making them a part of the poetic process.
N
ON
© THE ENGLISH EXPERIENCE 2019
MODERNISM
TI
THE
RENAISSANCE
MP
LATE MODERNISM
/ POSTMODERNISM
P
SOUTHERN
AFRICAN POETRY
OT
ON
I
CT
POEM 824
C to rock the grass” isLIa poem written about an
I ap“The wind begun
P
SE
PL
E
E
proachingLEstorm. Since Dickinson Rrarely gave her poems aRtitle, they
P
R
OR
areSoften
by the
AM referred to by their FfiOrst line or by a number Fassigned
UNSEEN
POETRY
T
TI
A
C
THE
ROMANTICS
TI
CA
THE
VICTORIANS
ON
N
IO
ACKNOWLEDGEMENTS
ANALYSIS
ON
109
THE COMPLETE POETRY RESOURCE
PERSONIFICATION
CONTENTS
N
IO
ON
ON
TI
CA
T
The poem uses Cpersonifi
cation to
LI
E
S
describe theEeffects of the storm on REP
PL
R
the environment.
This imagery beAM
FO
S
TI
A
C
P
T
T
R
FO
FOREWORD
O first
gins in the very first line ofNthe
NO
RE
ON
I
CT
LI
LE
SE
LE
P
M
MP
SA
SA
stanza, when the wind shakes the
ON
INTRODUCTION
TO POETRY
SE as the sound of the wind
SE
developed
E
E
L
L
P
P by a
Msung
is compared to a song
A
S
TI
CA
I
T
NO
person. Then, in the third line, the
ON
TI
CA
OR
L
EP
R
F
IO
I
PL
T
NO
OR
RE
F
E
PL
T
EC
S
M
SA
© M33mt33n (DeviantArt)
grass, as if itNwere rocking a baby.
N
IO line, this imagery is TIO
T
In the second
C
C
pronoun ‘he’ is used for the first
THE
RENAISSANCE
and Ionly
ON time in the poem, toNdeT
O
A
Cscribe
TI storm
how the wind or Cthe
ON
N
IO
ON
TI
CA
TI
A
C
THE
ROMANTICS
T
I
E
‘The wind begun
EC to rock the grass
LI
S
PL
S
P
attacks the earth and
then
the
sky.
E
E
E
E
WithLthreatening
tunes and low—' (lines 1–2)
R
R
PL
P
R
R
M
M
O
O
A
A
F
F are not personified
With the exception
of the third and fourth
S
S lines of the first stanza,Tmost of the elements of theT storm
S
O
O
N
N part of the human body: the
as thinking human beings with will and agency; instead, they are assigned the action of one
hands. This partial personification suggests that the elements of the storm are being manipulated by another entity, for
N
N
N
example, the wind. A
AsTIaOresult of the gusting winds,
(line 5) and ‘[t]heIOdust did scoop
ON ‘[t]he leaves unhookedOthemselves’
TI
IC
TI
T
CA
C
C the wind itself when it Lblows;
I
itself like hands’
because we don’tEsee
instead, we see
PL (line 7). This imagery is Eeffective
THE
VICTORIANS
RE
S
P
S
E
E and the leaves and dust
the effects
LE being blown into the air. R
R of the wind: the grass rustling
PL
OT
FO
MP
M
SA
OR
A
F
OR
RE
F
S to this personification, inTstanza three, the lightningTis comIn contrast
O
NO
N
pared to the ‘yellow beak’ (line 11) and ‘a livid claw’ (line 12) of a bird,
MODERNISM
ON
ON
TI
A
C
I
PL
LI
RE
R
P
RE
SOUTHERN
AFRICAN POETRY
R
NO
E
FO
T
O
The use of human hands to describe the actions of Nthe storm is employed
S
again in stanza four. The hands are now the storm clouds that are holding
N
the rain back.
IO The speaker describesNhow it seemed ‘as if the hands /
AT
ON
O
TI / The waters wrecked C
ThatLheld
hold
the
TIsky’ (lines
IC the dams had parted C
EP The storm has now begun
SE in earnest.
SE
R16-18).
E
E
L
L
R
P
MP
FO The final instance ofApersonifi
AisMimplicit. In the final two
cation in the poem
T
S
S
T
NO
NO
lines of the poem, the speaker explains how the storm batters everything,
UNSEEN
POETRY
including a tree next to the house, but leaves the house untouched. She
ACKNOWLEDGEMENTS
N
IO the verb ‘overlooked’ (line
ON19), which suggests thatNa sentient being
I
T
‘There came one drop
uses
OofNgiant rain
T
I
A
O
A
TI intact. She doesn’t
CThands
And then as if the
ICunintentionally left the house
LIC has either intentionallyLor
E
C
P
S
EP
SE
S
Ethe dams had parted hold
RE
That held
R
L
E
E
identify
who
or
what
has
left
the
house
intact,
however; it could be Lthe
R
P
L
R
P
M waters wrecked the sky,’ (lines 15–18)
The
FO
Msomething
FO be nature, or it could be
MP
T
SA
A
A
storm,
it
could
spiritual/supernatural.
T
S
S
NO
NO
The speaker seems to be leaving it up to the reader to decide on the
N
110
IC
RE
AM
S
I
PL
O
TF
CT
C
up the dust,
SEthis description of the bird’s
PLbeak
SE movement is passive; the
E
TI
CA
RE
N
N the leaves and gatherT
O Unlike the hands thatIO
den, darting movement.
pluck
A
TI
AM
ON
ON
TI
both images representing the flash of the lightning in the sky and its sud-
PL don’t perform an action.
and claw
PLThey simply appear and then
R recede.
O
TF
NO
© Claudia-SG (Deviantart)
LATE MODERNISM
/ POSTMODERNISM
R
TI
CA
nature of this ‘being’ and
N whether it has acted with intention.
O
ON
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
The same pattern can be found in the third stanza, in the description of the lightning, and in the fifth stanza, in the
N
N
O shows a neutral ‘yellow
description O
ofNthe storm clouds releasing
IO beak’, but in line 12,
ONthe rain. In line 11, the lightning
TI
T
CA
O
M
SA
T
NO
NO
In a similar vein, at least one of the descriptions in the poem
is an oxymoron.
In stanza three, line 10, the speaker describes
N
IO
N
ON
N
O
AT ‘[t]he thunder hurried slow’.
O
Chow
TI The words ‘hurried’ and
TI ‘slow’
C
C
E
E
L
thunder, though,
PLThunder is often
MPthe description is accurate.
OR
AM
P
RE
R
N
LE
S
NO
as the rumbling continues
N after the first clap of thunder. Both
R
ON
N
O
TI
C
SE
LE
ORinteresting feature of Dickinson’s
MP
Another
choice of diction
in
F
MP
A
A
T
S
S
O
this poem (as well as in her poetry in general) is that words are
P
RE
O
TF
storm, but the sound itself is the opposite: slow and ponderous
AT
descriptions are accurate
and reinforce the Tspeaker’s
feelings
IO
IC
L
C
P
E
of ambivalence
E toward the approachingSstorm.
TI
A
C
LI
F
SA even frightening, as it marks
S
surprising and
the approach of a OT
N
IO
ON
TI
CA
LI
E sound of
seem at first to be oxymorons.
If you reflect onSthe
SE
INTRODUCTION
TO POETRY
PL
R
THE
RENAISSANCE
R
© jerusalemhouseministries.com
MP
O destructive to the reader.
FO
force behind the storm)
SA is intentionally or unintentionally
TF
TI
CA
LI
OR
P
RE
‘The lightning showedFa yellow beak,
T (lines 11–12)
And then a lividO
claw.’
F
T
NO
N
RE
OR
used in unusual ways. The word ‘menace’ in lines 3 and 4 is
N
N
O
used twice to
IO that is thrown at the Nearth and at the sky. The reader is left to imagine the
TI describe something threatening
AT
A
ON
O
I
ICthis ‘menace’ that attacksICboth earth and sky indiscriminately.
natureLof
L
CT
AT
I
CT
EP
LIC
LATE MODERNISM
/ POSTMODERNISM
EP
SE
P
SE
R
Eand
Rpoet’s
E
E
RAn additional example of the
unusual
use
of
diction
is
found
in
the
description
of
the wind blowing the leaves
the
R
L
L
R
P
P
R
O
M
F
M
O
A be used to describe someone
dust in stanza two. The
taking an item of clothing
T verb ‘unhooked’ (line 5) Scould
SA
T F off a hanger,
O
NO
N verb ‘scoop’ (line 7)
but it is not often used to describe leaves being plucked from the branches of a tree by the wind. The
could be used to describe someone
N gathering and then sifting flour while they cook, rather than the dust being blown
N
off
IO the road by the wind.
T
ON
O
TI
CA
TI
CA
LI
ON
ON
I
CT
LI
I
CT
P themes of the poem is Stransformation
E
E line of the
EP suggests that one of Ethe
The careful use of R
diction
and stability.SEach
R
R
E
E
L
poem describes
the grass, the
PL it is the wind movingPthrough
OR about by the storm, whether
FO a change that has been brought
AM
F
T
THE
ROMANTICS
A
C claw’ sounds sinister. InEC
ICholding the rain back simply
TI
I part, but in line 18, ‘[t]he
the ‘livid
lines 16 and 17, the hands
L
L
C
SE
P
S
P
SE
added). Once again,RE
the speaker leaves the decision
RE of whether the storm
LE wrecked the sky’ (emphasis
LE
E (or the
Pwaters
THE
VICTORIANS
TI
MODERNISM
TI
FOREWORD
N
N
IO
IO
N
T
T
Aof personification in the poem
A can be found in the word
T that surrounds the use
The same ambivalence
IOchoice. The first
C
C
C
I
T
I
L
E
L
Sneutrally,
Pwind
EC the second line
stanza begins
with the verb R‘rock’
ruffling the grass; however,
EP in line 1 to describeRthe
E
S
E
L
LEwind is somehow menacLE
R of the wind, hinting thatPthe
P
MPadjectives ‘threatening’Fand
usesAthe
OR ‘low’ to describe the sound
O
M
M
S
T
TF
SA
SA
O
ing, but without explicitly explaining
how.
NO
N
N
IO
AM
S the anticipated rain. Only Sline 19 describes a momentT
O animals seeking shelterOorT the clouds finally releasing
wagonsNand
O
N
SOUTHERN
AFRICAN POETRY
DICTION
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
N
UNSEEN
POETRY
of stability: ‘my father’s house’. The stability of the domestic environment versus transformation in the natural world, as
well as in society, is a recurring theme of Dickinson’s
ON work, making this singleNline especially revealing.
LE
SE
P
OR
MP
SA
O
LIC
RE
F
OT
I
AT
C
LI
P
OR
RE
N
N
LE
SE
P
M
SA
F
OT
N
ON
I
CT
ON
© THE ENGLISH EXPERIENCE 2019
M
E
PL
SA
S
ACKNOWLEDGEMENTS
I
AT
ON
I
CT
ON
111
THE COMPLETE POETRY RESOURCE
POETRY AS DEFINITION
LE
P
M
FOREWORD
SA
larger forces at work behind them. This process is evident in “The wind
N
begun to rockN the grass”, in which she Nbegins by noting how the wind
IO
O
O
T
I
I
A
T grass sway, before turning
makes C
the
CT her attention to the leaves
IC falling
ON
TI
CA
IO
INTRODUCTION
TO POETRY
I
E
E
Sthe
PL
Sby
PL
from
trees and being blown
the wind.
E
E
E
E
R
R
PL
PL
R
R
M
O
O
F she has witnessed F
In this poem, Dickinson
SAseems to be analysing aTstorm
T
O
N effects of the wind, then
NO
by first observing and describing each of the
THE
RENAISSANCE
noting the wagons that are disappearing, and the arrival of the thunder
ON
C
TI
C
C
the storm, the poet will Esomehow
be better able to Eunderstand
its nature.
LE
S
LE
P
AM
P
AM
THE
ROMANTICS
S
LI
R
S
TI
A
C
LI
P
RE
R
O
TF
O
TF
NO
DICKINSON AND THE ROMANTICS
ON
TI
CA
P
RE
S
S
M
SA
ON
I
N moment of
and
sense that by describing O
each
AT the lightning. There is theON
TI
E
PL
T
EC
© RHADS (Deviantart)
CONTENTS
N
N
IO
IO
N
T
T
A
Thas been described as anICexercise
Dickinson’s poetry
in definition. ThisICA
IO
C
T
L
E
Sshe
PL
EC
suggests that
used her poetry toRdescribe
in detail the phenomena
EP
E
S
E
R
L
LE
P
MPhad observed in the world
that A
she
around her (such as theFstorm,
OR
OR in this
F
M
S
T
T
SA
O
instance), so that she could
and
the
NOtry to understand these phenomena
N
N
IO
S
NO
The theme of nature in Dickinson’s poem is reminiscent of the Romantic poets, who often described nature in a spiritual and tran-
N
N
O
scendental way; however,
TI unlike the Romantic poets, Nthe speaker appears ambivalent Nabout the nature of the force sheIOis describing.
A
THE
VICTORIANS
OR
F
OT
1.
O
IO
TI
IC
L
EP
R
E
L
MP
C
SE
IC
PL
S
E
L
MP
QUESTIONS
SA
AT
T
EC
SA
T
NO
OR
RE
F
T
NO
OR
RE
F
Identify an example of personification in the first stanza of the poem, and comment on its effect in this context. (2)
MODERNISM
N
N
IO
O
__________________________________________________________________________________
N
N
TI
AT
LATE MODERNISM
/ POSTMODERNISM
O
A
O
AT
TI
TI
IC
LIC
C
L
C
C
I
P
P
__________________________________________________________________________________
SE
PL
SE
RE
E
RE
E
E
R
R
L
PL
OR
__________________________________________________________________________________
MP
F
M
OR
A
A
F
T
S
S
T
NO
__________________________________________________________________________________
NO
SOUTHERN
AFRICAN POETRY
N
IO
T
2.
__________________________________________________________________________________
N
N
IO
O
N
N
TI
AT
A
IO
IO
C
__________________________________________________________________________________
I
C
T
T
I
L
L
C
C
P
EP
SE
SE
RE
R
E
E
OR
PL
PL
OR
F
M
F
M
T
T following words:
Find
the
SA
SA
T
NOsynonyms in the poem for
NO
NO
a) surprised
UNSEEN
POETRY
ON
I
PL
EC
c) destroyed
S
ACKNOWLEDGEMENTS
E
PL
ON
TI
CA
b) hurried ION
T
OR
RE
OR
ON
I
CT
LI
P
RE
TI
CA
LE
SE
(3)
E
PL
M__________________________________________________________________________________
F
MP
F
M
T
SA
A
T
S
O
SA
O
N
N
__________________________________________________________________________________
__________________________________________________________________________________
N
N
N
112
O
O
P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
S
S
R
RE
LE
E
P
R
L
R
__________________________________________________________________________________
M
FO
FO
MP
SA
A
T
T
S
NO
NO
__________________________________________________________________________________
E
N
O__________________________________________________________________________________
N
ON
N
I
IO
ON
O
T
T
I
I
A
A
T
__________________________________________________________________________________
CT
LIC
EC
LIC
SE
P
S
P
E
E
E
E
__________________________________________________________________________________
R
R
PL
PL
R
R
M
M
O
O
A
A
F
S
S
T
__________________________________________________________________________________
TF
S
O
NO
N
TI
CA
N
4.
IO
Suggest an antonym
ON 15).
AT for the word ‘giant’ (line
LIC
ON
N
C
C
I
__________________________________________________________________________________
EP
SE
PL
SE
R
RE
RE
R
P
P
R
O
R
M
F__________________________________________________________________________________
M
FO
FO
SA
SA
T
OT
T
NO
NO
__________________________________________________________________________________
LE
LE
__________________________________________________________________________________
N
ON
LI
TI
A
C
EP
O
I
AT
C
LI
ON
ON
I
CT
EP
SE
R
E
R5. In some versions of R
theRpoem, the nouns are capitalised:
L
O
MP
F
A
S
‘The WindNbegun
OT to rock the Grass
AT
I
CT
LE
SE
With threatening Tunes and low—
LIC
P
P
M
SA
R
RE
O
TF
NO
N
N
IOEarth—
N He threw a Menace at the
IO
T
N
O
N
T
I
A
A
T
IO
IO
C
I
C
T
T
I
L
A Menace at thePSky.’
L
C
C
EP
SE
SE
RE
R
E
E
How doesOthis
the meaning of this stanza?
(2)
R use of capitalisation affect
PL
PL
OR
F
M
F
M
T
T
SA
SA
__________________________________________________________________________________
T
NO
NO
NO
__________________________________________________________________________________
ON
N
I
N
IO
__________________________________________________________________________________
IO
AT
ON
AT
T
I
LIC
EC
LIC
CT
P
S
P
E
__________________________________________________________________________________
S
S
RE
RE
LE
E
E
R
P
L
L
R
M
FO
MP
FO
MP
T
SA __________________________________________________________________________________
A
A
T
S
S
NO
NO
__________________________________________________________________________________
N
ON
© THE ENGLISH EXPERIENCE 2019
FOREWORD
(1)
TI
CA
O
TI
TI
THE
VICTORIANS
PL
O
TI
C
(2)
E
I
PL
MODERNISM
I
3. SE
Identify the Figure of Speech
PLits effect.
SEin line 10, and commentEon
LATE MODERNISM
/ POSTMODERNISM
C
TI
CA
SOUTHERN
AFRICAN POETRY
C
ON
TI
CA
UNSEEN
POETRY
ON
N
O
TI
ACKNOWLEDGEMENTS
N
O
TI
INTRODUCTION
TO POETRY
__________________________________________________________________________________
THE
RENAISSANCE
N
IO
IO
N
T
T
A
A
T
__________________________________________________________________________________
IO
C
C
C
I
T
I
L
SE
PL
EC
EP
E
S
E
R
__________________________________________________________________________________
R
L
LE
LE
R
P
P
MP
OR
O
A
F
M
M
S __________________________________________________________________________________
T
TF
SA
SA
O
NO
N
N
IO
THE
ROMANTICS
__________________________________________________________________________________
N
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
113
THE COMPLETE POETRY RESOURCE
6.
Why do you think the poet used dashes so extensively
in the poem, rather than more conventional punctuation
N
ON
O
N
CONTENTS
I
O
marks, such as
TI commas and semicolons?AT
TI
A
C
LIC
EC
ON
(3)
I
CT
LI
P
S
__________________________________________________________________________________
EP
SE
E
RE
FOREWORD
R
PL
R
LE
LE
R
P
P
M
O
O
A
F
M
M
S __________________________________________________________________________________
T
TF
SA
SA
O
NO
N
__________________________________________________________________________________
__________________________________________________________________________________
N
N
ON
N
O
TI
TI
IO
A
A
O
T
C
IC
TI
IC
__________________________________________________________________________________
L
E
L
C
SE
P
S
P
SE
E
RE
RE
LE
E
PL __________________________________________________________________________________
P
R
PL
M
OR
FO
F
M
SA
A
T
T
S
__________________________________________________________________________________
NO
NO
O
I
CT
INTRODUCTION
TO POETRY
THE
RENAISSANCE
__________________________________________________________________________________
N
O
TI
CA
7.
N
ON
TI
CA
TI
A
C
THE
ROMANTICS
T
I
EC
LI
EC
S
Pwhat
S
PL
In the context Eof the poem, what does the Eword ‘livid’ (line 12) mean, and
is suggested by thisEdescription?
(2)
E
R
R
L
L
P
P
R
R
M
M
O
FO
__________________________________________________________________________________
SA
SA
T
TF
S
O
O
N
N
__________________________________________________________________________________
N
__________________________________________________________________________________
IO
N
ON
THE
VICTORIANS
N
I
AT
IO
IO
AT
C
T
T
I
C
L
C
C
I
__________________________________________________________________________________
P
SE
PL
SE
E
RE
E
E
R
L
RE
L
R
P
__________________________________________________________________________________
P
R
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9. Consider
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114
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P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
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ON
© THE ENGLISH EXPERIENCE 2019
THE
RENAISSANCE
THE
VICTORIANS
LE
C
SE
© Janet Paden
© Michael Ivy (DeviantArt)
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Image C:
ACKNOWLEDGEMENTS
Image B:
© www.pixels.com
Image A:
THE
ROMANTICS
N
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10. Consider the
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CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
115
THE COMPLETE POETRY RESOURCE
CONTENTS
11. What effect is created by the use of dashes in the
N final two lines of the poem, and what impact does this have on its
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12. Consider the following poem “Storm Fear” by Robert Frost. An American Modernist poet, Frost is known for his
poetry about natureNand rural life. Compare and contrast the representation of nature in both “Storm Fear” and “The
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116
IC
P from both poems in support
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P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
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CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
__________________________________________________________________________________
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THE
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117
THE COMPLETE POETRY RESOURCE
CONTENTS
UNSEENONPOEMS
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1
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INTRODUCTION
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THE
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N
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(2)
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P H OTO C O P Y I N G O F T H I S R E S O U R C E I S I N C O N T R AV E N T I O N O F T H E C O P Y R I G H T A C T ( N O. 9 8 1 9 7 8 )
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(2)
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4.
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Comment
on the use of caesuras
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__________________________________________________________________________________
ON
© THE ENGLISH EXPERIENCE 2019
THE
RENAISSANCE
THE
ROMANTICS
(2) S
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LATE MODERNISM
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(6)
SOUTHERN
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getting ready for Mass (stanza 1).
UNSEEN
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N
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T
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T F in which a priest is S
NO
N
TI
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INTRODUCTION
TO POETRY
TI
ACKNOWLEDGEMENTS
2.
FOREWORD
__________________________________________________________________________________
N
CONTENTS
P R E S C R I B E D P O E M S A N D L E A R N I N G M AT E R I A L S F O R G R A D E 1 2
ON
231
THE COMPLETE POETRY RESOURCE
__________________________________________________________________________________
N
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Why does
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ONonly once he is home safely
TI in ‘Rural England’?
5.
TI
TI
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(4)
TI
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